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Click here to subscribeA sapphire and diamond stick pin. The white gold stick pin having a head set with a central marquise cut diamond flanked by step cut trapezoid sapphires to polished stick pin. Unmarked, surface tests indicate gold. Measures 6.2cm x 0.9cm. Stick pin measures 6.3cm. Weighs 2.2g. All weights, measurements and sizes are approximate.
A LARGE COLLECTION OF LADIES' CLOTHES AND SHOES, a selection of two piece skirt sets, names include Eastex, Windsmoor, Equorian, M&S etc. sizes vary from 14-16, wool blend skirts, grey suede look coat by Danimac with grey faux fur colour, silk style lining, light beige cow split suede coat, pure wool camel colour coat, faux fur animal print coat, pure wool jumpers, hotter, Ecco, First Step, ladies shoes and slippers some look new in the box, a selection of tights and stockings, etc. (2 boxes + loose), (sd) CLOTHES RAIL AND MANNEQUIN NOT INCLUDED
After Fletcher Sibthorp (British b.1967) limited edition colour print 'Tres Bailadoras en Roja'(Three Dancers in Red) signed and numbered 239/295 in pencil to margin, within a step moulded mount and moulded gilt frame, under glass, 50cm x 74.5cm & 79cm & 103cm overall, certificate of authenticity attached verso.
A group of assorted rings, including five silver rings set with various gemstones, two of which are set with diamond accents, together with a 9ct white gold ring set with five blue step cut stones, and a 9ct white gold pendant. (7) Condition Report: white metal pendant and blue stone ring both marked '375'.
Ladies Pleasing Platinum Three Stone Diamond & Emerald Set Ring. Full hallmark Platinum 950 to interior of shank. The central step cut emerald of good colour flanked by two princess cut diamonds of excellent colour and clarity. Est. diamond weight 0.50 ct. Ring size M. Weight 5.0 grams. Shank and setting excellent condition.
Ladies Art Deco Style 14ct Gold Green Stone and Diamond Set Dress Ring, Tests Green Stone ( Step cut ) Excellent Colour ) Clarity ) Est 2.00 cts. Surrounded by Baguette Cut Diamonds of Good Colour / Clarity. In a Fan Shape / Design. Est Diamond Weight 2.00 cts. Ring Size N. Weight 7.8 grams. Shank ( Solid ) Setting. Very Low Estimate.
An 18ct white gold diamond cluster ring, maker RB, London 2013, set with rectangular step-cut and modern round brilliant-cut diamonds with diamond shoulders, total diamond content approx 0.5ct, setting height 8.3mm, size N, 4.5gNo damage or repair, all stones present, diamonds very bright and lively with hardly any internal inclusions visible through a loupe, light wear to settings, full UK hallmarks slightly worn, laser engraved 750
A Swedish 18ct gold blue synthetic spinel dress ring, maker ABJ, hallmarks 1944, set with rectangular step-cut synthetic spinel, setting height 16.8mm, size M/N, 10gNo damage, synthetic spinel has abraded facet edges, general wear to high points of settings and shank slightly off-round, full Swedish hallmarks clear, stamped 18k
An Art Deco emerald and diamond 'Arrow' brooch (originally a jabot pin), millegrain set with rectangular step-cut emeralds and rose-cut diamonds, unsigned, 62.4mm, 3gJabo fitting has been damaged and soldered in place then converted to a brooch, otherwise no damage, all stones present, unmarked
RAPA NUI LIZARDMAN FIGURE, EASTER ISLANDtangata moko toromiro wood, obsidian, boneHeight 68.5 cmold no.'D.35.23-3' in white paint under the ring. This inscription refers to a loan made to the Musée d'Ethnographie du Trocadéro, Paris in 1935. This object once had an Kichizo Inagaki base, now lost.ProvenancePaul Eluard and André Breton, ParisEtude Bellier, Paris, 2 July 1931, lot 162René Gaffé, BrusselsChristie's, Paris, 8 December 2001, lot 10LiteraturePortier, A. and Poncetton, F., Décoration océanienne, Paris, 1931, pl.IOrliac, C., Botanical Identification of 200 Easter Island Wood Carvings, 2007, table 2Biro, Y., Hourdé, C.