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![A 9ct yellow gold gate link bracelet (A/F), 7.1 grams. [W]](https://cdn.globalauctionplatform.com/ded3b404-50c1-43db-8cd0-b11e0116b03f/9cb01041-dbf8-404c-bb54-b15600f0fe50/468x382.jpg)
![A yellow metal (presumed 9ct) gate link bracelet, 19 cm (l) with 9ct gold padlock clasp, 15.9 grams. [W]](https://cdn.globalauctionplatform.com/ded3b404-50c1-43db-8cd0-b11e0116b03f/b928fb41-c53a-4b3a-b8fb-b14c009da2ff/468x382.jpg)
Lot 150
Mounted 1910 Sovereign on 9ct Gold Gate Bracelet with Padlock & Safety Chain. The gate bracelet is hallmarked "375" for 9ct Gold and the padlock is hallmarked "375" for 9ct Gold. The width of the bracelet is approx. 25mm. The bracelet is in good condition commensurate with the age of the piece. The total gross weight of the bracelet with the Sovereign is approx. 28 grams.
Lot 69
Selection of 9ct Gold Jewellery. To include two 9ct Gold chains, a 9ct Gold Gate Bracelet, a pair of 9ct Gold Hoop Earrings, an Unmarked Yellow Metal Maltese Cross Pendant and a 9ct Gold Sapphire & Diamond Illusion Set ring. Ring size Q. One of the 9ct Gold Chains measures approx. 23 inches in length and the other measures approx. 20 inches in length. Total Gross Weight of the 9ct Gold Jewellery is approx. 26.7 grams.
Lot 121
Selection of 9ct Gold Jewellery. To include a 9ct Gold Multi-functional Cameo Brooch/Pendant, 9ct Gold Gate Bracelet and a fine 9ct Gold Curb Link chain. The 9ct Gold Multi-functional Cameo Brooch/Pendant is hallmarked '375' for 9ct Gold. The Brooch/Pendant measures approx. 2.5cm x 2cm. Total gross weight of the Brooch/Pendant is approx. 4.73 grams. The Brooch/Pendant is in good condition. Fastening is good. The 9ct Gold Gate Bracelet has a Heart Padlock with safety chain (broken). The padlock is hallmarked '375' for 9ct gold. The width of the bracelet is approx. 9mm. The bracelet measures approx. 7 inches in length. Total gross weight of the bracelet is approx. 5.12 grams. The 9ct Gold fine Curb Link chain is hallmarked '9ct' on the fastening for 9ct Gold. (Tangled). The chain is approx. 19 1/2 inches. The 9ct Gold chain weighs approx. 1.69 grams. Total gross weight of the 9ct Gold Jewellery is approx. 11.54 grams.
Lot 73
Two pieces of 9ct Gold Jewellery. To include a 9ct Gold Circle Discs Bracelet and a 9ct Gold Gate Bracelet. The 9ct Gold Circle Discs Bracelet measures approx. 7 1/4 inches. The 9ct Gold Gate Bracelet measures approx. 7 inches long. Total gross weight of the 9ct Gold Jewellery is approx. 10.5 grams.
