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Lot 148
A diamond three-stone ring, the central circular old cut diamond measuring approximately 5.2mm x 3mm, with a further old cushion cut diamond to each side, all claw set in platinum to knife edge shoulders and plain polished 18ct gold shank, ring size N 1/2, weight 2.7gmsCR; The is a chip to the star facet of the central stone, and a chip to the girdle - both are visible at 10x magnification, but not with the naked eye. One of the outer stones shows a fracture running across a few of the star facets. There are a couple of nicks and nibbles to the girdles of the two outer stones. All stones show general scratching, wear and tear commensurate with age and use. There is moderate to heavy wear to the claws of the central stone, and minor to moderate wear to the outer stones. All stones are currently secure, but some retipping may be required. The settings appear in good order, showing general wear and tear and some light thinning, but no splitting or signs of repair. Shank shows general scratching and wear throughout, with some minor misshaping around the base, but no signs of splitting, resizing or repair.Central stone is approximately SI clarity, one of the outer stones is approximate I, and the other stone is SI owing to the external fracture. Central stone measures 5.2mm x 3.0mm, with an approximate spread of 0.50 carats, and the two outer stones measure approximately 3.8mm x 3.2mm x 2.1mm and 3.9mm x 3.3mm x 2.8mm, each with an approximate spread of 0.20carats.
Lot 166
A diamond three stone ring, comprising three old cut diamonds, the central diamond measuring approx. 4.8mm x 4.6mm x 3.00mm, claw set in white metal to a tapering plain polished band (unmarked), ring size M 1/2, weight 2.9gmsCR; Some minor chips and nibbles to the girdles and facet edges of all three stones. Claws in good order, stones secure. Settings in good order, no thinning, piercing or repair. Shank shows some misshaping and minor thinning, general wear and scratching, but no splitting or repair. Stones require professional cleaning.
Lot 171
A 9ct gold acrostic ring, comprising seven round mixed cut gemstones spelling 'Dearest' (diamond, emerald, amethyst, ruby, emerald, sapphire and tourmaline), all set in 9ct gold to a tapering plain polished shank, ring size P 1/2, together with a diamond seven stone 9ct gold ring, size O 1/2, and a ruby and diamond 9ct gold floral cluster ring, size N, gross weight 6.3gms (3)
Lot 172
A Victorian emerald and diamond five-stone ring, comprising a central round mixed cut diamond measuring 3.2mm x 2.2mm, with a step cut emerald to each side and a further old cut diamond to each shoulder, all claw set to a pierced gallery and plain polished 18ct gold shank, marked '18' with crown mark (date, city and maker's marks worn), ring size P, weight 3.0gmsCR; There is a mid-sized fracture running across the edge of the table and some of the star facets of the central stone. There are a couple of nibbles to the girdles of the outer diamonds. The emeralds show several small chips throughout, as well as nibbling to facet edges, moderate scratching and wear. Claws show moderate wear, all stones appear secure. Settings appear in good order, general scratching and wear and some light thinning, but no splitting or repair. Shank shows moderate scratching and wear, but no major thinning, splitting, resizing or repair. Hallmarks are heavily work, the 18 and crown mark are still clear. Stones require light cleaning.
Lot 174
An opal 9ct gold pendant, the oval opal cabochon (possibly synthetic) measuring 14mm x 10mm, set to a pierced border surround with tapered pendant bail, drop 34mm, together with a pair of gold coloured opal earrings, each 13mm x 11mm, an early 20th century pearl set 9ct gold bow brooch, 45mm wide, and a pair of emerald and pearl set gold coloured drop earrings, each 34mm long, gross weight 7.5gms (6)CR; Peridot brooch: Some chips and nibbling to the central stone. Setting in good order, stone secure. Bar in good order, no thinning, repair or splitting. Hinged pin in slightly bent, but is in working order. Safety chain is broken.Opal pendant: Moderate scratching and wear, no cracks, chips or losses. One claw shows some loss, but central stone is secure. Border in good order, no thinning, splitting or repair. Pendant bail in good order.Pearl brooch: Several chips and losses to the pearls. Evidence of glue repair. Some pearls may be replacements. Bow mount in good order, may be earlier then the bar it is mounted on. The bar shows some bending and misshaping, and the pin is in working order. Chain in present and in good order, but may be later.Opal earrings: Good order, no cracks, chips or losses, moderate scratching and wear. Claws in good order, stones secure. Settings in good order, no thinning, splitting or repair. Some misshaping and bending to the post fittings. Butterfly backs in good order.Emerald earrings: Heavy scratching and wear to the emeralds. Moderate scratching and wear to the pearls, and one pearl shows glue repair. The drops are slightly bent. Post fittings are slightly bent. Butterfly backs are slightly dented, but are in working order.
