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Lot 640
A yellow and white metal single stone diamond ring, accompanied with a GSI diamond identification report stated as 0.40 carat Colour: H Clarity: S12, dated April 10, 2018. Ring hallmarked 18ct gold, London. Shank stamped 'The Leo' (the 'o' is set with a 0.02ct diamond), 5263373 0.42. Also includes fitted Leo box and identification card. Size : I 1/2, 3.0 grams
Lot 688
A pair of gilt finished metal candle stands with a central sconce and five branches decorated with acanthus leaves and fruiting vines on tapered ribbed columns on double acanthus cups raised on a three sided base with applied cherub masks, our Lady and the symbol of the Sacred Heart, all raised o lion paw feet, 73cm high
Lot 1028
O-Z A collection of 235+ programmes from clubs predominantly from the 1960's with a few from earlier matches, a few from later matches some European matches, some friendlies at Oldham Athletic , Oxford United , Peterborough United , Plymouth Argyle , Portsmouth , Preston North End , Queen's Park Rangers , Reading , Rochdale , Rotherham United , Scunthorpe United , Shrewsbury Town , Southampton , Southend United , Stockport County , Stoke City , Sunderland , Swansea , Swindon Town , Torquay United , Tranmere Rovers , Walsall , Watford , West Bromwich Albion , West Ham United , Wigan , Workington , Wolverhampton Wanderers , Wrexham and York City. Some faults. Fair to generally good
Lot 44
MAX ŠVABINSKÝ 1873 - 1962: SUMMER NIGHT 1911 Mezzotint on paper (print: 55.0 cm x 49.0 cm)550 x 490 mm Signed lower right: "M. Švabinský" “Švabinský, a poet of bright sunshine and songful contours, occasionally longed for subjects dominated by darkness, with meticulously plotted lines giving way to picturesque transitions of soft, deep tones.In his oeuvre, the night is amiable, cozy, full of calm and warmth. Mezzotint is a technically exacting and delicate method. Švabinský had his mezzotint plates machine-rocked with fusiform dots, which were larger and less vulnerable. He did this because while working outdoors at night, he could have easily damaged the plates. More than any other technique, mezzotint requires an absolutely unique subject. It must be dark so that the material may be used as beautifully as possible. An August night in 1911 in Kozlova inspired the subject for Švabinský’s print. The weather was unusually hot, the stars sparkled with brilliance. An enormous linden tree stood next to the land opposite the farmhouse. Enchanted by the motif, Švabinský had a large plate brought in from Prague and for several nights he worked on it based on what he actually saw, a small lamp hanging from his neck.” From J. Kaušitz, Se Švabinským o grafice (With Švabinský about Graphic Art), SPN 1959, no. 26.
Lot 46
OLDŘICH BLAŽÍČEK 1887 - 1953: THE THAW IN VEŘOVICE, MORAVIAN WALLACHIA 1918 Oil on canvas 85,5 x 89,5 cm Signed lower right: "O. Blažíček/ 1918" The composition of the painting captures a view of a gated farmhouse among the trees with remnants of thawing snow along the path. According to the expert opinion prepared by PhDr. Nadìžda Blažíčková,“The Thaw in Veřovice, Moravian Wallachia is a very beautiful painting by Professor Oldřich Blažíèek from his early period, in 1918. The painter often enjoyed capturing the atmosphere of winter in the countryside. Blažíček was a plein air painter, painting outdoors every season of the year. Farmhouses capped with snow, during the thaw, and in springtime inspired many recordings by Blažíček. The Thaw in Veøovice, Moravian Wallachia testifies to Blažíček’s art of aptly expressing the atmosphere in the countryside with snow and the thaw. The space is constructed through long and soft, flowing brushstrokes; the perspective is excellent, as is the use of color. It is dominated by brown, white and blue tones and shades. Blažíèek always worked with lightness, spontaneity and joy. The farmhouses in Štramberk are a first-rate work by Blažíček and will be published in an upcoming monograph of the artist’s work.”
