Lieutenant Stewart Gordon Ridley, The Yorkshire Regiment and Royal Flying Corps:- a Small Collection of His Items, comprising a First World War Rolex "Trench" wristwatch, the circular black enamel dial with luminous arabic numerals enclosing a subsidiary seconds dial, the silver case with hallmarks for Birmingham 1914, lacks strap, two button mourning brooches engraved with his name, various other buttons, a Victorian South Staffordshire Regiment cap badge, lapel badges etc, The Green Howards Magazine which contains an article on the above and a copy of John Drinkwater's anthology "Olton Pools" which contains a poem "Riddles, R.F.C., dedicated to above (page 18) also a postcard sent to his brother before his departure to Egypt in May 1916Footnote:- Lieutenant Stewart Gordon Ridley R.F.C. made the supreme sacrifice on 18th June 1916, when he shot himself, in a vain attempt to give his companion Air Mechanic J A Garside a better chance of surviving when faced with a shortage of water following a forced landing in the Libyan desert. The evidence for this was found in a diary written by Garside. Watch does not work. Chip to dial at 5 and lacks seconds hand.
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Four Single Medals, comprising an Imperial Service Medal to FREDERICK WHARLDALE, cased, a Victory Medal to CAPT.G.E.MILNER, a 1939-45 War Medal and a Cold War Commemorative Medal 1945-1991; a Quantity of Mainly First and Second World War Badges, including glengarry, cap and collar badges, some loose mounted on a stable belt, rank pips, sweetheart brooches, buttons and insignia, a Silver War Badge, also a silver plated bosun's whistle, a stable belt to the RAMC, a quantity of empty brass shells etc.
A First World War Trio, awarded to 22323 PTE.A.RODGERS, DURH:L.I., comprising 1914-15 Star, British War Medal and Victory Medal; a First World War Pair, awarded to 201857 PTE.H.HUDSON, SCO:RIF., comprising British War Medal and Victory Medal; The Great War - a Set of 100 Stereoscopic Cards by Realistic Travels, in blue cloth bound box as two volumes of books, together with an Underwood & Underwood hand held wood and aluminium stereoscopic viewer, and postcardsProvenance:- From the Estate of Stephen Hamilton Rawlings, Scarborough.
ROLEX, OYSTER PERPETUAL 'ZENITH' DAYTONA, REF. 16520A STAINLESS STEEL CHRONOGRAPH BRACELET WATCH, NO. A766039, CIRCA 1999Movement: Cal. 4030, automatic chronograph, 31 jewelsCase: Stainless steel case, screwed down crown and pushers, screw down case backDial: WhiteBracelet: Rolex Oyster stainless steel bracelet with fold over claspSize: 38mm, bracelet 20cmSigned: Case, dial, movement, crown, claspAccessories: Rolex box, guarantee certificate, booklet, outer card packaging This year marks the 60th anniversary of one of Rolex's most sought after models, the Daytona. This was not always the case, as when it was initially released in 1963, sales were disappointing. This was to change however with the release of the reference 16520. Originally the Daytona was powered by a manual wind chronograph movement, but this new model came with an automatic chronograph. The reference 16520 was equipped with the calibre 4030, the first Rolex automatic chronograph movement. This is based on the Zenith El Primero movement, which Rolex replaced 60% of the parts. The 16520 was in production from 1988 until 2000, when Rolex introduced its own in house movement, the calibre 4130. This has made the 16520 sought after among collectors.Condition Report: Movement is currently functioning. The chronograph counts one minute, but the hour counter has not been tested due to time constraints. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case shows light scratches and marks. Crown screws down and has light scratches when viewed under a 4x loupe. Slight resistance to the top pusherBracelet has light scratches and some signs of light stretching to links. Clasp is currently functioning and shows light scratches and marks. Bracelet measures approximately 20cm including case.This lot comes with a box and papers dated .Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Y IWC, PORTUGIESER PERPETUAL CALENDAR, REF. IW5022A LIMITED EDITION 18 CARAT GOLD CALENDAR WRIST WATCH WITH MOONPHASE AND POWER RESERVE, NO. 3661779, CIRCA 2010Movement: Cal. 51614, automatic, 62 jewels, adjusted to 5 positionsCase: 18 carat gold case, screw down display case back, stamped with 18 carat gold common control markDial: BlackStrap: IWC black alligator strap with 18 carat gold deployant claspSize: 42mmSigned: Case, dial, movement, crown, strap, claspAccessories: IWC box, guarantee card and booklet, instruction book, service explanation invoices dated 18th October 2019 and 6th July 2020 The Portugieser is one of the oldest models produced by IWC. In 1939 two Portuguese merchants made the request for a large time only wristwatch with the precision of a pocket watch. The reference 325 was born and housed the pocket watch calibres 75 and 98. Available with a variety of dials, the classic dial was very simple and features Arabic numerals, feuille hands and a 'railroad track' chapter ring. These features can be found on this example being offered. Fast-forward to 2003 and IWC released the ref. IW5021, which was the first Portugieser to feature a perpetual calendar. In 2006 the IW5022 was introduced to the range and featured a subsidiary moonphase dial, adding another complication to an already cutting edge movement. The 42mm case is certainly a presence on the wrist. Condition Report: Movement is currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. There is a slight mark to the edge of the 2 in the year indicator visible under a loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. There is no apparent limited edition number to the case or paperwork. The case stamped 3661779. Plaque to box and movement stamped One out of 100. Crown has light scratches when viewed under a 4x loupe. Strap shows marks and creasing. Buckle appears to be in good condition with minor marks and scratches when viewed under a 4x loupe.143g grossDreweatts 1759 do not guarantee the working order or accuracy of any lots sold. We recommend this watch is tested by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
LISA SOTILIS, A PAIR OF ANCIENT STYLE BEAD AND GOLD COLOURED EAR CLIPSThe tapered reeded panels with a circular glass antique style bead bases, the reverse of one with an applied panel embossed with Sotilis, clip fittingsSize/dimensions: 4.7cm longGross weight: 31.5 gramsKnown in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'. Condition Report: The ear clips have some light wear, commensurate with occasional use, they will need new replacement rubber ear cushions as the original ones have perished. There are some patches to the panels from construction, thick solder to the reverse as typical of her pieces.One of the beads has large worn chip, but as the beads are quite possibly ancient it has been worn down and smoothed out, as part of the beads history. There are some further smaller chips as typical with ancient beads. The beads are not completely matching in side profile, one has more banding than the other. Condition Report Disclaimer
