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Lot 476
Three late 20th Century silver and semi precious stone necklaces, comprising alternating turquoise and sardonyx beads leading to and dependant from an oval silver plaque decorated with a flower and dragonflies, a naturalistic smoky quartz necklace having a central white metal flower, and a turquoise necklace having a hand pierced oval white metal pendant set with a turquoise, together with a small quantity of polished semi-precious stones, turquoise and sardonyx necklace 53 cm
Lot 536
A Victorian shell cameo brooch, the cameo depicting Venus with lyre and her son Cupid, in yellow metal mount, together with a 19th Century yellow metal mounted carnelian watch key converted to a brooch and one other Victorian rolled gold mounted gold stone and polished hardstone brooch, cameo 6.5 cm x 5.5 cm
Lot 538
An early 20th Century amethyst, pearl and yellow metal pendant, comprising a central round-cut stone of approx 11 mm, bezel set with a crest of four radiating lozenge cut stones divided by pearls, with a fringe of two pendeloque drops flanking a square-cut amethyst dependant on pairs of pearls, circa 1910s - 1920s. 4.5 cm, 5.3 g
Lot 548
A Victorian citrine coloured and white stone finger ring, comprising a cushion cut stone of approx 8 mm x 6 mm bezel-set with closed back, between two small white round cut stones, the bifurcated shoulders of the 18 ct yellow metal shank divided by fleur-de-lis devices in precious white metal, O, 2.6 g
Lot 563
A late Victorian 9 ct gold garnet and seed pearl brooch, the central gem set bar framed by a rope twist border with graduated pellets, between scrolled ends, 3.51 g gross (safety chain tests as gold), 46 x 12 mm, together with a late Victorian 9 ct gold and chrysoberyl ring, having a 12 mm gallery set stone between open shoulders on a 9 ct gold shank, 3.78 g, size N / O, both assayed Birmingham, 1899
Lot 591
A 1920s sapphire and diamond brooch, having four pave set scrolls of five graduated old cut diamonds, separated by three elevated lines of three graduated sapphires, each end being finished with a single sapphire and a flourish of two pave set diamonds, all set in precious white and yellow metal, in a presentation case, (approximate aggregate weight of diamonds 0.88 carat, sapphires 5.4 carats, one small outer white stone is a paste replacement) 6.62 g, 62 x 10.5 mm
Lot 370
Chinese snuff bottle.Quartzite of flattened rounded form, carved in relief using reddish layer in the stone to create a cameo design of prunus and birds, a four character inscription to one side carved in raised relief, the reverse to depict a monkey with rock and plants nearby, height 4.8cm
Lot 374
Chinese snuff bottle.Chalcedony of compressed ovoid form raise on a neatly finished footrim and with tao tie mask handles at the shoulders, lightly incised using the swirling light and dark areas of stone to depict an eagle perched on a rock with branches nearby, gazing upon a rabbit, the reverse lightly incised with a Taoist Buddha holding a peach, height 6.8cm, late 19th/20th century
Lot 116
WILLIAM BELL SCOTT H.R.S.A., L.L.D. (SCOTTISH 1811-1890) THE BARGE OF THE FAIRY MAB Inscribed with title and address and 'Government School of Design' on a contemporary label verso, feigned arched top, oil on canvasDimensions:61cm x 51cm (24in x 20in)Provenance:Provenance: Careston Castle, Brechin, AngusExhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1845, no.175Note: O, then, I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men's noses as they lies asleep; Her wagon-spokes made of long spinners' legs, The cover of the wings of grasshoppers, The traces of the smallest spider's web, The collars of the moonshine's wat'ry beams, Her whip of cricket's bone; the lash of film…— Mercutio in Romeo and Juliet, Act I, scene IVWilliam Bell Scott was born in Edinburgh in 1811, the son of the engraver Robert Scott (1777-1841) and