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Click here to subscribeA Stevens and William intaglio cut set of six wine glasses and a claret jug and stopper, each piece inscribed with facsimile signature of members of the Conservative Party including Malcolm Rifkind, Dr Brain Mawwhinney, Kenneth Clarke, Michael Howard, Michael Heseltine and Lord MacKay, the claret jug with John Major, 17cm and 36cm high (8)Condition ReportAll glasses reduced to the bases. Two with rim chips. Pleae see additional images.
An unusual German erotic subject glass stein - early 20th century, the moulded glass stein with a part-frosted firefighter motif to the front below the gilt intaglio script 'Josef Eiselt', the pewter lid with an inset porcelain plaque, the upper face painted with a huntsman and his dog in a landscape, the underside with an amorous scene of the same huntsman and a lady companion, titled 'Jagerlust', 20.75cm high.* Small soldered repair to one side of the joint between the hinge and the lid. Some gilt loss to lettering and scratching and one tiny frit to the base. No other faults - good overall.
Frederick Carder for Stevens and Williams, an intaglio cut rock crystal engraved hock wine glass, circa 1900, the ogee tulip bowl decorated with stylised honeysuckle flowers between trefoil lappets, above a fine hobnail base, on a knopped inverse baluster stem, with lens cut and notched lappets, on a conical foot of radiating mitres within a band of alternating foliate and berry motifs, 17cm high
This etching and aquatint on paper by Japanese artist Shoichi Hasegawa, titled Castle in Fog (Chateau dans le Brouillard), was created in 1971. The composition features a dreamlike castle emerging from an atmospheric background, blending architectural elements with Hasegawa's signature delicate linework and ethereal color palette. Executed in a style that merges Eastern aesthetics with European modernist influences, the work demonstrates the artist's mastery of intaglio techniques. The soft greens and earthy hues, combined with intricate linear details, create a sense of depth and mystery. Hand-signed by the artist in pencil in the lower right and titled in the lower center, the piece is numbered II/XXX.Artist: Shoichi Hasegawa (Japanese 1929-2023) Issued: 1971Dimensions: 32.25"L x 28.50"HCountry of Origin: JapanCondition: Age related wear.
A large Greek oval carnelian intaglio pendant of a Greek female figure Most likely a Goddess holding a baton in her right hand The intaglio is mounted in an 18 carat gold frame dating to the 19th century Embellished with 5 diamonds totalling the diamond weight to approximately 1 carat The intaglio itself dates to the 2nd century BC. Dimensions: Pendant height 4 cms x width 2/1/2 cms sold with a fine gold chain
SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) BORDER (FROM INDIAN WAVES SERIES), 1990-1991 signed, titled and dated (to reverse), gouache on intaglio impressed khadi paper 72.7cm x 91.8cm (28 5/8in x 36 1/8in) The Artist;Gagosian, London, from whom acquired by the present owner, November 2014. Exhibited:Gagosian, London, Indian Waves, 28 November 2014 - 31 January 2015; CSMVS, Mumbai, India, Howard Hodgkin Paintings, 1984-2015, 21 February - 15 April 2015 Howard Hodgkin’s Indian Waves series was painted across 1990 and 1991 at the master printer Jack Shirreff’s 107 Workshop in Wiltshire, after which they were packed away in brown paper and stored. It was only when Shirreff retired that they were rediscovered, forming the basis for an exhibition at Gagosian, London, in November 2014.The works were made in three stages. First, Hodgkin brushed a paste of liquidised carbon filings (carborundum) over a printing plate to create waves, the form of which would emboss the paper when run through a press. Each image in the series was then given a printed blue and green layer, making thirty similar bases. From these, Hodgkin created thirty remarkably different works by implementing a final process of painting free-hand over the top in thick gouache, evoking his decades-long experience of India, entwining place, people, memory and impressions, in works such as Mumbai Wedding, Storm in Goa, Hill Station, Chowpatty Beach and, of course, Border. Hodgkin had first visited India in 1964, where he became enraptured by the country. As he noted in 2014, at the time of the Indian Waves exhibition: ‘India is totally exotic, everyone speaks English and everything is so transparent. Emotion is so close to the surface and on view… I was fascinated by India before I ever went there’. (Quoted in an interview with Mark Hudson, Daily Telegraph, 29th November 2014)In 1978, during an extended sojourn in Ahmedabad as a guest of a prominent Indian family, Hodgkin had created a body of works on hand-made khadi paper, a traditional paper made from rags, that he had painted on whilst still wet. These were tied up in a bundle and put on the roof of a taxi, but went missing on the way to the airport, much to the devastation of the artist. The lost bundle did eventually turn up, becoming known as the Indian Leaves series upon exhibition at the Tate in 1982. However, Hodgkin had already decided to make a new series to replace them – using carborundum on dry khadi paper to recreate the liquid sensation of working ‘wet on wet’ in Ahmedabad. This series was to become Indian Waves which, along with Indian Leaves, is the only series fully painted on khadi. The series as a whole – and Border in particular – bears all the hallmarks of Hodgkin’s mature style, in the layering of sumptuous colour upon colour, in its pure abstraction which is simultaneously evocative of place, from the steaming forests of the Sundarbans through to the dry, cool air of the Himalayas. Border seems to symbolise the latter, a sunset over glacial peaks, with a slight change in colour that places it a few thousand feet further up from its companion in the series, Hill Station, the deep red sunset of the which has become starved of oxygen, turning the most beautiful pink. The work’s colours – this resonant pink, an icy, milky blue and a rich crimson, set against an encompassing green mandala – certainly have a Himalayan feel, the soft colours of Tibetan Buddhism, wind-blown and sun-faded. This field of colour is laid out by Hodgkin in flowing brushstrokes, sweeping horizontally, left to right, right to left, with the gestural bravura for which Hodgkin is celebrated. These brushstrokes then entwine with carborundum-intaglio surface, adding depth and intrigue. Hodgkin is rightly regarded as the most painterly of print-makers and the Indian Waves series is, in a way, a gesture of return, bringing one of his favourite printmaking techniques into the heart of his painting practise.Having been shown originally shown at Gagosian, London, Border was one of eleven works from Indian Waves selected for an exhibition celebrating Hodgkin’s paintings of India, held at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai in 2015.
