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Lot 140
A dazzling 18ct white gold, 4ct (approx) emerald and diamond cluster dress ring. The round cut emerald measuring 9 x 6.2mm, surrounded by 12 round brilliant cut diamonds of 0.07ct approximately, further surrounded with an undulating border of 32 tapered baguette varisized diamonds, the whole in a basket setting, head size 21 x 20mm, ring size L, 16.39g.The weight of the diamonds is difficult to estimate. The longest baguette diamonds are 5.8mm long and 3mm at their widest. The smaller baguettes are 4.2mm and 1.3mm at their widest. The baguettes are all of irregular length and width.The ring is probably mid 20th century. Stamped 10% IRID PLAT. The emerald has natural inclusions. No chips or cracks. The diamonds are white and bright. A big ring to fit a small finger.
Lot 334
An impressive 18ct white gold, 14.5ct (approx) ruby and diamond cluster dress ring. The oval cut ruby measures 15.4mm x 13.6mm, estimated depth 9.6mm, in a six claw setting, surrounded by 18 round brilliant cut diamonds each of 0.06ct approximately, the whole in a basket setting, head 21 x 24mm, Birmingham hallmark, size L 1/2, 14.47g.There is no lab certificate. There is cloudy inclusions to the centre of the stone, and needle inclusions can also be seen within it. Possibly glass filled.
Lot 212
Anthony Stewart (1773-1846), a pair of portrait miniatures, circa 1840, watercolour on ivory, painted to depict twin boys, each wearing a grey dress with white frilled collar, within circular yellow metal frames, lengths including surmount 5.5cm, total weight 35.1g, Ivory Act Exemption Certificate Numbers ARFMSQQ7 and QJP1T1Z1Note: examples of Anthony Stewart's work can be found in the Victoria & Albert Museum, the National Galleries of Scotland and the Royal Collection Trust Overall good condition Miniatures measure approximately 4 by 4cm each Miniatures appear to be in good condition, with minor marks only No visible signature Glazing shows light scratches and marks only Clients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lotFor enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
Lot 385
Charles Sillem Lidderdale (British, 1831-1895), portrait of a young lady, bust-length wearing a red bow in her hair, blue dress and white scarf, signed with monogram l.r., oil on panel, 50 by 40cm, gilt frame. Provenance: No.77, Richard Lukeman Exhibition of Victorian Paintings at Knowle Gallery, Solihull, 2nd and 3rd December, 1989, with brochure
Lot 374
Robert Andrew (British, late 19th Century), portrait of a young lady, bust-length in profile wearing a shoulderless dress, signed l.r., dated 1899 u.r., oil on canvas, 50 by 38cm, gilt frame. Provenance: No.102, Richard Lukeman, Exhibition at Knowle Gallery, 8th to 14th May, 1988, with brochure
Lot 115
An early 20th Century silver mounted oak easel-back 'Valkyrie' photograph frame, embossed figure of Valkyrie in full battle dress standing on the left side of the aperture, 'Valkyrie' above, a bow and other weapons to the right and a Viking long ship beneath, Rd. No. 441066, height 23cm, Birmingham 1904, J Bushnell & Co.
Lot 1201
Joseph Farquharson (1846-1935). Portrait of a member of the Girdwood family, in Colonial dress, with decorations, oil on canvas, signed lower right, 46 x 30.5cm. Together with an oil attributed to the same hand of Mary Girdwood as a girl in the garden at Finzean House, oil on canvas, 51 x 30cm.; and a further oil attributed to the wife or daughter of Farquharson of a Dahabeya on the Nile, oil on canvas, 25 x 42cm.(3) All framed, two glazed.The Girdwood family member pictured was involved in installing a telegraph system in EgyptCondition Report: Portrait: Scratch above signature, some minor paint losses around facial area, some craquelure/shrinkage, needs cleaning and retouching.Mary in the garden: Minor peripheral rubbing, may benefit from a clean. Dahabeyas: surface scratches and minor paint losses, needs cleaning and retouching.
