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Lot 789
A collection of silver necklace chains to include pendants to each. Fine linked with stone set, fine linked with agate set pendant, fine linked with agate and faux pearl set, fine linked with purple glass pendant, ball linked with marcasite type pendant. moonstone type set stones on chain and a modernist pendant on chain. Various lengths. Total weight 50g
Lot 810
A 9ct gold hallmarked cluster ring. The ring with central round facet cut purple stone within a halo of white stones all in prong setting to tapering shoulders and plain shank. Hallmarked Sheffield, sponsors mark FFJ. Total weight 2.9g Together with another hallmarked 9ct ring with channel set purple stones, weight 3.64g. Total combined weight 6.51g
Lot 842
A continental gilded silver dog brooch. In the form of a dachshund with stone set collar, pin verso. Together with a 925 stamped silver ring, paste set drop earrings with fish hooks, pair of glass earrings, plated yellow metal ring with bunny years and a gold plated pendant with purple stones. Total combined weight 25g approx
Lot 864
A selection of rings to include a stamped 925 silver eternity ring set with purple stone cabochons, a stamped 925 silver eternity ring set with opal type cabochons, a stamped 925 silver ring set with a round cut white stone and mother of pearl panel shoulders, a stamped 925 silver ring with a gilt banded centre, a hallmakred silver five stone ring and a gold plated cross over ring set with red and white stones. Silver weight 16g.
Lot 897
A group of 20th Century jewellery to include a Victorian stick pin with a hunting horn finial within original jewellers box, a silver ring set with an oval cut blue stone with a halo of marcasites set within a vintage jewellery box (size U), a Scottish silver necklace with Hetherstems pendant, Cornish pewter brooch, white metal pendant set with a red stone cabochon, a selection of collar studs and cufflinks ,a silver ring set with blue and white stones etc.
Lot 373
NINE JAPANESE WOOD NETSUKE OF FIGURES MEIJI PERIOD, 19TH CENTURY Variously carved as two drunk shojo sleeping, two men with sake bottles and another drinking, three blind men and the last trying to lift a stone which is transforming into a tanuki racoon dog, some with signatures including Gyokuhei and Shiko, 5.3cm max. (9) Provenance: from the collection of a lady of title, and thence by descent.
Lot 17
Ivor Roberts-Jones (British, 1916-1996)Sir Winston Churchill, maquette for the monument in Parliament Square numbered '26' (on the bronze base)bronze with a brown patina on a stone base50.8 cm. (20 in.) high (excluding the base)Footnotes:ProvenanceThe Artist, from whom purchased by the present owners Grandfather, Dr. Eugene Gancz, circa 1971Private Collection, U.K. Dr Gancz was born in Hungary in 1912 but, being Jewish, was forced to flee in the 1930s to Austria to study for his degree in Medicine and then again to Basel, Switzerland after Austria's Anschluss with Germany. After completing his studies to become a doctor in February 1939, just before the outbreak of the Second World War, Dr Gancz applied for citizenship in the United Kingdom where he volunteered to serve in the army as a doctor. During the war, Dr Gancz worked as a doctor in the U.K. and served with the Royal Army Medical Corps in Italy, achieving the rank of Major. After the war he was a General Practitioner in Kent and, for 41 years, a Police Surgeon, for which long service he was made an Honorary Consultant Medical Advisor to the Chief Constable of Kent. Feeling an enormous sense of gratitude to Churchill and the United Kingdom, Dr Gancz purchased the bronze figure of Winston Churchill, the man he respected so much and whom he held responsible for saving him and the few of his family who survived the Holocaust.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 £112,500, 14 November 2018.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 21
Frank Dobson R.A. (British, 1886-1963)Study for Toilet 4 terracotta18.5 cm. (7 1/4 in.) highConceived circa 1939UniqueFootnotes:ProvenanceThe Estate of the artistLiteratureNeville Jason & Lisa Thompson-Pharoah, The Sculpture of Frank Dobson, The Henry Moore Foundation in association with Lund Humphries, Much Hadham and London, 1994, p.148, cat.no.144 (ill.b&w)The present work is a study for Toilet (1940), which was carved from Portland stone and originally purchased by T.J. Watson for the collection of IBM.This 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 23