Lot 88
LADISLAV BENEŠ 1883 - 1956: SPEED, STRENGTH, RESISTANCE 1921 Bronze, marble 70 cm Marked on back: "L. BENEŠ" and debossed mark of Brothers Barták Prague. Inscriptions along sides of plinth: "RYCHLOST/ SÍLA/ ODPOR/ VÍTĚZI SOUTĚŽE SPOLEHLIVOSTI ČESKOSLOVENSKEM 1921 - MINISTERSTVO NÁRODNÍ OBRANY" ("Speed / Strength / Resistance / Winner o Sculptor Ladislav Beneš, together with Jan Štursa and Otakar Španiel, can unquestionably be included among the most important exponents of their generation, applying a new understanding of classicism to their work. Beneš composed the sculpture, which was commissioned by the Czechoslovak Ministry of National Defense, in the spirit of a new philosophy as an allegory of movement as represented by female nudes of Speed, Strength and Resistance. The modern era can also be sensed from the automobile, from which the towering sculpted figures are thrust forward.Ladislav Beneš, who studied under Professors Celda Klouèek and Stanislav Sucharda, was a member of the Mánes Union of Fine Artists in 1907–1934 and Umělecká Beseda from 1911. Although unfairly forgotten in his home country, his work has been exhibited in Cologne, Zagreb, Belgrade, Ljubljana, Munich and Vienna.
Lot 57
NO RESERVE Praeger (S. Rosamond) Further Doings of the Three Bold Babes, illustrations, ink inscription to front free endpaper verso, cracked hinges, ex-library with remnants of paper labels to front pastedown, original decorative cloth backed boards, library label to upper cover, rubbed and worn, [1898] § Tibbits (Annie O.) The Princess of the Loom, lightly browned, original printed paper wrappers, lacking lower wrapper, rubbed, slight chipping to corners and extremities, n.d. § Marshall (A. R.) "Doss Chiderdoss", "Pomes" from the Pink 'Un, original decorative paper wrappers, rubbed and worn, chipping and small loss to corners and spine extremities, 1897; and another, ob.4to & 8vo (4)
Lot 277
Two 1980s dresses, shirt dress from Bellino, beige button through top with drawstring waist and peplum over shocking pink skirt and pink leg o mutton sleeves, pink handkerchief in pocket (size 14) together with drop waist Laura Ashley dress in bold floral viyella with lace collar (size 12) (2)
Lot 362
Silver open face pocket watch by J. Renwick, Preston , white enamel dial with Roman numerals and subsidiary dial to 6 'o' clock, engraved shield decoration to reverse, marks to inside case for Chester, 1899, case size 55mm, also a silver open face pocket watch by T. Gibson Poole, enamel dial marked 'T. Gibson Poole, 12 & 14 Wilson Street, Middlesboro', Roman numerals and subsidiary dial to 6 'o' clock, engine turned decoration and shield to reverse, marks to inside case for Albert Waterfall, Chester, 1889, case size 53mm, and a silver Swiss open face pocket watch by J.G. Graves, Sheffield, white enamel dial with Roman numerals and subsidiary dial to 6 'o' clock, engine turned decoration and shield to reverse, inside case stamped 0.935, and '409906', case size 52mm. Condition reports are not available for this auction
Lot 143
A COLLECTION OF FOUR GOLD AND GEM-SET RINGS AND A BAND RING comprising; a tiny diamond single stone illusion ring, stamped '18ct', size J, 1.6g gross; a 9ct gold cultured-half-pearl and red-coral cabochon two-row ring, London 1996, size L; a 6.2mm round cultured-pearl single stone ring, unmarked, size J+; a Continental oval blue topaz single stone ring, marks obscured, size J; and a 9ct gold 'Celtic woven knot' band ring, marks obscured, size O, the four rings 6.9g gross
Lot 146
FOUR 9CT GOLD RINGS IINCLUDING A PERIDOT 'CLADDAGH' RING comprising; a Claddagh ring in the form of a crowned heart between hands, centred with a heart-shaped peridot within a paste border, London 1993, size S; an oval shell cameo ring depicting a female bust within a rope-twist frame, Birmingham 1989, size O+; an amethyst single stone ring, the round mixed-cut stone claw set between scroll cast shoulders, post 2000 London hallmarks, size U; and a small horse's head and horseshoe ring, Birmingham 1993, about size J, requires a repair at the shoulder; the four rings 11.1g gross
Lot 172
