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Lot 365
A (post WW1) Military Cross group, with citation on gazette clipping, together with death plaque and posthumous WWI Medal Group, named to 2966 Lieutenant Robert Haile, 10th Battalion, Essex Regiment, the Military Cross in fitted case, with citation reading 'For conspicuous gallantry and devotion to duty. Through a heavy barrage he led his platoon in a counter-attack, after which he personally took out a Lewis gun team and safeguarded his flank', (London Gazette, 16th September 1918), and a boxed Croix de Guerre 1914-1918, together with assorted medals and related ephemera, comprising a WWI Campaign and victory Medal, named to 30453 Pte. E A Birch, Norfolk Regiment, a further WWI group, named to 50538 Dvr. P Bowen, Royal Engineers, framed with a WWII group, for William Bowen, with a related commission certificate for the rank of 2nd Lieutenant, and assorted further civilian badges and medals awarded to the same. also a 1939-45 group to Mr Bowen
Lot 85
A hardstone necklace, probably Scotland, 19th century, and an opal demi-parure, comprising: a necklace composed of carved and spherical beads of jasper and banded agate, and one faceted citrine, mounted in gilt metal, length 41cm; and a ring and pair of stud earrings, each set with a cabochon opal, mounted in gold, ring size O, earrings 1.2cm each, post fittings
Lot 145
A gold, sapphire and diamond demi-parure, comprising: a pendant and pair of earrings, each of oval outline in textured 18ct gold, decorated with foliate scrolls, set with cabochon sapphires and brilliant-cut diamonds, earrings 1.7cm each, post fittings, pendant length 2.8cm, chain length 45cm, earrings and pendants with British hallmarks, chain with EU assay mark for 18ct gold
Lot 94
A group of ruby and diamond jewels, comprising: a circular- and rose-cut diamond cluster pendant, length 2.5cm; a three-stone cushion-shaped diamond ring, each end set with a trio of smaller circular-cut diamonds, mounted in 18ct gold, size P, British hallmarks; a pair of ruby and diamond cluster stud earrings, 1.2cm each, post fittings; and a pair of diamond half-hoop earrings, length 1.4cm each, post fittings
Lot 491
A ruby and diamond suite of jewellery, comprising a ruby and diamond ring by Romaine Herzo, the oval ruby set within diamond-set shoulders and gallery in white gold, French control marks and rubbed maker's mark, size M, with a ruby and diamond necklace, formed of graduated clusters of ruby and diamonds on a ruby chain in white gold, length 43cm, with a pair of matching ruby and diamond earrings in white gold, post and clip fittings, length 3.1cm
Lot 81
A collection of nephrite and jadeite jewellery, comprising: a pendant of nephrite intricately carved with two boys within a border of pierced openwork, to a decoratively knotted cord necklace threaded with chalcedony beads, pendant 3.7cm; a jadeite bead necklace, length 43cm; and a pair of drop earrings suspending jadeite hoops, mounted in gold, length 4.1cm each, post fittings
Lot 355
A pair of aquamarine, emerald and diamond earrings, each of pendent design, composed of an oval emerald surmount suspending a cushion-shaped aquamarine in a geometric border, set with brilliant- and single-cut diamonds, mounted in silver, length 3.9cm each, post fittings, aquamarines totalling 18.46 carats
Lot 47
A collection of jewels, late 19th and 20th century, comprising: a pair of brilliant-cut diamond stud earrings totalling approximately 0.40 carats, mounted in 18ct white gold, post fittings, British hallmarks; a diamond ring, stamped 18CT; a synthetic blue spinel and diamond cluster ring in 18ct gold, British hallmarks; a step-cut emerald and baguette diamond ring in white gold, stamped 14K; an oval amethyst brooch; a pair of amethyst and diamond cluster stud earrings mounted in gold, stamped 9K; a cultured pearl necklace with a cultured pearl and diamond clasp modelled as a bow, stamped 14K; an amethyst and white chalcedony-handled desk seal mounted in gold, length 5.2cm; a horseshoe stick pin set with half pearls; a rose quartz and diamond pendant, stamped 375; a portrait miniature brooch in 18ct gold, British hallmarks; a gold brooch designed as a Rococo scroll frame; four gold lockets; a fox head bar brooch; a lady's gold Rotary watch with gilt metal bracelet; and a collection of jewels in gold, silver and gilt metal, in a wooden jewellery box
Lot 600
Van Cleef & Arpels, a pair of sapphire and diamond earrings, 1960s, designed as two stylised intertwining leaves, set with circular-cut sapphires and diamonds respectively in fluted yellow gold setting, folding post and clip fittings, signed Van Cleef et Arpels, French control marks and maker's lozenge, stamped D and numbered 71809, length 1.9cm, in chamoix pouch stamped Van Cleef & Arpels
Lot 794
A Regency amethyst and aquamarine parure, early 19th century, comprising a necklace set with graduated oval-shaped amethysts in pierced repousse surrounds separated with pear-shaped aquamarines within cannetille surrounds in yellow gold, the principal cluster with a pendant loop, length 46cm, with a matching amethyst and aquamarine brooch/pendant within elaborate foliate and cannetille surround suspending three articulated amethyst drops, length 8.2cm and a pair of matching amethyst drop earrings, length 4.6cm, later post fittings, in fitted leather case
