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Lot 13
THREE RINGS, the first set with three circular cut colourless cubic zirconia, each claw set within a yellow gold, pinched shoulders leading onto a polished band, hallmarked 9ct Sheffield, ring size O, the second set with a rectangular cut amethyst, each of the four claws are set with a small diamond, to a polished band, hallmarked 9ct gold Birmingham, the third a rose gold tone ring set with an oval shell cameo depicting a lady in profile, collet set to a polished yellow metal band, stamp mark rubbed, approximate gross weight 6.6 grams (condition report: the cameo has some wear, general light wear to the rings)
Lot 314
SIX ROYAL DOULTON FIGURINES, comprising 'Clarissa' HN2345 (extensive crazing and cracked), 'Patricia' HN2715 (small scratches on back of skirt, three tiny black dots under the glaze on front of skirt), 'Maytime' HN2113 (tiny pit mark on back of skirt, tiny scratch on eyebrow), 'Top o The Hill' HN1834, 'Invitation' HN2170, height 14.5cm, 'Bedtime Story' HN 2059, height 13cm (6) (Condition report: obvious signs of damage mentioned in description)
Lot 58
A 9CT GOLD RING AND TWO YELLOW METAL RINGS, the first a textured band ring, approximate dimensions 6mm width x 1.5mm depth, hallmarked 9ct Birmingham 1897, approximate gross weight 3.7 grams, a yellow metal ring, set with red paste in a closed back setting, bifurcated shoulders and polished band, stamped 9ct, ring size O, a yellow and white metal ring set with circular cut marcasite stones, stamped 9ct & sill, ring size N center, approximate gross weight 6.2 grams, (condition report: general moderate wear, paste stone heavily abraded)
Lot 930
A silver top wound pocket watch marked James Wadsworth Manchester, having Arabic numeral dial with subsidiary seconds in an HM silver case, bearing presentation inscription to inner case Inscription details: Imperial Chemical industries Ltd. Brunner Mond & C/o Ltd presented to L.M.Hill for 25years service
Lot 184
Ca. 100-300 AD.A gold finger ring with a D-shaped tapering shank; an oval bezel set with a red stone intaglio engraved with a left-facing portrait. Good condition; wearable. To learn more about Roman Rings see Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 11.5gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 39
Ca. 1570-1070 BC. A charming lapis lazuli amulet in the form of a hedgehog with an egg-shaped body with hatched details on its back, and a protruding snout with a finely defined face features set in a later gold ring of a round hollow hoop with a flat bezel. The ancient Egyptians considered the hedgehog as a symbol of a re-birth, due to their ability to hibernate underground for long periods when food is scarce and re-appear when food is abundant again. Size: D: 17.35mm / US: 7 / UK: O; 11g Provenance: Property of a London Art gallery; formerly a private UK collection since pre-2000.
Lot 420
Ca. 200 AD.A fine silver ring with a circular band, flared shoulders, an octagonal gem set in a square bezel decorated with a left-facing, standing warrior wearing a crested helmet and holding a spear in his right hand. Good condition, and fully wearable. To find out more about Roman jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. For a ring with similar intaglio sold at Christie's, see https://www.christies.com/lot/lot-4889619.Size: D: 17.35mm / US: 7 / UK: O; 5.05g.Provenance: Private UK collection; From an old British collection formed in the 1980s.
Lot 60
Ca. 100BC - 100AD.A gold ring in the form of a coiled snake with engraved scale detailing, a tail bent round into a loop and a head with large, stylised eyes. Below the head, there is an oval bezel cell with a garnet cabochon inset. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 4.2g.Provenance: Private UK collection; From an old Oxford collection formed in the 1990s; Ex. Swiss private collection.
