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Lot 462
A selection of Chinese objects of virtue, 19th century and later, comprising; three reverse painted snuff bottles, each 9.5cm high, a blue and white decorated miniature tea bowl, four character mark to the underside, 5cm diameter, a smaller celadon glazed example, a nephrite jade double gourd tray, 10.5cm wide, three assorted soapstone seals and a carved green stone pendant, 7.5cm wide (9)
Lot 164
A diamond three-stone ring, comprising a central round old cut diamond weighing approx. 0.25ct, with a smaller round old cut diamond to each side, each stone illusion set in white metal to tapering twist design shoulders, each set with two single cut diamonds, continuing to a plain polished shank stamped 'PLAT', ring size U, weight 2.6gms
Lot 169
A 19th century five stone amethyst ring, comprising five graduated cushion cut untested amethysts measuring between 3mm x 3mm and 4mm x 4mm, all in a yellow metal closed-back setting with scrolling border surround, continuing to pierced and engraved shoulders and tapering yellow metal shank, ring size P, weight 1.9gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 173
A five stone ring, the five, oval graduated sapphires (with total weight of approx 5.00ct) each within a delicate claw setting, bifurcated shoulders and yellow gold hoop, unmarked, gross weight 5.6gms, ring size O With accompanying Gemmological Certification Services report no. 81281-16, stating that the total carat weight is approx 5.0ct, natural corundum sapphires, of Sri Lankan origin and no indications of heating. For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 214
An opal and sapphire 14ct three stone ring, the central round untested opal cabochon approx. 6mm diameter, with an old cut oval sapphire to either side measuring 4mm x 2mm, all claw set in yellow gold to tapering shoulders and plain polished shank, ring size O 1/2, weight 2.5gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 220
A 9ct gold citrine and pearl cluster brooch, comprising a central oval mixed cut citrine measuring 14mm x 10mm, within a border of eighteen cultured half-pearls, all set in 9ct yellow gold, hinged pin and safety loop fastening to reverse, together with a 19th century stone set brooch, comprising a central citrine coloured gemstone measuring 26mm x 18mm, set to a yellow metal border surround with later hinged pin and loop fastening, gross weight of both 17.2gms (2)
Lot 234
A ruby and opal three-stone ring, comprising a central round mixed cut ruby measuring approx. 4mm diameter, with a round opal cabochon set to each side, all bezel set in yellow metal to twisting shoulders and a plain polished shank, stamped '9ct', ring size O, weight 1.9gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 282
A diamond three stone ring, the central oval old cut diamond measuring 4mm x 3mm x 2.5mm, with a round old cut diamond to each side, all set in platinum to a tapering plain polished 18ct gold shank, stamped '18CT & PLAT', ring size R 1/2, weight 2.3gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 289
A pink stone and diamond cluster ring, comprising a central untested oval mixed cut stone (probably a pink sapphire) measuring 8mm x 6.5mm, with a surround of twelve round brilliant cut diamonds, all claw set in 18ct gold to split scrolling shoulders and plain polished shank, ring size N 1/2, weight 5.6gms
Lot 34
A Indian silver mounted Malacca swagger stick, 19th century, the tapered cane mounted with a lions mask knop set with red stone cabochon eyes, the terminal also white metal metal mounted, unmarked, 71cm longProvenanve by repute; Presented to Lieutenant Frederick Arthur Norton 32nd Queens Regiment by Azimoolah enovy of The Maharaja of Bithoor for services rendered on his mission to London, 1854. Footnote; Lt.Norton then a Captain was then killed by the troops of the same Maharaja (Nana Sahib) on 15th July 1857 during the uprising and massacre of British troops, women and children at Cawnpore. For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
![Artist: Jules Cheret (French, 1836 - 1932). Title: "Aux Buttes Chaumont/Jouets [Chaix, Paris]". Medium: Original vintage colo](https://cdn.globalauctionplatform.com/8b247141-b41d-4179-bb4c-ac1d01539cbf/6092d9ac-c94c-4439-a775-ac4e01559236/468x382.jpg)
