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Lot 142
A diamond and platinum three-stone ring, the central round old-cut stone approx 1.95 carats, flanked by two further diamonds approx 0.55ct each, total carat weight approx 3 carats, assessed colour approx H/I/J/K, assessed clarity approx SI1/SI2 , claw set mount with heart decoration, size N1/2, gross weight approx 4.5gmsFurther details: good all stones intact, slight abrasions to girdle, thinning shank wear commensurate with age CONDITION:8.09 x 8.09 x 4.96 = 1.955.62 x 5.63 x 3.15 = 0.555.67 x 5.65 x 3.01 = 0.55
Lot 145
A ruby and diamond platinum set three stone ring, the oval ruby approx 5 x 6mm (abraded) with a single old cut diamond set either side, each approx 0.65ct, assessed clarity, assessed colour SI1, G/H, size H1/2, total gross weight approx 3gms Further details: all stones present abrasions to ruby very worn, slight nibbles to diamond girdles, scratches wear and tear commensurate with age
Lot 151
A collection of Scandinavian Modernist silver clip on earrings to include a pair of large floral earrings with gold centres, diameter approx 25mm, by Neils Erik From Denmark, a pair of leaf earrings by Rasmussen & Lassen, a pair of silver gilt green stone and pearl set, marked Sterling De ROSA, along with various other pairs including fan shaped, leaf and rose bud, a heart pair marked A.G and a circular floral pair and similar elongated brooch by John Lauritzen DenmarkFurther details: good- some scratches, tarnish and marks wear and tear commensurate with age
Lot 157
Cartier- a ladies silver gilt Must de Cartier Tank wristwatch, comprising rectangular gold tone dial, with numeral hour markers, blue steel hour and minute hands, case approx 20 x 27mm, case back numbered 78352 3 66001, synthetic stone set crown, quartz movement, to a non branded later blue strap and buckle Further details: good- some scratches and marks tarnish commensurate with age, movement untested new battery required
Lot 281
Florence Nightingale and the Wounded at Scutari, after Theodore Phyffers, carved stone statueThis is after the original group which was exhibited by Phyffers at the 1857 RA, commissioned by Mrs Bracebridge,a friend and fellow worker of Florence Nightingale in the Crimea. Engraved in the 1858 Art Journal, it was described as "A group representing Miss Nightingale supporting a wounded Crimea soldier in the Scutari hospital". The entry was also accompanied by a quotation from Longfellow's Santa Filomena. Phyffers Theodore (fl.1840-1872) was a Belgian, who studied under Charles Geerts, initially came to London at the invitation of Sir Charles Barry to carry out wood carvings for the House of Commons. Specialising in ecclesiastical sculptures, examples of his work are to be seen in the cathedrals of Canterbury, Carlisle and Salisbury. See Copeland (Robert) Parian, Copeland's Statuary Porcelain, Antique Collectors Club, p.91.
Lot 33
A George V silver and enamel mounted scent bottle, the cover set with cabochon amethyst above white pearl basket weave enamel decoration (crack to the stone), plain silver collar and cover, the silver hallmarked by L&S., Birmingham, 1911 together with a collection of five further scent bottles to include: a facet cut cranberry glass large scent bottles with white metal mount, apparently unmarked; a cobalt blue facet scent bottle with silver mount; amethyst glass bottle, silver mount; hob nail glass bottle, silver mount and a painted glass bottle, plated mount - various dates and makers (6)
Lot 125
A single row cultured pearl and amethyst 18ct gold necklace, pearls measuring aprox 6.8mm, strung knotted to a 9ct gold amethyst and pearl set cluster clasp, length approx 18'', total gross weight approx 27.4gms Further details: Good clasp in working order pearls and stone good, some wear to the clasp edge with pearls having spaces, wear commensurate with age
Lot 3
Original Alexander Kalifano polished gemstone globe, produced circa 1996, some countries set with gemstones of origin. The ocean is made of syntehtic marine blue opalite stone. The frame of the globe is brass, whilst the lines of longitude and latitude on the globe surface are 24k gold-plate, signed K for Kalifano. Measures approx. h 36cms x w 31cms.