Lot 82
Vicerregal School. Cuzco. Peru. 18th century.“Our Lady Immaculate and Pure, with some of the Litanies of Loreto"Oil on canvas.179,5 x 130,5 cm.It has not been possible to attribute this painting to a particular artist, but it is undoubtedly the work of a master. One only has observe the beauty of the Virgin Mary's face and the portraits of the saints at her feet.This is a spectacular Cuzco canvas representing the Immaculate Virgin Mary ascending to the heavens on a half-moon and stamping on evil, amidst a choir of angels that display some of the names, invocations, or honorary titles given by the holy Fathers, extolling her dignity. With them, her person is honoured and her powerful intercession is invoked.Below, Saint Peter and Saint Anthony of Padua are in prayer. These were possibly the saint names of the donors who commissioned the painting.Surrounding Mary are some of the litanies of the Blessed Virgin Mary.On the left, above: MYSTICAL ROSE: ("...like a plant of roses in Jericho," Ecclesiasticus 24:14. Mary is the rose of Jericho that had primacy over the others for its magnificence, its rare form, and its exquisite scent; and the rose bushes grew like trees.) MIRROR OF JUSTICE: ("She is a mirror of the eternal light, a spotless mirror of God's activity, an image of His goodness," Wisdom 7:26. Justice here is almost equivalent to the word holiness, of perfection, and supernatural goodness.)In the arms of an angel, a TREE, a CEDAR, "I have grown as a cedar in Lebanon" (Ecclesiasticus 24:17). The incorruptible cedar is a symbol of chastity. "A shoot will come up from the stump of Jesse; from his roots, a Branch will bear fruit" (Isaiah 11:1).GATE OF HEAVEN ("And he was afraid and said, 'How dreadful is this place! This is none other than the house of God, and this is the gate of heaven!'" Genesis 28:17. Because it was through her that Our Lord Jesus Christ passed from Heaven to earth).On the right, another tree, THE OLIVE: "...like a beautiful olive tree in the fields" (Ecclesiasticus 24:14).Below,TOWER OF DAVID ("Your neck is like the tower of David, built with elegance" Song of Songs 4:4. A strong and beautiful construction that rose above the peak of a mountain built by King David for the defence of the city of Jerusalem. The Blessed Virgin Mary who rises sublime above the summit of all beauty and perfection, for the defence of the holy Church of God, the mystical Jerusalem.) FOUNTAIN: ("Fountain of gardens, a well of living waters, and streams from Lebanon" Song of Songs 4:15).Upper right:LILIES OF THE FIELD ("Like a lily among thorns, so is my love among the daughters" Song of Songs 2:2).Below, the PALM TREE, or patient palm in pain ("I have grown tall like a palm tree") Ecclesiasticus 24:14. Mary evokes the palm branches of Jesus' triumph in Jerusalem (John 12:13), a foreshadowing of his triumph with all the elect ("There was a great multitude that no one could count, from every nation, tribe, people, and language, standing before the throne and before the Lamb" Revelation 7:9). The palm, a sign of a victory achieved through perseverance in the struggle and enduring pain with fortitude, steadfastly, like Mary at the foot of the Cross.HOUSE OF GOLD, (the most beautiful of all metals, the one with the most value, because its virtues and purity have a transcendental brilliance and a dazzling perfection, are like an admirable work made of the purest gold.)And the 4th tree, CYPRESS: "...like a cypress on the mountains of Hermon" (Ecclesiasticus 24:13).Below,THE WELL: "...a well of living waters" Song of Songs 4:15. and TEMPLE OF THE HOLY SPIRIT: "Do you not know that your bodies are temples of the Holy Spirit?" 1 Corinthians 6:19.This lot is imported and therefore has a guaranteed export license from the Spanish Ministry of Culture.