Lot 193
A synthetic sapphire dress ring, the central rectangular cushion shaped mixed cut yellow-orange synthetic sapphire measuring 18mm x 13mm, claw set to a textured scalloped border, continuing to a plain polished shank, indistinctly stamped, ring size L 1/2, weight 7.7gmsCR; Central stone in good order, no cracks, chips or fractures, general scratching and wear only. Claws in good order, stones secure. Setting in good order, no thinning, splitting or repair. Shank shows scratching and wear to the exterior commensurate with age and use, and there is a small dent to the outer shank near the base, but no thinning, splitting or repair.
Lot 201
A synthetic sapphire and diamond 9ct gold ring, the central oval synthetic sapphire measuring 10mm x 8mm, with two eight cut diamonds to each side, continuing to reeded tapering shoulders and plain polished shank, ring size X 1/2, together with a further 9ct gold stone set ring, the square head set with mixed cut red gemstones (possibly garnets), 11mm x 11mm, continuing to tapering plain polished white gold shank, ring size W (at fault), gross weight 12.2gms (2)
Lot 206
A 9ct gold carved shell cameo pendant, 16mm x 12mm, upon a 9ct gold curb link chain with spring ring and loop fastening, 48cm long, together with a 9ct gold paste set three-stone ring, size J 1/2, a 9ct gold sapphire and diamond cluster ring, size K (at fault), and a 9ct gold five-stone ring, size L (at fault), gross weight 11.0gms (4)
Lot 212
An early 20th century 18ct gold and platinum diamond ring, the principle single cut diamond illusion set in platinum to a hexagonal head, with a further single cut diamond set to shaped illusion shoulders, continuing to a plain polished 18ct yellow gold shank, maker's mark 'H.S', ring size L 1/2, together with an early 20th century 18ct gold and platinum diamond three stone ring, size I 1/2, gross weight 3.7gms (2)
Lot 214
A selection of gold and gold coloured jewellery and accessories, to include a 9ct gold signet ring, marked for Birmingham 1951, ring size S, a 9ct gold white stone set dress ring, size K 1/2, an 18ct gold ring (lacking stone), size L (at fault), a pair of Victorian gold coloured drop earrings, each with applied pad stamped '10c', each 32mm long (at fault), a ladies 9ct gold Accurist wristwatch on 9ct gold strap, case 18mm x 16mm (at fault), a ladies 9ct gold wristwatch on gold plated strap, case 26mm diameter (at fault), and a simulated pearl pendant on a 9ct gold chain, 40.5cm long, gross weight (excluding pearl pendant, watch movements and plated straps) 24.6gms (8) Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
Lot 228
An early 20th century five-stone diamond ring, comprising five graduated old cut diamonds, the central old mine cut diamond measuring 4.3mm x 3.9mm x 2.9mm, all claw set in white metal, continuing to a tapering plain polished yellow metal shank, stamped '18CT' and 'PLAT', ring size P 1/2, weight 2.5gmsCR: Accurate colour and clarity grades cannot be provided de to size and setting. Average clarity is estimated SI across all stones. Face up, the diamonds appear bright and sparkly, with a very slight draw of colour. Please note, this ring requires deep cleaning, which may influence the colour.
