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Click here to subscribeRoyal Welsh Fusiliers Badges Including Officer including WW2 plastic economy (blades) ... Silvered and gilt Royal Welsh Fus (blades) ... Cast blackened, Royal Welch Fus (blades) ... Anodised Royal Welch Fus ... 2 x bullion embroidery and silvered dragon beret badges ... 2 x bullion embroidery and silvered dragon cap badges ... Bullion embroidery and silvered dragon, mess dress collar. 13 items.
Small Selection of Various Badges including brass 7th ... Brass "8" ... White metal German Highlanders shield sporran badge ... Silvered and gilt, KC Royal Marines Portsmouth ... Silvered and gilt Royal Marine collar ... Brass RMLI title ... Brass RM title ... Bullion embroidery, KC Fleet Air Arm, mess dress pilot wings ... Embroidery Royal Marine Division formation badge.
9ct slim dress pocket watch, import hallmarks Glasgow 1919, lever movement, silvered dial signed J.C. Vickery, London, blued steel moon hands, plain case, 46.1gm, 45mm (at fault, lacking glass (559019-2-A)-** with case-Movement - over wound, not functioning and for repair.Dial - some light scratches.Glass - lacking glass.Hands - light marks.Case - light surface marks.Crown - over wound and not winding, adjusting the hands ok.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
A large collection of vintage and modern dress watches, including a Longines Quartz T1 Timer, a Tissot PR100, a Turler Quartz example, a Sekonda example, eight assorted examples by Seiko, nine assorted examples by Swatch, two examples by Pulsar, and a further selection of watches of assorted styles, materials and makers (Qty) Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
A lapis lazuli and diamond set dress ring, designed as a central polished oval lapis lazuli cabochon measuring 9.5mm x 7.2mm, each shoulder set with three single cut diamonds, continuing to a tapering gold coloured shank set with polished lapis lazuli panels, ring size N, weight 6.6gms (at fault)
A selection of jewellery and part jewellery, to include; an opal set ring, size I 1/2, an opal set brooch, 4.2cm wide, an 18ct gold mother-of-pearl set dress ring, size L 1/2, a single Edwardian sapphire, pearl and enamelled drop earring, 2.8cm long, a 14ct gold opal set clasp (at fault), an opal triplet pendant on a gold coloured chain, and a further selection of part jewellery (Qty)
A selection of vintage jewellery, to include a string of cultured pearls with silver clasp, three strings of seed pearls, a Victorian style yellow paste set pendant, a silver peridot set dress ring, and a silver coral set dress ring, a citrine and seed pearl silver dress ring, a bangle and matching earrings by Michaela Fray, and a further assortment of necklaces, earrings, watches and brooches (Qty)
Five 9ct gold dress rings, to include an enamelled Claddagh ring, size N ½, a Victorian turquoise and seed pearl set ring, size L ½, an amethyst and diamond floral cluster ring, size O, a ruby set pierced design signet ring, size N ½, and a topaz set twist design ring, size H 1/2, weight of group 12.0gms (5)
A selection of 9ct gold gemstone set dress rings, to include an emerald and diamond set ring, size L ½, an amethyst set ring, size M ½, a further amethyst set dress ring, size N, a synthetic ruby and seed pearl set ring, size M ½, an emerald and diamond tiered floral cluster ring, size L ½, and an oval opal triplet ring, size N (6)
A 9ct gold enamel and pearl set dress ring, the central daisy shaped head set with a cultured pearl and decorated with green and white enamel, set to a stylized enamelled shoulders and plain polished 9ct gold shank, marks for 'S&B' Birmingham 1978, ring size L ½, weight 4.4gmsCR; Central pearl in good order, no cracks, chips or losses. Enamel to the central flower in good order, no cracks, chips or losses. Head in good order, no splitting, signs of repair or major damage. Small chip to the enamel on the shoulder, general scratching and wear to the enamel. Shank in good order, no splitting, misshaping, repair or resizing.