younger brother of the painter and poet David Scott (1806-1849). He trained in fine art at the Trustees’ Academy, a forerunner of Edinburgh College of Art. In 1837 he moved to London, where he soon developed a connection with a group of painters known as ‘The Clique’ who met to sketch together. ‘The Clique’ was founded by the renowned fairy painter Richard Dadd in the late 1830s, and co-alesced around a rejection of high art and a belief that their work should not conform to academic ideals. Bell Scott formed a friendship with Dadd, and they collaborated on illustrations for Samuel Carter Hall’s ‘Book of British Ballads’ (1842). The group disbanded in 1843 after Dadd was diagnosed insane and institutionalised at Bethlem for killing his father during a psychotic breakdown.In 1843 Bell Scott was offered the position of Master of the Government School of Design at Newcastle-upon-Tyne, where he would remain for the following twenty years. He nevertheless maintained a relationship with the Pre-Raphaelites in London, and contributed poetry to their journal ‘The Germ’. He was close to William Holman Hunt and, in particular, Dante Gabriel Rossetti, whose family championed his work.Bell Scott is best-known for his history paintings. In 1854 he was commissioned to paint a series of works depicting the history of Northumberland for Wallington Hall, the Morpeth home of his most valued patron Lady Trevelyan. Five years later he met Alice Boyd of Penkill Castle, Ayrshire, while she studied in Newcastle. The relationship became close, and from the 1860s Scott lived with Alice Boyd and his wife Letitia in a ménage à trois between Scotland and London until the end of his life. Following her brother’s death in 1865 Alice became the owner of Penkill, and Bell Scott spent several years in the 1860s painting the staircase with a series of frescos illustrating James I’s poem ‘The Kings Quair’.‘The Barge of the Fairy Mab’ was exhibited at the Royal Scottish Academy in 1845, and pre-dates Bell Scott’s Pre-Raphaelite associations. The Fairy Queen Mab is glimpsed through lily petals glowing in the moonlight, being transported on a barge formed from lily pads. Her hair falls in flowing golden tresses and she holds a long red wand, which she directs towards a spider spinning silken threads, as her wide eyes gaze upwards towards the web. The Fairy Queen and several of her attendants are unclothed, with a sensuous allure of form that could not have been freely expressed in a traditional Victorian genre or history painting. The intense jewel-like colour draws the eye towards the heart of the composition, as does the detailed rendering of the elf-like creatures, insects, bugs and leaves. Even the delicate threads of the web are beautifully illuminated. The scene is enclosed within leaves and grasses, through which fairies make their way, with bright star-like torches on their heads, past a swan nestled in the background. There is joy, humour and mischief in the rendering of Fairy Queen Mab and her entourage, and it is a delight to glimpse into this fantasy.Queen Mab is a mischievous yet benevolent figure. In ‘Romeo and Juliet’ she is referred to as the fairies’ midwife, who delivers sleepers their innermost fancies in the form of dreams. In Victorian Britain a great fashion for fairy painting co-incided with a resurgence of interest in Shakespearean plays such as ‘The Tempest’ and ‘A Mid-Summer Night’s Dream’, in which fairies feature as characters. The popularity of the fairy genre is seen as a reaction to the societal and environmental changes being wrought by industrialisation and the expansion of the suburbs. Viewers sought escapism from the changing world through mystical, spiritual and fantastical scenes and images of the natural world. The fairy genre is rare in Bell Scott’s oeuvre, yet in ‘The Barge of the Fairy Mab’ he has created a charming example of Victorian fairy painting at its best.
