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Lot 61
PROPERTY OF A CONTINENTAL LADYA MAGNIFICENT DIAMOND RIVIERE NECKLACE, BY MAUBOUSSIN, CIRCA 1955Designed as two graduating rows of round brilliant and baguette-cut diamonds, each side accented by a stylised ribbon of similarly-cut diamonds, mounted in platinum, diamonds 53.06cts total, signed Mauboussin, maker's mark, French assay marks, case stamped 'Mauboussin, 20 place Vandôme, Paris', length approximately 38cmAccording to the invoice of Mauboussin place Vendôme Paris, dated February 20th 1962, the necklace comprises of 19 principal round brilliant-cut diamonds weighing 19.67cts in total, 62 remaining round brilliant-cut diamonds weighing 12.07cts in total and 117 baguette-cut diamonds weighing 21.32cts in total, 'all of top quality'The house of Mauboussin began its days in a humble workshop in the Rue Greneta area in central Paris. Initially established by a Mr Rocher, the firm was taken over by his partner Jean Baptiste Noury in 1869. Having survived the first years of business through a period of tough economic and political instability, Noury began to exhibit the firm’s crafts at international exhibitions and fairs which were popular throughout France and across Europe during the late 19th century. This move proved to be crucial in terms of building recognition for the brand, particularly when in 1878 he was awarded a bronze medal at the ‘Exposition Universelle’ in Paris. Around this time, Noury’s young nephew Georges Mauboussin was quietly working in the background as an apprentice at the firm. Mauboussin moved quickly through the ranks, taking over the management of the workshops in 1883 and taking sole control of the company by 1898. This innovative young man was keenly aware of the need to adhere to the social norms important to his audience and his tireless efforts to align the brand with the social spirit of the time became the key to creating the house that we now know.In 1923, he moved the firm to Rue de Choiseul, taking his place near to the opera district and holding his own against competitors such as Cartier and Boucheron. At this point, in spite of the brewing excitement of the Roaring Twenties, Mauboussin’s clients remained fiercely private so Mauboussin located his new showrooms on the first floor, away from the prying eyes of the public. When it came to what they wore however, these same clients had a taste for the exotic and for the brilliance of the Parisian Art Deco style. Mauboussin again delivered, his skilled workshops constantly sourcing and manipulating the most innovative materials in bold colours - from jade and shellac from the Far East to mother-of-pearl, pearls, coral and lapis lazuli from the Middle East and carved coloured stones from India - to create magnificent stylised forms such as the famed Tutti Frutti brooches and geometric monochrome sautoirs for which the house is still known and recognised. Throughout this time, Mauboussin exhibited widely, showcasing pieces from Milan to Buenos Aires, constantly winning awards for his designs and his tireless work in contributing to the decorative arts, and all the while building the name of his brand. In fact these exhibitions were so successful in terms of marketing and promotion, that Mauboussin held three exhibitions of his own during the late twenties, showcasing the range and quality of gems and precious stones available at his Paris store. These exhibitions drew wide attention including that of the Prince of Wales and the Maharajas of Kapurthala and Indore. Indeed it would be the business of these clients that would help to support the firm through the economic struggles which would follow with the Second World War.Prior to this however, in 1928, Georges’ son, Pierre, opened new stores in New York, London and Buenos Aires. These led to a very prosperous collaboration in 1936 with the New York jeweller Trabert & Hoeffer, which, under the name Trabert & Hoeffer-Mauboussin Inc., set up a flagship store at 407 Park Avenue and later opened branches across the US. It was around this time that the famous “Reflections” line of the 1930s was launched and it immediately enthralled Hollywood’s golden girls including Marlene Dietrich, Paulette Godard and Audrey Hepburn. High-end magazines such as Vogue, Harper’s Bazaar and L’Officiel also regularly featured pieces created by Mauboussin as accessories to gowns by designers such as Lucien Lelong. Captured by famous photographers such as Horst and George Hoyningen-Huene, these served to further enhance the glittering image being broadcast across the world of La Maison Mauboussin.Following the period of the Second World War, there was a distinct change in taste and a move away from the Art Deco style. Mauboussin was quick to adapt to the new appetite for chunkier, less restrained pieces inspired by a fresh post-war optimism. By the 1950s, luxury was making a comeback with the prolific use of diamonds and precious stones adorning pieces in the form of coils and scrolls. The piece being offered in this sale is a classic example of this bold and fantastical style. It is set in a typical fine platinum setting (Paris as the international capital for expertise in jewellery, had been producing platinum settings since the late 19th century) and the lightness of this setting affords and supports the boldness of the design and the number of diamonds without causing discomfort to the wearer. Once again it is a piece which embodies the spirit of its time. Throughout the 1940s and 50s, as the economic landscape continued to improve, Mauboussin’s client base began to expand as disposable income rose amongst the middle class. Suddenly there was no longer a need for secrecy or privacy when shopping and the windows of Mauboussin’s new store at 20 Place Vendôme were opened up in 1946. By 1955, in a bid to embrace the democratization of fine jewellery and echoing the move of their neighbours Van Cleef & Arpels, the firm opened a new ‘boutique’ offering pieces produced on a larger scale and at a more affordable price. This new clientele however still understood the value of the brand and its heritage and was highly selective when it came to quality. It marked the beginning of a new era in jewellery marketing and production.Today, La Maison Mauboussin remains an independent house - a remarkable achievement in an era when almost all family-owned jewellers have been taken over by multinational conglomerates. Owned since 2002 by Dominique Fremont, it has stores in Paris, Japan, Singapore and New York and as a brand, it still remains firmly attuned to the needs and spirit of the time.
