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Lot 60
Diary of a Very Busy Lawyer, 1895. Unsigned but identified from internal evidence as 33 year-old J. Wilkie, S.S.C., resident in Inveresk, with offices at 108 George Street, Edinburgh. Written in a distinctive hand on over 200 un-numbered pages with a further 7 pages listing Papers Written and Books Read (2pp.) followed by Books Sent for Review (5pp.).Tipped on are 3 pieces of printed ephemera (see images). Bound in unlettered red cloth 21.5 x 17.5 cms.Each month is prefaced by a numbered index identifying the significant entries cross-referenced by relevant dates. The entries vary in length from a few lines to a full page and chronicle a very active work ethic, usually rising by 6.30/7.00 and often summarised as "long day".Clearly a popular and respected figure, he was elected/appointed to such diverse bodies as The Edinburgh Pen & Pencil Club, The Committee of the Conservative Association and The Scottish Church Society, and served as Agent or Presiding Officer at a number of local elections as well as at the General Election which followed Roseberry's resignation. He also found time to enjoy regular lunches/dinners with friends and associates (all named) at the Cap and Gown Club and Conservative Club, whilst his leisure activities included skating on Duddingston Loch, golf, rowing, the theatre, opera and cinema, and attending or participating in lectures, debates and literary reviews.Frequent visits were made to Fife and Perthshire and holidays spent in the Forres area and the Western Highlands including a trip on the Caledonian Canal.His entry for Hogmanay summarises the highlights of the year in which he records that his "drawings have for the first time exceeded £400" [equivalent to £67, 325] and the heart-felt wish: "If only the record of 1896 comes to be as happy I shall have reason to be thankful. May it so be!".
![ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachl](https://cdn.globalauctionplatform.com/dd8989a5-624d-4c7b-84b8-b2b900da6cd4/c5a49e3d-8f0a-403c-8b08-b2b900db0daf/468x382.jpg)
Lot 33
ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachlass E. L. Kirchner mark and numbered P Da/Ba 5 in ink and K6796 and 6450 in pencil (to reverse), Indian ink and wash on paper 30.2cm x 36cm (11 7/8in x 14 1/8in) Theo Hill Galerie, Cologne, 1968;Anthony Hepworth FIne Art, Bath;The Collection of Gillian Raffles. This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist's graphic works,Exhibited:Mercury Gallery, London, Summer Exhibition, 11 June - 15 September 1973, no. 191, illustrated in exhibition catalogue. ‘I learnt to value the first sketch, so that the first sketches and drawings have the greatest worth for me. How often I’ve failed to pull off and consciously complete on the canvas that which I threw off without effort in a trance in my sketch…’ Ernst Ludwig Kirchner, ‘Zebdher Essay’, recorded in his diary, 1927 Ernst Ludwig Kirchner’s Zwei Frauen im Gesprach is the perfect expression of the ‘modernist primitivism’ that defined German Expressionism in the early 20th Century, both that of the Die Brücke group (of which Kirchner was the founder and leading light) and its Munich counterpart, Der Blaue Reiter, led by Kandinsky. Both groups sought to free art – and life – from the shackles of bourgeois ideals and (in art) stifling Academism, alighting upon the cultures of non-European peoples as ciphers of a more direct and intuitive emotional ‘truth’, in particular the art of the Pacific (inspired by Gauguin) and of Africa. Whilst today we would look at the Expressionists’ approach to non-Europan art as a form of cultural appropriation, based on fundamental misconceptions of this art being ‘primitive’ rather than highly sophisticated in its own right, this approach was, at least, wholehearted in its intention: Kirchner and his contemporaries were genuinely looking to the non-European for something lacking in the West, their ‘primitivism’ beyond a mere imitation – rather a search for authenticity, a direction of travel to express true modernity. In Zwei Frauen im Gesprach, we see two young women in conversation in what looks like Kirchner’s studio – which itself was a gesamkunstwerk (total art work) of hand-printed batik hangings, dark painted walls, hand-carved furniture and African objects. In the background, we see one of these objects, a small totemic figure, listening in, perhaps, to what these two thoroughly modern women are discussing. The figure on the left, with her bobbed hair and arch hand gesture looks like she has stepped straight out of a Berlin cabaret. Indeed, she could well be the dancer Nina Hard, renowned for her slick black bob, whom Kirchner had met in Zürich in May 1921 and who was to became an important model and muse for him. And this