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Lot 26
AN AMETHYST AND TOPAZ THREE STONE RING Featuring a square cut amethyst weighing approximately 15.0 Cts, flanked by two blue topaz weighing approximately 3.60 Cts, mounted in a rose gold setting marked '9K' to the shank. Accompanied with a Jewels Galleria box. US 6 7.8g Provenance: From a single owner collection. Proceeds will be donated to charity Condition: Condition Report Offered in excellent condition, with minimal or no signs of wear. For a detailed condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 119
A LARGE RUBELLITE TOURMALINE, PINK SAPPHIRE AND DIAMOND RING Featuring a cushion cut rubellite tourmaline weighing approximately 29.69 Cts, mounted in a 10K rose gold setting marked '417' to the shank, accented with round brilliant cut diamonds weighing approximately 1.40 Cts, round cut pink sapphires weighing approximately 5.00 Cts. Accompanied by a Nan Yang Gemological Institute Gemstone Report No 63811443 dated April 20, 2012 stating the stone is a natural rubellite (tourmaline) and weighs 29.69 Cts. Retailed by Jewels Galleria, where purchased by the vendor in December 2015, for $11,137 SGD US Size 8 16.5g Provenance: From a single owner collection. Proceeds will be donated to charity Condition: Condition Report Offered in excellent condition, with minimal or no signs of wear. For a detailed condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Additional Information: The winning bidder will receive a photocopy of receipt, with the vendor's personal details redacted
Lot 107
A FINE & RARE LADIES 18K SOLID GOLD, DIAMOND & TURQUOISE PIAGET BRACELET WATCHCIRCA 1970s, REF. 1001Movement: Manual back wind, signed Piaget.Case: Width approx. 9.7mm, factory set with diamonds & turquoise stone, signed Piaget, numbered, 18k hallmarks, original crown.Bracelet: Original 18k solid gold bracelet, factory set with diamonds & turquoise stone, total length measures approx. 165mm. CONDITION REPORTDial: Original dial in excellent condition, showing some small signs of age.Movement: Running & functioning at present, timekeeping and accuracy cannot be guaranteed.Case: In excellent condition, with some light scratches due to general use, some ageing to the glass.Strap/Bracelet: In excellent condition.
Lot 108
A FINE LADIES 18K SOLID WHITE & YELLOW GOLD PIAGET POLO BRACELET WATCHDATED 1998, REF. 8131 C 701 WITH ONYX STONE & WHITE GOLD DIAL, ACCOMPANIED BY ITS ORIGINAL BOX & PAPERWORK (PURCHASED FROM HARRODS)Movement: Quartz, signed Piaget.Case: Width approx. 20mm, signed Piaget, numbered, 18k hallmarks, original crown. Bracelet: Original 18k solid gold Piaget Polo bracelet, total length measures approx. 175mm. CONDITION REPORTDial: Original dial in excellent condition. Movement: Running & functioning at present, timekeeping and accuracy cannot be guaranteed. Case: In excellent condition, with light scratches due to general use. Strap/Bracelet: In excellent condition, with light scratches.
Lot 28
A FINE & RARE LADIES 18K SOLID GOLD & DIAMOND CARTIER PARIS ELLIPSE WRIST WATCHCIRCA 1980s, REF. 67081Movement: 17J, manual wind, signed Cartier.Case: Approx. 26.4mm by 23mm, factory diamond set & stone inlaid case, signed Cartier Paris, numbered, 18k hallmarks, original diamond set crown. Strap: Cartier leather strap with original 18k solid gold deployment clasp. CONDITION REPORTDial: Original dial in excellent condition.Movement: Running & functioning at present, timekeeping and accuracy cannot be guaranteed.Case: In excellent condition, with some light scratches due to general use.Strap/Bracelet: In good condition.
