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Lot 256
A collection of silver and silver plate, the silver comprising a four-piece dressing table service, by Albert Carter, Birmingham, 1940 with enamel decoration, comprising, two hair brushes, a clothes brush and a hand mirror; a Victorian silver and mother of pearl fruit knife, Sheffield, 1869 and silver cigarette-case, oblong and with engine-turned decoration, the silver plate comprising a five piece tea service, by Mappin and Webb, each pieced with fluting (qty)
Lot 327
A quantity of costume jewellery including a pair of 9 carat gold cultured pearl earrings, simulated pearl necklaces, a silver brooch set with amethyst, citrine etc, marcasite brooches, a silver compact, a lady's wristwatch, plated chains, a seed pearl necklace (a.f.) etc . 9 carat gold cultured pearl earrings - 4.5 grams.
Lot 41
A 9 carat gold pendant, length 3.0cm; a trace link chain, stamped '9CT', length 57cm; two single 9 carat gold drop earrings; a pair of 9 carat gold cuff earrings; a pair of 9 carat gold square earrings; an earring, indistinctly stamped; two pendants, unmarked; a cultured pearl bar brooch, stamped '9CT'; a paste set brooch, stamped '9CT'; and a 9 carat gold gem set and split pearl brooch; three white metal rings and a white metal brooch. Items hallmarked 9 carat gold/stamped '9CT' - 18.2 grams. Two pendants and an earring - 5.0 grams.
Lot 11
Banksy (British, b. 1975)Oh My God 2006 tagged; signed and dated 21 July 2006 on the reversespray paint and emulsion on found metal129.5 by 91.5 cm.51 by 36 in.This work is unique.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, Los Angeles (acquired directly from the Barely Legal exhibition)Robert Berman Gallery, Santa MonicaAcquired directly from the above by the present owner in 2011ExhibitedLos Angeles, Barely Legal, 2006Literature and FilmBanksy, Wall and Piece - Now with 10% More Crap, London 2006, p. 240 illustrated in colourElio Espana, Banksy and the Rise of Outlaw Art, 2020, 1:32:05 (installation view)One of the definitive artists of the new millennium, Banksy has left an indelible mark on the walls of art history as a true maverick of the genre. From his emergence as a figurehead of street art, Banksy has risen to the heights of global superstardom through a course of breakthrough exhibitions, political activism, and artistic showmanship. Presented here for sale, Oh My God was first displayed at Banksy's most significant exhibition, Barely Legal, his debut show in the United States in Los Angeles in 2006. Irreverent, playful, and littered with art historical and cultural allusions, Oh My God is a work in Banksy's quintessential stenciling style on a rare metal support, demonstrating all the panache and appeal that places this amongst his most collectible works.Painted on a found piece of metal, the present work reflects the gritty, urban environment that Banksy was borne of – a painting true to his roots as a street artist and anti-establishment renegade. In a typical revisionist twist on the classical portrait, the iconography of the image feels remarkably familiar, whose sitter's tilted glance conjures the timeless pose of Johannes Vermeer's Girl with a Pearl Earing (1665) or Pablo Picasso's compelling portraits of Dora Maar produced at the end of the 1930s. Such comparisons have long since become entirely apt for the anonymous British artist, whose career has defined the cultural landscape of the last two decades, and become synonymous with contemporary art criticism and political discourse in the twenty-first century. Known for his sardonic wit and pointed irony, Banksy has never shied away from a searing commentary of the art world that has embraced him. In the present work this is brought to the fore with a piquant and wry humour. Feigning interest or enthusiasm for the role of the artist, Banksy's depiction of his subject pokes fun at the superficiality of the cultural dilettante and part-time art lover; it is a picture of the artists perspective of the patent triviality of the 'in' crowd who laud him. Like all great artists, Banksy's aloofness and ardent refusal to heed his now-celebrity status has only cemented his legacy as a true outlier and hero to the public who view him in the vein of Robin Hood, undermining and ridiculing the established order of contemporary art. He is also the embodiment of that peculiarly British, self-effacing sense of