Lot 709
Artist: Jules Cheret (French, 1836 - 1932). Title: "Aux Buttes Chaumont/Jouets [Chaix, Paris]". Medium: Original vintage color lithograph. Date: Composed 1888. Dimensions: Overall size: 101 x 39 in. (2565 x 991 mm).Lot Note(s): Signed in the stone, lower middle. Edition size unknown, presumed small. Cream wove paper. Very good impression. Linen backed. Fair to better-than-poor condition - losses, creases, etc. Provenance: Jack Williams, Phoenix, Arizona. Comment(s): An extremely large poster. [25019-8-1500]
Lot 195
Football Steve Stone signed 12x8 colour magazine photo pictured in action for Nottingham Forest. Good Condition. All autographs are genuine hand signed and 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 412
Star Wars 16x12 multi signed colour photo signed by 13 stars from the epic saga includes Trevor Butterfield, Michael Henbury, John Coppinger, Paul Bazely, Eileen Roberts, Daniela Tlumacova, Mitos Yerolemou, Chris Bunn, David Stone, Robert Nairne, Kamay Lau, John Altman and Tim Dry. Good Condition. All autographs are genuine hand signed and 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.Good Condition. All autographs are genuine hand signed and 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 3165
Musical picture clock with alarm, the 3.25" white enamel dial with central brass alarm dial, set into a memorial stone inscribed Lord Biron..., 1809 within a lakeland mountainous landscape with two gentlemen alighting by the memorial stone from a rowing boat, 10" x 14", within an ebonised cushion frame (chain and two weights)
Lot 170
Piero Fornasetti (Italian 1913-1988) 'Malachite Cube' Side Table, 1950s hand-coloured transfer printed on metal, inset glass top(50cm high, 50cm wide, 50cm deep (19.5in high, 19.5in wide, 19.5in deep))Footnote: Malachite, the rare green stone from Russia, had a particular allure for Fornasetti, and he imitated it in many contexts, including a bicycle. A whole suite of furniture was designed in this range between 1952 and 1958. This lot is sold together with a Certificate of Authenticity from Barnaba Fornasetti.
Lot 287
§ Dame Elisabeth Frink (British 1930-1993) Small horse and rider, 1970 (Wiseman 40) 37/60, signed and numbered in pencil (in the margin), lithograph(38cm x 58cm (15" x 23"))Footnote: This work comes from the first series of prints, man and horse, which Frink produced in the early 1970s. Having embraced lithography and printmaking in the 1960s, Frink explored the technique further in the 1970s and turned from using a stone plate to a zinc plate.
Lot 68
Eric Gill A.R.A. (British 1882-1940) Two Alphabet Calligraphic Moulds each initalled and dated 'AERG 09' in reverse (lower left), plaster(each 30cm x 55.5cm (11.8in x 21.8in))Footnote: Eric Gill learnt letter cutting at the Westminster Technical Institute at the beginning of the 20 th Century, and lettering from the calligraphic master Edward Johnston and he went on to have a successful career as a self-employed letter cutter from 1903 to 1910. By 1909 Gill was collaborating with Johnston on a portfolio of 16 plates called Manuscript & Inscription Letters , cutting two Hoptonwood stone panels with numbers and alphabets. These panels were cast in plaster by C. Smith & Sons, plaster moulders of Kentish Town, and sold to students of lettering. Gill also taught Design for monumental masons at the Central School from 1906 to 1910, and it is possible that these are one of a number of casts made for the students at this date or later.
Lot 59
A 9 carat gold diamond half hoop ring, finger size N; a 9 carat gold sapphire and diamond half hoop ring, finger size N, a band ring, stamped '375', finger size M, an 18 carat gold garnet three stone ring, finger size P1/2, an 18 carat gold paste ring, finger size Q, a single paste earring, stamped '750', a pair of knot earrings, unmarked and a garnet cluster ring, unmarked, finger size N1/2. Three rings stamped '375'/hallmarked 9 carat gold - 3.0 grams. Two 18 carat gold rings - 10.7 grams. Earring stamped '750' - 1.5 grams. Garnet ring and knot earrings - 7.9 grams.
