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Click here to subscribeA tanzanite and diamond dress ring, centrally set with oval faceted tanzanite with a light bluish-purple colour, approximately measures 9.5 x 7.4 mm, encased in a hexagonal surround pavéd-set with diamonds, to a tapering flat shank, yellow metal marked '18k', ring size N½, total weight of item 6.1 grams.
A multi-gem set dress ring, centrally set with a square emerald of 6.2 mm, in claw settings, flanked by two square-cut synthetic rubies, followed by marquise diamonds, and other coloured gem-stones on the shoulders, to a flat-edge shank with granulated details, pink toned metal marked 'G18K JM', size M, total weight of item 3.4 grams.
A large aquamarine dress ring, featuring an emerald-cut aquamarine in vivid sky blue colour, approximately measures 18.7 x 14.7 x 10.1 mm, in claw settings with diamonds pavéd on millgrain edged shoulders, to tapering D-section shank, marked 'PLAT', ring size N, total weight of item 9.7 grams.light abrasion, small chips on table and girdle
A topaz dress ring in 18ct yellow gold, comprising a rectangular buff-top topaz with a faceted pavilion, approximately measuring 11.9 x 9.8 mm, set in a collet to a thick and hollow shank with ridged texture on shoulders, cut-out star patterns inside the band, Birmingham import marks '18' with sponsor's mark 'PALd', 1995, size J½, total weight of item 14.7 grams.
A rutilated quartz dress ring, featuring pear-shaped faceted quartz of 21.4 x 13.9 mm, with yellow rutile crystal inclusions, in collet setting, bifurcated shoulders and under gallery set with multi-hue diamond accents, to tapered flat shank, yellow metal marked '18K', ring size L½, total weight of item 8.8 grams.
A precious opal dress ring in 9ct gold, featuring an elongated precious opal panel with greyish-blue ground, displaying spectral play-of-colours optical effect, approximately measures 13.6 x 8.5 mm, mounted in collet setting, flanked by fleur-de-lis shoulders to ridged shank, Sheffield hallmarked '375' with maker's mark 'EFLtd', 1990, size M (damaged shank), total weight of item 2.9 grams.
A Modernist dress ring in 9ct gold, comprising four circular-cut emeralds and three diamonds, claw set on an organically sculpted mount, with forged shoulders to flat shank, London hallmarked '375' with maker's mark 'H.B', 1972, ring head measures 2.2 x 2.1 cm, ring size L, total weight of item 11.0 grams.
A garnet cluster brooch and ring, and other paste jewellery; the brooch comprises seven larger rose-cut garnets in collets, surrounded by smaller garnet clusters, set in yellow metal mount fitted with pin stem and roll-over catch, metal marked '835', measures 3.4 cm across; a rhombus-shaped dress ring set with oval garnets and marcasite accents, to D-section shank marked '835', size N½; a paste-set ring, a pair of cluster earrings set with red paste, and a purple foiled-back paste brooch with colourless paste frame; Total weight of items 25.8 grams (5).
A large amethyst dress ring in 18ct yellow gold, featuring a cushion-shaped fancy-cut amethyst with intense purple body colour, approximately measuring 20.3 x 20.2 x 14.0 mm in size, in double claw settings with chenier shoulders to a D-section shank, size K, total weight of item 12.2 grams.
Cancer Research lot - An Omega lady's dress watch, featuring a hand-wound mechanical swiss-made movement Caliber: 620 in a yellow metal case stamped '375' with an off-white dial and gold baton indexes covered with acrylic glass all on a woven yellow gold strap stamped '375'.Total weight of item: 29.8 grams Serial: 27383608Caliber: 620Case no: 1061 5115002
A lady's Longines dress watch, featuring a Swiss-made quartz movement in an oval yellow gold case stamped '375', measuring 18mm with a black dial and a diamond set at 12 o'clock, all on a woven yellow gold mesh bracelet stamped '375' with a folding safety clasp.Total weight of the item: 23.1 gramsSerial: 55266495
An Art Deco Lady's dress watch, featuring a hand-wound Swiss movement in a white metal case stamped 'Plat' with a white dial surrounded by 8-cut diamonds with rub over set baguette cut diamonds at the head and base of the case all on a rope link bracelet with a catch. Total weight of item 17.3 Grams
An amethyst dress ring in 18ct yellow gold, comprising a rectangular buff-top amethyst with a faceted pavilion, approximately measuring 11.9 x 9.8 mm, set in a collet to a thick and hollow shank with ridged texture on shoulders, cut-out star patterns inside the band, Birmingham import marks '18' with sponsor's mark 'PALd', 1995, size K, total weight of item 14.3 grams.