humour whereby he mocks the faux seriousness of artists, their overweening narcissism and therefore his own. Here is the essence of his work: he is polemic, scathing and satiric and everyone is a possible target, including himself.It was in keeping with his raison d'être that Banky organised Barely Legal; an exhibition that drew celebrity and global press attention, culminating in the watershed moment of the artist's career. Already amassing a cult following through his self-initiated solo exhibitions in London in the early 2000s, it was a break-out event attended by leading collectors, and dealers, whose guest list teemed with Hollywood A-listers including Brad Pitt, Angelina Jolie, Jude Law, and Cameron Diaz. Such hype, however, did not stymie the artist's unshakeable faith in his work to speak truth to power, producing a complete exhibition of works that called out the twisted realities of consumer culture. In Banksy's own words, 'as soon as I cut my first stencil I could feel the power there. I like the political edge. All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars' (the artist in 'The Story Behind Banksy,' Will Ellsworth-Jones, The Smithsonian, February 2013, online).His taste for theater, black humour and activism have distinguished him from his street art kin such as Blek Le Rat and Shepard Fairey, and placed Banksy in a category of his own. Undoubtedly, his anonymity and resilience as a political entity in his own right – who single-handedly became a symbol of hope stenciling graffiti in the Gaza Strip in 2015, and more recently launched an independent search-and-rescue vessel for asylum seekers adrift in the Mediterranean – has meant Banksy's legacy is unrivalled in its depth and scope not only in graffiti circles, but in the art world at large. At his core, he remains one of the greatest artists of our time, and the present work is a veritable embodiment of the adroit hand, cunning mind and values that have made him so celebrated and his works so highly sought-after. As Banksy's profile and collectability has developed, unique works of exceptional history and quality become still more prized. Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist. His technique remains singular and immediately identifiable, and Oh My God is amongst those most rare of Banksy works whose subject appears completely unique. Exhibited first at Barely Legal, the exhibition that would redefine Banksy as one of the most admired artists of the period, Oh My God is central to the mythology that accompanies his work and the cult following he has garnered, and its sale represents an opportunity to acquire one of the finest examples from the crucible of Banksy's career to date.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 125
A LATE 19TH CENTURY NATURAL PEARL AND DIAMOND PENDANT, CIRCA 1890 Of target cluster design, the pearl measuring 8.4 x 7.7mm, within a double openwork surround of old brilliant-cut diamonds, suspending a 6.7 x 8.5mm pearl drop with an old brilliant-cut diamond connector, to a similarly-cut diamond three-stone pendant loop, mounted in silver and gold Accompanied by a report from Gemmological Certification Services, stating that the pearls were found to be natural, of saltwater origin. Report no. 80256-51, dated 6th March 2020. (Dimensions: Length: 5.6cm)(Length: 5.6cm)
Lot 23
A CULTURED PEARL AND DIAMOND PENDANT AND EARRINGS, BY MAPPIN & WEBB Each 8.2-8.6mm cultured pearl within a brilliant-cut diamond surround, mounted in 18ct white gold, earrings with post fittings, UK import mark, maker's mark M &W, maker's case (Dimensions: Lengths: earrings 1.3cm, pendant 2.0cm) (Qty: 2)(Lengths: earrings 1.3cm, pendant 2.0cm)Qty: (2)
Lot 3
AN EARLY 20TH CENTURY NATURAL PEARL AND DIAMOND PENDANT The semi-baroque pearl drop, measuring 11.1-12.4 x approximately 18mm, suspended from a tapered surmount millegrain-set with old brilliant-cut diamonds, to a fine trace-link chain Accompanied by a report from the Gem & Pearl Laboratory, stating that the pearl was found to be natural, of saltwater origin, with worked and polished area to the reverse. Report no. 18977, dated 18th September 2020. (Dimensions: Length: 4.3cm)(Length: 4.3cm)
Lot 56
A SAPPHIRE LINE BRACELET Box-set with alternating oval or cushion-shaped sapphires and circular-cut colourless sapphires, to an engraved gallery Accompanied by a report from The Gem & Pearl Laboratory stating that the sapphires are of Sir Lankan origin, showing no evidence of heat treatment. Report no. 16723, dated 18th January 2019. (Dimensions: Length: 18.5cm)(Length: 18.5cm)
