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Lot 1450
An 18th century French ivory and yellow metal mounted Carnet de Bal, the front with finely painted oval miniature painting depicting two young children kissing beside a goat, the reverse an oval miniature painting depicting a lady with a young girl and a dog tugging at her dress, both within a yellow metal border with pierced yellow metal 'Souvenir' and 'D'Amitie', the hinged cover opening to reveal a three-leaf ivory dance card, 8.5cms (3.25ins) highCondition ReportMissing its pencil and a few retaining pins to the yellow metal mounts, slight split to the yellow metal border to the left-hand side and the base of same area otherwise good overall condition
Lot 1630
A 17th century Charles II period oval portrait miniature of a titled lady wearing a blue dress with a country house in the background, watercolour on vellum, in a silver locket, 5.5 by 6cms.Condition ReportThe glass is cracked but the surface of the watercolour appears to be intact with no damage.
Lot 1375
A family group of militaria to include the Military Cross awarded to Frank Gadd, framed in a presentation case with original box; his Field Service pocket book with notes and his brother Colonel A G Gadd's dress sword in leather scabbard, leather holster, a cased collection of buttons, cap badges and bullets, a 1927 military photograph, a Royal Engineer's needlework panel, various ephemera; and a leather bound box containing his letters to his wife, 1942-1943.Condition Reportno makers name etched on the blade
Lot 103
Spanish school seventeenth century."Bust of a saint.Carved and polychrome wood.Measurements: 43 x 26 x 11 cm; 52 x 33 x 17 cm (base).We are in front of a wood carving belonging to the Spanish School of the seventeenth century which represents the bust of a saint from a vestment image.The origin of the vestment images is still unclear because there are many evidences that question the birth of this type of work in the baroque period, as it has been pointed out for a long time. The custom of covering images, which we can interpret as the previous step to the realization of vestured images, can be seen in the images covered with gold plates and precious metals during the Middle Ages. This ornamental technique did nothing more than to arrange sumptuous clothing over the original carved models.The phenomenon of dress images is inherently popular, so it is difficult to section the time to speak of closed models and periods, but the general trend throughout the new century was undoubtedly the enrichment and transformation of the classical model of these images.
Lot 36
Italian school; circa 1700. "Madonna with Bambino". Oil on canvas. It presents faults on the pictorial layer and old repainting. Preserves inscription on the back about origin. Measures: 88 x 68 cm. The Virgin holds her son, who leans upright on his legs, forcing his mother to protect him with her arms. Both look at the spectator conscious of their relevance and preponderance in the Christian religion, and at the same time transmitting a warm, tender and intimate image. Despite the simplicity of the scene, whose composition is based on classical canons, the lack of superfluous elements, and the monumentalization of the figures, the author introduces a deep symbolism. This is reflected through the virgin's dress with a blue skirt, alluding to the universality of religion and a red tunic that refers to the passion of Christ, so that the artist reveals in the same image, both the early years of Jesus' life, as well as an inevitable destiny. The author uses a direct focus of light, which falls on the face of the two protagonists, and that extends as a halo for the rest of the scene, leaving the outer perimeter in a slight half-light. The Virgin and Child or Madonna, a title that generally denotes a visual representation of the Virgin Mary and her son Jesus, is one of the most famous motifs in the history of painting. The artistic representation of these figures, an ancient devotional practice originally derived from biblical beliefs, has become a central theme in the canon of art history. Given its longevity, it is not surprising that this tradition has evolved over time, resulting in a wealth of works ranging from divine icons to contemporary representations. According to Christian tradition, Mary, a Jewish woman from Nazareth, was chosen by God to give birth to her only son, Jesus. The Bible emphasizes the fact that Mary was a virgin, impregnated not by her betrothed, Joseph, but by the Holy Spirit-a phenomenon that, according to the Gospel according to Luke, surprised Mary herself. Thus, Mary agreed to give birth to and raise Jesus. Together, this pair are among the most revered figures in Christianity, so their presence in art makes perfect sense.
