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Lot 1120
An Antique 18ct gold graduated five stone diamond half hoop ring, set with old cushion-cut diamonds with rose-cut diamond accents, total diamond content approx 2.5g, principal diamond approx 1ct and measures: 6.48mm x 6.30mm x 4.10mm, 1 mid-size diamond approx 0.5ct and measures: 5.43mm x 5.05mm x 3.01mm, colour approx G-J, clarity approx VS2-SI2, setting height 7.4mm, size O, 3.9gNo damage or repairs, 1 smallest rose-cut accent missing, all diamonds are bright and fiery, principal diamond has a slight yellow hint and a few small girdle chips mostly only visible through a loupe, any inclusions viewed are extremely minor with the largest inclusion being a small black spot beneath the table of smallest diamond, settings lightly worn, mark clear, stamped 18c
Lot 1131
A late 20th century 18ct gold graduated three stone diamond half hoop ring, set with modern round brilliant-cut diamonds and diamond accents, total diamond content approx 1.3ct, principal diamond approx 0.6ct, colour approx F-H, clarity approx SI2/SI3, setting height 6.1mm, size J, 3.9gNo damage, all stones present, diamonds bright white and fiery each with a few internal feathers and black spot inclusions mostly only visible through a loupe due to fire, settings light worn and slightly off-round with 1 well concealed join mark on back of shank, hallmarks clear, stamped 750
Lot 1136
An 18ct white gold seven stone diamond half eternity ring, set with modern round brilliant-cut diamonds, total diamond content approx 0.7ct, setting height 4.7mm, size Q, 4gAll stones present, diamonds bright white and fiery with a few internal fractures and feathers visible through a loupe, settings slightly worn and ring is off-round, shank has 2 well concealed join marks, hallmarks clear, stamped 750
Lot 1137
A Victorian style seal ring, unmarked yellow metal settings with wirework surround and intaglio carved stone depicting 2 bulls, setting height 15.9mm, size K/L, 4.9gNo damage or repairs, no chips or cracks to stone, settings slightly worn on high points with a few minor dents on backing, unmarked
Lot 1159
A platinum three stone tanzanite and diamond ring, set with oval mixed-cut tanzanite and modern round brilliant-cut diamonds, total diamond content approx 1ct, tanzanite measures: 11.48mm x 9.09mm x 5.89mm, size O, 5.9gNo damage or repairs, all stones present, tanzanite is a vivid violet blue with slightly abraded facet edges and a couple of tiny girdle chips, diamonds bright and fiery with a slight yellow tint and a couple of tiny internal feathers only visible through a loupe, settings very lightly abraded, hallmarks clear, stamped 950
Lot 48
SANTIAGO RUSIÑOL (1861-1931)"Girona antiga", ca.1908.Oil on canvas.Signed in the lower right corner.Bibliography:-COLL, Isabel, "Rusiñol". Sabadell: Ausa, 1992 (repr. p. 376). LAPLANA, Josep de C., Santiago Rusiñol. El pintor, l'home. Barcelona: L'Abadia de Montserrat, 1995 (no. 14.9).-LAPLANA, Josep de C., The painting of Santiago Rusiñol. Obra completa. Catàleg sistemàtic. Barcelona: Mediterrània, 2004 (cat. no. 14.1.12, p. 118, repr.).Exhibitions:-1981 - "Pintors de Fama", Sala Parés, Barcelona (cat.núm.18: Girona antiga).-2021 - "Travellers", Sala Parés, Barcelona (cat. no. 18: Girona antiga).Size: 76,5 x 72,5 cm; 89 x 85 cm (frame).The city of Girona and the villages of the region made a deep impression on Santiago Rusiñol. He painted the city from various perspectives, giving priority to its gardens and side views of the cathedral, as in the magnificent painting shown here. The solemn stone architecture and the foliage that meanders between the parapets and grows in groves of pines and cypresses form an autumnal scene of deep emotion. The low evening light subtly toasts the leaves, unfurling wide shades of emerald green to sienna. The cathedral is silhouetted in the distance, culminating a scene. Rusiñol gave pre-eminence to the area of the city walls, or to the old quarter and the old houses on its perimeter. This type of painting was a brilliant correlate of the articles Rusiñol published as a writer (for example, in "Girona de piedra", 1912).A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Ile Saint-Louis. On his return he exhibited the paintings he produced on this trip in what was to be his first one-man show at the Salle Parés. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.
