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Lot 560
A contemporary Post-Regency design twin-pillar extending dining table, discorectangular top with 'gadrooned' border, substantial columns with 'egg-and-dart' socles, triform bases, hirsute paw feet, 76cm high, 194cm extending to 240cm long, 118cm wide; a set of six conforming dining chairs, comprising a pair of carvers and four side chairs, the carver 108cm high, 67cm wide, the seat 50cm deep (7)
Lot 87
A Royal Crown Derby miniature model, Church, porcelain stopper, printed marks, boxed; other miniature model houses and shops, Derby Town House, limited edition, certificate, boxed; another the same; Govier's China Shop, certificate, boxed; Georgian Town House, boxed; The China Shop, boxed; The Toy Box, boxed; The Ram Public House, boxed; The Post Office, certificate, boxed (9)
Lot 115
An artist's easel, a folding washing/drying stand and a large twin handled basket. The easel is 171cm h x 56cm w at the widest point, together with A June 1900 Royal Naval and Military Bazaar souvenir of sketches and drawings by John Charlton, A/F together with a 1955 Post Office map of London, a Royal Military College Atlas with historical supplement, a 1936 First Edition of Progress at Pelvis Bay by Osbert Lancaster and a 1908 book in German, printed in Berlin entitled Geschichte der Erotischen Kunst by Eduard Fuchs with erotic illustrations and a mixed lot comprising a decoupage style fire guard and a wrought iron guard, mixed metalware, mixed 78's, two vintage tripods and two prints of cattle of H.R Halls original paintings together with a collection of prints to include three on 19th century women's costume and a charcoal sketch on paper of a Middle Eastern manLocation: LWM
Lot 166
A Mappin & Webb Prince's plate embossed pedestal fruit bowl, 30.5 cm diameter x 23 cm high, together with a rosewood and inlaid box with armorial decoration inscribed "Vivit Post Funera Vertus", 15.4 cm x 20.5 cm x 6.3 cm high and a terracotta wine cooler with relief work grape and vine decoration and two Bacchus mask handles, 20 cm diameter x 24 cm high
Lot 11
SS TITANIC - an original photo postcard post marked in Cowes 18th April 1912 (8 days after the sinking), handwritten message "I was in the garden and saw the Titanic go out last Wednesday. Reggie Butler brother to the Landlord of the Granada was a passenger and is missing, it's terribly sad. Did you have a nice view of the eclipse today?..."Even discolouration, a very short tear on the left-hand edge and a few very light creases
Lot 11
A pair of Edwardian gold diamond drop earrings, an old European cut diamond, milligrain set, joined by jump rings to a bead and post, with butterfly fittings, tested as approximately 9ct gold, 1.08g (2)Condition report: Diamonds are bright, lively, and well matched.Surface reaching inclusions to one of the diamonds.The diamonds are estimated as approximately 0.10ct each.The earrings are approximately 14mm long.
Lot 115
A pair of white gold diamond cluster earrings, with four princess cut diamonds claw set to the centre, to border of graduated eight cut diamonds, with post and butterfly fittings, marked 9k, cluster 7.0-7.5mm, 1.60g (2)Condition report: Surface reaching inclusions to some of the diamonds.Jewellers unsold stock, no damage or repairs.
Lot 120
A pair of Art Deco-style 9ct white gold diamond drop earrings, a pierced heart shaped plaque to the bottom, grain set with eight cut diamonds, and rub set to the centre with a brilliant cut diamond, with a row of eight cut diamonds grain set to an articulated collet above, surmounted by an articulated pierced spear shaped plaque grain set with eight cut diamonds, to post and butterfly fittings, London, common control mark, 46mm long, 9.06g (2)Condition report: The earrings are Art Deco in style but are modern reproduction. The fittings are very slightly dirty, would benefit from being cleaned.No evidence of damage or repair.
Lot 126
A pair of white gold diamond cluster stud earrings, a brilliant cut diamond to surround of alternating brilliant and baguette cut diamonds, all claw set to post and butterfly fittings, marked 9k, cluster 4.2mm diameter, 0.74g (2)Condition report: Surface reaching inclusions to the diamonds.Jewellers unsold stock, no damage or repairs.
