There are 1711 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Pair of Russian Silver Fish-Servers, by Fabergé, With Imperial Warrant, Moscow, Late 19th Century, the handle of each with shell-cast terminal and reeded sides, engraved with initials, the blade and tines cast and chased in high relief with a songbird, among foliage bullrush and rocaille and the blade and foliage and flowers on the tines, each on a matted ground, the fish-knife 30.5cm long, 12oz 2dwt (2)
VASSILI YACOVLEVITCH GRACHEV, (1831-1905), A RARE BRONZE EQUESTRIAN MODEL OF IVAN THE TERRIBLE, late 19th century, portrayed wearing a traditional conical fur hat and shuba cloak; the naturalistically cast base finely inscribed in Cyrillic in the maquette, 'LEV GRACHEV' to one side and the founder 'C.F. WOERFFEL' to the other, 32cm high, 29cm long cf. Sotheby's London, Russian Works of Art, Fabergé and Icons, 8th June 2011, lot 624 Also Sotheby's New York, Important Russian Works of Art, European Silver, and Vertu, 8th April 8 2014, lot 113
NO RESERVE Gold & Silver.- Snowman (A.Kenneth) The Art of Carl Fabergé, 1953 § Curtis (Mattoon M.) The Book of Snuff and Snuff Boxes, New York, 1935 § Le Corbeiller (C.) European and American Snuff Boxes 1730-1830, 1966, plates and illustrations, some colour, original cloth, the last with dust-jacket, a little rubbed; and 7 others on Fabergé and gold & silver boxes, 4to & 8vo (10)
NO RESERVE Gold.- Bainbridge (Henry Charles) Peter Carl Faberge, one of 250 specially-bound deluxe copies for Britain, original half turquoise morocco, gilt, t.e.g., others uncut, spine slightly faded, cloth slip-case, 1949 § Snowman (A.Kenneth( Eighteenth Century Gold Boxes of Europe, original cloth, dust-jacket, 1966, plates and illustrations, some colour; and 5 others on Fabergé or gold boxes, 4to & 8vo (7)
A Russian Gold and Enamel Brooch, by Fabergé, St Petersburg, circa 1900, with scratched inventory number '58130', the cartouche shape with rose cut diamond accents and cast with rocaillé border, with a rose cut diamond set flower on a pink guilloché ground centrally, total estimated diamond weight 0.35 carat approximately, measures 2.2cm by 3.2cm, in original fitted wooden box, the inside of the cover silk lined and stamped in Cyrillic 'Fabergé St Petersburg Moscow', below imperial warrant see illustration Provenance: by family tradition acquired at Sotheby's in the 1980s For similar examples see Lot 354, Shapiro Auctions LLC, March 7, 2018; Lot 220, Christie's, November 29, 2010; Lot 180, Bonhams, November 24, 2008. The brooch is in good condition. It fastens with a pin and hook catch and features a safety chain. It is scratched to the reverse '58130' and stamped on the edge '56' standard. See additional images for information provided about the workmaster. The guilloché enamelling is worn/incomplete to the framed edges. The approximate qualities of the diamonds are; colour H/I/J, clarity I1/I2/I3. Gross weight 8.8 grams. CR made 27.01.20.
NO RESERVE Russian Art.- Habsburg (Géza von) Fabergé, Geneva, 1987 § Forbes (Christopher) & others. Fabergé: The Imperial Eggs, Munich, 1989 § Solodkoff (A. von) Russian Gold and Silver, Fribourg, 1981, illustrations, some colour, original cloth with dust-jackets; and c.35 others on Russian art, mainly Fabergé, mostly sale catalogues, 4to (c.40)Provenance: The Partridge Fine Arts Research Library
An early 20th century silver gilt and enamel dish spurious Fabergé mark and fineness mark Moscow, circa 1908-26, of elongated oval shape, deep red guilloche ground with gilt border, oval collet foot (Dimensions: Length: 22cm)(Length: 22cm)Condition report: In good order enamel work no chips or restoration A few minor blemishes that could be polished as very much on surface
* Thomas (Cecil, 1885-1976). Nymph of the Wave, 1938, bronze statue on a circular plinth, depicting an androgynous twin-tailed sea nymph, balancing on the crest of a wave, plinth signed and dated, circular wooden base, overall height 36 cm (14.25 in) (Qty: 1)NOTESExhibited: Royal Academy 1938. British sculptor and medallist Cecil Walter Thomas worked initially as a seal and gem engraver, following his father's trade. Whilst working in the family workshop he studied at the Central School of Arts and Crafts, Heatherley's and the Slade. He subsequently received commissions from all over the world, including Fabergé, the Church of England and the British Royal Family. After the First World War Thomas worked on private memorial sculptures and tomb effigies, as well as monuments to public figures, and war memorials. Cecil Thomas was a regular exhibitor at the Royal Academy, the Paris Salon and elsewhere. He was a member of the Art Workers Guild and Royal Society of British Sculptors.
