Paul Guiragossian (Lebanon, 1926-1993)La Famille oil on masonite, framedsigned 'PAUL G' and dated '62' (lower right), executed in 1962116 x 87cm (45 11/16 x 34 1/4in).Footnotes:Provenance:Property from a private collection, BeirutIllustrated:EUROP Genève Art magazine, April 1999 Edition, page 61Exhibited:L'Art A Genève Art, Geneva, 1999Note:This work is sold with a photo certificate from the Paul Guiragossian Foundation'They taught us in History that there have been heroes who led fearless battles such as Alexander the Great who killed thousands of men on the shores of Saida and Tyre. He is considered a hero?...They call Napoleon a Hero. What kind of hero kills thousands of people in frozen temperatures like in Austerlitz and is considered a hero? Who is a Hero besides the Mother?. The Mother is the Symbol of purity, faith and unconditional Love and the greatest secret in the Universe is Love' - Paul GuiragossianAchieving recognition in his own lifetime and honoured with a state funeral upon his death, Paul Guiragossian is remembered as one of the most talented and progressive artists to emerge from Lebanon. Guiragossian was born in 1926 in Jerusalem to survivors of the Armenian genocide. Due to exile, Guiragossian's family settled in Beirut, Lebanon in 1947. In 1956, Guiragossian received a scholarship from the Italian Government to study at The Academy of Fine Arts in Florence, which was soon followed by a further scholarship from the French government to attend Les Ateliers des Maîtres de L'Ecole de Paris. By the mid-1960s Guiragossian had grown to become one of the most celebrated artist in the Arab world and in 1989 he became the first artist to have a solo show at the Institut de Monde Arabe in Paris.Guiragossian's genius lies in his ability to simultaneously provoke both joy and despair. Although the war broke out in the early 1970s, his attachment for his country grew larger and his works became more colourful with messages of hope for his people. From the mid-1970s onwards, most of Guiragossian's paintings conveyed a sense of solidarity, a collective joy or at times suffering. The female figure was also seen visible throughout Guiragossian's oeuvre; the fascination with the mother being the vital support system through good and bad, the caretaker and the bearer of life plays a central role and a key subject matter in his paintings. His work reflects a reality both deeply personal and universally relatable, as his obsession with the subject matter transcends from his own eternal longing for his own mother.These stunning paintings are superlative examples of Guiragossian's gestural and expressive painting style as clothed female figures are defined by thick elongated impasto paint.La Famille is an emotionally captivating composition; here Guiragossian celebrates and glorifies motherhood by painting allusions to the religious icons of the Virgin Mary and baby Jesus. The figures are dressed in a soft pastel colour palette infusing a sense of warmth, positivity and hope. The brown earthy tones against the white create a gentle aesthetic and beautiful harmony. The proximity of the faceless elongated figures with their arms wrapped around the new born baby suggests the coming together of a family and the intimate and eternal bond between them regardless of their fear and displacement due to the war.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
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Ahmed Cherkaoui (1934-1967)Les Miroirs Noirs VII oil on canvas, framedsigned 'A.Cherkaoui' (lower left), titled and dated on the verso, executed in 196525 x 30cm (9 13/16 x 11 13/16in).Footnotes:Provenance:Property from a private collection, FranceProperty from a private collection, SpainAcquired directly from the artist by the above 'This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections'- Holiday PowersAhmed Cherkaoui was a leading figure of early Moroccan modernism, known particularly as one of the first painters there to initiate a dialogue working towards rooting international artistic modernism within a distinctly national context. He was an early instigator to a broader movement in Morocco during the short span of his career between the late 1950s and 1967, when he died abruptly from complications from appendicitis. Despite the short length of his career, artists and the arts discourse in Morocco throughout the 1960s and 1970s came back repeatedly to questions Cherkaoui had begun to pose before his early death. Cherkaoui was one of the first artists to attempt to ground abstraction in signs and symbols, actively confronting the duality of and distance between Morocco and Europe as can be seen in his 1965 painting Les Miroirs Noirs VII (The Black Mirrors VII). If the resolutely flat plane, visible brush strokes, and loose gestural abstraction call to mind the Paris School, the luminous earth tones and central symbol still link back to Morocco. For an artist that felt himself continually torn between France and Morocco, it was in his work that he was able to create an interstitial space. The elements of the painting are not precisely locatable to a discreet national body yet still gesture to his multiple geographic ties, creating instead a new blend and bridging the distance between the two on canvas. Trained in calligraphy in Qur'anic schools in Morocco, Cherkaoui left for Paris to study graphic design at the École des Métiers d'Art in 1959. Despite his interest in design, it was during his time in Paris that he began focusing more on painting and began frequenting the atelier of painter Jean Aujame. Influenced by the work of Paul Klee and Roger Bissière, Cherkaoui began working with abstraction. Like many artists of his generation in Morocco, it was while he was abroad, studying in Warsaw at the School of Fine Arts, in 1961, that Cherkaoui became invested in a closer look at his own background and cultural heritage. This led him in part towards experimentation with new materials, such as his series consisting of paintings on jute and collages that allowed him to expand on the boundaries of more academic painting.1 It was upon his return to Morocco after that year that he began exploring more closely the signs and symbols culled from local visual culture that would go on to populate his visual language.2 In many ways, this is an evocative moment for a career that was so intensely rooted in Morocco yet primarily articulated abroad. After multiple years abroad, Cherkaoui came home only to leave again to forge a career in France. By 1965, the year in which he painted Les Miroirs Noirs VII, Cherkaoui was at the height of his career and working in France. That same year, Gaston Diehl, the highly influential director of the Cultural Exchanges at the French Cultural and University Mission, writes, again in a text reproduced in L'Opinion: 'Given that our universal contemporary art has been so often criticized by vocation and by taste to be without particular roots, let us rejoice in front of the oeuvre of an artist that is not afraid to affirm his personality andhis origins. ... That he plunges into a long ago past does not keep him from living in the present or placing himself there [in the present] with vigour. Mixture of traditions? Marriage of convenience between the Maghreb and Europe? I would opt more for an osmosis between two civilizations, between two distinct modes of expression.'While deeply influenced by Moroccan visual culture, and particularly by the symbols used in Amazigh symbols, Cherkaoui was by no means mechanically repeating the images that he saw around him, as is highlighted in Les Miroirs Noirs VII. To the contrary, his work is an in-depth exploration into the structures and shapes of these symbols in order to reimagine them, to rework them through the lens of international modernism. Instead, and as is highlighted with Les Miroirs Noirs VII, painted soon after Cherkaoui had left Morocco to work in France as a drawing teacher, the artist actively sought to ground the international influences of training within a deeply local context in order to create something different. It is not, in Cherkaoui's work, a choice between one or the other. Like other works from this time period, Les Miroirs Noirs VII focuses in closely on large shapes painted with thick black lines that are interacting with one another, emphasized and refracted by broad lines of bright colours over a wash of earth tones meant to mimic remembered Moroccan landscapes. This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections—the black line at the right is not retouched and so we glimpse the blue paint underneath, the purple paint is not quite opaque. There are not clean lines or sharp shapes in Cherkaoui's oeuvre, giving way instead to shapes that have light and life in them. The central symbol itself is off balance, not centred but active on its unstable axis. The canvas is full of movement because the viewer can see the action of his brush in the uneven white line in the centre, the gradations of colour given by varying thicknesses of paint, the lines that stop before hitting the edge at the bottom. The colours rarely blend together, instead focusing on the solidity and purity of each colour as it stands alone in concert with the other bright accents throughout the canvas. Moreover, it is an intimate canvas, just slightly larger than a piece of paper. Here Cherkaoui does not impose a vision to overwhelm the viewer, but invites us to step in closer, see in more depth something that is almost private. Abridged from a Text by Holiday PowersThis 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
