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Lot 1041
each octagonal-shaped black onyx link centred with a single-cut diamond, in 9ct white gold and platinum, 4.1 grams, together with a pair of 18ct gold oval-shaped foliate engraved cufflinks, 7.3 grams, and four mother of pearl and 18ct gold dress studs, 8.7 grams. *CR Some wear to the reverse.
Lot 907
including a pair of oval-shaped 18ct gold cufflinks and two 18ct gold dress studs, 9.0 grams, a coral necklace and a pair of coral drop earrings, a 9ct gold ring mount for a sovereign, 8.8 grams, an 18ct gold signet ring, with embossed decoration, 10.4 grams, assorted paste set jewellery and various other items. *CR All with some wear and damages.
Lot 1014
Two sets of buttons, late 18th/early 19th century, comprising: a set of ten large dress buttons, designed as roundels set with cushion-shaped colourless pastes and shield-shaped green pastes, mounted in silver, each 3.7cm diameter, case; and a smaller set of twelve buttons, each set with a circular-cut blue paste, each 8mm diameter, case
Lot 1052
A mixed group of jewellery, comprising a carnelian-set gold long chain, a gold slide set with a carnelian intaglio, a gold ring set with an intaglio carved with an Islamic inscription, a gold locket pendant, a dress watch by Waltham, a Victorian shell cameo in a scrolling gold frame, a gold bracelet, a gold chain, a gold thimble, three gold brooches, a pair of diamond studs, one diamond earring and a pair of damaged gold earrings, a gold cross pendant and a barometer
Lot 1104
A mother of pearl and enamel dress set, early 20th century, comprising: four buttons, a pair of cufflinks, and a pair of collar studs, each of circular outline, set with engraved mother of pearl within a black and white enamel border, mounted in gold, buttons and cufflinks 1.4cm diameter, collar studs 0.7cm diameter, each stamped TM18ct, together with four base metal button loops, fitted case stamped Asprey
Lot 865
An Edwardian cotton blouse/bodice with a blue and white polka pattern over an alternate dot pattern, boned lining and balloon sleeves, and a 1920s country house dressing up costume dress in the 18th Century style, the pink satin with crewel work detail and lace detailing to the sleeves, damaged. (2)
Lot 138
A pair of 19th Century Meissen figures modelled as Malabar Musicians, after the 18th Century original modelled by Friedrich Elias Meyer, both in patterned, burgundy and blue dress with straw hats, the lady with a lantern on her back and playing a hurdy-gurdy, the gentleman with a box on his back and playing the guitar, both with painted blue cross swords, he incised 1569, tallest 17.5cm, restored. (2)
Lot 141
A 19th Century Meissen Street Trader figure from the Cris de Paris series modelled as the Hurdy Gurdy Player after the original by P. Reinicke, dressed in a pattern dress with purple underskirt with yellow lining and winding a Hurdy Gurdy, underglaze mark alongside incised 20 and impressed 85, height 14cm, restored.
Lot 110
A mixed lot including a 9ct yellow gold dragonfly brooch set with emeralds & two small diamonds, 1.3gm, a pair of rolled gold drop earrings (for non pierced ears) set with red stones, 2.7gm, a 9ct yellow gold fox head brooch, 2.5gm, and a pair of 9ct white gold dress studs set with a central blue stone, 2.3gm, boxed, (4).
Lot 138
Delightful pair of tall mugs depicting snowmen as one takes the hand of his sweetie in a pink dress and hat.Royal Doulton backstamp. Made in England Bone China. Cups measure: 4in H x 4.25 to handle x 3in diameter. Issued: 1985Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 260
Yellow hair, white feather dress. From her screen debut in 1932, Mae West (1892 - 1980) became an instant hit. She is best known for portraying tough, sophisticated characters who loved luxury and men. The public adored her and her witty quips, the most famous of which appears on the base of the jug: " When I'm good, I'm very good. But when I'm bad, I'm better." Series: The Celebrity Collection. Royal Doulton backstamp. Artist: Colin M. DavidsonIssued: 1983 - 1986Dimensions: 7"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 425
Judy: blue dress with white collar; white trousers and hat; rusty brown boots. Punch: yellow jacket and hat trimmed with dark pink; dark pink trousers. Coming to England in the 17th century by way of Italy and France, the Punch and Judy puppet show features Punch, the hunchbacked boastful husband, who beats his shrew-like wife Judy. The colors on Punch's bat are occasionally reversed with no effect on the market value.Issued 2003 in a limited edition of 1,000. Series: ICC. Royal Doulton backstamp. Includes certificate of authenticity. Artist: Anthony CartlidgeIssued: 2003Dimensions: 7.75"HEdition Number: 191 Edition Size: 1000Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 47
