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Lot 346
§ Andy Goldsworthy (British 1956-) Series of Seven Works, 1987-94 each inscribed, signed and dated in pencil, 6 c-prints and one work with traces of snow and dirt on paper, comprising:STONEWOOD SCAUR / ANDY GOLDSWORTHY / AUTUMN '87 and inscribed with poem, 20cm x 26cm (framed 72.5cm x 52.5cm);Slate, midday / collected locally / left over from roof repairs / lived under by many people / protecting the oak – burnt at its base – limbs sawn off / a partnership / STONEWOOD SCAUR / ANDY GOLDSWORTHY / SUMMER 88, each image 19cm x 12.5cm (framed 72cm x 52.5cm);The wall / Stonework by Joe Smith of Crocket**** / Winter 88/89 / STONEWOOD / ANDY GOLDSWORTHY, 25cm x 16.5cm (framed 72.5cm x 52.5cm);A MONTH OF RAIN / DEEP GREEN WET MOSS / UPROOTED BROKEN STACKS / LAST YEARS GROWTH / MOSS COLOUR IN THE SOFT LIGHT / OF A DULL GREY HEAVY SKY / ANDY GOLDSWORTHY / STONEWOOD/ 5 MARCH 1990, 18.5cm x 19cm (framed 72cm x 52cm);SNOW AND EARTH / STONEWOOD / ANDY GOLDSWORTHY 1991, traces of snow and dirt on paper, 51cm x 38cm (framed 72.5cm x 52.5cm);THE WALL / SUMMER 1993 / ANDY GOLDSWORTHY, 19cm x 23.5cm (framed 68cm x 53cm);TREE/ STICK / SNOW / STONEWOOD / ANDY GOLDSWORTHY 10 JAN 94, 23.5cm x 16cm (framed 68cm x 53cm)Dimensions:variable dimensionsProvenance:ProvenancePrivate Collection, Scotland. In 1987 the present owners' family gave financial support to Andy Goldsworthy's Stone Wood Plot Fund. In return the Artist supplied seven works (in editions of no more than 10) between 1987 and 1994.
Lot 79
§ Fulvio Bianconi (Italian 1915-1996) for Venini Double Incalmo Vase, 1951 model 4392, signed with 3 line acid stamp Venini, Murano, ITALIA (to base), glassDimensions:24cm high (9 1/2in high)Provenance:ProvenancePrivate Collection, UK.Note: LiteratureBarovier, Marino and Carla Sonego. Fulvio Bianconi at Venini. SKIRA. p 228. Bianconi experimented with the incalmo technique (joining of two separately blown pieces of glass whilst still hot). In the case of the double incalmo he sought to extend the technique to three different coloured glass hemispheres where the rims of all had to have the same circumference - an operation which required the highest level of glass-making skills. One of Italy’s most famous post-war designers, Fulvio Bianconi (1915-1996) was an integral motivator in pushing the use of glass further than its purely utilitarian purposes. Best known for his colourful vases, pitchers and bowls Bianconi looked to evoke the visual effect of abstract art. A sculptor of Murano glass, he was one of the first artists to represent the material in a human form, intending to add a sensuality to the object which echoed that of modern conceptual painting. Bianconi took inspiration primarily from the female silhouette, an influence for one of his most famous works the 1950 ‘bikini vase’. In moulding these abstract forms great attention was paid to the curvature and shape of the glass, materialising in striking yet simple pieces.When considering colour, Bianconi’s pieces adopted a multi-colour patchwork effect comparable to that of the stained glass found in gothic cathedrals. To create this effect the glass was first blown before being rolled over panels of coloured glass which would stick to the hot body, thus producing dynamic layers of mixed shades. Previously described as a making ‘patchwork of light’, the exceptional complexity of this process ensured the rarity of such items, increasing the individuality of Bianconi’s works. The pairing of vivid colour with dynamic irregular shapes gave the works a light-hearted atmosphere and enticing aesthetic, unrestricted by the traditional artisan principles of glass design.