Saadi Al-Kaabi (Iraq, born 1937)The Horseman (Abstraction No. 1) oil on canvas, framedsigned 'Al-Kaabi' in Arabic (lower right), further signed, titled and inscribed on the verso, executed circa 1960s41 x 25.5cm (16 1/8 x 10 1/16in).Footnotes:Provenance:Property from a private collection, LondonFormerly with The Al-Wasiti Gallery, BaghdadExhibited:Exhibition of Paintings by Saadi al-Kaabi, Al-Wasiti Gallery, 1965, Baghdad, Iraq'Notably, the abstract figures in Al-Kaabi's painting possess a dynamic energy, achieved through the prominence of the outline, lending the painting a bass-relief sculptural quality reminiscent of Assyrian wall reliefs, albeit with a focus on line rather than form'Saadi Al-Kaabi, a renowned artist born in Najaf, Iraq, in 1937, is celebrated for his distinctive artistic style that found its expression in both large-scale canvases and murals. This unique style emerged after years of artistic exploration following his graduation from Baghdad's Institute of Fine Arts in 1960. Driven by a desire to depart from traditional realism and inspired by the guidance of his instructors, Al-Kaabi embarked on a journey of artistic experimentation, gradually shaping his vision to convey the essence of Iraqi identity through his work.The present work is rare and extraordinary, having been exhibited at the artists first solo show in Baghdad's renowned 'Al Wasiti Gallery' in 1965. The painting exemplifies Al-Kaabi's early experimentation and represents the genesis of his 'Desert Period.' In this composition, Al-Kaabi's endeavor to abstract the figure of the horseman is skillfully executed, characterized by a technique that emphasizes incised lines to create a textured outline. The choice of an earthen background tone imparts a harmonious and muted atmosphere. Notably, the abstract figures in Al-Kaabi's painting possess a dynamic energy, achieved through the prominence of the outline, lending the painting a bass-relief sculptural quality reminiscent of Assyrian wall reliefs, albeit with a focus on line rather than form.For further information on this lot please visit Bonhams.com
Mohamed Melehi (Morocco, 1936-2020)Study for Jeddah Airport gouache on cartonexecuted circa 1980s19.5 x 39cm (7 11/16 x 15 3/8in).Footnotes:The Jeddah Airport CollectionA set of important studies commissioned by King Abdulaziz International Airport in Jeddah from the estate of architect Stelio ScamangaProvenance:Property from a private collection, FranceFormerly in the collection of Stelio Scamanga, commissioned by King Abdulazziz International Airport in Jeddah, circa 1980's'King Abdulaziz International Airport, represents an important stage in the work of the International Airports Projects. The airport is a symbol of the Kingdom's determination to encourage and strengthen the spiritual unity of the pan-Islamic world; besides the fact of being a place where the holy places of Islam can be made more accessible to the Muslims. This determination underlies the scientific and technical elements of the airport, as well as the aesthetic ones, as seen in its architecture and the works of art namely tapestries, sculptures, reliefs mosaics, ceramics and wood carvings: these works are an important part of the airports design. The emphasis on the continuity between the rich heritage of Islamic tradition and modern Arab Culture, was the criteria for the selection of contemporary Arab artists, whose works are included in this collection. These works inspired by the Islamic art of the past, namely the arabesque line and the meticulously worked patterns as well as calligraphy, emphasize the two-dimensionality of the space, and are characterized by a vivid imagination and energy that one recognises as thoroughly modern. Besides the great variety of these works of art, variety of forms and media, national influences and individual expressions, a strong bond unifies them together, that of a shared Islamic traditionThe final result is a museum quality collection that is unique in scope exemplifying dramatically the diversity of talent at work through the Arab world. We hope that this collection will inspire in our visitors a heightened sense for the artistic achievements that have marked Arab culture of many centuries and continue to distinguish it today'.-Kingdom of Saudi Arabia, Ministry of Defence and Civil Aviation, 1980'Jeddah is the gateway to Mecca, the universal centre of Islam... Its airport is therefore the arrival point for millions of pilgrims from all over the world... Jeddah is in fact the beating heart of Arabia ... Therefore is it really logical that the eyes of our visitors from their first steps here, should set upon works by American and European artists...? I think that this airport should rather give pride of place to the works of their Muslim and Arab counterparts...'-Stelio ScamangaThe following four lots comprise an exquisite set of preparatory works commissioned by the Lebanese Greek artist and architect Stelio Scamanga for a major project to acquire and display large scale artworks by prominent Arab artists in Jeddah airport in the 1980's. Stelio Scamanga (1934-2022) was an intrepid Lebanese Greek artist and architect who setup an architectural practise in Jeddah in the late 1970's. He was subsequently appointed to consult on a major project to introduce an art collection to the airport which was initially intended a group of prominent American and European to be selected for the commission. Scamanga was instrumental in the reversal of this course and the decision to seek out influential artists from the Arab world to maintain the Arab and Islamic identity of the airportA group of monumental paintings and tapestries were eventually commissioned and displayed by the airport from some of the most accomplished Arab artists of the time, including Melehi, Azzawi, Shibrain and others. The present set of works comprise initial studies for the eventual artworks, some of which, like the spectacular calligraphic composition by Ahmed Shibrain, can be pictured in the airport to this day.For further information on this lot please visit Bonhams.com
The Keith-Douglas 'Amen' glass: a highly important engraved Jacobite airtwist wine glass, circa 1747-50The drawn trumpet bowl inscribed in diamond-point with the cipher monogram 'JR' and the number '8' beneath a crown, flanked by the first two verses from the Jacobite version of the national anthem in script and inscribed 'Amen.' within a scrollwork border below, the reverse inscribed 'Prince/ Henry/ Duke of/ Albany/ and/ York' flanked by calligraphic scrolled bands, an elaborate circle and loop scrollwork border below the rim, raised on a multi-spiral airtwist stem and conical foot, the foot inscribed with the first half of the third verse, later repaired with a clasping silver mount and replacement foot section inscribed in a different hand with the second half of the third verse and 'God bless/ all/ Loyal Subjects', 17cm highFootnotes:ProvenanceBy repute owned by George Keith, 10th Earl MarischalBy repute thence by descent to Bishop Robert Keith, Primate of ScotlandThence by Keith family descent to Stewart Marischal Keith-DouglasSotheby's, 23 October 1925, lot 96, where bought by Cecil DavisCaptain W Horridge Collection, Jackson-Stops and Staff, 30 November 1959, lot 367Dr Peter Plesch Collection, Sotheby's, 6 December 1971, lot 159Kenneth Alexander CollectionWith Asprey, 1986Durrington CollectionLiteratureWilliam Gibb and John Skelton, The Royal House of Stuart (1890), pl.XXXIIAlbert Hartshorne, Old English Glasses (1897), pp.347-8Rees Price, 'Notes on Jacobite Drinking glasses', Transactions of the Glasgow Archaeological Society, Vol.5, No.2 (1906), p.25John Shuckburgh Risley, 'Jacobite Wine Glasses: Some Rare Examples', The Burlington Magazine, Vol.XXXVI (June 1920), pp.276 and 281E M Elville, English Table Glass (1951), p.164, fig.93Frank Davis, 'A Page of Collectors: Jacobite Glass', The Illustrated London News (13 February 1960), p.258, fig.1Derek C Davis, English and Irish Antique Glass (1964), pl.47Peter H Plesch, 'English and Continental Glass in the Collection of Dr and Mrs Peter H Plesch', Journal of Glass Studies, Vol.7 (1965), p.81, figs.7 and 8aJohn Ferlay, 'An Interesting Glass Sale', Antique Dealer and Collectors Guide (April 1972), p.89, fig.5R J Charleston and Geoffrey Seddon, ''Amen' Glasses', The Glass Circle Journal, No.5 (1986), pp.13, no.29, fig.8(e)Geoffrey B Seddon, 'The Engraving on the 'Amen' Glasses', The Glass Circle Journal, No.5 (1986), p.19, no.1Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), pp.197-9, no.9, pl.144Peter Dodsworth, The Durrington Collection (2006), no.16Dwight P Lanmon, The Golden Age of English Glass (2011), p.169, no.5ExhibitedNew Gallery, Regent Street, London, 'Exhibition of the Royal House of Stuart', 1889, catalogue no.577Victoria and Albert Museum, 'Circle of Glass Collectors Commemorative Exhibition 1937-1962', 1962, catalogue no.303Victoria and Albert Museum, 'Exhibition of English Glass', 1968, catalogue no.132Glasgow Museums and Art Galleries, 1990sBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.3The first and second verses on the bowl read:God Bliss The King I pray/ God Save The King I pray,God Save/ The King.Send Him Victorious/ Happy and Glorious,Soon to Reign/ Over Us,God Save/ The King.God Bliss The Prince of Wales,The True Born Prince of Wales,Sent Us by Thee.Grant us one Favour moreThe King for to RestoreAs Thou hast done beforeThe Familie.The third verse on the foot reads:God Bliss The ChurchAnd Save The Church I prayPure to RemainWhich is later completed on the replaced section:against allheresy and WhigsHypocrasy who striveMaliciously Her to defameThe Keith-Douglas 'Amen' glass belongs to a celebrated group of thirty-seven Jacobite 'Amen' glasses dating to the mid-18th century, see the footnote to Lot 19 in this sale. This remarkable glass is one of just nine known with airtwist stems, see Dwight P Lanmon, The Golden Age of English Glass (2011), p.169, where the so-called Ogilvy of Inshewan 'Amen' glass is illustrated and discussed on pp.168-71, no.53. The present lot is one of just twelve 'Amen' glasses bearing an additional dedication to Prince Henry, the younger brother of Prince Charles, of which two are dated 1749. Ironically this is after Henry became a Cardinal in 1747 in a move which was considered a betrayal of the Jacobite cause.All of the extant 'Amen' glasses are considered to be the work of the same individual working between about 1743 and 1750, and there is now compelling circumstantial evidence to suggest that this may have been the Scottish artist and line-engraver Sir Robert Strange (1721-1792), see the footnote to Lot 19 in this sale. Seddon notes that the quality of the engraving on the present glass is, like the majority of surviving 'Amen' glasses, of higher quality than those bearing early dates and therefore likely to have been engraved in or shortly after 1747, the period after which Strange had emerged from hiding following the Battle of Culloden.The present glass was reputably owned by the exiled George Keith (1692/3-1778), 10th Earl Marischal of Scotland, a devoted Jacobite supporter who was appointed the Captain General of the Jacobite forces in Scotland in 1744. F Peter Lole highlights in the catalogue of the Durrington Collection the engraved dedication to Earl Marischal on the so-called Valliant 'Amen' glass, see Dodsworth (2006), p.18 and Seddon (1995), pp.216-8, no.28. From there it is thought to have passed to Bishop Robert Keith (1681-1757), but as he died over two decades before the Earl it is possible that this is incorrect and it passed to a different member of the Keith family, see Dodsworth (2006), p.56.Whilst it is not clear at what point in the history of this glass that the foot was damaged, the repair can be seen in the illustration of this glass in the catalogue accompanying the Royal House of Stuart exhibition in 1889. The missing section has been repaired with a single piece from the foot of another glass, itself engraved with a fitting version of the national anthem by a different hand.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
