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Lot 209
BLOODSTONE INTAGLIO SIGNET RING AND AN ENAMEL, DIAMOND AND PASTE MONOGRAM BANGLE, LATE 19TH CENTURY1st: The bloodstone intaglio carved with the Ingilby family armorial crest featuring the boar's head and incorporating the motto, 'Mon Droit' (My Right), mounted in gold, 2nd: The central compartment with a hinged cover displaying the rose-cut diamond initial, 'M', beneath a similarly-set coronet, over a black enamel ground, within a surround of cushion-shaped diamonds and white paste, mounted in silver and gold, ring with goldsmith's mark RJ, ring size O½, bangle inner diameter 5.7cm (2)Footnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.The rose-cut diamond 'M' on the hinged cover of the bangle is for the Marjoribanks family of Lees near Coldstream in the Scottish borders. The Hon. Alicia Marjoribanks (d.1916) was the youngest child of David Robertson MP., 1st Baron Marjoribanks (1797-1873) and on 26th June 1862, she married Sir Henry Day Ingilby, 2nd Baronet (1826-1911) of Ripley Castle and Harrington Hall in Lincolnshire. Her father was the Lord Lieutenant of Berwickshire and his portrait can still be found at Ripley Castle. Alicia's great uncle, Edward Robertson (1776-1868), was appointed as a partner of Coutts Bank by Thomas Coutts in 1797 and a senior partner from 1836 until his death. Alicia and Henry had two children, Henry and Mary. Within the space of a mere fourteen months between October 1872 and December 1873, both children died tragically of meningitis, aged four and nine respectively. Shortly after this, Alicia's father was run over by a horse drawn bus outside his club in Newcastle just seven days after being ennobled as Lord Marjoribanks of Lees. His sons had predeceased him and his untimely passing saw the extinction of his title. He is buried at Ladykirk and his family mausoleum is nearby at Coldstream.For further information on this lot please visit Bonhams.com
Lot 642
THE VICTORIA AND ALBERT MUSEUM MARBLE DISPLAY PEDESTAL FOR HIRAM POWER'S 'EVE DISCONSOLATE' BUST PROBABLY ITALIAN, LATE 19TH CENTURY Inscribed "MARBLE BUS. EVE DISCONSOLATE. by HIRAM POWERS American sculptor (B.1805; d.1873). GIVEN BY MRS HELEN POTTER 127-1906", octagonal base also with acquisition number the column 30cm diameter, 116cm high overall, base 45cm wideHiram Power's "Eve Disconsolate" sculpture is recorded as being the gift of Mrs Helen Potter and recorded as being gifted to the museum in 1906 (ACCESSION NUMBER 127-1906). According to the V&A records the bust was a copy executed by Powers in the third quarter of the 19th century in Italy. This column was probably created at roughly the same time and formed part of the gift.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The column with wear and loss from the surface- notably to top and sides - additionally the base edge which has chipped throughout above plinth Section of the top has old repair- the top itself with plugged centre, some old blue paint splashes Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 2622
A mixed group of collectors' items, including a silver vesta case, a burr wood cigarette case, a set of three 9ct gold dress studs, cased (one missing pearl stud), a Colibri lighter and a collection of bus tickets.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 108
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Safata", 2000.Painting and collage on cardboard tray.Signed and dated in the lower left corner. Titled on the back.Provenance: Private collection.Measurements: 34 x 44 cm.From 1963 onwards Ráfols Casamada incorporated the collage technique into his art, practising it from then until the end of his career. As the artist himself stated, his interest in collage was awakened by two exhibitions of the German Kurt Schwitters and Joan Miró, respectively, which he was able to visit in Paris. The newspaper clippings, bus tickets and other banal objects with which he constructed his collages were for Ràfols "Small traces of life full of poetry".A painter, educator, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
Lot 109
ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009)."Promenade".Mixed media (watercolour, pencil and paint) and collage on cardboard.Signed and dated in the lower left corner.Provenance: Private collection.Measurements: 30 x 32,5 cm.From 1963 onwards Ráfols Casamada incorporated the collage technique into his art, practising it from then until the end of his career. As the artist himself stated, his interest in collage was awakened by two exhibitions of the German artist Kurt Schwitters and Joan Miró, respectively, which he visited in Paris. The newspaper clippings, bus tickets and other banal objects with which he constructed his collages were for Ràfols "Small traces of life full of poetry".A painter, educator, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
Lot 87
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Collage (1)", 1962.Collage on cardboard.Provenance: Private collection.Work published and exhibited in "Rafols Casamada", IVAM Centre Julio González, p. 101.Sizes: 13.5 x 18 cm; 43 x 43 cm (frame).From 1963 onwards Ráfols Casamada incorporated the collage technique into his art, practising it from then until the end of his career. As the artist himself stated, his interest in collage was awakened by two exhibitions of the German artist Kurt Schwitters and Joan Miró, respectively, which he was able to visit in Paris. The newspaper clippings, bus tickets and other banal objects with which he constructed his collages were for Ràfols "Small traces of life full of poetry".painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
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41825 item(s)/page