A collection of costume jewellery to include a gold front/back locket set with small rose diamond on a 9ct gold chain, combined weight approx 5.4gms, gold plated coral earrings, silver jewellery including locket and chain, earrings including stone set versions, pasrt silver buckle, costume rings, together with paste set jewellery to include brooches and necklaces, faux pearls, gilt metal Aulton Lodge 3789 medallion, darted 1948, along with badges including British Legion, Navy, St John Ambulance etc and a silver napkin ring and electro-plated tea pot (1 bag)
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A collection of silver items to include a sporting for Tug of War medallion with gold detail and others, a 1900 Victorian commemorative coin pendant, brooch, silver pocket watch and 800 silver pocket watch, bracelet, crown, ARP badge, ring a/f compass, etc pocket watch a/f white metal chainsFurther details: some items a/f wear and tear commensurate with age
A 9ct bracelet comprising fancy links and padlock clasp, 9ct gold signet ring, initiated A.J, size U1/2, combined weight approx 13.5gms, a 9ct gold stone set dress ring, size P, total gross weight approx 1.8gms and a pearl set Victorian 15ct stick pin with 9ct gold pin, weight approx 1.1gms and a silver ingot on a plated white metal chain (1 bag) Further details: wear and tear commensurate with age
dating: Early 19th Century provenance: Naples, Smoothbore, two-stage, 17 mm cal. barrel, octagonal at the first part marked 'PARIET' under cross and among three gold four-leaf clovers, then round after a smooth and a beaded ring, engraved tang; lock with remains of engravings and brass pan. Slightly sculpted wooden full stock with checkered butt. Brass mounts engraved with floral motifs. Iron ramrod. Slightly damaged and with signs of use. length 32.5 cm.
dating: Mid 19th Century provenance: Paris, Octagonal, blued, rifled, 11.2 mm cal. barrels (clean bores, clearly visible rifling), marked 'F.NI PAR GASTINNE RENETTE', with precision sight, below marked 'L. GHAYE', 'ACIER FONDU', '11,2' and with various marks; tang provided with adjustable and browned rear sight; forward spring locks with smooth lock-plate keeping most of the original bluing, decorated with an engraved rosette at the front; wooden half stocks finely carved with floral motifs in high relief and with checkered butts, marked 'JNI 1' and 'JNI 2' inside. Smooth iron mounts with remains of bluing, ring guards with internal curls and finger supports, blued triggers. Perfect mechanism. In wooden case with brass mounts (the lid with abrasions and crack), covered with green cloth with gold stamp 'GASTINNE RENETTE PARIS', complete with tools and key. Provenance: Wallis & Wallis, 11/12 September 1973. length 42 cm.
dating: late 18th Century provenance: Naples, Smoothbore, two-stage, 17 mm cal. barrel, octagonal at the first part with two marks among gold lilies and silver garlands, then round after rings and with swallowtailed silver foresight; smooth tang. Miquelet lock carved and engraved with floral motifs. Wooden full stock with checkered base and hand rest and grooved butt. Beautiful engraved and partially pierced brass mounts, the counterplate with a lion, the ring-guard with a palmette, the three barrel brackets pierced and engraved with floral motifs. Iron ramrod. length 143 cm.
dating: Second half of the 18th Century provenance: Bologna, Smoothbore, two-stage, 15 mm cal. barrels, round after rings, the upper one with 'PISTOIA' mark under the gold crown and with foresight; tang with two screws. Very long modern-style lock with oblique edges and carved spring, inside one is signed 'SPIRIDIONE' and the other 'BACULINI' (working mechanism). Beautiful briarwood half case (small lacking parts) sculped with lilies and floral motifs, the butt on the right side with two grooves, only one groove on the opposite side; very fine bronze mounts, engraved and partially pierced with floral motifs, the ring-guard with monogram. Under the butt there is a small rosette containing a needle to clean the vents. Two engraved and pierced barrel brackets. Horn-tipped wooden ramrod with iron cartridge extractors. For Spiridione Baculini see Barbiroli page 77 length 139 cm.
dating: 1780 - 1800 provenance: Madrid, Smoothbore, two-stage, 16.5 mm cal. barrel, octagonal at the first part with gold-inlaid Spanish marks among lilies and under cross, then round after a ring and acanthus leaves with (incomplete) silver swallowtailed foresight; engraved tang; engraved and carved lock provided with a gold-inlaid mark. Full stock (small lacking parts) with grooved butt and iron mounts, the ring-guard signed 'FRAN.CO TARGARONA'. Two pierced barrel brackets. Horn-tipped wooden ramrod with iron cartridge extractors. For Francesco Taragona see 'Der Neue Stöckel', vol. II, p. 1266. The skilled gunsmith became Court gunsmith in 1792. length 123.5 cm.
