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Lot 155
A heavy cast circular silver metal coloured box and cover of Eastern inspiration (possibly Indian/Iraqi ?); the domed top centred with a single hand-cut white stone above an ornate filigree decorated body with scrolls and stylised symbols in relief, raised on short cast base (5.5cm diameter)
Lot 256
An aquamarine and diamond-set ring; the three graduated rectangular aquamarines each separated by a line of four diamonds, 9 carat yellow gold setting, size M (gross weight 3.1g)Condition Report: Overall condition good; minor chips to outer edge of largest stone and very small chips to table/crown (Aquamarines: largest 8.9mm x 7.0mm x 4.1mm, smallest 5.9mm x 4.0mm x 2.5mm)
Lot 194
Bronzefigur der liegenden AriadneHöhe: 34 cm. Länge: 51 cm. Tiefe: 22 cm. Frankreich, 18./ 19. Jahrhundert.Bronzeguss, schwarze Lackpatina, auf grauer Gußstein-Sockelplatte über Spindelfüßen, mit umlaufendem vergoldetem Ornamenfries. Die Frauenfigur der griechischen Mythologie liegt auch einem Kissenlager mit erhöhtem Polster, die Beine übereinandergelegt, den Kopf in die Hand gestützt, den rechten Arm über den Kopf gelegt. Ariadne war der Sage nach die Tochter des kretischen Königs Minos, die Perseus half, den Minotauros zu besiegen. Nach dem Schriftsteller Hesiod wurde sie am Strand der Insel Naxos verlassen und schlafend aufgefunden. Dieser Aspekt wurde schon in der griechischen Bildwelt thematisiert. Die Figur ist eine verkleinerte Kopie der römischen Marmorfigur, die sich in den Vatikanischen Museen befindet. Sie wurde von Papst Julius II 1512 für den Cortile delle Statue im Belvedere erworben. Die römische Skulptur geht auf ein hellenistisches Original zurück, geschaffen in der Pergamon-Bildhauerschule des 2. Jahrhunderts v. Chr. A.R. (12718114) (11)Bronze sculpture of reclining AriadneHeight: 34 cm. Length: 51 cm. Depth: 22 cm.France, 18th/ 19th century.Bronze casting with black lacquer patina and grey cast stone base plate on spindle feet with revolving gilt ornamental frieze. The sculpture is a smaller copy after a Roman marble sculpture held at The Vatican Museums.
Lot 379
Gaspar Pieter Verbruggen d. J., 1664 Antwerpen – 1730 LilleSTILLLEBEN MIT BLUMEN IN EINER STEINVASEÖl auf Leinwand. Doubliert. 44,5 x 57 cm. Rechts unten signiert „gaspar p. verbruggen f.“.Vor braunem Hintergrund auf einer steinernen Brüstung stehend die breite Steinvase mit dem prachtvollen Blumenarrangement aus: Schneeball, Narzissen, Tulpen, Maiglöckchen, Klatschmohn, Chrysanthemen, Primeln. Teils ranken die Blumen aus dem Gebinde über die Steinplatte hinaus. Qualitätvolle Malerei, die Blumen dabei in kräftigen leuchtenden Farben, vor allem Rot und Weiß, die sich vor dem dunkleren Hintergrund besonders gut abheben, in der für den bekannten Künstler typischen Manier. Kleine Retuschen. (12707555) (18)Gaspar Pieter Verbruggen the Younger,1664 Antwerp – 1730 LilleSTILL LIFE WITH FLOWERS IN STONE VASE Oil on canvas. Relined.44.5 x 57 cm.Signed “gaspar p. verbruggen f.” lower right.
Lot 145
Paar Ziervasen im Louis XVI-StilHöhe: 30 cm.In Stein gearbeiteter ovoider gesockelter Korpus mit vergoldeter ziselierter Bronzezier mit Adlerhandhaben. (1270735) (2) (13)A pair of decorative vases in Louis XVI styleHeight: 30 cm.Ovoid stone vases with chased and gilt bronze decor and eagle handles.
Lot 722
Emma Stone signed 10x8 colour photograph pictured as she portrays Wichita in 2009 film Zombieland. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 3101
Ansichtenteller "Southill" Stone, Coquerel et Legros d'Anisy. Stempelmarke, 1808-1849. Frankreich. Polychrome Malerei über Vordruck, Goldstaffage. Ø 23 cm. Im Spiegel die braun kolorierte Darstellung des englischen Parkes Southill mit Schlossansicht, auf der Fahne polychrom kolorierte Fruchtzweige Partiell Kratzspuren.