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure: Pointed Legs signed and numbered 'Moore 7/9' (on the bronze base)bronze with a brown patina22.9 cm. (9 in.) long (including the bronze base)Conceived in 1979Footnotes:ProvenanceWith Adler Fielding Gallery, Johannesburg, from whom acquired byPrivate Collection, U.S.A.LiteratureAlan Bowness, Henry Moore: Volume 5, Sculpture and Drawings, Sculpture 1974-80, Lund Humphries, London, 1983, p.45, cat.no.LH777 (ill.b&w., another cast)'From the very beginning the reclining figure has been my main theme', Moore has declared. 'The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures'' (H. Moore, quoted in A. Wilkinson (ed.), Henry Moore, Writings and Conversations, Aldershot, 2002, p.212).The recumbent female form was a theme Henry Moore returned to throughout his nearly sixty-year career. 'The human figure is the basis of all my sculpture,' Moore professed, 'and that for me means the female nude.' Most of Moore's female figures are positioned seated or reclining, a configuration that initially stemmed from Moore's use of stone as his preferred medium and the structural weakness of the material in a standing figure's ankles. 'The reclining figure gives the most freedom, compositionally and spatially. The seated figure must have something to sit on. You can't free it from its pedestal. A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for an eternity' (D. Mitchinson, (ed.), Henry Moore Sculpture, with Comments by the Artist, London, 1981, p.86).The beautifully modulating form for the present work exemplifies Moore's mastery of the bronze medium. Propped on her forearms with her attention directed to her left and legs facing a contra-direction, Reclining Figure: Pointed Legs is animatedly alert and captures an instant of the figure's movement. The motion evoked by the form's curvilinear shape endows the figure with a plasticity that seemingly defies the bronze medium. Although reclining, this brilliantly dynamic sculpture presents dramatic profiles when seen from various viewpoints. The points of the figure's head, breasts, and attenuated arms and legs are counterbalanced by the soft curves of the woman's arching back, stomach, and propped legs.The recumbent woman is an artistic trope harkening to Ingres, Delacroix, Manet, among others, and references the Orientalist fantasy of the odalisque, a nude or partially clad harem girl. However, while most of Moore's reclining women are nude, Moore scholar David Sylvester argues: 'though they lie with knees apart or thighs apart, their overall pose doesn't betoken the availability commonly implied in reclining female nudes' (D. Sylvester, Henry Moore, Tate Gallery, London, 1968, p.5). Moore's women are in contradiction to the voyeuristic gaze of his predecessors. 'I am not conscious of erotic elements in [my work], and I have never set out to create an erotic work of art,' Moore stated. 'I have no objection to people interpreting my forms and sculptures erotically...but I do not have any desire to rationalize the eroticism in my work, to think out consciously what Freudian or Jungian symbols may lie behind what I create' (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley, 2002, p.115). 'These reclining women are not the reclining women of a Maillol or a Matisse,' Will Grohmann wrote. 'They are women in repose but also something more profound...the woman as the concept of fruitfulness, the Mother Earth. Moore, who once pointed to the maternal element in the 'Reclining Figures', may well see in them an element of eternity, the 'Great Female', who is both birth-giving nature and the wellspring of the unconscious... To Henry Moore, the 'Reclining Figures' are no mere external objects; he identifies himself with them, as well as the earth and the whole realm of motherhood' (W. Grohmann, The Art of Henry Moore, London, 1960, p.43).'I want to be quite free of having to find a 'reason' for doing the Reclining Figures,' Moore declared, 'and freer still of having to find a 'meaning' for them. The vital thing for an artist is to have a subject that allows him to try out all kinds of formal ideas—things that he doesn't yet know about for certain but wants to experiment with, as Cézanne did in his 'Bather' series. In my case the reclining figure provides chances of that sort. The subject matter is given. It's settled for you, and you know it and like it, so that within the subject that you've done a dozen times before, you are free to invent a completely new form-idea' (quoted in J. Russell, Henry Moore, London, 1968, p.48).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 18
18ct Yellow Gold - Attractive 5 Stone Diamond Set Ring, Gallery Setting. Fully Hallmarked for Birmingham 1965. The 5 Round Brilliant Cut Diamonds of White Colour - Est G, Est Clarity VSI, Est Diamond Weight 0.80 pts, Ring Size P - Q. All Aspects of Condition Is Excellent, Includes Setting, Shank. Low Estimate.
Lot 76
Edwardian Period - Attractive 5 Stone Diamond Ring In a Gallery Setting. Marked 18ct to Interior of Shank. The Semi Cushion Cut Diamonds of Good Colour and Clarity - Please Confirm with Photo. Est Diamond Weight 0.65 pts, Ring Size - O. Excellent Condition In All Aspects, Includes Setting and Shank.
Lot 138
A COLLECTION OF JEWELLERY, comprising a Victorian serpent bangle/bracelet, with plaited hairwork body, the clasp modelled as the serpent's head enclosing its tail, highlighted with cabochon turquoises and red stone eyes, together with a 9ct three colour gold collar necklace, of tapered brick-link design, two pairs of earrings, and a cultured pearl single strand necklace, bracelet length approximately 43cm (5)
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