Lot 71
Ca. 200-300 AD.A gold finger ring of unusual design featuring a plain band and rounded bezel which is incorporating a large centre garnet and a smaller one to the side. A fine example of ancient Roman jewellery.Size: D: 17.35mm / US: 7 / UK: O; 6gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 21
Original vintage advertising poster for Duco a quick dry enamel lacquer Already Dry! / Duco Laque-Email A Sechage Rapide Deja Sec! Great design featuring a smiling painter sitting backwards on a wooden chair and painting it red against a light blue background with the bold title text above and stylised lettering with the Duco logo below. Fair condition, restored paper losses, restored tears, restored fold, staining, backed on linen. Country of issue: France, designer: O. M. Girard, size (cm): 57x39, year of printing: 1930s.
Lot 2
Josef Albers (Bottrop 1888 – 1976 New Haven/Connecticut)O-GFarb. Siebdruck. 1967. 27,9 x 27,9 cm (41,4 x 41,4 cm). Monogrammiert, datiert, nummeriert und betitelt. (32)Exemplar 60/200. – Danilowitz 177. – Erschienen im Verlag von Ives-Sillman in New York für die Overbeck-Gesellschaft in Lübeck und gedruckt bei Scirocco Screenprints in New Haven. – Auf leichtem Siebdruckkarton. – Farbfrisch und in der Druckoberfläche absolut unberührt, im Rand allerdings minimal gebräunt und mit kaum merklich durchschlagenden Spuren von einer alten Rahmenrückwand.
Lot 377
NAM JUNE PAIK (1932 Seoul – 2006 Miami Beach) MT-TVMultiple (Samsung TV-Gehäuse mit Antenne, außen montierte Lautsprecher, Widerstände, Fernsehröhre, und Platine sowie Acrylfarben). 1994.32,5 x 34 x 35 cm.Verso mit Faserstift in Weiß signiert "Paik". Auflage 30 num. Ex.Paik der sich international mit der Videokunst einen Namen machte und neben Künstlern wie Joseph Beuys, Dieter Roth, Yoko Ono u.a. Mitbegründer der in den 1960er Jahren entstandenen Fluxus-Bewegung war, schuf mit diesem Kunstwerk ein Objekt, welches schon damals das Überangebot der Massenmedien und die damit oftmals einhergehende Verwirrung des Geistes deutlich veranschaulicht. Man meint zudem eine gewisse Traurigkeit in dem Ausdruck des TV-Gesichts zu lesen, so wie die Kabel traurig aus den Augen hängen, wohl dem Überfluss und den vielen schrecklichen Nachrichten geschuldet. "Bildhauer im TV: nee, kriegste nich' in 'n Flachbildschirm." (Matthias Jackisch in: Winter ohne Fell, o. O. 2018). Beigabe: Eine weitere Antenne, hier mit weißen Endköpfen
Lot 531
GEORGE GROSZ (1892 - 1959, Berlin) OrgyÖl, Aquarell und Mischtechnik auf Karton. 1940.50 x 39,1 cm.Verso mit dem Stempel "George Grosz Nachlass" und der Nachlassnummer "UC-335-27".Atelierphantasien 2 - Dritte Strophe Schriftverkehr:Lieber Oz!… hier diesen Gesang, mag er Dich heiteren Gemüts machen, zur Influenz diente eine alte Flasche Old Amoroso jerezano viejo (30jährig). Aus dem Singspiel Der Lattentanz. Auftritt des Zotendichters:(…) O Lise Deine weißen Schenkelpolster!Mein Kopf der torkelt langsam drüber hin –Mein Glied, ein Kompaß, zeigt extrem gen Osten(ein dicker rosenroter geiler Pfosten,steht in des Leibes Mitte starr und aufrecht Posten)sieh da! Der Zotendichter lacht sich krumm und schiefho! ho! – hi! hi! – ha! ha! – ho! ho!Es ist bereits halb sieben – Ach Olga! Mach die Beine breit.Wir woll’n ‘ne Nummer schieben!Sie schoben tief und tieferEr schob sogar den Kopf herein bis an den Oberkiefer!Prost Oz! Fortsetzung demnächst Dein alter George(Brief an Otto Schmalhausen, 26.4.1918, George Grosz, Briefe 1913 – 1959, Reinbeck, 1979, S. 64, 65)
Lot 539
