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Lot 137
An 18ct gold opal dress ring, An 18ct gold opal dress ring, the oval opal cabochon with tapered shoulders, hallmarks for London, ring size W, gross weight 6g.Overall condition fair to goodOpal with abrasion to surface, visible with the unaided eyeOpal very slightly loose in setting, movement but secureMarks clear and legible
Lot 146
An aquamarine and diamond dress ring by Cropp & Farr, An aquamarine and diamond dress ring by Cropp & Farr, the square shape aquamarine weighing approx. 3.75cts with single cut diamond shoulders, maker's marks for Cropp & Farr, stamped 18ct & Plat, numbered 5967, ring size N1/2, gross weight 4.6g.Overall condition good to fairScratches, discolouration and abrasion in keeping with general wearSome nibbles to aquamarine facet edges, visible with magnification
Lot 156
An 18ct gold garnet topped doublet and diamond dress ring, An 18ct gold garnet topped doublet and diamond dress ring, the oval shape blue garnet topped doublet within a partial rubover setting, to the square cut diamond shoulders, estimated total diamond weight 0.15ct, hallmarks for Sheffield, ring size P, gross weight 9.6g.
Lot 93
A smoky quartz dress ring by Siffari, A smoky quartz dress ring by Siffari, the rectangular shape smoky quartz duo within a textured openwork surround, signed Siffari, stamped 14k, ring size N1/2, gross weight 10.8g.Overall condition good to fairScratches, discolouration and abrasion in keeping with occasional wearMarks clear
Lot 97
An 18ct gold spinel and diamond dress ring, An 18ct gold spinel and diamond dress ring, the oval shape red spinel weighing approx, 1.10cts with brilliant cut diamond crossover sides, estimated total diamond weight 0.30ct, hallmarks for Sheffield, ring size O, gross weight 4.5g. Overall condition good to fairScratches, discolouration and abrasion in keeping with occasional wearMarks clear, hallmarks for Sheffield, 1990. Sponsor's marks PLM Diamonds bright and well matched Spinel a medium, very slight orangish red, with good saturation and inclusions visible under magnification only - a couple of internal fractures underneath crown facets
Lot 1049
ELIZABETH II & PRINCE PHILIP: ELIZABETH II: (1926-2022) Queen of the United Kingdom 1952-2022 & PRINCE PHILIP (1921-2021) Duke of Edinburgh, Consort of Queen Elizabeth II 1952-2021. A good vintage signed 8.5 x 11.5 photograph by both Queen Elizabeth II and Prince Philip individually, the official image depicting the Royal couple standing in full-length poses together, wearing ceremonial dress, at Buckingham Palace. Photograph by Anthony Buckley (uncredited). Signed (‘Elizabeth R’) by the Queen and signed (‘Philip’) by the Duke of Edinburgh, both in fountain pen inks to the lower photographer’s mount and dated 1961 in the Queen’s hand. Some very light, extremely minimal silvering to the edges of the image and one very light, minor stain to the lower edge of the photographer’s mount, otherwise VG The present photograph was taken by portrait photographer Anthony Buckley (1912-1993) in October 1960 prior to a Royal tour of Pakistan and India.