FIVE MID 20TH CENTURY GERMAN GEM-SET RINGS BY HANS RUDI HOFFER each stamped with the conjoined 'HH' maker's mark and '800' unless stated and some marked 'hand arb' for hand made, comprising; a round cabochon quartz single stone ring, the back coated with pink to give a pinkish hue, size O+; a cultured-pearl single bead ring with an open surround and barrel-shaped frame, on a tapering flat-section shank, leading edge size N+; a peridot and diamond square ring, rub-over set at the centre with a round mixed-cut peridot within a gilt-leaf surround with tiny rose diamond two stone panels, size M; a square ring, centred with round pale blue-ish green tourmaline within a gilt-leaf and tiny round four stone surround, probably also tourmalines but untested, size O; and a square ring set with two blister-pearls, a round garnet and a green-ish blue tourmaline, each stone rub-over set on a tarnished ground within a square frame, size M
Lot 193
1948 Australian "The Invincibles" Cricket Signed Team Sheet : Autographed by 15 players to include Don Bradman, S G Barnes, W A Brown, R Hamence, R N Harvey, I W Johnson, W A Johnston, S Loxton, C L McCool, K R Miller, A R Morris, D Ring R Saggers, D Tallon, E R H Toshack and Manager K O E Johnson overall condition centre folds and general creasing
Lot 28
A First/Second World War Group of Five Medals, awarded to LIEUT.E.H.P JOLLY R.A.F., comprising British War Medal, Victory Medal, General Service Medal 1918-62 with clasp S.PERSIA, named to F/O. E.H.P.JOLLY R.A.F. with corresponding miniatures, and Defence and War Medal, together with research material and ephemera **Born 18/4/1886, 2nd Lt. (I.A.R.O.) 22/7/16; Lt. (R.F.C.) 1/7/17; Aer.Off. (Lt.) (R.A.F.) 1/4/18; Resigned 7/8/19; Between the Wars he became a Civil Judge in India; P/O (Admin. & Spec. Duties)20/9/40; F/O 20/9/41; Flt.Lt. 1/1/43; In WW2 he served on special Commission writing Military Law for the Indian Air Force after Independence; Retired (Sqn.Ldr.) between Oct.1945 & Jan.1946
Lot 38
*ROERICH, NICHOLAS (1874–1947) Blue Cliff, signed with a monogram.Pencil and tempera on paper, 25 by 33 cm.Executed in the second half of 1920s–1930s.Provenance: Private collection, Europe.Authenticity of the work has been confirmed by the expert O. Glebova.Authenticity has also been confirmed by the expert V. Rosov.
Lot 40
*ROERICH, NICHOLAS (1874–1947) St Mercurius of Smolensk, signed with a monogram and dated 1919.Oil on canvas, 91.5 by 91.5 cm.Provenance: Collection of B.H. Kean, New York.Icons, Russian Pictures and Works of Art, Sotheby’s London, 15 December 1993, lot 29.Acquired at the above sale by the present owner.Private collection, USA.Authenticity of the work has been confirmed by the expert O. Glebova.Literature: Nicholas Roerich, vol. 1, Samara, Agni Publishing House, 2008, p. 230, pl. 265, illustrated; p. 661, No. 265, listed with incorrect date 1918. Related Literature: For similar work, see A. Yaremenko, Nicholai Konstantinovich Roerich, His Life and Creations During the Past Forty Years, 1889–1929, New York, Central Book Trading Company, 1931, p. 13, pl. 60, illustrated; p. 35, mentioned in the text.Nicholas Roerich, vol. 1, Samara, Agni Publishing House, 2008, p. 231, pl. 266, illustrated.St Mercurius of Smolensk by Nicholas Roerich belongs to his large series of works dedicated to Russian saints. This series is a particularly important part of the artist’s oeuvre.Roerich considered the First World War, which had engulfed Europe, as a global catastrophe. Empires fell, whole cities were laid waste and some of the most valued monuments of European history, repositories of the memory of many generations, were reduced to ashes. In that turbulent time, the artist turned to the history of the Tartar-Mongol invasions, the ruthless destructiveness of which reminded him of the contemporary events in Europe. Roerich created a series of works devoted to holy warriors and intercessors who defended Russia and the Christian faith at a time when all hope of rescue seemed vain. So from the fear and despair of The Doomed City (1914) and Glow (1914) Roerich moves on to hope and the expectation of salvation, as expressed in Prokopy the Righteous Diverts the Cloud of Stones from Veliky Ustyug (1914), Saint