An Elizabeth II silver candlestick with detachable screw urn shaped sconce and a matching detachable twin scroll branch to form a three-light candelabrum, decorated with bellflower bands, Birmingham 1961 by Adie Brothers Ltd, height 20.5cm, together with another matching branch.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
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A diamond and cultured pearl brooch, circa 1920, designed as an arrow, the feathers and point mounted with cushion cut diamonds, a single light pink tinted cultured pearl mounted to the terminal, width 6.3cm, cased.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Three boxes of various items to include; foliate and floral design glass lemonade set, blue glass and gilt banded glasses, moulded glass claret jug, Delyn glass collection boxed ornaments, Reflex fruit design china mantel clock, large relief design brass plate, brass jugs, blue and white pottery and brass ceiling light fixture, horse brasses, other brass ornaments etc, a boxed miniature teaset, Royal Stafford, Queen Anne bone china and other teaware, copper lustre jugs, Staffordshire Ironstone W.H Grindley & Co lidded tureens etc. (3)(B.P. 21% + VAT)
A GOLD PLATED 'HEURE H' WRISTWATCH, BY HERMÈS, CIRCA 2021The 3-jewel Cal-901001 quartz movement, square white dial with centred sunburst detailing, Arabic numerals with polished gilt hands, gold plated steel H-shaped case with back held by 6 screws, crown with H logo, fitted maker's light brown leather strap with signed gold plated steel buckle, dial, case and movement signed, serial no. 34655**, ref. HH1.50*, with original fitted display box, guarantee booklet from Hermès, Paseo de Garcia, 77 in Barcelona, dated June 6th 2021, case (including crown): 2.8cm, length 23cmCondition Report: Glass: no scratches or wear observedCase: No scratches or wear observedLeather bracelet: No signs of wearIn running condition at the time of inspectionRetail price: €2600An external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...For any additional assistance, please refer to the department.
A RUBY AND DIAMOND CLUSTER RINGThe elongated cushion-shaped ruby weighing 2.08cts within a four-claw setting, to a brilliant-cut diamond frame and shoulders, mounted in 18K gold, diamonds approximately 0.80ct total, French import mark, ring size M¼Accompanied report by IGI laboratory in Antwerp stating that the ruby weighing 2.08cts is of Thai origin, free of treatment. Report number F6C21983, dated February 3rd 2015Condition Report: Ruby: of purplish-red hue, good transparency, medium tone, a minor cavity located by the girdle visible under a bright light source as well as natural inclusionsDiamonds: Overall bright and well matchedOwl mark located on the outside hoop for 18K gold imported in FranceSuperficial signs of wear, overall in good conditionTotal gross weight approx. 5g
AN EMERALD, PERIDOT AND DIAMOND BRACELET, BY MICHELE DELLA VALLEComposed of eight three-leave shamrocks centring a four-leaf shamrock, each pavé-set with circular-cut emeralds accented with similarly-cut peridots and brilliant-cut diamond pistils, mounted in 18K gold, emeralds 15.07cts total, peridots 3.70cts total, diamonds 0.78ct total, signed Michele della Valle, numbered, with maker's mark, maker's suede case, length 18.5cmCondition Report: Emeralds: of bluish-green hue, light to medium tone, overall well matched in colourPeridots: of yellowish-green hue, light tone, overall well matched in colourDiamonds: unable to assess colour due to yellow mount, estimated clarity VSMinor signs of wear, overall in good conditionTotal gross weight approx. 35.5g
A SAPPHIRE COCKTAIL RINGOf bombé design, set with two oval-shaped cabochon sapphires within collet-setting, mounted in 18K gold, ring size M½Condition Report: Sapphires: of blue hue, translucent, medium tone, natural inclusions visible under a bright light sourceNormal signs of wear, overall in good condition
A PAIR OF MADEIRA CITRINE AND DIAMOND PENDENT EARRINGS, BY FANNY BLANCHELANDEEach highly articulated trio of Madeira citrines between brilliant-cut diamond links, suspending from a similarly-cut diamond surmount, mounted in 18K blackened gold, diamonds approximately 2.80cts total, signed Fanny Blanchelande, Madeira citrines approximately 30.00cts total, length 6.7cmIt was in Monaco, the tiny city in the French Riviera home to a host of luxury jewellery boutiques and shopfronts, that first provided jewellery designer Fanny Blanchelande with an introduction into the world of jewellery. Born to a French father and Argentinian mother, Fanny’s daily walk to school in Monaco followed a route of jewellery stores whose glittering interiors grabbed the attention of the young schoolgirl, sparking a lifelong passion for gemstones and jewellery design. The only member of her family to show an interest in the field, Fanny felt sure she could make a career in jewellery following an insightful encounter with a renowned jeweller in Nice. As a present on her fifteenth birthday, she was given the chance learn the ropes of jewellery design with a leading jeweller in the area. The experience left her with no doubt that she wanted to turn her passion for jewellery into a full-time profession.In 1995, Blanchelande completed the prestigious GIA in Los Angeles, opening up a flurry of job offers from collaborators in Geneva, London and Place Vendme in Paris, all hoping to work with her. Twenty-five years later, and now a mother of two, Blanchelande has built for herself a wealth of experience and expertise in the jewellery industry, back home in Monaco, where her love of jewellery began. Since 1998 Blanchelande offered her services by appointment only, creating an air of confidentiality and exclusivity, which allows clients to commission bespoke pieces in a private setting, embodying the subtlety of her practice. Recently however, the jeweller has launched her first public collection, sold in a choice selection of retail shops, which has brought an undeniable element of fun and creativity to the world of Haute Joaillerie. Blanchelande’s work in her recent jewellery collection is driven by her passion for travel and an overarching fascination with the energy of the sun. The jeweller has enjoyed magnificent sunsets and sunrises on her travels. From the setting of the sun on the Greek islands to the view of a magnificent sunrise over Angkow Wat in Cambodia, the impact of the sun is clearly reflective in Blanchelande’s choice of materials. The Madeira citrines for these earrings were chosen specifically for their blazing golden-orange hue, reminiscent of Blanchelande’s sight of the iconic New York skyline at dusk. Their slightly industrial edge is an ode to the steel of the skyscrapers climbing a burnt orange sky. Another pull towards the use of citrines for Blanchelande is their South American origin. Found predominately in Brazil, Bolivia and Uruguay, naturally-coloured citrines such as these are an ode to her ancestry on her mother’s side of the family. The Madeira citrine is a particularly rare gemstone and its natural colour makes it one of the most valuable of all citrines.Blanchelande’s sun-inspired citrine pieces are infused with a sense of the light in the sky at the opening or ending of the day. Her decided aim for her customers when wearing these pieces is to “feel strength, power and happiness”, which Blanchelande associates with her own experience of these moments in nature.Condition Report: Madeira Citrines: of golden-orange hue, good transparency, medium tone, good saturation, facets are smooth, all well matched in colourDiamonds: approx. 