-W., and Rolland, N., Surréalisme: Zones de contact, Paris, 2024, p.12ExhibitedParis, Musée d'Ethnographie du Trocadéro, Ile de Pâques - Exposition de la mission Franco-Belge en Océanie, 21 June - 30 October 1935Footnotes:Paul Éluard and André Breton first met in Paris in March 1919. Breton, along with fellow writers, Philippe Soupault, and Louis Aragon, had recently started a new surrealist magazine, Littérature. Impressed by what the shy Éluard read to them on the occasion, they invited him to contribute to the next edition of the magazine. Breton and Éluard became close friends. In 1924, exactly 100 years ago, Breton published his first Surrealist manifesto along with Éluard and fellow writers Louis Aragon, André Breton, Robert Desnos, Jacques Baron, Jean Carrive, René Crevel; the photographer Jacques-André Boiffard and the artist Georges Malkine. Claiming to be the successors of the legacy of Guillaume Apollinaire who had first used the term 'surrealism' in 1917, they sought to allow the free expression of the unconscious mind. The arts of the Pacific would play an important role in the Surrealist movement. Breton had purchased his first object of 'primitive art', an Easter Island sculpture, with money given to him by his parents in 1913 for passing a school exam. The arts of the Pacific best represented the revolution of artistic perception the Surrealists sought with its variety and unexpected visual appearance. On a map entitled 'The World at the Time of Surrealism', published in the Belgian avant-garde magazine Variétés, countries were accorded a size relative to their importance in the eyes of the surrealists with Pacific islands at the centre - Easter Island appears as large as the continent of south America. As Yaëlle Biro points out in her article in Contact Zones: Africa, Oceania, and North America as Sites of Dialogue and Friction Surrealism (p.10) Breton would explain later in the preface to his catalogue Océanie in 1948 the surrealist preference for Oceanic over African arts. The latter he described as realists, anchored in materiality, far removed from Surrealist preoccupations, while the former are spiritual and poignant, with the potential to spark both dreams and desire. In 1931, reputedly due to financial difficulties, Breton and Éluard organised a sale of 'Sculpture d'Afrique, D'Amérique, d'Océanie' at the Hotel Drouot. The sale was planned to coincide with the opening of the Exposition coloniale internationale in Paris. Pacific objects dominated with six lots from Easter Island. Charles Ratton bought the Easter Island rei-miro for 3,500 francs and René Gaffé acquired the two Easter Island moko for 6,200 and 3,800 francs respectively, one of them being the present lot. Ahead of the sale Gaffé had also bought directly from Breton, his uli figure. Yaëlle Biro (op.cit., p.10) points out that Breton, Éluard and other members of the Surrealist movement, were not merely participating in the burgeoning market for non-Western objects in Europe, but were actively shaping it. Their involvement in the market, their large scale selling at auction and influence on the descriptions in auction catalogues, contributed to the dynamism in the market and the shaping of the Western narrative on such works. René Gaffé, a Belgian bibliophile, collector and journalist, had made a fortune in the perfume industry and had formed an important collection of Cubist and Surrealist works by painters such as de Chirico, Braque, Picasso and Miró, as well as important Oceanic and African art. Many of the paintings and other works he acquired through Breton and Éluard who acted as dealers. Gaffé loaned works to the International Surrealist exhibition in London in 1936 and the following June organised two exhibitions at the Zwemmer gallery in London with works from his collection - Joan Miró and Chirico – Picasso. Forty of the exhibited paintings were acquired by Roland Penrose, the artist, historian and poet, for £6,750, a very modest price at the time. For years Gaffé supported Breton and Éluard financially, buying objects for them when they were in need. His debt to them he acknowledged in his A la Verticale: Reflections of a Collector, published in 1963. 'It is, I believe, quite rare for a collector to move, spontaneously, from one school to another out of an appetite for knowledge. It is more natural for someone to point him a direction that could lead him on the path of new discoveries. André Breton and Paul Éluard helped me in this first step. Indeed, they had brought together carefully selected Cubist works with the most moving statues from black Africa and the Pacific. Without much explanation, they led me into an area that was still little explored at the time and revealed to me its truth. Breton had written that it was impossible for him to conceive of a spiritual joy other than as a breath of fresh air! What had immediately impressed me was discovering the science of taste they both shared when encountering objects that conveyed feeling. They never bought anything mediocre and, prodigiously inspired, had succeeded in transforming an apartment, which, without their expertise, would have