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Lot 382
A cased Victorian 9ct gold blue stone and diamond ring. The ring in the form of a lucky horse shoe set with old cut diamonds and mixed cut blue stones, having pierced and scrolled shoulders to plain shank. Principal diamond weight estimated 0.25ct. Estimated total diamond weight 0.50ct. Marked 9ct. Weight 2.83g. Size O.
Lot 786
A modern 18ct gold and single stone diamond ring, with trapeze cut diamond set shoulders, size O, gross 3.7 grams, the central stone weighing approx. 0.50ct.CONDITION: Colour and clarity of the central stone approximately estimated as L/M and VS2. No visible damage to any of the stones. A few nicks to the shank interior close to the hallmarks.
Lot 55
A SELECTION OF JEWELLERY, to include a silver ingot pendant hallmarked Birmingham 1977, suspended from a curb link chain with spring clasp stamped 925, length 600mm, a silver twist chain with spring clasp with a London silver import mark, length 440mm, approximate gross weight 63.0 grams, four other pendant necklaces, a single cubic zirconia set white metal ring, stamped CX 925, ring size O, a yellow metal ring, a white metal openwork brooch set with an orange paste, together with a 'Ville D' Argenteuil' medallion
Lot 281
Mel Crawford (Canadian, B. 1925) "Christmas Carolling" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Of all the joyous traditions associated with the holidays, perhaps none is more cherished than the custom of singing carols at Christmas. And, it may come as somewhat of a surprise that this beloved Christmas tradition has its roots in pagan customs in practice before the eleventh century. Although the early pagan carols were quite popular with the common people, they were hated and denounced by the Church. For seven centuries, the Catholic Church warned every man to "flee wicked and lecherous songs, dancings, and leapings," but despite all attempts to end caroling, the merriment continued. It was St. Francis of Assisi who introduced carols which were more acceptable to the Church. In many songs, he replaced worldly lyrics with sacred lines. However, the peace between the Church and the carol was not an easy one and for many years the carol was viewed askance by the clergy. It took centuries for the carol to evolve from a pagan rite of fertility into a beloved Christmas tradition sanctioned by the Church. But, in the twentieth century, the custom of singing carols has become a favorite Christmas tradition throughout both Canada and the United States. Today, many a Canadian family plans to spend a cold winter's night before Christmas strolling through the neighborhood serenading friends with the pleasing strains of Silent Night or O Little Town of Bethlehem. It is a Christmas tradition that grows more precious with each passing year. Image Size: 17 x 17 in. Overall Size: 20.25 x 20.25 in. Unframed. (B06804)
Lot 528
Ca.1070-945 B.C Egyptian. Egyptian bronze figure of God Osiris. The god is shown mummiform with a braided divine beard curved out at its tip, an atef-crown notched for plumes that is fronted by a uraeus, and a peaceful, idealized face. He is posed with the arms folded across the chest. Osiris is the most significant and important god in the Egyptians pantheon. He is known firstly as a god of fertility and then as a god of the underworld. He is usually depicted as a gold or green-faced man, to declare his association with the underworld. In his role of lord of the underworld he was associated with a pharaoh and is thus generally portrayed as a deceased pharaoh, as he is depicted on this figurine. Good condition; beautiful patina.Size: L:175mm w/o stand / W:50mm ; 525g; Provenance: Property of a London businessman; formerly in an old English collection; acquired in the 80s and 90s.
Lot 531
Ca.1070-945 BC Egyptian, Early Third Intermediate Period. Beautiful light blue faience ushabti figure wearing a tripartite wig and a false beard. Shabtis, also known as ushabtis, are Egyptian tomb offerings intended to serve and assist the dead in the afterlife. Ushabtis are usually inscribed with title, names, and sometimes parentage of the individual that dedicated them. Such figurines could also be inscribed with passages from the book of the dead so as to secure safe passage for the deceased on their journey to the underworld. Excellent condition; on a custom stand. Size: L:150 w/o stand/ W:40mm ; 110g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.