2.80cts total, brown tinted, too small to assess clarity - all bright and well matchedStamped 750 for 18K goldSignature located on the reverseSuperficial signs of wear, overall in good conditionTotal gross weight approx. 23.80g
A NATURAL PEARL AND DIAMOND NECKLACE, BY GÜBELINThe front section set with variously coloured button-shaped natural pearls alternating with marquise-shaped diamonds, suspending a drop-shaped natural pearl measuring approximately 10.98 x 11.12 x 18.18mm, the cap set with brilliant-cut diamonds, suspending from a brilliant-cut diamond line necklace, mounted in 18K gold, diamonds approximately 7.50cts total, signed Gübelin, with maker's mark for Gübelin, numbered, length 40.1cmAccompanied by a report from the SSEF laboratory in Switzerland stating that the fifteen button-shaped pearls measuring approximately from 4.10 - 4.15 x 3.15mm to 6.85 - 6.90 x 5.60mm, of white, cream, yellowish, grey brown and pinkish tint, are natural, saltwater pearls, with no indications of artificial colour modification. Report number 47165, dated September 8th 2006Accompanied by a report from the SSEF laboratory in Switzerland stating that the drop pearl, measuring 10.98 - 11.12 x 18.18mm (61.22 grains) is natural, saltwater with indications of artificial colour modification. Report number 98360, dated March 5th 2018 Condition Report: Diamonds: approx. 7.50cts total, estimated colour G/H/I, estimated clarity VS with a minority of good SIButton-shaped pearls: high lustre, no visible blemishes observedDrop: Grey tint, good lustre, with green, pink and blue overtones, minor blemish visible under a bright light sourceTotal gross weight approx. 30g
A PAIR OF GEM-SET AND DIAMOND EARRINGSOf Tutti Frutti style, each oval-shaped pink chalcedony cabochon, within a surround of ruby, emerald and sapphire carved leaves with brilliant-cut diamond highlights, mounted in 18K gold, length 2.8cmCondition Report: Chalcedony: light pink, translucent, both well matched in colour, facets are smoothRubies: of purplish-red hue, translucent, all well matched in colourSapphires: of cornflower blue, translucent, all well matched in colourEmerald: of bluish-green hue, translucent, all well matched in colourDiamonds: bright and well matched in colourStamped 750 for 18K goldMinor signs of wear, overall in good conditionTotal gross weight approx. 17.9g
AN OPAL, TOURMALINE AND DIAMOND FLOWER BROOCH, BY MICHELE DELLA VALLEThe stylised rose, set with polished pink opal petals and a polished green tourmaline leaf, the stem embellished with baguette-cut diamonds, mounted in 18K gold, diamonds approximately 2.00cts total, signed Michele della Valle, numbered, with maker's pouch, length 9.8cmCondition Report: Pink opals: light pink, superficial signs of wearGreen tourmaline: Chrome tourmaline, medium tone, translucent, overall well matched in colourDiamonds: approx. 2.00cts, estimated colour G/H, estimated clarity VSSigned Michele della Valle on the reverse, numbered 11939Stamped 750 for 18K goldMinor signs of wear, overall in good conditionTotal gross weight approx. 37.30g
A MID 19TH CENTURY DIAMOND AND ENAMEL BRACELET, CIRCA 1860The hinged bangle centring a graduated line of old cushion-shaped diamonds within a surround of blue enamel and gold chevron engravings, the five concave plaques with further applied blue enamel with gold chevron and foliate engraved borders, mounted in 18K gold, diamonds approximately 0.90ct total, French import mark, with gold security chain, inner diameter 5.4cm Condition Report: Enamel: given the age, in good condition. A minor loss located near the diamonds, minor scratches visible under a bright light sourceDiamonds: approx. 0.90ct total, unable to assess colour due to yellow mount, estimated clarity SINormal signs of wear, overall in good conditionOwl mark for 18K gold imported in FranceTotal gross weight approx. 44.1g
AN EMERALD AND DIAMOND THREE-STONE RINGThe cut-cornered rectangular-cut emerald weighing approximately 3.00cts, between brilliant-cut diamond shoulders, within claw-setting, mounted in 18K gold, diamonds approximately 2.40cts total, ring size MCondition Report: Emerald: approx. 3.00cts, bluish-green hue, good transparency, natural inclusions visible under a bright light source, minor pits visible under 10x magnificationDiamonds: approx. 1.20ct each (approximate as unable to reach the depth of each diamond), estimated colour one J/K, one I/J, estimated clarity SI1Normal signs of wear, overall in good condition
AN 18K GOLD AND MOTHER-OF-PEARL 'LA STRADA' BRACELET WATCH, BY CHOPARDJewelled ETA quartz movement, rectangular mother-of-pearl dial with painted black baton hour markers and Roman quarter numerals, gilt baton hands, subsidiary seconds at 6 o'clock, gold polished domed case with back secured by 4 screws, integral polished heavy domed brick link bracelet with signed folding clasp, crown and clasp with Chopard 'C' logo, dial, case and movement signed, serial no. 9821**, case no. 5459**, 475*, ref. no. 41/7443/*, Swiss assay mark, European convention mark, case (including crown) 3.3cm, total gross weight approximately 176.90g, total gross weight (without movement) approximately 158gCondition Report: Glass: A superficial minor scratch visible under a bright light source and minor pits visible with 10x magnification under a bright light sourceCase: Normal signs of wearBracelet: normal signs of wearTotal gross weight approx. 176.90g, total gross weight with movement approx. 158In running condition at the time of inspection** no box, no papersAn external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...For any additional assistance, please refer to the department.
