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Lot 24
Quantity of six First World War British medals to include 1914-15 Star, impressed to 74139 Gunner C Ince, Royal Field Artillery, 1914-15 Star impressed to 45781 Driver P Hert, Royal Field Artillery, 1914-15 Star impressed to 2959 Pte J Mason, Middlesex Rgt, 1914-18 War medal impressed to W.Z. 5283 Ord G E Gouch, Royal Navy Volunteer Reserve, 1914-18 War medal impressed to Alfred Rayner, Mercantile Marine medal, 1914-18 War medal impressed to K 40686 Stoker M. Elliott (6)
Lot 209
Four vintage boxed Matchbox diecast vehicles to include 2x K-14 Taylor Jumbo Cranes (both in excellent little used condition, boxes excellent for age), an M-2 Articulated Freight Truck (model excellent condition, box fair missing end flaps) and an M-1 BP Petrol Tanker (model good, box fair missing end flaps)
Lot 481
An 18 Carat White Gold Diamond Two Row Ring the graduated old cut diamonds in white claw settings, to a plain polished shank, total estimated diamond weight 1.55 carat approximately finger size MThe ring is in good condition. It is hallmarked with sponsor's mark 'RH', Birmingham, 1988. The approximate qualities of the diamonds are; colour I/J/K, clarity I1/I2/I3. Gross weight 9.9 grams. CR made 26.07.23.
Lot 421
A Pair of Diamond Cluster Earringsthe pear shaped motifs set throughout with round brilliant cut diamonds in white claw settings, total estimated diamond weight 1.80 carat approximately, with screw fittingsmeasure 1.7cm by 1.3cmThe earrings are in good condition. They are stamped '9CT' and in our opinion would test as gold. The approximate qualities of the diamonds are; colour I/J/K, clarity I1/I2/I3. Gross weight 7.0 grams. CR made 31.07.23.
Lot 454
An 18 Carat Gold and Diamond Three Stone Ring, finger size N1/2; and An 18 Carat Gold Aquamarine and Diamond Triple Cluster Ring, finger size ODiamond three stone - In fair condition with nibbles to the girdle of the central stone, hallamarked 'MJM', Sheffield (import), 1986, approxiamte qualities of the diamonds are; caratweight 0.25, colour I/J/K, clarity SI1/SI2/I1. Aquamarine - In fair condition with slight abrasion to facet edges, hallmarked but the sponsor's mark is illegible, London, 1988, the approximate qualities of the diamonds are; caratweight 0.25, colour I/J/K, clarity SI2/I1/I2. Gross weight 5.7 grams
Lot 432
~ A 9 Carat Gold Bird Pendant, measuring 3.4cm by 2.7cm; A 9 Carat Gold Russian Band Ring, finger size I1/2; Two Twist Band Rings, unmarked, finger sizes N and K; A Fine Twist Band Ring, unmarked, finger size N1/2; and Another Band Ring, stamped 'PLATINUM', finger size K9 carat ring and pendant - 5.4 grams. Three twist band rings - 4.8 grams. White band ring - 2.9 grams.
Lot 420
A Double Row Cultured Pearl Necklace, with An Emerald and Diamond Claspthe 56:59 cultured pearls knotted to a cluster clasp comprising of old cut and rose cut diamonds and rectangular step cut emeralds, in yellow claw settings, total estimated diamond weight 0.10 carat approximately length 38cmThe necklace is in fair condition with damage throughout the emeralds and diamonds. We cannot guarantee the integrity of the string. it fastens with a tongue and box catch. It bears no hallmark nor stamp but in our opinion would test as gold. The approximate qualities of the diamonds are; colour J/K/L, clarity I1/I2/I3. Gross weight 41.0 grams. CR made 24.07.23.