Lot 8
Barry Flanagan, R.A. (British, 1941-2009)Acrobats 1988 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5 bronze303.8 by 88.9 by 69.9 cm.119 5/8 by 35 by 27 1/2 in.This work was executed in 1988, and is from an edition of five numbered versions and 3 artist's casts.Footnotes:ProvenanceJohn Berggruen Gallery, San FranciscoAcquired directly from the above by the present owner in 1992ExhibitedLondon, Waddington Galleries and The Economist Plaza, 1990, p. 19, no. 8, another example illustrated in colour New York, The Pace Gallery, Barry Flanagan, 1990, np., no. 8, another example illustrated in colourBerlin, Haus am Waldsee, Animalia: Stellvertreter, 1990, p. 50, another example illustrated in colourFréjus, Musée Temporaire, Foundation Daniel Templon: La Sculpture Contemporaine après 1970, 1991, p. 89, another example illustrated in colourNew York, Paul Kasmin Gallery, Barry Flanagan: Sculptures, 2004, another example exhibitedLiteratureRichard Dorment, 'First catch your hare' in: The Daily Telegraph, 29 May 1990, another example illustratedTowering at nearly 10 feet tall, Barry Flanagan's Acrobats is undoubtably one of the late Welsh artist's most significant works. First appearing in 1979, the figure of the hare dominated Flanagan's practice ever since, and is represented in institutional collections and beloved public sculptures around the world. When asked about this particular choice of subject, Flanagan stated: 'I find that the hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world. So 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.' (the artist in: Barry Flanagan: Sculpture 1965-2005, exh. cat., Irish Museum of Modern Art, Dublin, 2006, p. 65)In the 1970s, Flanagan moved away from his earlier conceptual work towards a more figurative practice. He started modelling the human form and a range of different animals in bronze, but the motif of the hare is really the one that stuck in the collective mind and came to symbolise his practice. Allegedly inspired by both a hare he watched hopping happily across the English countryside in the late 1970s, and by George Ewart Evans' book The Leaping Hare published in 1972, Flanagan first represented the animal in his now-seminal work Leaping Hare from 1979. A study of the hare's significance around the world in folklore, poetry, mythology and art throughout history, George Ewart Evans' delightfully light-hearted book fuelled Flanagan's interest for the remainder of his artistic practice. The subject of the present work, two anthropomorphised hares balanced on top of each other, first appeared in a smaller format in 1981 which was shown in the very first exhibition of Flanagan's bronzes at Waddington Galleries in London that same year. A resounding success, the exhibition of Flanagan's sculptures truly propelled his career, and he represented Britain at the Venice Biennale in 1982.Flanagan's most iconic sculptures, of which Acrobats is a quintessential example, all succeed in conveying a sense of movement and physical tension whilst remaining wonderfully playful. One can't help but smile at the comical representation of humanlike hares engaging in sporting activities, such as boxing or acrobatics, which unlocks childhood memories of absolute freedom and whimsy. As author Paul Levy puts it, 'nothing is more free, vital, spontaneous and alive – from Aesop's hare outrun by the tortoise to Bugs Bunny – than a capering hare. In France and most of Central Europe, it is the hare that lays eggs at Easter and so promises renewal. In fact, Flanagan's hares do not carry much of this historic symbolic freight; they simply frolic freely and expressively. They don't symbolise life, they live it.' (Paul Levy, Barry Flanagan: Linear Sculptures in Bronze and Stone Carvings, exh. cat., Waddington Galleries, London, 2004)The present work was acquired over 25 years ago by prominent American collector and philanthropist Gerard L. Cafesjian, and remained in his Estate's collection until now. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Upon his retirement, Mr. Cafesjian committed his time to art and charity, as he founded the Cafesijan Family Foundation to support mostly Armenian causes. He founded the Scottsdale Museum of Contemporary Art in Arizona in 1999, and, in the early 2000s, he set his sights on an enormous, unfinished and crumbling Soviet structure in Armenia's capital city as the site for a private museum. The building's ambitious renovation and expansion resulted in the creation of the Cafesjian Center for the Arts, which, upon its inauguration in 2009, was touted by the New York Times as being a modern-day 'Hanging Gardens of Armenia' and is best known for its world-class sculpture garden.This lot is subject to the following lot symbols: * AR TP* 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.TP Lots denoted with a 'TP' 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 125
A LATE 19TH CENTURY NATURAL PEARL AND DIAMOND PENDANT, CIRCA 1890 Of target cluster design, the pearl measuring 8.4 x 7.7mm, within a double openwork surround of old brilliant-cut diamonds, suspending a 6.7 x 8.5mm pearl drop with an old brilliant-cut diamond connector, to a similarly-cut diamond three-stone pendant loop, mounted in silver and gold Accompanied by a report from Gemmological Certification Services, stating that the pearls were found to be natural, of saltwater origin. Report no. 80256-51, dated 6th March 2020. (Dimensions: Length: 5.6cm)(Length: 5.6cm)
Lot 37
A RUBY AND DIAMOND THREE-STONE RING The oval-cut ruby, weighing 1.26 carats, between old cushion-shaped diamonds Accompanied by a report from Gemmological Certification Services, stating that the ruby weighing 1.26cts, is of Burmese origin, with no indications of heat treatment. Report no. 80241-51, dated 7th November 2019. (Dimensions: Ring size: K/L)(Ring size: K/L)
Lot 268
White (T.H.) The Sword in the Stone, first edition, illustrations, light spotting (mainly to fore-edge), number inscribed on front pastedown, original black cloth, lightly mottled by damp, dust-jacket with price 8s 6d to front flap, a little spotted, spine browned and rubbed at ends, 1938; and 4 others by the same, 8vo (5)
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