A suite of 9ct gold amethyst and pearl set jewellery, comprising a designed as a faceted oval amethyst set to a scrolling 9ct gold frame set with cultured pearls, 26mm long, upon a 9ct gold figaro link chain, 45cm long, together with a matching pair of earrings, each 27mm long (at fault), together with a 9ct gold topaz set dress ring, size N 1/2, and a pair of 9ct gold topaz set earrings, each 15mm long (6)
A selection of objects of virtue, to include seven assorted cut glass silver and white metal mounted dressing table jars, eight assorted silver and white metal thimbles, a silver coloured aide memoire decorated with an owl, a 19th century ivory aide memoire, a Ruskin matchbox holder, a silver matchbox holder, a cased set of four gold plated dress buttons, and a further assortment of buttons, dressing table wares and accessories (Qty) Trevanion Auctioneers & Valuers do not ship items containing ivory outside the UK. Trevanion recommends that buyers check with their own government regarding any importation requirements prior to placing a bid. A buyer's inability to import these lots cannot justify a delay in payment or sale cancellation.The government have proposed legislation to create a UK law to ban the sale of all ivory. Please note this means that this lot is legal to sell now but may not be in the future.
After Pierrele Faguays, an Art Deco patinated bronze figure modelled as a dancing girl with a floral garland, set to a stepped marble and bronze base, signed, numbered 'A1236' and foundary marked in the casting, 55cm high, with a resin and faux ivory Art Deco figure modelled as a lady in an opalescent green dress, set to a shaped and stepped faux marble base, 50cm high (at fault) (2) CONDITION REPORT:The Faguays figure appears to be in good overall condition, showing minor wear to the finish, but no visible damage. The resin figure shows a loss to the little finger of the left hand, and a somewhat poor fit to the faux ivory elements. The figure is loose on its base and requires careful handling when moved.
Edouard Cabane (French, 1857-C.1942),Oval portrait of a lady dressed in golden silk with lace trim,Oil on canvas,Signed and dated '1908' to right hand side, Danish auction labels verso,60.5cm x 47cm,Gilt oval framed Provenance: with Bruun Rasmussen [Denmark] 12/5/10 CONDITION REPORT:The paint surface shows expected fine surface craquelure, most noticeable in the lace trim of the dress. The paint to the background on the right hand side of the face appears slightly thinner than that on the left, and appears to be slightly scuffed in places. Inspection under UV reveals evidence of restoration, particularly to the hair, and a small unvarnished area on the right hand side.
Six Royal Copenhagen figures modelled as children, comprising: a boy with a teddy bear (model 3468), printed maker's mark for 1968 to base, 19cm high, a boy sharpening a stick (model 905), printed maker's mark for 1954 to base, 18.5cm high, a boy and a dog (model 782), printed maker's mark for 1975-1979 to base, 19cm high, a girl in a dress (model 2444), printed maker's mark for 1975-1979 to base, 21cm high, a girl seated with a doll (model 1938), printed maker's mark for 1969-1974 to base, 12.5cm high, and a figural group of a boy and a girl (model 406), printed maker's mark for 1992-1999 to base, 17cm high (6)
A Royal Copenhagen figural group, 20th century, modelled as an 18th century courting couple, model number 2046, printed maker's mark with date code for 1963 to base, 22cm high, with eight further Royal Copenhagen figures, comprising: a boy playing the accordion (model 3667), a boy in naval dress (model 685), a boy with two geese (model 2139), a boy seated on a rock (model 4027), a girl with a doll (model 3538), a girl playing a lute (model 301), a boy seated on a barrel (model 3689), and a figural group modelled as a farmer and his wife (model 1300) (9)
A small group of English pearlware toy tea and coffee wares circa 1800-15 comprising a teapot printed in the 'Curling Palm Tree' pattern, possibly Job Ridgway, 7.5cm high; a globular teapot and cover printed with a chinoiserie garden scene including a Chinese figure and a European lady in a long dress, unmarked, 10cm high; a Wedgwood coffee cup with two figures on a bridge, impressed mark; a further chinoiserie coffee cup, unmarked, 4cm high and a teacup and saucer, of bute shape, printed with a garden pagoda, river, man and a raft and further figures, saucer 11cm diameter (7, including cover)The Enid and Bruce Moulder Collection.
