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Lot 1244
ENGLISH SCHOOL, EARLY 18TH CENTURYPortrait of a young girl wearing a pink dress, with a fawn oil on canvas 126 x 100cm Provenance The late Lady Williams of Elvel (1929-2023) See Bellmans website article for further detailsCondition ReportThe canvas has been relined. Minor abrasions visible to the paint surface, upper right and discoloured spots of retouching to the fawn, visible to the naked eye. Light surface dirt and discoloured varnish; paint appears thin in some areas, to the robe in particular. Ultraviolet reveals retouching to the aforementioned abrasions, upper right background, further spots off the right hand border, to the sitter's neck; to the fawn and to frame abrasions on each border. Held in a later plain frame with some chips and losses.
Lot 498
Part of Period Figures English History. Modeled after the former Queen of England, wearing a blue, brown, and red dress. Royal Doulton backstamp. Artist: Peggy DaviesIssued: 1948 - 1953Dimensions: 3.5"L x 3.5"W x 10"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 416
Striking bone china figural of a lady in a pale yellow and light violet dress standing next to a peacock with its tail feathers expanded. Part of the Myths and Maidens series. Royal Doulton backstamp. Issued: 1983Dimensions: 11.75"L x 9"W x 11.5"HEdition Number: 182 of 300 Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 105
Richard Thomas Moynan RHA (1856 - 1906) Boy on a Swing (1890) Oil on canvas, 35.5 x 25cm (14 x 10") Signed and dated 1890Provenance: Private Collection, DublinThis oil on canvas painting entitled Boy on a Swing (1890) is fresh to the market. It has been hidden away in a private collection for the past fifty years. The painting is in its original gold exhibition frame and it is signed and dated by the artist. The letters RHA accompanies the signature and that dates the work to the latter half of 1890. This was an important year in the painter’s life as on the 18th of July 1890 he gained full membership of the Royal Hibernian Academy, Ireland’s elite society of professional artists. Moynan became an Associate of the Royal Hibernian Academy on the 18th of October 1889 and nine months later he was elevated to full membership. This unusually rapid promotion was a key feature of Moynan’s artistic career. He was 24 when he first embarked on his artistic training, as he had previously studied for the medical profession. However, from his commencement in art-school he constantly won awards for his drawing and painting, including the Taylor and the Cowper prizes. He concluded his Irish art-education by achieving the prestigious Albert Prize for the best picture shown in the Royal Hibernian Academy by a student. The painting was entitled The Last of the 24th at Isandula (1883). Gaining this award allowed him to travel to study under Karl Verlat at the Academy in Antwerp. Six months later he was the first Irishman to achieve the premier place for painting from the living model in an international competition called the Concours. He later travelled on to Paris where at the Academy Julian he was frequently placed first in drawing, painting and composition.Moynan began work on Boy on a Swing (1890) with a meticulous figure drawing executed in his careful academic style. A shy smile illuminates the child’s features as he expertly brings the swing to a halt by extending his left arm. The detailed rendering of the boy’s portrait contrasts with the artist’s animated treatment of the landscape as Moynan confidently employs broad brush-strokes to portray the lush rural setting. This is not an affluent child playing on a swing in his own garden. The boy’s raggy dress and bare feet suggest a rare treat when he was given unexpected access to a swing.Children were a constant source of pleasure and inspiration for the artist. He painted wonderfully intimate images of his own daughter, Eileen Norah and his son, Richard. Many of his large genre pieces featured children at play. Titles such as The Village Pump (1890), The Tug of War (1890), The See Saw (1891), Invitation to Go Haymaking (1892), A Travelling Show (1892), Ball in the Cap, (1893) and The Game of Marbles (1893), all depict groups of children in a village street or in a garden setting. The psychologist, Jean Piaget viewed play as being integral to the development of a child’s intelligence and social skills. Moynan’s sketchbooks in the National Gallery of Ireland illustrate his close observation of children engaging in recreational activities. Indeed, these sketchbooks demonstrates that he explored three different compositions before settling on the final narrative for his popular Leixlip street scene, Military Manoeuvres (1891), NGI Collection. This work was painted within six months of Boy on a Swing. While Military Manoeuvres tells the story of a large group of children with make-shift musical instruments pretending to be a military band, the subject draws the viewer into the excitement of the children’s game. Boy on a Swing is a much smaller and more focused composition yet this painting generates a similar effect. The child has an impish quality and he is clearly aware of his good fortune in trying out the make-shift swing. Dr. Maebh O’Regan
