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Lot 116
A LATE 19TH CENTURY DIAMOND 'EN TREMBLANT' FLORAL SPRAY CORSAGE ORNAMENT/BROOCH, CIRCA 1880Set throughout with old cushion and rose-cut diamonds, the central flowerhead mounted en tremblant, mounted in silver and gold, diamonds approximately 2.50cts total, length 9.7cmIn the early nineteenth century, botany was becoming hugely fashionable as a field of study with new species from all over the world being brought back to England by explorers and military travellers. Regarded as an acceptable hobby for young ladies, general knowledge of horticulture was widespread among the upper classes. Pupils of the subject were artistically trained and were expected to reproduce studies of flora to a high standard. This knowledge also poured across into literature and poetry of the period, William Wordsworth’s “Host of Golden Daffodils” being one of the most well-known references to the subject.It stands to reason that the jewellers and smiths of the period could not help but be influenced and inspired by this national obsession with the natural world. At a moment when techniques in gem cutting and mounting had been honed to such a fine art in a comparatively short space of time, there could be no better occasion to create an object of such beauty that it rivalled the living thing. (Fresh flowers were also favoured as an accessory or “corsage” in the costume of the period.) Catalogues suggest that floral bouquets were first used as patterns in English jewellery design as early as the mid-1770s. By the 1830s and 40s, they had become sparkling works of art. However, the English may not necessarily have been the first to be inspired by the natural world. Giardinetti (little garden) brooches and rings had been made in Italy almost a century earlier. Without doubt, those earlier examples could not compare to the sheer prowess of engineering ingenuity seen in these large bouquets “en tremblant” of the early nineteenth century.The origins of the “en tremblant” mechanism is generally attributed to the ateliers of Paris. In this competitive era of Great Exhibitions, many jewellers would have travelled back and forth between London and Paris (amongst other cities), both exhibiting their wares and studying and being influenced by the trends of their foreign counterparts. It is certainly clear that there was a blurring of influences in foliate designs and techniques. “En tremblant” literally means “trembling”. The feature, as can be seen with each of these exquisite lots, was used to highlight individual elements of the bouquet - a single flower head seeming to quiver and shake in the breeze. The method, though delicate, was simple. Each piece would be mounted or fixed via a series of wire or gold coiled springs leaving it in constant gentle motion. The French took this a step further and added trembling butterflies and dragonflies alighting on leaves - another trend quickly absorbed into English fashion. Generally designed for wear in the hair (on combs), below the décolletage or around the bust (on brooches or corsage pins), the intention was to maximise the volume of light captured and deflected in glittering sparkles, the constant fluttering eye catching to say the least.Unsurprisingly, this style caught the eye of Empress Eugénie of France, wife of Napoleon III. In 1855 she commissioned a large diamond flower corsage from Parisian jeweller, Théodore Fester. According to the official catalogue from the auction of French crown jewels in 1887, ‘The flowers: anemone, rose, carnation etc, are modelled from nature. This ornament divides into seven different sprigs, each complete in design, and the complicated flowers, by mechanical contrivances, separate for the purpose of effectual cleaning. It contains nearly 6,000 diamonds, the largest of which weighs upwards of 10 carats’. (Gere, C. and Rudoe, J. 2010, Jewellery in the Age of Queen Victoria, A Mirror to the World, The British Museum Press, London, p.171) One hundred years later, in the 1950s and 60s, Italian jeweller Bulgari produced a series of magnificent hairclips and brooches inspired by the “en tremblant” designs of the nineteenth century. Hollywood icons were enthralled by the dazzling line and patrons included Ingrid Bergman, Princess Soraya of Iran and Elizabeth Taylor, whose then-husband Eddie Fisher gifted her one such brooch on the occasion of her 30th birthday. The brooch was sold at Christies New York in 2011 for USD 1,142,500 (c. € 985,000).
