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Lot 1859
A 14ct yellow gold diamond set sheath pendant, with principal stone to the central Star of David and with total diamond weight approx 0.30cts, length 4.5cm, approx 10.8g.Provenance: from the estate of Jerry Lewis, purchased at Julien's Auctions. A copy of the provenance card sold with the lot.
Lot 1995
A mixed lot of jewellery including a 9ct yellow gold and sapphire three stone ring, size N1/2, a 9ct gold framed goldstone Masonic pendant, a silver gilt bar brooch, a harp shaped example, a group of costume cuff links, an Art Deco and Edwardian style brooch, a Leyton Schools Football Association medallion, 1951-1952, an Italian silver Figaro link chain necklace and a silver cased fob watch.
Lot 1995A
A group of jewellery including a 9ct yellow gold dress ring set with oval cut blue coloured stone surrounded by small white stones and a yellow metal chain stamped '9ct' to clasp suspending small 9ct gold heart shaped pendant, approx 4.1g, three watches, a bangle, a threepence bracelet and a faux pearl necklace.
Lot 1996
A group of jewellery comprising two pairs of gold plated drop earrings, a sterling silver marcasite set example and a pair of Victorian yellow metal oval ear studs set with malachite carved in relief with busts of a young lady and gentleman, each within an engraved border set with six seed pearls, 2.5 x 2cm, a garnet cabochon mourning brooch, an Edwardian pendant on 9ct gold chain, and a yellow metal fancy link chain suspending an oval blood stone fob, total length 13cm (10).
Lot 2025A
A small group of costume jewellery to include a hallmarked silver brooch in the style of Charles Rennie Mackintosh, a Celtic sword shaped example, and a base metal marcasite set feather shaped example, also a pair of 1950s ceramic beer clips 'Kruger' to the back and a carved apple green jade coloured heart stone pendant (af).
Lot 2026
A small group of costume jewellery to include a bead work necklace, a clear cut glass example, a 9ct yellow gold framed hard stone pendant, a jade coloured hard stone example, a mother of pearl fylfot pendant and a 900 silver quatrefoil shaped boar decorated example, also a variously amber coloured bead necklace.
Lot 2036
A collection of costume jewellery including a 19th century gold plated mourning brooch with glazed hair, a further gold plated brooch set with purple coloured glass stone, two black glass necklaces, large Celtic-style brooch set with orange coloured glass stones, silver bangle, silver tone angelfish brooch set with turquoise effect stone and further including filigree work, clip on earrings, bracelets, etc.
Lot 891
Five various Oriental ornaments to include a quartz squirrel, a bronze figure of Ganesh and a cloisonne enamel decorated mythical beast, also a small wooden table screen stand (some af) (5).Additional InformationThe stand with major to the top, the yellow hard stone bird with loss to beak, the cloisonne mythical beast with heavy surface wear and losses to enamel detailing, loss to one of the suspended bells, surface dirt, a large natural inclusion to the squirrel with possible small area of re-gluing.
Lot 210
λDenis Mitchell (British 1912-1993) St. Keverne Bronze Inscribed with initials, titled, dated 1971 and numbered 6/7 on the underside of base Height: 37.5cm (14 3/4in.) Provenance: Acquired directly from the artist by the present owner Denis Mitchell grew up in South Wales but moved to Cornwall in 1930 at the age of 18 where he was to remain for the rest of his life. He settled first in St. Ives where the heady artistic energy proved an enduring inspiration. Initially drawn to painting, he worked at a series of jobs whilst always pursuing his artistic ambitions. During the war years, Mitchell worked at the Geever tin mine near Land’s End and this experience of working with his hands and manipulating the stone was to change the course of his life. When the potter Bernard Leach suggested his name to Barbara Hepworth as a potential assistant, he was not only to become a trusted companion to one of the greatest sculptors of the twentieth century, but he would also develop his own successful career. Mitchell worked with Hepworth for ten years between 1949 and 1959 and under her mentorship, he grew in confidence. His first sculptures were in wood with his first bronze in 1959.Due to the high cost of working in bronze, Mitchell could only afford to use a sandcasting foundry in St. Just. The process allowed for only very simple shapes to be cast and resulted in an economy of form which, in hindsight, honed Mitchell’s skills and set him on a path to purity of form for which his work is known. Whatever the medium, Mitchell’s sculptures tend to incorporate just one principle form, stretching and curving upwards into the space. They are an expertly judged balance between space and form, between line and mass and their sleek polished exteriors belie their material weight.From his base in St. Ives, Mitchell was always at the centre of the Cornish abstract movement surrounded by artists that have since become icons of 20th century British Art - Barbara Hepworth, Ben Nicholson, Terry Frost, Wilhelmina Barns-Graham, Bryan Wynter, Peter Lanyon and Patrick Heron to name but a few. As Mitchell’s success grew, he found his St. Ives studio too small and opted instead to share a studio with another friend and artist, John Wells, across the Penwith peninsula in Newlyn. In 1969, he moved his family and settled permanently in the town and it was here that much of his most successful work was produced. Mitchell continued to work and exhibit right up until his death at the age of 80 in 1993. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 212
