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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 10
A VINTAGE 9CT GOLD PURPLE SAPPHIRE (SYNTHETIC) COCKTAIL RING The step cut faceted stone measuring approx. 14 x 12 mm, on a yellow gold band with ribbed shoulders, the shank with rubbed hallmarked, Ring size S, weight 3.3g Condition Report : Good for age Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 12
AN 18CT GOLD GARNET TOPPED DOUBLET SINGLE STONE DRESS RING The oval faceted stone measuring 0.9cm x 0.7cm with ribbed yellow gold shoulders, the shank hallmarked for Birmingham 1908, maker W.L, ring size S, weight 3.5 g Condition Report : The stone has scratches and a nibble seen under magnification Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 15
A 9CT GOLD GREEN AQUAMARINE COCKTAIL RING the oval faceted aquamarine measuring 0.9 x 0.6cm in a rope twist setting (open back), the shoulders with openwork detail, the shank hallmarked for Birmingham (date letter rubbed), ring size Q ½, weight 3grams Condition Report : good for age, shank and shape good, minor wear to the gold shoulders and setting in need of a clean, the stone secure and in good condition with minor wear, would benefit from a clean Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 55
A GEM SET BRACELET the bracelet set with fifteen oval facetted coloured gemstones, mounted in open work yellow metal with worn marks to the clasp and jump ring, gemstones include green aquamarine, garnet and tourmaline, each stone measuring approx. 0.6 x 0.4cm, bracelet length 18.5cm, weight 9.2grams approx. Condition Report : good for age, secure clasp Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 67
A COLLECTION OF FOUR VINTAGE/RETRO RINGS comprising 18ct gold diamond illusion set solitaire ring on a yellow metal shank, ring size M ½ , weight 2g, a 9ct yellow and white gold half patterned thin band ring with faded hallmark to the shank, ring size K ¾ , weight 1.5g, a green paste with white sapphire accented cross over ring, on an unmarked yellow metal shank, ring size M ½, weight 1.2g, a triple clear paste three stone ring on a gilt shank, marked 9ct & sil, ring size P ¾
Lot 91
H. STONE LEEDS A LATE VICTORIAN SILVER CASED OPEN FACED POCKET WATCH (key wound), the signed white enamel dial with large black Roman numerals, sub dial and metallic batons, the rear case of plain form with fancy vacant cartouche, the inside case hallmarked for Chester 1894 maker I.J.T.N, case diameter 5.1cm approx., dial diameter 4.8cm, gross weight 178.6grams Condition Report : currently not working, movement case cannot be opened, sold with key Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 2616
A set of three 20th century cast composition stone planters, each of circular conical form, relief cast with fruit and swags, height 34cm, diameter 50cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2617
A pair of 20th century cast composition stone garden urns, each raised on a circular foot with lion ring handles, height 30cm, diameter 38cm, a plain composition planter of conical form, height 22cm, diameter 45cm, and a set of three terracotta planters with frilled rims, height 23cm, diameter 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2622
A 20th century cast composition stone birdbath with dished bowl above a reeded baluster stem and circular foot, height 81cm, diameter 62cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2621
A 20th century cast composition stone garden figure of Venus, height 85cm, together with a similar model of a goose, height 60cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2624
A 20th century cast composition stone planter of rectangular form, relief cast with lion masks and foliate band, on two shaped supports, height 57cm, width 93cm, depth 44cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2619
A late 20th century cast composition stone garden birdbath, the circular top raised on a naturalistic stem, decorated in relief with ivy leaves and berries, height 76cm, diameter 59cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2531
A pair of 20th century cast composition stone portrait plaques, each relief cast with opposing classical busts, 47cm x 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2623
A 20th century cast composition stone garden statue, modelled as the Three Graces, raised on a naturalistic integral base, height 80cm, width 50cm, depth 26cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2618
A 20th century cast composition stone garden urn of twin-handled campana form, raised on a square section pedestal, height 93cm, width 44cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2620
A 20th century cast composition stone rectangular garden trough, relief cast with lion masks and foliate scrolls, height 24cm, width 93cm, depth 43cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 55
CHEMA MADOZ (Madrid, 1958)"Untitled. 1992.Black and white photography.It has a label from the Madrid gallery Moriarty, on the back.Size: 33 x 33 cm; 62 x 52 cm (frame).Visual paradox is the fertile ground in which Chema Madoz moves. His way of interpreting art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Award and the PHotoEspaña Award in 2000, and the Culture Award of the Community of Madrid in the category of Photography in 2012, among others.
Lot 54
CHEMA MADOZ (Madrid, 1958)"Untitled. 1999.Black and white photography. Copy: 5/15.Signed, dated and justified by hand on the back.Size: 30 x 40 cm.Visual paradox is the fertile ground in which Chema Madoz moves. His way of interpreting art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Award and the PHotoEspaña Award in 2000, and the Culture Award of the Community of Madrid in the category of Photography in 2012, among others.