A 19th century Chinese porcelain celadon glaze plate decorated in enamels with a central exotic bird amongst strawberries, butterflies and flowerheads, blue painted character mark to underside of plate. Together with Chinese ceramics to include:An early 20th century hexagonal satsuma bowl;A small late 19th century wine cup and saucer hand-gilded and decorated in enamels with various flowerheads;A pair of early 20th century Japanese cups and saucers with their interiors individually decorated: a warrior with longbow and quiver of arrows behind an elaborate dress and the companion with a high-ranking Official reading; both cups signed with red tablet two-character mark to inside (8)Condition Report: Celadon plate - scratches and a crack to the glaze near butterfly, 'cracks' not seen on the corresponding underside of the plate, some rubbing and wear to enamels and slight discolouration, very minor rim fritting in places. NB 'cracks' maybe be butterfly antennae ? Small tea bowl and saucer- a pinhead-sized chip away from the edge of the saucer rim (approx. 2.5cm hairline), the cup itself is in good order. Japanese cups and saucers also good - very minor gilt rubbing. An hexagonal 20th century bowl - matchhead sized chip away from the foot rim (illustrated), craquelure and rubbing prevalent to the outside of the bowl, glaze crazing also noted to the inside of the bowl.
A late 19th to early 20th century continental baluster-shaped porcelain vase and cover (probably German): the dome-topped cover surmounted with a figure of a young boy in 18th century dress (some damage) and encrusted in high relief with varying hand-decorated flowers, the body of the vase similarly decorated, painted blue crossed swords mark to underside of base (42 cm high)
A gentleman's dress wristwatch in Art Deco style: vertical rectangular steel case surrounding the silver-coloured dial with Arabic numerals and signed Dunhill; mechanical movement, brushed steel back and brown leather crocodile effect Dunhill strap; original case and with Alfred Dunhill (London) booklet.
A gentleman's cased Longines' Conquest' steel and gold-plated, mounted dress wristwatch: the white dial signed and with baton markers and date aperture at the three o'clock position, originally from Watches of Switzerland and purchased 1990, together with some paperwork and appears in good working order
In the manner of Stobwasser, an early/mid 19th century rectangular papier-mâché snuff box: the hinged lid very finely decorated with three-quarter length portrait of a beautiful lady of finery, she wears a floral head garland and a necklace above a large sleeved dress with lace work trim (9.25cm)
A good 19th century bombe-shaped continental ceramic box and hinged cover (probably French): the cover, inside of cover, main body and underside all decorated with couples in 18th century dress within gilt framed vignettes, gilt metal mounted and with fine gilded interior (8.25cm wide x 6cm deepest x 4.75cm high)
An emerald and diamond18ct gold dress ring, comprising dual emerald and diamond clusters set with round cut and brilliant cut stones, claw set within wire work scroll decoration, setting approx 12mm, size O1/2, total gross weight approx 5gms Further details: good stones present slight abrasions to emeralds, minor wear and tear only
A collection of rings to include a five stone garnet set 9ct gold ring, size N1/2, total gross weight approx 3.2gms along with a 9ct gold rope twist band, size L1/2, weight approx 1.7gms, two silver rings including one set with garnet, size M, the other with cubic zirconia and a stone set gold plated dress ring (1 bag)Further details: good some wear and tear commensurate with age,
A collection of gold jewellery to include a 9ct white gold and diamond pave set dress ring, size P1/2, total gross weight approx 4.2gms, an 18ct gold buckle ring, size N, total gross weight approx 4.2gms and a pair of amethyst briolette and faux pearl yellow metal earrings, length approx 60mm, possibly 9ct gold (3) Further details: scratches wear and tear commensurate with age
A collection of costume jewellery to include a Victorian citrine and yellow metal brooch, yellow metal hoop earrings probably 9ct gold, along with various vintage plastic and faux pearl necklaces, gilt and white metal metal jewellery, brooches, bangles, ladies dress watches, along with a small silver and labradorite pill box etc (1 bag)
A collection of costume jewellery and watches to include a vintage silver enamel and stone set heron brooch, a gold plated cameo brooch, two gold plated chains with glass accents, various costume watches, along with ladies vintage watches including an Art Deco Lagoon marcasite set watch, various other dress watches including Fossil, Seiko, etc (1 bag0
