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Lot 1120
A ladies Links Of London wristwatch with black leather strap. Square shaped stainless steel case with white face and black roman numeral hour markers. Blue steel hands and second hand. Stone missing from winder. Links name and logo to face, back of case, inside of strap and buckle. In working order.
Lot 23
Robert Gavin, RSA (British, 1827-1883)Rebekah giving water to Abraham's camels signed, inscribed and dated 'R GAVIN ARSA/TANGER/1878' (lower right)oil on canvas96 x 124.5cm (37 3/4 x 49in).Footnotes:ProvenancePrivate collection, USA.ExhibitedEdinburgh, Royal Scottish Academy, 1878, no. 268.Robert Gavin was born and educated in Leith, Scotland. The son of a merchant, he entered the School of Design in Edinburgh aged twenty-one and studied under Thomas Duncan. Specialising initially in rustic subjects often featuring children, his work became increasing popular and was widely reproduced in chromolithography. Gavin was a regular exhibitor at the Royal Scottish Academy and also exhibited at the Royal Academy in London between 1855 and 1871; in 1854 he was elected an Associate of the Royal Scottish Academy.In 1868 he travelled to America and on his return, he journeyed to Tangier where he settled and began to paint Orientalist works. His interest in Orientalist art was profound and indeed the subject he chose for his diploma work for the RSA was The Moorish Maiden's First Love, now in the National Gallery of Scotland. He returned to Scotland in 1880 and continued to paint until his death in 1883. The present lot, exhibited at the RSA in 1878, is a wonderful example of the artist's work. Painted two years before he left Tangiers to return home, Rebekah is seen pouring water from a jar into a stone trough for the camels tired after their long journey with Abraham's steward. The model for Rebekah appears to be the same girl as Gavin used for The Nautch Girl (sold Bonhams, London, 3 June 2020, lot 71). This subject clearly resonated with him as he also painted a work entitled Rebekah at the Well which is now in the permanent collection at the Walker Art Gallery, Liverpool.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 50
Gothic capital; Spain, 14th century.Carved limestone.Wear and tear due to use and the passage of time.Measurements: 28 x 29 x 29 cm.Gothic capital of Corinthian order in carved stone of square shape with wavy sides at the top and with a circular base, decorated in relief with acanthus leaves. The Gothic capital gradually lost its importance as the period of the style progressed. After the transitional period in which the Romanesque capital is followed, it takes the form of a somewhat conical drum embraced by foliage whose motifs are taken from the flora of the country and crowned by a circular or polygonal abacus with various mouldings.Subsequently, the capital becomes smaller and more delicate, and finally, it is eliminated when in the 15th century the bundle of reeds branches out directly into the ribs of the vault without any solution of continuity in many cases, or remains in the form of a simple ring.
Lot 94
Sex Pistols: An Acetate Recording Of The Single Pretty Vacant,1977,a single-sided 7inch, label printed Pye Recording Studios Custom Disc Cutting Service and with typewritten recording details, in French Pyral S.A. paper sleeve with John Peel's handwritten band name to cornerFootnotes:'I never considered myself pretty or vacant. Maybe I should, would have had an easier life. I'd be dead wrong, but it would have been really easy. No, you can't get sucked up into the system, can't allow that'- John Lydon (Johnny Rotten) on 'Pretty Vacant', Rolling Stone, October 2017'Pretty Vacant' received its first play on the John Peel Show on the 24th June 1977. It was the second highest UK chart entry from the album, with the single peaking at number 6. As with each of the Sex Pistols' singles, 'Pretty Vacant' was a recurring presence in Peel's Festive Fifty, appearing in the 1977-1980 and 1982 editions.For further information on this lot please visit Bonhams.com
Lot 1