Lot 4292
Stone, Sasha and Cami -- Brandenburger Tor, Berlin. 1928-30. Vintage ferrotyped gelatin silver print. 23,8 x 17,8 cm. With 2 photographer's/copyright stamps, (1 Berlin, 1 Brussels), annotated in red ink/pencil and typed publication note on the verso. Small tears in left edge, edges curled, some light surface rubbing, otherwise in very good condition.Lit.: Dr. Adolf Behne (ed.). Berlin in Bildern. Berlin 1929, ill. unpaginated.
Lot 18
BACTRIAN FEMALE STONE IDOL MARGIANA, CENTRAL ASIA, c. 2300 - 1900 B.C. carved green chlorite and limestone, standing on a flat base, wearing a loose fitting robe carved with a pattern imitating a sheepskin fleece, the limestone head with a ridge nose and subtly indicated eyes and mouth, surmounted by a rounded cap(6.1cm tall)Provenance: Private collection, United Kingdom, formed 1968 - 2018
Lot 45
FINE ABORIGINAL BOOMERANG AUSTRALIA carved wood, of classic form, with stone carved grooves running along the length of the blade terminating at the handle, raised on a bespoke mount(77cm long)Provenance: A private Scottish collection of Aboriginal boomerangs formed over the past thirty years.
Lot 55
ANCIENT CELTIC STONE HEAD UNITED KINGDOM, LIKELY 1ST CENTURY B.C. carved and weathered red sandstone, of powerful visage, with arched brows, deeply set eyes and broad triangular nose, the mouth bearing an enigmatic smile with a broad moustache covering the upper lip(24cm tall)Provenance: Originally uncovered during the digging of a wall at Sharpcliffe Hall, Staffordshire, United Kingdom. The site is situated in the immediate vicinity of prehistoric structures uncovered by men working in a gravel pit in 1910. Subsequently part of a private collection, United Kingdom. Note: Stone votive heads are perhaps the most enigmatic of all the art produced by the Iron Age peoples of Britain, Ireland and continental Europe, often termed “Celts”. Frequently found near bodies of water, their function is not clear, suggestions have included their use as surrogates in head hunting societies, cult foci, or as venerated objects of healing. The ubiquity of the head motif sculpted in stone or carved in metal suggests that the ancient Britons held it in special reverence, likely believing it to be the centre of the soul. The present example epitomises the simple lines imbued with great power that defines ancient Celtic art. The individual depicted, whether deity or human subject, has an undeniable presence. The style of the finely backcombed hair and moustache, well-groomed and reaching across much of the face, bears a strong similarity to those seen on three small copper alloy models of men's faces uncovered at two Late Iron Age burials (c. 50 – 20 B.C.) in Welwyn in 1906 and now housed at the British Museum (accession number 1911,1208.5). The facial character depicted in both the present piece and the Welwyn fittings is reflected in the contemporaneous record of the Greek writer Diodorus Siculus when discussing the physical appearance of the Gauls, the British Celts continental cousins in the 1st century B.C.: “The Gauls are tall of body with rippling muscles and white of skin and their hair is blond, and not only naturally so for they also make it their practice by artificial means to increase the distinguishing colour which nature has given it. For they are always washing their hair in limewater and they pull it back from the forehead to the nape of the neck, with the result that their appearance is like that of Satyrs and Pans since the treatment of their hair makes it so heavy and coarse that it differs in no respect from the mane of horses. Some of them shave the beard but others let it grow a little; and the nobles shave their cheeks, but they let the moustache grow until it covers the mouth.” His haunting smile is relatively unusual, with a thin slit mouth more common amongst Celtic sculpture of the period. One notable parallel is the Hendy Head (displayed at Oriel Môn), discovered in a field on Anglesey during the 1950’s. Carved of red sandstone and dating to the late Iron Age, it likely depicts a Celtic deity worshipped at a local shrine, the mouth has a drilled opening to one side for libations and is formed into a similarly unsettling smile. The power of ancient Celtic art lies in its ability to sit between the recognisable and the otherworldly. The fact that this piece’s exact its meaning is lost to us perhaps adds to this ethereal quality.
Lot 65
MĀORI HEI-TIKI PENDANT NEW ZEALAND, 19TH CENTURY OR EARLIER carved and polished inanga pounamu, successive tapering perforation holes, with the original now worn through, the stone fine and quite translucent, with carved features, the head angled with recessed eyes originally for the insertion of shell inlays, the hands shown held to the legs, with two horizontal lozenges indicating the feet(10.5cm tall)Note: The surface wear and collapsed perforation on the present example suggest extensive use and age. The positioning of the original (now worn through) hole suggests it may have sat as a rounded tab above the head as found in a select number produced on the South Island (Austin:2020 p.129).
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400830 item(s)/page