Lot 511
Van Cleef and Arpels, an emerald and diamond demi-parure, comprising an abstract yellow ring set with graduated circular-cut emeralds and diamonds, signed Van Cleef & Arpels 6500 C.S with French control marks and maker's lozenge, size L, with a pair of similar emerald and diamond earrings in textured yellow gold, signed, with maker's lozenge and French control marks and London import marks for 1960, post and clip fittings, length 3.2cm, gross weight 41g
Lot 49
A collection of jewels, 19th and 20th century, comprising: a malachite bead necklace with gold spacers, length 56cm; three shell cameo brooches depicting the goddess Diana, William Shakespeare and a Bacchante respectively, each mounted in gold, largest 6.7cm including bail; a gold filigree Maltese cross brooch composed of thistles and clovers, indistinct assay marks; a gold brooch of floral design set with faceted blue glass and seed pearls, diameter 3.8cm, pearls untested; a floral brooch in silver, set with peridot, rock crystal, amethyst and tourmaline in the suffragette colours, fitted case; an amethyst and seed pearl cluster brooch mounted in gold; a gold locket with engine turned engraving within a chased floral border; a similar, larger locket in gilt metal; a pair of opal pendent earrings mounted in 9ct gold, length 3.5cm each, post fittings, British hallmarks; a treated jadeite and cultured pearl necklace; a banded onyx, seed pearl and enamel brooch in low carat gold; and a gilt metal and purple paste brooch
Lot 775
A pair of natural pearl and diamond earrings, late 19th century, each designed as a foliate cluster, set with a pearl measuring 8.5 x 8.2mm and 8.6 x 7.9mm respectively, within borders of cushion-shaped diamonds, mounted in silver, length 1.5cm, post fittingsA verbal report from GCS states that the pearls are natural, saltwater, one of them a half pearl
Lot 60
A collection of jewellery, comprising: a 9ct gold bangle set with eleven graduated pearls, inner circumference 17cm, British hallmarks, pearls untested; a ruby and diamond five-stone ring, size P, stamped 18; a five-stone multigem and 18ct gold ring, size O, London hallmark; an amethyst and 9ct gold ring, size N1/2, London hallmarks; a blue zircon and 9ct gold ring, size P1/2, Birmingham hallmarks; an amethyst and seed pearl heart-shaped pendant, length 2cm, pearls untested; a fire agate and gold drop pendant, length 2.3cm; a gold Scorpio pendant necklace, pendant length 2.1cm, chain length 22cm, pendant stamped 9K; a gold pendant set with an oval opal and a pair of stud earrings en suite, pendant length 2.2cm, earring length 0.8cm; a pair of ruby, diamond and 9ct gold drop earrings, length 2cm, London hallmarks, post fittings; a pair of opal and 9ct gold stud earrings, length 1cm, London hallmarks, post fittings; a pair of gold stud earrings, diameter 0.4cm, stamped 375; a pair of seed pearl and gold stud earrings; an amber brooch; and a gold Playboy bunny stickpin
Lot 486
A pair of ruby and diamond earrings, each of cluster design, set with a circular-cut ruby within a border of brilliant-cut diamonds, mounted in silver, diameter 1.1cm each, post fittingsA verbal report states that the rubies are of Burmese (Myanmar) origin, with no indications of heat treatment
Lot 756
A pair of diamond earrings, Portugal, early 20th century, each designed as a circular cluster set with concentric arrangements of circular-cut and cushion-shaped diamonds, suspended from a collet-set circular-cut diamond, mounted in silver and gold, length 2.4cm each, post fittings, Portuguese assay marks
Lot 850
Bulgari, a rare diamond demi-parure, 1990s, comprising: a necklace and a pair of earrings, each composed of interlocking circular links, pavé-set with brilliant-cut diamonds totalling approximately 20.00 carats, mounted in white gold, necklace length 40-43cm, adjustable, earrings 4.9cm each, clip and post fittings, all signed Bulgari, Italian maker's marks 2337AL, stamped 750
Lot 92
Edward Brian Seago RBA, ARWS, RWS (1910-1974) Watercolour drawing “Cattle on a Marsh”, signed, with Mandell's Gallery label verso and receipt dated 1986, 27cm x 36cm From the collection of the late Maurice Costley Edward Seago was born in Norwich, a self taught artist who is renowned for his portrayal of East Anglian scenes. Working in both watercolour and oil, his paintings are atmospheric and moody in an impressionistic and post-impressionistic style. During WWII he joined the army and worked on developing camouflage. He was extremely popular during his life time, exhibiting at some of London’s top galleries which included P & D Colnaghi where a queue would form along Bond Street to purchase one of his pictures. During his later career he travelled to paint with various patrons, to Venice, Gambia and to remote areas such as the Antarctic. His most famous patron was Queen Elizabeth, the Queen Mother, and many of his works are in the Royal Collection. Condition ReportOverall in good order. The paper is undulating slightly and does not sit flat, there are some small areas of faint brown discolouration to the sky, the mount has discoloured slightly. Uninspected out of frame.