Lot 82
§ Fulvio Bianconi (Italian 1915-1996) for Venini 'Fazzoletto' Vase signed Venini 2000 (to base), with label for Venini, glassDimensions:28cm high (11in high)Provenance:ProvenancePrivate Collection, UK.Note: One of Italy’s most famous post-war designers, Fulvio Bianconi (1915-1996) was an integral motivator in pushing the use of glass further than its purely utilitarian purposes. Best known for his colourful vases, pitchers and bowls Bianconi looked to evoke the visual effect of abstract art. A sculptor of Murano glass, he was one of the first artists to represent the material in a human form, intending to add a sensuality to the object which echoed that of modern conceptual painting. Bianconi took inspiration primarily from the female silhouette, an influence for one of his most famous works the 1950 ‘bikini vase’. In moulding these abstract forms great attention was paid to the curvature and shape of the glass, materialising in striking yet simple pieces.When considering colour, Bianconi’s pieces adopted a multi-colour patchwork effect comparable to that of the stained glass found in gothic cathedrals. To create this effect the glass was first blown before being rolled over panels of coloured glass which would stick to the hot body, thus producing dynamic layers of mixed shades. Previously described as a making ‘patchwork of light’, the exceptional complexity of this process ensured the rarity of such items, increasing the individuality of Bianconi’s works. The pairing of vivid colour with dynamic irregular shapes gave the works a light-hearted atmosphere and enticing aesthetic, unrestricted by the traditional artisan principles of glass design.
Lot 83
§ Fulvio Bianconi (Italian 1915-1996) for Venini 'Fazzoletto' Vase signed Venini 2000 (to base), with label for Venini, glassDimensions:31cm high (12 1/4in high)Provenance:ProvenancePrivate Collection, UK.Note: One of Italy’s most famous post-war designers, Fulvio Bianconi (1915-1996) was an integral motivator in pushing the use of glass further than its purely utilitarian purposes. Best known for his colourful vases, pitchers and bowls Bianconi looked to evoke the visual effect of abstract art. A sculptor of Murano glass, he was one of the first artists to represent the material in a human form, intending to add a sensuality to the object which echoed that of modern conceptual painting. Bianconi took inspiration primarily from the female silhouette, an influence for one of his most famous works the 1950 ‘bikini vase’. In moulding these abstract forms great attention was paid to the curvature and shape of the glass, materialising in striking yet simple pieces.When considering colour, Bianconi’s pieces adopted a multi-colour patchwork effect comparable to that of the stained glass found in gothic cathedrals. To create this effect the glass was first blown before being rolled over panels of coloured glass which would stick to the hot body, thus producing dynamic layers of mixed shades. Previously described as a making ‘patchwork of light’, the exceptional complexity of this process ensured the rarity of such items, increasing the individuality of Bianconi’s works. The pairing of vivid colour with dynamic irregular shapes gave the works a light-hearted atmosphere and enticing aesthetic, unrestricted by the traditional artisan principles of glass design.
Lot 793
A small group of antique jewellery, including an Art Nouveau style 9ct gold and opal pendant, 44mm. drop; a cased 9ct gold and seed pearl horse shoe and riding crop stick pin; a boxed Georgian silver and mottled stone ring, with chased floral decoration, size V; a boxed 19th century 9ct gold ring, faults; and a cased Victorian brooch set with a large, unpolished mineral specimen, 8.3cm. long. (5)
Lot 872
A small group of Victorian and Edwardian jewellery, including two mourning brooches; a 9ct gold and garnet mourning locket; a yellow gold cameo brooch and 9ct gold cameo stick pin; a 9ct gold citrine and seed pearl bar brooch; a silver, amethyst and seed pearl brooch; a rolled gold and faux-amethyst three stone brooch; and a 9ct gold and ruby floral bar brooch; plus five coral necklaces and a coral bracelet. (qty)
Lot 2
Alex George Styles for Garrard - A rare limited edition silver table ornament / paperweight modelled as Sir Winston Churchill, Garrard & Co. Ltd., London 1974, underside engraved 'DESIGNED BY John Churchill & Alex Styles', limited edition number 38, modelled as Churchill seated clutching a walking stick, with rustic textured surface, 3½in. (9cm.) high, weight 18.5tr.oz., with original presentation box. * Condition: Excellent condition, no paperwork, nothing else to note.
Lot 345
An 18th century Robert Wilson of Birmingham flintlock fusil type longarm, 140 cm long, a Victorian 1853 "Pioneer" saw backed short sword and scabbard, an 1845 pattern Rifles officers sword and scabbard by Firmin & Sons, and two further swords and scabbards of the same pattern, two Tibetan Dungchen ceremonial trumpets, and a British army brass "Button Stick"The hammer of the gun is missing to top section of the clamp, the section of housing above the stock is missing and the stocking is cracked near the trigger gaurd.The lock doesn't cock to either half or full cocked position.This fusil will require restoration to make good/safe.Please see the extra images..
