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Click here to subscribeAn amethyst set Italian dress ring in rose-pink metal. Featuring a rose/mixed cut central amethyst, approximately 16mm x 13mm, surrounded by 16 round mixed cut amethysts. The mount is stamped 750 and the inner shank features a pierced cut heart pattern. Italian goldsmith mark for Prato region. Size Q. Approximate weight 13.6 grams.
A BURMA NO HEAT RUBY AND DIAMOND DRESS RING in 14ct yellow gold, set with a row of alternating cushion cut rubies and baguette cut diamonds, accented by old and round cut diamonds, the rubies all totalling 1.30 carats, stamped 585, size N1/2 / 7, 5.4g. Accompanied by a gemmological report stating the two side rubies are of Burmese (Myanmar) origin with no indication of heat treatment and the centre ruby is of Burmese (Myanmar) origin with indication of heat treatment.
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) AUCHABHAICH CROFT, IONA (NIGHTFALL IONA) Signed, oil on boardDimensions:38cm x 45cm (15in x 17.5in)Provenance:Provenance:T. & R. Annan & Sons Ltd, GlasgowPrivate Collection, GlasgowLiterature: Philip MacLeod Coupe, Paintings of Iona: Cadell and Peploe, privately published 2014, repr.col. p. 46, pl. 28Note: MacLeod Coupe also illustrates in his book a photo of the existing cottage in 2009 with a view of the Ross of Mull and the Paps of Jura in the distance.Note: Note:Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona (Lot 156) shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona (Lot 153) still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona (Lot 157) leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock (Lot 154) was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) MULL FROM IONA Signed, inscribed verso 'G. W. Service', oil on boardDimensions:37cm x 44.5cm (14.75in x 17.5in)Provenance:Provenance:George W. Service, GlasgowLyon & Turnbull, Edinburgh, Fine Paintings, 3 December 2008, lot 128, where acquired by the present owner Note: Exhibited: Royal Academy of Arts, London, Exhibition of Scottish Art, 6 January-11 March 1939, no. 597 (lent by George Service, incorrectly catalogued as pastel)Note: This painting was one of eight works by Cadell shown in the landmark exhibition of Scottish art held at the Royal Academy of Arts in London in 1939; it was one of three lent by the shipowner George Service. Its entry in the catalogue read: 'A summer scene. Looking from fields in Iona across the Sound to Mull.' Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona (Lot 156) shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona (Lot 153) still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona (Lot 157) leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock (Lot 154) was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
§ JAMES MCBEY (SCOTTISH 1883-1959) HALF-LENGTH PORTRAIT OF HORTENSE LOEB Signed and dated 6 July 1931, oil on canvasDimensions:71cm x 61cm (28in x 24in)Note: Note: In 1930 James McBey established a studio in Philadelphia, and a diary entry from the 3rd December of that year records that at a dinner he first met Marguerite Loeb, a Sorbonne-educated tobacco heiress with exceptional connections in the art world; she had studied book-binding in 1920s Paris, where she and artist Oskar Kokoschka had been lovers, and afterwards moved to New York where she established a photography studio on West 57th Street. Early in 1931, they travelled to Bermuda with Marguerite’s mother Hortense, and on the boat back to New York, James proposed to Marguerite. On Friday 13th March 1931, three months after the couple had first met, they were wed. This portrait of Hortense Loeb, Marguerite’s mother, was made shortly after the marriage. The McBeys sailed for England immediately after their wedding, and this portrait may therefore either have been based on studies McBey made while still within the States, or perhaps was made from life during a visit from Hortense. The portrait is rendered with affection, and the subject appears entirely at ease. The ‘July 1931’ accords with her summer-y attire, and she wears a fashionable halter top, which, owing to the 1930s trend for sun tans, were all the rage. McBey’s linear brushwork eloquently describes the interaction of light with his subject, recalling his technical experience as a printmaker: many of his etchings use striation lines to indicate light sources. The deft, pared-back handling of shadow to the background and across Hortense’s dress is also characteristic of an artist used to working with intaglio.