Lot 152
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STANDING FEMALE NUDE BronzeDimensions:22cm x 8cm x 7cm (8.675in x 3.125in x 2 75in)Provenance:Provenance: Acquired from the artist’s wife, Margaret Morris, via the Fine Art Society, London, by the present owner in 1974Exhibited: Fine Art Society, London, J. D. Fergusson (1874-1961), 10 September – 4 October 1974, no. 100 (incorrectly catalogued as 'The Patient Woman', 1920)Literature: Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh 2013, another cast reproduced in colour pl.35Note: Fergusson is the only one of the four artists known as the Scottish Colourists – along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe – to have worked in three dimensions. Indeed, he made sculpture over some 50 years, with his first created in Paris in 1908 and the last thought to date from about 1955. As Alice Strang has explained: ‘Experiments in terracotta in 1909 and clay in 1913, led to direct carving in stone outdoors during World War One. Carving wood and plaster, which he sometimes cast and coloured, followed. Works were cast in brass and bronze as funds permitted.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh 2013, p. 21). The importance of this aspect of Fergusson’s oeuvre is clear in the inclusion of sculptures in many of his exhibitions between 1912 and 1948.Standing Female Nude comes from Fergusson’s most productive period of sculpture-making, the years approximately 1918 to 1922, when he was based in London. It dates from circa 1920 and was cast at a later date. Sheila McGregor has linked this period with a parallel development in Margaret Morris Movement, the system of choreography devised by his wife (Sheila McGregor, A Colourist Abroad: The Art and Life of J. D Fergusson, unpublished manuscript, completed 2000, p.8). Morris and her pupils, whether sitting as models or in motion during lessons, rehearsals and performances, provided a rich source of inspiration for Fergusson.This work is a powerful depiction of female physicality. It embodies key themes in Fergusson’s sculptural practice: the cropped female form, an interest in non-Western sculpture and a sleek modernism, based on curves and planes with particular attention paid to the breasts, bottom and the base of the spine. It pays testament to the sculptors with whose work Fergusson would have been familiar in pre-war Paris, such as Constantin Brancusi, Alexander Archipenko and Jacob Epstein. Similar concerns were explored in Fergusson’s best-known sculpture, Eástre (Hymn to the Sun) of 1924.The most significant holding of Fergusson’s sculpture is held at The Fergusson Gallery, Perth, which is the centre of excellence for his and Morris’s work. Other important examples are held in public collections including those of the Tate, Hunterian Art Gallery, Government Art Collection and Kelvingrove Art Gallery and Museum.
Lot 178
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) RED SAND-STONE GABLE END PastelDimensions:10cm x 12.5cm (4in x 5in)Provenance:Provenance: Estate of the Artist (studio inventory number ED433)Collection of J. G. ScottExhibited: The Scottish Gallery, Edinburgh, Joan Eardley: Paintings and Drawings, 1-24 December 2007
Lot 110
DEMI-PARURE PIERRES DE COULEURComprenant un collier et une paire de clips d'oreille ornés de pierres de couleur (améthystes, quartz rose, aventurine...), poinçons français d'occasion pour l'or 18K (750°/00), longueur collier 86.5 cm, longueur des clips d'oreille 5.0 cm, poids brut total 107.44 g.Footnotes:COLOURED STONE DEMI-PARUREComprising a necklace and a pair of ear clips set with coloured stones (amethysts, rose quartz, aventurine...) French assay marks for 18 carat gold, necklace length 86.5 cm, ear clips length 5.0 cm, combined gross weight 107.44 grams.For further information on this lot please visit Bonhams.com
Lot 156