GEORGE GROSZ (1892 - 1959, Berlin) Encounter Downtown ManhattanAquarell auf Bütten. 1933.62,9 x 48,3 cm. Unten rechts mit dem Signaturstempel. Verso mit dem Stempel "George Grosz Nachlass" und der Nachlassnummer "1-95-6".Vom Laufen und Verlaufen: Als Grosz 1933 in New York eintraf, tat er dasselbe, wie 20 Jahre zuvor in Berlin – er entdeckte die Stadt spazierzeichnend. Notizhefte wurden im Akkord mit Skizzen gefüttert und deren Essenz in abendschummrigen Hotelzimmern pinselfrisch auf großformatige Papiere und Leinwände gestrichen. Die Schaffensfreude entlud sich in buchstäblich elektrisierendem Kolorit, ohne Vorzeichnungen und mit nur wenigen, nachträglich gesetzten Konturen. Der seit Kindheit Amerikabegeisterte versuchte sich an einem aussagekräftigen Porträt seiner neuen Welt, konterfeite die imposante Skyline, architektonische Besonderheiten und ging auf Typensuche. Doch anders als in Berlin, wo die bissige Verzweiflung am Menschengeschlecht aus jeder Pore tropfte, bastelte Grosz in New York an friedlichen Begegnungen unterschiedlichster Bevölkerungsgruppen, nicht gänzlich unkritisch, und den Betrachter als Mitlaufenden wohl inkludierend. Ein Portfolio dieser Großstadtimpressionen wurde 1935 unter dem Titel "Bagdad-on-the-Subway" mit Widmung an den Schriftsteller und New York-Chronisten O. Henry veröffentlicht. Grosz lieferte im selben Jahr weitere 50 Illustrationen zu dessen Werk "Voice of the City and other Stories", einem Sammelband von Kurzgeschichten, der auf ebenso unterhaltsamen Wegen durch die Viermillionen-Metropole führt.
Lot 1428
An Alps Toys of Japan plastic and battery operated model of a Dodge Colt Mitsubishi Lancer Rally Car fitted with new sound and Touch-o-matic change action comprising of white body with racing No. 6 and roof rack load, housed in the original card pictorial box, excellent example with clean battery compartment
Lot 1090
John Frederick Herring Snr. (1795-1865)Highland GamekeeperSigned and dated 1854, oil on canvas, 119.5cm by 181cmProvenance: Private Collection, UKAnonymous Sale, Sothebys, New York, 1987, Lot 233Anonymous Sale, Sothebys, London, 9th July 1986, Lot 144, Lot 144Literature : O. Beckett, "JF Herring & Sons", London & New York, probably no.267
Lot 1110
Louis Smets (1840-1896) DutchFigures skating on a frozen lake by a castle Signed, oil on canvas, 59.5cm by 82.5cmProvenance: Hal O' Nians, London 1976Sold together with a copy of the purchase invoiceIn fully restored condition. Slightly stiffly relined, cleaned and re-varnished. The surface is slightly flattened as a result of the restoration process. Surface dirt and discoloured varnish now in evidence. Brown-coloured diagonal surface scuff within sky approx 15cm above the horizon in line with the main figure group towards lower left-hand corner approx 10cm in overall length. Retouching to the lower left-hand corner and some general strengthening through the expanse of ice lower left and across the lower edge. Isolated retouches and strengthening to darker shadows throughout the figure group. Sporadic retouches or infilling to old cracquelure within the expanse of ice moving across the lower edge. Further relatively fine and sporadic retouches across the standing figure between the main group of figures and horse. Further sporadic and fine retouches across the horse sleigh and figure group and within the masonry of the wall behind horse sleigh and figure group mostly contained to right-hand side upper edge cotner and right-hand side edge of the wall. More concentrated retouching to old widely spaced cracquelure throughout the end of the building and general strengthening. lIKELY repair with associated rectangular patch of overpainting within the ice, below and between the standing figure and seated figure in the foreground before the building approx 1.5cm by 6cm overall. Further general strengthening through the ice extending across to lower right-hand corner. Further retouches to old cracquelure and definition across the bridge and far right-hand side building. Essentially circular patch of restoration within the sky above prominent building approx 5cm overall. Some possible further strengthening throughout sky. Small circular patch of retouching immediately above the central tree now more than 0.5-1cm in dia. Patch of more pronounced or slightly lifting cracquelure approx 8cm below the diagonal scuff to sky. Possible push mark area of slightly raised or bruised paint approx 6cm by 5cm overall. Further fine and sporadic retouches to sky. Some of which have deteriorated and are visible by eye etc. Some areas of stable cracquelure.