dating: Mid 19th Century provenance: Pistoia, Smoothbore, two-stage, browned, 18 mm cal. barrel, engraved with floral motifs at the base, octagonal at the first part with two gold-inlaid marks among three lilies by a gunsmith from Pistoia (Tuscany, Italy), then round after smooth rings and a beaded one, with silver swallowtailed foresight; engraved tang; backward spring lock engraved with floral motifs. Half stock with checkered, fishbone hand rest and base, butt finely sculpted with a dragon in the lower part and with a trophy on the left side, iron mounts decorated en suite, the butt plate with closed magazine and opening button. Press secure-lock behind the ring-guard. Brass-tipped ramrod with iron cartridge extractor, silver barrel bracket. length 82 cm.
dating: Mid 19th Century provenance: Suhl, Smoothbore, round, 15 mm cal. barrels of fine damask, engraved at the base, rib marked 'I. V. FUNK & SÖHNE IN SUHL' in gold, silver foresight, below marked with serial number '5977', 'SUHL' and with marks; long tang finely engraved and with sight. Backward spring locks decorated with partially gilded and silver-plated hunting scene among floral motifs. Wooden butt checkered at the herringbone base, iron mounts decorated en suite, the tang of the ring-guard is made of sculpted wood. Iron-tipped wooden ramrod with iron cartridge extractors. length 123.5
A Victorian 9 carat yellow gold amethyst and cultured pearl cluster ring. Set to centre with an oval mixed cut amethyst with an approximate carat weight of 4.22 carats, surrounded by twelve round cultured pearls, to tri-split shoulders flowing down to a flat shank. Hallmarked: 375, London,1903. Accompanied by heart shaped box. 4.7g Size L 1/2
Marie Spartali Stillman (British, 1844-1927)The last sight of Fiammetta 'Above her garland and her golden hair I saw a flame about Fiammetta's head' (Boccaccio)signed with monogram (lower right), inscribed on an exhibition label (attached to the reverse)watercolour, bodycolour and gum arabic82 x 62cm (32 5/16 x 24 7/16in).Footnotes:ProvenanceAnon. sale, Christie's, London, 11 April 1967.With Abbott and Holder Ltd., London.Eric Smith (purchased from the above circa 1968).By family descent.Private collection, UK (gifted to the present owner, 2004).ExhibitedLondon, Royal Academy, 1876, no. 757.Manchester, Royal Manchester Institution, Exhibition of the Works of Modern Artists, 1876.Paris, Universal Exhibition, 1878, British Fine Art Section.The present lot has not been seen in public for decades, so it represents a welcome addition to the Stillman's oeuvre, at a moment when her reputation is rising. The finely painted fanciful half-length figure depicts a girl no older than early teens, wearing a rose-garland on her loose hair, who dreamily fingers a rose-entwined mandolin. The feeling is of harmony and repose. Art historian Pamela Gerrish Nunn declared of the work that it 'is surely destined to be regarded as her masterpiece [sic]'.Moreover, it belongs in a sequence of events consolidating the mutual regard between Spartali Stillman and Dante Gabriel Rossetti, as it prompted the last major canvas from the latter before his death in 1882. As observed in the 1989 publication Women Artists and the Pre-Raphaelite Movement, the existence of the present work was then known only from old exhibition catalogue listings. The exhibiting history of the work began at the Royal Academy in 1876. At the time, the significance of this work to Rossetti is indicated by the fact that, eighteen months after the exhibition, he asked Spartali to sit for him for his own version of Fiammetta. Since her reputation as a model has tended to obscure her career as an artist and since she is typically said to owe her pictorial inspiration entirely to Rossetti, it is worth noting that in this case her choice of subject evidently stimulated his own, and that by 'casting' Marie as Fiammetta, so to speak, Rossetti implicitly recognised her choice of the theme. ***Stillman and Rossetti met in the early 1860s, when she decided to pursue art practice, and through her father sought tuition from Rossetti. Given his lack of aptitude, Rossetti sensibly passed the request to Ford Madox Brown, who from 1864 welcomed her for twice-weekly sessions alongside his own children. Brown then encouraged her exhibition debut at the Dudley Gallery in 1867, and became a lifelong artistic mentor. She continued to exhibit after her marriage in 1871 to the American journalist, William Stillman, whose career as a foreign correspondent took the family to postings in Greece (Corfu) and Italy. In winter 1874-5 they visited the US, where her exhibited works were commended by Henry James in Atlantic Monthly and Galaxy. Back in Britain, when not overseas she divided her time between her