Lot 32
ANISH KAPOOR (B. 1954)Red Void 1993 fibreglass and pigment99 by 99 by 91.8 cm. 39 by 39 by 36 1/8 in. This work was executed in 1993. Footnotes:ProvenanceMcClain Gallery, HoustonPrivate Collection, Turkey Acquired directly from the above by the present ownerAnish Kapoor is arguably one of the most influential sculptors of his generation. Perhaps most renowned for his large-scale public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series working with diverse materials including pigment, mirrors, stone, wax, and PVC, exploring both biomorphic and geometric forms with a particular interest in the infinities and possibilities of space. Immersing the viewer in its deep vortex of beguiling, jewelled red, Red Void is a majestic example from the series of wall pigment and fibreglass works that Kapoor began in 1989. Fascinated by primary colour in its raw state, Kapoor first put these pigments to use in the collective work 1000 Names (1979-1985), where he applied liberal swathes of colour to fantastical geometric formations and allowed the granules to accumulate on the floor around the base of the sculptures. In the late 1980s, Kapoor began to apply these pigments to his sculptural voids, initially positioning them on the floor before suspending them upon the wall. Kapoor's wall works of the 1980s and 1990s are considered intimate precursors to his monumental public installations that have brought him worldwide acclaim.With its curved, sensuous form seeming to disappear into infinity, Red Void instils an overpowering, mystical sense of vertigo within the viewer as it projects out into the room. From a side angle, shadow can trick the eye into picturing a convex form, whereas approached straight-on, the bowl envelops the viewer's field of vision. The manipulation of space has been one of Kapoor's primary concerns throughout his career to date, and the artist has sought to investigate the non-material possibilities of emptiness and the potential of the 'void' through his diverse body of work. By cupping the space, it treats the space as an object itself. On space, the artist has remarked: 'You can see it with your eyes. Then you can't see it. Yet you know it. You know it with your body. Your imagination senses it. It's not like air' (the artist in conversation with Donna de Salvo, in Anish Kapoor, London and New York 2009, p. 404). Gazing into the dark, sensual and immaterial voids of these sculptures, infuses the viewer with a direct experience of the void solely through the sensual medium of pure colour. Kapoor's aim with this series of works, is to awaken in the viewer an awareness of immateriality through their own inner experience. In this sense these works are like existential gateways, strange meeting points between the immaterial and material worlds, between the viewer's innate sense of self and of infinity and nothingness. The large cavity in Red Void opens up a view into an un-defined space characterised only by the deep red of the dry pigment; and here one could even believe that the infinite void of the cavity is contained on the other side of the finite space of the wall. Born in Bombay in 1954, to an Iraqi-Jewish mother and a Hindu father, Kapoor has always drawn on the spiritual and mythological heritage of his upbringing. After a brief spell in Israel, he moved to London in 1973 and studied at Hornsey College of Art and the Chelsea School of Art. He first gained critical recognition in the 1980s for his biomorphic sculptures and installations made with materials as varied as, stone, aluminium, and resin, that appeared to challenge gravity, depth, and perception. In 1990 he represented Britain at the 44th Venice Biennale with Void Field, 1989, a grid of rough sandstone blocks each with an enigmatic black hole penetrating its top surface and was subsequently awarded the Premio Duemila for Best Young Artist. A year later in 1991 he was honoured with the Turner Prize. Kapoor's body of art has served and continues to conjure a powerful sense of mysticism. Through his use of illusion, the dizzying power of the sublime and the seductive force of colour, sculptures like Red Void are persuasive in their mythologising of the world, investing it with Romantic mystery and meaning. This present work embarks on a revolutionary path in which the autonomy of pure colour and the exploration of infinite space and the void are celebrated. Today Kapoor's works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., Fondazione Prada in Milan, and the Tate Gallery in London, among others.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 119
Decorative element. Gothic, 14th century.Stone carving.Measurements: 35 x 37 x 16 cm.Carved stone forming organic growths typical of the architectural decoration of the Gothic period, in the manner of intertwined, synthesised climbing plants, surrounding a ribbed section or shaft. It could have come from the cloister of a monastery, but also from a noble room in an important residence.