Lot 101
Spanish school seventeenth century."Bust of a saint.Carved and polychrome wood.Measurements: 49 x 30 x 11,5 cm; 60 x 30 x 17 cm (base).We are in front of a wood carving belonging to the Spanish School of the XVII century in which is represented the bust of a Saint coming from a vestment image.The origin of the vestment images is still unclear because there are many evidences that question the birth of this type of work in the baroque period, as it has been pointed out for a long time. The custom of covering images, which we can interpret as the previous step to the realization of vestured images, can be seen in the images covered with gold plates and precious metals during the Middle Ages. This ornamental technique did nothing more than to arrange sumptuous clothing over the original carved models.The phenomenon of dress images is inherently popular, so it is difficult to section the time to speak of closed models and periods, but the general trend throughout the new century was undoubtedly the enrichment and transformation of the classical model of these images.
Lot 165
Female statuette; Canosa, Magna Grecia, 3rd century BC.Terracotta.Measurements: 23 cm.Female statuette of whole body worked to mold in round bulk, hollow. It is a totally stylized piece, with the represented one arranged in an upright position, dressed with a dress of rich folds and touched with a diadem. From 320 B.C. Athens no longer exported pottery, and only a few vessels were made, which were given as prizes to the athletes of the Panathenaeans. Pottery from the Italic Peninsula then took the place of Athenian pottery in the Mediterranean market. The Italian pieces came from different centers, among them the city of Canosa, in northern Italy, often characterized by a rich polychrome ornamentation.
Lot 81
Roman fragment, 1st-2nd c. AD. "Nymph" Fresco painting. Size: 52 x 40 cm; 63 x 50 x 7 cm. (frame). A young woman of stylized figure adopts a graceful gesture, as if she was going to undertake a dance step. The ribbons wrapped around the long dress emphasize the soft feminine curves and the ethereal condition of her body. This fresco painting has similarities to the so-called "third Pompeian style," which developed during the first century A.D. While the "second style" (developed in the first century B.C.) was dominated by architectural recreation, as in the beautiful ensemble of the House of the Mysteries in Pompeii, the "third style" was characterized by an emphasis on isolated human figures, although not without detriment to the decorative element and the more fanciful architectural elements. Normally, these isolated figures represented allegories or mythological figures. Roman decorative painting, used as a covering for stucco-covered walls, began to develop from the 1st century B.C. and continued to evolve until the end of the empire. Thanks to the excellent preservation of the cities buried by the lava of Vesuvius, the "four Pompeian styles", which covered the pictorial evolution of the end of the Republic and the beginning of the Empire, could be delimited. The techniques used were mainly fresco, stucco and encaustic. In Pompeii and Herculaneum, fresco painting was applied on the wall while it was still wet, so the colors penetrated deeply into it. The technique of false fresco was also used, which consisted of applying the colors diluted in lime on the dry wall.
Lot 109
18ct White Gold - Unusual Bespoke Sapphire and Diamond Set Dress Ring, ' Torpedo ' Design, Excellent Setting. Marked 750 - 18ct to Interior of Shank. Cornflower Blue Sapphires of Excellent Colour, Est Weight 2.00 cts, Diamonds Also Excellent Colour / Clarity. Est Diamond Weight 0.75 pts. Ring Size M - N. Gold Weight 10.3 grams. All Aspects of Condition Excellent, Expensive to Make, Very Low Estimate.
Lot 14
18ct Gold - Attractive and Exquisite Pink Sapphire and Diamond Set Dress Ring, Of Pleasing Design. Fully Hallmarked for 18ct - 750 + Date Letter to Interior of Shank. The Central Pink Sapphire Flanked by White Diamonds, The Pink Sapphire of Excellent Colour and Clarity. Est 0.75 pts. Ring Size H - I. Shank / Setting Excellent / As New Condition. Please Confirm with Photo.
Lot 1459A
Vintage German Heubach Bisque Head Fully Joined Articulated Body Doll. She Is Stamped to the back of her head, She Features Brown Hair, Feathered Eyelashes, Tan Coloured Eyebrows, Open Mouth Showing Front Teeth, She Wears Full Undergarments, Socks, Black Shoes, Knitted Dress ( Possibly Not Original ) She Is Approx 19 Inches Long. A/F Condition. Please See Image.
Lot 1526
Gentleman's Formal Scottish Dress Outfit, comprising tartan check trousers waist 38", a formal navy blazer with a single centre silver decorative button, approx. 42" chest, three pairs of brand new kilt hose in cream, a leather belt with a large decorative silver button engraved with "Commit Thy Work To God", and a pair of tasselled lace up brogues, approx. size 9.
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228188 item(s)/page