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Click here to subscribeA yellow metal, green quartz and diamond dress ring, featuring a cushion cut green quartz in a semi-bar setting, with four melee cut diamonds vertically channel set to either side and diagonal bar engraved shoulders, green quartz dimensions approx 10 x 9.15 x 7.2mm, weight estimated as 3.86 carats, diamond diameters each approx 1.4mm, total weight estimated as 0.07 carats, size approx M½, gross weight 5.6g, stamped and tested as 14ct
An 18ct white gold, aquamarine and diamond dress ring, comprising an oblong aquamarine in a four claw setting, with five Princess cut diamonds channel set in each shoulder, aquamarine dimensions approx 13.4 x 11.9 x 7.05mm, weight estimated as 6.67 carats, diamond dimensions each approx 1.65 x 1.3mm, total weight estimated 0.20 carats, size L, gross weight 7.8g, hallmarked 18ct, Birmingham, sponsor DHBAbraded facets on aquamarine.
An 18ct yellow gold sapphire heavy dress ring, featuring an octagonal cut sapphire bezel set within a 17mm head, sapphire dimensions approx 7.55 x 6.9 x 3.85mm, weight estimated as 2.06 carats, size P½, gross weight 13g, hallmarked 18ct, Sheffield 1997, sponsor EFLtdThe white marks in the image were dirt residue which has since been cleaned off.Stone excellent, no chips or scratches.Setting excellent.Band with several quite deep scratches.
Circle of Sir Peter Lely (1618-1680) - portrait of Hon. Lady Brydges, seated full length in a blue dress and brown wrap, holding an apple, inscribed 'The Honble Lady Brydges wife to Sir John Brydges and afterwards married to Sir Thos. Powell Bart.' lower left, oil on canvas, 240 x 148cmFour patch repairs verso.Paint good and stable.Canvas has been varnished (probably in the last 20 years).Some craquelure all over but no breaking out.UV lamp shows numerous small areas of overpaint and touching-in all over; small area to cheek and three significant areas to the lower left corner.From top to bottom approx. ^2 in from the right hand edge is a line of overpainted small areas (each approx. 1” square or les) at approx. every 6 to 8”.Other than the cheek, no further evidence of overpaint to face, bust or arms aside from some very minor touching-in.Frame with original gilding, minor gesso losses in several places.
A vintage 9ct gold and opal dress ring in Victorian style. The three graduated oval cabochon white opals spaced by pair of smaller round cabochons, all claw set within bead decorated borders between scroll and leaf chased shoulders on a shallow-D-section shank with hallmarks for Birmingham 1975, size Q+, 3.9g gross
A late Victorian gold, sapphire and diamond dress ring. Centred with a cushion shaped old-cut diamond approx. 0.38cts, between small rose diamond six stone collets and flanked by oval mixed-cut pale blue sapphires and further rose diamond trefoils, on a D-section shank, unmarked, sizing beads makes an accurate size difficult approx. T/U(?) , 5.4g gross Condition Report: Overall good/fair condition for age, general wear and tear commensurate with age and substantial use. The principal diamond measures approx. 4.5mm x 4mm x 3.3mm. colour about L/M, clarity about SI though there is a substantial gletz to ine of the kite facets. The sapphires measure approx. 6.1mm x 5.4mm x 2.9mm (approx. 0.83cts) & 6.3mm x 5.5mm x 2.7mm (approx. 0.82cts). of pale Ceylon-type colour with both colour zoning and banding, facet crown edges worn.
A late 19th/early 20th century silver-plated wager cup. In the form of a woman in a floor-length dress holding a smaller cup above her head and with a red paste stone inset to the back. approx. 18cm high (7 inches)Note; Wager cups were originally used during 16th century German feasts as a drinking game where both cups were filled and the players had to drink from the larger cup without spilling from the smaller one.
A WWII Third Reich Nazi German Luftwaffe officer's dress dagger - the double-edged blade stamped 'wMw WAFFEN', globe pommel with oak leaves and swastika to both sides, ivorine grip (lacks wire binding) with oakleaf mount above the crossguard in the form of an eagle clutching a swastika in its talons, aluminium braided dress knot, 38cm. long, lacks scabbard.* Condition: Lacks scabbard. Some damage to the dress knot cord. Ivorine grip lacks the wire binding. Some light pitting and scratching from cleaning along the blade. Tip of blade has been bent and reshaped. Surface rust pitting to the acorn leaf mount above the cross guard.