Lot 121
LOREN SOPHIA: (1934- ) Italian actress, Academy Award winner for Best Actress in 1961 for her role as Cesira in La Ciociara. A very fine vintage signed postcard photograph of Loren, the Ufa Film promotional image showing the young Italian actress wearing an attractive dress and standing in a full-length dancing pose. Signed with her full name, Sophia Loren, a clean signature in bold blue fountain pen ink to the lower clear area of the image. VG to EX
Lot 206
RUSSELL JANE: (1921-2011) American actress and sex symbol. A good vintage signed 8 x 10 photograph of Russell wearing an elegant long black dress as she strikes a full-length dance pose. Signed in bold green fountain pen ink with her name alone to a clear area of the background. A couple of very light, minor surface and corner creases, otherwise VG
Lot 372
MASSENET JULES: (1842-1912) French Composer. A very fine A.L.S., `J. Massenet´, two pages, written to the first and third pages, 8vo, Paris, 2nd March 1884, in French. Massenet sends an urgent message to his correspondent, referring to the rehearsals of his opera Manon, and stating in part `Je vous en prie, un mot au sujet des dates des dernières répétitions, de la générale, et de la première représentation du `Manon´, j´ai un besoin urgent d´être renseigné pour combiner mon voyage. Je suis à Paris, pour quelques heures. J´attends votre aimable réponse´ (Translation: `I beg you a word about the dates for the last rehearsals, the dress rehearsal, and the premiere of Manon, I need urgent information to schedule my trip. I am in Paris, for few hours. I wait for your kind response´) Further and before concluding, Massenet adds `Dites-moi les dates probables et ne les fixez pas `exprès´ trop tôt – j´ai besoin de temps cette semaine !... Vous me connaissez – je suis exact´ (Translation: `Tell me the most likely dates and do not schedule them `on purpose´ too soon – I need time this week !... You know me…´) VG Massenet refers to his most popular opera Manon (1884), an opera comique in five acts, based on the novel Manon Lescaut by the Abbé Prevost. It was premiered at the Opéra-Comique in Paris on 19th January 1884, two weeks after the present letter was written.
Lot 723
SAND GEORGE: (1804-1876) French novelist. An excellent autograph manuscript signed, George Sand, thirty pages, 8vo, n.p., n.d. (1872), in French. Sand’s manuscript, with various corrections and deletions, is written in the wake of the publication of Hugo’s collection of poems L’Annee terrible and states, in part, ‘Voici un poete sublime, le poete de la France. Il est veritablement la voix de la partie, et c'est pour cela qu'en parlant de lui on sent qu'on s'adresse a la France elle-meme dont il est l'ame et l'expression, le dechirement terrible, l'organe souverain......je sens pour lui quelque chose de plus que de l'admiration, je sens que je l'aime......Quand le poete sans rival qujourd'hui monte sur le coursier aile pour interroger le ciel sur les destinees de la terre, il depouille sa personnalite reelle, il oublie son propre nom, il se spiritualise, il est le penseur et le poete, il exerce son sacerdoce, il joue son role, il rompt avec l'usage, il meprise le bon ton, il depasse le bon gout. il use de son droit qui est de monter autant qu'une pensee peut monter au-dessus d'une situation, une aspiration au-dessus d'un fait, une volonte au-dessus d'un obstacle.....Il a le delire sacre des pythonisses, il s'eleve a la manifestation de l'espirit degage de tout ce qui pese sur nous. Il prend une place dont personne ne peut etre jaloux, puisque personne n'eut ose la prendre, et que nul ne peut lui contester puisqu'il peut seul l'occuper......Ceci dit une fois pour toutes et ce divin orgueil accepte comme une pretention, non legitime chez le poete en general mais legitime chez celui-ci, voyons si la lucidite est a la hauteur de l'emotion et si ce voyant inspire, qui semble percer l'inconnu, a la vision nette des choses connues......oui et non. Oui, au point de vue de l'eternelle philosophie; au point de vue immediatement historique, non.....son veritable nom serait le passionne, car tout est passion chez lui: la haine et l'amour, la mansuetude et la colere, l'indignation et la pitie; son organe visuel est fait de passion comme son sens intellectuel; son esprit a la faculte de se dilater au point d'embrasser l'univers dans une etreinte gigantesque, et des lors tout se dilate et devient colossal dans son appreciation.....d'une mouche il fait un monstre, d'une fourmi un elephant......il y a une troisieme voix que le genie de l'antithese n'a pas daigne entendre: c'est la voix juste......quand malgre soi on est reste debout entre les deux cadavres, doit-on traiter l'un de martyr et l'autre d'assassin? Ils se sont egorges l'un l'autre, martyrs tous les deux ou assassins tous les deux, il n'y a pas a dire.....il n'a pas fletri avec son energie accoutumee les chefs et les membres de cette bande; il