Lot 355
An African tribal head rest, 16.5cm x 16.5cm, a circular box and cover with metal hinges and clip, 13.5cm diameter and another, a large water vessel with domed cover, possibly Benin, 35cm high, a carved tribal paddle, 57cm high, an African carved head, 21cm high and a pottery bust marked beneath Aleoa Luanda, 18.5cm high
Lot 21
1808-1815 The Battles of the Duke of Wellington, a silver gilt picture medal, limited edition of 500.A circular silver gilt case in the form of a medallion containing a set of 13 circular cards listing the names and dates of Arthur Wellesley, The Duke of Wellington's battles. The 'medallion' a bust of Wellington on obverse and Nike seated with a tablet 'Record of British Valour' on reverse. In presentation case. Diameter 3 3in. (7.6cm)
Lot 513
A collection bog oak, silver and enamel buttons and badges.A set of six Edwardian, Art Nouveau, silver buttons, relief decorated with the bust of a woman with flowers in her hair, Chester, 1903; a set of three late 19th / early 20th century, carved bog-oak buttons and another larger; and a collection of four early 20th century badges. (14)
Lot 384
JAPANESE PRESS BOOKS - Lot x 10 - Racing/Car/Automobile Themed to include - GRAND PRIX (1966), CHECKPOINT (1956), THE RACERS (1955), FORMULA 1 (1978), FEAR IS THE KEY (1972), ONE BY ONE (1976), GUMBALL RALLY (1976), LAST AMERICAN HERO (1973), ONCE UPON A WHEEL (1971) & MONTE CARLO RALLY/OR BUST (1969) - Fine to Very Fine (on average) - Flat/Unfolded (as issued)
Lot 385
JAPANESE PRESS BOOKS - Lot x 10 - Racing/Car/Automobile Themed to include - VANISHING POINT (1971), GUMBALL RALLY (1976), RED LINE 7000 (1965), LAST AMERICAN HERO (1973), GONE IN SIXTY SECONDS (1975), ONCE UPON A WHEEL (1971), MONTE CARLO RALLY/OR BUST (1969), GRAND PRIX (1966), WINNING (1969) & DEATH RIDERS (1976) - Fine to Very Fine (on average) - Flat/Unfolded (as issued)
Lot 312
John Macallan Swan (1846-1910) - six hand written letters, one to Constantine Alexander Ionides (1833-1900), collector and art patron, the other five to Miss Ionides (daughter of Contantine Alexander Ionides) (6) They read:3 Acacia Rd, 6-VIII-98 Dear Mr Ionides The bronze of Dalons bust has arrived and is a very fine casting the ? has not got another wax for me - so I have told him to let me have the plaster cast as my souvenir, if you will let me have a bronze I shall be very glad! I suppose you will want a socle - or marble base please tell me what colour an kind of marble - something of the kind you have already reproduced: I like a circular base: I am very glad it has turned out so fine, shall I pay Cantone for you, if so I will do it with pleasure and he will arrange after. I believe £15 is the amount. Kind regards to all, yours sincerely John M Swan And:3 Acacia Rd, 6 June 1900 Dear Miss Ionides A few lines to acknowledge the receipt by hand ?? catalogue, pray accept my best thanks for your kind remembrance. I was glad to hear of the continued improvement of your fathers health, you must be thoroughly enjoying yourself in Paris. I hope you will not fail to look at ?? ?? work - I went to dine at Pascherle(?) Terrace last evening and next with your brother to hear. Rheingold of Wagner - the orchestra is wonderful, I enjoyed myself very much. I shall have another sitting on Sunday - may be I shall not want another, but who knows! I have much fear and ?? on your verdict on the goddess Athena, I most needs tremble. With our united kind regards to your own good self and please carry the same to your father and mother when writing. Yours very sincerely John M Swan. And:3 Acacia Rd, 17-viii-1900 Dear Miss Ionides Shall be glad to see you on either Monday or Tuesday next and will show you all I can. Am off to Isle of Wight Wednesday - to get a little change. Faix!, I want it. Thanks also for your kind enquiry as to my health. Little run down