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Lot 212
A selection of jewellery and accessories, to include a 9ct gold anchor brooch, 30mm x 20mm, a Victorian quartz and enamel gold coloured memorial brooch, 52mm x 42mm, a gold plated agate set bracelet, 20cm long, and opal triplet set silver brooch, 40mm long, a vintage Tissot wristwatch, an Excalibur wristwatch and a further selection of accessories (Qty)
Lot 245
A 9ct gold carved shell cameo brooch, the central oval cameo depicting the profile of a woman, set to a 9ct gold border surround with engraved detailing, hinged pin and safety loop fastening to reverse, 5.3cm x 4.4cm, together with a Victorian 9ct gold bar brooch, 4.5cm wide, and an opal set 9ct gold ring, size N (3)
Lot 259
A selection of jewellery and part jewellery, to include; an opal set ring, size I 1/2, an opal set brooch, 4.2cm wide, an 18ct gold mother-of-pearl set dress ring, size L 1/2, a single Edwardian sapphire, pearl and enamelled drop earring, 2.8cm long, a 14ct gold opal set clasp (at fault), an opal triplet pendant on a gold coloured chain, and a further selection of part jewellery (Qty)
Lot 353
A selection of Victorian and later brooches, including an pearl and enamel clover set example (unmarked), 38mm wide, a turquoise and enamel floral example (unmarked), 25mm wide, a 9ct gold pearl and sapphire set Etruscan example, 43mm wide, an opal set example (unmarked), 54mm wide, and a pearl set example (unmarked), 40mm wide, gross weight of group 10.0gms (5)
Lot 360
A selection of 9ct gold gemstone set dress rings, to include an emerald and diamond set ring, size L ½, an amethyst set ring, size M ½, a further amethyst set dress ring, size N, a synthetic ruby and seed pearl set ring, size M ½, an emerald and diamond tiered floral cluster ring, size L ½, and an oval opal triplet ring, size N (6)
Lot 372
A selection of pendants and necklaces, to include an Edwardian style amethyst and cultured pearl 9ct gold necklace, marks for Cropp & Farr, drop 34mm long, chain 51cm long, a cultured pearl and red paste set gold coloured floral pendant, 19mm diameter, upon an 18ct gold chain, 50cm long, a 9ct gold pearl set pendant, 14mm diameter, upon a 9ct gold chain, 50cm long, an emerald set 9ct gold pendant, 13mm long, upon a 9ct gold chain, 50cm long, a 9ct gold cross pendant, 33mm long, upon an unmarked yellow metal chain, 50cm long, and a 9ct gold emerald and opal floral pendant, 16mm diameter (10)
Lot 376
An Edwardian style citrine and pearl set cluster pendant, the central oval faceted citrine measuring 18mm x 13mm, with a surround of cultured pearls, all set to an unmarked gold coloured mount, suspended on a 9ct gold belcher link chain, 63cm long, together with an Edwardian style 9ct gold sapphire and opal set pendant, 34mm long, gross weight of group 13.2gms (3)
Lot 8
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 14
A BAG OF ASSORTED JEWELLERY ITEMS, to include a silver mounted jade pendant, fitted with a tapered bail, hallmarked Sheffield, five white metal semi-precious gem set pendants, a white metal cubic zirconia set pendant necklace, stamped '925', a white metal curb link bracelet fitted with a heart clasp, stamped '925', a multi-link white metal bracelet suspending purple paste hearts, a loose oval opal cabochon, etc
Lot 67
An opal and diamond three-stone ring, maker CG&S, set in 18ct yellow gold, size L½, an emerald and diamond dress ring, maker RSG, set in 18ct yellow gold and an 18ct yellow gold wedding band, approximately 4gm CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com
Lot 78
A black opal and diamond cluster ring, the oval opal to a surround of twenty diamonds, on an 18ct yellow gold shank, size P, approximately 5.3gm CONDITION REPORT: The opal surface is abraded/worn. Due to the mounting it is impossible to say if this is a doublet, I am inclined to think not. It needs a clean but otherwise the condition appears fair.
Lot 933
A mid 19th Century sarcophagus shaped glass box with gilded mounts and painted gilt flowers, 19cm wide and an opal coloured box with gilt metal mounts/Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Sarcophagus shaped box - Scattered small chips to cut glass points/facets. Some wear to gilding. No key.Oval opaque box - Cover panel intact, the main body of the box and both end panels are badly cracked, chipped and with losses. One oval end panel lacks its central brass rose. No key. Poor.
Lot 215
Miscellaneous jewellery including a mixed metal and opal bar brooch. The circular opal measures 13 mm, silver and seed pearl crescent brooch approx 60 mm; silver and marcasite, amethyst and faux pearl brooch 25 x 25 mm, silver butterfly wing brooch 20 x 15 mm; silver and marcasite ring size P (one marcasite missing); silver and 9ct gold eternity ring size M 2.72 gms; silver and white stone ring size O.
Lot 71
A scallop-shaped bon bon dish, Chester 1912 and boat shaped bon bon dish, Birmingham 1909, gross weight of silver 50gms, together with a 9ct gold bar brooch with opal setting, 3.5cm long and a Tiffany miniature white metal flask and funnel, in original case, fabric bag and box (4)Condition report: Silver with surface scratches,
Lot 7
A 9 carat gold calendar pendant with a yellow metal chain, 8 grams; a 9 carat gold wedding band; four 9 carat gold dress rings to include an amethyst and an opal, combined weight 16.5 grams; an Eastern yellow metal jade set ring and a yellow metal ringCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
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66237 item(s)/page