Lot 278
Fremantle (Lady Isabella) Original sketchbook album with 103 drawings from a trip from England to Spain, via Ireland, France and Italy, including a view of Clapham Church and Stanhope Gate, and studies from Ghent, Luxembourg, Valencia, Sagunto, and Seville amongst others, pen and inks, some annotated and locations identified with dates, most on album leaves, some tipped into album, each leaf approx. 120 x 160 mm (4 3/4 6 1/4 in), scattered minor spotting, contemporary green half morocco, spine lettered in gilt '1866-1868', scuffed, oblong 8vo, 1866-1868; together with a fine scrap album containing 70 landscapes, including one of 'Galileo’s Tower, on the Arno, signed 'Elizabeth Anderson, York, April 29th 1843', 4to, [c. 1830s-1840s] (2)
Lot 2186
Omega gentleman's 9ct gold manual wind presentation wristwatch, silvered dial with baton hour markers and date aperture, on 9ct gold gate bracelet strap hallmarkedCondition Report:Approx 46.1gm (including movement) bracelet non magnetic, movement functioning, back case not removed, case inscribed 'Esso Petroleum from the Directors 25 years service...14.4.83', dial with some very light marks (mainly to edge) otherwise good, hands moving freely, length = 18.5cm, case diameter = 33mm
Lot 8
NIKOS ENGONOPOULOS (1907-1985)Paysage signé en grec et daté '66' en bas à droitehuile sur toile 32 x 23 cm. (12 5/8 x 9 1/16in.)Peint en 1966. signed in Greek and dated '66' lower rightoil on canvasFootnotes:LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 202, p. 241 (illustrated), p. 409 (catalogued, discussed and illustrated).A remarkable recent find, Paysage showcases the painter's life-long fascination with Greek architecture. As noted by his first wife, artist Nelli Andrikipoulou, 'these works were such accurate representations and, at the same time, personal interpretations of reality that [the architect] Dimitris Pikionis justly called them 'psychographs of buildings'. They truthfully reflect Engonopoulos's inner beauty and graciousness.'¹ Captured in fiery red and diligently rendered, the stately mansion—a characteristic example of late Athenian neoclassicism²—dominates the left part of the painting, while on the right middleground an enigmatic gate-like structure with a yellow curtain thrown over it conveys a pronounced sense of theatricality. As noted by art historian P. Rigopoulou, the artist never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting.³ ¹. N. Andrikopoulou, 'Unknown Aspects in the Life and Work of Nikos Engonopoulos' [in Greek], Lexi magazine, no.77, September 1988, p. 654.². See E. Benisi, Nikos Engonopoulos and Cityscapes [in Greek], doctoral dissertation, vol. 1, Athens 2002, p. 79.³. P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou - A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 21
POSTCARDS - STAFFORDSHIRE, DERBYSHIRE, NOTTINGHAMSHIRE, LEICESTERSHIRE & LINCOLNSHIRE Approximately 158 cards, including real photographic views of Elston (three different); Market Square, Nottingham; Nottingham Road, Kegworth; Satley; The Spot, Derby; Queen Square, Wolverhampton; High Street, West Bromwich; Dartmouth Square, West Bromwich; High Street, Uttoxeter; The Royal Brine Baths, Stafford; Open Market, Wolverhampton; and Dudley Street, Wolverhampton; with printed views of High Street, Burgh (two different); Victoria Road, Netherfield; Carter Gate, Newark; Stodman Street, Newark; The Technical School, Leicester; High Street, Market Harborough; Compton Ashbourne; The Cornmarket, Derby; Offices and Works, Messrs Siemens & Co., Stafford; Chugborough Tunnel near Stafford (L. & N.W.R. Official); the Crooked House, Himley; and others, (box).
Lot 162
A suite of carved coral jewellery, comprising a necklace, bracelet, brooch, pair of earrings and two stick pins, all carved with female masks and fruiting vine, the necklace with carved cherub and chain baton links hung with urn and grapes pendant drops, the bracelet of gate link design, the clasp carved with female mask flanked by Bacchus masks, all with unmarked yellow metal mounts (earring backs stamped 9ct), necklace length approx 39cm. (7)The necklace has one section snapped, and a couple of the pendant urns are detached. The brooch also has some detached pieces, there are several small loose pieces and minor damages and chips.