Lot 60
A PAIR OF SAPPHIRE AND DIAMOND PENDANT EARRINGS Each centrally-set with an oval-cut sapphire, weighing 3.00 and 3.29 carats respectively, suspending a triple line drop set with baguette-cut diamonds, to a looped scroll surmount set with baguette and brilliant-cut diamonds, post and clip fittings, French import marks Accompanied by two reports from The Gem and Pearl Laboratory, stating that the sapphires were found to be natural, with no evidence of heat treatment observed. Origin opinion: Sri Lanka (Ceylon). Report nos. 17386 and 17387, dated 18th June 2019. (Dimensions: Length: 5.7cm)(Length: 5.7cm)
Lot 97
AN ITALIAN LATE 19TH CENTURY GEM-SET PENDANT/BROOCH AND CHAIN The cushion-shaped citrine in an ornate collet mount with ropetwist detailing, flanked by two mermaids, holding an old brilliant-cut diamond, and suspending three pearl drops, to a palmier-link chain, pearls untested, with a wooden necklace case by Giacinto Melillo (Dimensions: Lengths: pendant 4.2cm, chain 38.0cm)(Lengths: pendant 4.2cm, chain 38.0cm)Footnote: The mermaid Parthenope is one of the most beautiful and historically significant symbols of Naples. Parthenope was one of the sirens in Greek mythology and, according to legend, attempted to entice Odysseus. Having failed in her attempt, Parthenope threw herself into the sea and washed ashore on the island of Megaride. The mermaid’s body was then claimed to have dissolved and formed the shape of Naples.
Lot 2
A Chanel dress ring, the maker's double C logo within a red enamel and imitation pearl rectangular surround, and grooved band, signed Chanel A16 P, ring size L, with maker's pouch and box.Condition report: Overall condition good to fairLight discolouration in keeping with occasional wearTop imitation pearl with some loss to coating, visible with the unaided eyeRing setting approx. 21.5 x 19.8mmBox and pouch in good condiiton
Lot 3
A Chanel pendant necklace, the maker's double C logo within a red enamel and imitation pearl rectangular surround, suspended from a flat curb link chain with double C terminal and spring clasp, signed Chanel A16 P. With maker's pouch and box.Length of pendant 2.7cm. Length of chain 43cm.Condition report: Overall condition good to fairSome slight discolouration to imitation pearls, particularly the top and bottom pearls, could be discolouration from the black pouch packagingOtherwise, condition good - hardly wornCondition of box and pouch very good
Lot 24
NO RESERVE Decorative Arts.- Herman (S.) & Julien Pascal. Mouton Rothschild: Le Musée du Vin dans l'Art, inscribed by the second author to Adrian Eeles, Paris, 2003 § Koeppe (W.) & others. Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe, New York, 2008 § Marti (S.) Charles the Bold: Splendour of Burgundy, Berne, 2009 § Niedzielenko (A.) Silesia a Pearl in the Bohemian Crown: Three Periods of Flourishing Artistic Relations, Prague, 2006 § Thornton (Dora) A Rothschild Renaissance: Treasures from the Waddesdon Bequest, 2015 § Avery (V.) Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge, 2002, illustrations, many colour, original cloth or boards with dust-jackets; and c.30 others on the decorative arts, mostly collections, 4to & 8vo (c.35)
Lot 2045
Edwardian 9ct gold seed pearl, star and swirl design brooch retailed by F. Appleby Retford boxed, four 9ct and 15ct gold stone set stick pins, 9ct gold propelling pencil and a 9ct gold brooch, all stamped, tested or hallmarked - Condition Report Brooches approx 3.5gm (back pins not gold), stick pins approx 4.1gm,
Lot 2113
Irish gold Claddagh ring, gold brooch, heart locket all 9ct stamped or hallmarked, 18ct gold diamond set stick pin finial, fob, seed pearl brooch etc - Condition Report 9ct gold approx 8gm, Claddagh ring - Dublin assay mark (date letter rubbed) 9ct gold brooch back pin not gold, 18ct approx 1.2gm (tested)
Lot 2180
Pair of Victorian silver nips by Hilliard & Thomason, Birmingham, Victorian silver and mother of pearl babies rattle, , two mother of pearl fruit knives with silver blades by Mappin & Webb, silver small mirror, purse and other hallmarked silver flatware, weighable silver approx 4oz - Condition Report Babies rattle silver split, purse approx 4oz
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367336 item(s)/page