Lot 127
A pair of 18ct white gold pink and white diamond drop earrings, with a brilliant cut pink diamond, four claw set to an articulated collet, surmounted with a brilliant cut white diamond, claw set, to post and butterfly fittings, with a stated total diamond weight of 0.58ct, London 2004, 1.97g (2)Condition report: No damage or repairs, jewellers unsold stock.
Lot 148
A pair of 9ct gold flat cut garnet drop earrings, a pierced foliate panel suspending three pear flat cut garnet drops, surmounted by an oval flat cut garnet, bezel set to a domed back collet, to post and butterfly fittings, London 1959, 41mm long, 5.85g (2)Condition report: Butterfly fittings do not match.Surface marks/tarnish to gold, would benefit from a clean and polish.
Lot 149
A pair of silver and gold, garnet and diamond drop earrings, lyre shaped links each crimp set to the bottom with an oval cabochon garnet, and crimp set to the centre and top with brilliant cut diamonds, all set in oxidised silver with gilding verso, to gold bead, post and butterfly fittings, tested as approximately sterling silver and 9ct gold, 31mm long, 2.32g (2)Condition report: Gilding and oxidisation a little uneven in places. Surface reaching inclusions to the diamonds.
Lot 153
A pair of silver and gold, pink tourmaline earrings, by Poppy Dandiya, with a rose cut pink tourmaline, rub set in gold, to planished silver frame, with post and butterfly fittings, 9.5mm diameter, 3.19g (2)Condition report: A little dirty, would benefit from being cleaned.Some surface marks/tarnish to the silver.Gold content in settings untested.
Lot 169
A pair of 18ct white gold aquamarine and diamond drop earrings, with a pear mixed cut aquamarine, claw set to a raised collet, to a halo surround of brilliant cut diamonds, micro claw set, the articulated pear shaped drop surmounted by a brilliant cut diamond, four claw set, to post and push button alpha fittings, London 2009, with stated total weights of: aquamarine 1.21ct, diamond 0.56ct, 17.5mm long, 4.45g (2)Condition report: No damage or repairs, jewellers unsold stock.Diamonds are bright, lively and well matched.
Lot 175
A pair of gold tanzanite and diamond stud earrings, with a row of oval mixed cut tanzanites, approximately 4 x 3mm, claw set to crossover mount channel set with brilliant cut diamonds, to post and butterfly fittings, marked 375, tested as approximately 9ct gold, 17mm long, 2.61g (2)Condition report: No damage or repairs.
Lot 195
A pair of silver and gold, peridot and diamond floral cluster earrings, a brilliant cut diamond to surround of pear cut peridots, surmounted with a brilliant cut diamond milligrain set to an articulated collet, all set in oxidised silver with gilding verso, to gold post and butterfly fittings, tested as approximately sterling silver and 9ct gold, 19mm long, 2.49g (2)Condition report: Gilding and oxidisation to the silver a little uneven in places.Surface reaching inclusions to some of the diamonds.One of the peridots has been set at a slight angle to the setting, but appears secure.Some very minor abrasions to the peridots, visible under 10x magnification, not visible with the naked eye.
Lot 198
A pair of silver and gold, emerald, split pearl and diamond drop earrings, each with a circular mixed cut emerald and split pearl cluster, suspending a brilliant cut diamond and split pearl floral cluster, applied to the openwork navette shaped drop, all set in oxidised silver with gilding verso, to gold post and butterfly fittings, tested as approximately sterling silver and 9ct gold, 25mm long, 2.72g (2)Condition report: Surface reaching inclusions to the diamonds and emeralds.Oxidisation and gilding to the silver a little uneven in places.
Lot 200
A pair of white gold emerald and diamond open halo cluster stud earrings, an oval mixed cut emerald, approximately 5 x 3mm, claw set to an oval openwork frame micro claw set with eight cut diamonds, with post and butterfly fittings, marked 18kt, cluster 9 x 5mm, 1.23g (2)Condition report: Surface reaching inclusions to the emeralds.Jewellers unsold stock, no damage or repairs.