LISA SOTILIS, A PAIR OF ABSTRACT CUFFLINKSThe two colour panels with textured finish and applied spots, the backs of the pierced shaped panels with an applied customary signature panel, one with an embossed SSize/dimensions: principal panels approximately 2.5cm x 3cmGross weight: 17.5 gramsKnown in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'. Condition Report: There is light wear to the panels, no noticeable damage or repairs.Condition Report Disclaimer
A CASED GEORGE II SILVER RECTANGULAR BALUSTER TEA CADDY AND A SWING HANDLED BASKETTHE TEA CADDY BY J. COLLINS, THE BASKET BY EDWARD ALDRIDGE & JOHN STAMPER, BOTH LONDON 1755The tea caddy with a bird and boy finial to the domed cover, the body chased with figures seated in pillared buildings, foliage and scrolls, engraved with a crest and coat of arms, on four foliate pad feetThe basket with a scroll and floral swing handle, a chased C-scroll and floral border, a pierced body, engraved with a matching coat of arms, on a C-scroll and floral baseThe tea caddy 12cm (4 3/4in) high, the basket 15cm (6in) long542g (17.45 oz) grossIn a fitted shagreen box with silver mounts The arms of Richard ASTELL (1717-1777), timber merchant of London and gentleman of Everton House Bedfordshire and his wife Sarah BAGNALL (1717-1767) formerly of London. They were first cousins who married in London in 1740. Richard ASTELL was the son of William ASTELL (1672-1741), a London timber merchant by Mary BAGNALL (1686-1753). Sarah BAGNALL was the daughter of John BAGNALL (1678-1742) gentleman of London by Hannah KENNET (1737-1807) formerly of Bradford Yorkshire. The blazon: gules, a lion passant per pale or and argent between four crosses crosslet of the last (Astell) - impaling - ermine, two bars or, overall a lion rampant azure (Bagnall) crest: a cross crosslet or, entwined with a serpent vert (Astell) Condition Report: Caddy - Maker's mark to obscured, rest are clear. The cover appears to be unmarked. Cover fits well. Wobbles. Engraving is crisp.Basket - Marks lightly rubbed. Stands well. Engraving crisp. Slight play to the handleBoth with light scratchers and wear commensurate with age and useShagreen box - Mounts are silver. No Key. Stands well. Various marks and scratches. Gap when closedCondition Report Disclaimer
ATTRIBUTED TO LISA SOTILIS, A 1970S QUATREFOIL PENDANT The textured quatrefoil panel with a central cultured pearl accent, loop fitting verso, in a Sotilis lozenge shaped boxSize/dimensions: 5.1cm longGross weight: 9.3 grams Together with a jewellery exhibition catalogue titled Sotilis, for the Alexandre Iolas Gallery, with a forward by Salvatore Quasimodo, 1970; and an exhibition catalogue for artwork, 1963Known in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'. Condition Report: There is solder to the reverse and a couple of patches to the front of the pendant, but this is from construction. Some light wear. Condition Report Disclaimer
Y LISA SOTILIS, A PAIR OF ABSTRACT EAR CLIPSThe ear clips each with two shaped panels with textured borders, with gold coloured disc sides, and a trio of mother of pearl discs above, with ancient style bead accents, the bottom panels signed Sotilis, with clip fittingsSize/dimensions: 5.1cm longGross weight: 36.1 gramsKnown in artistic circles as the Golden Greek, Lisa Sotilis was born in Athens, Greece in 1939. She studied in Athens and then at the Academy of Arts in Milan. Sotilis was in initially an artist and sculptor, but embarked on designing and making her own jewellery, having decided she didn't like contemporary jewellery design . Her first solo exhibition was at the age of 16 in Milan, and her first international exhibition was held in Berlin two years later. The world leading art dealer and gallery owner Alexander Iolas noticed her work, and allowed Sotilis to exhibit her work at international galleries alongside many of the 20th century greats such as René Magritte, Andy Warhol, and her great mentor Giorgio de Chirico. Her pieces have been collected by many in the contemporary artworld including Salvador Dali. In 1970 she entered an exclusive contract with Cartier to design watch dials and bezels. Her home Via Dante in Milan was known as a cultural space where Andy Warhol and Rudolph Nureyev were frequent guests.She has exhibited in many of the best international galleries, and examples of her work can be found in some of the finest museums and private collections in the world. She has said of her artistry: 'I sleep three hours a day because my creativity never ends. When I get tired of making jewellery, which I call micro-sculptures, I paint, I design furniture. I don't make traditional jewels; they are different, my way, because I have to recreate what I see in my dreams'. Condition Report: The clips with some light wear. There is solder and glue at the backs of the clips, but this appears to be from construction. Sotilis is known to have mostly created her jewellery in 18 carat gold, however these are unmarked, the solder at the back is quite thick, giving support to the gold fronts. On one of the clips top panel there is some solder coming through the top of one of the panels where there must have been a hole at construction. The beads appear to possibly be ancient, they show wear and some losses, they are not identicalCondition Report Disclaimer
MILITARY INTEREST, SOMERSET LIGHT INFANTRY REGIMENT SWEETHEART BROOCH FIRST HALF OF THE 20TH CENTURY The pierced brooch with a pavé set circular cut sapphire set horn, with diamond accented XIII, suspended from a rose cut diamond set crown, below a green enamelled banner inscribed JELLABAD, unmarked Size/dimensions: 3cm long Gross weight: 5.2 grams. The Somerset Light Infantry was formed in 1685, and has taken part in many overseas campaigns and battles. The regiment has had a number of name changes including becoming the 13th Regiment of foot in 1751, hence the XIII on the current lot. In 1781 the Regiment became the 13th (Somersetshire) Regiment of Foot, and in 1842 the regiment became 13th (1st Somersetshire) (Prince Albert's Light Infantry) Regiment of Foot, when Prince Albert became the regiments patron. In 1920 the regiment title was changed to The Somerset Light Infantry (Prince Albert's). Condition Report: The brooch has some light wear, there are some small chips to the enamel, all stones are present and correct, slight variation in the colour of the sapphires. Condition Report Disclaimer
AN INDIAN DIAMOND AND JAIPUR ENAMEL NIYAM PENDANTThe oval pendant with radiating polki and rose cut diamonds, the reverse with a domed back panel with an enamelled red flower with green foliage and blue and white enamelled accents, suspending a freshwater cultured pearl drop, with a curb link chain necklace with varying additional lengths with lobster claw clasps, stamped 750, and an additional cord necklaceSize/dimensions: pendant 7.3cm longGross weight: 57.7 gramsCondition Report: The chain has three sections, first 44cm long, second 25cm long, third 12.8cm long. Some light wear to the chain, clasps in good working order. The enamel one the pendant has some chips, particularly to the bale loop and the blue enamelled border to the reverse. The weight is excluding the cord necklace. The cultured pearl drop has some bandingCondition Report Disclaimer