sculpture in the background could well be African, brought back by the brother of fellow Die Brücke artist Erich Heckel, who held a job in colonial East Africa, but equally it could be a work of Heckel or Kirchner’s own making, as modern as the women themselves. Kirchner’s sculptures of the 1910s are incredible hybrid works, far beyond imitations of African art and distinctly European, that don’t really find their counterpart until Georg Baselitz’s chainsaw carvings of the 1980s. In Zwei Frauen im Gesprach Kirchner shows his mastery of brush and ink, which perhaps could be said to be the medium of German Expressionism. The brush allows for bold, jagging lines and an emphasis on outline over shading, as sculpting the figures on paper as they would with chisels out of wood; and the ink allows for speed – an idea as modern as modern can be. Brush and ink allows spontaneity, a definitiveness of gesture, that Kirchner, Heckel and fellow members of Die Brücke honed in their ‘quarter-hour’ life drawing sessions, where working quickly became analogous to working without premeditation – or as Jill Lloyd puts it, speed of execution becomes an ‘attempt… to catch modernity on the wing’. (Jill Lloyd, German Expressionism: Primitivism and Modernity, Yale University Press, New Haven & London, 1991, p.45)
Lot 42
SIR WILLIAM NICHOLSON (BRITISH 1872-1949) NANCY IN A FEATHER HAT (THE ARTIST'S DAUGHTER), 1910 signed and dated (lower left), oil on canvas 75cm x 62.2cm (29 ½in x 24 ½in) with the Goupil Gallery, London, where purchased by the 9th Duke of Marlborough (Charles Spencer-Churchill 1871-1934) and returned;probably with P. & D. Colnaghi Ltd., London;Christie's, London, 7 December 1917, lot 21, as Portrait of the Artist's Daughter (260gns) to Frederick Leverton Harris MP (1864-1926);An unidentified Scottish collection;J. & R. Edmiston Auctioneers, Glasgow, 26 March 1929, lot 36, as The Artist's Daughter (The Feathered Hat) (£100 16s.);with Ian McNicol, Glasgow;Christie's, London, 1940-1 (catalogue untraced);with Piccadilly Gallery, London;J. E. (Jack) Posnansky and by descent to his daughter Gillian Raffles;The Collection of Gillian Raffles. Exhibited:Goupil Gallery Salon, London, October – December 1910, no. 108 (£315);XIV Esposizione Internazionale d’Arte della Città di Venezia, April - October 1924, no. 53, as Ritratto di ragazza con berretto piumato.Literature:Stokes, Hugh, ‘The Goupil Gallery Salon’, Country Life, Vol. XXVIII, no. 722, 5 November 1910, p.635;Ladies' Field, Vol. LII, no. 664, 3 December 1910, p.6;The Art Journal, December 1910, p. 383, illustrated;Baldry, A. L., ‘The Paintings of William Nicholson’, The Studio, vol. LIII, no.219, June 1911, pp.8-9, illustrated;Reed, Patricia, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd., London, 2011, p. 172, cat. no. 178, illustrated.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. Portrait of the Artist’s Daughter: Nancy in a Feather Hat by William NicholsonFirst exhibited in 1910 to widespread acclaim, the re-appearance in public of Nancy in a Feather Hat, a portrait by William Nicholson of his daughter, is a major event in the current evaluation of the artist’s standing within twentieth-century British art history. Nicholson met the Scottish artist Mabel Pryde (1871-1918) in 1888, when they were students at Hubert von Herkomer’s art school in Bushey, Hertfordshire. They eloped five years later and their children, the artist Benjamin (Ben), the soldier John (Tony), the designer Annie (Nancy) and the architect Christopher (Kit), were born between 1894 and 1904. The children sat for both of their parents and Patricia Reed has stated that ‘as a child, Nancy was Nicholson’s favourite model’ (Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd, London, 2011, p. 67). His earliest recorded portrait of her dates from 1901 when she was aged about two (Reed, op.cit., no.33), whilst Nancy with Ribbons (Reed, ibid., no.34) of the same year became the first of his works to be acquired for a public collection when it was purchased for the Galleria d’Arte Moderna in Venice in 1905.Nancy in a Feather Hat was painted during a particularly auspicious period in Nicholson’s career. The family were established in homes in Mecklenburgh Square, London and Rottingdean in East Sussex, whilst his prowess as a portraitist was acknowledged by election to the Royal Society of Portrait Painters (1909) and his role as a founding member of the National Portrait Gallery (1910). A successful solo exhibition was staged at the Chenil Gallery in 1910 and William Marchant of the Goupil Gallery had become his main dealer.In her description of the present portrait, Reed has explained:‘The artist’s daughter, Nancy, aged ten, wears a blue shawl and a large feather hat, while the bouquet to her right suggests that she is a flower-seller. The apricot-coloured ostrich feathers and blue shawl were William Nicholson’s starting-point, but it is Nancy’s personality that attracts the viewer’s interest.’ (Reed, ibid., p.172). Indeed, the work encompasses not only the intimate yet unsentimental bond between father and daughter, but also Nicholson’s bravura use of dressing-up and other props to weave a suggested narrative, a deft manipulation of chiaroscuro and the use of contrasting colours to highlight aspects of a rhythmic composition. By presenting his sitter in a shallow, undefined space and in front of a plain, dark background, a palette based as much on monochrome as complimentary colour fields is used to the full, wielded by way of his beautiful handling of oil paint, in which fringe shawl and flower petals are realised with as much attention as tones of complexion and the texture of feathers. Nancy was to bear out the independence suggested at this age in adulthood, not least by applying feminist principles to her marriage to the poet Robert Graves and to her career designing and printing fabrics.When Nancy in a Feathered Hat was exhibited in the Goupil Gallery Salon in 1910, it was singled out for praise in the press from Country Life to The Studio. It was one of twenty-two works by Nicholson to be shown at the Venice Biennale of 1924, a milestone in his international career. Its illustrious provenance involves the 9th Duke of Marlborough (briefly) and includes the British businessman and Member of Parliament Frederick Leverton Harris. It was eventually acquired by Gillian Raffles’ father, J. E. (Jack) Posnansky, from whom she inherited it.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026.
Lot 397
BERNARD MEADOWS (BRITISH 1915-2005) RELIEF: THE WATCHERS. 1966 (BM99) monogrammed (lower right), inscribed by Artist First idea for Molloy, Saml Beckett (to reverse), edition of 6 plus 1, bronze15 1/2 x 11 1/4 in/ 39.4 x 28.5 cm The Artist;Gimpel Fils, London. Exhibited: Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. Literature:Bowness, Alan, Bernard Meadows: Sculpture and Drawings, Lund Humphries, London, 1995, p. 144, no.99 (plaster illustrated). In the 1960s, Meadows did not continue to plough the ‘Geometry of Fear’ furrow, much as perhaps his gallery and the market would have liked. Instead, like his contemporary Kenneth Armitage, he looked to find a new sculptural vocabulary that spoke to the nascent optimism of the 1960s. An element of joy returns. Sculptures such as Relief: The Watchers are classic Meadows of this period. Although superficially abstract, their strong anthropomorphism is clear, the rounded forms being heads (with eyes), although slippery enough to also connote bellies or even an entire body reduced to a singular form. This shifting nature of what the forms could be is enhanced by the smooth surfaces. In contrast to his 1950s sculpture, there are no jagged edges to arrest the eye, to turn you back on yourself. Instead, Meadows’ sculpture flows with you and the space surrounding it. And in this way his work returns to the conceptual world occupied by his former employer and mentor, Henry Moore.
Lot 32
MAX LIEBERMANN (GERMAN 1847-1935) PORTRAIT OF A GIRL (MÄDCHENBILDNIS) signed (lower right), watercolour on paper 23.2cm x 20.5cm (9 1/8in x 8in) Mr J. E. Posnansky;Waddington Galleries, London;The Collection of Gillian Raffles. Max Liebermann was a pioneer of German Impressionism. Before the First World War, his infusion of naturalism and modernist sensibility attracted numerous important commissions, and he became the most in-demand portrait artist for Berlin high society. Liebermann was an enthusiastic and well-travelled disciple of modern art and brought the diverse aesthetic ideas he encountered abroad back to Germany. This, however, came to present issues for the artist: in Paris (at the time the art world’s epicentre) his style was deemed ‘not French enough’; the Secessionist Impressionists felt he was too accommodating of the transgressive Expressionists; the Expressionists found him too conservative. Furthermore, as a Jew in early twentieth-century Berlin, he faced and diminishing career opportunities and increasing persecution.Yet it is Liebermann’s astonishing diversity of reference that makes this exquisite portrait so compelling. The assured and academic draughtsmanship evidences a firm grounding in principles of anatomy and proportion, while the delicate hatching articulating the girl’s features, and the unpainted passages across the girl’s face - which is beautifully unidealized - suggest the glimmers of Impressionism. So, too, does the contrast between sitter’s pale complexion and her vivid red tresses. Charmingly, the artist appears to have signed the work using the same pigment with which he painted the girl’s hair.