STÈLE DE GANESHA EN GRÈSINDE CENTRALE, CIRCA XE SIÈCLE71.5 cm (28 1/8 in.) high Footnotes:A SANDSTONE STELE OF GANESHA CENTRAL INDIA, CIRCA 10TH CENTURY印度中部 約十世紀 砂岩象神石碑 Provenance: With Claude de Marteau, New York, by 1967 The mischievous elephant-headed god Ganesha can clear (or create) obstacles and is therefore propitiated before the start of almost any undertaking. The whimsical, improbable vision of Ganesha dancing while snacking on a bowl of sweets is the subject of this early medieval stone sculpture. Ponderous weight is placed on the right foot and hip as Ganesha sways to the right. He turns his left foot out, resting it delicately on the toes. Ten arms are rhapsodically poised around the torso, holding attributes and weapons; two additional arms (one on either side) are now lost. Six ecstatic musicians inspire this motion, four below and two flanking the garland-bearing vidyadharas above. Crouching on the pedestal beneath is a rat, Ganesha's humble vehicle, adding to scene's delightful humor. Tales of the origins and appearance of Ganesha vary, but most describe him as having been created a boy by his mother Parvati from the residue of her bathwater. Once manifest, she placed him as sentry to her bath chamber. Shortly thereafter, Parvati's husband Shiva appeared, demanding entry. When Ganesha refused the stranger's request, Shiva removed his head. Parvati insisted Shiva restore Ganesha's head immediately. The first available head was that of an elephant, which was expediently placed atop the young man's body, thus forming the unique appearance of this beloved deity. A smaller work of approximately the same period is now in the Virginia Museum of Fine Arts (Dye, The Arts of India, 2001, pp. 142-43, no. 42). See also the much larger example, of unsurpassed quality, in the Mr. and Mrs. John D. Rockefeller 3rd Collection at Asia Society Museum in New York, published in Leidy, Treasures of Asian Art, 1994, p. 42, fig. 22.For further information on this lot please visit Bonhams.com
Lot 22
STATUE D'ATLAS SOUS FORME D'HERCULE EN SCHISTE GRISANCIENNE RÉGION DU GANDHARA, II/IIIE SIÈCLE 51 cm (20 1/8 in.) high Footnotes:A SCHIST ATLAS FIGURE IN THE FORM OF HERCULES ANCIENT REGION OF GANDHARA, 2ND/3RD CENTURY 犍陀羅 二/三世紀 片岩赫拉克利斯形象之阿特拉斯像 Published: Mario Bussagli, L'Arte del Gandhara, Torino, 1984, p. 55. Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1990, p. 155, fig. 448. Provenance: With Claude de Marteau, Brussels, by 1970s Fewer subjects convey the intriguing Greco-Roman legacy in ancient Gandhara (modern-day Pakistan and Afghanistan) more clearly than such Atlas figures lining the bases of its Buddhist stupas. Epitomized by this superlative example, the bearded face, dramatic expression, athleticism, and male nudity nod unmistakably to Classical aesthetic ideals. In Greek mythology, Atlas fought on the side of the Titans against the Olympian gods, lost, and was condemned to support the spherical vault of the heavens for eternity. His myth inspired a leitmotif in Greek and Roman architecture of figures upholding architectural superstructures. During a period of heightened contact with the Mediterranean world, the figure of Atlas was adopted in Gandhara. Repeated images of composite Atlas-like figures surrounded the base of stupas, whose solid domes can be understood as symbols for the sky. With the skin of the Nemean lion worn as a cape over his head and shoulders, the imagery of this distinctive Atlas is conflated with that of Hercules. Hercules conquered the beast as the first of his Twelve Labors, and also briefly relieved Atlas of his duties during his penultimate Labor. While the subject of Hercules is represented in other forms of Gandharan material culture, such as a wrestler's weight now in the Metropolitan Museum of Art (1994.112), the only other known large stone Atlas in the form of Hercules is in the Cleveland Museum of Art (fig. 1). In comparison, the present example alludes more directly to the hero's depiction in Classical art, as the modelling of his high cheek bones, thick beard, and searching gaze draws remarkable resemblance to a monumental head of Hercules from Pergamon (fig. 2), a likeness that was also observed by Ingholt about an Atlas figurine with a similar countenance (Ingholt, Gandharan Art in Pakistan, 1951, p. 157, no. 387). In the Gandharan context, surviving Atlas figures sculpted from stucco line stupa bases at the sites of Taxila, Hadda, and Jualian. There is a considerable number of small stone panels and figurines, yet only a few large stone Atlas sculptures are broadly-known, and originate from two dispersed sets. The first set consists of three figures of smaller scale (each approx. 