CARTIER, BALLON BLEU, REF. 3000AN 18 CARAT WHITE GOLD BRACELET WATCH WITH DATE, NO. 121869LX, CIRCA 2008Movement: Cal. 049 ETA 2892A, automatic, 21 jewelsCase: 18 carat white gold case, screwed down case back with eight screws, stamped with 18 carat gold common control markDial: SilveredBracelet: Cartier 18 carat white gold bracelet with concealed clasp Size: 42mm, bracelet 19cmSigned: Case, dial, movement, crown, claspAccessories: Cartier box, guarantee booklet, information booklet, DVD, outer card packaging When most people think of Cartier watches, the first watch that comes to mind is the Tank with its square case. Cartier introduced the Ballon Bleu to the world in 2007 with its circular case. The Ballon Bleu is set with the unmistakable Cartier blue cabochon crown, which is protected by the crown guard at 3 o'clock. This is a versatile model that can be worn on any occasion by men and women. The Princess of Wales is often spotted wearing a 33mm stainless steel example. Condition Report: Movement is currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case shows light scratches and marks. Crown has light scratches when viewed under a 4x loupe. Bracelet has light scratches and some signs of light stretching to links. Clasp is currently functioning and shows light scratches and marks. 234g grossBracelet measures approximately 19cm including case.This lot comes with a box and papers dated .Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
ROLEX, OYSTER PERPETUAL COSMOGRAPH DAYTONA, REF. 116505AN 18 CARAT GOLD CHRONOGRAPH BRACELET WATCH, NO. 8T9V371, CIRCA 2017Movement: Cal. 1430, automatic chronograph, 44 jewelsCase: 18 carat gold case, screwed down crown and pushers, screwed down case back, stamped with 18 carat gold common control markDial: Ivory colouredBracelet: Rolex Oyster 18 carat gold bracelet with fold over claspSize: 40mm, bracelet 18cmSigned: Case, dial, movement, crown, claspAccessories: Rolex box, guarantee card, instruction booklet, swing tag, outer card packaging The Daytona is one of the most iconic models in the Rolex range. When the Daytona was first introduced in 1963, it was not well received, and initial sales were poor. Now, it is one of the most sought after models. There are many different variations of the Daytona available, with different case materials, dials and precious stone set examples. The example being offered here is in 18 carat rose gold, the ivory coloured dial with matching luminous baton markers and subsidiary dials. This adds a layer of luxury to this iconic sports watch.Condition Report: This is rose gold.Movement is currently functioning. The chronograph counts one minute, but the hour counter has not been tested due to time constraints. We have been unable to gain access to the movement to be able to report its condition. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Crown and pushers screw down and have light scratches when viewed under a 4x loupe. Bracelet appears to be in a generally good condition, with light scratches and no signs of significant stretching, twisting or distortion of the links. Clasp is currently functioning and appears to be in good condition. Bracelet measures approximately 18cm including case.215g grossThis lot comes with a box and papers dated .Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. We recommend this watch is tested by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
A MID 20TH CENTURY DIAMOND, OPAL, AND RUBY TIARAThe scrolled gold coloured tiara with graduated old cut diamond and polished cabochon opal clusters, with further rose cut and old mine cut diamond accented settings, approximately 10.32 carats total, with circular cabochon, circular cut and step cut ruby accents, the principal oval cluster removes from the setting, with additional screw in brooch fitting, the two smaller diamond and opal clusters unscrew, with fold out stud fittings verso, unmarked, in a partial box, with sticker verso stating Marquis Jean P. De Chambrun, Vernon Manor Hotel, Cincinnati, Ohio 45219 Size/dimensions: the front section 7.8cm high, principal opal, diamond and ruby cluster 3.8cm longGross weight: 211.4 grams Provenance: The Late Jean Pierre François Joseph Pineton de Chambrun, Marquis de Chambrun, Marquis d'Amefreville (1903 - 2004) and Muriel, Marquise de Chambrun. Thence by family descentJean Pierre Pineton was the eldest son of French politician and diplomat Charles Louis Antoine Pierre Gilbert Pineton de Chambrun (1865-1954) and his American wife, Margaret Rives Nichols (1872-1949). The de Chambrun family had a distinguished history as important French politicians in the French Senate and French Chamber of Deputies and were direct descendants of Gilbert du Motier, Marquis de Lafayette. Margaret Rives Nichols was born into the 19th century millionaire Longworth Storer family in Cincinnati. Although profoundly deaf, Jean Pierre studied biochemistry at the Institut Pasteur and art at the Horace Vernet school. As a member of at the Cercle de l'Union Artistique in France, Jean Pierre became an acclaimed painter and designer of jewellery, wrought iron and crystal for Baccarat. He married his first wife the French heiress, Gisèle Hugot-Gratry (1909-2005), in the late 1920s and they had three sons together. The family left France during World War II as Jean Pierre was a staunch opponent of the wartime Vichy Government in France, and they settled in Cincinnati for the duration of the war. After the war Gisèle returned to France with their sons and their marriage ended in divorce. Jean Pierre lived in Lucca in Northern Italy with his sister Marthe de Chambrun, Principessa Ruspoli-Poggio Suasa, in the 1950s although they subsequently moved to Tangier. Whilst living in Tangier Jean Pierre was introduced to Muriel McIntosh Villar. Muriel had moved to Tangier after the war, having lost her first husband during the Malayan Emergency, to live with her retired Sergeant Major father. Muriel and Jean Pierre married in 1963 and would spend their 40 year marriage between France, the United States and the Algarve in Portugal. When they stayed in America between the late 1960s and early 1970s, they would always stay at Vernon Manor Hotel in Clifton, Cincinnati. Interestingly the base of the tiara box offered with the tiara has a label stating the Marquis of Chambrun's name and confirming the address as the Vernon Manor Hotel. Jean Pierre and Muriel toured America lecturing about his ancestor the Marquis de Lafayette, and Lafayette's role in defeating the British during the American Revolution and War of independence. Muriel also became a celebrated poetess and won several awards including Ohio Poet of the year in 1976 for her Book Of Poems "Sudden Spring", and an award from Cincinnati