λDenis Mitchell (British 1912-1993) Zagcone Portland stone Height: 50cm.Executed in 1974, this work is unique and one of the only few works produced in Portland stone. Provenance: Acquired directly from the artist by the present owner in May 1975 Exhibited: London, Marjorie Parr gallery, October 1974 St. Ives, Tate Gallery, Ascending Forms (with Wilhelmina Barns-Graham), January-May 2005 St. Ives, Tate Gallery, Gabo - Hepworth - Mitchell, January-May 2010 Denis Mitchell grew up in South Wales but moved to Cornwall in 1930 at the age of 18 where he was to remain for the rest of his life. He settled first in St. Ives where the heady artistic energy proved an enduring inspiration. Initially drawn to painting, he worked at a series of jobs whilst always pursuing his artistic ambitions. During the war years, Mitchell worked at the Geever tin mine near Land’s End and this experience of working with his hands and manipulating the stone was to change the course of his life. When the potter Bernard Leach suggested his name to Barbara Hepworth as a potential assistant, he was not only to become a trusted companion to one of the greatest sculptors of the twentieth century, but he would also develop his own successful career. Mitchell worked with Hepworth for ten years between 1949 and 1959 and under her mentorship, he grew in confidence. His first sculptures were in wood with his first bronze in 1959. Due to the high cost of working in bronze, Mitchell could only afford to use a sand-casting foundry in St. Just. The process allowed for only very simple shapes to be cast and resulted in an economy of form which, in hindsight, honed Mitchell’s skills and set him on a path to purity of form for which his work is known. Whatever the medium, Mitchell’s sculptures tend to incorporate just one principle form, stretching and curving upwards into the space. They are an expertly judged balance between space and form, between line and mass and their sleek polished exteriors belie their material weight. From his base in St. Ives, Mitchell was always at the centre of the Cornish abstract movement surrounded by artists that have since become icons of 20th century British Art - Barbara Hepworth, Ben Nicholson, Terry Frost, Wilhelmina Barns-Graham, Bryan Wynter, Peter Lanyon and Patrick Heron to name but a few. As Mitchell’s success grew, he found his St. Ives studio too small and opted instead to share a studio with another friend and artist, John Wells, across the Penwith peninsula in Newlyn. In 1969, he moved his family and settled permanently in the town and it was here that much of his most successful work was produced. Mitchell continued to work and exhibit right up until his death at the age of 80 in 1993. Zagcone dates from 1974 and is one of a few unique works produced in Portland stone. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 199
A collection of fourteen Château Mouton Rothschild wine label posters, comprising 1973 - after Pablo Picasso; 1982 - after John Huston; 1983 after Saul Steinberg; 1984 - after Agam; 1985 - after Paul Delvaux; 1986 - after Bernard Séjourné; 1987 - after Hans Erni; 1988 - after Keith Haring; 1989 - after Georg Baselitz; 1990 - after Francis Bacon; 1991 - after Setsuko; 1992- after Per Kirkeby; 1993 - after Balthus; and 1994 - after Karel Appel, the wine label lithographic posters in colours, on arches paper, signed in stone by the artists and Baron Philippe de Rothschild, each measuring 22 x 17in. (56 x 43.2cm.), the central lithograph on each measuring approximately 9½ x 7in. (24.2 x 17.8cm)., *Condition: All posters in excellent condition with great colour and no rips or tears, some fingerprint marks which will be easily cleaned. All unframed, not mounted - rolled and stored in a cardboard tube.
Lot 507
A vintage platinum and diamond ring, probably 1950s, the central 0.80ct brilliant cut diamond flanked either side by four small brilliant cut diamonds in rub over settings, ring size K½.* Condition: Main centre diamond in excellent condition, with no chips, frits or scratches. No professional grading is included, but our assessment is approx. H-I colour and VVS1 clarity - it is very clean indeed. The other smaller stones to the shoulders also in very good condition, with no damage - all appear to be original. Colour approx. G-H, clarity SI. The rub over settings on these smaller stones are worn in places, most notably on the outermost stone on each shoulder, where the setting is partially worn away to the outside edge. The claws holding the main diamond are a little worn (showing the yellow gold beneath the rhodium plating) but remain secure. The shank has been sized at some point. The setting shows signs of wear from use but there is no damage.
Lot 523
An Art Deco platinum, diamond and onyx bar brooch, hallmarked 'PLAT', of cross form, set with old brilliant cut diamonds and a central vertical bar of four rectangular cut onyx, pendant loop to one end, 5.9cm. long., *Condition:Good condition with no damage to either stone or gold. All stones original. Good quality, with hinged catch to fix pin in place when closed.
