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Lot 151
An 18ct gold diamond ring, the bezel set round brilliant cut central stone approx. 0.56 carats, diamond set shoulders, hallmarked 18ct white gold band, gross wt. 3.6g, size O, with light wood box. Accompanying copy of jeweller's report stating that the central stone measures approx. 5.20mm x 5.30mm x 3.25mm, the central diamond clarity as VS2-SI1 and colour H-I.
Lot 152
An 18ct white gold five stone diamond ring, each round brilliant cut stone approx. 0.25 carats, gross diamond wt. approx. 1.25 carats, band marked '750', gross wt. 4.4g, size M/N, with black croc leather effect box. Accompanying copy of jeweller's report stating the diamond clarity SI2-I1 and colour J-L.
Lot 216
A mixed lot of dress rings comprising a ballerina style ring marked '18K' gross wt. 6.6g size W, an opal cabochon ring marked '18K' gross wt. 6.6g size W, a hallmarked 9ct gold opal doublet ring gross wt. 3.3g size Q, a cluster ring marked '18K' set with a green stone gross wt. 3.7g size V and two rings marked '925'.
Lot 18
Planters: A near set of six Pulham stoneware urns circa 1870 some stamped (one damaged) the largest 51cm high by 60cm wide; the smaller 48cm high by 56cm wide The Pulham company was established in 1820 but made terracotta from around 1846 on into the 20th century, with workshops in Broxbourne, Hertfordshire. By the 1880’s the company was concentrating on garden and landscape ornaments. A catalogue of 1915 indicates that their wares were made of ‘Pulhamite’ stone, which, is considered the best material for all designed stonework in connection with the garden for the following reasons: Pulhamite stone is more durable than natural stone, for it never decays and never shells or flakes, cement is not used in its composition, it is a lighter substance, making more elegant productions than any other so called artificial stone. This is an important point, as the sides of a Pulhamite vase give more space for soil. It is the colour of light stone. There is nothing deleterious to plant life in it, in fact, owing to the nature of the material, the opposite may be said in its favour. We guarantee its durability, and can refer to work which has been exposed for 70 years. If desired we can reproduce in the antique style, and copies can be made from practically any existing examples. The company held appointments to H.M. King Edward VII, H.M. King George V and H.M. Queen Alexandria. (See engraving)
Lot 25
Statuary: After Eneri Prosperi: A bronze group of five children each standing on stepping stones one with original sculptor’s plaque stamped Bronze Elite by Henri, the rest stamped Leonardo Rossi, the tallest 147cm, the smallest 101cm Eneri Prosperi was born in Bagni di Lucca in Tuscany in 1910 and later emigrated to America where he founded the Henri Studio in Chicago. Specialising in both composition stone and bronze they produced a wide range of garden sculpture. He died in 1990. This group made up of five individual bronzes would work very well spaced out in a lake or pond which would have been the sculptors original intention. Although the identity of Leonardo Rossi is unknown, it is believed to be the pseudonym for a foundry copying other studio’s work. These bronzes would appear to have been cast 20-30 years ago and are of a similar quality to another identical group of bronze children by the Eneri Prosperi studio, sold by us, lot 15, 28th March, 2017, hammer price £21,000.
Lot 26
Statuary: â–² David Wynne The Breath of Life Commissioned 1962 Nabresina Marble 490cm high, base of column 100cm diameter With inscribed pavement surround with glazed metal frames originally housing electric uplighters and a stone plaque with brass giving details of the sculpture. This iconic sculpture, resembling a totem pole, was originally commissioned in 1962 for the forecourt of Hammersmith House, the London headquarters of the British Oxygen Company. Fittingly, the theme from the second Chapter of Genesis is carved into the circular pavement surround of the sculpture; ‘And the Lord God formed man of the dust of the ground and breathed into his nostrils, the breath of life; and man became a living soul.’ The simple tapering column of Nabresina marble, a form of limestone similar to Portland, has been carved and incised to form a group of three human figures. The lowest figure shows man in the foetal position, as though newly formed from the rock. Upon his bowed back crouches a second figure struggling to inhale the first breathe, wracked by the stresses of his awakening. He supports with his arms the topmost figure, who kneels upright with his face gazing up into the sky. David Wynne OBE, (1926-2014) was one of Britain’s best loved sculptors of the 20th Century. Educated at Stowe School he then served in the Royal Navy during World War II and read Zoology at Trinity College, Cambridge, before taking up sculpture professionally in 1950. In London alone, Wynne was responsible for a huge number of important public commissions. He carved one of the capital’s best-loved animal figures, Guy the Gorilla, in Crystal Palace Park (1961). He sculpted the iconic Boy with a Dolphin at the Chelsea end of Albert Bridge, (1974) and Girl with a Dolphin outside Tower Bridge. (1973). Elsewhere he sculpted the Tyne God fountain in Newcastle upon Tyne; (1968), Christ and Mary Magdalene at Ely Cathedral;(2000) and a Risen Christ for the front of Wells Cathedral, one of his most famous commissions. (1985) His portraits included the Queen and the Prince of Wales, (1970) Sir John Gielgud, (1962), Sir Yehudi Menuhin,(1963), Sir Thomas Beecham (who said the piece reminded him of all the mistakes his orchestra had made in the previous 10 years),(1956), the four Beatles(1964) and the Maharishi Mahesh Yogi (whom he introduced to the group), as well as the Derby-winning racehorse Shergar. In 1973 he designed the linked hands on the 50p pieces that marked Britain’s entry into the European Community. Some of Wynne’s most striking pieces were designed for garden settings. He created works for the Abbey Gardens at Tresco, including Gaia, a sculpture made from South African marble, which has a South African planting around it. The Prince of Wales was so taken by the figure he commissioned a similar piece, called Goddess of the Woods, for his gardens at Highgrove. Wynne always took particular care in his choice of materials. A commission in 1957 for the façade of the Taylor Woodrow headquarters in London resulted in a distinctive 100ton block of granite being blasted from a Cornish quarry and being worked on in the rough in situ before being precariously transported to Wynne’s studio in Wimbledon. Likewise, when Pepsi Cola gave him carte blanche for a large piece, he spent three weeks in the Rocky Mountains and came out with a plan for a grizzly bear fashioned from a 36-ton block of marble. Literature: The Sculpture of David Wynne 1949-1967, T.S.R Boase, Michael Joseph, 1968, pages 82-83 Please see our website for further pictures and details.