University in 1970 for her first book "Salisbury Cathedral". Jean Pierre and Muriel were fêted by American society at large, and were known to several American President's including Ronald Reagan, Bill Clinton and George Bush Junior for their work in promoting Franco-American relations. Opal tiaras are extremely rare, and only one other tiara set with opals is known. The Princess Marie of Denmark opal tiara was an exuberant Art Nouveau creation of large, towering opal set floral sprays. The tiara was re-set by Princess Marie's daughter-in-law Princess Viggo, into a simpler diadem. This opal diadem was passed down to the Count and Countess Flemming of Rosenborg, and has not been seen being worn in public since it was last worn at the wedding of King Harald V and Queen Sonja of Norway in 1968.Condition Report: The seven graduated opal and diamond clusters appear to have originally been part of an earlier piece, and have been soldered onto the gold scrolling tiara. There is evidence of lead solder being used to attach these clusters, but the soldering is all very tidy. The clusters are in our opinion late 19th century/early 20th century. The removable central panel and earring clusters were originally fixed to the body of the tiara, and then the bar supports and screw in fittings later added in order to make the tiara convertible. There are very small areas of lead solder repair below the cluster to the central front panel, one of the joins is visible to the front of the tiara. The opals have surface reaching and internal crazing that is visible to the naked eye, no chips nicks or scuffs. The diamonds are all present and correct, bright and lively, mostly VS-SI, some with inclusions visible with a 10x loupe. One of the smaller diamonds is chipped. The rubies are all present and correct, well matched in colour, one square cut ruby is cracked right through. The setting is unmarked, but is in our opinion 18 carat gold. Condition Report Disclaimer
ATTRIBUTED TO ANDREW GRIMA, A SAPPHIRE, DIAMOND AND EMERALD DRESS RINGThe central oval cabochon sapphire within an undulating surround of textured gold coloured rectangular batons, with step cut emerald and diamond accents, to a textured band, stamped 18ct, together with a textured band ring, stamped 18ct, with a leather Grima pouchSize/dimensions: first finger size approximately L 1/2; second N 1/2Gross weight: 30 gramsAndrew Grima was a British society jeweller of the 1960s and 70s, and his early clients included Queen Elizabeth II, Princess Margaret and Jackie Kennedy Onassis. The entirely self taught Andrew Grima joined his father-in-law's jewellery manufacturing business, H.J. Company, in 1946, and introduced new designs and techniques to the company, away from the more traditional and figural jewellery designs, to organic and abstract jewel forms. Through his unique jewellery design, Grima has subsequently become known as the father of post war jewellery design. His pieces have won numerous awards including the DeBeers Diamonds International Awards a record breaking 11 times, and can be found in many of the most important museums in the world, and private collections. Condition Report: The ring setting has some light wear commensurate with age and use, no noticeable damage or repairs to the setting, one of the emeralds have a large chip to one side, a couple of the other emeralds have a couple of smaller nibbles, but the stones are bright. There is some colour banding to the sapphire. The diamonds are bright and lively.The band ring has some rubbing.The rings are only stamped 18ct, with no other stamps. The cluster dress ring is size L 1/2, the band N 1/2Condition Report Disclaimer
Alfred Wainwright (1907-1991), three walking and Pictorial Guides, comprising Walks On The Howgill Fells, Walks In Limestone Country, A Pictorial Guide To The Coast To Coast Walk, a copy of Baddeley's Guide To The English Lake District, all with dust covers. CONDITION REPORT: Walks in Limestone Country has price label of £1.05p which is stuck over a 90p printed price so this is not a First Edition as a First Edition should have been priced at 18/s. There are no impression marks in this book. Walks on the Howgill Fells is correctly priced at £1.05p on the cover and there are no later impression marks so we believe this to be a 1972 First Edition. The Coast to Coast edition is a 7th impression circa 1974, the First Edition came out in 1973 with dark red covers. The Baddeley's Guide to The Lake District book is a 17th edition.The spines of the three Wainwrights are faded. There are slight losses and rips to the cover. There are inscriptions on all the books of a name and date but internally the pages are clean.
A set of 20th century teak Chinese style rectangular occasional tables, with pierced fretwork decoration and glass top. Largest 56 cm high, 50 cm wide, 35 cm deep. CONDITION REPORT: All four tables in this lot are in first class condition with no issues. There are no significant scratches or marks and no splits. There are no losses and no repairs.
An Oris vintage stainless steel pointer date automatic wristwatch, 1950, 25 jewels, Ref. 634, black dial with luminous Arabic numerals, seconds hand and calendar with exhibition case back. Case width 33 mm. With leather strap with original buckle (see illustration). CONDITION REPORT: The original glass and dial are in extremely good order with no issues. The case is also in first class condition. The movement is currently working and functioning correctly, the pointers and dated adjust as they should,
A Jacobean oak cushion moulded chest of drawers, three drawers with moulded fronts and all raised on bun feet. Height 95 cm, width 100 cm, depth 58 cm. CONDITION REPORT: The chest of drawers is structurally sound and in generally good condition. All drawer fronts are in good order with no losses. The handles are clearly old but unlikely to be original. All locks where fitted are present but we have no keys. None are locked. There are the usual old nibbles around the lock escutcheons. The top is generally flat. It is manufactured from three planks and there is slight movement between the first two planks. The sides of the piece and rear are in good order. The turned bun feet are clearly old but not original.
An Omega "Constellation" chronometer Quartz, circa 1980 with stainless steel case and original strap. Caliber 1333 with octagonal surround to the silver grey dial with date display, silver marker and seconds sweep. CONDITION REPORT: The dial case and strap are in first class condition with only very minor blemishes. We have not had the movement running. The width excluding the crown is 37 mm. The height excluding the lugs is 38 mm.
A pair of 18 ct white gold stud earrings, set with diamonds weighing +/- .84 carats. CONDITION REPORT: The stud earrings are both in first class condition with no structural issues. The claws are all in good order without any wear. The stones are free from any chips or scratches and have a nice sparkle. We do not have the expertise to give the colour or clarity of the stones unfortunately.