Lot 237
A 9ct gold diamond solitaire ring, the central round brilliant cut diamond weighing approximately 0.10 carat, set to an illusion surround, bezel set in 9ct yellow gold to a pierced gallery and tapering plain polished shank, ring size K, together with a Victorian style diamond and ruby five-stone 9ct gold ring, size M 1/2, and a ruby and white stone 9ct gold ring, size M 1/2, gross weight 7.5gms (3)
Lot 238
An early 20th century diamond five stone ring, comprising five graduated mixed cut diamonds, principle diamond measuring 2.4mm diameter, all claw set in platinum, continuing to a plain polished tapering 18ct gold shank, size S, together with a Victorian diamond set 18ct gold ring, marks for Birmingham 1896, ring size M 1/2 (at fault), gross weight 4.7gms (2)
Lot 241
A pink topaz and diamond 9ct yellow gold ring, comprising three (coated) oval mixed cut topaz, each measuring 6.2mm x 3.7mm, claw set to diamond crossover shoulders and a plain polished 9ct gold shank, ring size R 1/2, together with a sapphire and diamond 9ct yellow gold cluster ring, size O, a green stone and diamond 9ct white gold cross over ring, size V, and a purple stone (possibly iolite) and diamond 9ct yellow gold ring, size O 1/2, gross weight 8.9gms (4)
Lot 242
A sapphire and diamond 9ct gold ring, designed as a hemisphere of alternating sapphires and diamonds, all set to a plain polished 9ct gold band, ring size Q, together with a peridot and diamond 9ct gold ring, size N 1/2, an purple stone and diamond 9ct gold cluster ring, size P, a cubic zirconia 9ct gold solitaire ring, size L, and a colourless gemstone 9ct gold ring, size O, gross weight 10.1gms (5)
Lot 243
A blue topaz and diamond 9ct gold ring, the central oval mixed cut blue topaz measuring 12mm x 10mm, claw set to shoulders set with triangular topaz and single cut diamonds, continuing to a plain polished 9ct yellow gold shank ring size T 1/2, together with a mystic topaz and diamond set 9ct gold ring, size N 1/2, a pink stone and diamond set 9ct gold ring, size O, and a red stone (possibly a garnet topped doublet) and cubic zirconia 9ct gold cluster ring, size L, gross weight 10.4gms (4)
Lot 244
A white stone set 9ct gold floral cluster ring, the central floral cluster set with single cut colourless gemstones, cluster 9.5mm diameter, all set in 9ct gold to tapering shank, ring size N (at fault), together with a blue and white stone 9ct gold cluster ring, size P, a 9ct gold cubic zirconia cluster ring, size M 1/2, a Victorian garnet set gold coloured brooch, 46mm wide (at fault), a pair of gold coloured snake-link drop earrings, each 56mm long, and a blue paste gold coloured bar brooch, 45mm wide (7)
Lot 245
A sapphire and diamond three stone 18ct gold ring, the central oval mixed cut sapphire measuring 5.6mm x 3.5mm, with an illusion set diamond to each side, all set in white metal to tapering shoulders, continuing to a plain polished 18ct yellow gold shank, ring size M, together with a Victorian turquoise and diamond set ring, shank unmarked, ring size E, gross weight 4.5gms (2)
Lot 246
An early 20th century sapphire and diamond ring, Art Deco/Belle Époque transition, the central square cushion mixed cut cornflower blue sapphire weighing 5.28 carats (8.4 x 8.3 x 8.1mm), claw set to split shoulders set with baguette cut and single cut diamonds, foliate detail to shank, stamped 'PLATINUM', ring size N, weight 5.0gms, with accompanying report from The Gem & Pearl Laboratory, report no. 22305, stating that the carat weight is 5.28 carats, that the stone is a natural sapphire, shows no evidence of heat treatment, and the origin opinion is Sri Lanka.CR; Central stone is in very good order, no chips, cracks or losses. Very minor signs of wear and tear only. All claws are secure. All diamonds are in good order, no cracks, chips or losses. Very minor signs of wear and tear only. Gallery settings in good order, no signs of major thinning, obvious splitting or repair - general scratching, wear and tear commensurate with and age use. There is some possible evidence of resizing to the shank. General scratching and wear to the shank commensurate with age and use, no signs of thinning or splitting. See further images.
Lot 248
A French green stone and 18ct gold cocktail ring, the central green polished cabochon (possibly a tourmaline) measuring 13.5mm x 12.2mm x 8.7mm, set to a fluted surround, continuing to plain polished shoulders and shank, French horse's head lozenge mark, ring size N, weight 5.8gmsCR; There is a large surface reaching fracture running across the central stone, and a further internal fracture running across the stone perpendicular to the first fracture. There are several knicks, shallow chips, heavy scratching and general wear to the surface of the stone. This stone has not been tested for filling, coating or dyeing, but does not show any obvious indications of treatment. The setting shows a hairline split running across the side, covering about a quarter of the circumference of the setting. There is moderate scratching, wear and minor denting commensurate with age and use. No signs of repair. There is some beginning signs of splitting to one of the shoulders were in meets the shank. The shank and shoulders show general scratching, wear and light denting commensurate with age and use. No splitting, resizing or repair. Marks are worn.