40 cm high) carved in a dark grey, almost black schist, comprising the aforementioned Cleveland Herculean Atlas, an Atlas in the Norton Simon Museum, Pasadena (F.1975.17.17.S), and another sold by Bonhams, New York, 17 March 2014, lot 66. Atlas figures from the second set survive as a pair carved in a lighter grey schist, consisting of the present sculpture and its mate in the Peshawar Museum (Kurita, Gandharan Art, Vol. II, 1990, p. 157, fig. 453). This second pair is larger, more expressive, and better carved—truer to the Classical aesthetics of naturalism—making the de Marteau Atlas one of the two most important Gandharan Atlas figures remaining.For further information on this lot please visit Bonhams.com
Lot 25
TÊTE DE BOUDDHA EN SCHISTEANCIENNE RÉGION DU GANDHARA, III/IVE SIÈCLE48 cm (18 7/8 in.) high Footnotes:A SCHIST HEAD OF BUDDHA ANCIENT REGION OF GANDHARA, 3RD/4TH CENTURY 犍陀羅 三/四世紀 片岩佛首 Provenance: With Claude de Marteau, Brussels, by 1970s Of a commanding scale and superb condition, this head of Buddha is a consummate example of the synthesis of Buddhist concepts and Greco-Roman aesthetics that flourished in the ancient region of Gandhara. More commonly found on images of bodhisattvas, a mustache is present in a rarer group of Gandharan Buddha images, including one in the British Museum and another in the Peshawar Museum (see Zwalf, A Catalogue of the Gandhara Sculpture in the British Museum, Vol. II, London, 1996, pp. 9 & 32, nos. 2 & 39; and Kurita, Gandharan Art, Vol. I, 1988, p. 81, no. 206; respectively). Buddha's locks radiate in natural waves and transition into columns of ringlets over the dome of his ushnisha. A similar arrangement is seen in a smaller head of Buddha preserved at the Lahore Museum (G-174), as well as a standing Buddha at the Penn Museum, Philadelphia (29-68-1). Close examples are held in the British Museum (Zwalf, op. cit., pp. 9, 10, & 32, nos. 1, 3, & 39). Also compare another renowned example sold at Christie's, New York, 19 March 2013, lot 201. The size, well-preserved condition, and the beautiful, polished dark stone of this remarkable head places it amongst the most important examples held in private hands. With the Rockefeller head at the Asia Society Museum, New York, measuring 37 cm, the British Museum head at 38 cm, and another large head formerly in the Willard Clark Collection (Bonhams, New York, 19 March 2018, lot 3078) at 47.3 cm, the present lot is one of the largest known (Proser, The Buddhist Heritage of Pakistan, 2011, p. 151, no. 59; and Zwalf, op cit., p. 32, no. 39; respectively).For further information on this lot please visit Bonhams.com
Lot 26
STATUE DE BOUDDHA EN SCHISTEANCIENNE RÉGION DU GANDHARA, III/IVE SIÈCLE147.5 cm (58 1/8 in.) high Footnotes:A SCHIST FIGURE OF BUDDHAANCIENT REGION OF GANDHARA, 3RD/4TH CENTURY 犍陀羅 三/四世紀 片岩佛陀像 Published: Mario Bussagli, L'Arte del Gandhara, Torino, 1984, p. 100, no. 3. Provenance:With Claude de Marteau, Brussels, by 1970s Supporting numerous publications on the art of ancient Gandhara, Claude de Marteau was perhaps best known for his expertise in Gandharan sculpture. His connoisseurship is epitomized by this almost life-size statue of the Buddha, which excels for its naturalism, grace, and contemplative attitude. The ancient region of Gandhara, which spanned modern-day northwest Pakistan and southern Afghanistan, was home to a vibrant, cosmopolitan civilization situated at the crossroads of international trade networks linking South Asia, Central Asia, China, and the Mediterranean. Because of its verdant terrain and lucrative trade position, the region fell repeatedly to foreign raids and invaders. The Kushans, originally from Central Asia and already having incorporated elements of Greek culture, established themselves in Gandhara in the early first century CE. Under the Kushan ruler Kanishka (127-151 CE), Gandharan Buddhist art and architecture flourished, resulting in the creation of some of the earliest iconic images of the historical Buddha, such as the present