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Click here to subscribeSeven mid 19th century French .950 silver mounted cut glass toilet jarsMinerva guarantee, maker poincon J.Cengine turned and foliate engraved fittings, initialled F.A. comprising a travelling inkwell with screw fitting hinged cover, a jar with hinged cover, three bottles of various sizes with internal stoppers, and two further jars, (7)various weighable silver approx. 6.38oztCondition: Good condition
A mid Victorian set of ten silver-gilt lidded cut glass toilet jars retailed by Asprey London, 1867, Jane Brownettthe lids engine turned with strapwork borders, mounted with a gold button engraved with a monogram, the jars of various shaped and sizes to include an inkwell and a pot mounted with a button release hinged cover, mostly stamped Asprey 166 Bond St, (10)various, weighable silver approx. 11,78oztCondition:
Seven late Victorian silver topped cut glass toilet jarsLondon, 1880, George Betjemann & Sonsthe lids finely engraved with strapwork dense foliate scrolling decoration, bearing a monogram, various size, one with button release hinged cover, (7)various, weighable silver approx. 6.1oztCondition: Good condition
A set of late George III silver toilet boxes an inkwell and a shaving mug London, 1813/14, William Parker each piece engraved with a Greek key border and initialled, comprising a cylindrical campaign shaving mug with hinged cover with reeded border detachable turned ivory handle, interior gilt, together with a travelling inkwell with screw fitting hinged cover, a silver lidded glass jar with an engraved band and cut over a row of flutes, and five silver boxes of various sizes with hinged lids and gilt interiors, of which two with pierced lids, (8)various., weight approx. 24.8oztCondition: Good condition, slight hairline to handle IMPORTANT NOTE:License applied for from the UK Ivory Act 2018. Ivory declaration submission number reference: 9KWL9YXW
Hallmarked silver mounted and similar items comprising one pair and one single cased cut glass butter dish with hallmarked silver knives, further butter dish with hallmarked silver surround, two hallmarked silver lidded glass dressing table pots, further lid, pair of hallmarked silver candlesticks and a dressing table pot raised on three feet, 133g weighable silver
Two boxes of assorted items to include: 19th Century spelter figural clock with stand, Moorcroft Art pottery tube lined bowl, glass decanters with stoppers, glass vase, cranberry glass oil lamp reservoir, frosted and cut glass lampshade, glass vinaigrette, carved wooden religious figure, brass bell, tile, continental figurines, table lamp base, Wedgwood Jasperware teapot, blue and white and other jugs, oriental slipware vase, lustre teapot, brass candlestick, metal enamel tray, Carlton Ware 'Baby's Plate' etc. (2).(B.P. 21% + VAT)
A LARGE GEORGE V SILVER-TOPPED CUT-GLASS SCENT BOTTLE by F & Co Ltd, London 1922, of square-section, the hinged bun-shaped top opening to reveal a glass stopper, the body cut in an Art Deco geometric pattern, the base with a chamfered edge and centred by a star. 14cm highThe marks are clear. The hinge is in good condition, and the lid snaps closed tightly. The glass is in very good condition. No personalised engraving.
A GEORGE V SILVER-GILT, ENAMEL AND GLASS SPIRIT FLASK by Mappin & Webb Ltd, London 1927, the bayonet cap decorated with blue guilloche enamel, the facet cut glass upper body above a detachable sleeve cup. 14.5cm highThe marks on both the collar and cup are clear but some rubbing to the maker's marks. Tiny scratch to the edge of the enamel, but otherwise very good. The cover opens and closes well. The glass is in good condition without damage. In generally good condition commensurate with age and use.
An Edwardian silver mounted claret jug, the cylindrical body etched with vines bearing clusters of fruit above a bulbous foot with star cut base, the mount embossed with bacchanalian decoration, the hinged cover with lion shaped thumbpiece and vacant shield, mount marked possibly for Pairpoint Brothers, London 1905, 28cm high Provenance: Wykey House Condition report: Silver mount: The lip of the spout shows a possible repair. Residue of silver polish seen throughout to mount. Hinged cover doesn't sit flush against the rest of mount. Tarnishing seen throughout mount.Glass body: Base of body with scratches commensurate with use. Blemishes seen to the body within glass.
TAXIDERMY: A cased barn owl, naturalistically modelled standing on a stump, cut from its original case and set in an associated glass dome, the original case with applied Roberts & Son label (also cut from the case and included with the lot), the dome 49cm high Provenance: Wykey HouseNOTE: If this lot is to be shipped outside the UK then a CITES Re-Export permit will be required. It is the buyer's responsibility to obtain this permit.