Lot 28
Jack Butler Yeats RHA (1871-1957) 'Blue Jackets in Fancy Dress' (1897), also known as 'Men-o'-War(s) in Fancy Dress (Costume)' Watercolour over pencil, 35 x 18.8cm (13¾ x 7½")Provenance: With the Waddington Galleries, London; Mrs S. Levy, London; Exhibited London, Clifford Gallery - Watercolour Sketches, 1897, Cat. No. 7; London, Waddington Galleries - Early Watercolours, 1961, Cat. No. 17 (illustrated)Literature: Hilary Pyle, Jack B. Yeats - His Watercolours, Drawings and Pastels. Irish Academic Press 1993, Cat. No. 78, illustrated p. 68.
Lot 25
Jack Butler Yates RHA (1871-1957) The Captain (1948) Oil on board, 23 x 35.5cm (9 x 14”) Signed; inscribed with title versoProvenance: The artist’s family, their sale, Sotheby’s London 27/09/2017, lot 191, where purchased, Private Collection. Exhibited: Galway, Kenny Art Gallery, Paintings and Drawings, 1976, no.7Literature: Hilary Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings, Vol II, Andre Deutsch, London 1992, no 893, p.810, illustratedThis late work belonged to the Yeats family until very recently. It has rarely been exhibited in public. It depicts a youthful sailor standing looking over the side of his boat. This figure dominates the composition. The viewpoint is from below as if the viewer were standing on a quayside looking up. The sailor wears a cobalt blue jacket and cap, a black cravat and has a pink rose in his buttonhole. The latter suggests a farewell token from a lover or family member. The rose had specific significance for Yeats who kept the flower fastened to his easel. Aware of its nationalist symbolism, as exemplified in the allegorical Róisín Dubh, and the idea of speaking ‘sub rosa’ or in secret, the rose recurs in several of Yeats’s paintings and illustrations. The prominence of the flower in the painting suggests subterfuge and adds to the enigmatic aura of the subject. Its placement on Yeats’s easel was to remind himself that all his work would be ‘sub rosa; I would never again discuss the meaning of my pictures’.[1] The bag which the captain holds also evokes the sense of a decisive departure and the packing of mementos. While the jaunty nature of his dress may indicate that this is a voyage of leisure rather than an arduous expedition, the captain’s pensive and even sorrowful expression looks as if he were filled with regret or anxiety for the journey ahead. But his erect stance and forward looking gaze indicate that despite his youth, he has command of his post and that he is vigilant. Conditions appear calm, suggesting that the boat is still at anchor and preparing to depart. Traces of yellow across the sky and on the figure’s face suggest that evening is falling. To the left the open sea extends with a rocky island on the horizon.Sea captains feature in many of Yeats’s paintings, both in oils and watercolours. His childhood experience of spending time with the navigators and dockworkers on his grandfather’s shipping business in Sligo provided him with memories and stories of their lives and adventures that remained central to his imagination throughout his long career. Unlike the figures in most of these images, such as the red-bearded mariner in the 1906 watercolour, The Sea Captain or the older man of The Captain, Early Morning (1929, Private Collection), this captain is clean shaven and young and appears to be less experienced or world weary than these others. Silhouetted against the sky, the figure looks heroic but the complex construction of the painting disrupts such a simplistic reading. Thin flecks of blue pigment across the pale sky and the fragile construction of the figure’s head and torso, a mixture of impasto and sgraffito, such as where the lips and ear are outlined by lines scraped through the paint, make this a more complex and tangible work of art. The vagaries of time and memory are conveyed through the physicality of its surface and the tenuousness of its forms.Dr. Roisin Kennedy, November 2023[1] Yeats quoted in Nora A. McGuinness, The Literary Universe of Jack B. Yeats, 1992, p.45.