Lot 97
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Mini David", c.1960.Nickel-plated bronze and bronze bath on the genitals. Serial No. 6521.Provenance: Private Collection of Luis García Berlanga.Signed on the right arm.Measurements: 13,7 x 5 cm.Round sculpture made up of numerous pieces in nickel-plated bronze, which are joined together creating a piece of figurative aesthetics, where the artist has grouped a set of angular shapes. The piece represents a male torso whose title refers to the biblical character David, who defeated the giant Goliath. In addition to being a shepherd, David could play the harp. So he went to serve King Saul, who at that time was fighting against the Philistines. There he confronted the giant Goliath, whom he killed with a stone thrown from his sling. The stone hit him in the forehead and Goliath fell to the ground. With the giant's sword, David cut off his head.Berrocal began his training at the School of Arts and Crafts in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 717
Schachfiguren. Amerika. Schachspiel aus Marmor und Stein mit dazugehörigem Brett aus Marmor. Die eine Partei aus weißbraunem Marmor, die andere aus schwarzem Stein. Arbeit aus dem Ende des 20. Jahrhunderts. Höhe: König 7,5 cm; Bauer 4 cm. Größe Brett: 25,5 x 25,5 cm. (22)* Reizvolles komplettes Schachspiel aus Marmor und Stein, das nach stilisierten indianischen Motiven gearbeitet ist. Die Rückseite ist nicht bearbeitet. Das Brett hat einem Kreis mit Verzierung nach indianischen Motiven. Zustand: Mit kleineren materialbedingten Benutzungsspuren, Fehlstellen und Defekten. Beiliegt: Griechenland. Schachfiguren aus Metall - Figuren aus der griechischen Mythologie. Beide Parteien gleich, eine Partei ist silberfarben, die andere bronzefarben. Produktion der Firma Forma aus der zweiten Hälfte des 20. Jahrhunderts. Höhe König 5,2 cm; Bauer 4,0 cm. Komplettes Metallschachspiel. Die Figuren haben geringe Benutzungsspuren. / America. Chess set made of marble and stone with chessboard made of marble. One side of white-brown marble, the other of black stone. Produced at the end of 20th century. King 7,5 cm high; pawn 4 cm high. Board size: 25,5 x 25,5 cm. Complete set of marble and stone chess, according to stylized Native American motifs. With minor chips and damages. / Greece. Metal chess set - Greek mythological figures in historic style. Both sides identical, one side stained light silver, the other light bronze. Produced of Forma in the second part of the 20th century. King 5,2 cm high, pawn 4,0 cm. Complete metal chess set. With minor chips and damages.
Lot 414
Europa. England. Die Schlacht von Hastings. Schachfiguren aus Kunststein vom Studio Anne Carlton in originaler Pappschachtel. Eine Partei Angelsachsen, die andere die Normannen. Hull in England, Studios of SAC Limited, um 1980. Höhe König 11,5 cm; Bauer 6,5 cm. (30) * Kompletter Figurensatz. Die Schachfiguren zeigen die Hauptakteure der Schlacht bei Hastings vom 14. Oktober 1066. Es war der erste militärische Erfolg der französischen Normannen bei der Eroberung Englands. Das normannische Heer unter Herzog Wilhelm dem Eroberer besiegte die Angelsachsen unter ihrem König Harald II. Zustand: Angestaubt, mit geringen Benutzungsspuren. / Europe. England. The battle of Hastings. Pieces made of artificial stone at the Studio Anne Carlton in original cardboard box. One side the Anglo Saxons, the other the Normans. Produced in Hull, England, Studios of SAC, around 1980. King 11,5 cm high, pawn 6,5 cm. Complete chess set. The chessmen show the main characters in the Battle of Hastings on October 14th, 1066. It was the first military success of the French Normans in the conquest of England. The Norman army under Duke Wilhelm the Conqueror defeated the Anglo-Saxons under their King Harald II. With minor chips and damages.