s'est contente de dire qu'il ne les approuvait pas.....il n'eut eu de cris de colere que contre la repression et de cris de pitie que pour les infames qui tentaient de detruire Paris apres l'avoir deshonore...... son esprit a eu une defaillance de lumiere, les etoiles en ont bien!......c'est que je le place plus haut que vous, les amis de sa gloire litteraire, ne songez a le placer. Pourvu qu'il chante, vous etes ravis, et lui, il veut etre quelque chose de plus que le chantre, il veut etre quelque chose que je lui accorde de toute mon ame. Il veut etre le penseur du siecle. Il l'est, je vous l'ai dit, il est la voix de la patrie, il resume en lui toute son histoire, il en subit toutes les ivresses et toutes les tortures, tous les dechirements et toutes les aspirations.......Lui, il a vu les choses en grand, en gros quelquefois, jamais en petit. Mais ce qu'il a bien vu, personne ne l'a vu comme lui. il a vu tres loin devant lui, et il a dit des verites souveraines que rien ne pourra detruire.......Des siecles passeront sur nos desespoirs et l'espoir fleurira encore dans le monde. Alors on lira ce poete et on tiendra bien peu de compte de ce qui offense les delicats d'aujourd'hui. Ce sera encore un livre de vie pour les jeunes; les traces de nos malheurs seront effacees, nos ruines seront ensevelies dans des oeuvres de renaissance, nos drames d'un jour seront contemples comme des reves et racontes comme des legendes; nos monceaux de livres seront juges, oublies pour la plupart, un nom restera eclatant, attache a la robe funebre du XIX siecle comme une etoile au manteau de la nuit et ce nom ce sera celui de l'auteur de l'Annee terrible’ (Translation: ‘Here is a sublime poet, the poet of France. He is truly the voice of the party, and that is why in speaking of him we feel that we are addressing France itself of which he is the soul and the expression, the terrible heartbreak, the sovereign organ……I feel for him something more than admiration, I feel that I love him…..When the poet without rival today mounts the winged steed to question heaven about the destinies of earth, he strips away his real personality, he forgets his own name, he spiritualises himself, he is the thinker and the poet, he exercises his priesthood, …...his spirit had a failure of light, the stars certainly did!......that’s because I place him higher than you, the friends of his literary glory, would think of placing him. As long as he sings, you are delighted, and he wants to be something that I grant him with all my soul. Centuries will pass over our despairs and hope will still flourish in the world. So we will read this poet and we will take very little account of what offends today’s delicate people. It will still be a book of life for young people; the traces of our misfortunes will be erased, our ruins will be buried in works of rebirth, our one-day dramas will be contemplated like dreams and told like legends; our heaps of books will be judged, forgotten for the most part, a name will remain dazzling, attached to the funeral dress of the 19th century like a star to the mantle of night and this name will be that of the author of l’Annee terrible’). A manuscript of fascinating and wide-ranging content in which Sand displays her admiration for the genius of Hugo as a poet, brushing aside criticisms that have been made of his personality and preferring to concentrate on the immense stature of the writer, nevertheless daring to examine the lucidity of his political judgement, where disagreements are bluntly expressed as she criticises Hugo for not having castigated Versailles and Communards equally (‘should we treat one as a martyr and the other as a murderer?’), although ultimately concluding by offering her praise of Hugo with beautiful lyricism. Written to the rectos of the pages only, a number of the bifoliums are neatly stitched together. Some very light, extremely minor age wear, generally VG Hugo’s series of poems L'Annee terrible (1872) would be his penultimate major poetic collection. The works deal with the Franco-Prussian War, the trauma of his losing his son Charles, and with the Paris Commune. Covering the period from August 1870 to July 1871, a group of poems encapsulates each month, blending Hugo’s anguish over personal tragedies with his despair at the predicament of France. The relationship between Sand and Hugo, two of the outstanding literary figures of the 19th century, was of a particular character; indeed they never met and only first came into direct contact, by letter, in 1855. They had differing political views (Sand condemned in harsh terms the Paris Commune) but nevertheless their relationship evolved during their lifetimes and are quick to support and defend each other as soon as one is attacked. In 1876 it was Hugo who delivered the famous funeral eulogy of Sand, ‘I mourn a dead woman, I salute an immortal…..’OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.