A large collection of costume jewellery to include silver stone set pendant and chain, 9ct gold crystal drop earrings, faux pearl necklace, paste set jewellery to include rings, brooches, gilt metal earrings, bead jewellery, along with various vintage dress watches including Sekonda Limit etc and commemorative coins (1 bag)
A Waltham silver open faced pocket watch with roman numerals and subsidiary dial, case approx 55mm, along with a ladies silver 935 open faced pocket watch with roman numerals, case approx 35mm, (modified) along wiith silver stone set dress rings and a silver and white metal charm bracelet (1 bag) Further details: wear and tear commensurate with age watches wind but movements very good, little sign of wear
A gents Christopher Ward London dress watch, black dial with baton lume hour markers and hour/minuet hands with red seconds hand, date aperture at 3, rotating bezel with black inserts to a matte and polished bracelet link strap, in original branded case and box together with extra linksFurther details: good movement untested, requires new battery, minor wear and tear
A collection of jewellery and watches to include an amethyst and diamond 9ct gold cluster ring, size K, a sapphire and cubic zirconia 9ct gold seven stone ring, size J, along with a 9ct gold band, size I, combined total gross weight approx 10gms, a diamond set silver band along with three gents watches including Seiko etc and two ladies dress watches including Timex and Pulsar and a brass ring (1 bag)Further details: movements untested, wear and tear commensurate with age
Albert Wainwright (1898-1943) - A sketch depicting various studies including a female figure in fashionable dress, a reclining nude figure and a further sketch of a female figure wearing jewellery, to the reverse further figurative studies including a Scotsman, figures on a ship, figures in costume etc, unframed, pen, ink and wash, 22cm x 17.5cm.
JULIO VILA Y PRADES (Valencia, 1873 - Barcelona, 1930)."Portrait of a lady.Oil on canvas.It has a label on the back from the Galería Jorge Juan (Madrid).It has repainting and restorations.Measurements: 140 x 74 cm; 151 x 86 cm (frame).A neutral background focuses the attention of the spectator on the figure, while the colouring animates the face framed by the dark hair of the young woman, dressed with a white shawl embroidered with red flowers and a red dress whose flounces in the lower area infuse dynamism to the figure. The woman stands with a haughty gesture and a certain grace reflected in the mischievous expression on her face. This type of work was very common and appreciated in Spanish art from the 19th century until well into the 20th century. In which the creation of popular patterns portrayed through an idyllic vision where the author is influenced by a romantic aesthetic and heritage, developed during the second half of the 19th century and which derived in a localist conception of the landscape, in works that reflected the love for one's own land and the beauty and lyricism of the everyday, the close and the familiar.Julio Vila Prades trained at the San Carlos School of Fine Arts in Valencia, where his teachers were Joaquín Agrasot, Juan Peyró and Francisco Domingo Marqués. After completing his studies he moved to Madrid, where he attended Joaquín Sorolla's studio between 1893 and 1904. He regularly took part in the National Exhibitions of Fine Arts in the capital, winning honourable mentions in 1892 and 1897 and a second medal in 1904. The son-in-law of José Artal, the great promoter of Spanish painting in Buenos Aires, he travelled to Argentina in 1904. From there he visited various Latin American countries, where he received commissions for decorative painting such as the ceilings for the Tigery Club in Buenos Aires, the government palace in Tucumán and the Mar de Plata Club. During these years he also painted numerous portraits of personalities of the time. On his return to Spain in 1921, he decorated the ceiling of the Gran Kursaal in San Sebastián. He also worked as an illustrator and poster designer, particularly for Anís Fígaro, the Valencia July Fair (1900 and 1906). Julio Vila Prades is currently represented in the Prado Museum, the Fine Arts Museum of Huelva, the National Fine Arts Museums of Buenos Aires and Havana, the Municipal de Arte Tigre in Buenos Aires, the Historical and Military Museum of Chile, Valencia City Hall and the San Telmo Museum in San Sebastian, among others.