Lot 258
A sapphire and diamond cluster ring, designed as a central oval mixed cut sapphire surrounded by four further oval mixed cut sapphires and four illusion set diamonds, head measuring 12.2mm x 10.2mm, continuing to a plain polished 9ct gold shank, ring size M 1/2, together with a sapphire and diamond 9ct gold seven stone ring, size M 1/2, gross weight 5.7gms (2)
Lot 247
Full title: A Chinese engraved stone calligraphy tablet, dated and probably 1296Description:H 92 - L 52,7 cm (without the stand) H 103,2 - L 52,7 cm (with the stand) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 452
Full title: A carved stone head of Buddha, probably Thailand, 14th/16th C.Description:H 28,9 cm (incl. the base) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 487
Full title: A stone fragment of a temple guard, Khmer, Bayon, Cambodia, probably second quarter 10th C.Description:H 58,5 - 52,2 cm (with and without stand) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 881
Full title: A pair of light green natural stone fluted columns, 20th C.Description:H 109,3 cm - Dia.: 25,3 cm 39,5 x 39,5 cm (the base) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 1245
Full title: A varied collection of carved stone fragments in Roman styleDescription:H 11,5 - 4 cm (the tallest and the smallest object) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 1248
Full title: A carved stone figure of an apostle, probably Flanders, 16th C.Description:H 54,6 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 1322
Full title: Willem Grasdorp (1678-1723): Still life with flowers, oil on canvas, early 18th C.Description:Work: 62,9 x 53,1 cm Frame: 83,6 x 73,8 cm This work with roses, a parrot tulip, morning glory, narcissi and other flowers, with a snail, around a stone urn on a ledge was previously attributed to the circle of Rachel Ruysch (1664-1650). In 2004, Fred G. Meijer confirmed Willem Grasdorp as the painter of this beautiful flower still life. Provenance: - Ex-collection Jan Muller, Ghent. - Private collection, Belgium. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Lot 21
Henry Moore O.M., C.H. (British, 1898-1986)Serpent signed and numbered 'Moore 2/9' (on the base)bronze with a brown patina on a bronze base28.3 cm. (11 1/8 in.) long (including the base)Conceived in 1973Footnotes:ProvenanceAlbert FinneySale; Christie's, London, 24 November 2000, lot 46Private Collection, U.K.ExhibitedCaracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E128 (another cast)LiteratureAlan Bowness (ed.), Henry Moore Complete Sculpture 1964-73, Volume 4, Lund Humphries, London, 1977, cat.no.637 (ill.b&w, another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.112, cat.no.E128 (ill.b&w p.114, another cast)Serpentine motifs first appeared in Moore's oeuvre in the twenties when he was a student at the Royal College of Art in London. During this period Moore became fascinated by objects displayed at the British Museum and he later recalled 'one room after another in the British Museum took my enthusiasm. The Royal College of Art meant nothing in comparison ... And after the first excitement it was the art of ancient Mexico that spoke to me most' (Henry Moore quoted in James Johnson Sweeny, 'Henry Moore', Partisan Review, March–April 1947). This attraction came at a moment of cultural fervour and interest around Latin American and especially Mexican pre-Columbian art all around Europe. One piece at the British Museum which particularly attracted Moore's attention was a stone rattlesnake, dated between 1300-1521. Of it he stated, 'although the snake is coiled into a most solid form, it has a real air of menace, as if it could strike at any moment' (exh.cat, Henry Moore at the British Museum, London 1981, p.74). Convoluted serpents can be found in his sketchbooks from 1921 and 1922, and by 1924 he would sculpt his first in marble – Snake (Private Collection). Over the course of his career, Moore would go on to produce three other snakes: Head of Serpent (1927, travertine marble, on long-term loan to Tate), Snake Head (1961, bronze) and finally the present work in 1973.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 24
Henry Moore O.M., C.H. (British, 1898-1986)Recumbent Figure bronze with a brown patina on a wooden base13 cm. (5 1/8 in.) long (excluding the base)Conceived in 1938 and cast in bronze prior to 1948, in an edition of 9Footnotes:ProvenanceMarion and Gustave Ring, Washington D.C.Private Collection, New YorkWith James Goodman Gallery, New YorkWith Waddington Galleries, London, 2004, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedFlorence, Forte di Belvedere, Henry Moore, 20 May-30 September 1973 (another cast)Caracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E85 (another cast)Washington D.C., Hirshhorn Museum and Sculptural Garden, Selections from the Collection of Marion and Gustave Ring, 17 October 1985-12 January 1986, cat.no.35 (this cast)Jerusalem, The Israel Museum, Focus on the Collection: Henry Moore, July 2004-March 2005, cat.no.8 (another cast)LiteratureRobert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, p.100, cat.no.174 (monumental stone version illustrated, pp.100-101)Franco Russoli and David Mitchinson, Henry Moore Sculpture, With Comments by the Artist, London, Arthur A. Bartley, 1981, p.74, cat.no.121 (col.ill., another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.100, cat.no.E85 (col.ill, another cast)Virginia Wageman (ed.), Selections from the Collection of Marion and Gustave Ring, Smithsonian Institution Press, Washington, D.C., 1985, cat.no.35, (coll.ill., as Reclining Figure)David Sylvester, (ed.), Henry Moore: Complete Sculpture, 1921-1948, Lund Humphries, London, 1988, Volume 1, p.11, cat.no.184 (monumental stone version illustrated, pp.112-113, no. 191)It is alleged that James Bolivar Manson, director of the Tate Gallery between 1930 and 1938, once said 'Over my dead body will Henry Moore ever enter the Tate'. Yet just one year following his retirement, the Tate (under the directorship of John Rothenstein) gladly accepted Moore's large green Hornton stone carving Recumbent Figure of 1938. Of all Moore's work perhaps, this carving (for which the present work is a maquette) came to symbolise not just Moore's output but to act as shorthand for modernity in 20th Century Britain.Recumbent Figure was commissioned by the architect Serge Chermayeff, who was building himself a modernist home on the Sussex Downs. The carving was to be positioned at the intersection of Chermayeff's terrace and garden, the connection point between his contemporary architecture and the ancient rolling countryside beyond. Moore recalled 'My figure looked out across the great sweep of the Downs and her gaze gathered the horizon. The sculpture had no specific relationship to the architecture. It had its own identity and did not need to be on Chermayeff's terrace, but it so to speak enjoyed being there, and I think introduced a humanising element; it became a mediator between modern house and ageless land' (Henry Moore in Sculpture in the Open Air, British Council film, 1955, transcript reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.258–9).Chermayeff ran into financial woes, and Recumbent Figure was returned to the artist, from whom it was purchased by the Tate in 1939. The carving was immediately shipped to New York to be showcased at the British Pavilion of that year's World's Fair, and due to the outbreak of war this intended brief excursion turned into a several-year-long stay. The work was displayed at MOMA and this unplanned circumstance greatly bolstered Moore's reputation in North America. The museum's director wrote in 1946 'It was with great regret that we saw it leave. It had won wide esteem among the museum visitors.' (John James Sweeny, letter to John Rothenstein, 7 March 1946, Tate Public Records TG 4/9/568/1).Following Recumbent Figure's return to the UK, the carving was featured in Battersea Park's first open-air exhibition, where again it drew much attention. Vogue magazine featured the work across its pages alongside sharply dressed models, appropriating Moore's carving as a symbol of the newness so appreciated by its fashion forward readership. In contrast, cartoonists satirised the figure, and in this context the carving's status as a modern icon was subverted to poke fun at politics of the day. Through such broad exposure the carving soon became one of the most famous modern works within the Tate's collection, a status confirmed when its image was included prominently as part of the tiling display at Pimlico station.At the time Moore carved the four-and-a-half-foot Recumbent Figure it was his largest and most ambitious work to date and only made possible by his recent move from Hampstead in London to Burcroft in Kent. The larger studio-space, ability to work outdoors and the hiring of Bernard Meadows as an assistant enabled Moore to increase the scale of his work substantially. To aid this new practice Moore produced a maquette for Recumbent Figure in clay. This is the first time in his career that he adopted a method of scaling up, which would become a mainstay of his sculptural practice thereafter. Meadows recalled that he and Moore attempted, unsuccessfully at first, to cast the clay maquette to lead in a meadow field at Burcroft. Moore subsequently cast the clay to a bronze edition in 1945, to which the present cast belongs.Not only does Recumbent Figure represent one of Moore's earliest maquettes, most importantly it possesses one of the earliest instances of piercing the form, a major development of a highly important device the artist would frequently draw upon throughout his career. Speaking of this progression at the time, Moore stated that 'The first hole made through a piece of stone is a revelation. The hole connects one side to another, making it immediately more three-dimensional. A hole can have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form' (Henry Moore, 'A Sculptor Speaks', Listener, 18 August 1937, pp.338–40).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 26