Lot 369
An 18 Carat Gold Diamond Three Stone Ring, finger size M; and An 18 Carat Gold Sapphire and Diamond Five Stone Ring, finger size P1/2Three stone ring - The ring is in fair condition, one diamond is chipped and slight scuffing to the shank, it is hallmarked but the maker's mark is illegible, Birmingham, 1890, the approximate qualities of the diamonds are; caratweight 0.10, colour I/J/K, clarity SI1/SI2/I1. Five stone ring - the ring is in good condition, one stone appears to have been replaced, it is hallmarked with maker's mark 'H&S', Birmingham, 1911, the approximate qualities of the diamonds are; caratweight 0.15, colour H/I/J, clarity SI1/SI2/I1. Gross weight 5.4 grams.
Lot 402
A Sapphire and Diamond Cluster Ringthe oval cut sapphire in a yellow rubbed over setting, within a border of round brilliant cut diamonds, to tapered rope twist design shoulders, on a plain polished shank, total estimated diamond weight 0.35 carat approximately finger size MThe ring is in fair condition with slight abrasion to the facet edges. The shank is stamped to the outside with the French eagle's head, and in our opinion would test as gold. The sapphire measures 6.19mm x 4.42mm x 3.37mm approximately. The approximate qualities of the diamonds are; colour I/J/K, clarity SI2/I1/I2. Gross weight 8.0 grams. CR made 02.08.23.
Lot 365
A Diamond Cluster Ring, the oval cut diamond within an undulating border of old cut diamonds, in white rubbed over and claw settings, to a yellow tapered shoulder plain polished shank, total estimated diamond weight 0.60 carat approximately, finger size OThe ring is in fair condition with slight damages throughout commensurate with age and wear. It is stamped '18CT' and in our opinion would test as gold. Oval diamond measures 6.62mm x 5.53mm x 2.33mm approximately. The approximate qualities of the diamonds are; caratweight 0.70, colour J/K/L, clairty SI2/I1/I2. Gross weight 4.2 grams.
Lot 414
A 9 Carat White Gold Onyx and Diamond Dress Stud and Cufflink Suitecomprising of two dress studs, four buttons and a pair of chain linked cufflinks, the octagonal onyx plaques in white textured borders, with an eight-cut diamond centrally in millegrain settings, total estimated diamond weight 0.20 carat approximately, cased by Wilson & Gill Jewellers, 139-141 Regent Street, LondonThe pieces are in good condition. They are hallmarked with sponsor's mark 'C&F', Birmingham, the dress studs have date letter 1976, the cufflinks have date letter 1979 and the buttons have date letter 1978. The approximate qualities of the diamonds are; colour I/J/K, clarity SI2/I1/I2. Gross weight 12.4 grams. CR made 24.07.23.
Lot 291
A Sapphire and Diamond Three Stone Ring, the emerald cut sapphire flanked by round brilliant cut diamonds in white claw settings, on tapered shoulder plain polished shank, total estimated diamond weight 0.25 carat approximately, finger size LThe ring is in good condition. It bears no hallmark nor stamp but in our opinion would test as platinum. The approximate qualities of the diamonds are; colour I/J/K, clarity SI2/I1/I2. Gross weight 3.7 grams.
Lot 413
An 18 Carat White Gold Diamond Bangle the hinged plain polished back to five tapered bars, with pear shaped pavé set round brilliant cut diamond terminations, total estimated diamond weight 0.50 carat approximately inner measurements 5.9cm by 4.9cmThe bangle is in good condition. It is hallmarked with sponsor's mark 'CAO', Cyprus. The approximate qualities of the diamonds are; colour I/J/K, clarity SI1/SI2/I1. Gross weight 11.7 grams. CR made 24.07.23.
Lot 354
Four Rings, comprising of a 15 carat gold turquoise ring, finger size O1/2; a 9 carat gold turquoise and split pearl cluster ring, finger size P; a 9 carat gold turquoise five stone ring, finger size K; and a 9 carat gold garnet three stone ring, finger size Q1/215 carat - 2.6 grams. Three 9 carat gold rings - 9.2 grams.