Lot 226
A SPANISH BLUE AND GREEN-PAINTED POTTERY CHARGER WITH PALMETTES Possibly Valencia or Manises, Post-Nasrid Spain, late 17th - early 18th centuryOf shallow rounded shape, resting on a concave, circular base, rising to a flattened, gently everted rim, the earthenware body covered in white slip, underglaze-painted in cobalt blue and copper green, and the décor enhanced with fine manganese purple stripes, presenting a fish-scale grid in-filled with palmettes in the central field, cavetto and rim, the exterior plain, mounted on a metal claw set for hanging.34.5cm diameter 34.5cm diameter Qty: 1
Lot 3
1976 Triumph StagRegistration number 0LX 312PTopaz orange with a black interiorManual with overdriveLong-term ownershipRe-sprayed approx. 14 years agoHood replaced approx. 16 years agoApprox. 125,000 recorded milesBrakes serviced in 2023Two front seats re-upholstered, keeping original coversGood condition overallOnly for sale due to a house move and lack of useAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsOwner notes there is a crease in the bonnet, this happened when the hood was flipped, see images, There is a a hardtop available to go with the car, stored at a BA3 post code, in unknown condition, to be collected by the successful buyer at a time and day agreed with the vendor HPI clear This lot must be collected by 12.30pm on Friday 25th October. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £100 + VAT, to include the first week of storage, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
Lot 117
*JOHN HOUSTON (1930-2008) 'The Dance', 1984, figural study, signed lower left, further signed, dated and titled verso, oil on canvas, 45cm x 55cm, Framed dimensions: 56.5cm x 67cmProvenance: Purchased from Mercury Gallery, Cork Street, St James's, London, October 24th 1984, for £675, Note: Born in Fife, Houston studied and subsequently taught at Edinburgh College of Art. He retired in 1989, after having been departmental head of the painting school and director of the post-graduate department. The style of his early paintings was expressive and semi-abstract, but in the late 1960s his paintings became more atmospheric, influenced by Turner and American Abstract Expressionism. One of Houston's favourite subjects was the sea as he was captivated by its restless energy. He was married to the Scottish artist Dame Elizabeth Blackadder.