A LACQUER BANGLE, BY ELSA PERETTI FOR TIFFANY & CO.The bombé Japanese hardwood bangle with red and black lacquer throughout, signed Elsa Peretti for Tiffany & Co., Japan, with maker's pouch and outer box, inner diameter approximately 6cmCondition Report: A couple of minor scratches visible under a bright light sourceNormal signs of wear, overall in good condition
A PAIR OF SAPPHIRE, RUBY AND DIAMOND PENDENT EARRINGSEach pear-shaped cabochon sapphire trio, suspending from two brilliant-cut diamonds between a pear-shaped cabochon ruby, mounted in 18K gold, diamonds approximately 0.60ct total, length 2.8cmCondition Report: Sapphires: of blue hue, medium tone, translucent cabochons, well matched in colourRubies: of purplish-red hue, medium tone, translucent cabochons, two minor pits on one ruby visible under a bright light source, both well matched in colourDiamonds: approx. 0.60ct total, estimated colour H/I (one J), estimated clarity VSStamped 750 for 18K goldMinor signs of wear, overall in good conditionTotal gross weight approx. 5.6g
** Please note that description should read a Spinel and diamond ring *** A SPINEL AND DIAMOND RING, A RUBY AND DIAMOND RINGOf crossover design, set with a brilliant-cut diamond and an oval-shaped spinel within collet-setting, accented with similarly-cut diamonds, mounted in 18K gold, French import mark, ring size MCondition Report:Principal diamond: approx. 0.60ct - unable to assess colour due to yellow mount, estimated clarity VSRuby: of red hue, good transparency, some facets abrasions visible under a bright light source, medium to dark toneOwl mark for 18K gold imported in FranceNormal signs of wear, overall in good condition
A CULTURED PEARL NECKLACEComposed of a single row of graduated cultured Tahitian pearls measuring from 11.03 - 13.56mm, to an 18K gold clasp, Italian assay mark, length 46.3cmCondition Report: Pearls: of eggplant and peacock tint, with pink and green overtones, minor natural blemishes visible under a bright light sourceThe necklace was recently restrung - some glue visible on a pearl near the claspMinor signs of wear, overall in good conditionTotal gross weight approx. 97.8g
A GEM-SET AND DIAMOND COCKTAIL RINGCentring an oval-shaped opal cabochon weighing approximately 9.50cts, within a surround pavé-set with circular tsavorite garnets, sapphires and brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 1.20ct total, ring size LCondition Report: Opal: with good green, blue and orange play-of-colour, surface is smoothSapphires: of blue hue, medium tone, overall bright and well matched in colourTsavorite garnets: of green hue, light to medium tone, overall bright and well matched in colourDiamonds: too small to assess colour or clarity - overall bright and well matched in colourStamped 750 inside hoop for 18K gold - also marked '9.525' for weight of opalSuperficial signs of wear, overall in good conditionTotal gross weight approx. 8.9g
AN 18K GOLD CALENDAR DATEJUST WRISTWATCH, BY ROLEX, CIRCA 198527-jewel Cal-3035 automatic movement adjusted to 5 positions and temperature, the circular black dial with applied baton hour markers, date aperture at 3 o'clock, sweep centre seconds, polished case with fluted bezel, screw down crown with logo and case back, brown Rolex strap with 18K Rolex buckle, Swiss assay mark, European convention mark, serial no. 94679**, ref. 1500*, case, dial and movement signed, case (including crown): 3.5cmCondition Report: Glass: A superficial scratch visible under 10x magnification under a bright light sourceCase and lugs: minor signs of wear, overall in good conditionStrap: signed Rolex - Brown alligatorBuckle: Stamped 18K gold, signed Rolex - minor signs of wearIn running condition at the time of inspectionAn external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...For any additional assistance, please refer to the department.
A SAPPHIRE AND DIAMOND BRACELETThe articulated strap designed in a pattern of calibré-cut sapphires, against a background pavé-set with single-cut diamonds, with millegrain detailing throughout, mounted in 18K gold, length 17.6cmCondition Report: Diamonds approximately 2.00cts total - too small to assess colour or clarity - overall bright and well matched, 3 diamonds deficient visible under a bright light source, a couple of diamonds show some presence of glue visible under 10x magnificationSapphires: * have not been tested for natural origin, of blue hue, dark tone, overall well matched in colourWhite metal unmarked, tested by the jewellery department to be possibly 18K goldNormal signs of wearTotal gross weight approx. 35.7g
A PAIR OF RUSSIAN IMPERIAL DIAMOND AND ENAMEL CUFFLINKS, BY ANDREI KARLOVICH ADLER, ST PETERSBURG, 1909-1912The oval plaques, with light blue guillauché enamel on enchine turn ground over a radiating ground, centred with a circular European-cut diamond, with T-bar terminal, in 14K gold 56, maker’s mark AA, with inventory scratch numbers, possibly retailed by Carl Fabergé, length 1.8cm Condition Report: Some scratches due to wear visible on the enamelinventory scratch number 35920 (the 0 could be an 8)Normal signs of wearTotal gross weight approx. 7.4g
A GOLD BRACELET, CIRCA 1950Designed as a series of interlocking reeded and polished gold links, in 18K gold, Italian assay mark '30 VI' for Lombello Gino e Guido between 1944-1968 (inactive between 1955-71), length 19.2cmCondition Report: Some minor dents visible if paying attention under a bright light sourceStamped 750 for 18K gold & Italian assay mark located on the tongue of the claspNormal signs of wear, overall in good conditionTotal gross weight approx. 51.50g
A SAPPHIRE AND DIAMOND COCKTAIL RINGThe cushion-shaped sapphire weighing approximately 7.44cts within a multiple-claw setting accented with brilliant-cut diamonds, mounted in 18K gold, French import mark, ring size M¾Accompanied by a report from Gem Paris Laboratory in France, stating that the sapphire measuring approx. 13.1 x 10.2 x 5.8mm is of Sri Lankan origin, with no indications of treatment. Report number 20211975766, dated June 3rd 2021Condition Report: Sapphire: of cornflower blue hue, good transparency, medium tone, minor natural silk visible under a bright light source, facets are smoothDiamonds: unable to assess colour due to yellow mount, estimated clarity VSStamped 750 inside hoop for 18K goldWith an extra sizer hoopMinor signs of wear, overall in good conditionTotal gross weight approx. 17g
AN AMETHYST AND GOLD BRACELET, CIRCA 1950The fancy gold links interspersed by collet-set cabochon amethysts, mounted in 18K gold, length 19cmCondition Report: Amethysts: of purplish hue, translucent, some natural inclusions visible with naked eye, all well matched in colour, some minor pits visible under a bright light sourceGold tested by the jewellery department to be 18K gold and clasp possibly 14K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 23.60g
AN 18K GOLD MANUAL WIND WRISTWATCH, BY OMEGA, CIRCA 197017-jewel Cal-620 manual wind movement, the elongated octagonal black dial, applied white baton for quarter numerals, polished gold case with snap on back, to a fitted mesh-link 18K gold bracelet with logo on clasp, logo on crown, dial, case and movement signed, Swiss assay mark, numbered 711.1684, case no. 592**/827*, length 18.2cm, case width (including crown): 2.5cmCondition Report: Glass: minor pits visible under a bright light sourceCase: some scratches visible under a bright light source due to normal wearBracelet: normal wear, overall in good conditionTotal gross weight approx. 71.60gIn running condition at the time of inspectionAn external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...For any additional assistance, please refer to the department.
THE PRIVATE COLLECTION OF A CONTINENTAL LADY (lots 83-93)A PAIR OF LATE 19TH CENTURY ENAMEL AND DIAMOND EARRINGS WITH MATCHING BROOCH, CIRCA 1880The circular domed blue enamel plaque set throughout with old single and rose-cut diamonds, together with a matching pair of earrings, mounted in silver and gold, diamonds approximately 2.20cts total, French assay marks, partially rubbed maker's mark, brooch length 2.7cm, earrings length 1.8cmCondition Report: One small diamond deficient on one earringEnamel: brooch in good condition, earrings: a break visible with light underneathNormal signs of wear, overall in good conditionTotal gross weight approx. 15.8g
THE PRIVATE COLLECTION OF A CONTINENTAL LADY (lots 83-93)A LATE 19TH CENTURY RUBY AND DIAMOND PENDANT BROOCH, CIRCA 1880The central oval-shaped cabochon ruby within two old cushion and brilliant-cut surrounds, suspending a carved ruby drop, to a similarly and rose-cut diamond ribbon bow suspensory detachable loop, mounted in gold, diamonds approximately 5.00cts total, length 6.7cmCondition Report: Rubies: of purplish-red hue, translucent, natural inclusions visible under a bright light source, minor pits located on the reverse of the drop - the drop has what appears to be a fracture visible under a bright light sourceDiamonds: approx. 5.00cts total, unable to assess colour due to yellow mount, estimated clarity SIStamped 15CT on the reverse of the brooch - tested by the jewellery department as 18KTotal gross weight approx. 22.30g
A STAINLESS STEEL, MOTHER-OF-PEARL AND DIAMOND AUTOMATIC CALENDAR BRACELET WATCH, BY ROLEX, CIRCA 2016Datejust, 31-jewel Cal. 2235 automatic movement adjusted to five positions and temperature, mother-of-pearl dial with diamond dot hour markers, steel baton hands and sweep centre seconds, magnified date aperture at 3 o'clock, brushed and polished round case with screw on back, fitted stainless steel Jubilee bracelet and folding Rolex clasp, crown with logo, together with spare links, instruction booklet and warranty card, dial, bracelet and movement signed, serial no. G5896**, model no. 1791**, with original case and outer box, case (including crown): 2.8cmCondition Report: Glass: some minor abrasions due to normal wear visible under a bright light source, a light scratch at 12 o'clock, minor pits on date magnifierBracelet: Normal wear, in good conditionCase: Normal wear, in good conditionExtra linksWith original case, outer box and card of warrantyIn running condition at the time of inspection. Date not changing properly, some service would be recommendedBought at Weirs in 2016 for € XXXXAn external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...For any additional assistance, please refer to the department.