Joseph Mallord William Turner, RA (1775-1851) Chepstow Castle on the river Wye, Monmouthshire, Walessigned and dated 'Turner 1794' (lower left)watercolour on paper31 x 41.7cmProvenance:Collection of Dr Thomas Monro (1759-1833),His Sale, Christie's, London, 26th-28th June & 1st-2nd July 1833, 1st day of sale, lot 128;Collection of William Leaf (d.1874) of Park Hill, Streatham, by 1862,His Sale, Christie's, London, 7th May 1875, lot 376, bt. Agnew for £168;Collection of Sir Joseph Heron (1809-1889),His Sale, Christie's, London, 9th June 1890, lot 75, bt. Walford for £29 8s.;Collection of David Jardine (1827-1911) of High Lee, Woolton, Liverpool,His Sale, Christie's, London, 16th March 1917, lot 58, bt. "AJG" according to a label affixed to the reverse (possibly a member of the Gibson family);The Hon. Mrs Rupert Blyth (née Charlotte May Gibson, 1891-1956) by 1956, Acquired from her estate by the wife of her cousin George Cock Gibson, Mrs Angela Madeleine Gibson (1896-1993), for £280,Thence by family descentExhibited:London, The International Exhibition, 1st May-1st November 1862, no. 1041 as ‘Chepstow (drawing), lent by W. Leaf'Literature:cf. Copper-Plate Magazine, vol. 2, pl. 67, engraving of 'Chepstow' by J. Storer, published 1st November 1794;Andrew Wilton, J.M.W. Turner: His Art and Life, 1979, p. 311, not illustratedThe present watercolour can be identified with the one previously recorded by Alexander Joseph Finberg (1866-1939) and referred to in Wilton’s catalogue (see Literature, Wilton, p. 311), but which has until now been untraced. In his manuscript card index of Turner’s watercolours in private and public collections, now in the Print Room of the British Museum, Finberg recorded a drawing of this subject and of identical dimensions with provenance to Dr Monro, Leaf and Heron which clearly matches that of the present work. The subject of Chepstow Castle and bridge was one of sixteen scenes commissioned from Turner to be engraved for John Walker’s Copper-Plate Magazine between 1794 and 1798. This was the first time Turner was asked to supply a set of topographical views for a publication. Whilst Turner planned his Midland tour of 1794 with the intention to collect material for this venture, he would have equally drawn on landscape subjects from his earlier tours. No sketches of this composition are known, however, the Turner Bequest, now at Tate Britain, contains two pencil drawings of Chepstow (D40034, D00130) which are dated to Turner’s visit in 1792. The present view was therefore most likely inspired by Turner’s tour of Wales of June-July 1792, which could be considered his first independent tour, or his subsequent 1793 tour of the Welsh Marches which took him to many places he had visited the previous year, including the Wye valley. The tours provided Turner with the raw material from which he could develop his subjects in watercolour in his studio on his return to London. This composition is known to exist in two versions with significant variations - the present, larger and noticeably more finished version dated 1794; and another, smaller (20.3 x 29.7cm) and undated version which is now at the Courtauld Institute of Art Gallery, London (D.1974.STC.1). The differences can be observed in the arrangement of the boats, the detailing of the town and castle, and the position of the figures on the bridge. Both versions also appear to differ, to a varying extent, from the engraving of this subject by James Storer for the Copper-Plate Magazine (see Literature), though the Courtauld version is more like the subject for the engraving (see Wilton, p. 311). The present version, being large-scale and highly worked up, might have been intended as a presentation piece to a patron, such as Dr Thomas Monro who was to become one of Turner’s most important patrons. We are grateful to Andrew Wilton for confirming the attribution first hand and for his assistance with this catalogue entry. Examined out of frame.Some discolouration, especially in the sky area. Light, even fading. Paper is slightly cockled. Slight crease in the centre. Slight exposure mark and burn visible on two sides from old wood pulp mount. A few rust spots in the sky which have been retouched. A bit of skinning to the paper top right corner, which has been retouched. Masking tape used as dust seal from the glass round the back of the mount. Paper debris on the reverse. Small areas of skinning to the reverse. Inlaid into good quality paper. White pigment filler around the edges. Traces of gold around the edges indicate a past gold mount. Previously treated for foxing.Acid free mount. Low reflective glass. Very thin back mount. Poor quality frame backboard. Oil gilded wood frame by Walker's Galleries. Framed 51.5 x 61cm.
§ Ernest Howard Shepard (1879-1976) Original endpapers illustration for Let's Pretend by Georgette Agnew, first published in 1927inscribed with faint printing instructions (top right) and the artist's address (on the reverse)pen and ink over pencil heightened with white on paper26.5 x 36cmProvenance:Believed to have been acquired during or after WWII by the great-aunt of the present owner Framed 28.5 x 38.2cm
A pair of green Toleware tea cannisters, 19th century, each with pierced cover and chinoiserie figural design in black and gilt, numbered '2' and '5'43cm highThe first canister has chipping to the paint in various areas with fading to some of the existing paint. A scratch and dent on the left-hand side - see images. Modern plastic stopper to the top with loss to the larger one. The second canister has losses to both stoppers with rubbing removing paint around these areas - slight dent to this area loss to paint on the exterior with fading to paint. Markings and staining throughout commensurate with age and use. Collection of dirt around the rims and rust to the interior and bases.