Lot 205
‡ SIR KYFFIN WILLIAMS RA large oil on canvas - Eryri (Snowdonia) landscape with upland farm, dry-stone walls, Welsh black cattle and two patrolling Welsh Collie sheepdogs, entitled verso on Thackeray Gallery label, 'Dyffryn y Fron', signed with initials, 75 x 126cmsProvenance: private collection London, purchased from Thackeray Gallery, London, by the vendor in 1999Comments: an unusual large size for Sir Kyffin, exceptional example of exhibition qualityBuyer's Premium: please note that bidders will benefit from stepped Buyer's Premium rates reducing at £25,000 / £30,000 and £35,000. Please see below.24.5% + VAT (29.4%) on all lots up to £24,999£25,000 and over = 20% + VAT (24%)£30,000 and over = 15% (18%)£35,000 and over = 10% (12%)
Lot 2063
Edwaert Collier, Ein Vanitasstillleben mit Münzen, Perlen, einer Taschenuhr, einer Brille, einem KerOil on canvas. 91 x 76 cm.Monogrammiert und datiert unten rechts auf dem Buch: EC 1661 (EC verschränkt).ProvenienzSammlung Michael de Young, San Francisco, 1894. - M. H. de Young Memorial Museum ("The Young"), San Francisco. - Fine Arts Museums, San Francisco (Inv. Nr. BL84.55). - Christie's, New York, 15. Januar 1985, Lot 33. - Galerie Gismondi, Paris, 1986. - Privatsammlung, Schweiz. - Hotel de Ventes, Genf, 11. März 2015. - Christie's Online, 30. Juli 2020, Lot 16. - Privatsammlung Guernsey C.I. (Großbritannien).LiteraturE. Buijsen, L.P. Grijp und W.J. Hoogstedter: The Hoogsteder Exhibition of Music & Painting in the Golden Age, exhibition catalogue, Antwerp and The Hague, 1994, S. 179 u. 180, Anmerkung 1 (Katalogeintrag von Fred G. Meijer). - Ann Stone: Treasures in the Basement? An analysis of Collection Utilization in Art Museums. Rand G S, 2002. - M. Brunner-Bulst: Pieter Claesz: der Hauptmeister des Haarlemer Stilleben im 17. Jahrhundert. Kritischer Oeuvrekatalog, Lingen, 2004, S. 336. - M. Tuominen: The Still Lifes of Edwaert Collier (1642-1708), Ph.D. dissertation, 2014, S. 43-44 u. 269, Abb. 95.Das hochformatige Vanitasstillleben ist ein frühes Meisterwerk Edwaert Colliers. Der Künstler behandelt hier erstmals ein Thema, auf das er während seiner langen Karriere immer wieder zurückkommt. Geboren in Breda, zieht Collier nach Haarlem, wo seine Werke großen Erfolg haben. Seine in Haarlem entstandenen Kompositionen verraten den deutlichen Einfluß des führenden Stilllebenmalers der Stadt, Pieter Claesz. (1597-1660). Bevor er 1664 in die Lukasgilde aufgenommen wurde, erhielt Collier möglicherweise eine Ausbildung bei Vincent Laurensz. van der Vinne (1628-1702), dessen Werk ebenfalls von der Kunst des Pieter Claesz. geprägt ist.Ein zentrales und immer wiederkehrendes Element in den Vanitasstillleben Colliers ist der Totenschädel. Als das Fine Arts Museums von San Francisco das vorliegende Gemälde verkaufte, war der mit einem Lorbeerkranz gekrönte Schädel noch mit einer Vase übermalt, die mit Lorbeerblättern geschmückt war. Bei der späteren Reinigung im Jahr 1985 wurde die Vase entfernt und der darunter liegende Schädel freigelegt. Er begegnet uns wieder in einem Vanitasstillleben des Künstlers aus dem Jahr 1661, das sich in der Sammlung des Sinebrychoff Kunstmuseums in Helsinki befindet. Weitere Vanitasstillleben gibt es in den Sammlungen des Rijksmuseums, Amsterdam und in den Sammlungen des Metropolitan Museum of Art, New York. Collier greift bei vorliegender Komposition auf ein 1655 datiertes Vanitasstillleben des Pieter Claesz. zurück, das 2001 auf dem Kunstmarkt war (Sotheby’s, New York, 25. Januar 2001, Lot 