THE PRIVATE COLLECTION OF A CONTINENTAL LADY (lots 83-93)A LATE 19TH CENTURY/EARLY 20TH CENTURY DIAMOND AND GEM-SET 'EN TREMBLANT' BUTTERFLY BROOCHThe head, thorax and abdomen set with an old cushion-shaped diamond, a cushion-shaped diamond of yellow tint and fancy-cut emeralds accented with rose-cut diamonds, the 'en tremblant' wings pavé-set with old cushion, brilliant and single-cut diamonds, and vari-cut emeralds and rubies accented with cushion-shaped sapphires, the antennae with rose-cut diamond tips, the legs with engraved decoration, mounted in yellow gold, principal diamond approximately 0.80ct, remaining diamonds approximately 7.00cts total, cased, length 4.5cm, width 7.6cm The animal kingdom has long been a source of inspiration for jewellers. Chosen for their symbolism, their personality, or simply their beauty, a whole menagerie of creatures have been depicted in gemstones and precious metals over the ages. The butterfly is one specimen which has remained a particularly attractive subject for craftsmen. Aesthetically, the complexity of the butterfly’s form, from the meandering outline of its body to the vast array of colours found on its delicate wings, the butterfly provides the jeweller with a realm of possibilities, allowing him or her to show off their technical skill. The image of a butterfly brooch, pin or pendant perched on a lapel or resting on a neckline not only conveys a mastery of the marriage between metalwork and gemstones, but in fact conjures up a deeper meaning.A universal symbol of grace and ephemeral beauty, the butterfly has strong connotations with the human soul dating back to the Ancient Greeks. Psyche, the Greek goddess of the soul, was represented as a beautiful mortal with the wings of a butterfly. Her polychromatic wings represented the vitality of nature and symbolised the human soul as the element which connected our transient world with a more mystical one beyond it. The delicacy of the butterfly’s wings provides us with a stark reminder of the fragility of life, whilst the array of fluorescent colours is witness to the lush abundance of nature. The butterfly is the animal attribute of souls in love. During the First French Empire, when neoclassicism was in vogue, the image of the butterfly as a symbol of love became hugely popular. During the Bourbon Restoration it could be found on pendants, sometimes perched on a heart-shaped locket holding a portrait of the beloved or a lock of their hair, again a reference to the Ancient Greeks who associated the beautiful specimen as an animal attribute of Venus and Cupid. The first wife of Napoleon I, the Empress Josephine Bonaparte, singled out the butterfly as the emblem of her rule, a choice subject which strove to represent her as a loving and benevolent ruler, drawing on the butterfly as a symbol of these traits.In the 19th century, the popularity of butterfly motifs in jewellery soared to new heights as increased travel outside Europe brought with it influences from further afield. The surge in butterfly brooches and hairclips came as a result of the popularisation of Japanese art and coincided with the advent of naturalism brought about by scientific and ethnographic exploration. Western ethnographers and entomologists studying further afield, brought home detailed sketches and studies of ‘never-before-seen’ creatures residing outside the Europe. Taking inspiration from Japanese prints or the scientific drawings of an entomologist, the end of the nineteenth century saw Arts and Crafts and the Art Nouveau jewellery movements take up this intense preoccupation with depicting the natural world in a stylised manner, with an emphasis on flora and fauna. Harking back to the depiction of the Greek goddess Psyche, jewellers of this period often merged insects and female figures, depicting mesmerising metamorphic forms, such as the butterfly woman of the Maison Vever, whose ‘plique-à-jour’ diaphanous wings had no metal backing, which allowed the light to shine through the pendant or brooch. Many similar butterfly brooches were mounted on coiled springs so that even the gentlest of movements resulted in a fluttering effect, known as en tremblant. This clever technique showed the gems twinkling as they were caught in the light, reinforcing the realism of nature displayed in a man-made jewel.The symbolism of the butterfly lives on in the world of jewellery today, where, in terms of popularity, animal motifs are second only to plants and flowers. Jewellery houses continue to employ the animal kingdom in designs, testament to a lasting fascination with the animal world and a lingering acknowledgement of the traits we associate with these creatures. To the twenty-first century buyer, the panther means Cartier, the mention of Bulgari conjures up an image of the snake and the crafted butterfly wings of Van Cleef & Arpels are instantaneously recognisable. From the time of their initial popularity in the jewellery world, the outline of the butterfly’s wings and the delicate movements of its form has allowed for the display of intricate and detailed metalwork, whether stylised or naturalistic, and the expanse of this beautiful creature's wings provide the ideal canvas for a mesmerising palette of colour-saturated materials from bright enamels to glittering gemstones.Condition Report: Principal diamond: approx. 0.80ct, unable to assess colour due to yellow mount, estimated clarity SI1Diamond of yellow tint: possibly a fancy coloured diamond - estimated clarity VSRemaining diamonds: approx. 7.00cts total, unable to assess colour due to yellow mount, estimated clarity VS/SI1Small rose cut diamond deficient on the abdomen bodyEmeralds: of bluish-green hue, medium tone, good transparency - overall good saturation and well matched in colourRubies: Of purplish-red hue, good transparency, medium tone, overall good saturation and well matched in colourSapphires: of cornflower blue hue, good transparency, medium tone (one darker), overall good saturation and well matchedSome signs of minor repairs on the reverse on the springs parts, one wing more stiff than the othersGiven the age of the piece, overall in good condition and minor signs of wear