statue. Indicative of Gandharan art's appealing multiculturalism, the stone carver who created the present image of the Buddha was clearly as well-versed in Buddhist iconography as he was in the Greco-Roman aesthetic tradition of naturalism. He succeeds in realistically modelling the figure's stance with a gentle, understated contrapposto, lightly bending the right knee and placing more weight on the left leg—imbuing movement within his creation. He effortlessly conveys the Buddha's supple physique, suggested under the sweeping pleats of his heavy monastic robe. To this, the sculptor has added certain physiological features, rooted in Indic religions, that distinguish an enlightened being (mahalakshana). A raised circular dot in the middle of his brow represents his urna, from which in many sutras, the Buddha emits a ray of light to illuminate distant worlds. Crisp, wavy locks are pulled over an ushnisha, a cranial protuberance endowed with a variety of magical powers. Another prominent symbol of his enlightened consciousness is the large halo backing his head and shoulders. But perhaps most profound is the arresting quietude evoked by his heart-shaped, mustachioed visage, whose heavy-lidded downward expression conveys a solemn detachment from the world. The present sculpture's torso and stance are portrayed with a higher degree of naturalism than a representative example in the British Museum (1947,0511.1). The soft treatment of the robes compares well with Gandharan sculptures of the Buddha held in the Norton Simon Museum, Pasadena (F.1975.04.2.S), and sold at Christie's, New York, 21 March 2008, lot 527. A Gandharan Buddha with a similar cordate facial type is in the Tokyo National Museum (C0097675). Depicting Maitreya, the Future Buddha, venerated in the pedestal below Shakyamuni's feet, the present sculpture belongs to an iconic trope in Gandharan art also represented by a Buddha in the Metropolitan Museum of Art, New York (2014.188), and reflected in examples sold at Christie's, New York, 25 March 2004, lot 18, and Bonhams, Hong Kong, 2 December 2021, lot 1036.For further information on this lot please visit Bonhams.com
Lot 41
1960s Underground Press: A Collection Of Frendz/Friends Newspapers,1969-1971,Issues No.1-4, 6-14, 16, 18-21, 23-26, (some duplicates), each folded, (approx. 22)Footnotes:Friends magazine (later Frendz magazine) was launched in the winter of 1969 as a direct result of the closure of the short-lived UK publication of Rolling Stone magazine. The magazine was closely connected with the UK underground media such as London Oz magazine and Time Out. It eventually ceased publication in August 1972.For further information on this lot please visit Bonhams.com
Lot 115
An emerald three stone ring and emerald cross pendant, the ring composed of three rectangular-cut emerald collets spaced by duos of single-cut diamonds, stamped ‘14k’ and ‘585’, the emerald cross pendant similarly set, with sandblast finish and kite shaped bale, ring size L, pendant length 44mm. £200-£300
Lot 192
A diamond five stone ring, circa 1890, set with a graduated row of old brilliant-cut diamonds, with rose-cut diamond accents between, the gallery scrolled and carved, later rhodium plated, principal diamond weight approximately 1.25 carats, remaining total diamond weight approximately 3.05 carats, ring size N. £4,000-£6,000
Lot 65
A Medieval gold ring with vacant setting, 13th-14th century, the lozenge-shaped bezel with a vacant lozenge/teardrop-shaped stone setting, between stepped shoulders, to a wire shank, in yellow gold, ring size K. £800-£1,200 --- This ring was discovered by a detectorist in Hanby, Lincolnshire. The ring is recorded on the Portable Antiquities Scheme database, Ref: LIN-1B904C, and has subsequently been disclaimed as Treasure (ref: 2020-T280).
Lot 78
Two Art Nouveau carved horn pendants, early 20th century, both modelled as a dragonfly within an oval hoop frame and accented with a claw set cabochon glass stone, one suspending a further blue glass drop below, each suspended on a brown cord necklace accented with further glass beads, one pendant damaged, pendant length excluding drop 6cm. £800-£1,000 --- Although unsigned, these pendants are in the style of Parisian based jeweller Elizabeth Bonté.
