SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) BARRA Oil on panel 25.5cm x 31cm (10in x 12in) with a study of a mother and child verso Provenance:Wemyss Honeyman Collection Private Collection, Scotland 1998 Note:It has been variously suggested that this study was painted in 1898 and 1903. Peploe first travelled to the Isle of Barra in the Outer Hebrides in 1894, staying in the studio of his friend Robert Cowan Robertson, and returning on further occasions until 1903. He was accompanied on these trips by his brother W. W. Peploe who was also an artist but better remembered as a poet. Both were inspired by the great beauty of the tiny island, particularly the perfect horseshoe of Castlebay with its stone buildings huddled together against the Atlantic elements, including the tower of the picturesquely titled Church of Our Lady Star. On these trips Peploe worked en plein air and always on a small scale; painting directly onto wooden panels. These works are early in his career, and are astonishing in their modernism. The technique itself is notable - swiftly executed to convey a sense of the wind buffeting the waves in the bay and shaking the grasses on the hills, daubed in fluid, darting brushwork of un-mixed colour and glossy impasto. The style is extraordinary and wild; verging on Post-Impressionism in a manner no other British artist was practising at the time. As historian and critic Duncan MacMillan noted in reference to this particular picture, "There is nothing quite like it in contemporary British art and little enough in France either… it is quite clear from the patterns of brushwork that somewhere Peploe has seen and understood Van Gogh's painting." This early exposure to the great French artist was possibly a result of Peploe's relationship with Alexander Reid, the Glaswegian art dealer and friend of the Van Gogh brothers. Works such as this provide a fascinating and exciting insight into Peploe's development. Even as early as 1894 he was painting in an extremely avant-garde and experimental fashion; on the cusp of developing his friendship with J. D. Fergusson and heading to Paris. His role as an artistic pioneer cannot be overstated.
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An 18ct two stone diamond crossover ring in a period Bakelite case, the two old cushion cut diamonds claw set in white to a tapered crossover yellow precious metal band stamped '18', size J, total estimated weight of diamonds approximately 0.60cts, in an Art Deco odeonesque bakelite case from Mathers & Son, Cambridge
A diamond and 'star' stone dress ring, the polished band with flared cast front section of asymmetric raised polished boundaries to textured fields, and set with three oval cabochon dark grey-brown stones full of fine straight thread inclusions tending to slight six-point asterism (believed to be sapphire or possibly quartz) and two round brilliant cut diamonds, yellow precious metal stamped '14k', ring size W
An obsidian bar brooch by Dreicer & Co circa 1920, the uniform line of dark brown square cut stones with diaper crowns close set in a long millegrain edged collet, plain sides with an indented line, clasp with safety catch, white precious metal tests for platinum or 18ct white gold; stamped 'Dreicer & Co'; length 5.7cm The firm of Dreicer & Co was one of the premier jewellers in New York for sixty years from 1866 until the mid-1920s. It was founded by Jacob Dreiser, a Russian eimigré, who took his son Michael into partnership in the 1880s, and they specialised in diamond, pearl and coloured stone jewels of the highest quality. They were the first jewellery shop to open on 5th Avenue, and the interior was styled in Louis Seize fashion, more like a grand salon than a retail outlet. When Cartier opened in New York early in the 20th century, they saw Dreicer as their main rival, and after the shop closed, following the deaths of both father and son, bought its entire stock for $2.5m
A fancy coloured diamond single stone and 18ct gold ring, the round brilliant cut light golden brown diamond, estimated weight 0.79cts, estimated clarity VVS, half-collet set with each shoulder channel set with two round brilliant cut white diamonds to a plain band, size O, Sheffield import hallmarks 1989, contemporary presentation case
Two diamond rings - a single stone and a five stone, the first claw set with a single old cushion cut diamond to a plain tapered shank stamped '18ct', size J½; the second set with a graduated line of five old round cut diamonds with eight rose cut highlights in the interstices, in a carved scrolling Edwardian setting, also stamped '18ct', size G-H with ring slide; total estimated weight of diamonds approximately 0.90cts (2)
A single stone diamond knot pendant on gold chain, the round brilliant cut diamond claw set in the centre of a double wire knot to a fixed reeded bale, on associated fine flattened curb link 9ct gold chain by Unoaerre, Italian and English marks, Sheffield assay; length of pendant with bale 1.5cm, length of chain 46.5cm, cased