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure No. 6 bronze with a brown patina on a stone base22 cm. (8 5/8 in.) long (excluding the base)Conceived in 1954 and cast in bronze in 1956, in an edition of 12 plus 1 artist's proofFootnotes:ProvenanceWith Marlborough Fine Art, London, circa late 1950s, where acquired byPrivate Collection, U.S.A.Private Collection, U.K.LiteratureIonel Jianou, Henry Moore, Arted, Paris, 1968, p.79, cat.no.346Robert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, n.p., cat.no.487 (ill.b&w, another cast)Alan Bowness (ed.), Henry Moore Volume 2: Complete Sculpture 1949-54, Lund Humphries, London, 1986, p.45, cat.no.337 (ill.b&w, another cast)John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, p.216, cat.no.308 (col.ill., another cast)Reclining Figure No.6 represents the culmination of a focused examination by Moore of one of his most fundamental themes, the reclining figure. This examination is displayed across a concise group of maquette-scaled figures, numbered 1 to 6 and executed between 1952 and 1954. Moore utilises a variety of treatments across this small group, and together they display the vast breadth of Moore's concern with this motif.Some of the group nod towards classicism, rendered naturalistically and clothed in drapery with precisely described details such as hands, faces and hair. Others recall primitive and ancient carving, with symbolist features that draw upon the Mayan chacmools which had many years prior first ignited Moore's fascination with the reclining form. Some, including Reclining Figure No.6, are abstracted to a greater degree. Their figural forms appear to have been mined from within the sculptor's material itself and are most attuned to Moore's concern with landscape. The legs and arms are denoted by piercings and negative space, hips, and shoulders by refined planes of mass. Their bodies are composed of great peaks and valleys, they are diminutive in scale, but substantial in presence.It was this specific form, Reclining Figure No.6, which Moore deemed so successful that he scaled it up to an eight-and-a-half foot elmwood carving, Reclining Figure of 1959-64 (now in the collection of The Henry Moore Foundation). Over his career Moore carved just six great reclining figure elmwood carvings, the first in 1935, the last in 1978. They are generally considered some of his finest work, in which the artist's control of the wood's broad grain to articulate the undulations of flesh is perhaps the strongest demonstration of his credence of truth to material. Five of the six Elmwood carvings, including the one relating to the present work, are in international museum collections.Interestingly, the maquette for Reclining Figure No.6 (now in the collection of The Henry Moore Foundation) was formed from a skeleton of plaster, over which the artist applied a surface layer of wax. This was an experimental use of materials for Moore, but highly successful. The sturdiness of the plaster allowed for a dynamic architectural form, awarding the figure a powerful rhythmic presence, yet the pliable wax layer affords a finer degree of refinement resulting in a highly nuanced surface.It should be noted that Moore's preoccupation with the present form began with the maquette in 1952-3 and peaked with completion of the elmwood carving in 1964. This period straddles one of Moore's greatest commissions, the monumental 16-foot UNESCO figure of 1956-8 carved in travertine marble. The two compositions share several features such as the enlarged and planed shins, which counterbalance the visual weight of the upright torso, and the alert, raised head which sits above a series of ovoid holes formed by poised limbs.Other casts from this edition are in the collections of the Montréal Museum of Fine Arts, The Henry Moore Foundation and the Milwaukee Art Museum.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 62
Dame Barbara Hepworth (British, 1903-1975)Wave Forms (Atlantic) signed and dated 'Barbara Hepworth 1964' (lower right); further signed, titled and dated again 'Barbara Hepworth/Wave Forms (Atlantic) 1964' (verso)oil and pencil on board76.2 x 101.4 cm. (30 x 39 7/8 in.)Footnotes:ProvenanceWith Gimpel Fils, LondonDr Pierre TurquetWith Marlborough Gallery, LondonSale; Christie's, London, 10 November 1989, lot 379With Marlborough Fine Art, London, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Gimpel Fils, Barbara Hepworth: Sculpture and Drawings, June 1964, cat.no.49London, Marlborough Fine Art, Summer Exhibition, 1965, cat.no.25London, Tate Gallery, Barbara Hepworth, 3 April-19 May 1968, cat.no.218LiteratureAlan Bowness, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay, London, 1966, cat.no.69 (col.ill.)Mervyn Levy, Drawing and Sculpture, Studio International, Volume 171, Number 873, January 1966, Cory, Adams & Mackay Limited, p.28 (ill.b&w)Abraham Marie Hammacher, Barbara Hepworth, Thames & Hudson, London, 1968, p.146, pl.123 (ill.)This painting is recorded as D484 in the catalogue compiled by Hepworth.Wave Forms (Atlantic) was created at a time when Hepworth was at the peak of her career. In 1964, her most important and famous commission was unveiled at the United Nations Secretariat in New York, the monumental sculpture Single Form. The following year, she was to be made a Dame Commander of the British Empire and also appointed a Trustee of the Tate Gallery, while exhibitions both at home and abroad further celebrated her work, with shows in London and New York, the Netherlands and Scandinavia. The Cornish landscape continued to be an evergreen source of inspiration for her, the light, stone and sea informing so much of her work. Since first moving down to Cornwall in 1939 with Ben Nicholson and their triplets, and after several moves within Carbis Bay, in 1949 Hepworth bought Trewyn Studio in St Ives, where she lived from December 1950 until her death in 1975. Many of the paintings and drawings from 1960 onwards were made in Hepworth's