Marlene Dumas 1953 Kapstadt - lebt und arbeitet in Amsterdam The short black dress. 1993. Tuschezeichnung. Rechts unten signiert, datiert und betitelt. Auf Velin von BFK Rives (mit Wasserzeichen). 31,5 x 24 cm (12,4 x 9,4 in), Blattgröße. [AW]. • Im Zentrum ihres Schaffens stehen die menschliche Figur und das Porträt. • Die Basis bildet meist eine selbst aufgenommene oder den Medien entnommene fotografische Vorlage. • 1982 und 1992 Teilnahme an der 7. und IX. documenta in Kassel sowie 1995 Teilnahme an der Biennale in Venedig. • Arbeiten der Künstlerin befinden sich in renommierten internationalen Sammlungen, u. a. der des Stedelijk Museum, Amsterdam, des Art Institute of Chicago, der Tate Gallery, London, und dem Museum of Modern Art, New York. Wir danken dem Archive Studio Dumas, Amsterdam, für die freundliche wissenschaftliche Unterstützung. PROVENIENZ: Privatsammlung Norddeutschland. Aufrufzeit: 08.12.2023 - ca. 15.29 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONMarlene Dumas 1953 Kapstadt - lebt und arbeitet in Amsterdam The short black dress. 1993. India Ink drawing. Lower right signed, dated and titled. On BFK Rives wove paper (with watermark). 31.5 x 24 cm (12.4 x 9.4 in), size of sheet. [AW]. • The human figure and the portrait are at the center of her work. • The basis is usually a photographic template that she shoots herself or takes from the media. • In 1982 and 1992, she took part in the 7th and IX documenta in Kassel and in 1995 in the Venice Biennale. • Her works can be found in renowned international collections like the Stedelijk Museum, Amsterdam, the Art Institute of Chicago, the Tate Gallery, London, and the Museum of Modern Art, New York. We are grateful to the Archive Studio Dumas, Amsterdam, for the kind expert advice. PROVENANCE: Private collection Northern Germany. Called up: December 8, 2023 - ca. 15.29 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.
Forrest Hewit (British 1870-1956): Lady in a Blue Dress - half length portrait, oil on board signed and dated 1923, 39cm x 28cmProvenance: Hewit was born in Manchester and studied under Walter Sickert and T.C. Dugdale. He was a director of the Calico Printers Association, a member of the Manchester Academy of Fine Arts and lived in WilmslowCondition Report: Thin but stable paintwork with some craquelure, no signs of over-paint under UV light
A mixed group of knitwear including a Mary Farrin black knit dress with self tie, deep v neck, flared sleeves, gold, cream and metallic black detail (l. 51"), a black/white Bellino knit dress (l. 51") and a black sequin Bernshaw jacket (l.24") together with two black knit skirts (l. 33" and 36") Mary Farrin was known as Queen of the Knits, supplying Christian Dior amongst other significant brands. She established her boutique in South Molton Street in the late '60s. Originally using knitters in their own homes she stepped up production as she became established moving it to Gozo, Malta. The label closed in 1990. (5)
A mixed group of knitwear by Mary Farrin including a bat wing top with skirt in turquoise knit (skirt: l.27"), a loose dress with lace and knit collar, full sleeves and tie neck in soft golds and pink (l.48"), a Pallas Original pure Irish linen cream knit skirt (l.28"), a contemporary wool knit long skirt in shades of purple (l. 35") and a charcoal grey La Bottega di Brunella Italian knit skirt (41") see notes for lot 246 (5)
A Christian Dior skirt suit in taupe gaberdine, with fitted Bar style jacket (38") and straight cut skirt (waist: 28" l.25"), sized as a UK 12, a Fenwick French Salon, Robes H.B.Z., made in Switzerland, dress suit, the V neck jacket in olive green with taupe line plaid (37"), with sleeveless dress (36") with reverse plaid colours to top and green/taupe plaid to box pleated skirt and a linen skirt suit, J.C. May, in cream with blue design, a fitted jacket with short sleeves (35") with straight cut skirt (waist. 26") (3)
A mixed lot including a grey/winter white tweed suit by Louis Feraud, the jacket with grey trim to cuffs and mandarin collar (size: UK 16, 36" closed, skirt: 30" waist), a Tricosa, Paris, wool dress with turquoise body and dark grey knit sleeves (35". l.41"), a Louis Feraud, Rembrandt, grey wool dress (size 14) together with three vintage 1960s sleeveless dresses (35" - 36") including Fenwick (6)