The Tilly of Haarlem Goblet: an important Beilby enamelled and engraved armorial light baluster goblet, circa 1765The round funnel bowl finely decorated in polychrome with the coat of arms of the Tilly family of Haarlem, a yellow dove perched on an olive branch with a white stem and green leaves, within an ouroboros, the yellow serpent picked out in iron-red shown biting its tail, within an elaborate rococo scroll cartouche painted in shades of pale purple, inscribed 'Tilly.' in opaque white beneath, the reverse engraved with a medallion containing seven arrows emblematic of the Seven United Provinces, within the inscription 'VREEDE EN EENDRAGHT' (Peace and Unity), surmounted by a dove in white enamel, traces of gilding to the rim, on a stem with triple-annulated knop above a beaded inverted baluster and small basal knop, over a conical foot, 17cm highFootnotes:ProvenanceSotheby's, 1 July 1949, lot 16With Delomosne and SonSotheby's, 24 November 1986, lot 78With Asprey, 1987Durrington CollectionLiteratureRoger Dodsworth, The Durrington Collection (2006), no.29Stephen Pohlmann, 'The Tilly Glasses', Glass Circle News, No.139 (November 2015), p.5, fig.1ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.38Once known as 'Newcastle' light balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England, see Catherine Ross, 'Flint glass houses on the Rivers Tyne and Wear during the eighteenth century', The Glass Circle Journal, No.5 (1986), pp.75-85. It is likely that the Beilbys imported undecorated light baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems and several have Dutch connections.Fifteen Beilby decorated light baluster wine glasses or goblets, many of similar shape, are recorded including the present lot. Eleven of these bear armorials or crests, while four are painted with vine in opaque white enamel. The latter includes one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203), one in the Fitzwilliam Museum (inv. no.C.513-1961) and one from the Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 102.Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17) and a goblet in the World of Glass Museum in St. Helens bearing the arms of the Van Dongen family of Amsterdam. Three further glasses bear the arms and crest of the Tilly family of Haarlem, including the present lot.In 2010 a second 'Tilly' glass, with a damaged foot, was discovered in the collection of Rudy van Dobben in Halfweg, Netherlands, which had directly descended through the Tilly family. See Kiki Alpherts and Marius van Dam, Tussen Kunst en Kitsch: 101 ontdekkingen (2015), p.133, no.66. This was sold as part of the Stephen Pohlmann Collection by Bonhams on 30 November 2022, lot 40 and differs slightly from the present lot in that the reverse is enamelled with the crest of a white dove in flight above a helmet in yellow and red. Whilst it has been suggested that the engraving on the Durrington glass existed before the enamelling took place, it is plausible that the engraved medallion was later added over the original enamelled crest. A third 'Tilly' glass, in a private collection, is unpublished.The 'Tilly' set was almost certainly commissioned by Claas de Koning Tilly (1727-1814), who by 1764 owned a firm in Haarlem founded by his grandfather in 1696, which specialised in the production of a panacea known as Dutch drops (Haarlemmerolie). The firm was subsequently renamed C de Koning Tilly and was latterly owned by Rudy van Dobben until 2019, a direct descendent of this branch of the Tilly family. Interestingly, two engraved light baluster wine glasses bearing the initials 'CDKT' for Claas de Koning Tilly are discussed in detail by J R ter Molen, 'Twee gedecoreerde wijnglazen uit 1765 en 1769 met de initialen van C. de Koning Tilly', Antiek, Vol.8 (March 1982), pp.461-70, indicating that Claas was clearly commissioning other glasses at this time. The first is decorated with the arms of Haarlem, dated 1765 and inscribed ''T WELVAAREN VAN DE DIACONY' (The prosperity of the Diaconate). It is thought to commemorate the election of Claas as a deacon by the Grand Church Council on 18 March that year, a position which he held until 1769. The other is dated 1769 and decorated with a view of the Hofje van Bakenes in Haarlem, almost certainly commemorating his appointment as regent of the Bakenesser Chamber on 2 October that year, a position which he retained until 1780. It seems likely that the Beilby decorated set may also have been commissioned to celebrate one of these occasions.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
The Perry of Mambeg 'Amen' glass: a highly important engraved Jacobite wine glass, circa 1747The drawn trumpet bowl inscribed in diamond-point with the cipher monogram 'JR' and the number '8' beneath a crown, flanked by the first three verses from the Jacobite version of the national anthem in script and inscribed 'Amen' within a scrollwork border below, an elaborate calligraphic scrollwork border to the rim, raised on a plain stem containing an elongated tear, over a conical foot, 15.9cm highFootnotes:ProvenanceBy repute owned by General StuartBy repute thence by descent to his cousin, Mr Ferrier, a Writer to the Signet in EdinburghBy repute thence by descent to his wife, Mrs Ferrier, née Miss Gordon (or Gardon) of Croy, KillearnBy repute presented by her to Sir Robert PerryThence by descent to his son Dr Robert PerryThence by descent to his wife May Perry of The Lodge, Mambeg, Garelochhead, Sotheby's 27 June 1924, lot 36, where bought by Arthur ChurchillGeorge Henderson Collection, Knight, Frank and Rutley, 2 October 1952, lot 60J D Fox Collection, Sotheby's, 16 October 1972, lot 194With Cecil Davis LtdSotheby's, 10 February 1986, lot 22With Asprey, 1986Durrington CollectionLiteratureRees Price, 'Notes on Jacobite Drinking glasses', Transactions of the Glasgow Archaeological Society, Vol.5, No.2 (1906), pp.24-5 and pl.1, fig.2Percy Bate, English Table Glass (1913), p.99, pl.LII, no.200John Shuckburgh Risley, 'Jacobite Wine Glasses: Some Rare Examples', The Burlington Magazine XXXVI (June 1920), p.281R J Charleston and Geoffrey Seddon, ''Amen' Glasses', The Glass Circle Journal, No.5 (1986), p.9Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), p.189, pl.137e and pp.218-9, no.29, pl.155Peter Dodsworth, The Durrington Collection (2006), no.17ExhibitedGlasgow Archaeological Society, 17 November 1905The Scottish Exhibition of National History, Art and Industry, Glasgow, 'Palace of History', 1911, catalogue p.739, cases 25 and 26, no.1Glasgow Museums and Art Galleries, 1990sBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.2The two verses on the bowl read:God Save The King I pray/ God Bliss The King I prayGod Save/ The KingSend him Victori=ous/ Happy and GloriousSoon to Reign/ Over Us,God Save/ The King.God Bliss the Prince of WalesThe True born Prince of WalesSent us by Thee:Grant us one favour moreThe King for to RestoreAs Thou hast done beforeThe Familie.Together with Lot 25 in this sale, the Perry of Mambeg 'Amen' glass belongs to a celebrated group of thirty-seven Jacobite 'Amen' glasses dating to the mid-18th century. All are inscribed in diamond-point with the monogram 'JR' interwoven with the number '8' for James VIII, known as the 'Old Pretender', who was considered by many to be the legitimate King of Scotland. All are inscribed with one or more verses from the Jacobite version of the national anthem 'God Save the King', promoting the good health and restoration of King James VIII and Prince Charles, and occasionally Prince Henry, Cardinal Duke of York. Most of these inscriptions end with the word 'Amen'. Five of the glasses bear dates between 1743 and 1749, the earliest of which is recorded on the so-called Steuart 'Amen' glass, see Seddon (1995), pp.220-2, no.32. The present lot is one of twenty-four 'Amen' glasses with plain drawn stems, most of which contain a large elongated tear, see Seddon (1995), pp.185-229.All are considered to be the work of a single engraver generally thought to have been working in Scotland who engraved glasses available to him over a relatively short period of time in the 1740s, probably between 1743 and 1750. In recent years Ian McKenzie has provided compelling circumstantial evidence to suggest that the 'Amen' glasses may be the work of the renowned Scottish artist and line-engraver, Sir Robert Strange (1721-1792), see Geoffrey B Seddon, The Jacobites and their Drinking Glasses (2015), pp.188-92. In around 1743-44, around the time that the first 'Amen' glasses were engraved, Strange first met his future wife Isabella Lumisden who, together with her brother Andrew, was a dedicated Jacobite supporter. As a condition of their betrothal, she stipulated that Strange should join the Prince's Army to support the 'cause'. Strange, who was also a dedicated Jacobite supporter, subsequently joined the Life Guards and served in the army throughout the rebellion before going into hiding after the Battle of Culloden, eventually marrying Isabella in 