Lot 17
Marc Chagall (1887-1985)Le Cirque (Mourlot 490-527; Cramer Books 68) The complete portfolio, comprising the set of 38 lithographs (23 in colours and 15 in black), 1957, on Arches wove paper, in- and hors-texte, with title page, text in French and justification, signed in pencil on the justification, copy number 189 of 250, published by Tériade Editeur, Paris, 1967, the full sheets, loose (as issued), the colours very fresh and vibrant, in very good condition, within the original paper wrapper and the beige cloth-covered boards with title stamped in gilt on spine and matching slipcaseOverall 450 x 345mm. (17 3/4 x 13 5/8in.)Footnotes:For me the circus is a magic show which passes by like affairs of the world and melts. A circus is disturbing. It is profound. Marc ChagallChagall's fascination with the circus dates from his childhood in pre-revolutionary Vitebsk where travelling acrobats and equestrians often came to entertain the crowds at the village fair. Chagall always remembered the sad scene of a travelling troupe, a father and his young children, performing a handful of clumsy, acrobatic stunts. The public walked by unimpressed, and Chagall saw them walked away, unappreciated and empty-handed. Chagall feared that this could well be the fate of anyone who wanted to pursue the life of an artist. The idea of Cirque came from Chagall's dealer and publisher, Ambroise Vollard, for whom he had already illustrated two other series of prints: Fables and Dead Souls. Vollard was a circus lover and had his own box at the Cirque d'hiver in Paris to which he often invited Chagall and his wife Bella. Due to the dealer's sudden death in a car accident, Chagall who had already started working in a suite of gouaches on this theme, abandoned the project until decades later when the Greek born publisher Tèriade convinced him to complete the work.In 1962, Chagall began working on a series of lithographs that came to be known as Le Cirque. The artist was fascinated with colour lithography as it allowed unlimited painterly freedom. He drew directly on the lithography stone, and the resultant prints reflected the spontaneity of his brushstrokes and draw lines. The accompanying texts were also written by Chagall and complimented the pictures confirming an artist's book which was finally published in 1967.Chagall's lithographs of Cirque can be regarded as his best achievement as a printmaker, with its vibrant colours and fantasies on the circus theme where characters are mixed with the Chagallian standard symbols of goat, cock, pair of lovers ascending in the sky, donkeys and horses forming the dreamlike compositions for which he is famous.Click for an instant shipping quoteThis lot is subject to the following lot symbols: * AR* 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.For further information on this lot please visit Bonhams.com
Lot 18
A pair of 19th Century Italian 'Grand Tour' carved alabaster temples of Vespasianus and Castor and Polluxthe two Roman Forum temple fragments with typical architectural detailing, raised on rusticated stone bases, and grey marble shallow plinths, 69cm and 65.4cm high respectively (2)For further information on this lot please visit Bonhams.com
Lot 19
A fine Italian 'Grand Tour' micro mosaic miniature plaque depicting a view of the Roman wallsRoman, probably early 19th centurythe walls with dentil stone detailing to the outer ledge, a waterfall/fountain cascading through one arch, a ruined portico alongside the walls, a fortress in the middle distance and other buildings, mounted within a contemporary gilt metal frame, 7cm x 4cm approximaelyFor further information on this lot please visit Bonhams.com
Lot 20
Circle of Bartolommeo Bandinelli (Italian, 1493-1560):A carved stone figure of 'Apollo killing a lizard'probably second half 16th centuryafter the antique, the naked youth in contrapposto, clad in a fig leaf, his upturned face with tightly curled hair, standing beside a rustic tree stump, on naturalistic base, 155cm high overallFootnotes:Working as a sculptor, painter and draughtman in his native Florence, Bandinelli's early life was greatly influenced by his father who worked as a goldsmith and counted the Medici as one of his patrons. Later studying under the sculptor Giovanni Francesco Rustici, Bandinelli's first major sculptural commission was for a statue of St. Peter in marble for the crossing of the Duomo (1515-1517). With Pope Leo X's return to Florence, this enabled Bandinelli to gain a series of commissions, mainly of Classical gods and heroes which are documented in his sketches and drawings and when Giulio de' Medici was subsequently elected Pope Clement VII, the sculptor gained further commissions including the decorations for the papal coronation in 1523. With the Sack of Rome in 1527 and the Seige of Florence, along with the expulsion of the Medici, Bandinelli was forced to leave Florence but after producing a number of sculptures which made his name throughout Italy, he returned to Florence and carved the group of Hercules and Cacus, in the Piazza della Signoria, which then established him as the official sculptor to the Medici Dukes.The tightly curled hair and pose of the current lot can be compared to Bandinelli's Apollo in the Boboli Gardens in Florence dating from 1448-58.This lot is subject to the following lot symbols: TPTP 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 3