Lot 532
ENGLISH SCHOOL, 19TH CENTURY A portrait of a young lady identified as Amelia Ledsam (1819-1905), the sitter depicted bust-length wearing a white dress, oil on canvas, 25cm x 20cmProvenance: The Estate of the late John Rollo Somerset-Paddon, formerly of Chalk Newton House, Maiden Newton, Dorset, thence by descent.Note: Label verso details “Amelia Ledsam born May 24th 1819, the daughter of Captain (later Major) John Ledsam of the Royal Fusiliers who served in the Peninsular War….Her aunt married Sir Hector Munro of Foulis Castle, Inverness. Her other sister Melita married Charles Harley Savory”.
Lot 1580
Three late 19th / early 20th century wax headed dolls to include a doll in a green dress (crack to back of head), with glass eyes and composition limbs (chipping/restoration to limbs); a blonde haired doll with floral dress painted facial features and wax hands (missing a thumb); and an example in salmon pink with glass eyes and wax limbs (crack & restoration to one leg). (Tallest approx 55cm, wax shows surface scratches, scuffs & grubbiness)
Lot 1585
Four late 19th / early 20th century wax headed dolls with glass eyes and painted facial features, to include a doll in purple dress with composition limbs; a doll in a lavender dress with wax limbs (missing hair); a doll in a bonnet with composition hands (thumb reattached to one hand); and a doll in a floral dress with wax / composition limbs and wooden stand. (Tallest approx 42cm; dolls show some chipping to the composition hands and some scratching to the wax)
Lot 6342
Four photograph albums of William Richard "Dickie" Berry, Butler/Factotum of Rowland Baring & Esme Harmsworth, later the 3rd Earl of Cromer and Lady Cromer, including large leather album containing numerous early 20th Century mounted b/w photographs including Paris, Warren House, Turin, Biarritz, Bayonne, Monte Carlo, Madrid, Switzerland, Venice, fancy dress ball Winter Palace, Pau, Paris, Cannes, St. Moritz, Marrakesh, Norway, Canada, Hawaii, California etc, plus 3 other smaller cloth bound albums of early to mid 20th Century mounted b/w photographs similar (4)
Lot 930
A Vienna blue ground part tea service, circa 1900, comprising : tea kettle with double gilt metal dolphin mounts, painted with a band of children in 18th century dress on a solid gilt ground, indistinctly signed, beehive mark in underglaze-blue, titled 'Werbung' and 'Tanz' and numbered 3315 in black, 22cms; a hot water jug and cover similarly decorated, titled 'Malerei', signed Kramer, 21cms; and two cups and saucers, titled in black 'Sommer' and 'Toast', signed Kramer, beehive marks in underglaze-blue.
![[ Royal Family, Princess Margaret ] A part packet of Chesterfield cigarettes and a sequin, in period envelope inscribed "Deco](https://cdn.globalauctionplatform.com/e21ec98f-26c1-45d0-9ae9-b0c20112c3f4/bef6b9df-4da2-4296-8de9-b0c400a9cc72/468x382.jpg)
Lot 1660
Todd White (American, contemporary) "Beneath it all", a sultry depiction of a young woman in a white dress holding a glass of wine with a cigarette between her fingertips, limited edition print, 92/95, signed, dated 2008 on certificate of authenticity verso, in gilt frame, 60 cm x 88 cm overall [White was chosen from hundreds of artists as the Official Artist of the Grammy Awards in 2007. In 2009, Todd was invited by Warner Bros. to contribute to a major design exhibition celebrating the 70th Anniversary of The Wizard of Oz. White also collaborated with Coca Cola in 2010 to produce limited edition bottles and cans. His unique box signature appears right on the product, which is the first time Coca-Cola has given credit to a fine artist in this manner. www.toddwhite.com]
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228098 item(s)/page