Lot 280
ATTRIBUTED INNOCENZO SPINAZZI (1726-1798) ITALIAN, FLORENCE, CA. 1775 PAIR OF CAPRICORNS Marble each 115 by 154cm Provenance: Possibly commissioned by Grand Duke Pietro Leopoldo (later Emperor Leopold II) for a scheme in the Boboli Gardens, Florence With Giovanni Pratesi Antiquario, 2011 These outstanding marble Capricorns are exceptional for their size, quality and condition, as well as for the rarity of the subject matter in Italian sculpture. The model originates in 16th century Florence, created to decorate monumental gate posts in the Boboli Gardens, the famous park connected to the Palazzo Pitti. Attributed to a sculptor from the circle of Bartolomeo Ammannati (1511-1592), they flank the entrance to the Isola, a part of the gardens that has Giambologna's magisterial Oceanus fountain at its centre. The Capricorn was an important emblem for Cosimo I de' Medici (1519-1574), for whom the star sign was ascendant, and its use here may have been an homage to Lorenzo il Magnifico, the late 15th century Medici ruler, who was born on 1 January 1449, making him a Capricorn. By the middle of the 18th century, the Boboli Gardens had fallen into disrepair. With the arrival of the Lorrainese Grand Duke Pietro Leopoldo (later Emperor Leopold II) at Florence in 1770, a programme to restore the Gardens was initiated. The commission given to Innocenzo Spinazzi is documented between 1775-1777. The Roman sculptor was required to repair, copy and restore the sixteenth century Capricorns, which were eventually reinstalled in the Boboli Gardens. The Capricorns are the crowning achievement of Spinazzi's work in the Boboli Gardens project and this aspect of his career has been studied in depth by Prof. Gabriele Capecchi, who has written extensively on the Boboli Gardens and has authored a volume dedicated to these Capricorns that details all the related documents and to which the present text is indebted. Capecchi has published a series of documents issued by the Scrittoio della Fortezza e Fabbriche in the 1770s which relate to the programme of restoration in the Boboli Gardens. A document dated 27 January 1776 describes the Vasca detta dell'Isola that needed restoration to the sculptures, which included four Capricorns described as by Giambologna and his assistants; Capecchi attributes them to the circle of Ammannati, a contemporary of Giambologna. This document details how two of the statues had been delivered to Spinazzi's studio to be repaired and specifies that two casts were to be taken, from which four statues were required to be made. The documents go on to specify the high quality marble needed for these new copies which was to be brought directly from Carrara, because the quality of the existing marble in the warehouse at S. Lorenzo was inadequate. The documents note that Spinazzi was working on this commission with an assistant, Giuseppe Belli, and the plaster casts were made by the specialist craftsman, Niccolò Kindermann. By July 1777, the initial plan to replace the 16th century Capricorns with new ones was altered, presumably due to pressure of time and lack of funds, in favour of restoring the original marbles by adding new heads, horns and tails. The four restored statues were transported back to the Boboli Gardens and reinstalled on 26 August 1777. The present pair of marbles fit with the description of the Capricorns in these documents. It is apparent, however, that they vary in many details from the existing Capricorns in the Boboli Gardens. The carving of the hair on the heads, the anatomy of the mouths and the carving of the eyes are all different. It is notable that the tails differ between the four existing Capricorns in the Boboli Gardens, two having their tails pointing down and two pointing up. The present Capricorns are consistent with the latter. These inconsistencies bring into question which animals in the Boboli Gardens are the work of Spinazzi, Harwood and Capezzóli, and why the present marbles are different. In approaching the commission to restore and copy the Capricorns, Spinazzi brought a wealth of experience he had gained working with ancient sculpture in Rome, which had surely recommended him to the Grand Duke five years previously. Certainly, he was a skilled restorer of ancient Roman statues, and made exact, high quality copies. The Capricorns are of the same genre, but distinct in their animal subject matter. Here, his source is not Antiquity, but a 16th century model. In the late 18th century, the Boboli Capricorns were believed to be by the