An unusual 1960s citrine pendant with later 18ct gold chain, the octagonal step cut mid-gold citrine collet set in the centre of three concentric oval bands at the base of a tubular post, so that all parts swivel independently, articulated bale, all in unmarked precious yellow metal tests for 18ct gold, length 9.0cm; to an associated Italian anchor link chain by Balestra, London import assay mark for 18ct gold, 1982, length 57cm; gross weight of pendant and chain 57.66g, estimated weight of citrine approximately 45cts; this pendant was hand-made for the vendor's mother, a one-off piece to showcase the fine stone
A single stone princess cut diamond ring, the principal stone, estimated weight 0.90cts, four claw set in a raised mount to raised shoulders each channel set with a line of five more smaller princess cut diamonds, plain tapered shank of white precious metal assumed to be 18ct white gold, ring size J; gross weight 7.88g, total estimated diamond weight 1.50cts
A mid 20th century garnet and white hardstone suite of necklace and bracelet, the necklace set to the centre with three emerald cut red stones - two garnets and a zircon - alternating with four scroll links set with lines of graduated round cut white hardstones, possibly white sapphires, and suspending from the centre stone a further scroll link and a larger garnet, to a fine fancy link back chain, unmarked yellow precious metal assumed 9ct gold, length of necklace 46cm, length of centre drop 3.0cm; the bracelet en suite, the centre with three garnets and four scroll links set as before with white hardstones, to a bracelet chain of polished rectangular links joined by jump ring links (one lacking), length 17.5cm
A chalcedony and diamond dress ring, the large oval cabochon pale blue chalcedony held either side by cords of white precious metal pavé set with round brilliant cut diamonds, the four ends crossing behind the stone and emerging again pavé set with diamonds to wrap around the finger merging into a polished shank, size P-Q (not round), length of ring head 2cm Comes with the receipt for US $3,500, dated 13th March 2004
A carved ruby figure of Ganesh, the opaque purplish stone weighing 454cts, carved in deep relief to depict the elephant-headed god, Ganesh, revered by Hindus, Jains and Buddhists as the god of beginnings, remover of obstacles, bestower of intellect and wisdom, and patron of the arts and sciences; the verso carved linearly as the back of the throne on which Ganesh is seated; height, width and depth 6.3cm, 3.6cm and 1.5cm
An antique opal and pearl cloak pin together with an opal set stick pin, the cloak pin with an asymmetric heart form set with an oval cabochon opal and graduated seed pearls (two lacking), the other end of the pin with removable arrow form set with a round cabochon opal, the two linked by a swag chain and the arrow end suspending a further short chain with freshwater pearl termination, length of pin 5.9cm, in period gold tooled leather case; also a stick pin headed by a pear-shaped cabochon opal, length of stone 8.3mm (2)
A lapis lazuli, emerald and gold-covered bead necklace, composed of three large polished pebble emerald beads - a central circular stone and two rectangular cushion shaped stones - interspersed with four uniform 20.5mm diameter spherical lapis lazuli, all spaced by polygonal gold-covered lac beads to a back 'chain' and clasp of similar vari-sized beads (the cores are a type of natural resin which is covered in thin gold sheet, which tests on the larger beads and clasp for 18ct gold, on the smaller beads for 14ct gold); length 39cm; the necklace could be lengthened up to approximately 48cm by using the doubled lengths of small beads as a single strand
A three stone sapphire and diamond hinged bangle, the old round-cushion cut diamond, estimated weight 0.69cts, and two deep blue sapphires claw set between lanceolate tips forming the middle of three bars, becoming two for the back section, unmarked yellow precious metal tests for 18ct gold, integral safety chain, internal width 6.0cm, gross weight 19.64g
A 1.5ct single stone diamond ring, the round brilliant cut diamond, estimated weight 1.55cts, eight claw set to a plain coronet gallery and tapered shank of white precious metal stamped 'Plat', ring size O; estimated colour of diamond F, estimated clarity P (principally a 'cloud' of white speck inclusions barely noticeable to the untrained eye)
An unusual sapphire and white hardstone target ring cased in an associated Wartski box, the central white stone, possibly a white sapphire, diameter 6.1mm, to an open petal surround and an outer close-set ring of round cut sapphires, to an oval pierced gallery and plain band, size N½, of hallmarked 9ct gold, London 1979; in a gold-tooled French navy calf ring box by Wartski (scuffed); diameter of ring head 1.7cm CATALOGUE AMENDMENT: The central stone is NOT a diamond - it is possibly a white sapphire.
