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Lot 1425
Tasse mit NeptunsmotivStone. Stempelmarke Stone, Coquerel et Legros d'Anisy, 1808-1849. Polychrome Malerei über Vordruck, Goldstaffage. H Tasse 6,5 cm, Ø ergänzte Untertasse 13 cm. Zylindertasse mit Ohrenhenkel. Schauseitig ein goldgerahmtes Medaillon mit der Darstellung des Gottes Neptun auf einem von Pferden gezogenen Wagen, innen vergoldet Partieller Goldabrieb.
Lot 10
Dame Barbara Hepworth (British, 1903-1975)Stringed Figure signed and dated 'Barbara Hepworth 1966' (lower right); further signed, titled and dated again 'Barbara Hepworth/Stringed Figure 1966' (verso)oil and pencil on board76.2 x 61 cm. (30 x 24 in.)Footnotes:ProvenanceWith Gimpel Fils Gallery, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedNew York, Marlborough-Gerson Gallery, Barbara Hepworth, April-May 1966, cat.no.39 (ill.)London, Gimpel Fils Gallery, Barbara Hepworth, May-July 1966LiteratureAlan Bowness, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay Ltd, London, 1966, cat.no.71 (ill.b&w)Stringed Figure 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. In 1965 she was 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. It was also however, a time of personal difficulty: she was diagnosed with cancer of the tongue in 1965 and underwent a lengthy and painful treatment for this. She wrote to Ben Nicholson in 1966: 'the last six months have been trying. The treatment (radium) for cancer seems to sap one's vitality & give one terrible fatigue. Even worse I could not eat anything & so got very weak. But I am pulling up now & my surgeon is pleased with me. I have worked – meanwhile - & I think well' (Eleanor Clayton, Barbara Hepworth: Art and Life, Thames & Hudson, London, 2021, p.239). As this statement shows, Hepworth was not one to be deterred by these difficulties, and strove even harder to appreciate the world around her, reflecting that: 'through all these health troubles one learns to live each hour with gratitude & open eyes' (ibid., p. 239). Showing her undaunted spirit when later in June 1967 she broke her leg while climbing aboard a helicopter to visit the Isles of Scilly, she later recalled in 1969 that: 'even breaking my leg was a good thing because it made me extend my arms as far as I could' (ibid., p.239). Clearly, Hepworth was not one to allow her creative drive to be diminished.Stringed Figure was created, then, when Hepworth was battling even through personal health difficulties to continue her artistic practice. 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. Stringed Figure has a palette which directly references the landscape which she was surrounded by; the tawny light brown of wet sand, the white of pale sand or breaking surf, and the turquoise of the sea and sky, the visible strokes which make up these washes of colour reminiscent of the striations of cloud, the ripples of breaking waves and tide-marks left in the sand. These sweeps of Cornish sea and sand were something she was to write about particularly poetically: 'The incoming and receding tides made strange and wonderful calligraphy on the pale granite sand which sparkled with felspar and mica.' (Barbara Hepworth, Drawings From A Sculptor's Landscape, London, Cory Adams & Mackay, 1966, p.13). The circle in the top right is also a reference to the natural world, being either sun or moon, both of which featured prominently in her work of this time and relate also to the pierced form in her sculpture. Drawings were for Hepworth a means of capturing new ideas for sculpture, and also – as she was to write in Drawings From A Sculptor's Landscape in 1966, the very year this piece was made – it was a life-affirming act. The above book contained the memorable artistic statement A Sculptor's Landscape from Hepworth, in which she wrote: 'Whenever I am embraced by land and seascape I draw ideas for new sculptures: new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize. For me it is the same as the touch of a child in health, not in sickness. The feel of a loved person who is strong and fierce and not tired and bowed down. This is not an aesthetic doctrine, nor is it a mystical idea. It is essentially practical and passionate, and it is my whole life' (ibid., p.11). Her use of language at such a testing time is very insightful, and her desire to draw is thus the realisation of this vital spirit, which in her words is 'strong and fierce'. 