Sir David Wilkie, RA (1785-1841) Portrait of Andrew Christie (1788-1821) of Pitlessie, Fife, standing half-length in a landscape, holding his hat in his right handinscribed “[N.B.] / Captain Andrew Christie / of Pitlessie, Fife / when 17 years of age” (on an old label to the reverse)oil on canvas74.5 x 62cmProvenance:By descent in the family of the sitter to Miss Christie of Great King Street, Edinburgh, by 1886 (see Exhibited); With Horsburgh, Edinburgh by 1900 as Wilkie, with its pendant portrait of the sitter's twin brother Charles Christie (1788-1870), when bought by Agnew & Son Sold by them as Raeburn in February 1903 to Calouste Gulbenkian (1869-1955), Reacquired by Agnew & Son from Gulbenkian in December 1903, Sold subsequently to E G Raphael in April 1904, Acquired again by Agnew & Son in December 1904, Sold by them to Captain John Aitken (1863-1924) a descendant of the present sitter’s sister (see Note) in February 1905,Thence by descent to the present ownerExhibited:Edinburgh, International Exhibition of Industry, Science & Art, 6th May-30th October 1886, no. 1550 or 1724 (see Provenance and Note), as 'Portrait of Mr. Christie, son of Mr. Christie, Banker, Cupar, Fife - Sir David Wilkie, R.A.', lent by Miss Christie of 26 Great King Street, Edinburgh Literature:Allan Cunningham, The Life of Sir David Wilkie: With His Journals, Tours, and Critical Remarks on Works of Art; and a Selection from His Correspondence, 3 vols., published posthumously J. Murrey 1843, p. 67To be included in the forthcoming catalogue raisonné of Sir David Wilkie’s works by Hamish Miles, currently being edited by Alex Kidson.We are grateful to Alex Kidson for identifying the present lot as the previously lost portrait of Captain Andrew Christie and pointing out that this was first recorded by the artist's biographer Allan Cunningham (1784-1842) shortly after Wilkie's death. In his Life of Sir David Wilkie (see Literature), Cunningham lists portraits of the "two sons of Mr.Christie, banker in Cupar" in a context implying a date of about 1804 for both. The sitter, Andrew Christie (20th Sept. 1788-1821) was the son of Andrew Christie (1765-1831) of Ferrybank, a Provost of Cupar and a banker, and Margaret Dempster (1769-1842). He was commissioned into the Honourable East India Company and departed for India, where he arrived on the 16th of May 1806, dying there in 1821. These circumstances along with Wilkie’s departure for London in the spring of 1805 must explain the unfinished state of the portrait. Its pendant portrait (see Provenance & Exhibited) of the sitter's twin brother, Charles Christie (1788-1870) (see illustration) was however completed and is now in the Philadelphia Museum of Art where it was long considered to be by Raeburn. When that picture along with the present portrait were acquired from Horsburgh (see Provenance) in 1900 by Agnew, the latter’s stock books show that they initially recorded both portraits as by Wilkie, only later however crossing out the attribution and amending it to Raeburn. A portrait of the sitter’s brother-in-law’s brother, Alexander Aitken (see Provenance) was also painted at this period by Wilkie, which picture remained with his descendants until sold at Sotheby’s on 13th April 1994 (lot 34). It was then resold at Sotheby’s on 11th June 2020 when it realised 30,000 USD (with premium). The current owner of this lot is descended from Jane Christie, the sister of the sitter in the present portrait. The painting is executed in oil on a canvas support which has been lined. The canvas has deformations across the surface, notably at the upper left corner. The lining canvas is brittle at the tacking edges. The painting has suffered from knocks with a few small holes and circular impact cracks. The painting is unfinished but may also have been overcleaned, there are areas of abrasion in some of the thicker paint passages. The painting has an uneven varnish layer with some glossy, vertical drips of yellowed varnish. In other areas there is a matte haze across the surface. There is a light layer of surface dirt present.
Henry Weigall (1829-1925) Portrait of Lady Rose Weigall (née Fane, 1834-1921) with her childrenoil on canvas56 x 56cmProvenance:By descent in the artist's familyCollection of Paintings by Henry Weigall (lots 124-131)Henry Weigall Junior (1829-1925) was the son of the well-known sculptor and gem engraver, Henry Weigall Senior (circa 1800-1882). He first exhibited at the Royal Academy in 1846 at the age of 17. His notable subjects included the Duke of Wellington (painted from sittings given in 1851) and members of the Royal Family - Albert Edward, Prince of Wales (later Edward VII); Alexandra, Princess of Wales; Princess Mary Adelaide, Duchess of Teck and Princess Frederica of Hanover amongst others. In 1866, Weigall married Lady Rose Fane (1834-1921) daughter of John Fane, 11th Earl of Westmorland (1784-1859) and Priscilla Anne Wellesley-Pole (1793-1879), the favourite niece of the Duke of Wellington. His marriage secured his access to important patrons and solidified his already successful career as a portrait painter of London society and the English aristocracy.Framed 73 x 73cmThe painting is executed in oil on a linen canvas support. The canvas has an artist’s suppliers stamp for William Eatwell, London, on the reverse. The canvas has been extended to create the square format, with a vertical seam running at the right hand side. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. The varnish layer has slightly yellowed with age but is even and glossy. The frame is glazed and the glass is dirty inside and out.
Edgar Rooke (Naive School, 20th century) Still life of Guinness and oysters; and Still life of a chicken, pheasant and vegetables signed and dated 'Edgar Rooke / 1901' (lower right)oil on canvas, unframed45.5 x 61cm, a pairProvenance:Collection of Mike Handford, 'Hillsleigh', Burford, Oxfordshireboth canvases are unlined, and as can be seen from the photos, both of the paintings show significant signs of surface dirt – both to the front and back. A network of small cracks has formed within the darker passages of paint used to describe the liquid within the Guinness bottle in the first painting, and the head of the pheasant in the second. Additionally, the second painting has a small puncture to the canvas, approximately 1cm, upper Centre above the vegetable basket.
Francesco Pascucci (1748 - after 1804) The Adoration of the Shepherds; and The Holy Family beneath a palm tree resting in Egyptthe first signed and dated ‘I. F. PASCVCCI 1779’ (on the manger) inscribed with titles and provenance (on the reverse) oil on canvas 69 x 93.5cm, a pairProvenance: Acquired in Rome in 1826 by Everson Harrisson,Thence by descent to the present ownerFrancesco Pascucci, or Pascuccio, trained in Rome where he became known for painting portraits of foreign visitors, including Oswald von Mering of Cologne (1793), C.W. Schüller of Rotterdam and the French prefect, Fauchet, whose portrait is now in the Musée de Draguignan. Little is known about his life, though it is recorded that he spent part of his career in France. He also painted religious subjects, including the Sacrifice of Isaac and Moses with the Tablets of the Law for Livorno Cathedral, Tuscany, and a few mythological paintings, such as the Capture of Troy in Pisa.Framed 83 x 108cmBoth paintings are executed in oil on coarse weave canvas supports tensioned onto wooden strainers. The paintings are both unlined and old damages and tears have been patched from the reverse with canvas. The canvas tension on both works is poor and there are undulations across the surface. Stretcher bar marks have formed in the paint layers, in some areas the cracks are raised and lifting. Both paintings have a prominent network of age cracks which are pulling the canvas forward. In the painting set outside, the age cracks in the lower half are sharply raised. There is a puncture to the canvas with associated paint loss. In the interior scene, flaking is occurring the upper paint layers in the central figures clothing. Both paintings have varnish layers which appear relatively clear and even. Large but localised areas of overpaint are present on both works, although this is not extensive.