Lot 504
§ Patrick Heron CBE (1920-1999) FIVE REDS, FOUR DISCS : MAY 1965signed, titled and dated May 1965 to the reverseoil on canvas122 x 132cm Exhibited:Private Collection (via Waddington Galleries, London and Richard Demarco Gallery, Edinburgh), September 1966With Waddington Galleries, London August 1967Private collection, CambridgeExhibited:New York, Bertha Schaefer Gallery, Patrick Heron: New Oils, 4-23 October, 1965, cat. no.9Edinburgh, Richard Demarco Gallery, Inaugural Exhibition, August-September, 1966, cat. no.73We are grateful to Dr Andrew Wilson for his assistance in cataloguing this work and for compiling the catalogue note.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Cheffins, 1-2 Clifton Road, Cambridge CB1 7EA or email fine.art@cheffins.co.uk Patrick Heron was a pioneering British abstract painter of the second half of the 20th century, his aesthetic position was grounded firmly within European sensibilities through which he engaged with the achievements of French artists such as Henri Matisse, Georges Braque and Pierre Bonnard, yet also responded to the possibilities of new approaches to abstraction he recognised both in American abstract expressionism and in the work of British artists of his own generation.FIVE REDS, FOUR DISCS : MAY 1965 occupies a significant position in Heron’s oeuvre, and was included in his third solo exhibition in New York at the Bertha Schaefer Gallery. Each of his three exhibitions in New York – in 1960, 1962 and 1965 – offered both a response to the possibilities he at first recognised in new American abstract painting after 1956 and a challenge to what he saw increasingly as its shortcomings. The paintings that were included in his 1965 New York exhibition stand in high contrast to American ‘post-painterly’ abstract painting typified by the airbrushed open colour fields of Jules Olitski or the stained symmetrical compositions of Kenneth Noland, and reveal the degree to which Heron was expanding the possibilities of abstract painting.Limiting the composition of this painting to four disc shapes and the colour to five different reds underlines how Heron created compositional and spatial complexity out of comparatively simple means. These colours and shapes are arranged within planes parallel to the picture surface expressed through drawn lines that define the interacting colour areas. The ways in which these colour shapes interact is how an active pictorial illusion of space is created that contradicts the flatness of the canvas surface itself. Each colour shape for Heron is just that, interacting with each other shape as a fully realised compositional unity and not in the way the hierarchy of a traditional figure/ground relationship might work. The illusion of space is active because it changes along with the colour relationships, shifting and altering in character as the viewer’s eyes move over the canvas led by line, colour and shape. Brush marks offer visible traces of the act of painting rather than just mark down paint literally as colour – adding further spatial complication to the colour-relationships he has created. FIVE REDS, FOUR DISCS : MAY 1965 is a painting animated by the interaction of colour within a complex composition that creates space, playing equally on the eye and the emotions.The unlined canvas is attached to a wooden stretcher with two vertical cross bars. The canvas tension is adequate and the painting is generally in plane. Water staining is evident on the reverse of the picture and this has affected the paint layers. Flaking and loss has occurred at the top and bottom edges, where moisture has been retained by the stretcher bars behind. The flaking has been recently stabilised to prevent further loss to the original paint. There are other localised areas of cracked and raised paint in the main composition. Water drips are evident on the surface, in the lower circle, this has affected the paint layers, revealing the white ground below. There is also dark staining, possibly mould, which has formed along the brushstrokes of the lower circle and upper right orange section. There is a white, sparkly haze across the surface of the unvarnished painting, which is likely a bloom caused by damp conditions.
Lot 41
λ SIR MATTHEW SMITH (BRITISH 1879-1959) PORTRAIT OF DUDLEY WALLIS Oil on canvas Signed with initials (lower left) 77.5 x 63.5cm (30½ x 25 in.)Painted circa 1936.Provenance: Arthur Tooth & Sons, London Private Collection, Sir David & Lady Scott, London (acquired from the above on 13 September 1960) Their sale, Sotheby's, London, A GREAT BRITISH COLLECTION: The pictures collected by Sir David and Lady Scott, sold to benefit the Finnis Scott Foundation, 19 November 2008, lot 172 Sale, Chiswick Auctions, London, 28 June 2018, lot 76 Private Collection, Hampshire (acquired from the above sale)SOTHEBY'S NOTE: G.P. Dudley Wallis was curator at the Holburne Museum in Bath from November 1913-1917, and crucially oversaw the moving of the museum to its purpose built current home on Great Pulteney Street. Although the collection of the museum is pre-twentieth century, Wallis himself owned an important group of modern British paintings including works by Walter Sickert, Christopher Wood and Sir Matthew Smith, some of which were sold in these rooms on the eighteenth April 1951. Interestingly, Wallis' predecessor at the Holburne, Hugh Blaker, had also combined his role as curator of historical artefacts with his love of avant-garde art when he acted as art advisor to Gwendoline and Margaret Davies, whose impressive collection of impressionist and post-impressionist works of art was bequeathed to the National Museum of Wales in 1951 and 1963.
Lot 151
1958 Bobby Charlton 1st Wembley match after Munich, FAC Final 3 May 1958 match programme Manchester United v Bolton Wanderers autographed by both teams: Manchester Utd: Bobby Charlton, Harry Gregg, Bill Foulkes, Freddie Goodwin, Ronnie Cope, Ian Greaves, Stan Crowther, Alex Dawson, Colin Webster, Ernie Taylor; Bolton Wanderers: Nat Lofthouse, Eddie Hopkinson, Tommy Banks, John Higgins, Derek Hennin, Bryan Edwards, Ray Parry, Doug Holden, Dennis Stevens, Brian Birch; unique item from those early "United will go on" (and they did!) post disaster days. (1)
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123030 item(s)/page