Deux rares tapisseries Louis XV des Gobelins de la série Don Quichotte, une par Michel Audran, datée 1757, l'autre par Pierre-François Cozette, datée 1764, d'après un dessin de Charles Antoine Coypel, faisant partie de la sixième série tisséeTwo rare Louis XV Gobelins tapestries from the Don Quixote series, one dated 1757 by Michel Audran, the other dated 1764, by Pierre-François Cozette, after a design by Charles Antoine Coypel, part of the sixth weaving of the seriesBoth woven in wool and silk, the first entitled 'The False Princess Micomicon asking Don Quixote to Restore her to her Throne', the central cartouche showing the young female in typical dress with elaborate plumed headdress, her turbaned companion kneeling behind her, two figures peeking out from behind a tree, a rocky landscape in the distance, the text to the bottom of the flowering frame reading LA FAUSSE PRINCESSE MICOMICON, VIENT PRIER DOM QUICHOTTE DE LA REMETTRE SUR LE THRÔNE, the second tapestry entitled 'Don Quixote made a Knight by the Inn Keeper,' the central cartouche showing the main figure of Don Quixote in his armour, kneeling before the inn-keeper who is adorned with a pluming red hat, two figures, one female and one youth standing behind him, two maidens holding the military attributes of Don Quixote behind the kneeling knight, a young woman to the foreground drawing water from the well, dressed in a red dress, the text below to the flowering frame reading DOM QUICHOTTE FAIT CHEVALIER, PAR L'HOSTE, DE HOTELLERIE both scenes are set within a central reserve with scrolling foliate and frame, headed by a peacock, and flanked by ribbon-tied foliate swags, above bursting cornucopiae and military trophies, within a frame border, resting on a base with armour and an axe, flags and cornucopiae, flanked by a spaniel and a ram, the corners with interlaced L's, on blue oval medallions, the former signed and dated UDRAN. G. 1757' with a fleur-de-lys to the dark blue outer slip with signature, the latter signed and dated 'Cozette 1764' to the lower right field, and signed COZETTE on the blue outer slip, minor wear to outer slip, 361.5cm x 283cm (11.86ft x 9.28ft) and 361cm x 275.5cm (11.84ft x 9.03ft) (2 )Footnotes:Provenance:Commissioned by Abel-François Poisson de Vandières, Marquis de Marigny, Surintendent et Directeur des Batiments du Roi;Sold as part of a larger set to Madame Veron on 4 July 1783 (Don Quixote knighted by the innkeeper delivered on 27th November, 1764), thence by inheritance to;Louis Grégoire Veron, Receveur Général des Finances de France-Comté in 1780;Richard Seymour-Conway, 4th Marquess of Hertford, by 1865, thence to his son;Sir Richard Wallace, sold at Christie's London, 20 April 1876, lot 210;Baron de Gunzbourg, sold to Paul Chevalier, Galerie Georges Petit, Paris, 30 January 1884, lots 3 and 4 respectively;Clarence H. Mackay by 1926, thence by descent to his daughter, Mrs Robert Z.Hawkins, 1958;English private collection Exhibited:Paris, Palais de l'Industrie, Exhibition de l'Union centrale des Beaux-Arts appliqués à l'industrie, 1865(loaned by Lord Hertford who lent the pieces to the Musée Rétrospectif Exhibition) This magnificent series was woven nine times - between 1714 and 1794 - with six different alentours (borders), resulting in approximately 200 panels over the course of 80 years. The initial manufacture of the series was overseen by Robert Cotte, the Royal Architect in Chief and Gobelins director (1656-1735) and the Duc d'Antin, Surintendant des Batiments du Roi (1708-1736), who received the first set, which consisted of 16 panels (see below). The production and distribution of the series in the 18th century is complex, but dates of the first few sets are thought to be as follows: The first set for the Duc D'Antin in 1717 (sold at Christie's London, 10th June 1993);The second set consisted of 12 panels, a gift from Louis XV to the Spanish Ambassador;The third set was woven in 1733;The fourth set, woven at some point between 1746-49, consisted of twelve pieces (sold as a whole to the Duke of Parma and currently in Turin);The fifth set included thirty panels;The sixth set (the present lot) originally consisted of 23 panels and is thought to have been woven between 1757-64;The seventh set consisted of 14 panels;The eighth set had a phenomenal 67 tapestries woven to make up the set. A set of this series with a red background was woven between 1772-1785 and given to Albert and Marie-Christine, Duke and Duchess of Saxe Teschen in 1786. Four of these are now at the J.Paul Getty Museum (acc.no 82.DD.66-69). Four tapestries from the series were presented on 18 July 1788 by Louis XVI to the artist Richard Cosway as a sign of gratitude for the four tapestry cartoons by Giulio Romano depicting the history of Scipio, which Cosway had presented to the King for display in the Louvre. Cosway gave his set to George IV shortly afterwards and they were hung in Carlton House until 1823, when they were moved to Buckingham Palace (inv.RCIN 3190-94). A Royal Commission 'Presents from the King to Princes and Ambassadors' Don Quixote (or 'The Ingenious Gentleman Don Quixote of La Mancha), captured the 17th century European noble imagination as translations permeated the various courts and libraries of the upper échelons of society. These tapestries are of particular importance because they represent a change in artistic subject matter at the Gobelins factory. There was a noticeable shift from depictions of stories of military subjects and classical mythology to lighter and occasionally, frivolous scenes. Charles Coypel (1694-1752), painter to Louis XV, created 28 cartoons for the Gobelins manufactory. He received 200 livres for each design. The paintings on which the present lot are based date to 1716 and 1714 (as panels 6 and 0 respectively). 