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. Writing about her method, she noted: 'Abstract drawing has always been for me a particularly exciting adventure. First there is only one's mood; then the surface takes one's mood in colour and texture; then a line or curve which, made with a pencil on the hard surface of many coats of oil or gouaches, has a particular kind of 'bite' rather like on slate; then one is lost in a new world of a thousand possibilities' (ibid., p.19). The swing of curving lines is here contrasted with the twisting tension of the diagonal strings, suspended between two arcs. Hepworth has further worked into the surface of the board with light abrasions which show the white of the primed board beneath, echoing the rough rocky surfaces of the landscape. The present lot is a fine example of her very sculptural way of drawing, and how she used this technique to chart and configure three-dimensional space. Seen amid Hepworth's great achievements and writings around this time, Stringed Figure is a work by an artist at the height of her career but also one whose depth of feeling was as strong as ever. Able to look back at her achievements and write authoritatively on them as well as her creative ideals – thrown into sharp relief by her recent health difficulties – this work speaks of a freshness and vitality which was constantly renewed by the remarkable landscape around her, especially given that when inspiration struck her first desire was to put pencil and oil to board. As she wrote so evocatively in the year this piece was made: 'A sculptor's landscape is one of ever-changing space and light where forms reveal themselves in new aspects as the sun rises and sets, and the moon comes up. It is a primitive world; but a world of infinite and subtle meaning. Nothing we ever touch and feel, or see and love, is ever lost to us. From birth to old age it is retained like the warmth of rocks, the coolness of grass and the ever-flow of the sea.' (ibid., p.13). Stringed Figure captures this impassioned and timeless love for the elements perfectly.We are grateful to Jenna Lundin Aral and Sophie Bowness for their assistance in cataloguing the present 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 22
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure numbered '5/7' (on the top of the base); stamped with foundry mark 'C. VALSUANI CIRE PERDUE' (on the side of the base)bronze with a brown patina on a slate base15.2 cm. (6 in.) long (excluding the base)Conceived in 1945Footnotes:ProvenanceWith Thomas Gibson Fine Art, prior to 1997, where acquired byPrivate Collection, U.K.ExhibitedStockholm, Samlaren Gallery, Henry Moore: Skulptur, Teckningar, 1952 (another cast)Stockholm, Akademien, Henry Moore, 1952, cat.no.121 (another cast)LiteratureDavid Sylvester, Henry Moore: Volume 1, Complete Sculpture 1921-1948, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & London, 1988, p.15, cat.no.246During his long and distinguished career, the 'reclining figure' along with the 'mother and child' were the two subjects that obsessed Henry Moore more than any other. Recent information from the Henry Moore Foundation indicates there are 270 examples of the reclining figure and 140 of the mother and child, perhaps confirming the former as the most significant; certainly the most fundamental. By 1968, Moore admitted this was the case: 'From the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures' (John Hedgecoe, Henry Moore, London, Thomas Nelson, 1968, p.151). The origins of that first reclining figure (male and now destroyed) can be traced back to the Toltec-Mayan idol Chacmool. Impressed by a life-sized limestone carving from the eleventh or twelfth century found in Chichen Itza in Mexico, Moore came across a plaster cast of Chacmool on a visit to the Trocadero Museum in Paris in 1925. The curious reclining posture of the figure on its back, with knees drawn up and head twisted to the right fascinated Moore and it became 'undoubtedly the one sculpture which most influenced my early work' (Henry Moore Writings and Conversations, ed. Alan Wilkinson, London, Lund Humphries, 2002, p.98).The present work was conceived at the end of World War II in 1945 as a preparatory study for the 30 inch Hornton stone carving Reclining Figure (1947-49, LH 273, now in the collection of the Philadelphia Museum of Art). It was originally modelled in terracotta (whereabouts unknown) with an edition of seven cast in bronze. This was a particularly significant time as the end of conflict meant a renewed availability of metals and Moore was able to break free from the constraints of two dimensions and work more regularly in three. Reclining Figure is therefore one of the first sculptural examples of what the artist had absorbed through his graphic observations of the public sheltering from The Blitz in the London underground. The undulating profile of the sculpture draws on both the example of a body sheltering on the platform floor and the artist's early preoccupations with the naturalistic rendering of bones, rocks and mountainous landscape, as such she can be read as both abstract and human at the same time. Writing of the scaled up carving of the present form, John Russell comments 'After many Reclining Figures