Barnaloft studio flat, which had a view of Porthmeor Beach and the Atlantic Ocean. In Wave Forms (Atlantic), one feels the intimate relationship between artist and the elements and the close proximity of the two to one another. As a viewer, we are immersed in the composition which is dominated by the deep blue water as it churns and moves turbulently through the pictorial space, generating through its energy and power the frothy whiteness of the breaking surf. The force with which the water is crashing and our proximity to it is conveyed through the thicker spots of white pigment that occupy the area towards the top of the painting, indicative of spray. Further complex colour tones have been used to describe the scene and Hepworth herself wrote particularly poetically of how, 'the sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues' and how 'the incoming and receding tides made strange and wonderful calligraphy on the pale granite sand which sparkled with feldspar and mica' (Barbara Hepworth, Drawings From A Sculptor's Landscape, London, Cory Adams & Mackay, 1966, p.12). The medium of oil and pencil is one which Hepworth favoured and the contrast of strong, definite graphite over washes of colour something which she particularly enjoyed. In Wave Forms (Atlantic), we see the curving lines and shapes echoing and complimenting the rhythm of the sea. In this case the pencil has been rather subtly applied with the oil predominating but leaving a strong sense nonetheless of a sculptural impression on the surface. Hepworth has further worked into the surface of the board, largely apparent on the right-hand side of the composition, by scraping back to reveal the whiteness of the primed surface underneath, in turn echoing the light and rough, rocky surfaces of the coast. Drawings were for Hepworth a means of capturing new ideas for sculpture and, as she stated in Drawings from a Sculptor's Landscape in 1966, it was a life-affirming act. Hepworth wrote that, 'Whenever I am embraced by land and seascape, I draw ideas for new sculpture: new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize' (Ibid., p.11). Hepworth's important and large curved sculpture Sea Form (Atlantic) was conceived in 1964, the same year as the present work, with casts housed in the Dallas Museum of Art and the City of Norwich Museum.We are grateful to Dr Sophie Bowness for her kind assistance with the cataloguing apparatus for the present work.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 65
John Tunnard A.R.A. (British, 1900-1971)Projection signed and dated 'John Tunnard/42' (lower left)oil and pencil on board47 x 67.2 cm. (18 1/2 x 26 7/16 in.)Footnotes:ProvenanceGuy DixonWith Leicester Galleries, London, March 1957, where acquired by Michael StewartMark James, thence by descent to the present ownersPrivate Collection, U.K.ExhibitedLondon, Council for the Encouragement of Music and The Arts (details untraced)London, Leicester Galleries, The Guy Dixon Collection of Modern Pictures, March 1957, cat.no.28Tunnard's supreme achievement was his development of a totally unique style, and the present lot is a wonderful example of this. Tunnard took much of his inspiration from the natural world but created a surreal vernacular which was all his own. The atmospheric background of the present work seems to suggest and draw on a number of elements, but ultimately creates an enigmatic space which seems tied to no particular time or place, allowing the central form to float in an otherworldly continuum which has no beginning or end. The varied textures and colours of the background suggest a myriad of natural sources, such as the rough surface of stone or the pitted and shadowed furrows of a lunar landscape, and indeed photos of the moon's surface were found among Tunnard's personal effects in his studio. A pink glow suggests dawn, and streaks of darker blue and white bring to mind the striations of clouds in the sky. As Herbert Read was to comment on Tunnard's work: 'the final effect is that of a dream-landscape, but 'land' must imply more than earth, and more than land and sea. The 'scape' is the limits of imaginative vision'. (Herbert Read, 'The World of John Tunnard', in John Tunnard 1900-1971, exh.cat., Arts Council, 1977, p.54). On this otherworldly landscape is imposed a complex structure which, in highly contrasting black and white, dominates the space. Its forms take their origin from the natural world – they seem to suggest the smooth shapes of bones, or the spikes of jagged leaves – but Tunnard has transposed this into a construction which resists analysis. Arranged into what feels loosely like the outlines of a room, these linear forms hang in space and are duplicated in almost mirror-like format, receding with each new structure, drawing the viewer's eye further and further back into the depths of the composition. Carefully demarcated rectangular shapes hover between these almost-rooms, giving the suggestion of doorways or portals which might give access to these spaces. Always enigmatic, and resisting singular interpretation, Projection is a striking example of the best of Tunnard's mature style.We are grateful to Professor Brian Whitton for his assistance in cataloguing this lot.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 105