Attributed to Michael Pacher (German, circa 1435-1498): A carved wood and polychrome and parcel gilt decorated figure of a male saint, possibly St JohnSouth German or Tyrolean, late 15th centurythe figure with rope tied wavy shoulder length fair hair looking slightly to sinister, clad in a draped and folded cloak held about his body, his left hand clutching the upheld hem, raised on a later stained wood rectangular base, the figure, 78cm high, the later base 5cm high Footnotes:Provenance:With Reinhold Hofstätter, ViennaThe sculptor, architect and painter Michael Pacher was active during the later part of the 15th century. Cited as perhaps one of the earliest artists to introduce the Renaissance style to a German clientele, he was famous for producing elaborate painted and sculpted works in both wood and stone showing a uniquely personal side incorporating elements of the Italian Renaissance and the Northern Gothic.Producing works including painted structures for altarpieces on an unparalleled scale in North European, his finest work is perhaps the St Wolfgang Altarpiece (1471-1481) in Salzkammergut which is considered to be one of the most outstanding examples of a carved and painted altar shrine illustrating scenes from the life of Christ and the Virgin Mary. Pacher's other great work, the Altarpiece of the Church Fathers was created in 1483 for Neustift Monastery and this also combined painting and sculpture to produce a unique composition. Influenced primarily by North Italian art, Pacher's work however shares characteristics with the work of the Italian artist Andrea Mantegna whilst also reflecting the heritage and tradition of a number of South German carvers.The plump facial features of the present lot with his upturned nose, distinctive waving to the hair and crinkled folds of the drapery compare closely to figures in Pacher's St Wolfgang Altarpiece, see T. Müller, Gotik in Tirol, Bozen, 1976, figs. 122-124 and pl. XXVII.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's 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 52
Attributed to William Burges (British, 1821-1881): An impressive enamelled, polished semi-precious stone and ivory inset parcel gilt and silvered bronze centrepiece base together with a polished semi-precious stone and ivory inset parcel gilt and silvered bronze upper sectional epergne support ensuiteby Hart, Son, Peard & Co., London in the later Gothic Revival style, circa 1875, the two parts originally from a centrepiece epergne exhibited at the 1878 Paris International Exhibition the base of architectural tripartite pedestal form, the conforming columnar support with cusped column decoration surmounted by a composite Corinthian capital with leafy and whorl decoration and punctuated by a knopped central section with applied beaded and banded agate cabochon set scrolling filigree decoration and three carved ivory busts depicting a king, a maiden and youth playing a lute, the elaborate hipped base of architectural form formed as three arched openings with circular steeple tower pinnacles surmounted by open filigree and turquoise cabochon inset orbs flanked by crocketed finials, the scrolling filigree and whorl decorated sides banded to the edges by black and white chevron enamelled panels with inset carnelian cabochons, the lower corners modelled as circular domed towers above inset square cornelian panels, the lower frieze with alternating pierced and blue enamel square motif decoration, raised on standing silvered lion passant supports; the upper section with flared scrolling open pierced filigree and lapis and banded agate cabochon inset supports terminating in stylised leafy griffins heads, beneath a border of six inset carved ivory panels depicting food related vignettes, comprising a boars head, a swan, a carp, a turtle, a truckle of cheese and an oval pie, the upper girdle supporting a cut glass dished lobed shallow bowl fitting with panelled star cut centre, the hexagonal columnar support below a filigree and whorl knopped section with lions mask heads, raised on a later fixed black painted stepped hexagonal support, the glass bowl of the upper support probably associated, its fixed stand of a later date, the base, 57cm high, 38cm diameter approximately, the support 28cm high, the support including bowl and later base, 41.5cm high overall (2)Footnotes:Upper Epergne SectionProvenanceJ. S. M. Scott, London - the Birkenhead CollectionWith the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, 11th June 2014 (4, Epergne fragment - INV 34276).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021ExhibitedParis International Exhibition, 1878.