PAUL GAUGUIN (1848-1903)Paysage de Bretagne stamped with the artist's initials 'PGO' (lower left)watercolour monotype on paper heightened with gouache and watercolour30.4 x 21.7cm (11 15/16 x 8 9/16in).Executed circa 1894Footnotes:This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Provenance(Possibly) Galerie Schmit, Paris.Marcel Heyndricx Collection (acquired in the 1930s-1940s).Private collection, France (by descent from the above).Previously unrecorded, this rare watercolour monotype is thought to date from Gauguin's intense spell of experimentation with the technique in 1894 and marks a significant moment of artistic development. Depicting the picturesque village of Pont-Aven in rural Brittany, the composition immediately recalls the artist's earlier works from his first visit to the area in the 1880s. Recently separated from his wife and having lost his lucrative financial career following the stock market crash, Gauguin chose to make the first of many visits to Brittany in the summer of 1886, drawn away from Paris not only by economic necessity but by the fascinating subject matter that the Breton people, their costumes and landscape offered. This physical distance from Paris offered Gauguin space to reject traditional academic artistic doctrine and the prevailing Impressionist style. Here his work evolved towards Cloisonnism in the manner of Émile Bernard, characterised by flat planes of vivid colour contained by bold outlines and a rejection of traditional perspective. Traces of these bold outlines remain in Paysage de Bretagne whereby the blue cernes of the monotype transfer separate areas of distinct colour. Green fields sit above one another while the winding path leads upwards rather than through the composition, emphasising the paper's two-dimensionality. Driven by a quest to find a more unspoilt Eden, Gauguin's well-documented travels to Panama, Martinique and then Tahiti followed, voyages which resulted in many of his best-known works. However, the artist returned to Paris in August 1893 disillusioned and penniless. Adopting an increasingly eccentric public persona, he walked around Paris in Polynesian dress and had an affair with a young woman known as 'Annah the Javanese', though she was in fact half-Indian and half-Malay. Swiftly tiring of the city and seeking a return to the region which had been so fruitful in his earlier career, together they travelled to Brittany. It was an ill-fated trip that was to be Gauguin's final visit to the area. On 25 May in the port of Concarneau, near Pont-Aven, a group of local sailors threw stones at Annah and harassed her; the resulting brawl left Gauguin badly beaten and with a fractured leg. For months his only solace was in the pain-dulling morphine and alcohol he imbibed; he was unable to walk and unable to work. Having eventually grown tired of the crippled and irascible artist, Annah returned to Paris, whereupon she ransacked Gauguin's studio home of his valuables, leaving only his artworks. Gauguin remained in both Pont-Aven and the more remote Le Poldu, alone and debilitated. Unable to shake the influence of the South Seas however he created his first watercolour monotypes, many of which looked back to Tahitian subjects. The present work is one of the few that roots the artist back in his homeland. Gauguin's decision to turn to printmaking was significant and indicative, according to Starr Figura, of a time of reflection for the artist, 'when he had recently completed a major body of paintings or sculptures or was otherwise at a crossroads. Printmaking often provided a crucial creative impetus when he had difficulty painting. [...] A major group of watercolor monotypes, a small body of watercolor and gouache monotypes from around 1896-1902, and a large body of oil transfer drawings from approximately 1899 to 1903 tended to serve as more informal, individual meditations on Gauguin's earlier themes' (S. Figura, Gauguin: Metamorphoses, exh. cat, New York, 2014, pp. 15-16).The 1894 watercolour monotypes reimagined scenes from the South Seas alongside more domestic still lifes and Pont-Aven landscapes such as the present work. The series is known to consist of approximately 34 works but, as the discovery of Paysage de Bretagne demonstrates, more are surely to be found: 'Gauguin's concern with the monotype has been neglected, largely because the evidence has been scattered or lost' (R.S. Field, Paul Gauguin: Monotypes, exh. cat., Philadelphia, 1973, p. 12). Further to this, the very categorisation of a work as a watercolour or monotype can be problematic, not least due to Gauguin's continued experimentation with media. In Noa Noa, a travelogue consisting of the artist's notes on his Tahitian experience and illustrated with ten woodcuts, there is, according to Richard Field, at least one watercolour which was originally mistaken for a monotype because of its grainy, diffuse appearance – however, it was found to be formed of two sheets of paper, Gauguin laying the thinner sheet over a finished watercolour to subtly obscure