great Giambologna, whose sculptures were reproduced for the Grand Tourists with the same reverence afforded to antique marbles. It is natural, then, that Spinazzi would have approached his commission first to copy and then to restore the Capricorns with great respect to the originals. This may account for the clear differences between the heads of the Capricorns in the Boboli Gardens and the present pair: the eyes of the animals in situ are un-carved; the form of the snout and tail are different; the hair is depicted with shorter, more deeply carved curls; and the handling of the mound of rocks is also quite different. So, for his restoration, Spinazzi appears to have reproduced the style of the 16th century Capricorns in the parts he added, and these additions vary from his own interpretation shown in the present Capricorns. Condition Report: These were placed into storage by Count Manfredi. When removed for sale they were found to have become very dirty from warehouse dirt and dust. Accordingly, they have been lightly cleaned back to approximately where they would have been when purchased from Giovanni Pratesi Antiquario in 2011. The surface suggests that they have only ever spent a limited time outdoors with small old stains from conservatory/orangery damp and plants. There have been restorations to: three front legs, 3 horns, tips of hooves, ends of tails, some mid-section body scales (most visible under strong light or UV). Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 232
A collection of Border Fine Art Beatrix Potter figures comprising five Limited Edition figures including Peter's Hiding Place, Peter Squeezed under the gate, Peter in the wheelbarrow, Peter Rabbit in Mr McGregor's Garden, The Tale of Peter Rabbit Tableau and smaller figures and five tins with figures Condition Report:Available upon request
Lot 758
A modern oak two drawer side table in the 18th Century manner, the two drop leaves raised on turned supports to block feet, united by an undertier, 154 cm wide x 45 cm deep x 76 cm high, together with an oak oval gate-leg drop-leaf coffee table as an 18th Century wake table, 122 cm wide x 90 cm deep x 43.5 cm high, an oak open bookcase with adjustable shelving on bracket feet, 84 cm wide x 26.5 cm deep x 104 cm high and a circa 1900 satin walnut chest of two short over two long drawers, 91 cm wide (4)
Lot 718
A 19th Century mahogany side table, the plain top with cross banded edge over two end drawers on square tapered legs 59 cm x 47.5 cm x 72.5 cm high together with a stained beech framed embossed leather top stool in the Flemish taste, a small oak oval gate leg drop leaf tea table, a mahogany drop leaf occasional/coffee table, a fan marquetry inlaid pedestal wine table, two caned seated bar back bedroom chairs and a pierced brass fender and a modern rectangular gilt framed wall mirror
Lot 78
A collection of jewels, comprising: two 9ct gold gate bracelets with heart padlock clasps, British hallmarks; a 9ct gold chain necklace, length 70cm, British hallmarks; a 9ct gold bangle, British hallmarks; a 9ct gold wedding band, size J1/2, British hallmarks; a 22ct gold wedding band, size I, British hallmarks; a gold bangle, stamped K18; and a five-stone diamond ring mounted in gold, size Q, combined gross weight 53 grams
Lot 423
Scarce Westley Richards Percussion Monkey Tail Artillery Breech Loading Carbine .451 cal., 19 1/2 inch, rifled, blued barrel. Front blade sight. Rear ladder sight. Top of barrel marked "Whitworth Patent". Square section breech with rear, lift up monkey tail loading gate marked "Westley Richards & Co". Case hardened, military pattern lock plate marked "Westley Richards & Co" dated 1867 within a triangle. Percussion hammer. Polished, full stock woodwork. Rear stamped "F.A.1886" (Field Artillery). Brass butt plate, trigger guard and end cap. Rear, steel sling swivel and front barrel band with side bayonet bar and lower sling swivel. Steel ramrod. See British Non Ordnance Military Carbines 1750-1900 for a similar example. PAYMENT ON RECEIPT OF INVOICE PLEASE. BACS ONLY - NO CARDS ACCEPTED
Lot 232
TWO TRAYS OF PLAYWORN DIECAST VEHICLES, to include a Matchbox king size Refuse Truck, No. 15 Merryweather Fire Engine, Peardrax London Trolleybus and other matchbox buses and cars, Dinky Telephone Service Van 261, Routemaster Bus 289, Tonka buggy, etc and other models such as Lledo, EFE,Halsall Teamsters, Maisto, Bburago, Gate etc, some in a more worn condition than others
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48016 item(s)/page