Lot 1130
Follower of Simon Pietersz Verelst (1644-1721) Dutch Glass vase of assorted flowersOil on canvas, 67.5cm by 58cmProvenance: Hal O' Nians, London, 1970WH Patterson, LondonSold together with a copy of the purchase invoiceIn fully restored condition, relined cleaned and re-varnished. Some light surface dirt is now in evident. Fairly delicate and sporadic redrawing and strengthening of the frond of leaves within the upper left part of the arrangement. The outline of the flowers between the zed frond and the upper red flower in full bloom has also been redefined in addition to the outline shadows and definition of the flower immediately below the frond of leaves in this area. Further delicate strengthening to the outer right-hand side to the upper flower, the lower outline of the droopping poppy bud and further outlining and strengthening to the upper right-hand side blooms and minor parts of the flowers below and right of the dominant blooming poppy. A similar level of delicate outlining is also found in the lower part of the flower above the pink rose in full bloom and the general outline of the anemone immediately behind it. Sporadic parts of the white rose to the left of the pink rose have also been strengthened as has the central dark-coloured part of the poppy below and left of this. Small essentially circular patch of retouching approx 1xkm left of the poppy leaves, the darker decoration of the butterfly has been delicately retouched and strengthened. The paint is slightly thin in places and flattened as a result of the restoration process. No further notable overpainting is evident under a UV light but the possibility of this is not precluded particularly if of a different date. Areas of isolated fine stable cracquelure otherwise in a stable presentable state of preservation. See images.
Lot 1088
Richard Ansdell RA (1815-1885)"Going to the Lodge - Scotch Shootings"Signed and dated 1860? oil on canvas, 75cm by 132.5cmExhibited: Royal Academy 1861, No.376This charming picture was painted at a time when Richard Ansdell was embarking on a life-long love affair with the Scottish Highlands. For four months every year, he would visit from London where he happily mixed with the local people, sensitively recording their daily lives in oils on canvas together with their animals, amidst the dramatic Scottish landscape. Ansdell built a lochside lodge that he shared with his large family and artist friends at a time when the Highlands were being recognised by fashionable London society due to the visits to Balmoral by Queen Victoria. When this picture was painted, Richard Ansdell had been elected as an Associate of the Royal Academy; he became an Academician in 1870. It was, consequently, of paramount personal importance to impress at the annual Exhibition; he was in the prime of his career; he had made it in artistic circles and he was painting subjects that he loved in the place that he loved. This picture is a fine example of a combination of these skills and exuberant aspirations.This painting is unusual in that the two main figures and the dogs share centre-stage – usually the figures in Ansdell’s paintings are secondary to the animals but this makes a charming exception. Here we see a distant shooting lodge at the foothills of what I believe to be the Cuillin Mountains on the Isle of Skye. The gentleman and his lady who will be staying at the lodge are riding towards its shelter before the coming storm arrives, but they have to wait for the ghillie and his boy to catch up before they can attempt to cross the fast-flowing burn. They will be relying on the ghillie for all practical help and guidance throughout their stay whether they are deer-stalking or grouse and partridge shooting.The ghillie, his boy and trusty collie dog are making slow progress over the rough terrain accompanied by two sure-footed Highland ponies loaded up with all the paraphernalia needed for a sporting break in this remote place. The collie dog’s startled gaze back at the main group links the subjects together.The young couple are seen privately exchanging glances surrounded by a group of dogs required for the ensuing days of sport. Here we see, in finest of detail, a pair of glossy-coated Setters chained together; a pair of Pointers; a pair of Springer Spaniels, a single black Spaniel and the ubiquitous Highland Terrier that was a pet of the Ansdell family, appearing in so many of his paintings! The young man is the gamekeeper, and the young woman (his