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Lot 100
Fifteen contemporary silver and other dress rings, all unmarked but many certainly the work of Rita Ferguson including an enamel Egyptian style bust ring (comparable to the plaque in lot 96), etc. Rita Ferguson (Mrs Charles) was a silversmith based in Edinburgh, having a studio on York Place and then working from 214A Braid Road. Notably, she made the Edinburgh freedom of the city casket that was presented to Sir Winston Churchill. Provenance: by family descent.
Lot 96
Contemporary bronze plaque by Rita Ferguson, with applied brass, copper and enamel work bust of an oriental woman, signed RF to the lower right, 14.5cm x 8.5cm and another. (2) Rita Ferguson (Mrs Charles) was a silversmith based in Edinburgh, having a studio on York Place and then working from 214A Braid Road. Notably, she made the Edinburgh freedom of the city casket that was presented to Sir Winston Churchill. Provenance: by family descent.
Lot 418
1 Scarce large 18th C. transitional brass Paris back button.This unusual transitional (early 1800's) heavy brass button with a French verbal front and profile bust is backmarked as well. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Unless otherwise noted we find no significant condition concerns except for normal age related wear for the age of these items.
Lot 550
A GANDHARA GREY SCHIST RELIEF PANEL, NORTH-WESTERN PAKISTAN, 3RD/4TH CENTURY depicting two putti supporting a leafy garland weighed down by fruit, 23 x 35 x 5cm, together with A Gandhara Grey Schist Bust of Maitreya, 3rd/4th Century, with moustachioed face, wearing turban and earrings, his robes with multiple folds, 22cm highProvenance: Formerly property of a deceased British diplomat, thence by inheritance
Lot 552
A PINK SANDSTONE FRAGMENTARY BUST OF DURGA, CENTRAL INDIA, CIRCA 10TH CENTURY her hair gathered in a wide bun, wearing earrings, heavy necklace and a strap tied across her breasts, mounted, 51cm highProvenance: Private collection, London. Acquired Bonhams London, 18 October 2016, lot 226. Formerly Swiss private collection since the early 1960s.The slightly tilted head and indication of raised arms suggests that this is an image of Durga slaying the buffalo demon (Mahisasuramardini). Her head tilts as she raises her trident in her right hand to spear the demon.
Lot 1420
A Victorian blue glass scent bottle with gilt metal applied detail and mounts, the cover with applied roundel of a European bust, together with a brass cased Swiza timepiece with seven jewel movement, a faux tortoiseshell timepiece, the movement set with Arabic numerals and subsidiary dial with easel back, a brass incense box, etc.
Lot 981
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script.Each 18cm high, in pack-horse basket (25).Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK. 二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏
Lot 982
A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script.18cm high, in pack-horse basket (25).Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK. 二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏
Lot 382
A 19th Century flintlock blunderbuss of typical form with various repairs and alterations, 98 cm long overall, together with a pair of 19th Century cast iron fire dogs with Turkish maiden figural bust decoration, 39 cm long x 23 cm high CONDITION REPORTS In answer to the specific enquiries: The moving parts do appear to function. There do not appear to be any missing components though there is a small section of brasswork missing to the top of the stock behind the brass studded repair. The stock is clearly damaged and repaired. The length of the gun as per the catalogue description is 98 cm long over all - see images for both sides of the gun, the muzzle and maker's marking. The brass end to the stock has denting and scratching and is slightly loose. There is wear and tear to the stock throughout and splitting and repairs. The trigger guard has repairs. The fore end has several areas of splitting. Screw to the trigger guard is missing. There is a hole to the fore end between the trigger guard and the hanger. Gilding to the metalwork on the top of the barrel is worn - see images for further detail
Lot 34
A MATCHED PAIR OF PEARLWARE PLAQUES, CIRCA 1790 oval, relief moulded and blue painted with bust profile portraits, respectively as Catherine the Great and Peter III after designs by Timofei Ivanov, each on a pounced ground and with a moulded border. (2) The larger 15.6cm highEach plaque exhibits some restoration work along its edges. Notably, there are no visible chips or cracks present on the surface of the plaques. The characteristic crazing that naturally occurs is present. In general, the plaques have a visually appealing presentation, given their age and the applied restoration work.