parents' homes in Clapham and the Isle of Wight. Following his paranoid collapse in 1872, Rossetti stayed mainly at Kelmscott Manor, the secluded country home he leased jointly with William Morris, until in summer 1874 he returned to his London home in Cheyne Walk, and to his art practice. His translations from early Italian poetry, first published in 1861, were re-arranged and re-issued this year. The volume includes examples of Boccaccio's poetry, 'chosen for their beauty alone. Two of these relate to Maria d'Aquino, if she indeed be the lady whom, in his writings, he calls Fiammetta.' More probably, this was a fictive inamorata, the same name – 'little flame' – being given to the protagonist in Boccaccio's Elegy of Madonna Fiammetta, lamenting a faithless lover. Rossetti also used the title for a 'pot-boiler' executed around the same time as Monna Vanna and offered to George Boyce in December 1866.The present work is the first of Stillman's based on Rossetti's translations from Boccaccio, where a sonnet entitled 'The Last Sight of Fiammetta' describes what seems to be the death of the beloved:Round her red garland and her golden hairI saw a fire about Fiammetta's head;Thence to a little cloud I watch'd it fade,Than silver or than gold more brightly fair;And like a pearl that a gold ring doth bear,Even so an angel sat therein, who spedAlone and glorious throughout heaven, array'dIn sapphires and in gold that lit the air.Then I rejoiced as hoping happy things,Who rather should have then discern'd how GodHad haste to make my lady all his own,Even as it came to pass. And with these stingsOf sorrow, and with life's most weary loadI dwell, who fain would be where she is gone.In 1875 the artist sold a Renaissance-style image of her stepdaughter Lisa Stillman under the title Mona Lisa (Royal Academy, 1875, no. 719; Manchester, 1875, 40gns; untraced). So, looking forward to the 1876 exhibition season, a comparable theme was chosen for the present work, borrowing again from Boccaccio/Rossetti and in all likelihood using eleven-year-old Lisa as model. The chosen genre was that described by William Rossetti – pejoratively but accurate - as 'lovely ladies with floral accessories'; derived from Lely's Hampton Court beauties, this format became newly popular and saleable in the late nineteenth century. On 7 January 1876, Stillman ordered from the art suppliers, Robersons, a support of similar dimensions – 31 by 21 ins – prepared to her specifications with board covered in three sheets of paper – two cartridge and one seamless Whatman. This was likely for Fiammetta, because although Stillman was a painstaking artist who typically took a year or more to complete an exhibition piece, the present work has been enlarged with additional strips along the left side and lower edge. While not exact, this surely relates to her Robersons' order on 11 March, for '2 slips of wood fitted with [indecipherable] to fix on edges of drawing board covering with two surfaces of paper', at a cost of four shillings.The brushwork is notably delicate on the figure and mandolin, looser on the upper foliage and very much looser on the added strips. An undated letter from Rossetti to Brown mentions that the frame, with its reeded edge and 'Pre-Raphaelite' roundels, cost £3.10s. So, the enlargement probably relates to the availability of this frame. The picture was submitted to the RA in April. Accepted and hung, it was catalogued as 'no. 757 / The last sight of Fiammetta / Above her garland and her golden hair / I saw a flame about Fiammetta's head. – Boccaccio.' It was listed under the name 'Miss M.S.Stillman'. Amidst the scores of landscapes and still lifes in this section, it was favourably commended by W.M. Rossetti in his role as art critic, as 'one of the genuinely fine works of colour in the exhibition – warm, soft, pure flesh tints, admirably supported by the general colour scheme, the copper-yellow hair garlanded with red and pink roses, the charmingly-painted mandoline, the embowering foliage.' The overall standard at the RA that year was however not the most commendable. In 1877 Sir Coutts Lindsay launched his rival fine art show at the Grosvenor Gallery, and maybe on the strength of Fiammetta, Marie Stillman was one of two women invited to exhibit at the inaugural exhibition. Subsequently it was selected for the British Fine Art section of the Paris Universal Exhibition in 1878. Around this time, it was photographed and reproduced as a large-size sepia print, one copy being in the Bancroft Collection at Delaware Art Museum.The work also prompted Rossetti to renewed effort, despite poor health and very low spirits... For further information on this lot please visit Bonhams.com
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