Lot 36
CLAUD LOVAT FRASER (BRITISH 1890-1921) FRENCH STREET AND OTHER DRAWINGS ink, watercolour and gouache on card23cm x 26cm (9in x 10 ¼in), unframed; THE SPANISH MARINER,titled in ink (below), ink and crayon on card6.8cm x 5.7cm (2 5/8in x 2 ¼in), unframed; HOUSES,pen, ink and watercolour on card8.7cm x 14cm (3 3/8in x 5 ½in), unframed (3) the first possibly with Decor Gallery, 1979 (no. 49);The Collection of Gillian Raffles.
Lot 124
LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel 43.2cm x 53.4 cm (17in x 21in) Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner. Exhibited:On long-term loan to Pallant House Gallery, Chichester, 2013-2024L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated ‘painters of modern life’. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’ The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the ‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who – intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did.
Lot 413
SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) BORDER (FROM INDIAN WAVES SERIES), 1990-1991 signed, titled and dated (to reverse), gouache on intaglio impressed khadi paper 72.7cm x 91.8cm (28 5/8in x 36 1/8in) The Artist;Gagosian, London, from whom acquired by the present owner, November 2014. Exhibited:Gagosian, London, Indian Waves, 28 November 2014 - 31 January 2015; CSMVS, Mumbai, India, Howard Hodgkin Paintings, 1984-2015, 21 February - 15 April 2015 Howard Hodgkin’s Indian Waves series was painted across 1990 and 1991 at the master printer Jack Shirreff’s 107 Workshop in Wiltshire, after which they were packed away in brown paper and stored. It was only when Shirreff retired that they were rediscovered, forming the basis for an exhibition at Gagosian, London, in November 2014.The works were made in three stages. First, Hodgkin brushed a paste of liquidised carbon filings (carborundum) over a printing plate to create waves, the form of which would emboss the paper when run through a press. Each image in the series was then given a printed blue and green layer, making thirty similar bases. From these, Hodgkin created thirty remarkably different works by implementing a final process of painting free-hand over the top in thick gouache, evoking his decades-long experience of India, entwining place, people, memory and impressions, in works such as Mumbai Wedding, Storm in Goa, Hill Station, Chowpatty Beach and, of course, Border. Hodgkin had first visited India in 1964, where he became enraptured by the country. As he noted in 2014, at the time of the Indian Waves exhibition: ‘India is totally exotic, everyone speaks English and everything is so transparent. Emotion is so close to the surface and on view… I was fascinated by India before I ever went there’. (Quoted in an interview with Mark Hudson, Daily Telegraph, 29th November 2014)In 1978, during an extended sojourn in Ahmedabad as a guest of a prominent Indian family, Hodgkin had created a body of works on hand-made khadi paper, a traditional paper made from rags, that he had painted on whilst still wet. These were tied up in a bundle and put on the roof of a taxi, but went missing on the way to the airport, much to the devastation of the artist. The lost bundle did eventually turn up, becoming known as the Indian Leaves series upon exhibition at the Tate in 1982. However, Hodgkin had already decided to make a new series to replace them – using carborundum on dry khadi paper to recreate the liquid sensation of working ‘wet on wet’ in Ahmedabad. This series was to become Indian Waves which, along with Indian Leaves, is the only series fully painted on khadi. The series as a whole – and Border in particular – bears all the hallmarks of Hodgkin’s mature style, in the layering of sumptuous colour upon colour, in its pure abstraction which is simultaneously evocative of place, from the steaming forests of the Sundarbans through to the dry, cool air of the Himalayas. Border seems to symbolise the latter, a sunset over glacial peaks, with a slight change in colour that places it a few thousand feet further up from its companion in the series, Hill Station, the deep red sunset of the which has become starved of oxygen, turning the most beautiful pink. The work’s colours – this resonant pink, an icy, milky blue and a rich crimson, set against an encompassing green mandala – certainly have a Himalayan feel, the soft colours of Tibetan Buddhism, wind-blown and sun-faded. This field of colour is laid out by Hodgkin in flowing brushstrokes, sweeping horizontally, left to right, right to left, with the gestural bravura for which Hodgkin is celebrated. These brushstrokes then entwine with carborundum-intaglio surface, adding depth and intrigue. Hodgkin is rightly regarded as the most painterly of print-makers and the Indian Waves series is, in a way, a gesture of return, bringing one of his favourite printmaking techniques into the heart of his painting practise.Having been shown originally shown at Gagosian, London, Border was one of eleven works from Indian Waves selected for an exhibition celebrating Hodgkin’s paintings of India, held at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai in 2015.