Lot 544
A CORAL, ENAMEL AND DIAMOND BLACKAMOOR BROOCH, BY CARTIER, CIRCA 1935 the black enamelled bust wearing seed pearl earrings, on a reeded gold neck and wearing a cream enamel turban with coral corallium rubrum highlight and rose-cut diamond detail, mounted in 18K gold, signed Cartier Paris, numbered. 3.5cm long, 11.1 grams grossThe house of Cartier was founded in Paris in 1847 by Louis-François Cartier. A family venture soon saw the growth of Cartier and the expansion to London and New York, with subsequent generations taking the helm. Cartier has established itself as one of the world's preeminent crafters of high-end, modern, and vintage jewellery. Its watches have adorned the wrists of celebrities and royalty alike, with King Edward VII of England once referring to Cartier as the jeweller of kings and the king of jewellers. Cartier's extensive collections are known to embody revival, Art Deco, and more contemporary styles, making them a sought-after commodity for generations both past and present. Jeanne Toussaint was made Creative Director for jewellery in 1933 and she continued to work for Cartier until her retirement in 1970. The working relationship between Louis Cartier and Toussaint was very successful, with Cartier imparting his knowledge of gemstones, diamonds, settings and technique, and Toussaint bringing her joie de vivre, relentless creativity and eye for contemporary fashions. By the time she retired from Cartier in 1970, Toussaint had established her legacy as an artistic visionary; always experimenting, exploring and creating jewels for those with a worldly outlook and an eye on the future. Cartier is a notable creator of pieces depicting elaborate Blackamoor heads, which had been introduced by the Venetian form of Nardi. Blackamoor jewellery, also known as Moretti jewellery, was particularly popular during the 17th and 18th centuries and it is believed that it was originally created as amulets to ward off evil, or invasion by the Moors into Italy. Cartier first released their Blackamoor brooches in the early 1930’s. Blackamoor brooches depict black figures within the design, they are typically male with a head covering, usually a turban and covered in rich jewels and gold leaf. Early examples often have European racial features, apart from the colour. They are typically enamelled, carved from ebony or painted black to contrast with the bright colours of the embellishments. Depictions may only represent the head, or head and shoulders, facing the viewer in a symmetrical pose.The brooch on sale is a lovely example of a typical Blackamoor brooch, made of black enamel, detailing a white enamel turban and surrounded by precious gems, including coral, seed pearls and diamond. The head faces the viewer in a symmetrical pose and sits on a yellow gold reeded neck.
Lot 597
AN ITALIAN ALABASTER AND ORMOLU-MOUNTED BUST OF MARIE-ANTOINETTE late 19th/early 20th Century, looking slightly to dexter, her hair adorned with flowers and her shoulders cast in gilt-bronze, signed on the shoulder Verona, mounted on a breccia marble spreading socle. 29cm highSome surface marks and wear but generally in good condition.
Lot 437
1930's vintage ladies clothing to include; a black velvet full length evening dress with gold devore detail and a matching gold devore black velvet short sleeve bolero and a check full length dress with sash and bow detail. (2) (B.P. 21% + VAT) Sizes: extra small plus bust. Both 14" waist flat, 16"hip, shoulders 14.5" approx. No fastenings.
![ANDRE MASSON [1896-1987] Le Bust, 1972. Lithograph on wove paper, printed by Atelier Mourlot, Paris in an edition of 2000. 31](https://cdn.globalauctionplatform.com/58a4d54b-f0aa-4514-a4b4-b07a0115c6a6/07174359-c812-468f-98ae-b07a01191e36/468x382.jpg)
Lot 12
ANDRE MASSON [1896-1987] Le Bust, 1972. Lithograph on wove paper, printed by Atelier Mourlot, Paris in an edition of 2000. 31.4 x 24.5cm sheet [unframed]. [Very good condition.] Buyers premium of 20% + VAT is payable on hammer price of all lots in this auction. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there..
Lot 544
A 17th century James I Jacobean era hammered silver Irish shilling coin. The coin having second bust type, right, thistle mint mark, denomination to left, IACOBVS D G MAG BRIT FRA ET HIB REX. The obverse having crowned harp with beaded circle. Total weight 4.5g. Diameter measures approx 27mm.
Lot 251
A large late 19th Century European (likely Austrian) crackled porcelain urn / cassolette with gilt metal ormolu decorations, including two putti cherubs, two musical boys sat on the handles, female bust atop of the lid. Base stood on four feet. Stamped to the bottom with Hapsburg crest, dated 1894. Height 49cm.
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109378 item(s)/page