Lot 201
A gold single stone emerald pendant, suspended on a trace link chain, tested as approximately 9ct gold, together with a pair of 9ct gold emerald set knot earrings, with post and butterfly fittings, London, and a gold single stone aventurine quartz ring, tested as approximately 9ct gold, 3.74g total (4)Finger size L¼Condition report: Surface reaching inclusions to the emeralds.Chain worn.
Lot 206
A pair of white gold tourmaline and diamond drop earrings, with a pear mixed cut green tourmaline, with a stated total weight of 4.15ct, five claw set to an articulated collet, surmounted by an oval brilliant cut diamond, with a stated total weight of 0.32ct, rub set, to post and butterfly fittings, tested as approximately 18ct gold, with one replacement silver butterfly fitting, 20mm long, 3.30g (2)Condition report: No damage or repairs, jewellers unsold stock.Missing one white gold butterfly fitting, has been replaced with a silver butterfly fitting.
Lot 217
A pair of white gold cultured freshwater pearl and diamond earrings, a dyed grey cultured freshwater pearl, with a brilliant cut diamond rub set to a collet applied to the centre, to post fittings, butterflies deficient, tested as approximately 14ct gold, 1.83g (2)Condition report: Butterflies deficient.
Lot 218
A pair of 14ct gold cultured pearl and diamond earrings, a fluted tapering hoop earring suspending a cultured pearl drop, the cultured pearl, approximately 7mm, cup set to two row surmount grain set with eight cut diamonds, to post fittings, butterflies deficient, import hallmark Sheffield, 32mm long, 8.07g (2)Condition report: Butterfly fittings deficient.Minor surface marks/scratches to gold.Earrings very slightly dirty, would benefit from being cleaned.
Lot 219
A pair of gold mabé pearl earrings, with a mabé pearl, approximately 14mm diameter, rub set to a twisted wire effect border, with post and hinged omega fittings, tested as approximately 9ct gold, 11.11g (2)Condition report: Earrings a little dirty, would benefit from a clean and polish.Posts very slightly bent.
Lot 23
A quantity of jewellery, to include a pair of silver foliate paste set drop earrings, with gold hook fittings tested as approximately 9ct gold, 59mm long, possibly missing a drop to the bottom centre, a pair of silver paste set cluster earrings with black plastic hoop, with gold hook fittings tested as approximately 9ct gold, 54mm long, two paste deficient, jump rings open, a pair of silver paste set drop earrings, 57mm long, a silver paste set full eternity ring, a pair of imitation pearl stud earrings with gold post fittings, tested as approximately 9ct gold, etc. (qty.)
Lot 256
A pair of silver rose gilt diamond set stud earrings, in the form of a knot, channel set with baguette cut diamonds, to post and butterfly fittings, marked 925, knot approximately 9mm, 1.87g (2)Condition report: Surface reaching inclusions to the diamonds.Jewellers unsold stock, no damage or repairs.
Lot 277
A quantity of gold jewellery, to include a 9ct gold paste set eternity ring, a 9ct gold onyx initial ring, with a gold initial 'I' applied to the onyx tablet, Birmingham 1960, a gold trace chain, broken, tested as approximately 9ct gold, a pair of 9ct gold stud earrings, broken, a single gold half hoop earring, tested as approximately 9ct gold, and a 9ct gold cameo pendant and chain with earrings, 10.41g total (9)Finger size N, QCondition report: Trace chain broken and very worn.Chain to cameo pendant worn.Circular stud earrings - one earring missing its post, the other post very bent. Surface marks/scratches to all. Those that don't require repair would benefit from a clean and polish.
