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Lot 283
A quantity of framed and glazed pictures to include a Desmond Leech Giant Daisy, a still life watercolour, an interior pencil study of a side table, chair, pot, violin and a jug and bowl, unsigned, a 19th century coloured print of a humorous scene and a large selection of prints to include a spy print and a photograph of a parade in Windsor Great Park, heading towards the cattleLocation:
Lot 423
THREE ROMAN OIL LAMPS CIRCA 300 AD, 19TH CENTURY PROVENANCE the largest depicting Sol on a chariot, 12cm long; one with discarded gladiator weapons and armoury, 11cm long; the smallest with a rooster and a sheaf of grain to represent Mercury, 7.5cm long. One with handwritten label at the bottom.(12cm long, 9cm wide)Provenance: The Estate of the late J. E. Adam The labels with these items were handwritten by the collector himself, Charles Richard Fox (1796-1873). He was the son of Henry Richard Vassall-Fox, 3rd Baron of Holland, and Lady Elizabeth Webster, herself a fascinating character, well-known as an intellectual. Fox was an acclaimed numismatist, collecting vast amounts of Greek coins and writing several books about them. His travels, both with the army and privately later in life, led him across Europe and Asia Minor, and gave him a chance to acquire coins and antiquities from an array of places. The coin collection was bought by the Royal Museum of Berlin after his death, where they are still on view today. The antiquities have remained in the family until now, they were passed down from Charles Richard Fox to his nephew Charles Frederick Fox Adam, to his son (F E F Adam) who had no children and left his possessions to Janet Adam’s father.
Lot 425
CORINTHIAN GEOMETRIC PATTERN SQUAT OINOCHOE LATE 6TH BCE, 19TH CENTURY PROVENANCE together with a red figure pyxis, a Roman oil lamp (broken), a head of a Tarentine lady of fashion, a terracotta fragment with the head of a goddess and an ancient Greek terracotta bird(oinochoe 12cm wide, 11.5cm high)Provenance: The Estate of the late J. E. Adam The labels with these items were handwritten by the collector himself, Charles Richard Fox (1796-1873). He was the son of Henry Richard Vassall-Fox, 3rd Baron of Holland, and Lady Elizabeth Webster, herself a fascinating character, well-known as an intellectual. Fox was an acclaimed numismatist, collecting vast amounts of Greek coins and writing several books about them. His travels, both with the army and privately later in life, led him across Europe and Asia Minor, and gave him a chance to acquire coins and antiquities from an array of places. The coin collection was bought by the Royal Museum of Berlin after his death, where they are still on view today. The antiquities have remained in the family until now, they were passed down from Charles Richard Fox to his nephew Charles Frederick Fox Adam, to his son (F E F Adam) who had no children and left his possessions to Janet Adam’s father.
Lot 426
EASTERN MEDITERRANEAN MINIATURE CORE FORMED GLASS OINOCHOE 6TH - 5TH CENTURY BCE, 19TH CENTURY PROVENANCE translucent dark blue glass, the trefoil rim over a cylindrical neck and ovoid body on uneven splayed foot with an arched handle. The body with opaque lines and zigzag pattern.(7.5cm high)Provenance: The Estate of the late J. E. Adam The labels with these items were handwritten by the collector himself, Charles Richard Fox (1796-1873). He was the son of Henry Richard Vassall-Fox, 3rd Baron of Holland, and Lady Elizabeth Webster, herself a fascinating character, well-known as an intellectual. Fox was an acclaimed numismatist, collecting vast amounts of Greek coins and writing several books about them. His travels, both with the army and privately later in life, led him across Europe and Asia Minor, and gave him a chance to acquire coins and antiquities from an array of places. The coin collection was bought by the Royal Museum of Berlin after his death, where they are still on view today. The antiquities have remained in the family until now, they were passed down from Charles Richard Fox to his nephew Charles Frederick Fox Adam, to his son (F E F Adam) who had no children and left his possessions to Janet Adam’s father.
Lot 471
◆ JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) GREENOCK Signed inscribed and dated 'T.20.92', signed, inscribed and dated verso 'Quayside Greenock T.20.92', oil on canvas(31cm x 46cm (12in x 18in))Provenance: Christie's, 20 July 1979, lot.42 £8000 where purchased by the vendor's family and thence by descentJohn Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century. Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’. This Greenock scene exemplifies Atkinson Grimshaw’s mastery of ephemeral light. Greenock is situated on the River Clyde around 22 miles from Glasgow, and in the 18th and 19th centuries was a thriving and populous shipbuilding hub. Atkinson Grimshaw delineates the architecture with sharp precision, which serves as a visual counterpoint to the soft, delicate palette. While muted tones evoke the damp evening haze, points of tonal intensity draw the eye to the bustle of activity across the quayside, from the moored ships’ blinking lights, to the carriages conveying silhouetted figures, to the warm glow emanating from the row of smart shops. Greenock was painted a year before his untimely death from tuberculosis in 1893. Several of his children also became painters, including Louis Grimshaw, a son born in 1870. Louis trained under his father, and for a spell the pair painted collaboratively, with John executing the sky and landscape and Louis working on the figures. Like his father, Louis generally painted nocturnes, but he diverged by predominantly representing London. Louis’ career as an artist was relatively brief, as he gave up painting in 1905 to work as a cartographer for the Manchester Guardian, and his paintings are consequently rare.
