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Lot 1236
A collection of 9ct gold and silver jewellery, to include a pair of 9ct gold, citrine and CZ earrings, a pair of 9ct gold stud earrings, a 9ct gold and peridot ring, a 9ct gold and citrine ring with matching earrings and pendant necklace, a pair of 9ct gold and green stone earrings and 2 silver pendants together with a silver ship shaped stick pin (13).
Lot 327
A Chinese carved jade cong, in dark spinach green and dark brown mottled jade, with dark tan and rust inclusions, the square section body open at both ends with inset circular foot and rim, with incised decoration of a scholar and boy in a mountain landscape, two sides with archaic calligraphy, 8 1/8in. (20.7cm.) high. * The surface of the jade is uneven and pitted to one edge and corner - this is believed to be natural flaws in the stone as the incised decoration extends across the pitted surface. A few other natural pits to surface and natural hairline crack to one end.
Lot 678
A Spode stone china tureen, c.1820, painted with a 'WILLIS' pattern in the Oriental famille rose style, having twin snake head handles, impressed Spode mark and printed pattern number '3125' to base, 13in. (33cm.) handle to handle, lacking cover. * Lacking cover, tiny hairline to underside of one handle, otherwise good.
Lot 1111
A 14ct white gold and fancy brown diamond ring, featuring a fancy brown pear cut diamond weighing approximately 2.05ct and held in a pavé set split shank, accompanied by a certificate from the Antwerp International Gemological Laboratories stating that the principal stone is Natural Fancy Brown, SI2 and weighing 2.05ct, the remaining 46 white diamonds totalling approximately 0.18ct and ranging from D to F in colour, VS1 to SI2.
Lot 1077
ALFREDO BARBINI Produzione Murano 1950 ca. Due "SASSI†in vetro bianco opaco ricoperto di ossido e grafite fuso e sale, opaco, con murrina fuse bianche e verde, vetro di forma irregolare a forma di pietra, tagliato e levigato su un lato come un occhio che offre spunti sulla "vita interiore" del sasso, firmato sopra le murrine "Barbini".Bibliografia: Il Vetro di Murano Alle Biennali 1895-1972, Barovier, Barovier Mentasti, and Dorigato, pg. 95 Illustrates series Italian Glass Murano: Milan 1930-1970, Ricke and Schmits, pg. 246 illustrates similar examples. TWO CLEAR GLASS, OPAQUE WHITE COVERED WITH MOLTEN GRAPHITE GREY OXIDE AND SALT, MATTED, WITH WHITE AND GREEN FUSED MURRINE, GLASS OBJECT IN IRREGULAR SHAPE IMITATING A STONE, ON ONE SIDE CUT AND POLISHED IN THE MANNER OF AN EYE OFFERING INSIGHTS INTO THE 'INNER LIFE' OF THE STONE, SIGNED ABOVE THE MURRINE "BARBINIâ€. cm 16 x 14 Alt. cm 12 - cm 14 x 12 Alt. cm 10.
Lot 1105
LUIGI CACCIA DOMINIONI Produzione Azucena, Italia 1950 ca.Lampada da tavolo mod. Lta 1. Sasso con base in onice del Pakistan, struttura in ottone brunito e diffusore in alluminio verniciato.Bibliografia: Catalogo originale; G. Gramigna, Repertorio del design italiano 1950-1980, p. 58, Mondadori, 1985. TABLE LAMP MOD. "LTA 1". STONE WITH PAKISTANI ONYX BASE, BURNISHED BRASS STRUCTURE AND PAINTED ALUMINUM DIFFUSER. Alt. cm 39.
Lot 32
Ivor Roberts-Jones (British, 1916-1996)Sir Winston Churchill, maquette for the monument in Parliament Square numbered '22' (on the bronze base)bronze with a brown patina on a stone base52 cm. (20 1/2 in.) high (excluding the stone base)Footnotes:ProvenanceWith Heritage Club, London, 7 April 1999, where purchased by the present ownerPrivate Collection, U.K.Please note a receipt from Heritage Club bearing the Artist's signature and the edition number is included with this lot.The present work is a maquette for the large scale sculpture of Churchill by Roberts-Jones which stands in Parliament Square and was commissioned in 1971. The first important commission the artist had received came in 1961 from Lord Beaverbrook for a bust of Somerset Maugham. Following this, he was asked to sculpt the memorial statue for fellow artist Augustus John in Hampshire. This major work took three years to complete but was a great success and crucially led to his election as Associate of The Royal Academy. Further honours followed in 1975 when Ivor was awarded the C.B.E.Another cast of the present work was sold in these rooms for £118,800, 1 July 2020.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 70
Barry Flanagan, R.A. (British, 1941-2009)The Guns Never Won signed with initial, titled and numbered 'THE GUNS/NEVER WON/f 2/8-/19' (on the bronze base)bronze with a black patina61 cm. (24 in.) high (including the base)Conceived in 2009Footnotes:ProvenanceThe Artist's Estate, from whom acquired by the present ownerOn the surface Flanagan's varied output can appear disjointed. His works of the late 1960s and 1970s are conceptual, performative and cutting edge, especially in terms of the material selected (stone, rope, cloth, sand). These feel entirely different to the series of hares, begun in 1979, for which he is perhaps now most known. Modelled in bronze, a most traditional sculptural medium, these figurative works appear unexpected and in contrast to his output hitherto. Indeed, within the series Flanagan references the canon of art history by re-imaging Rodin's The Thinker and Nijinski in hare form. A further timelessness is introduced by primarily using the hare, rather than other animals or a human, as the hare has long held symbolic status within mythology and folklore, both seemingly disparate to the artist's conceptual engagement.However, the key to understanding the lineage between the earlier works and the hares lies in Flanagan's own assertion that the hare is a metaphor, not a subject. A connecting theme in Flanagan's conceptual practice is that for the viewer, the human, they evoke a rich experience. Similarly, his hares, in whatever guise they appear; dancing, leaping, drumming etc. are all representative of various elements of the human experience. He comments 'I use the hare as a surrogate or as a vehicle to entertain in a way. The abstract realm that sculpture somehow demands is a very awkward way to work, so I abstract myself from the human figure, choosing the hare to behave as a human occasionally.' (quoted in Barry Flanagan: Sculpture 1965-2005, exh.cat., Irish Museum of Modern Art, Dublin, 2006, p.65).We are grateful to the Artist's Estate for their assistance in cataloguing this 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
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