Lot 18
Gothic fleuron, 14th century.In stone.Measurements: 44 x 40 x 40 cm.On a circular base, this attractive Gothic fleuron has been carved forming four big corollas of fleshy petals arranged around a central tulip. The latter is the one that directed its body towards the floor of the room from the vault on which it rested. The quality of the carving and the type of sculptural design are characteristic of the Gothic period, the period in which this architectural element acquired the greatest prominence. Having appeared at the end of the Romanesque period, or at the beginning of the Gothic period, in the 13th and 14th centuries they were fully developed, forming flowery bodies and foliage radii. In the Renaissance period, they were replaced by prismatic stems.
Lot 27
Cross and pedestal; 16th and 18th centuries.Stone carving.Pedestal adapted to the carving of the cross.Measurements: 94 x 45 x 31 cm.The cross is supported on a stone base which, due to its structure, seems to be the base of a column. In fact, the base of the original column can be seen in the upper part. As for the design of the base, it is adorned with figurative reliefs. On the front, the carving shows a knight mounted on his horse, which has a cabriole posture, thus adding great dynamism to the design of the carving. As for the representation of the knight, it is worth noting that during the Renaissance these medieval figures were revived, giving them great prestige that crystallised in Machiavelli's Prince. The rear part of the base also has ornamentation, in this case a crescent and star sticks carved in a schematic manner. The Renaissance cross above the base has a more polished technical finish, with smoother and more refined lines. The piece also has carvings on both sides, the most important of which is the one depicting the crucifixion of Christ. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most evident iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although his genitals are covered with a cloth of purity (perizonium). The finish of the carving presents us with a figure of Jesus with strong anatomical forms, with marked ribs and the tension reflected in the joints of the arms. The rear area has a religious image of a religious man wearing a cap and holding a bunch of wheat in one of his hands, so it is probably a representation of Saint John of Cologne.
Lot 62
Romanesque baptismal font, 11th-12th century.Stone.Measurements: 22 x 50 x 50 cm.Baptismal font in carved stone with crosses inscribed in circles and vertical incisions alternating around the cup. It has different types of crosses on its belly, one of which is similar to those used in Anglican churches, with its four equal arms, widening outwards and ending in the shape of a hammer, forming a circle. The baptismal font often consisted of a basin, shaft and foot, but sometimes, as in the present case, it was limited to a hemispherical bowl with the belly carved with religious motifs. Medieval historians agree that there were workshops in the Romanesque period that specialised in making baptismal fonts. Depending on the importance of the temple for which they were intended, the work was more or less elaborate. The baptismal font is carved from a large single block of stone. The type of stone material is usually sandstone or limestone. The shape of the baptismal font contains numerous Christian symbolisms related to the sacrament it serves: Baptism.
Lot 76
Pantocrator; France, 15th century.Stone.One of the hands is missing.Measurements: 70 x 42 x 23 cm.Delicate stone carving representing the image of Christ as Salvator Mundi. The artist represents the long bust of a bearded Jesus crowned as the prince of Christianity. The figure is inscribed in a radiated mandorla, representing the rays of glory that emerge from Christ's body, thus evidencing his holiness. As for the gesture of Jesus, it is evident to mention that the lack of the hand probably shows the gesture of blessing, while with the other one we can see how he holds the orb that represents his dominion over humanity. As for the carving, the finesse in the finishes typical of the French school is evident, in addition to the folds of the tunic, the detail of the ornamental collar, the crown and the work of the trepano of the beard, show us the mastery of the sculptor. The back of the piece has a smooth finish, which indicates that it is a decorative sculptural element that was probably part of a large architectural complex.The representation of 'Salvator Mundi' is an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge at the Last Judgement and his character as Redeemer. It is characterised by Christ raising his right hand in blessing, while holding with his left hand an orb symbolising the universe, crowned by a cross, emphasising the universal nature of Christian doctrine and Christ's redemptive act. As we can see here, the most common in this iconography is for Christ to appear half-length in a strictly frontal position, reflecting the traditional hieratic nature of this theme of Byzantine heritage.