Nikolai of Mozhaisk (1916), Saint Mercurius of Smolensk (1918) and The Saints Boris and Gleb (1919).Two versions of St Mercurius of Smolensk are known. The first, painted in 1918, from the collection of Dmitry Rubinstein, was reproduced in 1931 in a monograph devoted to the works of Roerich. In this version, the protagonist is met as he enters the city by an angelic choir, which the artist places in the upper right section of the composition. It should be noted that Roerich had three major solo exhibitions in 1918–1920 in Stockholm, Helsinki and London. Many works from these exhibitions were sold to museums and private collections; and it is possible that this prompted him to replicate his most important paintings. In 1919 Roerich created a new version of St Mercurius of Smolensk, which — as was often the case with his replications — he did not enter into the list of original works.Initially, the new version was conceived as an exact replica of the 1918 composition. Infrared photography reveals the preparatory drawing, in which the figures of angels at the top right and a palace with a chapel to the left of the gates are clearly visible. But as the work progressed, Roerich decided to do something different. He removed the sketched choir and clouds and painted a mural on the facade of the gates, which depicted two angels sounding trumpets in honour of the hero. Thus, the heavenly host was made less obvious, intended to be noticed only by a more perceptive viewer. This rearrangement led to a reworking of the whole composition. The architecture on the left side of the original picture, which teemed with detail, is replaced by a more laconic image of a fortress tower. Overall, while the atmosphere on the 1918 version was jubilant (the colourful city, billowing, foam-like clouds, and angels in azure raiment), the version of 1919 is executed in a more austere and restrained manner, which Roerich deemed more appropriate to the nature of the martyrdom of Mercurius, who paid with his life for the rescue of Smolensk.However, structural changes to the composition and, more importantly, the degree to which Roerich reinterpreted the emotional content of the painting, allow to view the offered work is an authentic version that reveals new facets of the existing subject. St Mercurius of Smolensk is an outstanding work from Nikolai Roerich’s Sancta series, one of the most important components of his oeuvre, which is now almost entirely held in museum collections.We are grateful to the expert Olga Glebova, art historian, for providing additional catalogue information.
Lot 75
ANISFELD, BORIS (1878–1973) Wayside Crucifix, Tyrol (III), signed.Oil on canvas, 87 by 71 cm.Executed c. 1912. Provenance: Private collection, Europe.Exhibited: Mir iskusstva. Vystavka kartin, Kiev, 1913.Mir iskusstva. Vystavka kartin, St Petersburg, 1913.Mir iskusstva. Vystavka kartin, Moscow, 1913.The Boris Anisfeld Exhibition, itinerant: Brooklyn Museum, Boston Art Club, Albright Art Gallery Buffalo, Cleveland Museum of Art, Detroit Institute of Art, Milwaukee Art Institute, Minneapolis Institute of Art, St Louis City Art Museum, San Francisco Palace of the Legion of Honor, The Art Institute of Chicago, 1918–1920.La Russie inconnue. Art russe de la première moitié du XXe siècle, Salle d’exposition du Quai Antoine 1er, Monaco, 25 June–27 August 2015.Literature: Exhibition catalogue, Katalog vystavki kartin Mir iskusstva, Kiev, 1913, Nos. 5, 6, 7 or 8, listed.Exhibition catalogue, Katalog vystavki kartin Mir iskusstva, St Petersburg, 1st edition, 1913, Nos. 22, 23, 24 or 25.Exhibition catalogue, Katalog vystavki kartin Mir iskusstva, Moscow, 1913, Nos. 30, 31, 32, 33 or 34, listed.C. Brinton, The Boris Anisfeld Exhibition, New York, Redfield Kendrick Odell Company Inc., 1918, No. 34, listed.E. Lingenauber and O. Sugrobova-Roth, Boris Anisfeld. Catalogue raisonné, Düsseldorf, Edition Libertars, 2011, pp. 108–109, No. P 076, illustrated and listed.X. Muratova, La Russie inconnue. Art russe de la première moitié du XXe siècle, Milan, Silvana Editoriale, 2015, p. 55, No. 27, illustrated; p. 476, listed.
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175434 item(s)/page