A three stone emerald and diamond ring, the emerald cut emerald, measuring 6.4 x 5.8 x 3.65mm, of a vivid saturated peacock green and notably clean of inclusions, claw and bar set between two round brilliant cut diamonds to tapered shoulders set with lines of further similar cut small diamonds, ring size approximately L, in unmarked white precious metal, tests for platinum; total estimated weight of diamonds 0.85cts *Please see note at the beginning of the section regarding the origin (natural or synthetic) and treatments of gemstones
A certificated 2.64ct diamond single stone ring, the round brilliant cut diamond six claw set to a plain linear gallery and slightly tapered shank, size O½, white precious metal stamped '18ct', together with a certificate from AnchorCert , 20032582, dated 4th April 2017, stating the diamond to weigh 2.64cts, colour L, clarity SI1, with measurements, further details and maps of the stone; cased
A single stone diamond ring, set in white precious metal stamped 'Plat' to indicate platinum, the round brilliant cut diamond, estimated weight 2.45cts, is double claw set between sloping triangular shoulders of millegrain fields set with further small old cut diamonds, heart gallery, plain shank size O
A pair of late 19th/early 20th century Meissen figures of hunters, the green jacketed lady and gentleman standing with one hand on the barrels on their guns, her dog begging and his seated on the flag stone topped circular base, crossed swords marks, 23.5cm (9.25in) high (2) Provenance: Witham Hall, Lincolnshire, and by descent within the Fenwick family Although there has been some tidying up by a restorer there has been further chipping to fingers, applied foliage and such extremities
A Victorian silver presentation trowel, by Francis Higgins II, London 1879, the tear drop shaped blade engraved inscribed 'Presented to Edmund Boulnois, Esq., Chairman of the Board of Guardians on the Occasion of his Laying The Foundation Stone of the St Marylebone Infirmary, 7th July 1879' with hexagonal tapered handle with silver finial, 35cm, gross weight 10.41oz Provenance: Edmund Boulnois was county councillor and later Conservative MP for East Marylebone. His name is variously spelt/misspelt St. Marylebone Infirmary (later St. Charles' Hospital) was situated in the Ladbroke Grove area of North Kensington. The hospital was opened by the Prince and Princess of Wales in 1881. Its name was changed to St. Charles' Hospital when it was transferred from St. Marylebone Board of Guardians to the London County Council in 1930. In 1948 it became part of the National Health Service and came under the control of the North West Metropolitan Regional Hospital Board and the Paddington Group Hospital Management Committee. It now forms part of the Paddington and North Kensington District Health Authority. The wooden handle has become detached from its fixing but is undamaged. There is a display cased which is damaged and loked with no available key
German Follower of Dirk Stoop (17th Century) The rest during the chase with two sportsmen, one mounted on a grey beside stone monuments indistinctly signed lower right "G : J ... " (?) oil on panel 27 x 25½cm (11 x 10in) Provenance: From a Hertfordshire country house A 17th century painting. Oil on panel. Scratch to paint layer at lower right corner, otherwise paint layer in a good condition. Small areas of retouching. Varnish clear and even. A German Follower of Dirk Stoop.
George Earl (British, 1824-1908) Study of Caesar, the King's dog signed lower left "George Earl" oil on canvas 19 x 24cm (7 x 9in) Other Notes: The wire fox terrier "Caesar of Notts" was bred by the Duchess of Newcastle in1898 and presented to King Edward VII in 1903. The King and his dog became inseparable. A medallion inscribed ' Caesar - I belong to the King' was attached to his collar and can been seen in portraits of the dog. Caesar frequently caused problems for the King, escaping in Marienbad whilst chasing white peafowl and on another occasion killing rabbits owned by Lord Redesdale's daughters. The King ordered hardstone models of his favourite dogs and racehorses from the House of Fabergé. Caesar was at the King's side on his Norfolk estate when the initial wax models were revealed by the company. The model of Caesar was made of chalcedony, rubies, enamel and gold, and included Caesar's collar in the design. After the death of the King on 6 May 1910, Caesar refused to eat, and would spend time whining outside the King's bedroom. At one point, he managed to sneak into the King's bedroom and was found hiding under his bed by Queen Alexandra. The Queen encouraged him to eat once more and restored him to his normal self. In 1910, Caesar won the hearts of the nation when he attended the funeral of Edward VII, leading the funeral procession, with a Highlander, walking behind the carriage that carried the King's coffin. He was placed ahead of the Heads of State in the procession, including King George V and eight other Kings - an act of which Kaiser Wilhelm II of the German Empire disapproved. It was about this time that the German firm Steiff started producing their stuffed toy models of the dog. Caesar lived on in the Royal Household, cared for by the Dowager Queen, until his death in 1914. He is immortalised in stone at the feet of the King on the tomb of Edward VII in St. George's Chapel, Windsor Castle. Cleaned at some stage and with a modern wooden frame.
Pickle Forks - an Edwardian silver pickle fork, the moulded thistle terminal surmounted with a faceted purple stone, Adie & Lovekin, Birmingham 1905; other similar silver thistle top pickle forks; a silver engine turned three pronged pickle fork with pusher, Birmingham 1959; other silver pickle forks, 19th century and later (16)
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400830 item(s)/page