COLLIER-PENDENTIF PIERRES DE COULEURLe pendentif formant une croix sertie de cabochons de citrine, améthyste, péridot et tourmaline, poinçon français d'occasion pour l'or 18K (750°/00), longueur 43.0 cm, poids brut total 41.13 g.Footnotes:COLOURED STONE PENDANT-NECKLACEThe pendant in the shape of a cross set with citrine, peridot, amethyst and tourmaline cabochons, French assay marks for 18 carat gold, length 43.0 cm, combined gross weight 41.13 grams.For further information on this lot please visit Bonhams.com
Lot 6
VAN CLEEF & ARPELS: BROCHE PIERRES DE COULEUR ET DIAMANTS, 'CHAT MALICIEUX'Formant un chat serti de cabochons d'onyx, d'émeraude et de rubis et rehaussé de diamants taille 8/8, poinçon français pour l'or 18K (750°/00), signé Van Cleef & Arpels, numéroté, dimensions 4.7 x 2.4 cm, poids brut 15.83 g.Footnotes:VAN CLEEF & ARPELS: COLOURED STONE AND DIAMOND BROOCH, 'CHAT MALICIEUX'In the shape of a cat set with onyx, ruby and emerald cabochons and highlighted with single-cut diamonds, French assay mark for 18 carat gold, signed Van Cleef & Arpels, numbered, measuring 4.7 x 2.4 cm, gross weight 15.83 grams.For further information on this lot please visit Bonhams.com
Lot 506
Georges Rouault. (1871 - 1958 Paris). Parade (Cinquième état). 1926. Lithographie auf chamoisfarbenem Arches. 31,5 x 25,8 cm (50,5 x 33 cm). Signiert, im Stein monogrammiert sowie bezeichnet "s". Punktuell auf Unterlage und unter Passepartout montiert. - Mit zartem, wenig auffälligem Lichtrand. Der Abzug ausgezeichnet, satt und kräftig. Chapon, 319/ V. - Fünfter Etat. - Eines von nur 25 Exemplaren, die durch einen Buchstaben gezeichnet wurden. - Blatt 3 aus der Folge "Ma�tres et petits ma�tres d'aujourd'hui". - Mit der Remarque "Femme en Profil, á droite". - Mit dem Prägestempel der Galerie des Peintres-Graveuers, Paris. Lithograph on buff arches. Signed, monogrammed in the stone and inscribed "s". Spot mounted on backing and under passepartout. - With delicate, not very noticeable light margins. The print very good and strong. - Fifth edition. - One of only 25 copies, marked by a letter. - Sheet 3 from the set "Ma�tres et petits ma�tres d'aujourd'hui". - With the remarque "Femme en Profil, á droite". - With the embossing stamp of the Galerie des Peintres-Graveuers, Paris. The print is excellent, full and powerful.
Lot 268
Wolf Vostell. (1932 Leverkusen - 1998 Berlin). 2 Arbeiten aus: Le Cri.. 1990. Je Farblithographie auf chamoisfarbenem Arches (mit dem Wasserzeichen). Blattmaße je 65 x 100 cm. Je signiert, datiert nummeriert sowie zus. im Stein signiert, bezeichnet und datiert. - Verso mit Spuren der ehemaligen Montierung. Insgesamt in gutem Zustand. Prachtvolle und farbsatte Drucke mit formatfüllenden Darstellungen. Je eines von 85 Exemplaren. - Je aus der Mappe "Le Cri". - Hg. von der Galerie Lavignes anlässlich des Fluxus-Konzerts "Le Cri", das 1990 in Paris stattfand. 2 works. Each colour lithograph on wove paper. Each signed, dated, numbered and together signed, inscribed and dated on the stone. - With traces of the former mounting on verso. At all in good condition. Splendid and richly coloured prints with full-sized depictions. - Each one of 85 copies. - Each from the portfolio "Le Cri". - Published by Galerie Lavignes on the occasion of the Fluxus concert "Le Cri", which took place in Paris in 1990.
Lot 242
Pierre Soulages. (1919 Rodez - 2022 Nimes). o.T. (1957). Lithographie auf Velin. 15 x 10 cm (22 x 13 cm). Im Stein signiert. Mit typographischen Werksangaben. Verso mit weiterem Motiv. - Mit wenigen, kaum merklichen Fleckchen. Insgesamt in wirklich gutem Zustand. Prachtvoller, satter und tiefschwarzer Druck. Verkleinerte Versio einer Gouache. Hrsg. v. Berggruen, Paris. Lithograph on wove paper. Signed in the stone. With typographic indications of the work. With further motif on verso. - With a few, hardly noticeable stains. Overall in really good condition. Splendid, rich and deep black impression. - reduced version of a gouache. Published by Berggruen, Paris.