'Don Quixote knighted by the Innkeeper' was the first painting of the series to be presented at the Gobelins factory and set the tone for the rest of the panels. These specific borders, (or alentours) occur for the first time in these tapestries. Some scholars have argued that these borders, which are credited to Jean Baptiste Belin de Fontenay, have just as much iconographic significance as the scenes depicted in the central cartouches. For this set the borders form part of the fifth version of the weaving, which was a variant of the second. That version was a joint effort of Audran and Fontenay under Coypel. The fifth version, only used until 1760, was executed by Vallade who was supervised by Coypel and supplied to Audran in 1751. We know that the Duc D'Antin had wanted new paintings from Coypel and wider hangings so under Coypel a new alentour was designed, mainly using the work of Claude Audran. The piles of armour and flags to the bottom were enlarged, some books added and additional animals including a monkey.The first set of these tapestries were commissioned by the Duc d'Antin
Lot 63
Rare groupe Meissen d'un franc-maçon et d'une dame, monté en bronze doré, vers 1745A rare Meissen ormolu-mounted group of a Freemason and lady, circa 1745Modelled by J.J. Kaendler, the gentleman seated on an upturned pedestal, wearing a gilt-edged white jacket, blue-edged chamois apron and black breeches, his tricorn under his right arm, his companion seated on a pedestal holding a beaker to his lips and holding a jug in her left hand, a pug dog seated on her lap, wearing a white bonnet, puce cape, dress decorated with indianische Blumen and puce shoes with gilding, the base applied with leaves and flowers, 17cm high, traces of crossed swords mark in blue (table missing from front of base, some restoration)Footnotes:Provenance:The Property of a Lady, sold Sotheby's London, 15 May 1965, lot 149;Private Collection, Germany (offered at Sotheby's London, 17 June 1997, lot 140);Private German Collection of Meissen PorcelainThere are two brief mentions of Freemason groups in Kaendler's work records in May and November 1744. The Taxa of overtime work mentions in an entry dated 21 November 1744: '1. Frey Maurer Groupgen, da ein Frey-Maurer in seiner Kleidung und Schurz Fell neben einer Dame vom Mopß-Orden sizet, welche ihn mit einer Chocolate, die sie auf dem Tisch neben sich stehen hat, beehret, auf deren Schooß liegt ein Mopß' [1 Freemason group, a Freemason in his clothes and hide apron seated next to a Lady of the Order of Pugs, who offers his chocolate that she has standing on a table next to him].For the significance of the pseudo-Masonic Mopsorden, or Order of the Pug Dog, see E. Köllmann, Der Mopsorden, in Keramos 50/1970, pp. 71-82. Other examples of this group are in the Pauls-Eisenbeiss Collection (I. Menzhausen, In Porzellan verzaubert, p. 114), and in the Gustav von Klemperer (no. 601), Walther von Pannwitz (no. 276) and Gustav von Gerhardt (no. 89) collections.For further information on this lot please visit Bonhams.com
Lot 30A
Ladies 18ct Gold Attractive Diamond and Sapphire Set Dress Ring. The Central Blue Sapphire of Good Colour, Surrounded by 12 Round Faceted Diamonds of Excellent Colour / Clarity. Sapphire Est Weight 2,00 cts, Diamonds of Weight 1,00 ct. Ring Size M. Weight 5.6 grams. Shank / Setting Very Good.
Lot 919
Thomas Uwins - R.A (British 1782-1857) Neapolitan Peasants On Their Way To The Festa Di Pie Da Grotta Watercolour visible image size = 14½" x 20" (36cm x 50cm) framed size = 25½" x 31½" (64cm x 79cm) signed indistinctively lower right - beneath dogs left paw. Titled to cutaway mount. Highly detailed - highly finished exhibition piece. Old typewritten note to verso states that this was a Royal Academy Exhibit for 1834 - although see "The Itinerant Musician" painted in 1840 and sold through Christies 05th July 2006 for the same model wearing exactly the same dress. *An original engraving of this picture by S. Sangster was published in London - 1846 by J. Hogarth of Haymarket.
Lot 1003
A WMF metal jardinière with glass liner, c.1930-1935, of pierced oval frame with fruiting whiplash foliage and with similarly cast twin handles, stamped to underside, approx. 12.7cm high, 31.2cm wide, together with a WMF tray, c.1910, oxidised Britannia metal, formed as an maiden wearing flowing dress among an iris and whiplash stems, with scrolling foliate handle, with Ostrich stamp, OX, and B, approx. 32cm wide, 28cm deep (2)
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228098 item(s)/page