Lot 632
A very impressive late 19th century French patinated bronze and marble model of the Vendôme Columnthe tapering column modelled after Trajan's Column with spiralling battle scenes, the domed top above a square galleried viewing platform surmounted by a figure of Napoleon in contemporary dress, the laurel draped plinth with further scenic battle reliefs and an applied inscription, raised on a white marble shallow square base, 142cm high, 27cm wide, 27cm deep, together with a modern metal carrying case (2)This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 36
Northern Italian School, 16th CenturyPortrait of a lady, three-quarter-length, in a gold-embroidered red dress with a white lace collar, a ruby-encrusted brooch, a gold necklace and an elaborate bejewelled red headdress decorated with pearls and white flowers, standing beside a prayer book and rosary, holding a pair of gloves in her left hand and a carnation in her right hand charged with sitter's coat of arms and inscribed and dated 'ANNO.i6i5.AETATIS/SVAE.XXVIII.' (upper left)oil on canvas117.6 x 87.3cm (46 5/16 x 34 3/8in).Footnotes:The exquisite array of jewellery implies that the present sitter was someone of some considerable wealth. The Greek name for carnation, dianthos, means 'flower of God,' and for this reason the carnation often appears in paintings of the Madonna. In the present portrait it may symbolise the sitter's religious devotion, along with the presence of a prayer book and rosary.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 29
English School, 1626Portrait of Miss Shafto, full-length, in a gold and black striped dress, standing holding a rose dated and inscribed '.1626./AETATIS.3.' (upper right)oil on panel82.3 x 66.1cm (32 3/8 x 26in).Footnotes:ProvenanceBy descent to Robert Duncan Shafto, by whom offeredSale, Christie's, London, 23 November 1979, lot 130 (for £3500)Sale, Sotheby's, London, 12 November 1997, lot 26 (for £52,000) where purchased by the present ownersIt is possible that the sitter is the daughter of Robert Shafto, Sherrif of Northumberland, and his wife Jane Eden Barington. Alternatively she could be the daughter of his son, Robert Shafto of Benwell Tower.For further information on this lot please visit Bonhams.com
Lot 230
A Meissen model of Chiarina from the Ballets Russes in the ballet 'Le Carnaval', circa 1914-23Modelled by Paul Scheurich, wearing a dress with ruffled skirt and floral bodice, holding flowers in both hands, a mask, fan and flowers on the oval base, 26.5cm high, crossed swords mark in underglaze-blue, incised D.286, impressed numeral (small chip to back of base)Footnotes:Paul Scheurich's first models for the Meissen factory were those based on characters from the ballet 'Le Carnaval', which was performed several times by Sergei Diaghilev's Ballets Russes between 1910 and 1912 in Berlin. Diaghilev's company and their performances sparked excitement across Europe in the early 1910s and many great names in music and modern art worked with them throughout the next 20 years, such as Ravel, Debussy, Strauss, Picasso and Braque.Scheurich first brought the models to the factory at the end of 1912 and they were purchased for their production by Max Adolf Pfeiffer in June 1913 for 2500 Marks. Scheurich's decoration suggestions followed in January 1914 and the first completed figures were ready in February of the same year (Johannes Rafael, Paul Scheurich - Porzellane für die Meissener Manufaktur (1995), p.22).For further information on this lot please visit Bonhams.com
Lot 217
A Meissen group of 'The Good Mother', late 19th centuryAfter the 18th century model by M.V. Acier, the mother seated on an armchair wearing a patterned puce dress and yellow floral shawl, a baby on her lap and a young boy climbing onto the left armrest and leaning on her shoulder, another boy seated on a stool to her right and playing with a pack of cards toppling off the baby's lap, the oval base moulded with gilt and blue classical frieze, 22.5cm high, crossed swords mark in underglaze-blue with one cancellation mark, incised model numer E69, impressed numerals (some restoration)Footnotes:Modelled by Acier in 1774; see S. & T. Bergmann, Meissen Figures - Model Numbers A1 - Z99 (2014), no. 23.For further information on this lot please visit Bonhams.com
Lot 227
A Meissen crinoline group of a seated lady with a servant, circa 1910After the 18th century model by J.J. Kaendler, the lady seated on a gilt-edged chair, holding a teabowl and saucer in her left hand and with a pug on her lap, wearing a richly decorated dress, a table with tea tray beside her, to her right a servant wearing a turban and pale yellow costume holding a tazza, the base applied with leaves and flowers, 15.6cm high, Meissen jubilee mark with crossed swords mark and 1710 1910 in underglaze-blue, incised model number 398x, impressed numeral and 54. in black (minor chips)For further information on this lot please visit Bonhams.com
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