A stylish '70s Cresta, Hong Kong, two piece suit composed of a mandarin style tunic top with side vents, tie to waist with skirt with two deep inverted pleats (top: l.26" chest 35", skirt: l.27" waist 26"), a '70s Berkatex two piece skirt suit composed of a shirt style top and belted skirt (top: chest 38" l.24". skirt: l. 27" waist 28") sized as 14, an Eva for Robert Janan acrylic jersey knit dress with v neck (l.48", sized as 12) and a 60s Norman Hartnell jacket in green boucle tweed with deep green shot silk collar and tweed insert (l.23" chest 38") (4)
A group of 1960s daywear to include a Vendome navy blue wool weave suit with short jacket and a line skirt (skirt: waist 26", l.26", jacket: chest: 36" l.21"), a Robes H.B.Z. Swiss made dress suit in taupe/red/blue, the sleeveless dress with side pockets (chest: 36" l.40" sized as 38), the jacket with mandarin collar and lining to match dress (chest 38" l.21" sized as 38) and a Robert Dorlan, London crochet style dress suit, the straight cut dress (sized as 36, the dress: chest 35" l.41", the jacket: chest: 36" l.23") (3)
A group of Mary Farrin knitwear to include a softly hanging dress with tie waist, with alternating knitted bands of angora, balloon sleeves, soft brown (l.49"), a smock style loose fitting dress with tie to neck, alternating bands of angora knit, balloon sleeves, soft brown (l.46") and a winter weight wool tweed cardigan jacket, label missing (l.32") (3)
A mixed group of knitwear by Mary Farrin including a skirt with jacket in complex check knit, browns and fawns with loose shaped jacket (skirt: l.26". jacket: l.27"), a open knit dress in blues and pinks with rounded neckline and loose short sleeves, reminiscent of Missoni in style (l.46") and a grey/fawn knit sleeveless dress with deep v neck and tie waist (l.45") see notes for lot 246. (5)
A mixed group of knitwear by Mary Farrin including a over dress with deep V neckline in grey/blue with multi soft tone knit body(l.42"), a grey/blue cardigan jacket with full sleeves, open front, with intricate braided dull silver knit detail (l27") and three skirts by Mary Farrin: one, soft white/green (l.26"), a grey blue knit skirt with bronze flecks and inset front vent (l.28") and another similar in soft brown tone (l.29") see notes for lot 246. (5)
A mixed group of knitwear by Mary Farrin including a strappy dress in fine knit (l.43"), a lightweight knit scarf in cream/green/pink, a long knit dress in silver with pearlised pinks/greens in crochet knit with self tie waist, deep v neck and a skirt with open jacket in soft pinks/creams/greens in light mohair and wool, the jacket with full sleeves and bead detailing, the skirt with light knit lining which hangs below outer skirt, deep slide slit and elastic waistband (skirt: l.25" lining: l.27") (see notes for lot 246) (5)
A mixed group of knitwear by Mary Farrin including a winter knit dress with high cowl collar and tie waist in taupe/cream (l.42"), a cream knit skirt (l.26"), a loose knit open jacket and a Pallas Irish Linen crochet knit long skirt with self tie elastic banded flounce waistband (l.35") (see notes for lot 246) (4)
A collection of 19thc dolls hand made clothing including, a muslin lace fronted dress, and a similar drawn thread panel fronted dress, (both L x 39 cm), two cotton underskirts, a camisole style top and two winter felted wool underskirts, show little to no signs of use, a collection of five children's 1920s silk, cotton and satinized cotton hand smocked tops, show signs of gentle use, and a collection of five linen embroidered and drawn thread work tray and tea table cloths, a silk hand made laced bordered panel, two doilies and a damask and lace tea cosy covers. (A lot)
A German Third Reich SA (Sturmabteilung) dress dagger, the 22cm flattened diamond section blade etched Alles fur Deutschland with SMF Solingen (Stöcker & Co.) makers mark to the ricasso, the crossguard marked Wf for Westfalia, the cherrywood grip with inset eagle and swastika and further SA device, housed in a nickel mounted scabbard with brown leather hanging strap, 35cm.PLEASE SEE TERMS AND CONDITIONS REGARDING IMPERIAL GERMAN/THIRD REICH ITEMS.