been banal.' His friendship is clear from a dedication written by Breton: 'To René Gaffé, whose active friendship has never ceased to be of the greatest help to surrealism. August 1, 1932.' Gaffé retired to the south of France in the mid 1950s with his wife, Jeanne where they lived surrounded by their collection. Gaffé sold his important collection of Dadaist and Surrealist books in Paris in 1956. After Gaffé's death in 1968 his wife kept the collection intact until her own death in 2001 when the collection, including the present lot, was sold for the benefit of UNICEF, in accordance with the terms of his will. Moko miro or Moai tangata moko are hybrid beings, half man and half lizard. They are only known in the form of wood carvings and do not appear on petroglyphs or carved on rongo rongo tablets. Michel and Catherine Orliac, writing about moai tangata moko (in Treasures of Easter Island: Collection of the congregation of the Sacred-Hearts of Jesus and Mary SS.CC, Paris, 2008, p.145 ) explain that the term moai moko coined by Routledge is less appropriate than their preferred term, moai tangata moko; moai describing all anthropomorphic and zoomorphic carvings of Easter Island, moko being 'lizard' and tangata referring to human figure which forms the lower body. Their function was reported to Wihelm Geiseler in 1882 as being clubs intended to protect the entrance of houses. According to Alfred Métraux (Ethnology of Easter Island, Honolulu, 1940, p.265) during the inauguration of a house the images of lizard-men were placed on each side of the door to protect the entrance and were also brandished before the enemy (from the next world) to repulse their attacks. Certainly, some of the smaller examples are pierced on the spine for suspension and may hav... For further information on this lot please visit Bonhams.com
Omega Speedmaster 145.022-71, 70sStainless steel round case, black aluminium insert, round pushers, lyre lugs.Black step dial, luminescent indexes.Hand-winding movement, cal.861, n.31613142.Stainless steel Omega 1039 bracelet with folded links.Size: 42 mm.Accompanied by Omega warranty and vintage box.
Omega Speedmaster CK2998-3 made for the Fuerza Aerea del Perù, 60sStainless steel round case, black turned to gray aluminium "Dot over ninety" insert, round pushers, straight lugs.Black step dial turned tropical, applied logo, "Alpha" and "Lollipop" hands, luminescent indexes.Hand-winding movement, cal.321, n.17762315.Stainless steel Forstner bracelet.Size: 39 mm.Accompanied by Omega extract from the archives.
Audemars Piguet. A mid-size stainless steel diamond set automatic calendar chronograph wristwatchModel: Royal Oak OffshoreReference: 26048SK.ZZ.D066CA.01, No.0508Date: Circa 2010Movement: 37-jewel Cal.2385 automatic, column wheel chronograph, 18K gold rotor, No.655502Dial: Plum grid, applied polished dot hour markers, white outer minute divisions with luminous 5 minute markers, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, polished baton hands with luminous inserts, centre chronograph handCase: Brushed and polished tonneau form, back secured by 8 screws, 8 screws to diamond set bezel, screw down crown flanked by twin chronograph buttons, No.F99244Strap/Bracelet: Plum Audemars Piguet rubberBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 37mmFootnotes:The Audemars Piguet Royal Oak series is regarded by many as the quintessential sports watch. The iconic design revered by horological connoisseurs is instantly recognizable with its structured strongbox case with structurally integral octagonal bezel secured by eight hexagonal screws. In 1993, Audemars Piguet took the next step in the evolution of the Royal Oak with the introduction of the Royal Oak Offshore Ref:25721ST. The current lot was originally designed for Audemars Piguets female audience and although smaller than the 42mm you find with the Ref:25721ST, it is still a substantial 37mm case. The combination of the deep plum purple dial, diamond set bezel and plum strap present a rich and luxurious timepiece. With changing times come changing attitudes and this particular example strikes as a piece that is very much unisex nowadays.For further information on this lot please visit Bonhams.com
An aquamarine and 18ct two tone gold ring, comprising rectangular step cut aquamarine, measuring approx 16 x 18mm, weight approx 15 carats, claw set in white gold with white gold accents to shoulders and yellow gold mount and shank, size P, total gross weight approx 9.4gms Further details: slight abrasions to facet edges, slight wear commensurate with age