Ɵ Leaf from the Old Gelasian Sacramentary, containing a record of the earliest Merovingian and northern European forms of the liturgy, or an ordines Romani, a pre-Carolingian order of liturgical service, in Latin, decorated manuscript on parchment[Germany or Switzerland (most probably San Gallen), late ninth century] Large fragment of a single leaf, with 31 lines of a probably German Carolingian minuscule, with a distinctly low and squat et-ligature, an 'm' suggesting Insular influence, few abbreviations, some opening words in hand imitative of uncials, red rubrics (now oxidised in places), one 2-line initial 'H', recovered from reuse in a binding and hence with margins trimmed, but without loss of any lines of text at foot, to only small losses to small sections of text at upper and lower inner corners, folds and stains, these obscuring much of text on reverse, but readings here awaiting lifting with UV light and careful reading, overall fair and legible condition, 243 by 140mm.; in cloth-covered card binding This unassuming looking leaf is an important and hitherto unrecognised witness to a lost manuscript of the Old Gelasian Sacramentary, the Merovingian liturgical rite that preceded the Carolingian one, and known only from a tiny handful of manuscript witnesses; moreover, no other copy has come to the market before, and none is likely to ever emerge on the market again Provenance:1. Most probably produced within the scriptorium of San Gallen, or a house directly connected to that monastery, and sharing close affinities with two other copies of the text reportedly produced there in the late ninth or tenth century (see below). Then dismembered and reused at the close of the Middle Ages on a bookbinding.2. Bernard Rosenthal (1920-2017), of San Francisco, California, his 'I/195'.3. Quaritch of London, acquired 1989; their cat. 1147, Bookhands of the Middle Ages, V (1991), no. 77, described there as a "Carolingian commentary on the Creed" following a description by Marvin Colker.4. Schøyen Collection of London and Oslo, their MS. 664. Text:In its simplest form, the Sacramentary served as the principal collection of Biblical and liturgical texts spoken by the priest during services, and was replaced by other compilations such as the Missal during the course of the twelfth century. However, it had not always existed in an immutable form, and records survive of an attempt to produce a liturgical compilation to serve the same function in an incomplete collection of missal booklets of the fifth or sixth century now known as the Leonine or 'Verona' Sacramentary (now Verona Cathedral, MS. 85). Some centuries later, it was reported that another attempt had been made by Pope Gelasius I (d. 496), and this lead to the erroneous naming of the present text. It is now thought to date to either the seventh century or earliest decades of the eighth century, and contains a hybrid Gallican-Roman text inherited from Merovingian worship, and practised in some form throughout Gaul, Spain, Britain and Ireland, and perhaps also northern Italy, with the alternative Roman rite holding sway in only Rome and southern Italy. As a functioning liturgy it did not survive the Carolingian renaissance, and after Pope Hadrian I presented a copy of the liturgy approved by Pope Gregory the Great to Charlemagne in 785, that 'Gregorian' version was disseminated quickly throughout the empire, driving out its predecessor. Due to its early replacement and demise, it survives as a coherent text in only three codices, plus, to the best of our knowledge, three early fragments of only a few leaves surviving from other lost copies of the whole text, a single witness containing readings from it, and the readings of a final lost manuscript recorded in a publication of 1777. These witnesses are: (i) Vatican, MS. Reginensis 316 (once owned by Queen Christina of Sweden, and carried by her to Rome at the end of her life) + Paris, BnF., latin 7193, fols. 41-56, the prime witness, produced in Merovingian Gaul in the mid-eighth century and forming the basis of all editions (see H.A. Wilson, The Gelasian Sacramentary: Liber Sacramentorum Romanae Ecclesiae, 1894, and L.C. Mohlberg, Liber sacramentorum Romanae aeclesiae ordinis anni circuli, 1960); (ii) Rheinau, MS. 30 (now in Zürich, Kantonsbibliothek), including a Sacramentary of c. 800 with Gelasian readings with later revisions; and (iii) San Gallen, MS. 348, a tenth-century Sacramentary with Gelasian readings with later revisions. The early fragments are: (iv) British Library, Additional MS. 37518, fols. 116-117, the so-called 'Baumstark fragment', an eighth-century binding fragment of English origin or produced in an Insular Continental centre (see A. Baumstark, 'Ein altgelasiansiches Sakramentarbruchstück insularer Herkunft', Jahrbuch für Liturgiewissenschaft, 7 , 1927, pp. 130-136); (v) BnF. lat. 10837, fols. 42-43, the so-called 'Bannister fragment', an English witness of the eighth century (see H.M. Bannister, 'Liturgical Fragments: A. Anglo-Saxon Sacramentaries', in Journal of Theological Studies, 9, 1908, pp. 406-411); and (vi) four eighth-century leaves in Cologne City archives, of English origin or produced in an Insular Continental centre (see H.M. Bannister, 'Fragments of an Anglo-Saxon Sacramentary', Journal of Theological Studies, 12, 1911, pp. 451-454). To these must be added (vii) a liturgical index in Reims, Bibliothèque municipale, MS. 8 (C.42), with extracted readings, and (viii) a lost manuscript recorded by Dom Martin Gerbert, abbot of St. Blaise in the Black Forest, in his attempted edition of 1777. Gerbert used the Rheinau and San Gallen manuscripts noted above, as well as a manuscript he identifies as "Sangalliensis olim nunc Turicensis" (of San Gallen, but now of Zürich), and of the tenth century, and having parallel versions of the Gelasian, Gregorian and Ambrosian rites (on this manuscript see Wilson, pp. xx-xxi). It seems to have been based on the San Gallen manuscript but with readings improved for sense. Despite a nineteenth-century identification of this last witness as Zurich C. 389, that manuscript does not contain a Sacramentary, and modern scholarship has failed to trace the lost witness. The leaf here shows strong textual affinity to the San Gallen manuscripts, with the strongest to the lost manuscript, but while it has many apparent scribal errors it does not share all the reported corruptions of that lost witness. Most probably, it was produced within the same Carolingian mileau, which appears to have had an antiquarian interest in earlier liturgical practises. The text here contains part of I:35 of the text, opening with a variant rubric reported only by Gerbert for his lost witness ("[Et dum hoc cantat, semper manum super caput infantibus tenet: hoc finito iterum accipiens alter acolytus ex ipsis in]fantibus feminam ut [sic] supra, et interrogat presbyter ...") followed by a paragraph truncated down to a few short lines and apparently in a different order to that found in the Vatican manuscript, before the rubric "[Hoc e]xpleto prosequitur [sic] presbyter his verbis" is followed by the text opening "Haec summa est ...", with much of that section underneath the discolouration on the reverse. Read more...
