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Lot 11
Ludwig Deutsch (Austrian, 1855-1935)The Performance signed, inscribed and dated 'L. Deutsch/PARIS 1885' (upper right)oil on panel 40.6 x 30.5cm (16 x 12in).Footnotes:ProvenanceArthur Tooth & Sons, Paris.M. Newman Ltd., London.Private collection, UK (acquired from the above 6 April 1970).Thence by descent.In the present lot Deutsch illustrates an African dancer, caught mid-step during his energetic routine. Deutsch's reliance on photography to achieve such hyper-realistic effects – he is known to have frequented the well-known studio of G. Lékégian in Cairo – is here evident, as is his extraordinary skill as an ethnographer. The cowry shells adorning the waist of the dancer would, as Deutsch knew from personal experience and his virtual library of literary references, have held special meaning in Egyptian culture, as a protective against the evil eye, and the distinctive hairstyle of the man would have immediately identified him as of Nubian origin. In addition to the Description de l'Egypte (1809-29) still widely available in Paris at this time, Deutsch also drew regularly from illustrated newspapers, Edward William Lane's iconic An Account of the Manners and Customs of the Modern Egyptians (London, 1836), Owen Jones's The Grammar of Ornament (London, 1856), and Georg Ebers' Egypt: Descriptive, Historical, and Picturesque, published in German in 1878 and illustrated by Deutsch's compatriot and acquaintance Leopold Carl Müller. The musician by the dancer's side is equally remarkable. The elaborate instrument he strums is an archaic Arabic simsimiyah or kisser, bedecked with ostrich feathers, amulets, and beads, and still used in Egypt today. Deutsch's appreciation of local music is made clear through several other pictures in his oeuvre, and may have been inspired by the revival of interest in Europe in historical music and, at the same time, in 17th and 18th century Dutch genre painting. So too, Deutsch may have been capitalising on an established and popular theme among Orientalist painters, who often portrayed male and (more commonly) female performers in the midst of their mesmerising routines.We are grateful to Emily M. Weeks, Ph.D for compiling this catalogue entry.The work will be included in a critical catalogue of the Orientalist work of Ludwig Deutsch currently in preparation by Emily M. Weeks, Ph.D.For further information on this lot please visit Bonhams.com
Lot 262
A rare and large panoramic watercolour view of the Golden Temple and the city of Amritsar, 19th Century attributed to Cyril Wiseman Herbert (British, 1847-1882)watercolour on paper, signed C. Herbert and inscribed Ghrant Temple/Sacred Tank/Umritsar lower left 58.5 x 100 cm.Footnotes:ProvenanceFormerly in a private Scottish collection.Cyril Wiseman Herbert was the son of another Royal Academician, John Rogers Herbert. He exhibited five works at the RA between 1870 and 1875, painting mostly landscapes, often of Italy, which he visited in 1868.We have good reason to suppose that this painting is the largest depiction of the Golden Temple in watercolour to have come on the market. To the right of the view is the Jhanda Bunga, named after the two tall standards (jhandas) seen here, which were re-erected in 1841. On the left are the two minarets of the residence of Jassa Singh Ramgarhia, a Sikh leader of the 18th Century.The second Guru, Angad Dev, discovered the site in the 16th Century, when it was simply a stretch of water in the midst of forest. His successor, Amar Das, built a hut beside it for contemplation. Ram Das, the fourth Guru, bought the pool and the land around it. But it was the fifth Guru, Arjun Dev (1581-1606), who cemented its importance as a place of pilgrimage but also as a focus for the permanence of the religion. The foundation stone of the Harmandir (the Golden Temple) was laid in 1588, and the formalising of the pool had been completed in 1577. The Harmandir was destroyed three times between 1757 and 1764 when Northern India was under Mughal control, but thereafter the area was protected and during the height of Sikh power under Maharajah Ranjit Singh the Harmandir was embellished and expanded.For a survey of the history of the Harmandir, see Patwant Singh, 'The Golden Temple', in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, pp. 46-59. Singh's account ends:'To stand on the terrace outside the Shish Mahal, surrounded by the golden domes and kiosks, is to revel in the glory of this joyous tribute to the Gurus. If their vision, faith and sacrifices has inspired their disciples to feats of valour, then here was the grateful offering of the disciples to the source of their inspiration. As the golden silhouettes of these domes and kiosks emerge in the early morning light and glow throughout the day in the intensity of the Panjab sun, before changing colour in the fading light at dusk, they are an unforgettable sight for the thousands who come daily to worship at the Darbar Sahib. When they step into the waters of the holy pool, and see the Harmandir's shimmering reflection, Sikhs feel as if they have been touched by the sacred'.For further information on this lot please visit Bonhams.com
Lot 1102
A DRAPER WHEELED STEP STOOL, a used Gazebo, a plastic five tier shelving 84cm wide x 40cm deep x approximately 170cm high, an office paper tray, a Panasonic Fax Machine (PAT pass and working) etc Condition Report Size of gazebo is unknown without putting it up and we wouldn't be able to do this
Lot 238
An opal set dress ring, comprising an oval opal cabochon measuring 6mm x 4mm, with a plain polished yellow metal halo surround, set to a plain polished yellow metal shank, stamped '9CT', ring size L, together with an amethyst set dress ring, comprising a square step cut amethyst measuring 5mm x 5mm, set to a yellow metal border surround and tapering shank, stamped '9CT', ring size P 1/2, gross weight of both 3.9gms (2) For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 102
AN 18CT YELLOW GOLD DIAMOND AND OCTAGON STEP CUT COLUMBIAN EMERALD PENDANT THE EMERALD BEING NATURAL AND UNTREATED 1.8CT GRADE 7 5G CLARITY THE PRINCESS CUT DIAMONDS .12CT STAMPED 18K CE18585MG ON A 14CT YELLOW GOLD FANCY LINK CHAIN STAMPED 14K ITALY 8.2G GROSS RETAILED BY BROMPTON AND CO BOXED
Lot 632
Scarce WW2 German Fallschirmjager (Paratrooper) M-40 Pattern Jump Smock, a much rarer and sought after pattern. Converted from the step-in style to fully open, which was an official conversion. Manufactured in the classic `Grunmeliert` material, overall very good condition other than a replaced breast eagle section, which has been professionally done with exact matching cloth. All press studs and zips are present and working correctly. This actual smock is published in the excellent reference work by author Roly Pickering, `Fallshirmjager Vol 1` page 164.