Lot 360
A Sapphire and Diamond Three Stone Ring, the square sapphire flanked by old cut diamonds, in white claw settings, to a tapered shoulder plain polished shank, finger size M1/2The ring is in fair condition with abrasion to the sapphire. It bears no hallmark nor stamp but in our opinion would test as platinum. The approximate qualities of the diamonds are; caratweight 0.40, colour I/J/K, clarity SI2/I1/I2. Unmarked. Gross weight 2.9 grams.
Lot 1064
Deckeldose in originaler Holzschatulle Kyohei Fujita Sechseckige Form mit gerundeten Kanten. Farbloses, saeuremattiertes Glas mit eingeschmolzenen Farbkroeseln in Gruen, Aussenwandung mit Kroeseln in Weiss, Hell- und Dunkelgruen sowie mit Aufschmelzung aus gerissener Gold- und Platinfolie. Am Boden sign. ''K. Fujita''; Deckel der Holzbox betitelt, innen sign. und gestempelt. Box mit textilem Verschlussband. H. 7,5 cm (Dose ohne Box).
Lot 892
Weinglas ''Dekor 1907'' Theresienthaler Krystallglasfabrik, um 1907 Farbloses Glas. Kuppa mit geometrischem Liniendekor in Poliergold sowie vier stilisierten Lorbeerkraenzen in gruenem Transparentemail. Fuss- und Lippenrand vergoldet. H. 20 cm. Lit.: K.-W. Warthorst, Die Glasfabrik Theresienthal, S. 92, Abb. 82.
Lot 14
BALTASAR LOBO (1910-1993)Femme assise, mains croisées signed and numbered 'Lobo 2/8' (on the base), inscribed with the foundry mark 'Susse Frères Paris' and stamped with the 'Resyrgam' stamp (on the rim of the base)bronze with dark green patina49.5cm (19 1/2 in). highConceived in 1991, this bronze version cast by the Susse Foundry in 1991 in a numbered edition of 8, plus four artist's proofs.Footnotes:The authenticity of this work has been confirmed by Galería Freites.ProvenanceGalerie Daniel Malingue, Paris, no. 0553 (acquired directly from the artist).Private collection (acquired from the above).Connaught Brown, London.Private collection, London (acquired from the above in 2001).ExhibitedLondon, Connaught Brown, Lobo, Sculpture and Drawings, 2 May – 2 June 2001.LiteratureExh. cat., Baltasar Lobo, Caracas, 1993, no. 37 (another cast illustrated pp. 46 & 47).Exh. cat., Baltasar Lobo, Madrid, 2002 (another cast illustrated p. 35).Exh. cat., Baltasar Lobo, un Español de París, Madrid, 2006 (another cast illustrated p. 71).Exh. cat., L'escultura de Baltasar Lobo, Barcelona, 2006 (another cast illustrated p. 30).K. de Barañano, M.L. Cárdenas & M. Jaume, Catálogo razonado de esculturas de Baltasar Lobo, Vol. II, Madrid, 2021, no. 9115 (another cast illustrated p. 455).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 13
MARIANNE WEREFKIN (1860-1938)Grüner Berg (Kaunas) tempera, chalk and pen and ink on cardboard40.4 x 29.2cm (15 7/8 x 11 1/2in).Executed in Kaunas in 1910Footnotes:ProvenanceAlexander Werefkin Collection (the artist's nephew, a gift from the artist). Anon. sale, Dr Ernst Hauswedell, Hamburg, 19 November 1966, lot 852.Acquired at the above sale by the previous owner; their sale, Hauswedell & Nolte, Hamburg, 17 June 2009, lot 31. Private collection, Switzerland (acquired at the above sale).ExhibitedWiesbaden, Städtisches Museum Wiesbaden, Marianne Werefkin, 1860-1938, Gedächtnisausstellung, 5 October 1958, no. 17 (later travelled to Bonn, Munich, Bremen, Wuppertal, Baden-Baden, Dortmund and Cologne).Wiesbaden, Museum Wiesbaden, Das Geistige in der Kunst, Vom Blauen Reiter zum Abstrakten Expressionismus, 31 October 2010 - 27 February 2011. Bietigheim-Bissingen, Städtische Galerie Bietigheim-Bissingen, Marianne Werefkin, Vom Blauen Reiter zum Großen Bären, 12 April - 6 July 2014, no. 44 (later travelled to Bremen). Melano, Artrust, Marianne Werefkin, I colori di un'anima in viaggio, 10 October - 10 December 2016.LiteratureN. Brögmann, Marianne Von Werefkin, Oeuvres peintes 1907-1936, exh. cat., Gingins, 