Lot 178
TWO BRONZE RITUAL OBJECTS, DECCAN, INDIA, CIRCA 18TH CENTURY comprising an incense stick holder in the form of a seven-headed cobra and an oil lamp in the form of a lotus, each with scrolling shaft leading to support foot, 13cm long approx. eachProvenance: Collection of the late Peter Millett (1925-2016)
Lot 267
A hardstone panel brooch, the oval jasper panel in collet setting, 9ct gold mounted, together with an oval shell cameo brooch/pendant, a pearl and onyx stick pin, (pearl untested for origin), and a faceted bead necklace, first brooch length 4.1cm (4)Approximate gross weights only: jasper brooch 14gm, cameo brooch 6.5gm, stick pin 1.2gm, necklace 17.7gm.
Lot 281
A collection of jewellery, comprising a cultured pearl abstract cluster ring, stamped '9ct', a tiger's eye set panel brooch, stamped '9ct', a diamond set stick pin, 9ct gold mounted, and a fruiting vine brooch, signed Krementz, ring size M½ (4)Approximate gross weights only: ring 5.7gm, tiger's eye brooch 3.3gm, stick pin 1.9gm.
Lot 302
A collection of antique and later jewellery, including a yellow topaz single stone stick pin, a 9ct gold locket pendant, engraved with foliate scrolls and flowerheads, hallmarked for Chester 1904, an enamel and half pearl scarf clip, two pearl stick pins, (pearls untested for natural/cultured origin), a padlock clasp with key, a propelling toothpick by Sampson Mordan & Co., with bloodstone terminal, a 9ct gold mounted propelling cigar piercer, with engine-turned decoration, a further cigar piercer, with engraved decoration, a pair of mother of pearl mounted dress studs, stamped '9CT & PT', a 9ct gold brooch pin, with later chain suspension, and further items, first stick pin terminal length 1.45cm, first locket pendant length 3.25cm (qty)Approximate gross weights only: topaz stick pin 2.7gm, 9ct gold locket pendant 5.5gm, enamel and half pearl scarf clip 5.6gm, two pearl stick pins combined 2.9gm, padlock clasp with key 4.2gm, propelling toothpick 5.8gm, 9ct gold mounted propelling cigar piercer 5.8gm, further cigar piercer 3.2gm, pair of mother of pearl mounted dress studs 1.7gm, 9ct gold brooch pin with later chain 2.6gm, bar brooch stamped '9CT' 1.2gm, coin ear studs 3.4gm.
Lot 57
A collection of jewellery, comprising an Arts and Crafts style pendant necklace, white metal mounted, a Victorian oval shell cameo brooch, an Eastern hardstone mounted belt, three stick pins, and a further brooch, necklace length 45cm (7)Approximate gross weights only: pendant necklace 29.8gm, cameo 17.4gm.
Lot 694
An Edwardian silver hair comb, with engraved decoration, Birmingham 1902, and a collection of assorted small silver items, to include two vestas, four various small boxes, a stamp case, a trowel bookmark with hardstone inset handle, a tea strainer, a small goblet, two mother o'pearl shell salts with silver bases, two decanter labels, two pencils, a swizzle stick, a comb, five various silver topped glass jars, a silver mounted wooden pepper mill, a mustard, and various other oddments (qty)
Lot 773
A George III silver seven bar toast rack, the arched wire divisions with central loop handle, on oval base with shaped feet, by Nathaniel Smith & Co, Sheffield 1794, 19.5cm long, 5oz, together with a George III silver egg cup by Hester Bateman, London 1789, a George III oval salt with blue glass liner, London 1792, and a late 18th century Sheffield plate taper stick, pepper castor and egg cup (qty)Toast rack - soldered repair to one foot with replacement lower part. Remainder of lot is in reasonable condition.
Lot 266
A mid 19th century Minton dressing table set comprising an inkwell and cover with fitted with a liner, a chamber stick, a ring tree, a dish a pot and a lidded box, decorated with trailing roses and blue ribbons, dentil gilt border pattern 9524, (6)first height 10.5cm.Condition:The inkwell has been repaired. The main well has become detached from the dish. The box base has also been repaired
Lot 329
Early 20th century vertu to include a silver-gilt and guilloche enamel cased telescopic cigarette holderfirst the case of tapering form with hinged cover and suspension ring decorated in pale blue guilloche enamel painted with rose sprigs containing a three draw silver gilt cigarette holder with celluloid mouthpiece, a silver gilt a blue guilloche enamel cased clear scent bottle and stopper with dropper, a late Victorian gold telescopic pencil with slender foliate chased barrel, turquoise set collar and and purple stone set terminal and a plain hexagonal silver swizzle stick, (4)first length 7cmCondition:Rubbing to gilt on case of cigarette holder. Some rubbing to gilt of holder. enamel in good condition. Other items in good condition
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