Lot 472
◆ JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) EVENING IN KNOSTROP Signed and dated 1881, oil on board(34cm x 44cm (13.5in x 17.25in))Provenance: Thos Agnew & Sons Ltd, London, No.28603John Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century. Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Evening in Knostrop depicts a solitary, fashionably-dressed figure waiting at the gate to the house. The shadowy landscape under the pale sky successfully evokes the ambience of Knostrop’s grounds in twilight. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’.
Lot 136
AN ENAMEL AND DIAMOND BANGLE BRACELET, DESIGNED BY JEAN SCHLUMBERGER FOR TIFFANY & COThe hinged bangle with applied black paillonné enamel, highlighted with collet-set brilliant-cut diamonds on fluted gold links, mounted in 18K gold, diamonds approximately 5.00cts total, signed Tiffany & Co, Schlumberger, France, French assay mark, with maker's case, inner diameter 5.9cm, inner length approximately 17cmJean Schlumberger (1907-1987) began his career in Paris in the 1930s as a designer of costume jewellery for the renowned couturier Elsa Schiaparelli and by the end of the decade he was creating fine jewellery for a discerning clientèle. In 1939 he joined forces with Nicholas Bongard and together they opened a jewellery shop at 745 Fifth Avenue. From plummy amethysts to bursting bright turquoise, Schlumberger looked to nature for inspiration, combining coloured gems with diamonds and yellow gold to create a riot of hue and light.Tiffany & Co., under the direction of Walter Hoving, recruited Schlumberger in 1955 with hopes to breathe new life into the company and create a new look. Schlumberger was one of only four jewellers that Tiffany has allowed to sign their work and it was his playful imagination that mounted a jewelled bird on top of the famous Tiffany Yellow Diamond.In many ways a man ahead of the crowd, Schlumberger was the first jewellery designers to be awarded the prestigious ‘Coty American Fashion Critics’ Award in 1958.“Schlumberger brings to his art classic design principles of the Renaissance,” reported The Blue Book of 1986. Diana Vreeland, the respected editor of Vogue, wrote that Schlumberger appreciated “the miracle of jewels, which for him are the ways and means to the realisation of his dreams”.Created in his studio on the mezzanine level of Tiffany’s Fifth Avenue flagship store, his designs became de rigueur for fashionable women of the time including Diana Vreeland, Babe Paley, Elizabeth Taylor, and Audrey Hepburn.Perhaps most famous of all his designs were his pailloné enamel bracelets, which were to become dubbed ‘Jackie Bracelets’ due to First Lady Jacqueline Kennedy Bouvier’s fondness for the pieces, of which she owned several. The shimmering colours of the bracelet were achieved through an unusual technique wherein translucent enamel and foil were layered on top of another. One of Schlumberger’s most enduring designs, this bracelet can still be found in Tiffany’s contemporary collections and are still admired and sought after. Of these bracelets, Diana Vreeland wrote “His enamel is perfection…He likes to stab enamel with nails of gold, as if to hold it from flying back to the world of nature from which he’s taken its colours”.Schlumberger retired in the late 1970s and died in 1987, but more than a hundred of his designs continue to be made by Tiffany artisans. In 1995, he became only the third ever jewellery designer to be honoured with a retrospective on his work titled ‘Un Diamant dans la Ville’ in the Musée des Arts Décoratifs, Paris, who still house many of his original design sketches.Schlumberger pieces have not only held their value at auction but continue to increase.Condition Report: Enamel: no damage observedDiamonds: bright and well matchedSignature located inside braceletEagle's head for French 18K gold located on tongue of claspNormal signs of wear, overall in good conditionWith security barTotal gross weight approx. 128.80g
Lot 69
From the private collection of a continental ladyA DIAMOND RING, BY CARLO ILLARIO FOR FASANOComposed of wavy lines of brilliant-cut diamonds interspersed by further wavy lines of polished gold, mounted in 18K gold, signed Fasano, with maker's mark for Carlo Illario, ring size MBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Diamonds: approx. 0.28ct total, unable to assess colour due to yellow mount, estimated clarity VS-SIStamped 750 for 18K gold located inside hoop as well signature and maker's markNormal signs of wear, overall in good conditionTotal gross weight approx. 10.3g
Lot 70
From the private collection of a continental ladyA RUBY AND DIAMOND DRESS RING, BY CARLO ILLARIO FOR FASANOThe central cushion-shaped ruby within collet-setting, between calibré-cut ruby shoulders, between calibré-cut diamonds, mounted in 18K gold, diamonds approximately 2.50cts total, signed Fasano, Italian registry mark '26AL' for Carlo Illario, ring size Q½Born to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Central ruby: please note the weight to be very approximate due to collet setting, approx. 2.10cts, of purplish-red hue, good transparency, medium to dark tone, facets are smoothRemaining rubies: of purplish-red hue, medium to dark tone, good transparency, overall well matched in colourDiamonds: approx. 2.50cts total, unable to assess colour due to yellow mount, estimated clarity VSSignature and Italian assay mark located inside the hoop, 750 for 18K gold located inside hoopMinor signs of wear, overall in good conditionTotal gross weight approx. 8.6g* Please note that the ruby was verbally tested at GCS laboratory in London in February 2022. It was found to be natural, Thai origin with indications of heating with minor residue in healed fissures.