1747.Seddon notes that the engraving on four of the known 'Amen' glasses is of relatively poor quality compared to the others; this includes the Steuart 'Amen' glass with the early date 1743. He notes a further six glasses with slightly better engraving, including the present lot and the so-called Dunvegan 'Amen' glass which bears the date 1747, all of which are thought to have been engraved around this date. He suggests that in the years between 1743 and 1747 there is likely to have been a period of two or more years when no 'Amen' glasses were produced, coinciding with Strange's service in the Prince's Army and his subsequent period in hiding. The majority of the remaining extant 'Amen' glasses have engraving considered by Seddon to be of much better quality and are therefore thought to have been engraved in or after 1747, after which Strange had emerged from hiding and married his wife.The present glass obtains its name from its ownership by the Perry family, who were a distinguished family in the city of Glasgow. Sir Robert Perry (1783-1848) was a prominent physician who was President of the Faculty of Physicians and Surgeons of Glasgow from 1843 until 1845. His son, Dr Robert Perry (1826-1918), married May Perry, née Jane Mary Robertina Sim (1851-1931), in 1872. They lived all of their married lives in a large house at 11 Queen's Terrace (later 67 West Princes Street), close to the Arlington Baths Club with which they were connected. May's mother Jane lived at The Lodge at Rosneath (near Mambeg) on the Gare Loch until her death in 1906, and the house is mentioned in Robert's will in 1918 as having been part of his estate. May was still living at their home in Glasgow after her husband's death, but moved to Swanage in Dorset shortly afterwards and it is likely that the present lot was sold at Sotheby's at around the time she moved.It is not possible to be certain of the identity of the Mr Ferrier from whom the glass reputedly descended, but several members of the Society of Writers to the Signet by the name of Ferrier are recorded in A History of the Society of Writers to Her Majesty's Signet (1890), all of whom were related. James Ferrier (1744-1829) became a Writer in 1770 and his sons Archibald, John and Walter followed him as Writers. Archibald Campbell Ferrier (1773-1814) became a Writer in 1796 and married Catherine 'Kate' Garden in 1800 in Greenock, who was the daughter of Francis Garden, a merchant in Greenock. Although she was not from Croy, they seem to be the only feasible candidates for Mr and Mrs Ferrier (née Gordon or Gardon) at this time.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
The Duke of Cornwall: an important engraved Privateer wine glass, circa 1760The round funnel bowl engraved with the three-masted ship in full sail, inscribed around the rim 'Success to the DUKE of CORNWALL Privateer,' above 'DAVID JENKINS COMMANDER,', on a single-series opaque twist stem containing a multi-ply corkscrew, over a conical foot, 15.4cm highFootnotes:ProvenanceCaptain David JenkinsThence by family descent to his great-great-great grandsonChristie's, 23 May 1989, lot 166With Asprey, 1989Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.56ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.45This glass belongs to a group of wine glasses presumed to have been made for Bristol Privateers, which were in effect officially sanctioned pirate ships. The Duke of Cornwall was an active Bristol-based ship of 350 tons with 30 guns, 12 swivels and a crew of 220 men, owned by John Noble and Joseph Love. She was declared on 21 March 1757 and commanded by Captain David Jenkins until 1760, see J W Damer Powell, Bristol Privateers and Ships of War (1930), pp.201-2. In May 1757 the Duke of Cornwall took a French Privateer of 10 guns with a collier that the latter had taken as a prize, sending them both to Mounts Bay. In July she took the Duc d'Aquitaine from St. Domingo, with a cargo worth a staggering £17,000, and brought her into Kingroad. In 1758, together with the St. Andrew, she took a vessel laden with wine and brandy and recaptured the George galley from Poole for Newfoundland. They also retook the Duke of Marlborough from Virginia for London, and in May sent two large Dutch ships with 900 hogsheads of sugar into Falmouth, two French prizes into St. Johns, Newfoundland, and a Spanish vessel into Kingroad. Two previously unrecorded Privateer wine glasses for the St. Andrew were sold by Bonhams on 18 May 2016, lot 110 and 3 November 2016, lot 113, both with unusual mixed twist stems.Felix Farley's Bristol Journal of 4 November 1758 reports that...'The Duke of Cornwall, Privateer, Jenkins, has taken and sent into Kingroad a ship from Canada; and has retaken the Winchelsea, Man of War of 24 guns, which was taken by a French Man of War of 74 guns; Captain Jenkins left his prize with Admiral Saunders in the Bay.'This was the second instance of a Bristol privateer retaking a King's ship. Other prizes of the Duke of Cornwall were the Lyme brig, the Esperance sloop, the Goodman brig, the Mediterranean snow, the Planter and, in 1759, the French snow St. Thomas. David Jenkins was subsequently captain of the Boscawen of Dartmouth, notably defeating three French frigates on 22 November 1761. He was appointed mayor of Truro in 1776, a position later held by his son Sylvanus. A portrait of Jenkins was sold by Bonhams on 21 April 2010, lot 117.This remarkable glass is one of an original set, of which at least five are recorded including the present lot. They are unusual in that they have round funnel bowls, when glasses of this type typically have bucket bowls. An example from the Dr W J Stephens Collection was sold by Sotheby's on 9 December 1947, lot 121 and again as part of the Sir Hugh Dawson Collection on 21 October 1960, lot 39. Another was first sold by Sotheby's on 23 November 1970, again as part of the Anthony Waugh Collection on 28 April 1980, lot 119 and a third time on 15 September 1992, lot 62; this is illustrated by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.295, no.945 and had originally belonged to Miss Lettice Jenkins, the great-great granddaughter of Captain David Jenkins (1717-1802). A third example, with a replacement foot, is in the Royal Cornwall Museum in Truro and was exhibited at the Association Internationale pour l'Histoire du Verre exhibition at the Ashmolean Museum, see the catalogue (1979), p.18, no.34. A fourth is in the National Maritime Museum, Greenwich (inv. no.GGG0185).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
A very rare Beilby enamelled armorial wine glass, circa 1765-70The round funnel bowl finely painted in polychrome with a yellow rococo scrollwork cartouche heightened in iron-red, enclosing the coat of arms of Thomas impaling Clayton in black, white and gilt, flanked by foliate sprigs, the reverse with fruiting vine in white enamel pendent from the rim, set on a double-series opaque twist stem with a pair of opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 15.1cm highFootnotes:ProvenanceChristie's, 16 October 1990, lot 162With Asprey, 1990Durrington CollectionLiteraturePeter Dodsworth, The Durrington Collection (2006), no.33ExhibitedBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.37The coat of arms is for the Right Reverend John Thomas (1712-1793), who was Bishop of Rochester from 1774. Born in Carlisle, he was the eldest son of John Thomas, vicar of Brampton, Cumberland. He had a remarkable and distinguished career in the church, beginning on 27 March 1737 when he was ordained a deacon before receiving priest's orders on 25 September that year. On 27 January 1738 he was instituted rector of Bletchingley in Surrey, a living in the gift of Sir William Clayton whose daughter Anne he would go on to marry. Thomas was appointed chaplain in ordinary to King George II on 18 January 1749, a post which he retained under King George III. On 23 April 1754 he was made a prebendary of Westminster and in 1762 was appointed sub-almoner to the Archbishop of York. He was instituted to the vicarage of St Bride's, Fleet Street, London on 7 January 1766 and became Dean of Westminster and of the Order of the Bath in 1768. He was consecrated Bishop of Rochester on 13 November 1774.Thomas was married twice and the arms on the present glass represent his first marriage to Anne, daughter of Sir William Clayton and widow of Sir Charles Blackwell, on 19 August 1742. Anne died on 7 July 1772 and he remarried on 12 January 1776, this time to Elizabeth, daughter of Charles Baldwin and widow of Sir Joseph Yates. It is likely that the set was commissioned prior to Anne's death in 1772, perhaps to celebrate Thomas' new position of Dean of Westminster and of the Order of the Bath in 1768. Five glasses from this set are recorded, including the present lot. One from the Chris Crabtree Collection was sold by Bonhams on 19 May 2010, lot 62 and three more were discovered in the Portsmouth area in 2011 before being sold at auction in Chichester later that year. One of those three was subsequently sold by Bonhams as part of the Darell Thompson-Schwab Collection on 30 November 2022, lot 144. For a set of four Beilby enamelled armorial wine glasses bearing the arms of the Surtees family, see that sold by Bonhams on 23 June 2021, lots 9-12.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