Dante Alighieri, The Divine Comedy, Inferno, Canto XXV, in Italian, the underlayer of a manuscript palimpsest on parchment, the leaves later reused to produce a manuscript breviary[Italy, mid fourteenth century (perhaps 1330s or 1340s), and fifteenth century]To view a video of this lot, click here. Two leaves, the first leaf a palimpsest with remains of the foot of a single column in upper part of leaf, with 7 lines of fine Italian vernacular hand (a vernacular rotunda) on recto and 11 lines in same on verso (these easily readable with UV light, and visible in margins in ambient light), with initials offset in margins as common for medieval verse, the later breviary text added over that in the fifteenth century and in a single column of 23 lines of a squat late gothic bookhand (textualis formata) with much lateral compression, rubrics in red, initials in red or dark blue; the second leaf as before but without palimpsest underlayer, some areas of discolouration through use, scuffing to ink on recto of second leaf, else in good condition, 135 by 97mm.; both in separate fascicule-like paper bindings (these added for Salt, see below) Almost certainly one of the very earliest witnesses to Dante's Divine Comedy, written within a decade or so of the composition of this grand and important work; here offered on the 700th anniversary of the poet's death Provenance:1. The Dante manuscript here was copied in Italy, probably soon after after the author composed the work. The text was completed in 1321, and the professional scribal hand with its broad nib and simple angular initials ornamented with hairline strokes, most closely resemble those of Florence, Biblioteca Medicea Laurenziana, Ashburnham 828, dating to 1335 and the earliest extant manuscript of the text, as well as Piacenza, Biblioteca Comunale, MS. 190, which was copied in Genova in 1336. Moreover, one variant reading on a leaf from the same parent manuscript now in King's College (see below) suggests the inclusion of the parent manuscript in Petrocchi's group 'c' of the antica vulgata manuscripts, almost all of which trace their origin to a lost early version of the text (Salt, p. 473). Then in the fifteenth century these leaves were partly scrubbed clean and bisected laterally and reused as bifolia in the production of a Breviary, with saints such as Abundius (fifth-century bishop of Como) in its Litany, suggesting use in the northern Italian border region.2. Frank R. Brown, of Histon, bookseller based in Cambridge, in business in the 1930s and 1940s.3. Dr. George Salt (1903-2003) of Cambridge, entomologist, calligrapher and collector, these leaves his MSS. 14 and 15: his calligraphic notes on the paper bindings of these fragments, including the information that he bought the entire Breviary in a dilapidated state from Brown in Cambridge on 18 April 1936. Salt published a short report in 1985 on the underlying palimpsest text visible on approximately 56 leaves of that codex, after gifting the bulk of the volume to King's College, Cambridge (their Salt collection, codex 3, given on 21 January 1983). However, he retained the present two leaves, noting the palimpsest leaf here as "A single leaf of the breviary ... remains in my own collection, its conjoint missing". These two leaves in Sotheby's, 17 December 1991, lots 6 and 7 (the latter part of item k there).4. The Schøyen Collection of London and Oslo, their MS. 1543. Text:Dante Alighieri (c. 1265-1321), the foremost poet of the Italian language, stands at the head of a small and select gathering of medieval literary authors of sublime importance and impact. He is the most important medieval Italian author and his works all but founded the modern Italian language. This cutting here is from the grand and exquisitely beautiful Divine Comedy, probably the most important literary work of the entire Middle Ages. It was completed by 1321 in the last months of the author's life and found immediate fame. Literary echoes of it are legion and found throughout European literature from the fourteenth century to today, from Boccaccio's evident devotion in his Trattatello in laude di Dante, to T.S. Eliot's statement "Dante and Shakespeare divide the world between them. There is no third". Jorge Luis Borges declared it "the best book literature has achieved". That preserved here is Canto XXV:118-126 and 145-151, describing the eighth circle of hell, and thus the sins and punishment of thieves.Over 800 medieval manuscripts and fragments have now been recorded by the 'Dante online' project, but they are of extreme rarity in private hands, and no codex has appeared on the open market now in nearly forty years. Fragments and cuttings are still far from common, with Sotheby's selling a damaged leaf with a miniature that was recovered from a binding, on 1 December 1998, lot 16. Another text leaf recovered from a binding was sold in our rooms, 4 December 2018, lot 29, and most recently yet another text leaf recovered from a binding emerged in 2017 in the London trade and then sold by Christie's, 14 July this year, lot 8, for £87,500. Published:G. Salt, 'An Unrecorded Palimpsest of Dante's Inferno', Transactions of the Cambridge Bibliographical Society, 8:4 (1985), pp. 471-476.
Leaf from Johannes de Lana, Quaestiones de anima humana, a commentary on Aristotle, De anima, in Latin, decorated manuscript on parchment [Italy (probably Bologna), fourteenth century] Single large leaf, with double column of 82 lines of an Italian gothic university hand (littera textualis), paragraph marks in red or blue, 2-line initials in same with elaborate and densely curled penwork in contrasting colours, probably recovered from a binding and hence with edges trimmed, small stains and some light cockling, but overall in good and presentable condition and on heavy parchment, 304 by 216mm.; in Salt's fascicule-like paper binding Provenance: 1. Doubtless written and decorated for use in a university setting by a student of philosophy, and in particular the works of Aristotle.2. A.N.L. Munby (1913-1974), bibliographer (especially of the Phillipps collection), librarian of King's College, Cambridge, J.P.R. Lyell Reader in Bibliography in Oxford University and Sandars Reader in Bibliography in Cambridge University. On Munby's collecting see A.S.G. Edwards, 'A.N. L. Munby's Collecting of Medieval and Renaissance Manuscripts', Transactions of the Cambridge Bibliographical Society, 15.3 (2014), pp. 57-72. 3. Dr. George Salt (1903-2003) of Cambridge, entomologist, calligrapher and collector: his calligraphic notes on the paper bindings of this fragment noting its acquisition from Munby on 25 February 1950 in exchange for "Astle" (most probably a copy of Thomas Astle, The Origin and Progress of Writing, 1784); this Salt's MS. 4. Sold in Sotheby's, 17 December 1991, lot 7(f).4. The Schøyen Collection of London and Oslo, their MS. 1548. Text:Johannes de Lana (c. 1276-c. 1347) was an Augustinian hermit in Bologna, where he had previously studied theology before perhaps going on to study in Paris. He appears to have returned to Bologna to teach, but c. 1327, had resigned academic office to become the prior of the convent of San Giacomo there. His commentaries on Aristotle's Physica and Peter Lombard's Sententiae, are lost, but the text here survives in two versions, with twenty-two 'questions' in Chigi E VIII 247, and eighteen in Oxford, Balliol College, MS. 63. As part of his short biography of the author, D. Gutierrez lists another seven fourteenth-century manuscripts in his edition of the text ('De Fratre Ioanne de Bononia Qui Dicitir Lana', Analecta Augustinana 19, 1945, pp. 180-209), but no survey of the extant witnesses has yet been published. Published: C. de Hamel, 'The Life of Saint Martin', in Papyri Graecae Schøyen (PSchøyen II): essays and texts in honour of Martin Schøyen, 2010, pp. 117-122.