Lot 288
A quantity of jewellery, to include a sterling silver oval hinged bangle, a silver amethyst bangle, a pair of white gold hinged Greek key design earrings, with post fittings, tested as approximately 9ct gold, a single 9ct gold earring, a pair of silver enamel stud earrings, a fluted rock crystal quartz bead and tumbled amethyst bead necklace, with matching earrings, a silver gilt enamel The Coal Trade Benevolent Association past president medal, a quantity of silver earrings, a single row uniform malachite bead necklace, etc. (qty.)9ct gold - 7.30g
Lot 42
A pair of gold cultured freshwater pearl, jade and diamond drop earrings, a cultured freshwater pearl, peg set, surmounted by a pear cabochon jadeite jade, claw set to an articulated collet, with a cultured freshwater pearl, wire set, and a brilliant cut diamond, spectacle set, above, to a cultured freshwater pearl, post and butterfly fittings, tested as approximately 18ct gold, 47mm long, 5.90g (2)Condition report: Slightly crude solder work to the top ring of the jade settings.One of the post fittings is slightly bent at the end.
Lot 85
A pair of Continental gold earrings, of hollow hemisphere form with a rope edge, to Continental fittings, tested as approximately 14ct gold, 2.18g (2)Condition report: Surface marks/scratches to gold. The clip and post in one of the earrings do not line up, so do not close properly. Earrings are a little dirty, would benefit from being cleaned and polished.
Lot 87
A pair of large 9ct gold knot earrings, with post and butterfly fittings, one later replacement metal butterfly fitting, Sheffield, 19mm diameter, together with a similar smaller pair, tested as approximately 9ct gold, 7.50g total (4)Condition report: Both pairs a little dirty, would benefit from a clean and polish.The larger pair has one replacement metal butterfly fitting.
Lot 88
Four pairs of gold earrings, to include a pair of 18ct gold knot stud earrings, Sheffield, butterflies deficient, 2.16g, a pair of 9ct gold rose form stud earrings, with post and butterfly fittings, Birmingham, 1.42g, a pair of 9ct gold inlaid onyx earrings, with post and butterfly fittings, Sheffield, 3.84g, and a pair of gold cultured freshwater pearl stud earrings, with post and butterfly fittings, tested as approximately 9ct gold (8)
Lot 90
A quantity of gold earrings, to include a pair of diamond set drop earrings with post fittings, a pair of floral stud earrings, a pair of heart shaped stud earrings, a pair of leaf shaped stud earrings, a pair of duck stud earrings, a pair of star stud earrings, and a pair of cubic zirconia stud earrings with matching pendant, together with a gold initial 'B' pendant, all tested as approximately 9ct gold, 4.40g total (16)Condition report: Most of the stud earrings do not have butterfly fittings.
Lot 17
REBECCA HORN (B. 1944)Turm der Fliehenden Bücher 1994 metal rods, electric motors, books, ink, feather quills208 by 82 by 65.5 cm.81 7/8 by 32 5/16 by 25 13/16 in.This work was executed in 1994.Footnotes:ProvenanceGalerie Thomas Schulte, BerlinVanthournot Collection, Belgium (acquired from the above in 1994)Sale: Sotheby's, New York, Contemporary Art / Afternoon, 15 November 2006, Lot 412Acquired directly from the above by the present ownerRebecca Horn has left an indelible mark on the canon of art history as one of the most versatile and innovative artists emerging from Germany in the post-War era. Her practice is immensely diverse, employing a variety of media – from drawing to installation, writing to filmmaking – that has earned her enormous regard in academic and critical circles, culminating in her representing Germany at the 1997 Venice Biennale. Her kinetic sculptures remain some of the most organic and affective works the artist has produced, and the solemn beauty of Turm der Fliehenden Bücher from 1994, is no exception. Emerging in the late 1960s, Horn was part of a generation of artists whose work challenged the institutions and structures that had governed not only the art world, but society at large. Her work has prodded at notions of control, expression, and hierarchies of power, remaining one of the most visceral, captivating bodies of work produced by any artist in the postmodern period. Born in 1944, she grew up in the immediate aftermath of the Second World War. It influenced her greatly and would ultimately shape her mythologies and experimental practices in art. As a child, having been taught French and English rather than her native German, language was a fluid medium for Horn, who developed an acute feeling for drawing as her chosen artistic syntax; to her it was a medium that remained universal. In 1964, however, as a young art and philosophy student at Hamburg's Hochschule für bildende Künste, her working with toxic polyester and fibreglass dealt an early blow to her life and work, suffering serious lung poisoning. She