sister, wife or sweetheart) will be the maid at the lodge, carrying out all the housekeeping and catering duties. We must guess at their conversation.With thanks to Sarah Kellam (great, great granddaughter of Richard Ansdell RA) for her catalogue entry.In fully restored condition, relined cleaned and re-varnished. Substantial essentially vertical patch of restoration potentially from old damage which runs effectively from the horizon line to approx 5cm adrift of the top edge is mostly no more than 4cm at the widest point and is mostly positioned approx 2cm from far left-hand side edge. Other finer retouches in general area. The mountain which can be seen rising above the horizon far left-hand side edge has been retouched and strengthened throughout. Essentially fine retouches can be found through approx 50% of the standing highlanders' right arm coat sleeves positioned on the left-hand side of the painting. With further retouching throughout the lower part of his overcoat and trousers. Retouching of a similar character can be found approx 85% of the coat of the dog positioned front and right of zed highlander. The essentially fine and sporadic retouching which can be found within the baggage of the loaded pack horses is less pronounced. Sporadic and essentially fine retouches elsewhere across the sky with a more concentrated band along the upper right hand 30cm and corner. The outstretched foot of the female crofter shows signs of retouching and overpainting. A further notable concentrated area of retouching can be found within the lower part of the mountains approx 6cm right of the horse-mounted gentleman wearing a hat and is approx 3-4cm in length overall and in a slightly horizontal band no more than 1cm in width. The generic retouches are slightly more concentrated along the right-hand side in general. This would mostly take into account more significant or concentrated patches of retouching but the majority of the surface otherwise shows fairly delicate retouches throughout most likely the old flaked paint. The surface is somewhat flattened and the paint is thin in places as a result o the restoration process. Some surface dirt and discolored varnish. The varnish appears to be deteriorating somewhat inconsistently as seen under the UV. Areas of fine and sporadic cracquelure within across the standing female crofter's knapsack. Some areas of the surface have a slightly wrinkled quality which may also be a result of the relining process. New canvas used for reline likely having been aged. For more information please contact the department.
Lot 1085
E.S. England (fl.1890-1910)A Study of British Bulldogs, with Roundhay Park, Leeds in the distanceSigned and dated 1916, signed, dated 1915 and extensively inscribed verso, oil on canvas, 69.5cm by 110cmExtensively inscribed verso with the details of the Bulldogs"The Markham" "Markham Minor"sired by Hollywell British. 1912"Markham Monarch" Winner. First Crystal Palace 1919& over 500 other prizes. "Champion Markham Tommy"Tremendous Winner - takingChampionship of America 1912Special for best in Show.Stud Bull Dogs"Markham Supreme"Winner of over 108? Prizesin England & America."Hollywell British"Winner of over 400 prizesConquerer of 14 Champions. Chicago5,000 entries. In fully restored condition, slightly stiffly relined, cleaned and re-varnished. Surface is slightly flattened from the restoration process. Surface dirt and discoloured varnish now in evidence. Possible intersecting damage with repair and associated retouching mostly within the background, right, the upper part and lower standing side bulldog and approx 10cm on the horizontal and 8cm on the vertical. Sporadic retouching within foliage upper left-hand corner. Likely general strengthening throughout the darker tones between the two back standing bulldogs. Concentrated patch of retouching to the left-hand side paw o standing bulldog lower right and further retouches in a diagonal swaive within the background between the two front legs of the standing bulldog lower right hand corner approx 7cm in length. The tan colour to denote the darker tone of the bulldog's coat lower right-hand corner, generally strengthened. Horizontal patch of overpainting or strengthening within the background right of the back left leg of the white bulldog upper right-hand corner, retouching to edges, general strengthening to foliage upper right-hand corner etc. Some surface dirt and discoloured varnish.
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