Inventory of gifts and legacies from mostly secular donors to the Abbey of St. Agnes of Gemona, Udine, received between 1290 and 1426, in Latin, manuscript roll on parchment[Italy (Gemona del Friuli, near Udine), dated 1344, with additions up to 1426] A roll, formed from two membranes joined by interweaving the cut edges of the leaves and stitching through those, evidently complete with long blank space left at end (but Early Modern 'I' at head suggesting this once the first of a series of rolls), entries in single column of secretarial hands of several dates (eight hands in total in the main document: i: a fine notarial cursive, lines 1-39 and 111-end; ii. another notarial cursive with a strong left lean, lines 40-47; iii. rounded gothic minuscule, more bookhand than secretarial, lines 49-57; iv-vi. three other secretarial hands adding short entries on lines 58-97; vii. a semi-notarial minuscule, lines 99-105; and viii. neat cursive hand, lines 106-110; plus other interlinear additions), values in roman numerals set off in right-hand margin, one large simple penwork initial at head of document, modern pencil numbers in left-hand column giving line numbers, some small erasures and some lines struck through, some tears to lowermost edge, reverse blank apart from medieval endorsement "1364 23" and Early-Modern Italian endorsement "Fedor[ico] di Pinzarno" and small areas of ink offset from rolling up scroll before ink dry or from setting it down on top of other recently copied documents, first two lines rubbed and only partly readable with UV-light, spots, stains, a few small holes and folds, overall good and legible condition, 1150 by 167mm.; in fitted burgundy cloth-covered box with copy of Rosenthal cataloguing (see below) Provenance: 1. The Abbey of St. Agnes in the mountains near Gemona del Friuli: with this scroll opening and ending with inscriptions naming the community ("Sce Agnecis de Glemo'e"), the first of those ending in the date 1344 ("mo ccco lxiiii"). The house was founded in the twelfth century as a small church on a pagan temple sitting on the pre-Roman road between Gemona and Austria, and later became a hermitage and then a nunnery, with this certainly active by 1240. Due to bitter local conflicts, the community was forced to open another site within the nearby town of Gemona, which for periods from the 1270s onwards became their principal home. It is not known what Order the nunnery followed, and indeed as they grew somewhat organically from a popular hermitage and seem to have referred to their earliest inmates with terms other than 'nuns', they may have followed no Order for their first century. Sometime in the 1270s they were taken under the wing of the Benedictines, and then converted to Augustinian devotions at the end of the thirteenth century. Somewhat confusingly, the site within the town of Gemona was overseen by Franciscans, and thus that cell were Poor Clares, following the rule of St. Clare of Assisi. The community reached its height of wealth and influence in the fourteenth century after a long period of donations from the inhabitants of the region, but then started to decline at the end of that century, and was all but abandoned by the sixteenth century.2. Fedorico di Pinzarno: his sixteenth- or seventeenth-century ex libris mark on reverse. He was probably descended from the "Federicus de Pizano", who is recorded here in lines 27-29 as leaving the community a legacy on 3 November 1282.3. Bernard Rosenthal (1920-2017), of San Francisco, Califonia.4. Schøyen Collection of London and Oslo, their MS. 1602; acquired from Rosenthal in July 1992. Text:This is one of the key working documents of this long-lost nunnery, recording a wealth of donations to the community, predominantly by the seculars of the region, and added to and corrected over the last century of the history of the community. Several of the notes end with phrases showing that these are copies from documents once in the community's archive. It was begun by a single hand, who added the entries dating from 1290 to the fourteenth century, as well as the last lines detailing payments to the community from Henricus de Boldassi of a "brayda" just outside the walls of the town (brayda or braida here meaning a farm or meadow, and a term that is peculiar to the Udine region), the abbot of Moggio and from the 'church of the common people of Gemona dedicated to St. Mary' (ie. the Cathedral of Santa Maria Assunta there). Then between these points single entries or blocks of them were added in the 1370s and 1380s, and then again in the 1420s. It is entirely unknown to scholarship and unstudied.
A Roman light amber glass aryballos Circa 1st-3rd Century A.D.With folded collar rim, a pair of thick green trail handles, the globular body with bands of wheel-cut decoration, 14.2cm highFootnotes:Provenance:with Barakat Galleries, Beverly Hills. Private collection, USA, acquired from the above 5 April 1986.This is a larger version of the popular form used to contain perfumed oils for bathing. Other examples are in the Montreal Museum of Fine Arts (B. Caron and E. P. Zoïtopoúlou, Montreal Museum of Fine Arts, Collection of Mediterranean Antiquities, vol. 1, The Ancient Glass, Leiden and Boston, 2008, p. 73, no. 65) and in the collection of Paul Cuperus (P. E. Cuperus, Glass from the Roman Empire. Catalogue of a Private Collection of Roman and Early Byzantine Glass, Blurb Inc., 2009, pp. 22-3, no. 650).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large Roman pale yellow glass jug Circa 2nd-4th Century A.D.The bulbous body set on an applied thick green glass coiled base, with rope-twist amber handle, the base of the neck with a band of spiral decoration, the flared mouth with in-folded rim, 23cm highFootnotes:Provenance: with Aaron Gallery, London. Private collection, USA, acquired from the above 13 May 1994.This large and slightly bulky jug is highly unusual and probably reflects a local production, maybe in the Rhineland. To date, it has been possible to only identify two others examples. The first, a small example at 16.2 cm high and made in light olive-green glass was purchased from a dealer in Nijmegen by the Rijksmuseum van Oudheden, Leiden, in 1951 (inv. no. M 1951/5.1; W. Braat, 'The glass collection of the Rijksmuseum van Oudheden at Leiden', Oudheidkundige Mededelingen uit het Rijksmuseum van Oudheden 44, p. 109, no. 20, pl. XXXIX). It was subsequently published by Fritz Fremersdorf as 2nd-century CE and found in Cologne, and it possible that it could have been made in one of the glass-houses there (F. Fremersdorf, Das naturfarbene, sogenannte blaugrüne Glas in Köln, Die Denkmäler des Römischen Köln IV, Cologne, 1958, p. 34, pl. 52). The second example, without provenance, is the Montreal Museum of Fine Arts (B. Caron & E. P. Zoïtopoúlou, Montreal Museum of Fine Arts, Collection of Mediterranean Antiquities, Vol. 1, The Ancient Glass, Leiden and Boston, 2008, pp. 86-7, no. 77). Slightly larger than the Leiden jug at 19 cm, it too is made in olive-green glass, although the Bonham's jug is the largest and has the remains of amber-coloured glass pontil.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman light green glass jug Circa 4th Century A.D.With trefoil lip and spiral trail decoration around the cylindrical neck, the turquoise trail handle folded beneath the rim, the spherical body with fifteen vertical pinched ribs, 16.5cm highFootnotes:Provenance:with Fortuna Fine Arts Ltd, New York. Private collection, USA, formed from the 1980s onwards and acquired from the above.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
The Macallan-1950Distilled and bottled by Macallan Glenlivet Ltd. Distributed by Atkinson Baldwin & Co. Ltd.Lacking wooden presentation case. Some light staining to the seal. Labelling with foxing and some fading overall. Level: top shoulder. 75 cl. Single malt, 43% volume1 bottleFor further information on this lot please visit Bonhams.com
Cinema Poster: "Phil Lynott: Songs for While I'm Away, 2020," an original rare Ireland/UK quad Poster for the 2020 Emer Reynolds documentary on the life and music of Phil Lynott, telling the story of how a young black boy from working class 1950's Dublin, became Ireland's greatest Rock Star. As the lead singer of Thin Lizzy, Phil Lynott was a songwriter, a poet, a dreamer, a Wildman. Told extensively through the words of Phil himself and focusing on some of his iconic songs, the film gets to the heart of Philip, the father, the husband, the friend, the son, the rock icon, the poet and the dreamer. An iconic image and a truly rare Poster as the movie had very limited release prior to Covid-19. Note: This is the Irish version quad Poster printed on heavy photographic paper. Acquired directly from a cinema. Starred: Phil Lynott; in fine condition, light handling, w.a.f. (1)