Spanish school, ca. 1840."Portrait of a lady.Oil on canvas.With craquelures.Measurements: 70 x 57 cm; 79 x 65 cm (frame).In this work we see a typical nineteenth-century portrait, with the lady represented in three quarters in the foreground. With details that show that she is a lady of the high society of the time, she is dressed in a black dress and covers her hair with a distinguished embroidered tulle shawl, rich in details and of high quality, under which a miniature in porcelain with the portrait of her husband is transparent. The young woman wears a ring on each of her fingers, ornamented with diamonds, emeralds and other precious stones. In her right hand she holds a fan and in her left a handkerchief, a fashionable item in all European courts and one that became fashionable in Spanish society. The serene attitude, together with the tight smile on her face in the form of a grimace, is a psychological portrait in which the artist did not seek to recreate the subject's appearance, but rather the character of the person. The portrait is set against a neutral, dark background from which the figure emerges illusionistically, illuminated directly by a homogeneous light that leaves behind the excessive, chiaroscuro contrasts of light and shade of the previous century.
Irma Stern (South African, 1894-1966)Zululand signed and dated 'Irma Stern 1935' (upper left)oil on canvas82.7 x 98cm (32 9/16 x 38 9/16in).(framed)Footnotes:ProvenanceThe collection of Basil Robinson;Acquired by the current owner's family;By descent to the current owner.ExhibitedLondon, Grosvenor Gallery, Irma Stern Memorial Exhibition: Paintings of Europe and the African Continent, 1914-1965, 14 March - 15 April 1967, no. 29Cape Town, South African National Gallery, Homage to Irma Stern, 1968, no. 22.LiteratureNeville Dubow, Irma Stern (Cape Town & Johannesburg: C. Struik Publishers, 1974), p. 58 (illustrated)Irma Stern: Expressions of a Journey, exh. cat., Standard Bank Gallery, Johannesburg, 25 September-29 November 2003, p. 158 (illustrated)Brushing up on Stern: featuring works from the permanent collection of the Iziko South African National Gallery, exh. cat., Iziko South African National Gallery, Cape Town, 23 July-1 November 2015, p. 31 (illustrated)Sean O'Toole, Irma Stern: African in Europe European in Africa (Munich, London & New York: Prestel, 2020), pp. 52 & 54 (illustrated)Irma Stern Nudes, 1916-1965, exh. cat., Irma Stern Museum, Cape Town; Sanlam Art Gallery, Bellville, May-September 2021 (illustrated, front and back cover).Zululand was painted at a critical time for Irma Stern's painting of Black African peoples. In an interview conducted in 1933, she recognised that the traditional cultural and social practices of diverse Black communities in South Africa were disappearing (The Cape Argus, 5 July 1933). Soon after, on a visit to Durban in July 1935, Stern wrote to her friends Richard and Freda Feldman in Johannesburg: 'I am trying to find out which places in Zululand would still be okay [to encounter these traditional practices]. It looks to me this is my last trip trying to find things that are dying out, thanks to ourselves' (quoted in Klopper, 2017: p. 50).In the same letter to the Feldmans, Stern noted that she would soon attend 'a large native dance' that was being organised for tourists by the Durban Municipality. Ironically, taking into consideration the anthropological impetus behind her work, it seems that many of her drawings of young women in ceremonial dress were made on this occasion, rather than in the Reserve areas. Moreover, the paintings she composed in her studio after her return to Cape Town, such as The Water Carriers, were assembled from sketches and memories of this occasion. In comparison with the languorous works from Swaziland and elsewhere of the 1920s, these Zululand paintings exhibit a new vigour with their bright colour and forceful modelling. It seems that Stern could not bring herself to record the transformation of African society she was lamenting in her writing and, instead, insisted on the reality of her romanticised Black African idyll in paint. Stern's buying public continued to support her African work, especially her drawings, but voices were being raised against this 'highly idealised image' (see Feldman, 1935). To avoid this criticism, and to continue to discover 'the spirit of Africa at its happiest and most colourful' (quoted in The Cape Argus, 3 April 1926), Stern abandoned Southern Africa, at least for a time, and travelled elsewhere on the continent.The composition of Zululand, which was made at this critical juncture in Stern's career, suggests that the artist changed her conception of the work as she progressed with the work. Stern has chosen the horizontal or landscape format, which is unusual in her depiction of Black African people, to accommodate the collection of four apparently independent head-and-shoulder figures. There appears to be no narrative