1996, no. 68 (illustrated p. 96).Marianne Werefkin was one of the few extraordinary women working at the centre of Munich's avant-garde scene at the beginning of the twentieth century. Having grown up in the south of Moscow, receiving a full education, which included music, philosophy, languages, and drawing, she moved to St Petersburg at the age of 25, where she studied painting under Ilya Repin, the most famous of the Russian realist painters. Making connections with the Russian intelligentsia and holding her own salons at her residence, she shared news of the Parisian Impressionists, which she gleaned through her subscriptions of European art magazines. Influenced by her self-initiated exposure to international art, Werefkin diverged from the Russian aesthetic, boldly developing her identity as a cosmopolitan modernist. Indeed, at the age of 28, Werefkin told her father that she 'had never had any of the obsessions of the young society ladies' and was 'not afraid to be judged by society' (T. Malycheva, 'The Cosmopolitan Approach as a Constituent Aspect of Modernist Thought', in Marianne Werefkin and the Women Artists in her circle, Leiden, 2017, p. 71).In 1892, Repin introduced Werefkin to the painter Alexej von Jawlensky and the pair became romantically involved. Albeit an unconventional relationship - which navigated problems such as artistic rivalry and the birth of Jawlensky's son from his affair with his housekeeper, Hélène Nesnakomoff - it was an intense partnership that lasted eighteen years. Following the death of Werefkin's father in 1896, the couple moved to Munich, enabled by the artist receiving a generous pension from the Tsar as an orphaned daughter. A hub for intellectuals and known for artistic experimentation, Munich was the place where Werefkin could make her artistic mark.Werefkin and Jawlensky formed strong friendships with artists such as Wassily Kandinsky and Gabriele Münter and Werefkin continued her role as salon host for artistic friends at her Munich apartment. Aided by her linguistic skills (she spoke Russian, German, English, French, Polish, Lithuanian, and later Italian), she personally encouraged cultural exchange and helped ignite the direction of twentieth century modernism. It was in 1908 when Werefkin, Jawlensky, Münter and Kandinsky spent their first summer in Murnau, painting the Bavarian landscapes in the Expressionist style, which typically involved bold brushstrokes and flat planes of vivid colour. The four artists were founding members of the Neue Künstlervereinigung München or NKVM (New Artist's Association, Munich) in 1909, whose travelling exhibitions made them well known throughout Germany; Werefkin and Jawlensky were then involved and exhibited with the Expressionist group Der Blaue Reiter but were not official members.As the present work shows, Werefkin yielded paintings of captivating graphic power and daring colours. She created a distinctive style by assimilating the 'surface painting' of Paul Gauguin and Louis Anquetin with the ideals of the Expressionist group, which included a desire to convey spiritual truths through their art. Werefkin used planar division to create rhythmic compositions, enhanced by intricate details, which her Expressionist counterparts sought to reduce. In addition to being a prominent exponent of Expressionism therefore, Werefkin's art also belongs to a tradition of figurative symbolism, as she depicted anonymous people to evoke an emotion or mood.Werefkin's paintings often include sweeping landscapes with small figures going about their daily activities, sharing rueful moments of solidarity. The present work depicts the small town of Kaunas in Lithuania, where the artist spent the winter of 1909 and the spring of 1910, visiting her brother