Lot 28
Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Zulu Girl signed and dated 'TRETCHIKOFF/ 51' (lower right)oil on canvas 66.5 x 49.5cm (26 3/16 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist by Mark & Aleen Dawson;Bequeathed to Aleen Dawson's niece, Donna Regan Lefeve;By direct descent to the current owners.Never exhibited in the lifetime of the artist, this work was painted during Tretchikoff's golden decade. It was in the 1950s that he produced such mass-market masterpieces as the Chinese Girl (a high-profile sale was handled by Bonhams in 2013), Miss Wong and Balinese Girl. The Broadway actor Mark Dawson purchased Zulu Girl in 1953, when Tretchikoff brought his show to Chicago. The second painting that Dawson acquired from the artist was the iconic Lost Orchid (seen also in this catalogue).It is probably an early version of the Zulu Girl, a work that first became available in reproduction in 1952, during Tretchikoff's tour of South Africa. The following year, he brought both versions to the USA for his tour of North America. After the phenomenal success of the tour, he took one of the Zulu Girls to London, where Frost & Reed, an old Bond Street art dealership, had lithographs made of the painting. Tretchikoff may be credited with introducing the African theme in popular prints of the post-war Britain. If we examine the issues of the Art Bulletin, a journal of the Fine Art Trade Guild, the leading association of British makers, distributors and framers of art reproductions, we will notice an absence of African portraits until Tretchikoff's Zulu Girl appeared on the market in 1955. The Zulu Girl is Tretchikoff's typical 'exotic' portrait. In his oeuvre, it is this kind of portraits that is most sought after. Unlike his pictures of Asian women, it is purely South African in its subject matter. With such studies, Tretchikoff created images of serenity for the industrialised world. In his exhibition catalogues, Zulu Girl was described as follows, 'A portrait in repose, suggesting the essential spirit of Africa, still so little known and so greatly misunderstood by the European.'The early version, like the often-reproduced picture, is dated 1951. The most obvious difference is the presence of a dappled red-and-blue background in the work in the Dawson collection. However, a more significant difference is the unembellished look of the model in this version. Tretchikoff tended to produce pastiches, where visual elements of different cultures were put together for effect. In the better-known Zulu Girl, as well as in many other 'ethnic' portraits by Tretchikoff, the model wears European jewellery that contrasts with her traditional African dress. Her large gold earrings, bracelet and necklace were unaffordable to a Zulu woman in apartheid South Africa.Depicting the same model without the inappropriate accessories, the Zulu Girl from the Dawson collection is a more authentic representation of African reality.We are grateful to Boris Gorelik for his completion of this footnote.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
Lot 112
JEAN DESPRES, A LAPIS LAZULI DRESS RING set with a polished lapis lazuli accented by beaded shoulders, Jean Despres maker's mark, no assay marks, size P1/2 / 8, 19.0g. Jean Despres was a leading French jeweller of the Art Deco period. He was known for creating affordable pieces in silver mainly set with semi-precious stones. He drew inspiration for many of his pieces from his time working with the French Air Force during WWI.
Lot 264
Yosy (Ann) Switzerland, as now divided into Nineteen Cantons...with Picturesque Representations of the Dress and Manners of the Swiss, 2 vol., first edition, half-titles, 50 fine hand-coloured aquatint plates of costumes, paper guards, 2pp. engraved musical notation, most plates very clean but light soiling to plate 16 and slight smudge to plate 20, some foxing to text, pp.73-82 and plates 29 & 30 misbound after p.100, H.Bradley Martin's copy with his bookplate, original blind-stamped cloth, t.e.g., a little rubbed and faded, rebacked preserving original spines, new endpapers, [Bobins 507; Colas 3102, erroneously calling for 50 plates in vol.2 and therefore 70 plates in total], 8vo, 1815. *** Including a 6pp. 'Short Guide to Travellers' at end of vol.2.