here nor, unlike The Water Carriers, any occasion on which these people might have been grouped together in real life. They seem, instead, to have been made as four independent studies. Moreover, in another comparison with The Water Carriers, the beadwork and other ethnographic detail is quite summarily rendered. At some point, Stern decided to integrate the composition without, however, developing a high level of finish. She introduced a background of paw-paws and other vegetation to suggest a unitary space; and she tied the figures together in this space by, on the one hand, having the hand of the figure on the right appear to rest on the right shoulder of the figure in front of her; and, on the other, by making a frond of vegetation from the background appear to overlap the left shoulder of the same central figure. These devices explain the work intellectually, but the painting derives its power by rendering the broadly treated figures large in the format of the original shallow pictorial space.Zululand is shown hanging on the back wall of the studio in a photograph of Irma Stern working on her sculpture of a Kneeling Mother and Child that was published in The Cape Times on 29 January 1936: sadly the article accompanying the photograph makes no reference to the painting and there is no critical commentary on the work at this time. In fact, it is unclear whether the work was exhibited during Stern's lifetime, unless it was under the title of Group of Zulu Women which was shown in exhibitions in Cape Town, Johannesburg, and London in 1936 and 1937. It was, however, shown posthumously with the current title at the Irma Stern Memorial Exhibition at the Grosvenor Gallery, London, in March and April 1967. This exhibition included loaned works and works from the artist's estate that were intended for sale by her executors. Those that were not sold were to be consigned for auction at Ashbey's and Lezard's the following year. Zululand (included as work number 29) is priced in an annotated copy of the catalogue at 550 guineas and, since it is not listed as from any other collection, may be presumed to have been sent for sale by the Irma Stern Trust. No purchaser is recorded but the painting is next shown in the Homage to Irma Stern exhibition at the South African National Gallery (1968) – although not included in the subsequent Rand Easter Show iteration of the exhibition – and recorded as in the collection of Basil Robinson. Robinson was the owner of Ashbey's, Stern's original gallery in Cape Town but by that time the city's leading auction house. Robinson appears to have retained the work in his own possession for a while because it is not listed in the catalogue of Ashbey's auction of Irma Stern's estate in April 1968. However, in due course Robinson seems to have sold the painting to the present owner's family.We are grateful to Michael Godby for the compilation of the above footnote. We would also like to extend our thanks to Kathy Wheeler and Mike Bosazza of the Irma Stern Trust for their assistance in our research of the work.BibliographyRichard Feldman, 'Idylls of the Black: An Appreciation of the Work of Irma Stern', The South African Opinion, 17 May 1935 Sandra Klopper, Irma Stern: Are You Still Alive? Stern's Life and Art Seen Through her Letters to Richard and Freda Feldman, 1934-1966 (Cape Town: Orisha Publishing, 2017).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Girl in Striped Dress, study ink, coloured pencil and pastel26.7 x 33 cm. (10 1/2 x 13 in.)Footnotes:Drawn in circa 1927, this sketch is likely to be the study for Girl in Stripped Dress.Jane Isabella Livingstone Graham Cowan, née McCaig (1895-1976), was from the same family that built McCaig's Tower in Oban. Hunter met her in Lower Largo, Fife, where she was on holiday with her husband. Family legend tells of the couple spotting 'a slightly odd man' across the dining room, looking at Jane through a frame made with his forefinger and thumb. When they spoke to Hunter, he asked them if Jane would sit for him. It is believed that this was drawn in Hunter's studio in Dumbarton Road, Glasgow.ProvenanceThe sitter, thence by decent.For further information on this lot please visit Bonhams.com
20th century French schoolPortrait of a young lady with auburn hair and wearing a white dress, oil on canvas, 59 x 49cmSlight craquelure apparent in places – noticeably bottom left corner. Scattered grubby marks. A couple of small areas possibly with sensitive re-touching but overall, pretty good.
Italian school (late 19th century)A collection of twelve Turkish and Eastern figural studies, each in traditional dress and annotated, watercolours, 20 x 13.5cm, unframed (12)Some time staining to the paper, some minor nicks to the edges on a couple and some minor handling creases. Some are trimmed a bit smaller than the rest, and some have some minor brown staining to the edges.
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