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzi di un antico Sepolcro, oggi detto la Conocchia, che si vede poco...".Etching engraving illuminated by hand.Size: 72 x 48 cm (print); 73 x 49 cm (paper); 102 x 79 cm (frame).Avanzi di un antico Sepolcro, oggi detto la Conocchia, che si vede poco lungi dalla Porta di Capua per andar a Napoli. Questo Sepolcro non si sà quant Famiglia abbia poputo appartenere; stante che gli e stata levata la sua antica Iscrizione.Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 93
Italian school; 17th century."Penitent Magdalene".Oil on alabaster.It has repainting.The stone has been consolidated.Measurements: 21 x 31 x 1,5 cm.Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she lodged and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences, like the one shown here. Alone, Mary Magdalene is usually depicted as she is here, doing penance in the desert, repentant for her past sins. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
Lot 16
Marcus Stone, RA (British, 1840-1921)'Sain et Sauf' (Safe and Sound) signed and dated 'MARCUS STONE/1875' (lower left)oil on panel26.3 x 39.4cm (10 3/8 x 15 1/2in).Footnotes:Marcus Stone was an historical genre painter and illustrator. A great friend of Dickens, he illustrated Our Mutual Friend and Great Expectations for the author in the 1860s. The present work is a meticulously scaled down version of his 1875 Royal Academy exhibit Sain et Sauf, later sold at Christie's New York on 19 April 2005, lot 71 for $160,000.The scene depicts the joyful moment when a French soldier returns home from battle to his beloved wife who is in bed after the birth of their child; hence both husband, wife and newborn are 'safe and sound'. Whilst he embraces his wife, his daughter points at her new sibling and the dog tries to get closer to his master. A copy of La Patrie lies on the bed symbolising the wife's patriotism and also indicating on a more human level her fruitless search for news of her husband. Although no specific battle or date is referred to this is most likely Stone's comment on the Franco-Prussian War of 1870. Many French artists such as James-Jacques-Joseph Tissot had fled the Paris Commune of 1871 and during the 1870s London had many French refugees to whom this picture would have appealed.When the painting was exhibited at the Royal Academy in 1875, it was well received and the critic for the Art Journal noted, '...There is wonderful life and vigour too, in Marcus Stone's Sain et Sauf (130), which is the name he gives to a young soldier's return to his wife and child.' (Art Journal, 1875, p. 217.)Alfred Lys Baldry, in Marcus Stone, His Life and Work wrote '...He touched, however, a lighter note next year in 'Sain et Sauf', using, instead of sorrowful regret, the joy of a moment of meeting between a husband and wife who had scarcely hoped to see one another again. The setting for his idea was found abroad, for it was the interior of a modern French cottage that he depicted, with a soldier returning safe and sound from the wars to take up again his home-life in the bosom of his family. The story had no lack of dramatic meaning, and vividness with which it was told was not a little helped by the complete manner in which every detail and every accessory of the mise-en-scene were studied and set down, and by the care with which subordinate interests were connected with the main plot.' (A. L. Baldry, 'The Life and Work of Marcus Stone, R.A.', The Art Annual, 1896, p. 20.)For further information on this lot please visit Bonhams.com
Lot 216
Speed (John) Cornwall, county map with inset view of Launceston, vignettes with stone monuments, armorial cartouche, ships and sea monsters, with coats-of-arms below, engraved map by Jodocus Hondius with hand-colouring, 410 x 535 mm (16 1/4 x 21 in), English text verso with thin paper support, central vertical fold with some repairs to splitting, repaired tear running through title and view of Launceston, small marginal loss to the lower right and lower centre, Bassett & Chiswell, [circa 1676].
Lot 231
Two diamond solitaire rings, a diamond solitaire ring, the brilliant cut stone claw set in a yellow and white metal mount ring size N, shank marked 18ct Plat, two 8 cut diamonds in each shoulder, major diamond 3.6mm diameter; a slightly illusion set solitaire ring, the old brilliant cut stone in a yellow and white metal mount ring size M, shank marked 18ct Plat, diamond 4mm diameter, total gross weight of lot 3.4g. Pearce & Sons of Leicester vintage ring box included.Qty: 2
Lot 232
Two diamond rings, a diamond solitaire ring, the old brilliant cut stone claw set in a rose metal crossover mount ring size L1/2, shank marked 18ct, gross weight 2.3g; and a three stone diamond ring, the three old brilliant cut stones bezel set in a white and yellow metal mount ring size I1/2, shank marked 18ct 750 Plat, gross weight 1.7g.Qty: 2
Lot 237
Two sapphire and diamond half hoop rings, a sapphire and diamond five stone ring, the two round brilliant cut diamonds and three round brilliant cut sapphires claw set in a yellow metal mount ring size O, shank marked 585, gross weight 3.7g; and another, the two round brilliant cut diamonds and three square step cut sapphires claw set in a white metal mount ring size P1/2, shank marked 18K with indistinct Chinese hallmark, gross weight 3.2g.Qty: 2
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