Lot 169
Lange (Edouard) and Wilhelm Frenzel. Das Hoffest zu Ferrara, in den Saelen des Koeniglichen Schlosses zu Berlin, first edition, 42 hand-coloured lithograph plates, heightened with gum arabic, some trimmed a little short, some foxed, contemporary half roan, rubbed, upper cover worn and stained at top, [Colas 1758; Lipperheide 2545; Bobins 585], folio, Berlin, C.G. Luederitz, 1846. *** Rare, no copy traced at auction. "The plates herein represent fancy-dress costumes for this 1843 recreation of a celebration at the Court of Ferrara, bedecked in Renaissance splendour." (Bobins).
Lot 206
Planché (J.R.) Souvenir of the Bal Costumé, given by Her Most Gracious Majesty Queen Victoria, at Buckingham Palace, May 12, 1842, first edition, additional chromolithograph title, 52 fine hand-coloured lithograph plates after Coke Smyth, each with decorative floral border printed in gold, text printed in blue, occasional foxing (including to plate of Prince Albert), upper hinge broken and front endpaper torn, contemporary half morocco, rubbed, [Colas 2403; Bobins 899], folio, Colnaghi and Co., 1843. *** The fine plates depict the elaborate costumes designed for and worn by the hosts and guests, royalty and aristocracy, at the fancy-dress ball given by Queen Victoria in May 1842.
Lot 13
Keith Vaughan (British, 1912-1977)Farm Land stamped with estate stamp 'K.V.' (on sheet verso)pencil on paper20 x 25.5cm (7 7/8 x 10 1/16in).Executed circa 1955Footnotes:ProvenanceWith Anthony Hepworth Fine Art, London, 19 March 2015, where acquired by the present owner Private Collection, U.K.Vaughan made many drawings throughout his career, life drawings, drawings for paintings, compositional studies, erotic images (which he called his 'Grafitti [sic] Drawings'), sketches made 'in situ', and fully finished presentation drawings which he called 'table drawings'. Early on he evolved a habit of carrying around small notebooks and sketch books in which to jot down visual information and motifs which caught his eye or which he thought might be useful in terms of his painting. The present work is one such drawing, probably made on a walk, or sitting in his car. In an interview in 1962 he discussed what he considered his approach to drawing and painting:'I make drawings from life. I also make drawings for developing ideas. The activity of drawing with me is now entirely independent of the activity of painting. I don't find that I can make preparatory drawings. I think partly because if you make preparatory drawings, then you never really get involved with the actual working out of the problem in terms of the painting. You tend to refer to the drawing for the solution to a problem which concerns the painting and this always leads you down the wrong track because you are trying to reproduce something you have done in the drawing. And so, though I still do a lot of drawings, they are an entirely independent activity. The thing about drawing is that it requires no special situation and the interruption between the activity of the imagination and the act of drawing is at a minimum. It is the nearest possible extension to one's natural faculties. You can draw anywhere; you can draw in the open, in the back of a car, in bed or in an armchair. You can't paint like that. Painting is a dress parade affair. You have got to be standing up in a particular place in a certain light and you have got to have both your hands free to manipulate a considerable quantity of equipment.'(Anthony Carter Interviews Keith Vaughan, BBC Transmission, broadcast unknown. Transcript, 1962) We are grateful to Gerard Hastings for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 5A
Ladies Excellent Quality 18ct Gold Emerald and Diamond Set Dress Ring, full hallmark to interior of shank, the faceted emerald of excellent colour, the well matched, faceted diamonds of top colour, clarity and sparkle, est.diamond weight 0.50pts, ring size H, weight of shank 3.3g, shank and setting in excellent condition
Lot 356
AN ANTIQUE EDWARDIAN SAPPHIRE AND MOTHER OF PEARL DRESS SETcomprising a pair of cufflinks, four buttons and two collar studs in 18ct gold and platinum, of geometric octagonal design, each terminal set with a round cut sapphire to the centre held in milgrained rubover settings over mother of pearl inlay, surrounded by stylised stepped borders, the cufflinks with chain links, all stamped '18CT&PT', terminals 1.3cm, (gross weight - c.18.8g), accompanied by original fitted box and split rings for buttons
Lot 57
A COLLECTION OF RUBY AND DIAMOND RINGSin 9ct yellow and white gold, including a ruby and diamond cluster ring; a three stone synthetic ruby and diamond ring; and a ruby and diamond dress ring, (gross weight - c.6.3g)A ruby and diamond cluster ring in 9ct yellow gold, set with an oval cut ruby of c.0.40 carats in a cluster of round cut diamonds, leading to a tapered shank, full British hallmarks, UK size L /Eu size 51.5.A three stone synthetic ruby and diamond ring, set with an oval cut synthetic ruby, flanked by single cut diamonds, stamped 'D&E', full British hallmarks, UK size M1/2 / Eu size 53.A ruby and diamond dress ring in 9ct yellow and white gold, set with alternating round cut rubies and round brilliant cut diamonds, full British hallmarks, UK size L / Eu size 51.5.