spent a year in hospital recovering, emerging with a determination to put her body at the centre of her art. With a renewed focus on the phenomenological experience, Horn rebuffed the commodity fetish of the art object, and engaged with a notion of artmaking as an endeavour that harbours, not only unforeseen risks, but a series of psychological and physical obstacles. The subjective experience became her chosen instrument. She worked with soft materials, padded body extensions and prosthetic bandages, inspired by her convalescence in hospital. In 1968 Horn produced her first body sculptures, in which she attached objects, materials and instruments to the human body, taking as her theme the contact between a person, their environment and surrounding space. Einhorn is one of Horn's best known performance pieces comprising of a long horn worn on her head.While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. In the early 1980s, Horn began making these kinetic sculptures that moved by the force of a motor, taking on their own life and eliminating the need for the body to animate the her materials and shapes. The present work, Turm der Fliehenden Bücher from 1994, comprises of metal rods stacked tall against one another which in turn support three motors each of which has an open book and feather attached. Animated by the motors, the feathers flutter and softly rustle the pages of the texts that are splatted with ink. 'For me, all of these machines have a soul because they act, shake, tremble, faint, almost fall apart, and then come back to life again. They are not perfect machines. ...I'm interested in the soul of a thing, not the machine itself. ...It's the story between the machine and its audience that interests me' (the artist in: Rebecca Horn, New York 1993, p. 18).Feathers first began appearing in Horn's work as components in elaborate props and costumes, even becoming the sculptures in their own right. Feathers and other materials that were used in her kinetic sculptures could be liberated from their ordinarily defined materiality and transposed into ever-changing metaphors that touched on mythical, historical, literary and spiritual imagery. Literature and poetry also held important prominence in Horn's work; her own written poetry often inspired her work and she encouraged the viewer to constantly consider the important relationship between art and literature. She felt that viewers would consider a painting as art and a book as literature, but by combining the two in a single work, Horn asks us to consider these definitions and how the two relate and interact. The author, Jeanette Winterson, has described Horn as performing a role akin to an artist-inventor or alchemist, and as possessing an ability to produce artworks that conjure powerful forces and emotions. Horn's work resides in many major public institutions worldwide including the Museum of Modern Art, New York, the Tate Collection, London, the Centre Pompidou, Paris and the Stedelijk Museum, Amsterdam, among many others. She is one of very few artists whom have been selected to participate in Documenta on four separate occasions. During the last six decades Rebecca Horn has become a key figure in a moment for art that challenged and changed formal ideas.This lot is subject to the following lot symbols: * AR TP* 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.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 18
CARMEN HERRERA (B. 1915)Untitled 2013 signed and dated 2013 on the overlap; signed and dated 2013 on the stretcheracrylic on canvas50.9 by 50.9 by 6.2 cm.20 1/16 by 20 1/16 by 2 7/16 in.Footnotes:ProvenanceLisson Gallery, London (HERR130014)Acquired from the above by the present owner in 2015Carmen Herrera is one of the most significant and celebrated minimalist painters of the last sixty years. An artist who has been at the very heart of late modernist practice, and has remained fastidiously committed to her singular style over the course of her life, the canon of twentieth century art has been incomplete without her inclusion until her late-life, institutional reappraisal. Presented here, Herrera's Untitled painting from 2013 is a canvas of searing simplicity; a superlative example of the Cuban-American artist's characteristic compositions that intersect space with razor sharp bars of colour. In the present work, Herrera's lifelong engagement with the formal qualities of the canvas – its objecthood, its surface, its composition – crystalises in a painting of lucid boldness. Elegant in its scale and ablaze with cobalt blue abutted by weightless solids of seething Indian yellow that fluoresce and glow over their respective corners, Untitled wonderfully demonstrates the visual poetics of Herrera's minimalist workings. Painted on the overlap and not hindered by any ornament framing, the present work gives an intensity and mass to