A near pair of mahogany candle stands, early 19th century, the circular tops with height adjustable stems, raised on turned basesmax height 33cmProvenance:Collection of Mike Handford, 'Hillsleigh', Burford, OxfordshireThe first stand (taller one)is structurally loose and has a slight lean. cracking with possible repair to the base of the stem. Cracking near the adjustment screw. Chip to the rim of the stem. The second stand with a slight wobble and chipping to the rim of the stem. Broken top of the stem - see images. Some staining on the top surface. Scuff to the surface throughout with markings and scratches to the surface commensurate with age.
John Ward of Hull (1798–1849) Tilbury Docks; and Greenwich Reachthe first signed with initials 'J. W.' (lower right to the wooden plank)oil on panel13 x 19.5cm, a pairProvenance:The Parker Gallery, London;St Helier Galleries Ltd, Channel Islands, Jersey,Ballykeel House, Hillsborough, Northern Ireland21 x 28cm framedBoth pictures are executed in oil on small wooden panels. The panels and paint layers are in a good stable condition overall. Both pictures have developed a network of even, fine age cracks which would have developed as the paint layer dried. The cracks have been overpainted and the paint has lightened with age, becoming more apparent. The varnish layers are slightly yellowed but even and glossy.
Attributed to William E D Stuart (fl. 1848-1867) H.M.S. Victory engaging the Spanish Vice-Admiral's flagship at the Battle of Cape St. Vincent, 14th February 1797oil on canvas59 x 105cmAfter some early successes, notably the Battle of the Glorious First of June (1794), the war with Revolutionary France and her allies was not going well for Great Britain as 1796 drew to a close. A Franco-Spanish expedition to Ireland was being prepared and the large but undermanned Spanish fleet was ordered to join its French counterpart already making for Brest. The Spaniards, under Admiral de Cordova, put to sea from Cartagena with twenty-seven ships-of-the-line in company with twelve frigates only to find Admiral Sir John Jervis lying in wait for them off Cape St. Vincent. On 13th February Jervis was joined by Commodore Nelson’s squadron and, the following day, he brought the enemy to action in what proved a landmark victory despite the numerical superiority of Cordova’s fleet. Aided by Nelson’s tactical brilliance at a crucial moment in the battle, Jervis decimated the Spanish fleet and forced the remnants to withdraw to Cadiz. Jervis’s flagship H.M.S. Victory emerged triumphant from the action and it was also the first occasion on which Nelson distinguished himself as a commander; eight years thence both ship and man would achieve their immortality.We are grateful to Michael Naxton for preparing this catalogue note.Framed 69 x 115cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is stiff and the picture is in plane. The paint layers are stable and secure. There is a network os age cracks across the surface which are secure. The varnish is clear, even and semi-glossy. There are scattered areas of overpaint which are well matched to the original. The varnish has abraded around the edges and scuffs on the surface now appear white.
‡ Stella R Crofts (1898-1964)Monkey vase,stoneware, covered in a mottled purple and blue glaze,incised Stella R Crofts, 16.5cm. highLiteraturePaul Hughes, Stella's Art, Stella Crofts, Studio Potter, Animal Modeller & Designer, Private press, back cover for a comparable example illustrated. This vase design was first exhibited in 1926.
'Circus' a Clarice Cliff Bizarre entree plate designed by Dame Laura Knight, printed and enamelled with an acrobat resting side-saddle on a horse to the well, the rim a circus audience, in colours, highlighted in gilt, and another 'Circus' entree plate designed by Dame Laura Knight decorated with three performing seals, printed factory mark, first edition and facsimile signature, hairline to well of acrobat plate, 22.5cm. diam. (2)
'Circus' a Clarice Cliff Bizarre dinner plate designed by Dame Laura Knight, printed and enamelled with a rearing performing horse to the well, the rim a circus audience, in colours, highlighted in gilt, printed factory mark, first edition and facsimile signature, scratches to design 25.5cm. diam.
'Circus' a Clarice Cliff Bizarre dinner plate designed by Dame Laura Knight, printed and enamelled with an acrobat resting side-saddle on the back of a horse to the well, the rim a circus audience, in colours, highlighted in gilt, printed factory mark, first edition and facsimile signature, repaired chip to rim,25.5cm. diam.
'Circus' a Clarice Cliff Bizarre tureen and cover designed by Dame Laura Knight, twin-handled form, the handles modelled in low relief with two female acrobats, the cover with a modelled clown finial, the rim a big top audience, printed and enamelled in colours and highlighted in gilt, printed factory mark, first edition, and facsimile signature, 29cm. wide18cm. high, (2) ProvenanceApplied Arts, Sotheby's Olympia, 31st May 2007 lot 171 LiteratureFay Blanchard & Anthony Spira, Laura Knight - A Panoramic View, PWP, page 100-101 for a comparable example illustrated.
'Circus' a Clarice Cliff Bizarre side plate designed by Dame Laura Knight, printed and enamelled with two performing horses in the ring, the rim garlands and bunting, in colours highlighted in gilt, printed factory marks, first edition and facsimile signature, 17cm. diam.Catalogue notesThis plate has the impressed date mark for 1934.
'Circus' a Clarice Cliff Bizarre entree plate designed by Dame Laura Knight, printed and enamelled with a performing polar bear on hind legs, standing with a ringmaster, to the well, the rim a circus audience, in colours, highlighted in gilt, printed factory mark, first edition and facsimile signature, 22.5cm. diam. LiteratureThirties, Art Council exhibition catalogue, 1979, page 153 cat. no. 4.105 for a comparable plate.
'Circus' a Clarice Cliff Bizarre side plate designed by Dame Laura Knight, printed and enamelled with two performing horses in the ring, the rim garlands and bunting, in colours highlighted in gilt, and another decorated with a clown in yellow suit, printed factory marks, first edition and facsimile signature, 17cm. diam. (2)ProvenanceApplied Arts Sotheby's Olympia , 31st May 2007 lot 171 (Horse side plate).
'Circus' a Clarice Cliff Bizarre dinner plate designed by Dame Laura Knight printed and enamelled with three performing clowns to the well, the rim a circus audience, in colours, highlighted in gilt, and another 'Circus' dinner plate decorated to the well with three female acrobats juggling printed factory mark, first edition and facsimile signature, 25.5cm. diam. (2)
‡ Richard Bawden RWS NEAC RE (born 1936)View Through a Windowaquatint on paper, framedsigned Richard Bawden, titled and numbered 39/10081 x 63cm (framed)61 x 39.5cm (image) ProvenanceThe Estate of Richard Batterham. Catalogue notesRichard and I first met when we were nine, at a small school in the Winterborne valley, just over the hill from Durweston.Our friendship continued at Bryanston, where we both enjoyed working in the pottery.After school we always remained in touch, and I am godfather to his eldest child, Annabel.As we both became settled in our creative life a great respect for each others work grew year by year.We often chatted about our current projects and I was impressed how Richard always stressed the joy of ‘making’Though so different we both understood the importance of design, colour and perfecting technical skills: whether starting with a lump of clay or a sheet of metal, we each worked through the creative process, until finally the kiln was opened or the paper lifted from the plate.The many pots I have, and use daily, remind me of Richard and our lifelong friendship Richard Bawden, 2022.