Cinema Poster: "Crock of Gold: a Few Rounds with Shane MacGowan, 2020" an original rare UK quad Poster for the 2020 Julien Temple Documentary of Pogues frontman legend Shane MacGowan, starring: Shane MacGowan, Johnny Depp, in fine condition, light handling, as a Poster, 30" x 40", w.a.f. (1)
Medals: World War One: [French Military] 1914 - 1918, a group of four Medals (recipient unknown) to include: * 'The War Cross 1914 - 1918" (with green and red ribbon and brass star (lacks leaf); * "The Combatants Cross," with light blue and red stripped ribbon; * "The Commemorative Medal" with candy strip ribbon; * "Inter Allied Victory Medal" with multi coloured ribbon; as a collection, w.a.f. (4)
First Paperback Editions Heaney (Seamus) Wintering Out, Lond. (Faber & Faber) 1972; The Haw Lantern, Lond. 1987; Seeing Things, Lond. 1991; Crediting Poetry, Gallery Press, Dublin 1995; Electric Light, Lond. 2001; Human Chain Lond. 2010, All First Edns., in orig. paper back; plus 2 others, same author. (8)
J.F.K.'s Visit to Ireland 1963 - Fascinating Collection of Documents relating to President Kennedy's visit to Ireland, 26th to 29th June, 1963, relating to policing and suppression of protests. A collection of 15 letters, memos, circulars and other official documents issued before the visit by the Garda Crime Branch to members of An Garda Siochana. A fascinating primary source, demonstrating the Lemass government's determination that the visit be successful and not marred by Anti-US demonstrations. The archive includes directions to officers that 'the movements and associates' of two Russian correspondents 'are to be discreetly watched.' The Russians are named as 'Evan Stenin, representing Tass, who arrived on June 22nd 1963 on Russian Passport, No. C 4199 and Guenrikh Trofinenko, representing Radio Moscow, who arrived on June 21st 1963 on Russian Passport No. C 60156, 'as they will be anxious to obtain material which would show the visit of President Kennedy in an unfavourable light.' Further instructions from the Crime Branch request Gardai to suppress protests and 'play cards (sic) or slogans or other offensive matter to be removed' at centres to be visited by the President. In communication stamped 25th June 1963 it is noted that 'The Commissioner directs that best serge uniform will be worn at all times during the president's visit. Members who, through no fault of their own have not received the current issue of uniform will be detailed for duty at places away from Presidential route.' It is noted that 'Every Divisional Officer will ensure that only efficient members of presentable appearance and having had 'their hair trimmed' should give a first-class display of efficiency, smartness and courtesy.' Many Gardai are named with service numbers recorded detailing arrangements for transport to Dublin, New Ross and Galway during the visit, including arrangements for 'two Buffet Type' meals in the Parish Hall in Wexford town. File includes cancellation of all leave directive during the period 22nd to 29th June, subsistence allowances etc. As an Archive, w.a.f. (1)
AA WORLD-CHANGING DOCUMENTUnited States Declaration of Independence. An original engraved facsimile copy of the Declaration of Independence of 4 July 1776, N.B. On careful examination The Auctioneers believe that this item is a copy of the Peter Force Edition of 1833, not 1823 as stated in printed catalogue.This copy with direct provenance to Charles O’Conor, the distinguished Irish-American attorney and politician. Measurement: 30.5 in (77cm) x 25.5 in (65cm) "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.—That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed,—That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness."We, therefore, the Representatives of the United States of America, in General Congress, Assembled .. do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these united Colonies are, and of Right ought to be Free and Independent States .. and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do.”The Declaration followed a period of stressed relations with Great Britain over trade and other matters. It was drafted mainly by Thomas Jefferson, with amendments by Benjamin Franklin, John Adams and others, and was adopted on 4 July 1776 by delegates from 13 States assembled in the Second Continental Conference. It provided the essential basis for the Treaty with revolutionary France agreed in 1778. It is no exaggeration to say that this document changed the world, marking a decisive turn away from the era of unchallenged imperial expansion and the subjection of colonial peoples, and was thereafter a shining beacon to subject peoples everywhere, most notably the Irish. Three of the 56 signatories were born in Ireland, with a further 8 of Irish descent.The Declaration of Independence was initially published as a broadside, printed by Robert Dunlap, in which form it was widely distributed and read to the public. The source copy used for this printing has been lost. The best-known version is a signed copy that is displayed at the National Archives in Washington, D.C., and which is popularly regarded as the official document. In 1820, when the ink on the Archives copy was seen to be fading, Congress commissioned the engraver William J. Stone to execute a full-scale facsimile, printed in 1823 in 200 copies on parchment, and issued to surviving signatories (including Jefferson and Adams) and other distinguished personalities. It was issued to Charles O’Conor of New York, a son of Thomas O’Conor of the O’Conor Don family of Roscommon. Charles' father, Thomas was sworn into the United Irishmen by Wolfe Tone personally, and went to America after the failure of the 1798 Rebellion.Charles O’Conor (1804-1884) was born in New York, and was called to the Bar in 1824. He quickly made his name as a trial lawyer; after his success in a major divorce and alimony case, he was presented with two silver vases - one by a group of 30 leading New York ladies, the other by sixty members of the Bar. Both vases are now in the New York Law Institute Library.He was active in Irish support groups, including one intended to support a Fenian rising in Ireland, and for many years he was a major figure in Democratic politics. He was U.S. Attorney for the southern district of New York 1853-54. After the Civil War he was senior counsel for the Southern leader Jefferson Davis in his trial for treason. In the 1870s he was prominent in the successful campaign against William (Boss) Tweed of Tammany Hall. In 1872 he was nominated for the Presidency of America by a southern Democratic group. He declined the nomination, but his name still appeared on the ballot paper – the first Catholic to receive such a nomination. After the 1876 election, he was advocate for his friend Samuel Tilden in his unsuccessful attempt to claim the Presidency, having won a plurality of the popular vote.The present engraving came to light recently in a country house in the West of Ireland, where presumably it was brought by Charles O’Conor on a visit to his ancestral homeland. Of the 200 original copies issued, a recent census (Coleman 1991*) could find only 31 surviving, of which institutions held 19 and only 12 (to which the present copy can be added) were in private hands.An exceptionally rare and important document, truly one that has changed the world.A superb memorial to a very distinguished Irish-American, and a confirmation and celebration of the Irish contribution to the constitutional development of the United States. In excellent condition.Provenance: Charles O’Conor of New York [1804-1884]; by unbroken family descent.*W.R. Coleman, ‘Counting the Stones – a Census of the Stone Facsimiles of the Declaration of Independence’. Manuscripts vol. 43 no. 2 pp 97-105.With acknowledgements to Wikipedia.N.B. On careful examination The Auctioneers believe that this item is a copy of the Peter Force Edition of 1833, not 1823 as stated in printed catalogue.
*Jim Malone (b.1946), a stoneware jug, with a tapering body, a cream glaze with impressed details, impressed artist's monogram and Ainstable stamp, 34.5cm high, Provenance: The Trevor Coldrey Collection. *Artist's Resale Right may apply to this lot.Condition report: Pull to the glaze around the handle. Some light crazing where the glaze is visibly heavier.Please see additional images.

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