the colours and lines that are essential to experiencing her work to its fullest.Born in Cuba in 1915, Herrera's astonishing life and career as an artist in Post-War Europe and America beckons from one of the most abundantly creative periods drifting out of living memory. Having left a politically turbulent Cuba for New York, cutting short her architectural studies to marry an American, Jesse Loewenthal, in 1939, Herrera had found her calling as an artist. They moved to Paris, residing in the city between 1948 and 1953 – a period that would be so influential and formative to her blossoming practice. In Herrera's early work, her astute sense of colour and form was evident and palpable. Akin to the blockish, tonal compositions of Paul Klee, taking cues from the work of Kazimir Malevich and Russian Suprematism, it was in Paris that Herrera would begin to refine her style and hone her rigorous relationship to colour and line. Working and exhibiting in company that included Piet Mondrian and Max Bill at the Salon des Réalités Nouvelles – where she would show five times during her stay in France – Herrera's practice was not only on the pulse of the painterly discourse of its day, but she superseded many of her male counterparts in their experimentations that deconstructed and fragmented the singular plane of the canvas; the arena of contestation that would become so significant for contemporary painting of the 1950s.Post-War Paris was a hotbed of artists and intellectuals. It was a place and time without equal, from which flourished much of the philosophy, art, and literature that would be exported to New York in the following decades. Herrera's circles testify to her place in history and the respect she earned from those at the centre of cultural discourse in period: she was close friends with Jean Genet, Yves Klein and his family, sat across from Jean Paul Sartre and Simone de Beauvoir at the Café de Flore, dined with Barnett Newman on regular weekends, and was an audience member in the first production of Samuel Beckett's Waiting For Godot. On her return to New York in the 1950s, Herrera pared back her work to the harsh minimalist guise she is so fondly revered for, one of the earliest adopters of this newfound style. Her paintings now featured typically only two colours; angular lines became singular arcs; the plane of the canvas delineated into expansive, independent forms. Her fascination with line and form became her signature, famously stating 'I never met a straight line I did not like' (the artist in an interview with Simon Hattenstone, 'Carmen Herrera: 'Men controlled everything, not just art'', Simon Hattenstone, The Guardian, 31 December 2016, online). Undoubtedly, much has been said of the dialogue between her paintings and those of Ellsworth Kelly, Frank Stella, and a generation of minimalist artists who formally emerged in the 1960s, years after Herrera had arrived on the New York scene with her vivid, breakthrough style. In spite of her being overlooked by galleries and museums alike, her place at the forefront of contemporary painting since the 1950s is now regarded as hugely significant and enduring. Her unrelenting commitment to her own practice continues to be deeply engaged with the surface and object-oriented experience of painting – resolving her canvases in the simplest, discrete, pictorial frames she can achieve.Major reassessments of artist's careers are rare, and still more during the artist's lifetime. But no one has drawn quite such praise or unanimous admiration for their late-life success as Herrera. As it was in the 2000s, institutional recognition for the artist began to gain traction, and her first retrospective exhibition in Europe took place at the IKON Gallery in Birmingham, U.K., in 2009. It was her large-scale retrospective Carmen Herrera: Lines of Sight at the Whitney Museum of American Art, however, that reestablished the history of Minimalism with Herrera in full view, exhibiting over fifty works from 1948-1978. As her career will continue to be evaluated and celebrated, Untitled stands as one of a limited number of paintings as yet to come to market. Now in global museum collections including the Museum of Modern Art, New York, the Tate Collection, U.K., and the Kunstsammlung Nordrhein-Westfalen (K20), Düsseldorf, her legacy as an artist in the realms of Kelly and Stella is assured. An exceptional late painting by one of the most underappreciated artists of the modern era, Untitled is an exquisite example of Carmen Herrera's characteristic style. In spite of her setbacks and discounts, her fortitude in the face of adversity is testament to her rightful place in the canon, and the present work boldly displays the prowess and mastery of craft of a truly historical talent.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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