The George III Goblet: a highly important enamelled Royal armorial goblet by William Beilby, circa 1762-63The generous bucket bowl elaborately painted in polychrome with the Royal Arms of King George III of Great Britain, the border inscribed with the motto of the Order of the Garter, surmounted by the imperial crown upon the Royal helm beneath a crowned lion statant guardant, all within an elaborate rococo scrollwork cartouche, flanked by lion and unicorn supporters, a rose to one side and a thistle to the other, a banner below inscribed with the motto 'DIEU. ET. MON. DROIT.' (God and My Right), the reverse with the Prince of Wales' feathers issuing from a coronet, flanked by rococo scrollwork, the rim gilded and solid gilt grounds to the first and fourth quarters of the arms to the interior of the goblet, raised on a double-series opaque twist stem containing a pair of heavy opaque white spiral threads around a multi-ply corkscrew, over a conical foot, 21.5cm highFootnotes:ProvenanceKenneth Alexander CollectionWith Asprey, 1985Durrington CollectionLiteratureDerek Davis and Keith Middlemas, Coloured Glass (1968), p.57L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.327, no.1062-3Peter Dodsworth, The Durrington Collection (2006), no.28ExhibitedAsprey, '100 British Glasses', 1985, catalogue p.5, front and back cover illustrationsCorning Museum of Glass, New York, 1985Pollock House, Glasgow Museums, 1998Broadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.8This exceptional goblet is among the most celebrated pieces of glass ever produced in Britain. It belongs to a significant group of stately armorial goblets all decorated by William Beilby (1743-1819) with the Royal arms of King George III. Their beauty and elegance places them amongst the finest examples of enamelled glass ever produced and they are considered the most outstanding products of the Beilby family workshop in Newcastle-upon-Tyne. Their exquisite brushwork and the astonishing balance in tone of the full colour range employed was emphasised by James Rush, The Ingenious Beilbys (1973), p.99.It is unclear how many of these Royal glasses were originally produced, but they are thought to have been commissioned to commemorate the birth of The Prince of Wales (the future King George IV) on 12 August 1762. Including the present lot, just ten goblets all with bucket bowls and a decanter bearing these arms are recorded, no two of which are identical either in form or decoration. They are listed by Simon Cottle, 'Fragile Diplomacy: the Significance of the Beilby Royal Armorial Goblets', Glass Circle News, Vol.37, No.2 (2014), pp.24. Most were produced between the birth of the Prince of Wales in August 1762 and the death of William's father in March 1765. Four of these goblets are signed, including two with William Beilby's full signature, leaving little doubt as to the identity of the decorator of the unsigned examples. Arguably the most famous of these is the so-called Whitehaven Goblet, sold by Christies on 4 June 1985, lot 143 and now in the Beacon Museum in Whitehaven (inv. no.WHHMG.1994.157), illustrated by James Rush, A Beilby Odyssey (1987), pp.84-5, front cover and pl.F.C.2, by Simon Cottle, 'William Beilby and the Art of Glass', The Glass Circle Journal, No.9 (2001), pp.28-9, by Dwight P Lanmon, The Golden Age of English Glass (2011), p.42, fig.21, by Simon Cottle, 'Family Connections: The Formative Years of Beilby Enameled Glass, 1760-1765', Journal of Glass Studies, Vol.57 (2015), p.193, fig.12, and also by Cottle (2014), p.22. It commemorates a slave ship, The King George, launched in 1763 and is the only piece which does not bear the Prince of Wales' feathers on the reverse. It is instead enamelled with an interpretation of the ship inscribed 'Success to the African trade of WHITE-HAVEN.', above the signature 'Beilby junr. invt. & Pinxt.'.A celebrated goblet in the Fitzwilliam Museum (inv. no.C.570-1961) is signed 'W Beilby Junr NCastle invt. & pinxt.', illustrated in the catalogue (1978), p.96, no.237 and by Rush (1973), p.2, figs.1 and 2. Another in Philadelphia Museum of Art (inv. no.1938-23-19), signed 'Beilby NCastle invt. & pinxt.', is illustrated by Rush (1973), pp.96-7, figs.52-3, by Cottle (2014), p.24 and Cottle (2015), p.192, fig.11. A fourth, signed 'W Beilby junr. invt. & pinxt.', is in the Diageo Collection (formerly the Cinzano Collection), illustrated by Rosa Barovier Mentasti, Glass Collection della Diageo a Santa Vittoria d'Alba (2005), no.172 and also by Cottle (2015), p.194, fig.14.Together with the present lot, the seven unsigned examples include one in the National Gallery of Victoria (inv. no.D38-1983) and a damaged example at Arniston House in Midlothian, Scotland, both illustrated by Cottle (2014), pp.23-4 and Cottle (2015), pp.192-3, figs.10 and 13. The damaged bowl of a goblet in the Victoria and Albert Museum (inv. no.C.787-1936), with the stem and foot removed to form a beaker, is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.CXXIV and Cottle (2015), p.191, fig.9. A further goblet together with a decanter are in Toledo Museum of Art (inv. nos.1954.16 and 1963.16), the former illustrated by Jutta-Annette Page, The Art of Glass: Toledo Museum of Art (2006), pp.122-3, fig.50A. The whereabouts of the goblet formerly in the Sir Hugh Dawson Collection, which was last exhibited by Delomosne and Son, Gilding the Lily (1978), p.21, no.63, remains unknown.The origin of these goblets and the decanter has been the subject of much speculation for nearly a century, but the majority have very little in the way of provenance. It has been suggested that some may have been intended as diplomatic gifts perhaps commissioned by either Thomas Pelham-Holles (1693-1768), first duke of Newcastle, or Charles Watson-Wentworth (1730-1782), second marquis of Rockingham, see Cottle (2015), pp.193-4. Whatever the reasons behind their production, they undoubtedly served as an important means of promotion for the Beilby family, significantly growing their enterprise over the following years through a number of other significant commissions. Among these was the celebrated Prince William V Goblet, sold by Bonhams as part of the A C Hubbard Collection on 30 November 2011, lot 142.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
Robert Rafailovich Falk (Russian, 1886-1958)Bouquet with mimosa, 1930s signed in Latin and inscribed 'Paris' (lower left)oil on canvas 50 x 61cm (19 11/16 x 24in).Footnotes:ProvenanceCollection of V.B. Shklovsky, acquired directly from the artistThence by descentLiteratureRobert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Y.V. Didenko, Three Squares, Moscow, 2018, no. 27 (1235), p. 42 illustratedBoth Hawthorn branch and Bouquet with mimosa were acquired by the renowned Russian writer Viktor Shklovsky directly from Robert Falk. Viktor Borisovich Shklovsky (1893-1984) was a writer, literary critic, screenwriter and film critic who first encountered Falk (as recounted by Shchekin-Krotova) with the artist Elena M. Fradkina (1901-1981). Falk was very taken with Shklovsky's sharp repartee and - interestingly - with the shape of his bald skull, the latter being a preoccupation of the artist. Falk had, apparently, been musing on the subject of bald skulls for a long time and had written to Raisa Idelson from Paris in the 1930s of his desire to paint a portrait of three bald old men.Eventually, Falk persuaded Shklovsky to sit for him, beginning with a series of sketches and resulting in the painting Portrait of V.B. Shklovsky, presently in the collection of the Vladimir Dahl Russian State Literary Museum in Moscow. In the entry for the offered lot in Robert Falk/ Paintings/ Addendum to the Catalogue Raisonne, Yulia Didenko notes that it is possible that the painting was acquired by Victor Shklovsky in the year it was painted, 1948, because it was that year that Shklovsky sat for his portrait in Falk's studio.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Robert Rafailovich Falk (Russian, 1886-1958)Hawthorn branch, 1948 signed in Cyrillic and dated '48' (lower left)oil on canvas 65 x 81cm (25 9/16 x 31 7/8in).Footnotes:ProvenanceCollection of V. Shklovsky, acquired directly from the artistThence by descentLiteratureRobert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Y.V. Didenko, Three Squares, Moscow, 2018, no. 36 (1244), p. 51 illustratedHawthorn branch, 1948, is a remarkable painting shot through with the vibrant colour of the hawthorn berries. Typical of Falk's later still-lifes, the colour combination of the branch's reds and greens would have been well considered by the artist who was, as noted by his widow Angelina Shchekin-Krotova, 'meticulous when it came to composition'. As with the majority of Falk's still-lifes from the period, the branch of berries is set against a darker background of brown and silvered wood, such that the different hues of green and red stand out, lit by a shaft of gentle light. A comparable still-life from 1947, Рябина осенью [Autumnal rowan] (Abramtsevo Museum-Reserve) is similarly composed around the contrasting colours of the leaves and berries of the rowan. Yulia Didenko elaborates on Falk's artistic methods, noting 'He grouped his objects according to the charge of energy in their colours; he created a 'plastic event''. [Didenko (ed.) The Late Still-Lifes of Robert Falk, Angelina Shchekin-Krotova, 'Tretyakov Gallery Magazine', no. 4 2020 (69)].Both Hawthorn branch and Bouquet with mimosa were acquired by the renowned Russian writer Viktor Shklovsky directly from Robert Falk. Viktor Borisovich Shklovsky (1893-1984) was a writer, literary critic, screenwriter and film critic who first encountered Falk (as recounted by Shchekin-Krotova) with the artist Elena M. Fradkina (1901-1981). Falk was very taken with Shklovsky's sharp repartee and - interestingly- with the shape of his bald skull, the latter being a preoccupation of the artist. Falk had, apparently, been musing on the subject of bald skulls for a long time and had written to Raisa Idelson from Paris in the 1930s of his desire to paint a portrait of three bald old men.Eventually, Falk persuaded Shklovsky to sit for him, beginning with a series of sketches and resulting in the painting Portrait of V.B. Shklovsky, presently in the collection of the Vladimir Dahl Russian State Literary Museum in Moscow. In the entry for the offered lot in Robert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Yulia Didenko notes that it is possible that the painting was acquired by Victor Shklovsky in the year it was painted, 1948, because it was that year that Shklovsky sat for his portrait in Falk's studio.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Aleksei Danilovich Kivshenko (Russian, 1851-1895)Hunting scene signed in Cyrillic (lower left)oil on canvas37.5 x 55cm (14 3/4 x 21 5/8in).Footnotes:ProvenanceAcquired prior to 1920s by George Bray Private collection, UK(Thence by descent). George Walter Bray (1880-1954) was the first all-Russia tennis champion at the Krestovsky Club in 1907.For further information on this lot please visit Bonhams.com