Lot 99
A late 19th century sapphire and diamond five stone ring, set with an alternating row of circular-cut sapphires and old brilliant-cut diamonds, the gallery of openwork scroll design, mounted in 18ct gold, London and Chester hallmarks (rubbed), total diamond weight approximately 0.50 carat, ring size M. £400-£600
Lot 742
An oval Brooch, of St. George & Dragon, the frame set with semi-precious stones, a circular Scottish Brooch with large amber stone, two large oval silver framed brooches, inset with coloured agate stones, two attractive silver brooches, and three small pendants with clear glass cut stones inset. As a lot. (9)
Lot 787
A quality French 5.47ct emerald set single Ladies Ring, with four diamond baguettes, approx. 1.15ct, size "Q", some damage. (1)Note: set in white gold approx. 5.3gms, emerald stone approx. 10.6mm x 10.6mm; doubly refractive; approx. 4ct with chip on girdle reaching table facet set with 4 baguette diamonds approx. 1.16ct overall (4 diamonds).
Lot 894
A set of 6 hand coloured floral Dessert Plates, 8 1/"2 (22cms); four other hand coloured Plates, a Spode stone china Bowl, a Coalport Plate decorated with flowers within a silver plated edge, 12" (30cms), a colouful Continental square serpentine shaped Dish, 11" (28cms) and a blue Wedgwood jasperware Dish Cover, 7" (17cms). (a lot)
Lot 50
λ SIMON VERITY (born 1945), A FIGURAL GARDEN CHAIRIn the form of a stylised woman143cm high, 46cm wide, 53cm deepProvenance: Property of Elizabeth Gage MBECondition Report: Marks, knocks, scratches, abrasions consistent with age and useThe elements are balanced together and holding, Dreweatts would suggest the mortar/adhesive to the joints is refreshed at its next installation and before use as a garden chair.There is lichen and moss to the surface, signs of weathering and this is entirely due to its storage, display, and associated use in an external setting - overall may benefit from a light clean if wished to even up the surface - there are old deposits to the feet (especially at the back) from its previous installation - these would need to be cleaned off for installation There is some natural variation to the stone, again this is to do with it being a natural product Please refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 534
ENZO PLAZZOTTA (ITALIAN 1921-1981), MARE AND FOAL IIPatinated bronzeSigned and numbered 'Plazzotta 8/9' in a triangle to the base16.5cm high, 49.6cm wide, 33cm deepMounted on a black stone baseCf. number 7/9 sold Christie's New York, sale 14805 LIVING WITH ART, lot 296 $1250Condition Report: The surface colour is uniform, there is no obvious verdisgris or discolourationThis is not old and the condition and appearance reflects this overall - it has probably only been on displayPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 57
A PAIR OF LARGE STONE PLANTERS 20TH CENTURY Of hemispherical outlineeach 38cm high, the tops 93cm diameterCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, Both with clear signs of age, use, and external storage, there is surface discolouration, weathering, moss and algae growths - dirt deposits to the interior, these appear to have drainage holes which are plugged with compressed dirtPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 59
A STONE COMPOSITION GARDEN SEAT IN GEORGE II STYLE OF RECENT MANUFACTURE AND AFTER WILLIAM KENT 128.5cm high, 183cm wide, 55cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThe surface with weathering and wear, also green algae and other discolouration, the adhesive/mortar has failed and is peeling off, there is also signs of mastic/composition to the joints which will need cleaning off and re-securing - overall Dreweatts suggests this gets rebuilt and fully constructed before use in a garden setting. Overall with an appearance inkeeping with age, use, and continued storage in an exterior settingOverall this is sold disassembled Please refer to additional images for visual reference to condition Condition Report Disclaimer
Lot 72
AN ITALIAN STONE COMPOSITION FIGURE ON STAND 'GIUOCATORE' 20TH CENTURY Depicting a young boy playing with his dog, impressed title to baseapproximately 255cm high, the base 75cm wideCondition Report: There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use. The upper section with weather related losses to end of dog paw, both rear corners (some elements present), edges of base- old restorations including to right handFlank pitted- base with weathering and wear notably to exposed corners and plinth Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 43
λ PETER HAYES (BRITISH B. 1946)STANDING STONE WITH RED DISCRaku-fired ceramicSigned and dated '93 (to base)Height: 92cm (36 in.)Provenance: Property of Elizabeth Gage MBECondition Report: There is a chip to the surface to the lower centre which can be seen in the catalogue photograph, a close up image is available upon requestSurface dirt and discolouration, occasional chips and nibbles to the edges of the slate base Please refer to additional images for visual reference to condition Condition Report Disclaimer
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