Peter who was governor of the town. Similar to Werefkin's powerful work The Black Women (1910), housed at the Sprengel Museum in Hanover, Grüner Berg (Kaunas) is filled with keen observation and sympathy for the local people, who are returning home after a hard day's work, descending the wide road from the hills. The use of tempera and pen and ink reveals Werefkin's close study of works by Paul Gauguin, Henri de Toulouse-Lautrec and Edvard Munch and the influence of Japanese Ukiyo-e prints.Grüner Berg (Kaunas) is a wonderfully meditative painting, one that inspires quietude and reflection. Spiritual and religious sentiments occupy a special place in Werefkin's oeuvre, as she strove to convey human states such as loneliness, suffering, reconciliation, and mortality. By making the local people of Kaunas so small in scale compared to the vast landscape, the viewer is prompted to question humanity's significance in our world. In the artist's diaries, written during the early 1900s, she highlights the frailty of life and her fear of death: 'I see an open skull, filled with limited thoughts. I see a life path common to all and an inevitable end - death. I am afraid of every feeling, every ecstasy, anticipating a terrible, dubious end in them. The great aspirations of mankind end again and again in a fall with broken wings. Oh, then I close my eyes, I don't want to see, hear anything, I don't want to love [...] Only artistic creation is infinite, limitless...' (M. Werefkin, Pis'ma k neizvestnomu, Moscow, 2011, p. 193). While the Expressionist movement had always been defined by a form of social awareness, Werefkin's work expresses the human concerns more clearly. Her writings demonstrate her fascinating insights and critical mind, which she innovatively harnessed to create her unique visual language.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 147
Dickens (Charles, editor) The Pic Nic Papers, 3 vol., first edition, engraved frontispiece to each volume, and 11 plates by George Cruikshank, H. K. Browne ["Phiz"] and R.J. Hammerton, 8pp. publisher's advertisements dated May 1841 at the end of vol.2 and 4pp. publisher's advertisements at the end of vol.3, vol.1 with contemporary review cutting hinged onto front free endpaper and A.L.s tipped into title verso, endpaper and frontispiece to vol.1 detached, original green blind-stamped cloth, vol.3 with upper hinge broken and upper cover working loose, joints cracking, soiled and faded, spine ends creased and chipped, [Eckel pp.143-5], 8vo, Henry Colburn, 1841.⁂ This copy without the rare misprint on p.iii of the introduction, 'publisher young' but with the correct imprint 'G. J. Palmer' to title verso.
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Lot 97
[Cooper (William)] The Will of a Certain Northern Vicar, second edition, frontispiece, numerous ink notes and additions in a contemporary hand, for the Author, 1765, bound with Caveat to the Will (A) of a Certain Northern Vicar. Addressed to the Reverend W. C⁂** Rector of K⁂* W⁂*, first edition, title with contemporary ink ownership inscription and small doodle, title and dedication leaf with short repaired tears, with loss to a few letters of dedication, final leaf with short marginal tear, for W. Flexney, 1766, together 2 works in 1 vol., bookplates of George Redesdale Brooker Spain and J.O. Edwards, ink ownership name J. White Ridley Hall to pastedown, small stab-holes to inner margin, light browning, a little heavier at points, scattered spotting, some light dust-soiling, later cloth, neatly rebacked, spine gilt, lightly rubbed, heavier to corners; and others, 18th century poetry, 8vo & 4to (11)⁂ The first mentioned with numerous names supplied in a contemporary hand where the poet has omitted them with dashes.