otherwise fit as a fiddle as the saying is. Kindest regards to your mother and sister. Mr Alec Ionides proposed to come and see me next week, I am writing by this post same as to yourself - may be you will all meet old on the 19(?) With kindest regards to yourself, Yours sincerely John M Swan And:2 iv 1901, 3 Acacia Road St Johns Wood NW Dear Miss Ionides A few lines to acknowledge your kindness in sending the Fremiet bronze which has arrived safely by hand and I will take great care of it: the subject is very amusing and the original(?) in Luxembourg used to be a great favourite of mine - you might imagine Fremiet was my master in sculpture and knowing you had this reduction. I was anxious to see what he made of the ?? version - however there is some hope for the little ?? bear and mine is the original breed that ate up all the naughty boys mentioned in sculpture according unto the word of Elijah - apprurorie. With kind regards to you all and best wishes from both for a happy time. Yours sincerely John M Swan There is an ink sketch before the end of the letter of a seated bear with a bowl in its lap.And:3 Acacia Road St Johns Wood NW 23 VI 1902 Dear Miss Ionides, I am sending drawings to keep my word, the ides(?) of May - I hope your mother sister they are all well - your mother has found the Caldkey (?) and is coming to me on Sunday morning next. I worked four days on the drawings finishing as broad as I could still life finish would be death. I hear you have returned from Italy and that you are keeping well which pleases and delights me. I hope you will like the drawings - they are difficult. With kind regards to your mother and sister - not forgetting your own good self, from us both. Sincerely yours John M Swan And:27.VI.1902, 3 Acacia Road St Johns Wood NW Dear Miss Ionides I am so glad you are pleased with the drawings, the last is a rare one male Jaguar: it is the only male specimen I have seen for the last 10 or 15 years, you will notice the Uchelli(?) or skirt(?) markings are much larger than the leopard. I am very glad you are coming to me in London and that we may look forward to seeing you again soon: it is always a pleasant ?? to look forward to. Bacchus still squeezes the vine and the ?? leopard laps the vantage. I promised Mr Henderson that I would try to get it into bronze state by the end of the year before ?? I have just returned from the country, with a tiny(?) tad cold, that comes of loafing about orchards for nightingales mid apple blossom. I shall want 'couling' up - I am still dazzling at Mlle Alexandra. I think the flowers will finish the young lady. Kind regards from us both to your mother and self and hoping your brother will like the Jaguar walking. Yours very sincerely John M Swan Receipt enclosed, kindly return case.
Lot 2433
GB Early Milled Shillings (14): 1663 up/down Fair, 1668 Fair, 1696 poor, 1696y 1st bust (York Mint) VG, 1696N 1st bust (Norwich Mint) VG, 1697y 1st bust (York Mint) VG, 1698 3rd bust poor, 1701 large lions Fair minor mis-strike, 1707E Fair x2, 1711 4th bust VG, 1712 roses & plumes Fair, 1736 roses & plumes ex-mount ex-gilt Fine, and 1745 Lima Fair.
Lot 1640
Charles I silver shilling Tower Mint under Parliament 1642-1649, mm. Triangle within Circle 1641-1643, Group F 'Briot's' Bust type 4/4, double-arched crown, Spink 2799, obverse line of defacement down king's portrait, test cut at obverse 5 o'clock, generally above average, with good portrait, some weakness, GF
Lot 1642
Charles I silver shilling, Tower Mint under the King 1625-1642, Group F 'Briot's' Bust, Type 4/4 with stellate lace collar, single-arched crown, mm. Triangle / Triangle over Sideways Anchor to the right, c.1639, under Spink 2798 but exact type not listed?, full, round, well centred, black even tone, NVF
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110041 item(s)/page