Lot 705
Klassische Moderne Jean Cocteau (1892 - 1963 Paris)Marie d'apres Mantegna. Um 1956. Farblithographie auf chamoisfarbenem Arches (mit dem Wasserzeichen). 48,5c x 30 cm (65 x 50 cm). Im Stein signiert sowie betitelt. Zusätzlich mit dem Monogrammstempel und der Signatur von Mourlot. - An den Rändern schwach und marginal angegilbt. In gutem Zustand. Prachtvoller und kräftiger Druck mit dem vollen Rand und an einer Seite mit dem Schöpfrand. Colour lithograph on buff wove paper. Signed and titled in the stone. Additionally with the monogram stamp and the signature of Mourlot. - Weakly and marginally yellowed at margins. In good condition. Splendid and strong impression with the full margins and at one side with the scooped margin.
Lot 660
Italienische Moderne nach Alberto Magnelli (1888 Florenz - 1971 Meudon)Hommage à San Lazzaro. 1948/1975. Farblithographie auf Arches. 31,3 x 21,3 cm (35,5 x 26,5 cm). Signiert und datiert im Stein. - Prachtvoller, satter Druck in leuchtenden Farben mit dem vollen Rand und einseitigem Schöpfrand. Lithographie für das Mappenwerk "San Lazzaro et ses amis", für den Gründer der Zeitschrift XXe siècle Gualtieri di San Lazzaro. Druck bei Mourlot in Paris. Colour lithograph on Arches. Signed and dated in the stone. - Splendid, rich impression in bright colours with the full margin and one-sided scooped margin. - Lithograph for the portfolio "San Lazzaro et ses amis", for the founder of the magazine XXe siècle Gualtieri di San Lazzaro. Printed by Mourlot in Paris.
Lot 252
Zao Wou-Ki. (1921 Peking - 2013 Nyon, Schweiz). 1 Arbeit aus: À La Gloire de l'image et art Poétique. 1976. Farblithographie auf Arches (mit dem Wasserzeichen). 40 x 67 cm (49,7 x 71,4 cm). Im Stein signiert und datiert. Mit vertikaler und dezenter Mittelfalz. - Verso voll kaschiert auf Japan. In gutem Zustand. Prachtvoller und sehr farbprächtiger Druck mit dem vollen Rand und an der unteren Seite mit dem Schöpfrand. Eines von 300 Exemplaren, die im Kollophon nummeriert wurden. - Aus dem Portfolio "À La Gloire de l'image et art Poétique". - Herausgegeben von Edition Polígrafa, Barcelona 1976. - Druck bei Bellini, Paris. Colour lithograph on wove paper. Signed and dated in the stone. With vertical and subtle centrefold. - Fully mounted on Japan on verso. In good condition. Splendid and very colourful impression with the full margins and at the lower side with the scooped margin. - One of 300 copies that are numbered at the collophon. - From the portfolio "À La Gloire de l'image et art Poétique". - Published by Edition Polígrafa, Barcelona 1976 - Printed by Bellini, Paris.
Lot 792
Nouvelle École de Paris Serge Poliakoff (1906 Moskau - 1969 Paris)Composition rouge, bleue, jaune et noire. Um 1960. Farblithographie auf glattem Papier. 87 x 64 cm (100 x 88 cm). Im Stein mit Künstlernamen versehen sowie bezeichnet "Ch. Sorlier Grav. Lith". - Kanten etw. knickspurig, im weißen Rand partiell angeschmutzt und atelierspurig. Im weißen unteren Rand von fremder Hand bezeichnet mit Bleistift. Ecken etwas bestoßen. Ausgezeichneter farbsatter Druck. Colour lithograph on smooth paper. Inscribed in the stone with the artist's name and "Ch. Sorlier Grav. Lith". - Edges somewhat creased, white margin partially soiled and with traces of studio. Inscribed by someone else in pencil in the lower white margin. Corners a little bit bumped. Perfect print with rich colours.
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