Lot 2678
A yellow metal, ruby and sapphire rectangular cluster ring, comprising a step cut ruby and sapphire within a border of 23 single cut diamonds, all in bezel and grain settings, ruby dimensions approx 4.5 x 3.8 x 2.3mm, weight estimated as 0.42 carats, sapphire dimensions approx 5.0 x 3.9 x 2.6mm, weight estimated as 0.55 carats, diamond dimensions each approx 1.5 x 1.05mm, total weight estimated as 0.23 carats, size P, gross weight 4.1g, not marked but tested as 18ctCondition report: Wear to settingd and wear to facets on ruby and sapphire.
Lot 2374
A gold, emerald and diamond ring, mounted with the square step cut emerald to the centre, between the two principal cushion shaped diamonds and with six further variously cut diamonds mounted at intervals, the mount with scroll pierced sides, detailed 18, ring size O, gross weight 4.8 gms, with a case.
Lot 1266
18th century Italian walnut and marquetry inlaid serpentine-front commode, the crossbanded top with central depiction of two figures on a step, he pointing downwards with his right hand, she carrying a bundle in hers, within scrollwork and acanthus decorated field, the four long drawers each with matching inlaid decoration and with brass drop handles, raised on rounded bracket feet, 129cm wide x 95.5cm high x 56.2cm deepCondition ReportThere is evidence of repairs to marquetry, the surface of which is generally uneven where the marquetry has lifted. The handles and locks appear to have been replaced at some point in its history. Some evidence of worm and other repairs. The top has some surface scratches. Many cracks to edges of top and corners. Depth is 56.2 cm. See photo's
Lot 204
1957 Austin Healey 100/6 Convertible with HardtopRegistration no. TLM 578Chassis no. BN4-0-31508*First of the six-cylinder 'Big Healeys'*Described as in generally good condition*Hardtop needs repainting*Present ownership since 2010Footnotes:'After a really gruelling road test, I can say that this new sports model is ideal for Continental touring. It also stood up to lap after lap of the Nürburgring at racing speeds, without complaint, and that must be equivalent to a vast mileage under more humane conditions. Finally, it has the kind of appearance that will make many prospective purchasers reach for their cheque books.' – John Bolster on the Austin-Healey 100/6, Autosport, 12th October 1956.Introduced for 1956, the 100/6 represented the most radical step forward in the Big Healey's development. Despite its initial success, sales of the original Austin-Healey 100 had begun to decline by the mid-1950s and so the model was revamped as the '100/6', BMC's 2.6-litre C-series six replacing the original four-cylinder Austin Atlantic engine. At the same time the wheelbase was lengthened from 7' 6' to 7' 8', which enabled the inclusion of two occasional seats in the rear of the BN4 variant. In 100-6 tune the pushrod six produced 102bhp - 12bhp more than its predecessor - though the inevitable weight gain meant that there was little if any improvement in performance, the car's top speed remaining at 103mph or thereabouts. Although stylistically very similar to the preceding 100, the 100/6 was nevertheless easily distinguishable by its 'crinkle' radiator grille and bonnet-top air intake. In 1957 an improved six-port engine became available, and this 117bhp unit was fitted to all the newly introduced BN6 two-seater roadsters. Top speed improved to 111mph and 1.7 seconds was cut from the 0-60mph time.This Austin-Healey 100/6 has belonged to the lady vendor since August 2010. Finished in two-tone red over white with white-piped red interior, the car is described by the owner as in generally good condition, although we are advised that the hardtop need repainting. Accompanying documentation consists of an old-style V5 registration document, two MoTs (most recent expired 2013) and a quantity of expired tax discs. Th car comes complete with an owner's manual, tool kit, and spare wheel.For further information on this lot please visit Bonhams.com
Lot 102
GEORGE V SILVER TREE DESIGN RING STAND, CHESTER 1912, SYNYER & BEDDOES, 75gms, 2.4 troy oz.The height is 11cm’sPossible restoration work done to the base of the tree.There is a step and some black spots which could indicate solder.The tree is slightly bent to the right.Two of the tray corners are also bent down and not flat.