Très rare plat creux à douze pans en porcelaine de Meissen du service « Gelbe Löwe », circa 1729-31A very rare Meissen twelve-sided deep dish from the 'Gelbe Löwe' Service, circa 1729-31The porcelain with very rare moulded flower heads visible in four places, largely covered by the enamel colours, Painted with the 'Gelber Löwe' pattern, on the right a stylised prunus trunk with young shoot sprouting from the gnarly base, on the left a yellow tiger, his large eye picked out in gold, wrapping itself around a bamboo shoot with blue, green and red flowers, 25cm across crossed swords mark in blue enamel, incised Japanese Palace inventory number N=8-/ W very minute chip to top corner, slight wearFootnotes:Provenance:The Royal Collections of Saxony, Japanese Palace, Dresden, delivered in April 1731;Albert Dasch Collection, Teplitz (sold by Rudolph Lepke's Kunst-Auctions-Haus, Berlin, 4 March 1913, lot 186);With J.J. Klejman Gallery, New York (applied label to reverse)For a comprehensive discussion of the history of the 'Gelber Löwe' service in the 18th century, see Julia Weber, Meißener Porzellane mit Dekoren nach ostasiatischen Vorbildern, vol. II (2013), pp. 265-274. The 'Gelber Löwe' pattern was first produced at Meissen after a Japanese porcelain original as part of the large order placed by the Paris merchant, Rudolph Lemaire, for copies of Asian porcelain. A large quantity of plates and dishes painted in this style were among the porcelain confiscated in April 1731 in the house of Lemaire's accomplice at the Dresden court, Count von Hoym, and subsequently sent to the Japanese Palace and entered in the inventory under no. 8. This present lot belongs to this group and is therefore one of the earliest examples of this decoration.Some of this porcelain was used for diplomatic gifts - to the English diplomat, Sir Thomas Robinson and the Bishop of Cracow, Jan Alexander Lipski - or was used for table services (for which large orders were subsequently placed) and moved to the court pantries (Hofkonditoreri) in Dresden and Warsaw. The 18th century inventories of the court pantries show that ten twelve-sided 'tiefe Confect Schaalen 10 Zoll in Diam' [deep confectionary dishes 10 Zoll in diam.] with the inventory number 8 were removed from the Japanese Palace for use: five in Dresden and five in Warsaw (published by C. Boltz, Hoym, Lemaire und Meissen - Ein Beitrag zur Geschichte der Dresdener Porzellansammlung, in Keramos 88 (1980), p. 71, and by J. Weber, op. cit., I, p. 159 and p. 163). By 1770, it appears that only sixty dishes of various shapes and sizes remained in the Japanese Palace: the 1770 inventory records: '(Siebenzig) Nur 60. Stück Stück runde tiefe Schaalen, von differenter Größe, mit braunen Rändern, Löwen, blauen Rohr und andren Blumen nach alt Indianischer Art gemahlt, No. 8' [(Seventy) only 60 round deep bowls, of different sizes, painted with brown rims, lions, blue pipe and other flowers in old Indian style, No. 8] (quoted by Claus Boltz, Japanisches Palais-Inventar 1770 und Turmzimmer-Inventar 1769, in Keramos 153 (1996), p. 72).This appears to be the only twelve-sided dish of this type recorded in the literature (Weber, op. cit., II, p. 265 and n. 8).For further information on this lot please visit Bonhams.com
Plat en porcelaine de Meissen à fond jaune, première moitié du XIXe siècleA Meissen large yellow-ground dish, first half 19th centuryThe centre reserved with a gilt-edged quatrefoil panel painted with a chinoiserie scene, five smaller panels around the gilt-edged wavy rim, 38.6cm, crossed swords mark and E. in underglaze-blue, gilt 9. (very minor rubbing to gilt rim)For further information on this lot please visit Bonhams.com
Rare statuette en porcelaine de Meissen représentant « Hofnarr Fröhlich », datée 1737A rare Meissen figure of the Hofnarr Fröhlich, dated 1737Modelled by J.J. Kaendler, standing on am octagonal base, his thumbs hooked behind his black breeches with the date 1737 and initials J.F for Johann Fröhlich in gold lettering, wearing green breeches and a red short jacked with flowers and blue lining, is large black boots with red lining, his determined face with goatie and moustache hidden under a large yellow hat with blue ribbon, a large golden button on his breeches and three to his jacket, 25.5cm crossed swords mark in blue to the base, FM 1930 in red, (some restoration to extremeties)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainFor a comprehensive discussion, see R. Rückert, Der Hofnarr Joseph Fröhlich 1694-1757, Taschenspieler und Spassmacher am Hofe Augusts des Starken (1998).Joseph Fröhlich (1694-1757) was born in Austria, and before joining the Dresden court, where he became, together with 'Baron' Schmiedel one of the most famous and well-recorded figures in the entourage of Augustus II, called Augustus the Strong. Fröhlich's image can be found in a multitude of disciplines in the Dresden State Collections, in paintings by Bellotto, in precious jewellery and of course in porcelain. His career began in 1725 as a juggler and jester at the Court of the Margrave of Bayreuth. On the recommendation of the Margrave's sister, Electress Eberhardine, the wife of Augustus the Strong, Fröhlich moved to Dresden where he served as Court Jester to the King. In Dresden he was the Electoral and Royal Court juggler, adviser kurzweiliger Rat, magician and jester and from 1744 onwards he was the Royal Polish Mühlenkommisar. These titles may have all been bestowed on him in jest, but his proximity to the ruler gave him status and power that only few at the court had access to. Fröhlich was by all accounts a savvy and clever man, and after Augustus the Strong's death in 1733, he continued in his duties for Augustus III, and even moved to Warsaw with the King at the start of the Seven Years' War.A figure of Fröhlich first appears in the Porzellan-waren-Lager on 7 March 1733 described as 'Für den Königl. Printzen von Pohlen and Littauen und Cour-Fürstl. Durchl. zu Sachsen..' '..1. Josephs Figur.' Later, in September 1736, the figure appears in Kändler's Arbeitsbericht as 'Eine Josephs Figur in Thon geändert und Verpeßert, damit solche aufs Neue hat können abgeformet werden' [A figure of Joseph in clay, altered and improved so it could be modelled again]. The model appears to be based on the engraving 'Joseph Frölig Hof=taschen spieler' of 1729 by Christian Friedrich Boetius. The inscribed dates on his braces range between 1733 and 1758, the year after his death.For a further discussion of the model, see Ulrich Pietsch Die figürliche Meissner Porzellanplastik von Gottlieb Kirchner und Johann Joachim Kaendler, Munich, 2006, pp. 11-13, nos. 4 and 5; and S. Andres-Acevedo, Die Autonome figuerliche Plastikken Johann Joachim Kaendlers und seiner Werkstatt zwischen 1731-1748, Vol II, p. 55.For further information on this lot please visit Bonhams.com
An open face pocket watch, the white enamel dial with Roman numerals, to a key wind movement, the case with engraved decoration and possible French gold marks, indistinctly numbered, together with two gilt metal hunter pocket watches, first watch case diameter 4.1cm (3)First watch gross weight only approximately 43gm (top loop and dust cover are gilt metal, the movement does not wind or run)
A collection of jewellery, to include a pair of silver and enamel cufflinks, monogrammed, a late Victorian silver and orange paste star brooch, a similarly set panel brooch, modelled as a stag's head and belt, a fox's mask and bugle bar brooch, and assorted further items, first cufflinks panel length 1.8cm (qty)
Three enamel brooches, the first modelled as a purple enamel flowerhead, with central old-cut diamond highlight, the second modelled as a green and white enamel ankh cross, with fleur-de-lys accents, stamped '15', the third designed as a blue and white enamel circlet, with pearl highlights, (pearls untested for origin), lengths 3.7cm, 3.55cm and 2.45cm respectively (3)First brooch: large losses to purple enamel. Surface wear, scuffs and nicks/chips throughout. The diamond has a slightly irregular cushion-shaped outline, bright and lively in appearance, approximately 0.10ct in size. Pin is functioning. Metal standard of mount untested. Gross weight approximately 2.8gm. Second brooch: areas of enamel loss and losses to gilt fleur-de-lys/bead decoration. Surface wear, scuffs and nicks/chips throughout. Pin is slightly mis-shapen but functioning. Metal standard of mount untested. Gross weight approximately 3.5gm. Third brooch: small areas of enamel loss and fractures to remaining enamel. Surface wear, scuffs and nicks/chips throughout. Pin is functioning. Indistinctly stamped, possibly '15CT'. Metal standard of mount untested. Gross weight approximately 2.1gm.
A collection of enamel jewellery/insignia, comprising an enamel pendant/medal, possibly an Imperial Austrian Order of Franz Joseph, heightened with red, white and black enamel, inscribed 'FJ' and '1849', the top loop with possible Austrian gold mark, a similar enamel panel chain, with possible Austrian gold mark, and a further enamel pendant/medal, possibly an Imperial Austrian Order of the Iron Crown, heightened with polychrome enamel, inscribed 'F' and '1815', unmarked, each pendant/medal length 3.2cm (excluding loop fittings), chain length 25cm (3)Approximate gross weights only: first pendant/medal 3.2gm, chain 4.1gm, second pendant/medal 4.4gm
A collection of jewellery, comprising two 9ct gold mounted shell cameo brooches, a further shell cameo brooch, a diamond single stone ring, stamped '18CT PLAT', a 22ct gold wedding band, a 9ct gold claddagh ring, and a ropetwist-link chain, the clasp stamped '9CT', first ring size M (7)Approximate gross weights only: 9ct gold mounted cameo brooches combined 23gm, other cameo brooch 11gm, diamond ring 2.3gm, wedding band 4.8gm, claddagh ring 2.5gm, chain 8.9gm
Two half pearl brooches, the first designed as an oval buckle of alternating cushion-shaped rubies and half pearls, indistinctly stamped '15CT', the second modelled as two entwined hearts, with central old-cut diamond accent and additional pendant fitting, stamped '14K', (safety clasp deficient, all half pearls untested for origin), lengths 2.25cm and 2.4cm respectively (2)Signs of general wear to both brooches, patchy discolouration to half pearls on second brooch. Each weighs approximately 2.4gm.