Lot 144
Dickens (Charles) The Posthumous Papers of the Pickwick Club, first edition in book form, early issue, engraved frontispiece, additional title, and 41 plates by R. Seymour and H. K Browne, and extra-illustrated with c.30 plates by the same, foxing to plates as usual, light offsetting, contemporary ownership inscription to frontispiece verso, modern sage green half morocco, spine gilt, g.e., 1837; David Copperfield, first edition in book form, bound from the parts, engraved frontispiece, additional title, and 38 plates by Hablot K. Browne, original wrappers bound in at end, occasional light offsetting, later calf, black morocco spine labels, lightly scuffed and faded, 1850; and 3 others by Dickens in attractive bindings, 8vo (5)
Lot 183a
ROWLING, J. K. Range of five Harry Potter hardback novels by J. K. Rowling (some First Edition) to include; ‘Harry Potter and the Goblet of Fire’ First Australian Edition, Griffin Press, 2000. ‘Harry Potter and the Deathly Hallows’, First Edition, Bloomsbury, London, 2007. ‘Harry Potter and the Order of the Phoenix’, First Edition, Bloomsbury, London, 2003. ‘Harry Potter and the Half-Blood Prince’, First Edition, Bloomsbury, 2005 – with “Eleven Owls” (instead of ten owls) error on page 99. ‘Harry Potter and the Prisoner of Azkaban’. All copies with dust jackets and have writing (in pen) to inside page other than The Deathly Hallows. (5)
Lot 163
JEROME, JEROME K. ‘Three Men in a Boat’ by Jerome K Jerome, illustrations by A. Frederics. J. W. Arrowsmith, Bristol, 11 Quay Street, 1889. First Edition hardback. Original blue cloth hardback with gilt and black titles. Overall excellent condition, some wear to covers and expected occasional tone spot.
Lot 172
Cricket, three books relating to cricket with; ‘Nyren’s Cricketing Tutor’ by John Nyren a New Edition with an introduction by Charles Whibley, David Nutt, London, 1893. Red cloth hardcover with interesting labels to inside cover for The Prince of Wales Library and Sandringham. Plus, ‘Warwickshire County Cricket Club: A History’ by G. W. Egdell and M. F. K. Fraser, Cornish Brothers Ltd, Birmingham, 1946. In original dust jacket. ‘Cricketing Memories’ by Frank R. Foster, The London Publishing Co, London, 1930. (3)
Lot 1089
Two boxed Burago 1/18 scale diecast models to include 3005 Bugatti Type 59 - 1934 and 3007 Ferrari 250 Testa Rossa - 1957 (diecast ex, boxes show window squash); together with 8 unboxed diecast models to include 3 x Franklin Mint (featuring 1/10 Harley Davidson Heritage Softail Classic - with tag, 1935 Mercedez-Benz 770 K Grosser - with tag & 1930 Bugatti Royale - showing damage), 4 x Burago 1/18 scale and a Tonka Polistil example (unboxed diecast generally appearing vg unless stated)
Lot 1151
15 Boxed diecast models to include 2 x Franklin Mint Precision Models (Frosted Flakes Mack Tractor Trailer & Mercedes 500 K Special Roadster), Britains 9538 Vari-Spreader (diecast vg), Matchbox Collectibles 'Tis The Season For Coca-Cola', Maisto Jaguar S-Type (1999), Old Cars, Hot Wheels Disney, Matchbox Models Of Yesteryear, Lledo, etc. Diecast generally ex, boxes vary. (2)
Lot 1050
mounted with an oval-shaped citrine in 9ct gold, 3.6 grams, size K, together with another citrine single stone ring, the rectangular-shaped citrine is set in yellow gold, 7.5 grams, size K, a green tourmaline and diamond ring, set in 14ct white gold, 2.3 grams, size K, an 18ct gold wedding band, 2.9 grams, size O and a 9ct gold wedding band, 2.8 grams, size M. *CR All with some wear.
Lot 1316
centred with an oval-shaped carnelian with a collet set circular-cut diamond set to each shoulder, in 18ct gold, on a fancy link gold necklace, 41cm long, 43.3 grams, together with a conforming carnelian and diamond ring, set in 18ct gold, 9.1 grams, size K and a pair of carnelian, diamond and 18ct gold stud earrings, 3.0cm high, 14.7 grams. *CR Some wear, but no obvious damage or repair.
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