Lot 4
LÉONARD TSUGUHARU FOUJITA (1886-1968)Poule, nid et trois oeufs signed 'Foujita' and further signed in Japanese (lower left)oil on canvas22 x 16.3cm (8 11/16 x 6 7/16in).Painted in 1898Footnotes:ProvenancePrivate collection, Paris.Private collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Galerie d'Art contemporain, 1926 - 1930.Paris, Musée de Montmartre, Léonard Tsuguharu Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 1 (later travelled to Tokyo).Dinard, Palais des Arts du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 1.Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 1.LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 98.01 (illustrated p. 140).The present work was painted by Foujita at the age of twelve and is known to be the first oil painting he ever made. Passionate about Western art and a precocious draughtsman from a remarkably early age, the young Foujita had previously drawn a multitude of small Chinese inks on sheets of rice paper. Upon starting college however, his father, to whom he confessed his vocation as a painter, offered him his first oil paints, leading to Poule, nid et trois oeufs, which was painted in Tokyo, a modern and westernized city. 'When I came back from school, I admired for a long time all the shop windows on my way home. On the way home, I would copy the pictures of the boxes of European biscuits.'This little painting is a youthful work inspired by a box of biscuits given to him by his father, marking the first step in Foujita's artistic career and inspiring the young artist to learn French in order to attain his goal of one day exercising his eye and his hand as a modern artist in France.In the present work Foujita does not try to render the exact truth of the subject, but rather enjoys the sensual handling of the brushes and the soft, malleable, new material that is oil colour. A great freedom softly animates the gestures and stains. The rhythmic shades of the white background already prefigure those compositions which will garner Foujita acclaim in Paris, while the theme of the hen and eggs recur in several later works, as if the memory of this first experience remained idyllic, unique and very important. The label of Galerie d'Art contemporain on the reverse of this painting also indicates that Foujita chose to include this early work in one of his first solo exhibitions in Paris.Text by Sylvie Buisson, Specialist on the works on Léonard Tsuguharu Foujita and member of the Union française des experts.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
![SIR WINSTON CHURCHILL: THE GREAT WAR, London, George Newnes, [1933-34], 26 parts complete, 4to, original pictorial wraps; STE](https://cdn.globalauctionplatform.com/4a854804-88b3-476d-bc1c-ac4b0110a665/77311203-2080-4a95-8fb8-ac4e0121e8da/468x382.jpg)
Lot 745
An aquamarine and diamond three stone ring, the central step cut aquamarine claw set between brilliant cut diamond shoulders, mounted in 18 carat white gold, hallmarked 1979, finger size P, 3.8g Condition Report: The aquamarine measures 8mm x 5.8mm by approximately 4.4mm (unable to get a proper measurement due to setting. The setting is 7.8mm high, 10.8mm wide including diamonds, the diamonds are approximately 0.03 carats each. Some light wear to the setting, some nibbles to the aquamarine. Condition Report Disclaimer
Lot 750
Three eternity rings, the first set with eight cut diamonds, approximately 0.72 carats total, finger size N 1/2; a step cut ruby and eight cut diamond eternity ring, approximately 0.36 carats total, finger size O; and a further eight cut diamond eternity ring, approximately 0.31 carats total, finger size N 1/2; 7g gross Condition Report: First two eternity rings have split, one is missing a diamond, the third ring is missing three diamonds, they all have wear to the settings. Condition Report Disclaimer
Lot 762
A small collection of gold coloured jewellery, to include a mid 20th century French gold coloured fly brooch, the stylised fly on a coiled brooch pin, stamped with French poincons, 1.5cm long; a mid 20th century French gold coloured signet ring, the rectangular panel chased with letters HC, finger size L 1/2; a French Madonna pendant, signed Contaux, 2.5cm long; a ruby ring, the step cut rubies in a channel setting, rubbed control marks, finger size M; and a 9 carat gold single stone diamond ring, finger size T; 16.3g gross Condition Report: All items have some wear commensurate with age and use, no noticeable repairs. The French marks indicate 18 carat gold Condition Report Disclaimer
Lot 828
Four 1960s dress rings, to include a citrine dress ring, the step cut citrine with canted corners, in a scrolled setting, the shank stamped 9ct, finger size N; a synthetic sapphire single stone ring, finger size N; a circular white stone dress ring, Birmingham 1967 import mark, finger size M; and an amethyst set dress ring, stamped 9ct, finger size G 1\2; 18.7g gross Condition Report: Citrine ring- abrasion to the crown facets, it has general wear, and one of the scrolled shoulders has a split to it, some thinning to the shank Synthetic sapphire- has some wear, the shank has been resized White stone ring- some light wear Amethyst- the stone is loose in the setting, general wear to the setting Condition Report Disclaimer
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26534 item(s)/page