Two boulder opal dress rings, the first with a navette-shaped cabochon boulder opal in fluted collet setting, with Dutch leaf gold mark, the second with a circular cabochon boulder opal in pinched collet setting, between scrolled shoulders, yellow precious metal mounted, ring sizes approximately P and M½ respectively (2)Gross weights only approximately: first ring 4.6gm, second ring 2.7gm (metal standards are untested)
A collection of jewellery, comprising a citrine and white enamel navette-shaped panel brooch, a belt-shaped panel brooch, a turquoise and diamond half hoop ring, stamped '18CT', and a pair of turquoise-coloured cabochon ear pendants, first brooch length 3.2cm (4)Approximate gross weights only: first brooch 5.5gm, second brooch 5.5gm, ring 2gm, ear pendants 3.2gm
A collection of antique and later jewellery, comprising a citrine and cultured pearl cluster panel brooch, stamped '9CT', a stone set three leaf clover and crescent moon brooch, stamped '15CT', a green and white paste spray brooch, a gilt metal know brooch, with tassel drops, an Arts and Crafts style gem set white metal pendant, stamped '830', and further items, first brooch 2.75cm (qty)Approximate gross weights only: first brooch 8.7gm, second brooch 2.7gm
A sapphire and diamond half hoop ring, the graduated oval and cushion-shaped mixed-cut sapphires spaced by lasque-cut diamond points, yellow precious metal mounted, stamped '18CT', together with a 9ct gold wedding band, ring sizes M and N½ respectively (2)Approximate gross weights only: first ring 3.2gm, second ring 2.1gm
Two diamond dress rings, of similar design, each a tapered band with fluted shoulders, pavé set with round brilliant-cut diamonds, two colour precious metal mounted, ring sizes O½ and Q (2)First ring (size O½): general surface wear, scuffs and chips/nicks to mount. Patchy dark staining to interior. Shank is stamped '14K'. Diamonds are slightly graduated and well matched, bright and lively in appearance, occasional stones with small surface nicks. Estimated VS2 to SI2 clarity and H to J colour, assessed mounted. Total diamond weight approximately 1.50ct. Metal standard is untested. Gross weight approximately 14gm. Second ring (size Q): general surface wear, scuffs and chips/nicks to mount. The shank has been re-sized with a later added section and has associated dark solder joins, with further patchy dark staining to the mount interior. Diamonds are slightly graduated and well matched, fairly bright and lively in appearance, occasional stones with chips/fractures. Estimated SI1 to P2 clarity and I to K colour, assessed mounted. Total diamond weight approximately 1.50ct. Metal standard is untested. Gross weight approximately 13.3gm.
A diamond three stone ring, the round brilliant-cut diamonds in claw setting, two colour precious metal mounted, together with a blue stone and diamond dress ring, 18ct white gold mounted, and a ruby and white stone half hoop ring, 9ct white gold mounted, first ring total diamond weight approximately 0.20ct, ring sizes M and L (3)Approximate gross weights only: first ring 2.2gm, second ring 3.6gm, third ring 2.4gm
A collection of jewellery, comprising a gem set panel brooch, designed as a navette-shaped cluster of turquoise-coloured cabochons, lasque-cut diamonds and a single cultured pearl, (adapted), a lava cameo bracelet, a purple stone pendant necklace, a coral corallium rubrum bead and cultured pearl necklace, a cultured pearl double strand necklace, two pairs of earrings, each stamped '9CT', a curb-link chain, a 9ct gold padlock clasp, and three dress studs, first brooch length 2.3cm (qty)Approximate gross weights only: gem set panel brooch 3.3gm, lava cameo bracelet 25gm, purple stone pendant necklace 1.8gm, coral and cultured pearl necklace 22.8gm, cultured pearl double strand necklace 21.7gm, two pairs of earrings combined 6.8gm, curb-link chain 2.4gm, padlock 2gm, three dress studs combined 1.4gm
An open face fob watch, the floral engraved gilt dial with Roman numerals, to a keywind movement, the profusely engraved case with vacant cartouche, signed Dent, 61 Strand and 34 Royal Exchange, London, stamped '18K' and numbered 27230, together with a similar open face fob watch, the case stamped '18K' and numbered 23014, and a further example, the case stamped '14K' and numbered 19274, first watch case diameter 3.5cm (3)Approximate gross weights only: first watch 31.8gm, second watch 27.2gm, third watch 32.2gm
A collection of brooches, comprising a single stone bar brooch, two blue stone and pearl circlet brooches, (three pearls deficient, pearls untested for origin), and two novelty bar brooches, depicting an owl and a terrier dog respectively, first brooch length 5.3cm (5)Approximate gross weights only: single stone bar brooch 1.6gm, circlet brooch 2.3gm, wreath brooch 3.1gm, owl brooch 4.6gm, dog brooch 2.8gm (all untested for metal standard)
A collection of jewellery, comprising a coral corallium rubrum bead necklace and bracelet suite, a moonstone line bracelet and similarly set brooch, a fringe necklace, two amber single strand bead necklaces, two carnelian single strand bead necklaces, and assorted loose amber and carnelian beads, first necklace length 41.5cm, first bracelet length 17.5cm (qty)Approximate gross weights only: coral necklace and bracelet combined 29gm, amber beads combined 82gm. Amber beads graduate from approximately 13.5mm to 28.5mm in length.
A diamond three stone ring, the graduated old-cut diamonds in claw setting, two colour precious metal mounted, together with a yellow precious metal wedding band, stamped '18CT', and a white metal stone set ring, first ring size O½ (3)Approximate gross weights only: first ring 2gm, second ring 3.6gm
A collection of jewellery, comprising a red and white stone half hoop ring, 18ct gold mounted, a blue and white stone half hoop ring, stamped '18CT', a diamond set gypsy ring, 18ct gold mounted, two further stone set dress rings, a fancy-link bracelet, suspending two charms, a pair of ear pendants, a gilt metal locket pendant, and a pendant on chain, first ring size K (9)Approximate gross weights only: first ring 1.8gm, second ring 2.5gm, third ring 2.5gm, two further rings 2gm combined, bracelet 5.7gm, ear pendants 2gm (metal standards for non-hallmarked items are untested)
An enamel panel bracelet, designed as a series of green and blue enamel panels, each modelled as an Egyptian pharaoh in portrait profile, spaced by Ankh crosses, gilt mounted, stamped '800', together with a cameo bracelet, the graduated oval shell cameos carved to depict classical figures in portrait profile, lengths 19cm and 17.5cm respectively (2)Approximate gross weights only: first bracelet 13.7gm (likely to be white metal with a gilt finish), second bracelet 21gm (untested as gold/gilt metal)
A collection of jewellery, comprising a pair of oval panel cufflinks, each engraved with belt decoration, stamped '15 .625', an 18ct gold dress stud, assorted gilt metal cufflinks, a white metal stick pin and further items, cufflinks panel length 1.6cm (qty)Approximate gross weights only: first cufflinks 6.6gm, dress stud 1.5gm
A blue topaz single stone ring by Catherine Best, signed CEB and stamped '750', accompanied by maker's case and certificate, together with a blue stone bracelet, stamped '375', two 9ct gold and blue stone dress rings, and a gate-link bracelet, first ring size M, first bracelet length 19.3cm (5)Approximate gross weights only (metal standards are untested): first ring 6gm, first bracelet 12.2gm, 9ct gold dress rings combined 4.2gm, second bracelet 6.2gm
A collection of jewellery, comprising a Victorian shell cameo brooch, carved to depict the portrait profile of a bacchante, a diamond single stone bar brooch, stamped '15CT', an open face fob watch, stamped 'K18', (glass and hands deficient), a red stone cluster panel brooch/pendant, glazed verso, a two colour dress ring, of modernist design, stamped '750', a cameo cluster ring, stamped '9CT', a pair of gilt metal lorgnettes, a gilt metal glazed locket pendant, and a hardstone panel brooch, first brooch length 5.25cm (9)Approximate gross weights only: cameo brooch 15.8gm, single stone bar brooch 2.6gm, fob watch 29gm, cluster panel brooch/pendant 14.8gm, two colour dress ring 4.4gm, cameo cluster ring 3.5gm, gilt metal lorgnettes 25.8gm, a gilt metal locket pendant 10.7gm, hardstone panel brooch 3.5gm
A collection of jewellery, to include a ruby and diamond half hoop ring, 18ct gold mounted, a pair of star ear studs by Catherine Best, stamped '375', accompanied by maker's certificate, (butterflies deficient), a 22ct gold wedding band, an 18ct white gold wedding band, five 9ct gold and stone set dress rings, a pair of elephant ear studs, stamped '18C', a 9ct gold locket pendant on chain, a cultured pearl single strand necklace, and assorted further dress rings, earrings, etc., (half pearls untested for origin), first ring size M (qty)Approximate gross weights only: ruby and diamond half hoop ring 2.6gm, star ear studs 2gm, 22ct gold wedding band 3.9gm, 18ct white gold wedding band 3gm, five 9ct gold and stone set dress rings combined 11.3gm, elephant ear studs 5.8gm, locket pendant on chain 3.2gm, cultured pearl necklace, and assorted further dress rings and earrings combined 31gm
A three colour precious metal bangle, of hinged oval twisted design, stamped '375', together with a 9ct gold gate-link bracelet, and a belcher-link bracelet, stamped '18kt', (indistinctly hallmarked), bangle inner diameter 6cm (3)Approximate gross weights only: bangle 6.5gm, first bracelet 9.5gm, second bracelet 8.3gm
A collection of antique and later dress rings, comprising a green stone and half pearl cluster ring, with pierced and engraved scrolled shoulders, a black enamel and half pearl panel ring, stamped '15', a diamond and red stone gypsy ring, 15ct gold mounted, (one stone deficient), a posy style band ring, with later added cluster panel, and a blue and white stone cluster ring, stamped '9CT', (half pearls untested for origin), first ring size O (5)Approximate gross weights only (metal standards untested): first ring 2.2gm (shank split), second ring 1.6gm, third ring 2.1gm, fourth ring 3.2gm, fifth ring 1.8gm
An amethyst and diamond dress ring, the graduated oval mixed-cut amethysts spaced by trios of round brilliant-cut diamonds, 18ct gold mounted, hallmarked for London 2018, together with an amethyst single stone ring by Catherine Best, signed and stamped '375', ring sizes L and N (2)First ring: General surface wear to mount. One of the central claws has been pushed to the side and some of the other claws are a little worn. Amethysts are well matched with surface wear, scuffs and nicks. Diamonds are well matched, bright and lively, estimated SI1 to SI2 clarity and H to J colour, assessed mounted. Total diamond weight approximately 0.20ct. Hallmarks are clearly struck, maker's mark possibly 'J&P'. Gross weight approximately 4.7gm. Second ring: surface wear, nicks and scuffs to mount and amethyst. Metal standard is untested. Gross weight approximately 4.8gm.