159). Sein sechs Jahre später entstandenes Gemälde verwendet die Hauptelemente des Vorbilds und berücksichtigt dabei sogar Platzierung und Erscheinungsbild der Signatur wie auch des Datums. Allerdings fügt Collier neue Bildelemente hinzu: Ein grüner Seidenvorhang ersetzt die Säule, die Claesz. oben rechts einfügte. Der Inhalt des geöffneten Buches in der Bildmitte ist verändert und zeigt eine Seite aus der Amsterdamer Ausgabe von 1634 von Adriaen Cornelisz. van Haemstede’s „Historien der Vromer Martelaren“ (Geschichte der gläubigen Märtyrer). Das Titelblatt desselben Buches kommt auch in einigen Stillleben von Claesz. möglichem Lehrer van der Vinne vor. Weitere Elemente wie der Globus im Hintergrund, die Notenblätter, die Münzen und der Almanach sind dem Vorbild entnommen. Jedes dieser Bildelemente soll den Betrachter an die Vergänglichkeit des Lebens erinnern: Das Stundenglas und die Taschenuhr verweisen auf den unaufhaltsamen Lauf der Zeit. Die Instrumente und die Partitur implizieren eine Verbindung zwischen der Flüchtigkeit der Musik und der Zeit selbst. In ähnlicher Weise steht der Kerzenhalter aus Steingut, auf dessen Rand eine einzelne brennende Glut ruht, für das Auslöschen des Lebens, während die Bücher und der Globus auf die Grenzen irdischen Wissens verweisen. Der umgestürzte Römer ist als eine Warnung vor Unmäßigkeit zu verstehen.Das Datum des Werkes - 1661 - markiert den Beginn der Karriere Colliers, mit einem auf Vanitas-Stillleben konzentrierten Oeuvre. Im Zusammenhang mit dem Tod von Pieter Claesz. Ende 1660 und seinem Begräbnis am 1. Januar 1661 in Haarlem, kann das Bild aufgrund des Themas auch als Hommage des jungen Künstlers an seinen Mentor gesehen werden.
Lot 100
A Chinese glass Snuff Bottle, of yellow ground painted with floral enamels, red stone stopper, three character mark to base, H 6.5cm, together with another, also yellow and overpainted in floral enamels, three character mark to base, H 7.5cm, a white ground Snuff Bottle, four character mark to base, H 7cm, and also with three interior painted Chinese glass Snuff Bottles (6)
Lot 101
A Chinese porcelain Snuff Bottle, depicting iron red Dragons on green ground, character mark to base, stone stopper, H 8cm, together with five others, including a Chinese blue and white porcelain flatback Snuff Bottle, H 6cm, another porcelain snuff bottle, this one with black ground and faded depictions of figures, H 7.5cm etc. (6)
Lot 5
A Grainger, Lee & Co. Worcester Vase, hand painted with scene of Keswick Lake, red signatures and title to base, H 16.5cm, lacks lid, with a pair of Chamberlains Worcester Cabinet Plates, with foliate border in relief enclosing hand painted flora, damaged, together with a pair of Wedgwood serving dishers and another similar, also with some burgundy ground porcelain including serving dishes, plates and Vase, a decorative plaster Panel depicting 'Diana the Huntress', stone effect, H 48.5 cm x W 27.5 cm, a marble effect decorative Urn, W 20 cm x H 26 cm x D 20 cm, a 19thC Staffordshire pottery figure and flatbacks (a lot)
Lot 96
A Chinese famille rose porcelain Snuff Bottle, the white ground decorated with enamels of a grasshoppers, restored neck, four character mark to base and stone stopper, H 8cm, together with a Chinese blue and white Snuff Bottle, character mark to base and agate stopper, H 8.5cm, a Chinese famille rose Snuff Bottle, with enamels of fish, H 7cm and one depicting Dogs, H 6cm (4)
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400965 item(s)/page