Lot 28
Natural History: A Gibeon meteorite slice showing Widmanstatten pattern 17cm by 10cm, 0.8kg Meteorites have long held a fascination from ancient times onwards. Recent Research at the McMaster University in Canada and the Max Planck Institute in Germany concluded that Life on Earth began after meteorites splashed into warm little ponds and leached them with essential elements between 3.7 and 4.5 billion years ago. Often known as shooting or falling stars, due to the fireball that occurs when the meteoroid passes through the atmosphere and often accompanied by a sonic boom, a meteorite is a solid piece of debris that originates in outer space and survives its passage through the atmosphere to reach the surface of a planet or moon. They have played a big part in our history - the first iron had not been found in the earth and smelted but had in fact come from out of this world. Meteorites were seen as precious, almost cult-like objects and considered of high value. Confucius, the Chinese philosopher, made the connection between a streak in the sky and the rock in the ground when he made the first description of a meteorite fall in 645 BC. One of the earliest known human finds of a meteorite in Europe seems to have been in the UK, where a stone meteorite was uncovered during an archaeological dig at Danebury Iron Age hillfort in the 1970s. The fact that it was found deposited part way down in an Iron Age pit (c.1200 BC) suggests it must have been deliberately placed there. Scientific documentation only began in the last few centuries, but two of the oldest recorded meteorite falls in Europe were in Elbogen (1400) and Ensisheim (1492) and the German physicist, Ernst Florens Chladni, was the first to publish the idea that meteorites were rocks from space in 1794 but met with resistance from the European scientific community. Meteorites may have started life on earth, but one of the leading theories of mass extinction, the demise of the dinosaurs, also concludes that it coincided with a large meteorite impact - the Cretaceous-Paleogene extinction event which occurred 66 million years ago. The oldest known iron artefacts - nine small beads hammered from meteoric iron - were found in northern Egypt and securely dated to 3200 BC, and were indeed made long before the Iron Age. Egyptian hieroglyphics even referred to iron as being ‘from the sky’and Egyptian pharaoh Tutankhamun, who died in 1324 BC, was buried with an iron headrest, bracelet, and dagger from three different meteorites. Some Native Americans treated meteorites as ceremonial objects and the Indigenous peoples used iron-nickel meteorites as a source of iron metal.
Lot 60
Natural History: A Petroglyph stone panel Yakutia, Siberia, modern incised with primitive prehistoric figures and animals 132cm high by 75cm wide The decoration on this panel is loosely based on the petroglyphs, found in caves the Levante region of Spain and dating to prehistoric times.This lot and lots 46 to 80 originally formed the core of a collection of Pleistocene (2.6million-12,000 years ago), Ice Age material in the Mammoth Museum (Museu del Mamut) in Barcelona, which closed in 2016. It was located on the Carrer de Montcada in Barcelona’s Gothic Quarter, in a 12th century Gothic building close to major museums such as the Museu Picasso and the Museu Europeu d’Art Modern. (See footnote to lot 46).
Lot 9
Statuary: After Julien: A composition stone group of Amalthea and the goat 1st half 20th century 185cm high The original in marble, now in the Louvre, was sculpted by Pierre Julien in 1785 for the Queen’s Dairy at the Château de Rambouillet. In Greek mythology, Amalthea is the most-frequently mentioned foster-mother of Zeus,who with a goat nurtured the infant-god Jupiter in a cave in Cretan Mount Aigaion.
Lot 148
A collection of jewelleryto include a 9ct gold amethyst set cocktail ring, a 15ct gold ruby set ring (three gemstones deficient), a five stone illusion set diamond ring, stamped 18ct & PLAT; an unmarked yellow metal bracelet, a curb link chain, stamped 750, suspending two charms; a single hoop earring (qty)
Lot 146
A collection of four ringsto include an 18ct gold band, set with an oval cut blue sapphire; a three stone diamond set ring, to a plain yellow metal shank, stamped 18ct PLAT; an 18ct gold wedding band, and a white metal band with bright cut detail, stamped SILVER (4)Ring sizes: O, N/O, P & L/M
Lot 19
A two-stone diamond set twist ringclaw set with two old-round cut diamonds, the shoulders set with three round-brilliant cut diamonds to a plain white metal shank, together with a diamond set cluster ring, claw set with seven eight cut diamonds to white metal shank stamped 14K (2)Ring size: M & N
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