Lot 526
An 18ct white gold, Ceylon sapphire and diamond seven stone ring, the central emerald cut 6.44ct natural, unheated sapphire, flanked by stepped shoulders set with graduated baguette cut diamonds, total 0.85cts., ring size N½., * With Gem & Pearl Lab certificate dated 24th August 2018, stating the sapphire as 'Transparent Blue, Rectangular Cut Cornered, Faceted Mixed-Cut, 6.44ct., 11.9 x 8.2 x 6.4mm., Natural Sapphire, No Evidence of Heat Treatment Was Observed, Origin Sri Lanka'.
Lot 536
A suite of silver gilt and garnet jewellery, comprising an oval cluster pendant on box chain, an oval cluster ring and a pair of floral design drop earrings. (4)* Condition: A few tiny nicks to the top facet edges of the ring's central stone (visible only under a 10x lens, not with the naked eye). All other stones in very good condition. The ring has had the edge of the shank cut away very slightly at the opposite side to the setting, showing the silver beneath - this was probably when it was tested to see if it was gold by a trader. The settings are otherwise in good condition.
Lot 544
An 18ct white gold and diamond three stone ring, mid-century, the old cushion cut central diamond flanked by a pair of old brilliant cut diamonds, approx. 1.5ct total, ring size N.* Condition: The central and one side diamond are in very good condition, with no chips or scratches. The other side diamond has five small chips to the edge of the table - they are too small to be visible with the naked eye but are clearly visible through a 10x lens. The centre stone is older - probably 19th century cushion cut and therefore is more tinted with yellow than the outer pair of stones, which are old brilliant cuts from the first hald of the 20th century. The centre stone is approx. J colour, VS1 (with just one small inclusion visible to the outside edge under a 10x lens). The outer pair are F-G. One is VVS1, the other (with the small edge chips) is S1, with one large inclusion beneath one claw. The gold setting is good overall, with some expected wear from being worn.
Lot 613
A fine Art Deco platinum, 18ct gold, sapphire and diamond pendant, the oval cut sapphire of fine cornflower blue colour, approx. 3.60ct, flanked by two teardrops each set with an old brilliant cut diamond, suspended from a fan shaped openwork pendant set with a mix of old brilliant, rose and single cut diamonds, total weight approx. 0.50cts, colour I-J, clarity SI, overall drop 5.2cm., on a modern 18ct white gold link chain.* Condition: The sapphire has a few miniscule frits to the top facets and facets to the underside, and also tiny frits to the centre point of the back of the stone - these are only visible through a 10x lens. There are a few small inclusions visible in the stone through a 10x lens - one dark needle inclusion to the left hand edge and a tiny bubble inclusion beneath it, three or four other tiny inclusions to the top and bottom of the stone and some wispy faint inclusions around the bottom of the stone. Diagonal striations in the colour are visible through a 10x lens when held up to the light. There is no certificate so no info. re treatment or origin of the stone. The remainder of the pendant is in very good condition, with no damage to the setting or millegrain borders. All diamonds appear original and are well set. The chain is modern.
Lot 754
A gilt copper bust 'The Kiss Bestowed' after Jean-Antoine Houdon, signed to reverse, on alabaster base, 6 1/8in. (15.5cm.) high overall; together with a small patinated bronze figure of a dancing cherub, on a carved stone sphere, 6¼in. (15.8cm.) high; and a small cast iron bust of a nobleman. (3), *Condition:- The Kiss Bestowed: Wear to gilt painted finish throughout. Small chip to back lower edge of base., - Bronze: Some green verdigris dicolouration to raised right arm and head. Some scratching to sphere., - Bust: Some surface rust spotting throughout.
Lot 768
An impressive 18th century Beauvais tapestry after Jean Baptiste Oudry (1686-1755), depicting 'La Main Chaude' (a Game of Hot Cockles), the figures in a wooded landscape beside a stream and stone folly, an open landscape with chateau visible in the distance, a shepherdess and her flock on the opposite bank, within a magnificent frame style border with bold acanthus decoration and cartouches to the angles, 118½ x 156in. (301 x 396cm.), some minor repairs. , *Condition:Colours remain bold and bright overall, with the exception of some fading to the pale areas in the distant landscape/sky above and standing lady's dress and some minor fading to the reds in the border to the left hand side. There is also a faint water tide mark to the sky above the distant landscape. Backed in neutral linen - there are two areas of water/damp damage with one large hole to this linen, but the tapestry in front does not appear affected. Some small, well executed stitched repairs and small patches. Small split to very edge border at top left corner and a few smaller worn splits/holes to very top edge. Hanging rings have been swen onto top edge verso.
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400965 item(s)/page