Lot 121
BLUE AND WHITE FANGHU-FORM VASE20TH CENTURY the form imitating an archaic bronze fanghu vessel, raised on a rectangular foot with the bulbous belly leading towards a slightly everted mouth, flanked by a pair of affixed elephant-head handles, painted on the two wider sides with a pair of phoenix flanking a large peony bloom, between stiff-leaf bands at the mouth and above the foot14.5cm high
Lot 209
COLLECTION OF SIX SOAPSTONE AND BRONZE SEALSQING DYNASTY AND LATER comprising: a large Balin stone uncarved seal, the finial with three rams; a Changhua stone seal carved with a sage on rock with red inclusions; a soapstone seal carved with a qilin; a bronze seal with a Buddhist lion finial, the seal reading 'The Chief Temple of the Glorious Bright Deity', 7cm high; another bronze seal, also with a Buddhist lion finial; and a mottled red, grey and white stone seal, well-carved with a crouching qilin amidst clouds, on a shallow square plinth, the inscribed date 1803, signed Zuo Jun (1750-1841), courtesy name of Huang Yue, the seal reading 'I want to chant purely poems without words' (6)largest 11.5cm highProvenance: Private London collection; Ex. Benedict Fontana Collection, Consul General to Switzerland in Hong Kong 1966-1972.
Lot 258
BRONZE MODEL OF A BEARMEIJI/TAISHO PERIOD naturalistically cast as an Asian black bear playfully scratching its snout with a forepaw, the furry coat rendered in matted tufts and framing the large head with inlaid eyes27.5cm wideProvenance:From the collection of the late Mr Dan More and Mrs Joan More; for more information, please see lot 139.
Lot 275
KATANASIGNED KOJIMA KANEMICHI, DATED 1941 single rivet hole tang with cherry blossom character stamp on one side and full signature on other, long curved blade and point, no visible temper line (Hamon), later fish skin, grip old binding, bronze military tsuba, menuki, and mounts, leather covered black lacquer scabbardblade 71cm long
Lot 75
MISCELLANEOUS GROUP OF FIVE BRONZE ARTICLESQING DYNASTY comprising: a hu-form twin-handle vase decorated in high relief with birds amid flowering prunus branches; a compressed globular censer and cover, the sides wrapped in a lotus leaf, the pierced cover depicting a dragon striding amongst crested waves; another smaller censer and wooden stand; a small circular 'mythical beasts' mirror; and a boat-form medicine mortar (5)largest 27cm wideProvenance:From the collection of the late Philip Stanley Cassidy CBE JP (1889-1971); for more information, please see lot 2.
Lot 81
ARCHAISTIC BRONZE RITUAL WINE CUP, ZHIQING DYNASTY, 19TH CENTURY the pear-shaped body supported on a splayed foot, sweeping up to a waisted neck and everted rim, the exterior cast in relief with large taotie masks between two bands of stylised confronting dragons at the foot and the neck, the design divided by raised flanges15.5cm highProvenance:Private English collection.
Lot 364
Tudor Rolex stainless steel wristwatch, 34mm bronze face, arabic numerals at the points with date aperture at 3 with gold baton markers, Rolex stamp to cown on a stainless steel bracelet strap (please remember to check condition of lots before bidding at auction & absentee payments are requested by BANK transfer)
Lot 307
A small Indian bronze figure of Ganesh on a square plinth, the eyes and stomach set with red stones, 11cm high and two Indian marble carvings, the largest 15.5cm high Condition Report: 307:Smaller of the two carved figures has a chip to the top. There is wear and flaking to the surface decoration of both. I think these could be early 20th Century. The figure of Ganesh is a little worn, possibly a finial later mounted to its little square plinth. Certainly 19th Century if not earlier.
Lot 808
A 19th century bronze mounted cast iron fire basket, the shaped and relief decorated backplate raised on front lion monopodia on paw feet, impressed 'R N 11683', 80 cm h x 60 cm was removed from a Georgian country house, dirty and patinated from use and storage, the backplate showing an old repaired vertical crack, no grate present, the backplate with intact rollers, both lions cast/stamped with registration numbers
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