A pair of Victorian silver mounted horn beakers, Thomas Johnson I, London 1874, with central silver shield shaped cartouche with initial and crest depicting head of a stag, 16cm high, with a silver mounted horn pepperette of tapered form with vacant cartouche, and a pair of Victorian Bright cut pattern style silver ladles, possibly William Hutton & Son, Sheffield 1859, with twisted stems and engraved vacant cartouche to terminals, 17cm long (5) Condition report: Horn beakers: Silver mounts are loose and will come apart when pulled. Tarnishing and silver polish residue seen to silver mounts, would benefit from a clean. Engraving and hallmarks are worn. Horn beaker with blemishes and scuffs commensurate with use. Glass bottoms with scuffs and scratches. Pepperette: Silver mount with tarnishing and would benefit from a clean. Finial has been compressed and is now off centre. Scratches and dents to silver mount commensurate with age and use. Horn with blemishes and scuffs commensurate with use. Spoons:Scratches, dents and scuffs throughout commensurate of age and use. Tarnishing seen throughout, would benefit from a clean. Engraving is worn.
A pair of cut glass decanters, 20th century, of lobed form, with floral foot and associated stopper, 32cm high, a claret jug, 20th century, of mallet form, fluted body and faceted shoulders, star cut design to base, with associated stopper, 35cm high, a small conical jug and three other decanters (7)Provenance: Wykey House
A rose glass scent bottle, early 20th century, spearhead shaped stopper decorated with reverse relief cut floral motif with trailing roses, on facet cut hexagonal base, 22.5cm high, with two smaller examples, 17cm and 15.5cm high (at fault) (3)Condition report: Each scent bottle shows surface scratching and minor chips and nibbles throughout, commensurate with use and age. One bottle shows chips to the base (as seen in photos). Ground stopper bases with unpolished pontil bases. No other obvious signs of damage or restoration.
AN ART DECO DIAMOND BRACELET, CHAUMET, CIRCA 1925The openwork articulated band set at the centre with a stylised meander motif highlighted with old European and single-cut diamonds, between similarly-cut diamond borders, with millegrain detailing throughout, mounted in platinum, diamonds approximately 13.00cts total, with maker's mark 'JC' for Joseph Chaumet, French assay mark, with case by 'Armour-Winston Ltd, 43 Burlington Arcade, W1', length 17.4cmBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. A couple of links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010.Joseph Chaumet: maker's mark registered in 1890 until 1928 - located in the 2nd district of Paris, then place Vendome in the 1st district in 1902.A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Business boomed for jewellers during the interwar period. Jewellers, as was also the case with visual artists, interior designers and product designers, were influenced by the new Art Deco architecture and design. Art Deco buildings were often streamlined with minimal decoration, especially compared to the recent Victorian past. Designers and architects used new materials such as chrome, steel, decorative glass and aluminium, to create a forward looking, modern style. Dubbed ‘the vertical style’ in New York, elements included vertical windows, stylised floral patterns, and above all, abstract, geometric motifs. This Art Deco influence on jewellery is made clear by Georges Fouquet in the article La Bijouterie at la Joaillerie Modernes, published in Figaro’s Supplément Artistique on June 13th 1929, where he stated that: “the composition of a piece of jewellery must be really understood and it must be constructed of simple lines, free from all its point of departure it must have a principle of construction in which the harmonious rhythm of lines, masses and colours manifests itself.” During this turbulent but creative period, the firm of Chaumet managed to retain both their pre-war client base and their reputation. At that point in time their longevity already stretched back over a century and a half and their client base had included Emperor Napoleon, Empress Josephine and Queen Victoria. In 1928 at the height of the Art Deco era, Marcel Chaumet took over management of the firm on the death of his father, Joseph Chaumet, for whom the business was eponymously named. Declaring, at his father’s funeral that: “continuing the furrow he ploughed, perpetuating his work in every sphere, such is my goal, to which I will devout all my effort.” Recorded in Chaumet, Parisian Jeweler since 1780, directed by Henri Loyrette. Chaumet fully embraced the Art Deco trend, participating in the ground-breaking Exposition Internationale des Arts Décoratifs, in Paris in 1925. Their jewellery became more geometric in design and used a more eclectic range of gemstones than before, such as rock crystal, onyx, turquoise and red coral. These were often arranged either in monochromatic black and white or a riot of bright colours. If monochromatic, the diamond reigned supreme. Advances in gem-cutting had allowed new, innovative cuts such as the baguette and the calibre-cut and these were often contrasted with onyx or black enamel and set in platinum.At the exposition especially, the rising concept of the freed woman or named ‘garçonne’ in France became so popular and inspired books written about female empowerment, such as in the 1922 novel by Victor Margueritte, La Garçonne. During the war, women had replaced men in the working world as men were called to the front line, and in doing so it became evident that women held a new independence and freedom in society. Fashion designers of the time noticed this and created lines for the contemporary woman which included Coco Chanel’s little black dress. Such popularity of the concept inspired jewellery designed by Chaumet’s innovation and style. Stated in Chaumet, Parisian Jewler since 1780, Vogue even recommended Chaumet for the “chic woman’s wardrobe…jarred and bored by the jangling of many