the composition.The precise technique employed by the artist for his 1894 series is not known, but various methods have been suggested. Gauguin held an exhibition in his studio in December that year which included several watercolour monotypes, which the critic Julien Leclercq described as 'a process of printing with water, [to which] he imparts to the watercolour the gravity, sumptuosity and depth which are for him, no matter what subject he chooses, the necessary condition of art' (Julien Leclercq quoted in ibid, p. 16).Richard Field feels the most likely technique was a simple transfer of wet watercolour from one sheet of paper to another, but more recent research by Peter Kort Zeggers suggests that at least some of the monotypes were created by 'placing a piece of glass over one of his existing drawings or watercolors; painting on top of the glass in watercolor or gouache, using the image below as a guide; and finally, pulling an impression on dampened paper' (S. Figura, op. cit. p. 26). These tracing lines were usually blue, as in the present work, and to these Gauguin would add additional colour and details not present in the original drawing to the surface of the glass. Pressing a sheet of paper on top of the glass would result in an image transfer which was often heightened with varying degrees of ink, watercolour and gouache. Gauguin was known to use a mix of further substances such as wax, resin, oil and gum, all of which created accidental surface finishes. Indeed, Paysage de Bretagne has a historic application of gum Arabic or similar material to the sky, which heightens the mottled effect from the transfer process and casts an opaque veil over the shimmering surface. The watercolour monotype allows a fusion of printmaking and drawing, the artist's hand very much felt in the heightened deft flecks of red paint to the haystack and the rainbow cascade of brush marks in the thatched roof. The random textures left by the original sheet however mark a move away from Gauguin's disciplined cloisonné style of the late 1880s: '[The watercolour monotypes] exploit the conflict between the astructural, textured color and the more disciplined design of the flat cernes. [...They are the] most delightful evocations in Gauguin's oeuvre' (R.S. Field, op. cit., p. 40).The fluidity of these watercolour monotypes has been read as a reaction to the artist's previous woodcuts which emphasised the decorative, with sharper lines. Gaugui... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Formerly from the Collection of Her Royal Highness The Princess Margaret, Countess of Snowdon: An aquamarine and diamond brooch by Cartier, 1932, the oval hoop set with circular-cut aquamarines, each shoulder with hexagonal-cut aquamarine highlight set between twin scrolls of brilliant-cut diamonds, mounted in platinum, engraved with the ownership mark ‘M’ beneath The Princess Margaret’s coronet, numbered ‘9865’ and ‘6656’, width 51mm. £40,000-£50,000 --- Accompanied by the Certificate of Provenance from Kensington Palace, dated 13 June 2006, in original embossed leather folder. Provenance: Christie’s, Lot 12, Property from the Collection of her Royal Highness The Princess Margaret, Countess of Snowdon, sale 13 June 2006, London. The brooch was purchased by Her Majesty Queen Elizabeth the Queen Mother from Cartier on 23 January 1947 for £175. The brooch is unsigned however Cartier Geneva confirmed this brooch was made by Cartier London in 1932. This brooch was purchased a week before the Royal family set sail to South Africa on 1st February 1947. The major tour was both the first trip abroad for Princess Margaret and also the first time a reigning monarch had undertaken a tour with his whole family. The three month-long visit was not only an important display of imperial solidarity but an opportunity for the young Princesses to witness first hand the statecraft, duty and hard work required in order to fulfil their royal roles in public life. The tour was remembered for being the first occasion that Princess Margaret spent significant time with Captain Peter Townsend, equerry to King George VI. The Princess later confided how the time they spent together “in that wonderful country, in marvellous weather” was when “I really fell in love with him.” Later that year Townsend was to become the official charge on Princess Margaret’s first solo visits. Prior to the South African tour, it was agreed that the engagement between Princess Elizabeth and Lt. Philip Mountbatten would be formally announced upon the family’s return to England. The purchasing of the aquamarine brooch before departure perhaps foretold of the busy months ahead, with the engagement announced in July and the wedding planned for November. It was therefore decided that Princess Margaret would take on a greater role in public life. In August 1947 the Princess turned seventeen and it was widely reported at the time that this birthday would mark her official “coming out” and signal a turning point in her own independence. To celebrate the occasion, King