JOHN DUNCAN R.S.A, R.S.W. (SCOTTISH 1866-1945) CATHEDRAL ROCK, NORTH END, IONA Signed, oil on boardDimensions:38cm x 46cm (15in x 18in)Note: Note: Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.
Thein Han (Burmese, 1910-1986)A set of five Burmese figure studies including: -Burmese lady with wedding dress-Dancing girl-Padaung man-Hill Karen woman-Noble Shan manall indistinctly signed and dated 'Thein.../55' (lower right); all bear an inscription in pencil (lower left)watercolour with traces of pencileach approximately 24.8 x 18.4cm (9 3/4 x 7 1/4in).Together with two figure studies by Tin Il, both signed (lower left) and bear an inscription in pencil (lower right), each 25.4 x 17.1cm (10 x 6 3/4in). (7) All unframed.For further information on this lot please visit Bonhams.com
A Victorian Oval Shell Carved Cameo Brooch, depicting maiden and dog beneath a tree, oval collet set within openwork setting, an oval panel brooch, detailed with vignette of courting couple (cracks); an oval locket pendant, 'Hilda' bar brooch, a pair of dress studs stamped "9ct", miniature 'anointing spoon' bar brooch, stickpin etc.
A pair of Chinese famille rose enamelled porcelain figures of maidens by Wei Hong Tai, late Qing dynasty/early Republic period, each modelled standing wearing colourful dress, applied moulded signature plaque to each interior underside, height 27.8cm (some restoration and minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Ladies - Fine Quality 18ct Gold Diamond and Emerald Set Dress Ring. Stamped 750 - 18ct to Interior of Shank. The Well Matched Emeralds of Excellent Colour / Clarity. The 14 Round Faceted Diamond Also of Excellent Colour / Clarity. Est Weight of Emeralds 0.50 pts, Est Weight of Diamond 0.36 pts. Ring Size P. Weight 5 grams. Shank / Setting Very Good.
18ct Gold Attractive Ladies Diamond and Sapphire Set Dress Ring - Of Square Form Full Hallmark To Shank. The Central Blue Sapphire Surrounded By 8 Round Faceted Diamonds Of Good Colour & Clarity. Est Diamond Weight 0.30 pts. Ring Size (O) Weight 5.3 grams. Shank & Setting Excellent Condition.
Georg Jensen Sterling Silver Square Broad Wedding Band Style Ring, Ring Size O, together with a ladies Georg Jensen silver swirl design dress ring, ring size N, a pair of Georg Jensen polished silver clip on earrings, and a pair of Georg Jensen silver stone set clip on earrings. Total weight 48.7 grams.
18ct Gold - Pleasing Jade and Diamond Set Dress Ring. Marked 18ct to Interior of Shank. The Rectangular Formed Jade Stone of Superb Colour with 10 White Diamonds to Sides. Ring Size Q - R. Weight 10.5 grams. Heavy Shank, Excellent Condition. Jade Stone with Scratch to Centre - Please Confirm with Photo.
William Frederick Yeames R.A 1835 - 1918 Oil Painting on Canvas - Titled ' The New Dress ' c.1861. Artist, Title and Date to Mount, Framed. Size with Frame 41 x 33 Inches, Painting Size Only 29 x 20 Inches. Relined and Cleaned - See Label, Cracks to Top Section of Painting - Please Confirm with Photo. Provenance - From a Deceased's Estate.
19th Century Pair of Oil Paintings Mounted and Framed - The Paintings are Portraits of a Young Girl and Boy In Formal Dress. Provenance - Purchased at a Sotheby's County House Sale In Sutton Under Brails Village, From a 300 Year Old House, 90 Miles N/W of London, Owned by Dorothea Allen who Left No Will, Died In 1990, Known as the Vanishing Lady, Sotheby's Label Lot 9A. Sizes of Painting with Frames 19 x 16 Inches. Both Paintings Have Been Relined.
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![ALGERIA, Capture of Constantine, 1837, a copper medal by V.M. Borrel and A. Caqué [struck 1842-5], laureate bust of Louis Phi](https://cdn.globalauctionplatform.com/4d2f2c3b-f72c-4dbd-95df-affd00ba45f9/d3817576-501f-48af-9bce-affd00ef902e/468x382.jpg)