Lot 334
Anonymous, Denarius, 206-195, head of Roma right wearing winged helmet, rev. Dioscuri right, rudder below, 3.80g (Craw. 117A/1; BMCRR 446; RSC 20y); Anonymous, Denarius, c. 143, similar, rev. Diana in biga of stags right, crescent below, 3.85g (Craw. 222/1; BMCRR 895-8; RSC 101); M. Vargunteius, Denarius, c. 130, head of Roma right wearing winged helmet, rev. Jupiter driving slow quadriga right, 3.59g (Craw. 257/1: BMCRR 1068-70; RSC Vargunteia 1); L. Cassius Longinus, Denarius, c. 78, head of Liber or Bacchus right, thyrsus over shoulder, rev. head of Libera left, 3.48g (Craw. 386/1; BMCRR 3152-3; RSC Cassia 6; RCV 317); M. Nonius Sufenas, Denarius, c. 59, bearded head of Saturn right, harpa and conical stone behind, rev. Roma seated left on arms, crowned by Victory standing behind, 2.55g (Craw. 421/1; BMCRR 3820-2; RSC Nonia 1) [5]. Some surface and edge marks, good fine and better £90-£120
Lot 12
Louis Duchene & Fils. Belle montre de gousset à cadran ouvert en or jaune 18K (750) sertie de pierres remontoir à clefLouis Duchene & Fils. A fine 18K gold and hard stone set key wind open face pocket watch Date: Circa 1820Movement: Gilt full plate fusee verge, pierced and engraved balance bridge, silver regulation, No.18779Dial: Guilloché engraved with three colour gold foliate centre, black Roman numerals to brushed surround, black outer minute divisions, winding aperture at 2, blued steel handsCase: Consular form with applied granulation decoration, white and pink hard stone decoration to reverse, No.1577Signed: Dial & movementSize: 44mm Weight: 57,80gFootnotes:The current example has been decorated in the technique of granulation. Granulation is where tiny spheres of metal are created and then fused to the watch case. This technique is thousands of years old and requires extreme skill and dexterity. Louis Duchene & Fils are recorded as working from the late 18th century to circa 1820.For further information on this lot please visit Bonhams.com
Lot 13
Frères Bordier à Genève. Belle montre de gousset à cadran ouvert en or jaune 18K (750) avec décor en pierres et émail remontoir à clefFrères Bordier à Genève. A fine 18K gold key wind open face pocket watch with enamel and hard stone decoration Date: Circa 1830Movement: Gilt full plate fusee verge, pierced and engraved balance bridge, silver regulationDial: Guilloché engraved gilt, black Roman numerals to brushed surround, winding aperture at 1, gilt handsCase: Consular form with applied granulation decoration, enamel panel to reverse depicting a classical maiden with flowers surrounded by red hard stone set decoration, No.6691Signed: MovementSize: 44mm Weight: 48,60gFootnotes:The current example has been decorated in the technique of granulation. Granulation is where tiny spheres of metal are created and then fused to the watch case. This technique is thousands of years old and requires extreme skill and dexterity. The case of this watch is further adorned by a portrait of a classical maiden with flowers.For further information on this lot please visit Bonhams.com
Lot 14
Fs. Esquivillon & Dechoudens. Belle montre de gousset à clapet en or jaune 18K (750) sertie de perles et décor en émail remontoir à clefFs. Esquivillon & Dechoudens. A fine 18K gold key wind full hunter pocket watch with seed pearl and enamel decoration Date: Circa 1830Movement: Gilt full plate fusee verge, pierced and engraved balance bridge, No.83557Dial: White, black Arabic numerals, black outer minute divisions, winding aperture between 1 and 2, blued steel handsCase: Hinged consular, peach coloured enamel decoration to front and back depicting a rose and a butterfly, both sides with seed pearl set wreaths, both with outer opalescent and pink stone bezels, No.88Signed: MovementSize: 31mm Weight: 24,50gFootnotes:Fs. Esquivillon & Dechoudens are recorded as working from C.1775 to c.1830.For further information on this lot please visit Bonhams.com