Lot 28
Yiannis Spyropoulos (Greek, 1912-1990)Mycenean citadel B signé en grec (en bas à droite)huile sur toile contrecollé sur panneau162 x 97cm (63 3/4 x 38 3/16in).Peint en 1959.signed in Greek (lower right) oil on canvas laid on boardFootnotes:ProvenanceAcquired directly from the artist.Cl. West collection, USA.Bonhams London, The Greek Sale, 25 November 2014, lot 54. Acquired from the above sale by the present owner.LiteratureC. Christou, Yannis Spyropoulos, Athens 1962, pp. 144, 148 (discussed), p. 117 (illustrated).Athenian newspaper clip, 1962 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 417 (referred).Y. Papaioannou, The Work of the Painter Yannis Spyropoulos, doctoral dissertation, Athens 1994, no. 480, p. 156 (referred), p. 283 (listed).Yannis Spyropoulos, Ta Nea editions, Athens 2006, p. 65 (referred).Y. Papaioannou, Yannis Spyropoulos - Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, no. 480, 370 (listed), p. 220 (illustrated).A powerful mixture of simplicity and sophistication and a wise conciliation between gestural brushwork and sturdy compositional structure, this captivating work offers a commanding display of technical discipline and intuitive expression. Planes, surfaces and textures are meticulously analysed by dark structural outlines, while intense counterbalancing forces and energetic shapes are articulated into a serene and robust geometrical structure set in motion by circular gestural marks that endow the composition with an improvised yet coherent inner rhythm.1 'The Greek scenery with its architecture of masonry fences, arches, courtyards and dry stone walls, observed from afar as outlined geometrical shapes, constituted the onset of visual stimulation before becoming a painterly proposal.'2This beautiful canvas also reflects Spyropoulos' deep interest in Byzantine art. Professor C. Christou notes: 'The golden-yellow colour that comes to dominate the work of Spyropoulos by 1960 and which in essence reflects nothing more than the presence of sunlight, or rather Greek light, is something he finds around and within himself, in the past from which he hails and the present where he belongs. It reveals the influence of the Byzantine icon painting he grew up with and his familiarity with the Greek light under which he lives, while at the same time his work expresses the intricate nature of modern artistic creation.'3Yiannis Spyropoulos was the first Greek painter who, while residing permanently in Greece, managed to attain an illustrious international career, highlighted by his participation in the 1960 Venice Biennale, where he was awarded the UNESCO prize. His works, which represent the most advanced and mature aspect of Greek abstraction, have been included in prestigious private collections around the globe and exhibited at important European and American museums of modern art.41 See E. Ferentinou, 'Jannis Spyropoulos' [in Greek], Zygos magazine, no.32, July 1958, p. 18.2 L. Tsikouta, 'Processes, Influences, Assimilations, Personal Idiom, Birth of an Artwork: The Case of Jannis Spyropoulos' in Jannis Spyropoulos, The Classicist of Abstraction, exhibition catalogue, National Gallery – A. Soutzos Museum, Athens 1995, p. 141.3 C. Christou, Jannis Spyropoulos [in Greek], Athens 1962, p. 158.4 See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Athens 1999, pp. 156-158.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
Lot 83
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Palette landscape signé 'Ghika' (en bas à gauche); signé et porte le cachet (en bas à droite)acrylique sur papier contrecollé sur toile44.5 x 76cm (17 1/2 x 29 15/16in).Peint vers 1957-1961.signed (lower left); signed and stamped (lower right) acrylic on paper laid on canvasFootnotes:LittératureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, no. 253, p. 291 (catalogued and illustrated).Across twisted diagonals and tangled verticals fall the shapes of acanthuses, thistles and thorns, while the crooked stone walls that inform so much of the Greek landscape, seem to thrive on the rugged terrain.1 Both the natural and the manmade environment are in a state of perpetual becoming, constantly expanding and contacting, so that the whole composition is immersed in a perpetually changing and revived atmosphere. As the schematic undulations of the landscape ascend in petrified waves, the pictorial space shrinks and the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. 1 See P. Leigh Fermor, 'The Background of Niko Ghika' in Ghika, Paintings, Drawings, Sculpture, Boston Book and Art Shop, Boston 1965, pp. 25-44.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
Lot 395
A Dainty Opal Ring, claw set centre, within inset border, between tapered shoulders, stamped "18 Ct & Pt" (finger size P) (2.5 grams), a modern cabochon set ring, allover textured finish, stamped "375" (finger size J) (3 grams), a full eternity style band (finger size M½), and a three stone dress ring, stamped "Silver" (finger size M½). (4).