George VI appointed the Princess to Colonel-in-Chief of the Highland Light Infantry and on her first official duty for the Regiment, in March 1948, Princess Margaret wore this aquamarine and diamond brooch to the reception at Glasgow City Chambers. It is likely that the brooch had been given to Princess Margaret the previous year on the occasion of her seventeenth birthday. In a letter to Queen Mary written in April 1944, Queen Elizabeth discusses the jewellery being given to Princess Elizabeth for her eighteenth birthday from her father, King George VI, and states: “It is almost impossible to buy anything good, but he may find something second hand.” This aquamarine and diamond brooch purchased from Cartier by Queen Elizabeth in 1947, yet manufactured in 1932, certainly reflects a similar perspective in regards to buying jewellery. Princess Margaret’s love of brooches was apparent throughout her lifetime and was highlighted by the jewellery auction in June 2006 at Christie’s which included over sixty brooches from her collection. This particular aquamarine and diamond brooch was one of the few Art Deco examples included in the sale and, more importantly, one of only a handful of jewels with Royal provenance extending back to previous generations. A large number of the brooches offered in the auction had been acquired directly by the Princess from the 1960s onwards. Unlike her sister, Queen Elizabeth II, who favours wearing brooches on the traditional left, Princess Margaret followed her grandmother’s style in regularly wearing them to the centre front of her neckline. One such photograph, taken in a garden during the official visit to The Caribbean in 1958, shows the Princess wearing this brooch at the centre of a floral dress. An earlier photograph, taken in 1950 at a dance at the Dorchester Hotel, shows the young Princess wearing the brooch on a strapless ballgown in ice blue brocade. Known for her sense of fashion and style, the Princess always coordinated her jewels to match her outfits. In 1959, when opening an exhibition, The Bulletin newspaper reported that Princess Margaret had pinned ‘a delicate ornament in aquamarines and diamonds’ to the side of her pale blue chiffon hat. The Princess was photographed wearing this brooch throughout her lifetime, seemingly always when dressed in blue. One such photograph shows Princess Margaret and Lord Snowdon introducing baby David Linley to his grandmother, The Queen Mother, in 1961. A more recent example from 1989 shows the Princess wearing the brooch on a striking blue suit at the Trooping the Colour ceremony. The photographs depict the whole Royal family with Princess Margaret standing beside Princess Diana and her two young sons, Princes William and Harry, on the balcony of Buckingham Palace. During the 1930s and following on from the Art Deco, Cartier displayed a progressive attitude towards design, materials and palette choices. The rigidity of geometry was gradually lost to a flexibility of form that, as seen with this brooch, featured curves, volutes and loops, combined with unusual six-pointed cuts that livened up the usual sequence of stones. The introduction of semi-precious materials saw a preference for colour overtake the monochromatic palette of the previous decade. Black and white jewels set with diamonds, rock crystal, onyx or enamel gradually evolved to feature aquamarines, topaz and amethysts. This brooch made in 1932 is an early example of the evolution seen in design over the course of the coming decade and showcases the originality and foresight of Cartier at the time.
An Art Deco gentleman’s dress set, first half 20th century, comprising cufflinks, buttons and studs, each of octagonal form inlaid with a mother-of-pearl plaque with engraved wavy design, mounted in platinum and gold, stamped ‘PLAT’ and ‘18CT’, cased by Skinner & Co., largest plaque diameter 14mm. £400-£600
A cultured pearl dress ring, circa 1970, and a gold wirework ring, 1975, the first of stylised foliate design, the baroque-shaped cultured pearl bud within a sculpted mount, the second formed as a band of continuous 9ct gold wires, indistinct maker’s mark possibly ‘I.W’, UK hallmark, ring sizes J and Q. £200-£300
A late 19th century French blue hardstone and diamond set composite suite, comprising a circular brooch suspending three tiered drops, two converted pendant drops, formerly ear pendants and with accompanying modern detachable chain, together with two circular dress studs, rose-cut diamond set throughout, gold and silver mounted with French eagle head guarantee marks, (blue hardstone untested), cased by Hippolyte Martel / 4 Place de L’opéra / Paris, brooch length 7.15cm. £1,400-£1,600
An 18ct diamond and hardstone set dress ring, 1973, of abstract form and set with a trio of blue hardstones and a pair of graduated brilliant-cut diamonds, to a bifurcated textured band, hallmarked for London, with maker’s mark ‘GS’, total diamond weight approximately 0.26 carat, ring size K½. £260-£300
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