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, June-July 2014 (4).LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870', Exhibition Catalogue 2014 (4), p.16.Centrepiece BaseProvenancePrivate UK collection.With RIBA, 66 Portland Pl, London W1B 1AD (on loan) prior to August 2014.Purchased (private treaty sale) by the present vendor in conjunction with Haslam & Whiteway Ltd (advisors), Kensington Church Street, London W8 7NL, 15th September 2014 (INV 6491).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021.ExhibitedParis International Exhibition, 1878.LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.M. Whiteway & C. Gere, Nineteenth-Century Design; From Pugin to Mackintosh, London 1993, p.175.At the time of his death in 1881, the esteemed architect and designer William Burges was widely thought to be the most influential and gifted figure of his generation. An unstable and extravagant eccentric, he was a brilliant pre-Raphaelite architect who pursued his artistic goals via an idealised vision of the past. In his work he sought to escape from both modern industrialisation and the prevalent Neoclassical architectural style of the establishment and re-affirm the architectural and social values of a utopian medieval England. Standing within the tradition of the Gothic Revival, his works echo his predecessor Pugin and his contemporaries of the pre-Raphaelite brotherhood, whilst heralding those of the Arts and Crafts movement.In a short but illustrious career he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was thirty five working with a long established team of craftsmen and artisans he produced a small but architecturally varied output including castles, houses, churches, a warehouse, a university and a school, although many of his designs were either never executed or subsequently demolished. Of Burges's works, his most notable are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch constructed between 1872 and 1891, both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Aside from his architecture, Burges also designed metalwork, sculpture, jewellery, furniture and stained glass. He also gave a series of lectures called 'Art Applied to Industry' to the Society of Arts in 1864, illustrating the breadth of his artistic interests. Burges was a notable designer of Gothic-inspired metalwork and jewellery and who is now seen as the successor to architect and designer A.W.N. Pugin in refining and developing the Gothic revival style. In his book, William Burges and the High Victorian, the author and art critic Prof. J Mordaunt Crook states that 'Burges's genius as a designer is expressed to perfection in his jewellery and metalwork'. He produced a 'dazzling' array of religious artefacts including candlesticks, chalices, crosses either as individual commissions or as part of the decorative schemes for buildings. Burges also had an early and close connection to the Ecclesiological Society taking on the role of superintendent of the Society's church plate scheme in 1864. However, his most notable metalworks were created for himself, often from the proceeds of the winning of an architectural competition. Examples include his Elephant Inkstand and a pair of jewelled decanters, paid for by the fees for the plans of the Crimea Memorial Church and his series of lectures, 'Art Applied to Industry', and the Cat Cup, created in commemoration of the Law Courts competition. He also designed more utilitarian articles including silverware featuring various fantastical creatures including mermaids and spiders and a set of knives and forks specifically designed for his own residence, The Tower House, with the handles carved as types of meat and vegetables. His own large collection of historic armour was subsequently bequeathed to the British Museum upon his death. Hart, Son, Peard & Co. (1842–1913) were British architectural metalworkers basedin London and Birmingham most associated with the production of ecclesiastical works.Founded in 1842 in Wych St, off The Strand, by bible-trained ironmonger Joseph Hart who was also a member of the Ecclesiological Society, they became artistic metalworkers specialising in ecclesiastical manufactures after merging with Birmingham-based Peard & Jackson in 1866–67. Also skilled in sculpture and with an agent in Paris, Henri Collet, the firm made Burges designs by J.P. Seddon, B.J. Talbert, Alfred Waterhouse and William Butterfield. and importantly had a long-sta... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 147
Anhänger und Ring mit StrasssteinenDeutschland, um 1770 und 1800 Roségold 585/- und Silber, getestet. 55 Strasssteine im unterschiedlichen Schiffformen. Ein Stein erg. Ca. 5,7 x 3,2 cm. Ringgröße: 52. SvP A pendant and ring with rhinestonesGermany, circa 1770 and 1800 Rose gold 585/- and silver, assayed. 55 rhinestones in different cuts. One stone added. Approx. 5.7 x 3.2 cm. Ring Size: 52.
Lot 153
Ein Paar Ohrgehänge mit Karlsbader SprudelsteinKarlsbad, 1880-1890er Jahre Gelbgold 585/-, Gestempelt. Punze. Sternförmiges Mosaik aus Karlsbader Sprudelstein. L. ca. 2,8 cm. Ca. 7,5 g. SvP A pair of drop earrings with Karlovy Vary hot spring stoneKarlovy Vary, 1880-1890s Yellow gold 585/-, hallmarked. Star-shaped mosaic made from Karlovy Vary hot spring stone. Length approx. 2.8 cm. Ca. 7.5 g.