in which the central hole was the dominant compositional feature here is one in which, on the contrary, the central area is filled in. Such is the modelling of that area that two complementary movements are set up: one begins below the heart and swings up and away to the left, while the other begins at the bottom of the right thigh and swings up and away to the right. The relationship, here, between the thing seen and the thing imagined is one of the most moving in all Moore's work, in that the spreading and subtly modulated area between heart and knees is continuously alive in terms both of human anatomy and of the landscape-analogy, the sublimations of moorland and bluff, which Moore keeps going at the same time. This is not one of Moore's largest carvings – it is only thirty inches long – but it is one in which social duty is laid aside and the imagination runs free to glorious effect.' (John Russell, Henry Moore, The Penguin Press, London, 1968, p.177).Another example from this edition is in the collection of the Memorial Art Gallery, University of Rochester, U.S.A.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 221
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, UNCORRECTED PROOF COPY, with 'J.A. Rowling' on the title-page, publisher's plain white and yellow wrappers, a little light soiling and rubbing, vertical creasing near edge of spine where opened, 8vo, Bloomsbury, 1997; together with a COLOUR TRIAL DESIGN FOR THE COVERS (2)Footnotes:THE FIRST APPEARANCE IN PRINT OF HARRY POTTER - UNCORRECTED PROOF COPY WITH THE PROPOSED COVER DESIGN. Approximately 200 copies of this uncorrected proof were printed, with the spelling error 'J.A. Rowling' on the title-page and priced at £4.50. Included here is the trial cover, not always present, which varies from the eventual design used for publication.Provenance: Given to the current owner whilst working in a bookshop in 1997.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 222
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, FIRST EDITION, FIRST IMPRESSION, INSCRIBED BY THE AUTHOR 'To Jenny and Lucy, with best wishes, J.K. Rowling' and dated 6-9-97 on front free endpaper, publisher's imprint page with the number sequence from 10 to 1, and author cited as 'Joanne Rowling', p.53 with the duplication of '1 wand' on the equipment list, misspelling 'Philospher's' on lower cover, publisher's pictorial boards, spine ends slightly bumped [Errington A1(a)], 8vo, Bloomsbury, 1997Footnotes:An extremely good copy, inscribed within three months of the date of publication, 26 June 1997.Provenance: An acquaintance of Rowling, who asked the author to inscribe the copy to her young relatives Jenny and Lucy, the current owners.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 223
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, FIRST PAPERBACK EDITION, with the number sequence from 10 to 1 on verso of title-page, usual light paper toning, extreme fore-edge tips of opening leaves slightly turned/rubbed, publisher's pictorial wrappers (with misspelling 'Philospher' on lower wrapper), numerous small creases, a few surface abrasions, some slight flaking and loss at gutter margins, spine faded with corners and extremties of spine rubbed, and vertical crease along length, 8vo, Bloomsbury, [1997]Footnotes:The first paperback edition of the first Harry Potter title, issued on the same day as the first hardback edition.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 224
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, FIRST EDITION, third printing, WITH ROWLING'S SIGNATURE ON A BLOOMSBURY LABEL loosely inserted, verso of title-page with number line 10 down to 3, publisher's pictorial boards, dust-jacket, 8vo, Bloomsbury, [1998]Footnotes:An exceptionally fine copy of the third printing of The Philosopher's Stone, the first to be issued in a dust-jacket, with a Bloomsbury adhesive label signed by Rowling loosely inserted.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 33
A group of 6 fashion rings to include a silver and 4 pearl ring with white clear stone to the centre, an Art Deco white clear and blue stone octagonal shaped ring, stamped Sterling silver, a Modernist silver and opaline stone ring, an Edwardian style white clear stone ring and 3 others. Location:Cab2
Lot 9
A 9ct gold and amethyst cabochon ring with silver shoulders and mount, total weight 2.7g, UK ring size M, a pair of 9ct gold and pale blue stone earrings, total weight 1.1g, scrap yellow metal chain, a Ciro faux pearl necklace with 9ct gold clasp, a vintage amber and green stone necklace, a white metal dragonfly brooch with indistinct marks, an amethyst coloured cabochon, a white tone bar brooch with opaline cabochon, a sterling silver Scottish brooch in the form of a dagger and other items of jewellery Location: CAB
Lot 81