An Edwardian diamond gypsy ring, the tapered hoop with graduated old, single and rose-cut diamonds in star settings, 18ct gold mounted, hallmarked for Chester 1903, together with a diamond single stone ring, stamped '18CT PLAT', a diamond three stone crossover ring, also stamped '18CT PLAT', and a turquoise three stone ring, 18ct gold mounted, ring sizes L½, M, L and M respectively (4)Approximate gross weights only: first ring 3.8gm, second ring 1.7gm, third ring 2.4gm, fourth ring 3.4gm
A Victorian half pearl, diamond and enamel pendant, the circular blue enamel boss centred with a half pearl and rose-cut diamond set star motif, within a twisted border, glazed hairwork compartment verso, together with a white paste Halley's Comet brooch, (pin deficient), a 9ct gold plaited-link chain, and a snake-link chain, stamped '750', (half pearls untested for origin), pendant length 3.6cm (4)Approximate gross weights only: pendant 13.8gm, brooch 1.7gm, first chain 6.5gm, second chain 8gm
A collection of dress rings, comprising a late Victorian diamond and red stone dress ring, 15ct gold mounted, hallmarked for Birmingham 1885, a diamond five stone ring, stamped '18CT PLAT', a green stone signet ring, with engraved shoulders, a three stone dress ring, stamped '9CT', a single stone ring, and a ring mount, first ring size M (6)Approximate gross weights only: diamond and red stone ring 1.9gm, diamond five stone ring 2gm, green stone signet ring 3.2gm, three stone dress ring 2gm, single stone ring 1.2gm, ring mount 1.1gm
A diamond three stone ring, the graduated round brilliant-cut diamonds in an illusion setting, between engraved shoulders, stamped '18CT & PLAT', together with an 18ct gold wedding band, two 9ct gold wedding bands, and a further wedding band, first ring size J½ (5)Approximate gross weights only: three stone ring 2.3gm, 18ct gold wedding band 3gm, 9ct gold wedding bands combined 3.4gm, further wedding band 1.4gm (metal standards untested)
A collection of rings, comprising a red stone and diamond set dress ring, 15ct gold mounted, (three stones deficient), a sapphire and diamond cluster ring, 9ct gold mounted, a diamond cluster ring, 9ct gold mounted, (one stone deficient), a diamond half hoop ring, (two stones deficient), a white stone cluster ring, 9ct gold mounted, a single stone dress ring, 9ct gold mounted, a three stone dress ring, (one stone deficient), a 22ct gold wedding band, and a 9ct gold wedding band, first ring size Q½ (9)Approximate gross weights only: red stone and diamond set dress ring 3.9gm, sapphire and diamond cluster ring 2.2gm, diamond cluster ring 3.1gm, diamond half hoop ring 2gm, white stone cluster ring 3.1gm, single stone dress ring 8.6gm, three stone dress ring 4.4gm, 22ct gold wedding band 2.7gm, 9ct gold wedding band 6.7gm
Three Russian enamel egg pendants, the first designed as a white guilloché enamel egg applied with a blue, red and white enamel Union Jack flag, together with a blue guilloché enamel egg and a green guilloché enamel egg, each with 56 standard mark to fitting, suspended from a fancy-link chain, stamped '15', accompanied by two red stone set egg pendants and a split white metal egg, first pendant length 2.05cm (4)For similar examples of enamel egg pendants by Fabergé and other Russian makers see Russian Gold and Silver, by Alexander von Solodkoff, Trefoil Books Ltd, 1981, plates 136 and 138 Surface wear, scuffs and chips/nicks to each of the enamel eggs. Each of the eggs is unsigned and we are therefore unable to confirm their makers. First egg: losses and chips to enamel on Union Jack flag, occasional small losses to white enamel, glue residue at junction of fitting to egg. Blue egg: areas of enamel loss with associated fractures near to fitting, length 2cm. Green egg: further indistinct mark to fitting, length 2.25cm. General surface wear to chain, clasp is currently functioning. Metal standard of chain is untested. Combined gross weight of enamel eggs and chain approximately 21.5gm.Red stone eggs: the example with foliate decoration has a possible 56 standard mark to fitting and a gilt metal pendant loop. Both eggs have surface wear, scuffs and chips/nicks, with scattered shallow dings, and are untested as gold/gilt metal. The red stones are too small to test. Lengths 1.6cm and 1.8cm. White metal egg: split in half, no fittings, with surface wear throughout. Untested as silver. Length 1.4cm.
A small collection of jewellery, comprising a diamond three stone ring, the graduated round brilliant-cut diamonds in claw setting, two colour precious metal mounted, a diamond single stone ring, the similarly cut diamond in an illusion setting, two colour precious metal mounted, stamped '18CT', a flowerhead cluster ring, set with turquoise-coloured cabochons, also stamped '18CT', an amethyst single stone ring, 9ct gold mounted, and a half pearl and diamond set bar brooch, stamped '9CT', (possibly adapted, one half pearl deficient, half pearls untested for origin), first ring total diamond weight approximately 0.40ct, ring size L½ (5)Approximate gross weights only: three stone ring 1.3gm, single stone ring 2.1gm, cluster ring 3.2gm, amethyst ring 1.8gm, bar brooch 2.7gm
A sapphire full hoop eternity ring, channel set throughout with square and rectangular step-cut sapphires, the white precious metal mount with foliate scroll engraved sides, together with a synthetic ruby full hoop eternity ring, white precious metal mounted, a white stone full hoop eternity ring, stamped '9CT', and a collection of assorted silver, white metal and costume jewellery, to include a coral corallium rubrum single stone ring, first ring size L½ (qty)First ring only: sapphires have slightly variable mid to dark blue hues, some stones containing fracture and fissure inclusions, with areas of whiteish colour zoning. All stones have surface wear, some stones with nicks/chips. General surface wear to mount. Metal standard is untested. Width of mount 3mm. Gross weight approximately 3gm.
A collection of 19th century and later jewellery, comprising a pair of citrine ear pendants, a pair of white paste ear pendants, (adapted), a white paste panel brooch (adapted, fitting deficient), a white paste cross pendant on chain, (one stone deficient), a pair of beaded tassel ear pendants, two half pearl dress rings, (some half pearls deficient, half pearls untested for origin), and a stone set violin brooch (later fitting), first ear pendants length 4cm (8)Approximate gross weights only: citrine ear pendants 4.8gm, white paste ear pendants 5.2gm, white paste brooch 6.8gm, white paste cross pendant on chain 11gm, beaded tassel ear pendants 7.5gm, two half pearl dress rings 2gm and 3gm, violin brooch 7.4gm (all untested as gold/gilt metal/silver)
A 9ct gold hunter pocket watch, the white enamel dial with Roman numerals and subsidiary seconds dial, to a keyless wind movement signed CYMA, the Dennison case hallmarked for Birmingham 1923, numbered ?56669, (glass loose), case width 4.9cmSurface wear, nicks and chips to dial, minute hand is mis-shapen. Glass is loose and has surface wear, chips and scuffs. Dents and dings to case, surface wear throughout, cover and case back close fairly tightly. Patchy light wear to marks, first digit to case number is indistinct. The movement currently runs when wound but is untested for working order, which cannot be guaranteed. Gross weight approximately 84.3gm.
Two pairs of 9ct gold cufflinks, the first with octagonal engine-turned panels, the second with oval polished panels, each with chain-link fittings, panel lengths 1.5cm and 1.75cm respectively (2)Surface wear, scuffs and nicks/chips to both pairs. Patchy light wear to marks. Approximate gross weights: octagonal cufflinks 2.9gm, oval cufflinks 5.9gm.
A collection of antique and later brooches, to include a rectangular panel brooch, with scrolled accents, stamped '15CT', three hairwork memorial brooches, a half pearl set bar brooch, stamped '15CT', an oval shell cameo brooch, and assorted further examples, (all half pearls untested for origin), first brooch length 4.15cm (qty)
A collection of jewellery, comprising a pair of half sovereign ear pendants, 9ct gold mounted, a 9ct gold dress ring, a pair of 9ct gold ear hoops, a further pair of ear hoops, with French eagle's head control marks, a simulated pearl pendant, on a paper-link chain stamped '375', a 9ct gold anchor pendant, and a further pendant, stamped '585', first ear pendants length 4.6cm (7)Approximate gross weights only: half sovereign ear pendants 10gm, dress ring 3.3gm, 9ct gold ear hoops 2.2gm, further ear hoops 1.3gm, simulated pearl pendant on chain 3gm, anchor pendant 0.8gm, further pendant 0.5gm
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