Lot 155
Collier und ein Paar OhrringeDeutschland, um 1850 Gold 585/- und 333/-, getestet und 14 gestempelt. 1 Granat und 2 rote Glasteine. 15 Saatperlen. Blaues und weißes opakes Email. Einige wenige Saatperlen fehlen. Email min. besch. Ein Glasstein best. Kette ergänzt. Rest. Collier: L. ca. 41 cm. Ohrringe: L. ca. 3,2 cm. Zus. ca. 12,9 g. SvP A necklace and pair of earringsGermany, circa 1850 Gold 585/- and 333/-, assayed and hallmarked 14. 1 garnet and 2 red glass stones. 15 seed pearls. Blue and white opaque enamel. Few seed pearls missing. Minor damage to enamel. Damage to 1 glass stone. Necklace added. Restored. Necklace: length approx. 41 cm. earrings: length approx. 3.2 cm. Approx. 12.9 g.
Lot 172
Ein Paar Ohrgehänge mit RubinenWohl Spanien, um 1870 Gelbgold 585/- und Silber, getestet. 28 kleine Rubincabochons. Ein Stein min. besch. Ohrhaken erneuert. Rest. L. ca. 5,2 cm. Ca. 6,2 g. Als Vorbild dienten westgotische Votivkronen aus der Mitte des 7. Jahrhunderts, wie sie in großer Anzahl (26 Stück) im Schatz von Guarrazar zwischen 1858 und 1861 gefunden wurden. SvP A pair of drop earrings with rubiesProbably Spain, circa 1870 Yellow gold 585/- and silver, assayed. 28 small ruby cabochons. Minor damage to 1 stone. Ear wire renewed. Restored. Length approx. 5.2 cm. Ca. 6.2 g.
Lot 173
Ein Paar Ohrringe mit LavasteinkameenItalien, um 1840 Gold 333/- und Silber, getestet. 2 Kameen aus Lavastein mit den Darstellungen von Amor. L. ca. 3,9 cm. Ca. 10,9 g. SvP A pair of earrings with lava stone cameosItaly, circa 1840 Gold 333/- and silver, assayed. 2 cameos made of lava stone with depictions of Cupid. Length approx. 3.9 cm. Ca. 10.9 g.
Lot 180
Ein Paar Ohrgehänge mit Granaten und HalbperlenDeutschland, 1860-1870er Jahre Gelbgold 333/-, getestet. Bügel: Gelbgold 585/-, getestet. 18 Granate im runden Facettenschliff. 2 kleine Halbperlen. Die Mohnkapseln sind leicht eingedellt, 1 Stein wurde bereits beim Fassen min. besch. L. ca. 4,2 cm. Ca. 7,3 g. Die Anhänger sind in Form von Mohnkapseln gestaltet. Während im alten Ägypten der Mohn für den Tod stand, symbolisierte er im christlichen Glauben Leben und Glück. In der christlichen Malerei des Mittelalters stand die blutrote Blume zudem auch für das Messopfer und war ein Symbol für das Blut und den Leib Christi. SvP A pair of drop earrings with garnets and half-pearlsGermany, 1860-1870s Yellow gold 333/-, assayed. Bracket: yellow gold 585/-, assayed. 18 round facet cut garnets. 2 small half-pearls. The poppy seed capsules are slightly dented, minor damage to 1 stone on the setting. Length approx. 4.2 cm. Ca. 7.3 g.
Lot 185
A ROMAN STYLE CARVED STONE FRAGMENT stained and inscribed, DM..,MEMO..FLAVIAE..VENV..,19cm high ,19cm wide and 8cm deep, a Russian tile painting printed with a Saint, 19cm high, Chinese magnetic compass (3) The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request
Lot 187
A SANDSTONE CARVED HEAD the female head decorated with moon and stars crown, 16cm high, Medieval stone head the face with furrowed brow and angular eyes, 14cm high, another head with floral tiara, 11cm high and another carving, 13cm high (4) The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request
Lot 189
A MARBLE CARVING OF A FISH one side finely detailed the other plain, 13cm long, South Sea Islands shell necklace, 41cm long, carved animal mask, 5cm wide and four ancient stone loom weights (7) The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request
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