Lot 414
A QVC 9ct Gold Multi Stone Set Cluster Ring, (finger size K½), a half eternity style ring, claw set stones (finger size L), a Gemporia 9ct gold stone set ring,alternate claw set, between plain shoulders (finger size K½) and another single stone ring (finger size L) (total weight 9grams) (4).
Lot 418
A Modern Three Stone Ring, claw set graduated stones, with twist style setting, between plain shoulders stamped "375" (finger size O1/2), two cluster rings, both stamped "9ct" "Dia" (finger sizes L, O) and a 9ct gold two tone band, of openwork design (finger size H) (total weight 8.5grams). (4)
Lot 437
A Dainty Single Stone Ring, claw set, between tapered shoulders, stamped "18ct" (finger size M), an alternate stone set ring, claw set, between tapered shoulders, stamped "18ct", a similar illusion set ring, indistinctly stamped "18ct" (finger size M) (total weight 5 grams), and another. (4)
Lot 1
Diamond single stone ring, the white mount stamped '18ct', the old mine cut diamond measuring approximately 5.9mm x 5.7mm x 4.2mm deep, calculated as weighing approximately 0.9 carats, size O, 4.3g gross approxThe old mine cut appears fairly white with a hint of colour. There are no obvious visible inclusions but there is an inclusion/small abrasion to the edge of the girdle that runs towards the table., approx SI clarity. The claws are all present with signs of wear from age and use. Signs of sizing to the shank which is stamped ‘18ct’.
Lot 12
Seven stone diamond half hoop ring, in 18ct white gold, the brilliant cuts estimated as weighing approximately 0.84 carats, size L, 4.4g gross approxThe stones appear secure in the setting, light surface wear to the metal. The diamonds appear fairly white and bright, there are scatterings of small black inclusions to each stone which are clearly visible with a 10x loupe, approx SI2-I1 clarity.
Lot 13
Fifteen stone diamond 18ct white gold half hoop ring, the baguette cut diamonds totalling approximately 0.7 carats estimated, size O, 6.1g gross approxDue to the setting and the shape of the stones, it is not possible to give individual carat weights. I estimate the clarity to be SI approx, due to evidence of some small inclusions throughout some of the diamonds, which are not visible to the naked eye. The diamonds all appear white and bright, with no tint of colour.
Lot 2
Diamond single-stone ring, the mount stamped '18ct', the old cut brilliant of approximately 0.7 carats estimated, size L, 2.4g gross approxThe diamond appears slightly tinted and fairly-bright. There is a crystal-type inclusion near the centre of the stone, and a small abrasion/inclusion to the surface. No obvious inclusions with the naked eye. Claws all present, all showing slight signs of wear and tear. **General condition consistent with age and use.
Lot 21
Yellow metal ring stamped '18K', set with a synthetic colour change corundum, size N, 9.3g gross approxThe large purple stone approx 1.7cm diameter x 9mm deep, some small nibbles to the girdle otherwise appears in good condition. The claws are fairly small and one tip is missing, the stone feels loose and moves in the setting. Evidence of sizing to the shank. The shank is marked '18K' and has 'CT' stamped, possibly remains of a previous hallmark. Unable to age to to lack of hallmarks . **General condition consistent with age and wear.
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