Lot 357
A 1940S SAPPHIRE AND ROCK CRYSTAL DRESS SETincluding a pair of cufflinks, four dress studs and a pair of collar studs, in carved rock crystal with chamfered edges, set to the centres with calibré cut sapphires, secured with 9ct gold links, no assay marks, cufflink terminals 1.4cm, (gross weight - c.19.0g), accompanied by original split rings and fitted box by Asprey
Lot 51
A COLLECTION OF DIAMOND AND GEM-SET RINGSincluding a diamond solitaire ring in 18ct gold and platinum, set with a round brilliant cut diamond to platinum shoulders, UK size K1/2 / Eu size 50.25, stamped '18CT & PLAT'; together with a turquoise and diamond dress ring in 18ct gold, set with a turquoise cabochon, to stylised diamond set shoulders, full British hallmarks for Chester, 1895, UK size P / Eu size 56; a pearl solitaire ring in 9ct gold, set with a cultured pearl of 5.4mm, stamped '9CT', UK size K3/4 / Eu size 51;an amethyst dress ring in 9ct gold, set with an oval cut amethyst of c.3.33 carats, held in a bezel setting, full British hallmarks for Birmingham, 1982, UK size M / Eu size 52; a garnet cluster ring in 9ct gold set with a cluster of round cut garnets, no assay marks, UK size M1/2 / 53; and a diamond solitaire ring in 9ct gold, set with a single cut diamond held in a stylised knot setting, stamped '9KT 375', UK size N / Eu size 54, (gross 18ct gold weight - c.5.5g) (gross 9ct gold weight - c.9.1g) (6)
Lot 118
TWO OPAL AND GEM-SET RINGSin 9ct gold, one set with four opals in a cluster of round cut rubies, full British hallmarks, UK size K1/2 / Eu size 51; together with an opal and sapphire dress ring, set with diagonal rows of opals and round cut sapphires, full British hallmarks, UK size M1/2 / Eu size 53, (gross weight - c.6.0g), accompanied by a box
Lot 140
A GROUP LOT OF THREE RINGSincluding a mystic topaz three stone ring in 14ct gold, UK size N1/2 / Eu size 54; together with a stylised dress ring in sterling silver set with a step cut tourmaline, UK size N1/2 / Eu size 54; and a five stone garnet ring in silver plate, UK size N1/2 / Eu size 54, (gross weight - c.15.5g)
Lot 50
A SAPPHIRE AND DIAMOND DRESS RINGin 18ct gold, set with an oval cut sapphire in a cluster of round brilliant cut diamonds, the stylised shoulders set with further round brilliant cut diamonds and calibré cut sapphires, fitted bands set with round brilliant cut diamonds, engraved Sthul, obscured assay marks, UK size M1/2 / Eu size 53, (gross weight - c.7.7g)
Lot 30
VAN CLEEF & ARPELS: A VINTAGE ONYX AND DIAMOND DRESS RINGin 18ct gold, of chequerboard pattern, set with carved onyx and round brilliant cut diamonds totalling c.0.95 carats, signed 'Van Cleef & Arpels', maker's mark, serial numbered, stamped '18Kt', French assay marks, UK size L / Eu size 51.5, (gross weight - c.6.5g)
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228098 item(s)/page