Lot 71
From the private collection of a continental ladyAN ENAMEL PENDANT, BY CARLO ILLARIO FOR FASANOThe white oval plaque with enamel baronial family coat of arms depicting three bull’s heads on a red shield crowned by a coronet and knights helmet, the textured and foliate gold frame with similar bale, mounted in 18K gold, signed Fasano, Italian registry mark ‘26AL’ for Carlo Illario,, length (including bale): 7.2cm, width 4.8cmIllario's workshop was able to confirm that this ring was a unique piece made in the 1970s for Fasano.Born to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Minor signs of wearSignature and maker's mark located on loopMinor signs of wear, overall in good conditionTotal gross weight approx. 35.4g
Lot 72
From the private collection of a continental ladyA MAGNIFICENT AQUAMARINE, SAPPHIRE AND DIAMOND DRESS RING, BY CARLO ILLARIO FOR FASANO, CIRCA 1970The rectangular-cut aquamarine weighing 13.30cts within a double four-claw setting, between calibré-cut sapphire and brilliant-cut diamond shoulders, mounted in 18K gold, signed Fasano, partial Italian registry mark for Carlo Illario, with document, with maker’s case, ring size L½Illario’s workshop was able to confirm that this ring was a unique piece made in the 1970s for FasanoAccompanied by a document from a Instituti Analisi Gemmelogiche in Valenza (Italy) stating that the aquamarine is weighing 13.304cts and is natural. Report number VKX181091Born to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Aquamarine: of blue hue, medium tone, good transparency, facets are smoothSapphires: of blue hue, medium tone, good transparency, overall well matched in colourDiamonds: unable to assess colour due to yellow mount, estimated clarity VSItalian assay mark for Illario.Minor signs of wear, overall in good conditionTotal gross weight approx. 13.8g
Lot 75
From the private collection of a continental ladyA DIAMOND SINGLE-STONE RING, BY CARLO ILLARIO FOR FASANOComposed of a cut-cornered step-cut diamond weighing approximately 2.50cts within collet-setting, to a plain hoop, signed Fasano, with Italian registry mark for Carlo Illario, ring size LBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Principal diamond: please note that the diamond was gauged within collet-setting, approx. 2.50cts, unable to assess colour due to yellow mount, estimated clarity VS2-VS1Superficial signs of wear, overall in good conditionTotal gross weight approx. 9.4g
Lot 87
From the private collection of a continental ladyA DIAMOND AND SAPPHIRE PENDANT ON CHAIN, BY CARLO ILLARIO FOR FASANO, CIRCA 1990Of bombé design, pavé-set with brilliant-cut diamonds and calibré-cut sapphire highlights, with cabochon sapphire accent, suspending from a cable-link chain, both mounted in 18K gold, diamonds approximately 1.50ct total, both signed, pendant with Italian registry mark for Carlo Illario in Valenza, pendant length 3.1cm, chain length 53cmBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery.Condition Report: Diamonds: approx. 1.50ct total, unable to assess colour due to yellow mount, estimated clarity VSSapphires: of blue hue, medium to dark tone, facets are smooth, overall well matched in colourNormal signs of wear, overall in good conditionTotal gross weight approx. 18.4g
Lot 298
Lucy Elizabeth Brock (1927-2018) (Reigate and Redhill School of Arts and Crafts, Truro College of Art)Watercolour"The Pulpit", initialled lower right, Still Life sketch verso.Lucy Elizabeth Brock (1927-2018)Linocut"The Granary & The Mill, Lower Thurston, Norwich, Norfolk" Janet Rita Wilkes (Reigate and Redhill School of Arts and Slade School of Art)Pen and ink study"Bletchingley", inscribed verso Janet Rita Wilkes Linocut"Partridge in a Pear Tree"Janet Rita WilkesEtching"Lewes, Bonfire Night", limited edition 18/30, signed in pencil lower right, entitled lower left (5)
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