A modern 9ct gold graduated five stone diamond half hoop ring, in Edwardian style, set with modern round brilliant-cut diamonds, total diamond content approx 0.15ct, setting height 5mm, size N, 3.5gNo damage or repairs, all stones present, diamonds bright white and fiery, settings lightly abraded, hallmarks clear, stamped 375
Lot 244
An early 20th century 18ct gold nine stone opal and diamond half hoop ring, set with oval cabochon opals and old-cut diamonds, setting height 7mm, size N, 3gNo damage, all stones present, opals have a good play of colour, diamonds slightly included, settings slightly worn mainly on back of shank, mark clear, stamped 18
Lot 226
An 18ct white gold three stone diamond crossover ring, platinum-tops with illusion set modern round brilliant-cut diamonds, total diamond content approx 0.3ct, setting height 8mm, size O, 2.8gNo damage or repairs, all stones present, diamonds bright white and fiery, settings lightly abraded with personalised inscription inside shank, marks clear, engraved 18ct and Plat
Lot 70
A late 20th century 18ct gold three stone diamond ring, plain claw-set with modern round brilliant-cut diamonds, total diamond content approx 1.65ct, colour approx I/J, clarity approx SI2/SI3, central diamond approx 0.65ct, flanking diamonds approx 0.5ct each, maker's marks J and P, hallmarks Birmingham 1979, size L, 3.3gNo damage or repairs, all stones present, diamonds relatively bright and white each with a few incipient cleavage fractures and minute crystal inclusions mostly only visible through a loupe, no chips, settings lightly abraded, hallmarks clear, stamped 750
Lot 103
An early/mid-20th century 18ct gold graduated five stone diamond half hoop ring, platinum tops with old and single-cut diamonds, total diamond content approx 0.15ct, setting height 3.9mm, size O, 2.3gNo damage or repairs, all stones present, diamonds have a few internal black spot inclusions, settings lightly abraded, marks clear, stamped 18ct and Plat
Lot 276
An Antique 18ct gold graduated five stone diamond gypsy ring, set with old-cut diamonds, total diamond content approx 0.25ct, setting height 5.9mm, size K, 4.1gNo damage or repairs, all stones present, diamonds relatively bright and white, settings lightly abraded and slightly worn on back of shank, hallmarks rubbed, stamped 18
Lot 122
An Antique 18ct gold three stone sapphire and diamond crossover ring, set with round-cut sapphire and old European-cut diamonds, total diamond content approx 0.25ct, setting height 11.6mm, size K, 3.5gNo damage or repair, all stones present, sapphire has lightly abraded facet edges, diamonds slightly yellow with a few internal fractures and black spot inclusions, settings lightly abraded and slightly worn on back of shank, hallmarks very rubbed, stamped 18
Lot 1017
A ladies 9ct gold Rotary wristwatch on snake link bracelet, the round silvered dial with gold batons, Arabic numerals and hands, 12.91g gross including movement; a pair of blue stone set hoop earrings, marked '10k', 2.15g gross; a pair of unmarked studs set with dark blue stones and a fine rope chain marked '14k'
Lot 70
Four bound copies of theatre programmes with 440 autographs including those of Patrick Allen, Joy Andrews, Kenneth Bowen, Katie Boyle, Richard Briers, June Bronhill, Bert Brownhill, Patricia Burke, Michael Bryant, James Cairncross, Charlie Cairoli, Desmond Carrington, Lewis Casson, Roy Castle, Kenneth Connor, Ciciely Courtneidge, Valerie Dane, Paul Daneman, Noel David, Eric Delaney, Reg Dixon, Jimmy Edwards, Desmond Walter-Ellis, Ann Emery, John Rhys Evans, Adam Faith, Rosemary Frankau, Leo franklyn, Eunice Gayson, Hughie Green, Jack Haig, Binnie Hale, Irene Handl, Robertson Hare, Jeremy Hawk, James Hayter, Michael Horden, Renee Houston, Frankie Howerd, Sally Ann Howes, Claude Hulbert, Megs Jenkins, Maurice Kaufman, Barbara Kelly, Bill Kerr, Fraser Kerr, Eartha Kitt, Evelyn Laye, Sam Kydd, Ronald Lewis, Margot Lister, Roger Livesey, Hugh Lloyd, Arthur Lowe, William Lucas, Hugh Manning, Elspeth March, Betty Marsden, Anna Massey, Susan Maughan, Spike Milligan, Richard Murdoch, Sue Nicholls, Muriel Pavlow, Wilfred Pickles, Nyree Dawn Porter, Marie Rambert, Lynn Redgrave, Edwin Richfield, Brain Rix, Toby Robins, Monica Rose, Moira Shearer, Joy Shelton, Winfred Shotter, Ann Sidney, Hugh Sinclair, John Stone, Dame Sybil Thorndike, Richard Todd, Bruce Trent, Peter Tuddenham, Dermot Walsh, Jack Watling, Robin Wentworth, June Whitfield, Kenneth Williams, Simon Williams, Douglas Wilmer, Arthur Worsley, and signed photos, letters and cards including from Dawn Addams, Lionel Blair, Kathleen Byron, Charlie Chester, Michael Corden, Fay Compton, Hughie Green, Joan Greenwood, Laurie Lister, Hugh Lloyd, Susan Maughan, Kenneth McKellar, Henzie Raeburn, Angharad Rees, Monica Rose, Ann Sidney.
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400965 item(s)/page