Lot 404
BERNARD COHEN (BRITISH, 1933- ) FIRST PANEL PAINTING OF 1970, 1970 signed, titled and dated in pen (to reverse - on stretcher bar), acrylic on linen 90cm x 90cm (35 ½cm x 35 ½cm) with Studio La Città, Verona;Sotheby’s, London, Modern & Post-War British Art, 14 November 2012, lot 237, where acquired by the present owner.
Lot 335
MIRIAM HANID (BRITISH 1986-) CORIOLIS CENTREPIECE, 2009 stamped maker's mark, 999 and hallmarked for London 2009, fine silver 6cm high, 43cm wide, 25.5cm deep (2 3/8in high, 17in wide, 10in deep) Acquired at Goldsmiths Fair, directly from the maker, October 2009. Miriam Hanid created two versions of Coriolis—the first in 2009 – this example - which was later shown to the National Museum of Wales. Impressed by the work, the museum then commissioned and acquired a second version in 2010. The opposing directions in this model reference the Coriolis Force, the effect of the spinning earth on underwater currents. “In Coriolis we see hard metal transformed into a fluid form apparently tugged in opposite directions by competing forces. This, as its name indicates, is inspired by the Coriolis effect, the influence that the spinning of the Earth has on ocean currents and weather patterns.These tensions – between hard and fluid, between clockwise and counter-clockwise, between traditional technique (chasing and repoussé, flat chasing and engraving) and contemporary sculptural expression – combine to give the piece a remarkable sense of compact energy and dynamic potential.” (Andrew Renton, Head of Applied Art, Amgueddfa Cymru – National Museum Wales)
Lot 1066
A boxed Hornby Dublo 2021 'Red Dragon' Passenger Set, superb example, contents M, showing no signs of use to wheels (one of the first issued versions using the format stamping for the Denbigh Castle set hence the unusual packing pieces to fir the longer super detail coaches in). Box base superb, lid also superb, a couple of very fine marks, no splits or repairs, complete with instructions, guarantee, test tag, membership application forms, track clips and headboard in original packet
Lot 1189
Hornby (China) Limited Edition R2568 'Devon Belle- Train Pack containing 4-6-2 BR green streamlined West Country Class Locomotive No.3403 'Watersmeet', with three Super Detail brown and cream Pullman Coaches (First Class Kitchen 'Iolanthe', 3rd Class Parlour Car No.36 and 3rd Class Kitchen Car No.61) with certificate No.64 of 2500 produced. Tender coupling is Kadee type, Ex, box G plus
Lot 1187
Hornby (China) R2369 'The Golden Arrow' Train Pack containing malachite green streamlined Battle of Britain Class Locomotive No.34074 with Golden Arrow adornments to sides and flags to front, with Super Detail brown and cream Pullman Coaches with flags to sides (First Class Kitchen Cars 'Chloria' and 'Cecilia@ and Parlou Car 'Niobe'), Kadee couplings fitted to one end of coaches, G plus-Ex, picture box Ex
Lot 322
▲ Philip Turner (1918-1997), 'Perching', bronze, numbered '1/4', on a Perspex cube, 63cm high overall Provenance: The Reid Gallery, London, 1964. Born in Sussex in 1918, British sculptor Philip Turner was educated at Marlborough College, before commencing his studies at St Martin’s School of Art in 1936. Later, he would study the basics of painting and sculpting under the tutelage of British sculptor Leon Underwood, and in 1948, would receive a Diploma of Fine Art from the Slade. Turner is credited as one of the first post-war sculptors to employ casting as a means in and of itself to create the final form, and was known to be an expert authority on bronze pouring to his colleagues. Turner had an uneasy relationship with mass-production and would take care to finish each piece by hand, welding, grinding, flaming and polishing, to produce similar, but never identical, forms. Unlike many of his contemporaries, who chose to depict man as tortured and anxious, Turner, who described his role as artist as something between oracle and entertainer, used wit, irony and optimism in his representations.