bracelets, one single cuff made for her by Chaumet -a thing of beautiful and intricate design.”The Art Deco period was also an effort to cast aside ideas of the past. Additionally, more exotic influences included Egyptian, Chinese and Japanese, often shown in the use of stylised motifs such as dragons, pagodas and Persian flower motifs. These influences also expressed themselves in the use of jade, coral, enamels, lacquer and pearls. In the 1920’s, Art Deco bracelets were often composed of intricate links set with coloured gemstones in geometric designs and there was a fashion for wearing multiple bracelets, high on the arm. The design of this intricate bracelet is based on the Greek key pattern and was inspired by the architectural motifs of Classical Greece. This pattern that is both interlocking and unbroken, became popular once again in the Art Deco era due to its pleasingly geometric character, and was said to represent both infinity and unity. As the 1930’s approached, larger, pave-set bracelets with outsized links gained in popularity and ‘convertible jewellery’ which could be worn in more than one way, became popular again. Condition Report: Diamonds: approx. 13.00cts total - overall bright and lively - estimated colour H/I, estimated clarity VS-SI (a few I)Partial Maker's mark: JC and star (no crescent visible) located on the tongue of clasp - dog's head for French platinum located on the tongue of claspOne dent visible on the rail track of the braceletClasp: secureNormal signs of wear given the age of the bracelet - overall in good conditionBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. Two links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010. A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Total gross weight approx. 42.9g
AN 18K GOLD AND DIAMOND COCKTAIL WATCH, BY CHOPARD, CIRCA 197017-jewel Cal-33 manual wind movement, the oval gold reeded dial with black hands, to a brillant-cut diamond bezel, case with snap on the back, crown signed LUC, to a graduated reeded 18K gold fitted bracelet with applied C on the clasp accented with a single-cut diamond, stamped LUC, diamonds approximately 2.50cts total, bracelet and case in 18K gold, case no. 87203 and 5052 1, Swiss assay mark, dial and movement signed Chopar, case 28mm, length 18.3cm€ 3,000 - 5,000 Condition Report: Glass: Superfial scratches due to normal wearFitted 18K gold braces: normal signs of wearDiamonds: approx. approx. 2.50cts total- unable to assess colour due to yellow mount, estimated clarity VS (one diamond with minor chip visible under 10x magnification)In running condition at the time of inspection - the movement was observed to be clean but a service is always recommendedService marks observed inside back caseBracelet and case were weighed without movement: approx. 62.80gTotal gross weight approx. 64.2 gramsAn external watch specialist who verifies every watch prior to each auction in order to open them, checks their working condition and mentions any potential damage, mentions any movement, reference numbers etc...The movement is running at the time of cataloguing, however, it was not tested for the accuracy of time or duration of the power reserve and may need servicing at the buyer's discretion. Please note that Adam's cannot guarantee the future working of the movement. The jewellery department is happy to offer any additional assistance.
A LADY'S PLATINUM AND DIAMOND -SET 'TANK CHINOISE' WRISTWATCH, BY CARTIER, CIRCA 2005 18-jewel Cal-430 mechanical, manual winding movement, the white, square dial with Roman numerals and blue steel, spade-shaped hands within a round, brilliant-cut diamond surround, diamond-set crown, total estimated diamond weight ca. 1.10cts, back secured by 8 screws, case mounted in platinum with maker’s mark ‘SCA’ for Société Anonyme Cartier and Swiss assay mark, on a light brown Cartier strap with 18K gold signed buckle, case, dial and movement signed, serial no. 19591CE, ref. no. 2685, with maker’s pouch, case 28 x 28mm€ 7,000 - 8,000 Condition Report: Total gross weight approx. 71.8 gramsResponse from Cartier: Watch part of the Tank Chinoise collection, not offered anymore. The collection was launched in 2004.Glass: two minor scratches visible under a bright light sourceDiamonds: bright and lively - approx. 1.10ct totalCase: normal signs of wearBracelet: Signed Cartier - normal signs of wearBuckle: in 18K gold - signed Cartier, normal signs of wear In running condition at the time of inspection, the movement has been observed to be cleanTotal gross weight approx. 72.1 gramsAn external watch specialist who verifies every watch prior to each auction in order to open them, checks their working condition and mentions any potential damage, mentions any movement, reference numbers etc...The movement is running at the time of cataloguing, however, it was not tested for the accuracy of time or duration of the power reserve and may need servicing at the buyer's discretion. Please note that Adam's cannot guarantee the future working of the movement. The jewellery department is happy to offer any additional assistance.
A diamond animal mask brooch, circa 1890, realistically modelled, the shaggy coat set throughout with rose-cut diamonds, with yellow and brown glass eyes, the tongue originally enamelled, mounted in silver and gold, French assay marks and import marks, diameter 28mm. £800-£1,200 --- Condition Report General light surface wear commensurate with age and use. The tongue has lost the majority of its enamel. Small chip to one eye. Spot solder repairs visible to the reverse. Brooch fitting reattached at both sides / replaced. Overall good aesthetic. Gross weight 14.6gm.
A French silver mounted cut-glass and green overlaid scent bottle and stopper, of faceted shouldered form, the hinged cover with French assay mark and maker’s mark (partially struck), height 7.4cm £80-£100 --- Condition Report Chip to the glass at one shoulder. Tarnish to the silver mount. Weight 47.1gm.
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