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Lot 523
Sam Kaner, American 1924-c.1990- Seated woman; aquatint, signed, inscribed `Epr d`Artiste` `Paris` and dated 1949 in pencil, 22x16cm: Sam Kaner, American 1925-c.1990- Head of a woman; aquatint, 31x24.7cm., (2) Note: The artist Sam Kaner also ran the American Art Gallery (later known as the Court Gallery) in Copenhagen where were held exhibitions of the COBRA artists and others including Karel Appel, Lynn Chadwick, Sam Francis, Hans Hofmann, Paul Jenkins : After Syollie Awp, Inuit 1932-c.1989- "Man and Bird Dancing"; stone cut print, 24x19.5cm: Alistair MacCready Bell, Canadian 1913-1997- "Eagle (Head)"; drypoint etching, signed, titled and numbered 7/10 in pencil, 6.5x6.5cm., (4) (part unframed)
Lot 685
Dame Barbara Hepworth, British 1903-1975- "Small Sun" (BH489); polished bronze, conceived in 1969 and cast in an edition of nine plus the artist`s proof, this example numbered 1/9 on the base, height 33cm including base. Provenance: Purchased directly from the artist in 1974 Literature: Alan Bowness, ed., The Complete Sculpture of Barbara Hepworth 1960-69, London, 1971, no. 489. Barbara Hepworth: Drawings from a Sculptor`s Landscape, London, 1966 Note: Barbara Hepworth used bronze in the last twenty years of her life, preferring to use stone in her previous works. She began to re-interpret forms in bronze that had originally been carved finding that the new material gave new aspects to certain themes. During The Second World War Hepworth was evacuated to St. Ives, Cornwall where she took up permanent residence in 1950 and purchased her Trewyn studio where she remained for the rest of her life. She was greatly influenced by the natural beauty and elements of the Cornish landscape and transposed this organic inspiration into her work. Hepworth stated that `A sculptor`s landscape is one of ever-changing space and light where forms reveal themselves in new aspects as the sun rises and sets, and the moon comes up. It is a primitive world; but a world of infinite subtle meaning.` In `Small Sun` the literal translation of the sun as subject matter is obvious again taking inspiration from the forms presented by nature. Also present is awareness from Hepworth of the natural effects of the elements of the sun, such as the ever changing appearance of the landscape as the sun rises and sets creating different shadows on the land; so this effect is translated into the sculpture as the bronze surface changes hues within differing lights and times of day. Juxtaposition is created between the curved nature of the bronze form and the tort tension provided by the crossing strings over the front of the sculpture. The contrast is further highlighted by the polished nature of the bronze and the natural appearance of the string adhering to the organic nature of material that was fundamentally important to Hepworth throughout her career.
Lot 1221
* A Chinese jade Ruyi washer, Qing dynasty, carved naturalistically using the different colours of the stone as a pair of hollowed ruyi heads borne on a leafy stem, to rim of one stands a large dragon with a `pearl of wisdom` on its back, the stone of celadon tone with a russet and caramel skin, wood stand, length 18 cm, (2).
Lot 1529
A Chinese spinach jade bowl, 18th/19th century, the bulbous body leading to a straight foot, width 5.5 cm, a Chinese carved soap stone split pendant, length 5 cm, a Chinese carved ivory mythical beast, width 5 cm, a Chinese carved ivory monkey, height 3.5 cm, a Chinese carved netsuke of an Immortal figure, height 7.5 cm, a carved ivory basket, height 5.5 cm, (6).
Lot 64
A set of ten Delft style plates, 20th century, with blue and white images depicting exotic animals, made for Colefax and Fowler, 1994, diameter 28 cm, a blue and white Delft style jug of similar design, height 22.5 cm a large Bentham Jackfield `Pax` lustreware dish, 20th century, depicting eagle flanked by two cornucpia, diameter 34 cm, two famille rose dishes decorated with stylised peonies on blue grey ground, late 19th century, two dishes with Chinese characters on grey ground, early 20th century, largest diameter 33 cm, a cloisonne dish decorated with peonies and a ho ho bird, late 19th century, diameter 31 cm, a collection of colourless glass marbles and hard stone eggs including obsidian, banded calcite and marble, length 9.5cm (A/F) (a lot)
Lot 71
A diamond four stone ring, the brilliants set into a square, totalling approximately 0.2 carats, finger size N; with a diamond five stone ring, the graduated brilliants totalling approximately 0.38 carats; a diamond single stone ring, the brilliant cut of approximately 0.15 carats, illusion set to a mount stamped `Platinum` and `18ct`; and a late Victorian diamond and paste five stone ring, Chester 1898, the three old cuts totalling approximately 0.4 carats, with green pastes between
Lot 90
A diamond set cross pendant, the seventeen brilliants totalling approximately 0.5 carats, indistinct marks to the single stone set bale, 3.3cm long overall; with another similar diamond set cross pendant, the dozen brilliants totalling approximately 0.6 carats, 3cm long overall; and a 9 carat gold cubic zirconia set cross pendant
Lot 148
A sapphire and diamond three stone ring, the rectangular cut, measuring 3.9mm by 3mm, flanked by brilliant cuts totalling approximately 0.24 carats, stamped `18ct` and `Plat`, finger size L; with a sapphire and diamond 18 carat gold cluster ring, the oval cut enclosed by single cuts; another similar sapphire and diamond cluster ring; and a three stone diamond and sapphire ring, the central brilliant cut of approximately 0.12 carats
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400965 item(s)/page