Lot 529
Ca.1070-945 BC Egyptian, Early Third Intermediate Period. Beautiful light blue faience ushabti figure wearing a tripartite wig and a false beard. Shabtis, also known as ushabtis, are Egyptian tomb offerings intended to serve and assist the dead in the afterlife. Ushabtis are usually inscribed with title, names, and sometimes parentage of the individual that dedicated them. Such figurines could also be inscribed with passages from the book of the dead so as to secure safe passage for the deceased on their journey to the underworld. Good condition; on a custom stand. Size: L:160mm w/o stand / W:45mm ; 170g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.
Lot 530
Ca.1070-945 BC Egyptian, Early Third Intermediate Period. Beautiful light blue faience ushabti figure wearing a tripartite wig and a false beard. Shabtis, also known as ushabtis, are Egyptian tomb offerings intended to serve and assist the dead in the afterlife. Ushabtis are usually inscribed with title, names, and sometimes parentage of the individual that dedicated them. Such figurines could also be inscribed with passages from the book of the dead so as to secure safe passage for the deceased on their journey to the underworld. Excellent condition; on a custom stand. Size: L:160 w/o stand/ W:43mm ; 170g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.
Lot 532
Ca.1070-945 BC Egyptian, Early Third Intermediate Period. Beautiful light blue faience ushabti figure wearing a tripartite wig and a false beard. Shabtis, also known as ushabtis, are Egyptian tomb offerings intended to serve and assist the dead in the afterlife. Ushabtis are usually inscribed with title, names, and sometimes parentage of the individual that dedicated them. Such figurines could also be inscribed with passages from the book of the dead so as to secure safe passage for the deceased on their journey to the underworld. Excellent condition; on a custom stand. Size: L:117 w/o standmm / W:35mm ; 100g; Provenance: Property of an established London gallery; acquired from a private estate collection formed in the 1980s.
Lot 1074
Framed watercolor of a yellow calla lily against a black background. Signed lower right: O Ocampo. Born in Celaya, Guanajuato, Octavio Ocampo is a Mexican surrealist painter. He grew up in a family of designers, and studied art from early childhood. In high school, Ocampo painted murals for the Preparatory School and the City Hall of Celaya. Ruth Rivera, daughter of artist and muralist Diego Rivera, and Maria Luisa Mendoza encouraged him to attend the School of Painting and Sculpture of the National Fine Art Institute. Overall size: 21 x 18 in.Sight size: 12 x 9 in.Please note that all sales are final. No refunds will be given under any circumstances.
Lot 840
This heliogravure by Salvador Dali is titled The Queen’s Croquet Ground and comes from his Alice in Wonderland series from 1969. Dali was one of the premier surrealists in the world, and there was no better pairing for the avant-garde master of Surrelaism than the fantasy land created by Lewis Carroll in Alice's Adventures in Wonderland. Luckily, an editor at Random House saw the connection and commissioned Dalí to illustrate a limited edition of the classic in 1969. Dalí created twelve heliogravures for the occasion—one illustration for each chapter—as well as a four-color etching as the frontispiece. Only 2,700 of the edition were printed, and the artist signed each original etching. The heliogravure comes with a beautifully engraved passage about Alice and the Queen and the Rabbit engaging in croquet as well. The bottom edge is deckled, it is signed by Dali in the lower right margin, and it is listed as #529 in Prestel’s Dali, Catalogue Raisonne of Etchings and Mixed-Media Prints 1924 - 1980, Vol 1.O 24 x 18 1/2 in.s 17 x 11 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances.
Lot 867
Titled: "Pique-Nique" (environs de Versailles). Portrays an outdoor impressionist wedding scene. Spat was born in Kishinev, Russia, now Chisinau, Moldova in 1890as Salomon Patlagean. From about 1910 he was in Paris, France and arrived in New York City in June of 1942. He created market, park, and horse racing scenes, still lives, and portraying dancers in an impressionist style. Medium: Oil, hand carved Louis XIV frame. O:12x 15 in., S: 5 1/2 x 9 in.