Victorian mahogany tea table, rectangular fold-over and swivel action top with rounded corners, ogee moulded frieze with applied bead, octagonal column mounted by cluster column uprights, on step moulded octagonal foot with applied beading, splayed and scrolled feet with recessed castors Dimensions: Height: 76cm Length/Width: 90cm Depth/Diameter: 43cm
An Art Deco sapphire and diamond ring, with a central round old European cut diamond to centre with a square step cut sapphire to either side, with a channel of small round diamonds to either side, head approx. 13 x 9mm, all in millegrain mounts with diamond set shoulders, all set in white metal to a plain band of yellow metal stamped '18ct & PT', size N, 2.9ghead approx. 13 x 9mmsapphires approx. 3.9 x 3.9 x 2.7mm; horizontal banding and small feathers visible in bothcentre diamond approx. 3.7mm diameter x 2.2mm; size and setting of diamonds prevents accurate colour and clarity gradingminimal wear, overall good
A GEM-SET LILY OF THE VALLEY BROOCHin 14ct white gold, designed as a flower with a carved rock crystal petals, accented by a step cut emerald and old cut diamonds, the leaves set with a marquise cut diamond and further baguette cut and round brilliant cut diamonds, the diamonds all totalling c.0.8-0.9 carats, secured with a pin and barrel clasp, stamped indistinctly, c.5.5cm, (c.10.3g)
A COLLECTION OF PERIDOT JEWELLERY including a pair of peridot and diamond drop earrings in 9ct gold, each set with step cut peridot drop, surmounted by three single cut diamonds, secured with post and butterfly fittings, no assay marks, c.2.4cm; together with a pair of peridot stud earrings in 9ct gold, each set with an oval cut peridot, secured with post and butterfly fittings, no assay marks, c.8.0mm; a pair of peridot and diamond stud earrings in 9ct gold, each set with an oval cut peridot held in a bezel setting, surmounted by a single cut diamond, secured with post and butterfly fittings, no assay marks, c.0.9mm; and a stylised peridot and seed pearl pendant in 15ct gold, maker's mark 'Ra', serial numbered, stamped '15', c.3.2cm, (c.11.3g gross weight)
FOUR GEM-SET RINGS including a sapphire and diamond cluster ring in 18ct gold, set with a round cut sapphire of c.0.75 carats, in a cluster of single cut diamonds, stamped '18CT', size P1/2 / 57; together with an emerald and diamond ring in 18ct gold and platinum, set with a step cut emerald, surrounded by single cut diamonds, stamped '18CT&PLAT', size N / 54; a diamond solitaire ring in 9ct gold, set with a princess cut diamond, stamped '375', size P1/2 / 57; and a stylised dress ring in 9ct gold, set with a round cut amethyst, full British hallmarks, size O / 55, (c.8.8g gross weight) (4)
A COLLECTION OF RINGSincluding two signet rings in 9ct gold, one set with a blank onyx seal to fluted shoulders; the other with half-engraved head, full British hallmarks, (c.5.6g gross weight); together with a garnet cluster ring in gilt metal, set with a step cut garnet, surrounded by a cluster of round cut garnets, size O / 55, (c.3.0g) (3)
AN ART DECO SAPPHIRE AND DIAMOND BRACELET. An articulated link bracelet made up of geometric open work links. One principle rectangular step cut sapphire and five square step cut sapphires. A heavily diamond set surround, set with round brilliant cut, baguette cut and single cut diamonds. Principle sapphire approx. 2ct, sapphire measures 7 x 6mm. Total sapphire weight approx. 7.08ct. A total diamond weight of 8.40ct. A concealed box clasp with figure of eight safety catch. Bracelet width 14mm, length 7.2". Unmarked white metal mounted. Weight 42g. *CR Good condition. The stones appear secure in the settings. The diamonds do not have obvious damage under magnification. The diamonds have a good light return, they do not obviously draw any colour, the majority have no obvious black mineral inclusions under magnification. The sapphires have some minor facet/ surface abrasion visible to the naked eye. Some areas to mount have some yellowing and general light surface wear.
A VINTAGE AMETHYST AND DIAMOND COCKTAIL RING. One rectangular step cut amethyst approx. 10.80ct. Flanked with one rose cut diamond on each shoulder, each measuring approx. 2.5mm. White metal mounted, stamped '585 EP' also with Austrian horse head hallmark. Finger size K.5. Weight 6.3g. *CR Amethyst has facet abrasion, and abraded corners. Diamonds have cracks/ cavities. The mount has noobvious damage.
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