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Click here to subscribeA small group of jewellery and watches, comprising a modern rough cut aquamarine multi strand necklace, with cloudy aquamarine toggle clasp, a silver napkin holder, a gold plated coin holder on chain holding a replica ancient coin depicting an eagle, a gold plated Monet necklace and two silver cased open faced pocket watches, one signed 'Fournier, Geneve', the other with Syren movement. (6)
Diocletian follis,, Alexandria Mint 300-301 A.D., reverse reads:- GENIO POPVLI ROMANI, value XXI in left and right field, 'A' also in right field, in exergue ALE, Sear 12803, silvering evident, VF with a ditto but Galerius as Caesar, Ticinum Mint 300-303 A.D., reverse reads:- SACRA MONET AVGG ET CAESS NOSTR, in exergue PT., Sear 14403, VF/NVF [2]
A collection of costume jewellery to include a 9ct gold citrine set cocktail ring and associated pendant earrings, an unmarked yellow metal and cultured pearl set brooch; a multi-strand rose quartz necklace, various silver necklaces; remaining costume jewellery by Monet, Kenneth Jay Lane etc. (qty)
Ten Halcyon Days limited edition enamel bonbonnieres depicting famous paintings; Lady in a Garden by Monet, 136/500, Boulevard Montmartre by Pissarro, 102/500, Birth of Cesanne 39/100, Le Lac d'Annecy by Cesanne 27/100, Mandolin and Flowers by Gaugain 58/250, Flowers in a Vase by Rousseau 63/250, Pink Peonies by Pissarro 77/250, Whistlejacket by Stubbs 131/250, Peonies in a Vase by Manet 38/250 and Roses and Nasturtiums in a Vase by Fasntin-Latour 89/500.
Two Royal Doulton Large Character Jugs Claude Monet D7150 and Vincent Van Gogh D7151 From The Famous collection. Measures 17cms high. Note; from an extensive private collection of Royal Doulton. The vast majority of items are free from any damage or restoration, and are in great condition. Buyers are reminded for the need to satisfy themselves as to condition of individual lots prior to bidding as condition on some, will vary.
NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876)Les Baigneuses, oil on panel16.3 x 23.5 cm (6 3/8 x 9 1/4 in.)signed with monogram lower rightLOT NOTESArtist dedicated this work to his son Ziem. Inscribed in ink on verso A Ziem et sa fee de ses couleurs [To Ziem and his color muse]. Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career Ð he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.
NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876)Bouquet de Fleurs, 1857oil on canvas43.4 x 34.5 cm (17 1/8 x 13 5/8 in.)signed lower left; signed and dated on verso Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career Ð he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.
NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876)Repas Champetre en Foret de Fontainebleau, 1863oil on canvas19.8 x 30.2 cm (7 7/8 x 11 7/8 in.)signed lower right; signed, titled and dated upper stretcher on verso LOT NOTESThis work is dedicated to Claude Monet. Inscribed on verso a l`artiste Claude Monet. N. Diaz Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career Ð he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.
ERNEST ANGE DUEZ (FRENCH 1843-1896)Suzanne Hoschede au Jardin, oil on panel41.2 cm x 31.7 cm (16 1/4 x 12 1/2 in.)signed lower rightLOT NOTESSuzanne Hoschede was the stepdaughter and favorite model of Claude Monet, best known as the Woman with the Parasol in one of the Monet`s most recognizable works.
A collection of costume jewellery - simulated pearl necklaces, haematite bead necklace, crystal necklace, paste set brooches, gold-plated tie bar and cifflinks, a gilt metal Monet necklace and another similar, heavy gilt metal chain necklace, tumble stone amethyst pendant, opal and pearl gold stud earrings, etc.
Dorothea Sharp (1874-1955) STILL LIFE WITH LILIES oil on board signed lower left; with J. Davey & Sons [Manchester] label on reverse 24 by 18.50in. (61 by 47cm) Dorothea Sharp was born in Dartford, Kent, and began her training aged 21, when, after inheriting £100 from an uncle, she attended the Richmond art school run by C. E. Johnson RI. She went on to study at the Regent Street Polytechnic and then to Paris, where she first encountered the work of the Impressionists, in particular Claude Monet, that was to have a profound and lasting effect on her art, resulting in the highly impressionistic and spontaneous style that she was to adopt for the rest of her life. In 1903 she became an Associate of the Society of Women Artists, and in 1908 a full member, going on to serve as vice-president for 4 years. She was elected a member of the Royal Society of British Artists in 1907 and the Royal Institute of Oil Painters in 1922. Sharp exhibited at The Royal Academy from 1901 to 1948 and held her first one-woman show at the Connell Gallery in 1933; this was a great success and she was described as 'one of England's greatest living woman painters' by Harold Sawkins, editor of The Artist. Throughout the 1920s and 1930s Sharp travelled to Europe to paint, as well as St Ives, Cornwall, where she met fellow artist Marcella Smith, who became a lifelong friend. Sharp was made an honorary member of the St. Ives Society of Artists in 1928.
A LARGE CERAMIC PAINTED 'NAMAQUALAND' PANEL, ESIAS BOSCH (1923 - 2010) rectangular, depicting the landscape in bloom124 by 159,9cmEsias Bosch studied at the University of Witwatersrand and at the Johannesburg School of Art before winning a three year scholarship to study ceramics in Britain. Returning to South Africa he was a pioneer of studio pottery at his Die Randjie studio. In particular, his large panels and tiles are fascinating and impressive works of art. Inspiration to produce these came from seeing the Keramion Museum, Germany clad in large Buchtal tiles. Esias managed to import some of these, however they were glazed and using an anglegrinder he ground the glaze off in order to experiment in his studio. Rebuilding his kiln to fit these items, he worked with lustre tiles and then eventually experimented with clay tiles built up in layers and decorated with ceramic stains and glazed, which give the illusion of depth and a painterly like quality. Examples of both were housed in buildings such as the Vineyard Hotel, Cape Town, Wesbank Building, Braamfontein and in the old departure hall of what is now Oliver Tambo Airport. Evidence of his inspiration by Claude Monetand Pierre Bonnard, can be seen in the themes chosen for his panel and tile pieces. His exhibition of large tiles in 1983 in Hanover catapulted him to success.- Sophie-Louise FrohlichBosch, A. & de Waal. J. Esias Bosch Struik, Winchester, 1988
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