Lot 400
Royalty Interest. An official invitation and program for the funeral of Diana, Princess of Wales at Westminster Abbey on the 6th September 1997 with original envelope and a further royal invitation to the first King's Fund President's Lecture in October 1997 'Integrated Healthcare - A way forward for the next five years?' funeral invitation 12.5 x 10cm.
Lot 15
Cartier: A 'Trinity' ring The three interconnecting 18 carat tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, Cartier size 50Accompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 35
Cartier: A diamond 'Love' bangle The polished bangle accented at intervals with alternating screwhead motif and brilliant-cut diamonds, signed Cartier, maker's mark, numbered, Cartier size 19Accompanied by a Cartier case, box and screwdriver as well as a certificate of authenticity dated 2016. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Lot 34
Cartier: A platinum "Love" ring Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59 Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Lot 18
Cartier: A seven-band 'Trinity' ring The seven interlocking tri-coloured bands, signed Cartier, ring size M Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 47
Cartier: A pair of 'Happy Birthday' diamond earrings circa 2010 Each polished hoop, engraved with the double C logo, gypsy-set with brilliant-cut diamonds, signed Cartier, numbered, post and rotating clip fittings, length 1.9cm The “Happy Birthday” collection was released in 2009. The collection was created to celebrate the 100th anniversary of Cartier opening its first branch in America, at 712 Fifth Avenue, New York City in 1909. The design of the collection features the distinctive Cartier monogram, usually repeatedly decorated throughout the item. That version of the Cartier logo was designed by Pierre Cartier and introduced at the 1900 World’s Fair in Paris. The collection was multidisciplinary and included jewellery, clocks, pens and leather goods.
Lot 16
Cartier: A 'Trinity' bangle Designed as three interconnecting tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, inner diameter 6.0cmAccompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 36
Cartier: A gold and silk handbag 1966-67 The reeded 9 carat gold spine featuring two ropetwist loops, to a ribbed black silk exterior, several compartments to the interior and a coin purse, signed Cartier Ltd. London, maker's mark JC, London hallmark, handle detached, width 22.8cmAccompanied by a Cartier case. Handbags have been made by Cartier since the start of the 20th century; at times of solid gold or heavily diamond-set, perhaps made of exotic brocades and or even just timelessly chic in classic black. When Louis Cartier asked Jeanne Toussaint to come to work for him in Rue de la Paix, she worked in the handbag department and was respected for her ingenious and economical use of expensive fabrics. In the 1960s Cartier London, under the changing tastes of clients at the time, created a range of bags for the first time featuring detachable gold chain straps, these were frequently made in both 9 carat as well as 18 carat gold. The bags were available in three versions, all in black; one in leather, one in ribbed silk and another in plain black silk. More premium examples included exotic skins such as crocodile. Princess Margaret and Elizabeth Taylor were amongst the many wealthy fashionable owners of such bags.
Lot 2
Cartier: An Art Deco onyx and diamond cocktail watch Case No. 1532/5418/6133, circa 1915-1920 Mechanical hand-wound 18 jewel movement adjusted to 8 positions, silvered dial with black numerals, tonneau-shaped platinum case, the bezel set with alternating borders of rose-cut diamonds and French-cut onyx, between collet-set old brilliant-cut diamond lugs, with a diamond-set crown, gold reverse, later associated mesh bracelet with Swiss assay mark for 18 carat white gold, Dial signed Cartier, movement signed Cartier Paris, case numbered, French assay marks, Width 25mm, later bracelet adjustable From the property of an English Lady, a descendent of the original owner, this watch has remained in the same family from new and is offered for sale for the first time since purchased circa 1915. For a similar wristwatch which sold recently at auction, see Bonhams “Fine Watches”, London, 15 June 2022, Lot 37.