Lot 2220
A Diamond Solitaire Ring, the round brilliant cut diamond in a white claw setting, to a tapered shoulder plain polished shank, estimated diamond weight 0.80 carat approximately, finger size O see illustration . The ring is in good condition. It is hallmarked however the marks are very rubbed. The diamond measures 6.15mm x 6.09mm x 3.65mm approximately. The approximate qualities of the diamond are; colour I/J, clarity SI1/SI2. Gross weight 1.7 grams. CR made 29.09.20.
Lot 2232
A Platinum Diamond Solitaire Ring, the round brilliant cut diamond in a claw setting, to a broad shank with yellow band detail, estimated diamond weight 0.55 carat approximately, finger size O see illustration . The ring is in good condition however there is a chip under one claw. It is hallmarked with sponsor's mark 'DOM', Sheffield. The diamond measures 5.69mm x 5.63mm x 2.95mm approximately. The approximate qualities of the diamond are; colour I/J, clarity SI1/SI2. Gross weight 8.0 grams. CR made 04.08.20.
Lot 2252
A Diamond Ring, formed of three bands, the central band inset with round brilliant cut diamonds in white claw settings, flanked by a plain polished yellow band to one side and rose gold band to the other, total estimated diamond weight 1.40 carat approximately, finger size O see illustration . The ring is in fair condition, slight scuffing commensurate with wear and two diamonds chipped. It bears no hallmark nor stamp but in our opinion would test as gold. The diamonds do not go the whole way around the band. The approximate qualities of the diamonds are; colour I/J/K, clarity SI2/I1/I2. Gross weight 18.7 grams. CR made 18.09.20.
Lot 2256
A Diamond Cluster Ring, the round brilliant cut diamond within two graduated stepped borders of round brilliant cut diamonds, in white claw settings, to a tapered shoulder plain polished shank, total estimated diamond weight 2.80 carat approximately, finger size O see illustration . The ring is in good condition. It is stamped '18CT' and in our opinion would test as gold. The approximate qualities of the diamonds are; colour I/J/K, clarity SI2/I1/I2. Gross weight 7.6 grams. CR made 04.08.20.
Lot 2332
A Georgian Emerald and Diamond Ring, the emerald-cut emerald in a yellow millegrain setting, to white forked rose cut diamond set shoulders terminating to a lovers knot motif, on a yellow plain polished shank, total estimated diamond weight 0.10 carat approximately, finger size O see illustration . The ring is in good condition. It bears no hallmark nor stamp but in our opinion would test as gold. The emerald is closed set. The approximate measurements of the emerald are; 12.35mm x 9.76mm. The approximate qualities of the diamonds are; colour J/K/L, clarity SI2/I1/I2. Gross weight 6.8 grams. CR made 21.09.20.
Lot 1045
Aloysius O'Kelly (1853-1936) Irish ''Calme du Soir'' Signed, signed and inscribed verso, oil on canvas, 38cm by 44cm See illustration . Images of frame and verso will be uploaded in due course.Currently out of frame. The canvas is adrift of stretcher upper edge and majority of left hand side edge. The canvas at fold over point along these two edges is understandably somewhat tatty and torn with further rubbing and minor losses to exterior edges – particularly upper right hand corner, upper edge and left hand side edge. Due to the liberally applied paint there is an amount of widely spaced craquelure, most evidently within the water below left of the boat and approx. centre left hand side. Essentially stable but is starting to show a slightly precarious nature. Stretcher shadow, canvas with some mild general buckling. Push mark which just perforates canvas immediately above the o of signature with tiny associated losses. Small hole with circular loss to front approx. centre roughly 3cm from lower edge. Further small circular loss with weave of canvas showing through approx. centre and 1cm from left hand side mast of ship. Covered in a layer of dirt and discoloured varnish. Odd minor surface scuff/scratch etc.
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