AFTER DEGAS (HEENK 81)Hand-colored color intaglio and carborundum, 1990, on Larroque et Pombie wove paper, signed with initials, dated and numbered AP 10/10 in pencil, an artist's proof aside from the edition of 80, printed by 107 Workshop, Wiltshire, United Kingdom, published by the Metropolitan Museum of Art, New York, the full sheet, framed.Sheet 9 7/8 x 12 5/8 inches; 251 x 321 mm.Frame 17 7/8 x 20 3/8 inches; 454 x 518 mm.
An early 20th century yellow metal signet ring, the oval head with intaglio seal depicting centaur and winged bird, above lettering possibly reading 'cruce salus' marks indistinct, shank is misshapen, 10gms Condition report: Please note, we have not tested the metal of this ring, and therefore do not know what carat it is. Marks are rubbed and indistinct. Shank mishappen, however when placed on size stick, the ring rests on ring size O. There are two partial splits seen to the interior of the shank, where the mishappen area is, possibly from impact. General surface scuffs, tarnishing and scratches seen throughout the signet ring, commensurate with age and wear. Possible sizing piece seen.
An early 20th century 18ct gold intaglio seal signet ring, depicting the Gordon-Canning family crest and motto 'Dum Vigilo Tutus,' ring size L1/2, 11.8gOverall good to fair conditionModerate general wear, moderate to heavy surface scratches throughoutClients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lot For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
18 kt., one rectangular cushion-shaped lapis intaglio crest ap. 17.8 x 14.0 mm., high relief design mount, signed Tiffany & Co., ap. 16.5 dwts. Size 5.Crest very worn, partially obscured.Width 13/16 inch.Crest very worn, partially obscured. Width 13/16 inch.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
An Indo-Persian Carved Pink Gemstone Intaglio of a Falconer, Possibly RubyA vivid pink cabochon gemstone intaglio, possibly ruby, intricately engraved with a stylized depiction of a falconer in flowing robes, holding a bird of prey perched upon his hand. L: Approximately 2.5cmProvenance: Private collection from a distinguished UK collector.
A rare Wedgwood American subject black basalt intaglio seal, late 18th century, the small oval form bearing a profile portrait of Captain Nathan Hale beside the reversed inscription 'My Country!!!', the reverse impressed 'Wedgwood', 2.4cm.Captain Nathan Hale was a Connecticut-born schoolteacher who worked as a spy against the British during the Revolutionary War. He was captured by the British in 1776 and hanged on 22nd September 1776 at the age of 21. His final words were reputed to be, "I only regret that I have but one life to lose for my country." Hale has long been considered an American hero and was designated the state hero of Connecticut in 1985. Josiah Wedgwood was a known American sympathiser, likely due in no small part to trade links. Nevertheless, Hale was a controversial figure in Britain and this seal may have been a single commission or limited production for a few trusted like-minded thinkers.
Gold signet ring with a shield shape intaglio carved bloodstone depicting a family crest and motto in 15ct gold mount. Ring size O½Weight 6.1 grams. Good condition commensurate with age. Evidence of re-sizing and has a seem/joint on the base of the shank (see extra image). Stamped '15ct' and has the sponsor's mark but not hallmarked.
Antique gold signet ring, the carnelian seal with an intaglio carved crest, in gold mount, ring size approximately N.Good condition commensurate with age. Not hallmarked. Possible alterations the the shank. Intaglio in good condition. Weighs approximately 14.1 grams. The shank is engraved 'Don de S. M. Le Rio de N.'
A pair of Stevens & William intaglio cut glass decanters c.1890, Stourbridge, each of ovoid form below slender neck, one with an applied handle, each cut with exotic birds to a moulded ground,33.5cm high (2)Condition ReportGeneral surface wear, particularly to the underside of the foot rims. There is a small chip to the edge of the foot on the handleless example. Slight remnants visible to the inside of the decanters. Handle intact with no cracks. Please see the additional images.
German antique Gesch 216 intaglio Eye character shoulder head baby doll on soft core body in antique dress and silk printed cape blue eyes open mouth smiling character with small rattle toy.c 14” Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
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