Lot 29
Exceptionelle, rare et belle montre de gousset automate à cadran ouvert en or jaune 18K (750) avec décor en émail, perles et diamants remontoir à clefAn exceptional, fine and rare 18K gold key wind open face automaton pocket watch with enamel, seed pearl and diamond decoration Date: Circa 1870Movement: Gilt full plate fusee verge, 3-arm brass balanceDial: White, black Roman numerals, black outer minute track, winding aperture at 8, gilt handsCase: Seed pearl set polychrome enamel scene to back depicting a winged putti with an arrow and laurel wreath and a second putti with an injured foot either side of an ornate urn, concealed automaton scene to cuvette with automaton couple moving on a seesaw with the male reaching stone set hanging fruit, in the foreground a finely engraved dog and two sheep rest, in the background an enamel pastoral scene beside a watermill with stone set automaton sails, winding aperture near the fruit treeSize: 56mm Weight: 131,00gFootnotes:The SeesawThe popularity of the automaton watch during the late 18th and early 19th century coincided with the transformation of the watch from mechanical jewel into precision timekeeper. The watchmaker demanded ever more complex motion from the interaction of wheels and pinions and combined with ever more detailed enamelling and gold work, the automaton watch was born. Produced in very limited numbers, automatons are incredible pieces of art that stand as testament to the exceptional skills of the period. Watches featuring a seesaw automata are amongst the rarest of all automaton watches. Other known examples have depicted the balance between Psyche and Cupid or even two figures balanced with cupids bow acting as the seesaw. The current lot features a seesaw portrayal we have not come across in our research of a male and female with the male reaching up towards some overhanging fruit. As his hand reaches the fruit, the branch shakes as if he really has just pulled an apple from the tree. The sense of luxury is further elevated by each piece of fruit represented with a tiny pink gem. The scene is completed with two sheep resting under the watchful protection of a dog in the foreground whilst further shepherds tend to their animals beside a waterfall and automaton windmill in the background. This is such a charming and playful automata that even today it brings entertainment. Although not signed, this automaton timepiece is certainly in the style of celebrated makers such as Isaac Daniel Piguet, Henry Capt, Philippe Samuel Meylan or Pierre Morand. It is not unusual for such complicated automatons to be not signed and Henry Capt in particular left most of his work unsigned with a limited number of pieces bearing his scratched name on the movements.For further information on this lot please visit Bonhams.com
Lot 110
A Modern Single Stone Diamond Ring, the brilliant cut stone four claw set high between plain shoulders and two further brilliant cut stones, stamped "14K" "1.08" (finger size M). *BSS Diamonds Incorporating B. Scott-Spencer (Blackpool) Insurance Valuation states assessed central diamond weight 1.08 carats, assessed diamond colour H - white, assessed diamond clarity SI, 14ct white gold, £5,640, dated 15th November 2010.
Lot 111
A Five Stone Diamond Ring, the brilliant cut stones claw set, stamped "750" "0.50" (finger size M). *BSS Diamonds Incorporating B. Scott-Spencer (Blackpool) Insurance Valuation states 0.50cts, assessed diamond colour "H" - white, assessed diamond clarity "SI/I", 18ct white gold, £1,750, dated 15th March 2011.
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