Lot 33
Cartier: A 'Love' Bracelet The polished bangle, decorated throughout with screwhead motifs, signed Cartier, numbered, Cartier size 16Accompanied by a Cartier case and screwdriver. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Lot 413
A collection of four Stevengraphs, 'Stephenson's 'Triumph', woven in the York Exhibition 1879, framed, 20 x 27cm,'Are You Ready?' and 'The Final Spurt, mounted, 22 x 29.5cm, and 'The First Touch', framed, 18.5 x 25.5cm (4)Condition ReportTwo modern framed and mounted. First Touch - mount with staining.Triumph - with knocks to the frame.
Lot 367
A brass letter rack, 19th century, with pierced foliate decoration, stamped 'DEVAN' to the underside,34cm wideand carved desk stand,first half 20th century, fitted with two glass inkwells and a pull out drawer,39.5cm wide (2)Condition ReportGeneral knocks and wear. Nibbles to the glass inkwells.
Lot 573
Ca. AD 1900.A collection of three multi-strand necklaces incorporating scarabs and metal chain links. The first necklace is composed of numerous strands of turquoise-glazed faience scarabs interspersed with short cylindrical and coiled gold-coloured beads. The second is formed with beige steatite scarabs inscribed on the base and linked with alternating small brown beads threaded on metal links. The third necklace consists of turquoise-glazed scarabs spaced by twisted silver-coloured wire links.Size: 440-510mm x 18-25mm; Weight: 1kgProvenance: Private London collection; previously French art market 1970s/1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 809
Ca. AD 300 - 500.A gold ring set with a rectangular garnet cabochon and a flat-cut emerald in adjacent box-shaped settings atop the solid hoop, which is round and expands slightly at the shoulders.For similar see: J. Spier, Byzantium and the West; Jewelry in the First Millennium, 2012, fg. 3.1.Size: D:17.12mm / US: 6 3/4 / UK: N; Weight: 2.63gProvenance: Private UK collection; From an old British collection formed in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Lot 521
Third Intermediate Period - Late Period, Ca. 1069 - 332 BC. A collection of eight faience and stone amulets. The first on the left is a cylindrical seal with faintly incised motifs. Next is an amulet depicting Isis seated and nursing Horus. The third piece is a Pataikos amulet, representing the dwarf deity with a broad head and short limbs, standing with arms at his sides. Another cylindrical seal follows. The fifth amulet is another representation of Isis with Horus. The next amulet is an Eye of Horus, carved in faience with a defined brow and stylized markings. The last two are stone pendants, one made of a light-coloured material with a smooth, elongated form and a suspension hole at the top, while the other is darker, tapering towards the top with a drilled aperture at its midsection.For similar see: Andrews C., Amulets of Ancient Egypt, British Museum Press, f. 73, p. 70; The British Museum, Miscellaneous number: UC52397, 1894,1101.696.Size: 17.4-28mm x 99-12.9mm; Weight: 21.59gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.
Lot 561
Middle Kingdom to Late Period, Ca. 2055 - 332 BC. A collection of four scarabs. The first on the left has a smooth, rounded surface and features an incised design on the underside. The second is carved from red jasper with a detailed carapace and a smooth base. The third is crafted from amethyst, and the fourth, made of carnelian, both have a polished surface with faint incisions.For similar see: Andrews C., Amulets of Ancient Egypt, British Museum Press, f. 58; The Metropolitan Museum of Art, Object Number: 25.5.1a–c.Size: 9.6-13.8mm x 9.9-10.9mm; Weight: 6.47gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.
Lot 864
Ca. AD 1 - 300. A collection of six glass unguentaria. The first on the left has a long neck and domed lower body, covered in a bluish iridescent crust. The second has a funnel-shaped neck and a spreading rim. The third has a pear-shaped body and an upright neck. The fourth is squat with an ovoid body. The fifth is narrow and high-necked with a piriform base. The sixth has a narrow neck and an elongated body in pale green glass.For similar see: C. S. Lightfoot, The Cesnola Collection of Cypriot Art, Glasses, cat. 241, 301, 330.Size: 85-140mm x 45-45mm; Weight: 190gProvenance: Ex. Russkin collection, formed in the 1980s.