'Circus' a pair of Clarice Cliff Bizarre side plates designed by Dame Laura Knight, printed and enamelled with two performing horses in the ring, the rim garlands and bunting, in colours highlighted in gilt, printed factory marks, first edition and facsimile signature, 17cm. diam. (2)ProvenanceApplied Arts, Sotheby's Olympia, , 31st May 2007 lot 171
SIR WILLIAM CHARLES ROSS (1794-1860). Portrait of John Arkwright; and of his wife Sarah, both seated three-quarter length, he wearing a black coat, she in a lace-trimmed dress, on ivory, 7 x 5¼in; a pair. (Ivory Reference Nos PK1Y43W9 and 9JGKYAWX) Both miniatures are said to date from 1854. Provenance: Kinsham Court, Presteigne, Powys.John Arkwright first moved to Hampton Court, Herefordshire in 1814, though he didn't formally inherit the Hampton Estate until his father's death in 1843In 1830, John married his wife Sarah, the daughter of Sir Hungerford Hoskyns Bt. of Harewood Park, Herefordshire. In the following years they were to have 12 children.Sarah Arkwright was twenty-three years younger than John, which wrote the wife of the vicar of Bodenham, some thought 'unfortunate ..persons who know her say her manners are artificial and that she has a very high spirit...but love is blind they say & Miss H is young and pretty looking '
Fine Rolex Oyster Perpetual Submariner (meters first) stainless steel gentleman's wristwatch, ref. 5513, serial no. 1125xxx, circa 1965, 'Swiss-T-Movement -currently functioning.Dial - very nice and clean gloss, couple of surface marks and some wear to the dot markers - see image.Glass - minor light surface marks.Hands - mild surface marks.Case - scratch to the bezel at the twelve position - see image, general light surface marks.Crown - adjusting correctly.Bracelet - generally good, a few light marks, wrist size 7.5'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
William Morris (1834-1896) for Morris & CoPair of 'Tulip and Rose' pattern hangings, design registered 1876Woven woollen 3-ply cloth, later-applied rope braidingUnsignedPanel 1: 190cm x 72cm, panel 2: 190cm x 69cm.ProvenanceThe property of John Kenworthy-Browne FSAJohn Kenworthy-Browne is an art historian specialising in architecture and sculpture, principally from the neoclassical period. He was educated at Ampleforth College and Wadham College, Oxford, followed by the Courtauld Institute in London. John was the first National Trust curator at Dyrham Park, Gloucestershire, which he opened to the public in 1961. The Queen Mother visited Dyrham on 16th March 1962, and she was pictured with him outside the Assembly Rooms during the visit. After his time at Dyrham, John joined Christie’s where he catalogued furniture, and it was at Christie’s that he first became fascinated with sculpture. John has published numerous articles in Apollo, Burlington Magazine, The British Art Journal, Sculpture Journal and Country Life. He wrote the sculpture entries for The Age of Neo-Classicism Exhibition in 1972. He also published Chippendale and his Contemporaries (1975), and he was the co-author of Three Centuries of Furniture (1972) and The Country House Guide (1979). His work on a publication on the British sculptor Joseph Nollekens was cut short by an accident, and it is for John’s care that the present lot is being sold. LiteratureLinda Parry, William Morris Textiles, 1983, page 148 catalogue number 12 for an example in a different colour scheme.FootnoteSimilar panel held at the Cooper Hewitt, Smithsonian Design Museum, New York.
Jean GauthierArt Deco ceiling light or chandelier comprised of a central glass bowl bordered by six fan-shaped panels moulded with stylised flowers and geometric design, circa 1930Gilt metal mount, frosted moulded pressed glass shadesEach of 6 shades moulded to lower border with the signature 'J Robert' and 'FRANCE 1049', the central glass moulded 'E.J.G. 1046 FRANCE'Total height 61cm. Each shade: 22.5cm high, 21cm wide (max). Central hexagonal glass 30cm max diameter, Metal mount 56cm wide.ProvenanceUsed in the vendor's family home in London since the late 1930s/early 40s, in storage for the last ten years.FootnoteJ.Robert is a pseudonym for J. Gauthier based on the street name of his first workshop - rue Jean Robert, Paris.
AMENDED DESCRIPTION - Dan Kelly (b.1953)Footed dish with abstract decoration, 1979PorcelainUnmarked21cm diameter, 5.5cm highProvenanceDan Kelly has advised that this was made for his final show exhibition of his work completed whilst at the RCA. The piece was purchased by Grahame Clarke, who had been his tutor during the period of study 1977-1979.The Grahame Clarke Collection of British Studio Ceramics.The Grahame Clarke collection of British Studio Ceramics (lots 163-179)Grahame Clarke (1942-2014) was a potter, Royal College of Art ceramics lecturer and collector. He was first influenced by such names as Harry Davis, Bernard Leach and Shoji Hamada but rather than producing one-off pieces for display, he focused on producing handmade, usable tableware. In 1974 he co-founded Highland Stoneware in Lochinver, Scotland, and in 1991 founded Grahame Clarke Porcelain, in Norfolk.Grahame graduated from the Royal College of Art in 1962. As a student he assisted Harry Davis at his studios in Cornwall, and after graduation went to Stoke-on-Trent, working for Price and Kensington and Royal Doulton. He also travelled to Denmark to work for Bing and Grøndahl.Later he joined the Royal College as a senior lecturer in glass and ceramics, and worked there for over 20 years. In the ceramics department he worked alongside the artist Eduardo Paolozzi and the pottery designer David Douglas, Marquess of Queensberry. Grahame Clarke’s porcelain combined the durable porcelain body, modelled on 17th-century Chinese pottery, with a free hand-painted style inspired by the Delftware and Lowestoft blue-and-white decorations of the 16th and 17th centuries. He sold work under his own name, as well as producing contemporary design commissions for Heal’s, for the interior designer Jane Churchill and for the tableware retailer Thomas Goode.
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