A German Third Reich NSKK (Nationalsozialistisches Kraftfahrkorps) dress dagger by Karl Bocker, the 22cm flattened diamond section blade etched Alles fur Deutschland and with Karl Bocker logo and RZM M7/45 mark to the ricasso of the opposing side, the crossguard marked Mi for Mitte, the walnut grip with inset eagle and swastika and further SA device, housed in a nickel mounted scabbard, 35cm.PLEASE SEE TERMS AND CONDITIONS REGARDING IMPERIAL GERMAN/THIRD REICH ITEMS.
A German Third Reich SA (Sturmabteilung) dress dagger, the 22cm flattened diamond section blade etched Alles fur Deutschland with RZM M7/33 for F.W. Holler to the opposing ricasso, having an unmarked crossguard and cherrywood grip with inset eagle and swastika and further SA device, housed in a nickel mounted scabbard with brown leather hanging strap, 35cm.PLEASE SEE TERMS AND CONDITIONS REGARDING IMPERIAL GERMAN/THIRD REICH ITEMS.
A German Third Reich SA (Sturmabteilung) dress dagger by Anton Wingen Jr Solingen, the 22cm flattened diamond section blade etched Alles fur Deutschland and with Wingen Knight logo mark to the ricasso of the opposing side, the crossguard marked NO for Nordsee, the cherrywood grip with inset eagle and swastika and further SA device, housed in a nickel mounted scabbard with brown leather hanging strap, 35cm.PLEASE SEE TERMS AND CONDITIONS REGARDING IMPERIAL GERMAN/THIRD REICH ITEMS.
A German Third Reich Luftwaffe Officer's 2nd pattern dress dagger, the 25.5cm double edged blade with Carl Eickhorn 1935-41 squirrel logo to the ricasso, having an alluminium crossguard with Luftwaffe emblem, orange celluloid wire bound grip and ball pommel with silver bullion portepee, the steel sheath with oak leaf banding and suspension loops the hanging strap stamped D.R.G.M. U.E.10. RZM, 43.5cm.PLEASE SEE TERMS AND CONDITIONS REGARDING IMPERIAL GERMAN/THIRD REICH ITEMS.
A German Third Reich Feuerwehren (Fire Department) dress side-arm, the 24cm saw-back blade marked to ricasso Robt Klaas Solingen, having chequered two-piece grips and eagles head pommel, housed in a steel scabbard, 36cm.PLEASE SEE TERMS AND CONDITIONS REGARDING IMPERIAL GERMAN/THIRD REICH ITEMS.
An Officer of the Hussars dress jacket, in blue with heavy gold braid collar and cuffs, with remains of Pulford & Sons label naming Major B.R. Reilly dated 20/6/27, together with a 1980 pattern No.2 Army Dress tunic with matching trousers, a U.S. Air Force tunic and trousers and a U.S. Army Tunic. Some discolouration to jacket around the buttons and shoulders, the interior is poor with multiple tears etc, further moth damage to back.The other items are in better condition.
An Art Deco style patinated and cast metal figural table lamp, having a bright coloured mottled domed shade, supported on a figural column modelled as a kneeling woman in flowing dress, to lozenge shaped stepped base, overall h.37cm Shade very good and original throughout with no apparent faults.Shade hole is 6.5cm diameter.
GIOVANNI BATTISTA TIEPOLO (1696-1770) A left hand study red chalk, heightened with white chalk, on paper, 25cm x 12cmProvenance: The Collection of Hugo Perlo Esq.Messrs Thos. Agnew and Sons Ltd., 1935An Artistic Family Collection, Wiltshire.Giovanni Battista TiepoloBorn in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's colour and compositions.Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionised the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply coloured figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints--the Scherzi di fantasia and the Capricci--both heavily laden with antique references.External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Würzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the Czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticised as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favour of a severe neo-classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognised today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and baroque tradition.
ASSORTED GOLD DRESS RINGS comprising 9ct gold yellow stone ring, 2 x 9ct gold amethyst rings, 9ct gold five stone garnet ring, 9ct gold and palladium five white stone ring and a 9ct gold eternity ring, 12.0gms gross (6)Provenance: private collection DenbighshireComments: misshapen, wear and tear overall, viewing recommended
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