Lot 781
Ca. AD 70 - 600. An amethyst intaglio engraved with a left-facing male bust identified as Vitellius. He is depicted with a broad forehead, pronounced nose, and deeply incised hairstyle combed forward and crowned with a wreath. Linear grooves define the tunic folds across the shoulder and chest. Set within a raised gold bezel enclosed by a finely twisted wire border.For similar see: Bagot J., El legado de Hefesto: A Memorial to a Private Collection of Ancient Rings and Glyptics, n. 327; Spier J., Byzantium and the West, Jewelry in the First Millennium, cat. 14D.Size: D:17.93mm / US: 7 3/4 / UK: P; Weight: 7.55gProvenance: Private London collection; previously Mintici collection, Belgium 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Lot 863
Ca. AD 1 - 300. A collection of four glass unguentaria. The first on the left has a narrow neck and an elongated body in green glass. The second is translucent blue with a rounded body tapering into a cylindrical neck with a flared rim. The third is taller, with an aubergine hue and pear-shaped body. The fourth is pale green with a squat bulbous body and long tapering neck.For similar see: C. S. Lightfoot, The Cesnola Collection of Cypriot Art, Glasses, cat. 334, 348, 392, 393.Size: 60-110mm x 25-40mm; Weight: 105gProvenance: Ex. Russkin collection, formed in the 1980s.
Lot 314
Ca. AD 500 - 700. A nicolo intaglio engraved with a central turtle flanked symmetrically by two fish. Set in a high-collared gold bezel with a hexagonal outer frame, bordered on either side by pairs of granulated spheres. A solid, rounded hoop joins the bezel, completing the ring.For similar see: Spier J., Byzantium and the West, Jewelry in the First Millennium, cat. 25.Size: D:19.35mm / US: 9 1/2 / UK: S 1/2; Weight: 9.83gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Lot 318
Ca. AD 400 - 600. A gold ring with a broad hoop and sharply angled shoulders. The projecting bezel is set with a deep red rectangular garnet, and the hoop bears remains of incised decoration.For similar see: J. Spier, Byzantium and the West, Jewelry in the first Millennium, 2012, Cat. 13. p. 86.Size: D:12mm / US: 44928 / UK: A; Weight: 2.74gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.Reviewed by Sami Fortune, an ancient jewellery specialist.
Lot 29
Ca. 2500 - 2000 BC.A collection of three pottery cups, each decorated in black over reddish or buff slip. The first is roughly cylindrical, with a central register depicting a zebu bull approaching a tree, below a frieze of small ibexes. The second has a biconical body and shows a running animal set against a crosshatched background. The third is tall and tapering, with a dense arrangement of stylised birds and concentric circles.For similar see: Katolec Corporation, Ceramics and terracotta figurines from Balochistan of the Katolec collection, 2017, Kulli Style pottery, p. 3.Size: 70-90mm x 45-60mm; Weight: 310gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 240
Ca. AD 400 - 600.A gold ring set with a circular red garnet cabochon in a round bezel. The hoop is flat, with lightly indented rectangular facets running along its surface.For similar see: Byzantium and the West; Jewelry in the First Millennium, fg. 5.2.Size: D:15.39mm / US: 4 1/2 / UK: I 1/2; Weight: 1.21gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.Reviewed by Sami Fortune, an ancient jewellery specialist.
Lot 308
Ca. AD 600. A gold ring with a circular bezel inlaid with niello, depicting the Virgin Mary in bust form, shown frontally with hands raised. Her head is framed by a halo, and flanked by the Greek inscription ΜΡ ΘΥ (abbreviation for Μήτηρ Θεοῦ, “Mother of God”). The bezel is joined to a plain, rounded hoop, and is flanked by two pairs of small gold spheres positioned at the shoulders.For similar see: Bagot J., El legado de Hefesto: A Memorial to a Private Collection of Ancient Rings and Glyptics, n. 595; J. Spier, Byzantium and the West, Jewelry in the first Millennium, cat. 14D2; The British Museum, Museum number AF.489.Size: D:19.76mm / US: 10 / UK: T 1/2; Weight: 6gProvenance: Private London collection; previously in a 1990s UK collection of Ancient Art. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Lot 27
Ca. AD 1368 - 1644 or later. A collection of three glazed pottery zodiac animals. The first on the left is a pig with a rounded body, short legs, and a flat snout, covered in a mottled green glaze. The second is a standing horse with a slender body and green-glazed bridle and tail, finished in a yellowish-brown glaze. The third is a seated dog with an open mouth, its body in warm ochre tones with green accents on the ears and tail. All three are mounted on rectangular integral bases.Size: 95-140mm x 90-135mm; Weight: 955gProvenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
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