Art & Antiques Reference A quantity of books and catalogues, including Davis, Peter and Robert Rankine Wemyss Ware, a decorative Scottish Pottery. Edinburgh: Scottish Academic Press, 1986. Oblong 4to, dust-jacket; de Guitaut, Caroline Fabergé in the Royal Collection. London, 2003. Folio, original cloth, dust-jacket; Sotheby, Parke, Bernet & Co. Mentmore Catalogue... [London], 1977. 5 volumes, 8vo; Sotheby's Masterpieces from the Time Museum. New York, 1999. Folio, dust-jacket; Butters, Laurence, editor Fairbairn's Crests. Edinburgh: Thomas C. Jack, [n.d.] 2 volumes, 8vo, 19th century black half morocco; Catley, Bryan Art Deco and other Figures. Woodbridge, 1978. 4to, original cloth, dust-jacket; Goodison, Nicholas English Barometers, 1680-1860. London: Cassell & Company Ltd., 1969. 8vo, original red cloth, dust-jacket; and a large collection of others (quantity)Footnote: Provenance: Property of the Late George Neilson
Theo and Sarah Fabergé; a silver-gilt and enamel egg, London 2006, number 7 of 50,The Passion and Pride Egg, blue enamel on a shell of silver with guilloche decoration, the top half with a panorama of the Houses of Parliament, the primrose finial set with diamonds, the lower half with medallions and historic dates for the Conservative Party, opening to reveal four leaders of the Party (Churchill, Disraeli, Peel and Thatcher, surrounding an empty House of Commons chair, discussing who will be the next occupant, with presentation box, brochure and certificate, 19cm high.Illustrated
A collection of twelve jewellery reference books, including: Becker, V., Antique and Twentieth Century Jewellery: A Guide for Collectors, (Gemmological Association of Great Britain, N.A.G. Press Ltd: 1987) Becker, V., Art Nouveau Jewelry, (London: Thames & Hudson: 2003) (First printed 1985) Benjamin, J., Starting to collect Antique Jewellery, (Suffolk: Antique Collector's Club: 2005) (First printed 2003) Bennett, D., Mascetti, D., Understanding Jewellery, (Suffolk: Antique Collector's Club: 1989) Flower, M., Victorian Jewellery, (London: Cassel & Company Ltd, 1967) (First printed 1951) Reddington, G., Collings, O., Georgian Jewellery 1714 - 1830, (Suffolk: Antique Collector's Club: 2007) Rowan, M., Nineteenth Century Cameos, (Suffolk: Antique Collector's Club: 2004) Exhibition Catalogue, 'Fabergé, The Castle Howard Collection at Tessier, 20 Nov. - 9 Dec. 1995'
A Russian birch cigarette case with applied silver decoration depicting a crown above foliate, ribbon and panel with white stone, bears marks for Fabergé and 88, length 11cm.Additional InformationGeneral wear to case exterior with scratches, scuffs and small nicks and gouges into the wood. Light tarnishing to the metal. Metal bearing similar wear bar to the lower section where there is heavier wear. Looks like it may have been filed and tested at some point to the right hand side. Some small chips and nibbles to the hinged lid, corners and edges where it has been open/closed and subsequent wear over the years.
A Russian gold cased propelling pencil with Fabergé mark and 56 standard (to the clip), of hexagonal form, alternating blank and engraved panels, chased finial decorated with scrolling foliage, blank terminal, all contained in an oval card box with Fabergé gilt trade label (Dimensions: Length: 11.3cm)(Length: 11.3cm)Condition report: Generally good condition, clip is detached and only piece marked, been glued, disc at terminal is possibly a replacement action appears to work reasonably well the conical tip does remove completely The box is rubbed on outside, interior okay, cord trim detached. Please see images for close up of the marks, condition and box.
A 25th Anniversary Zodiac egg, Sarah Fabergé SF, London 1996, number 115/ 500, the traditional style textured egg with applied blue enamel zodiac detail surmounts a four leg stand with swag borders, the pull off lid opens to a gilt interior to reveal orb with sapphire detail, in a presentation red leather case (Dimensions: Height: 12cm, weight: 5.8oz)(Height: 12cm, weight: 5.8oz)
A FABERGE DIAMOND AND GOLD BROOCH, BY WORKMASTER EDUARD SCHRAMM, ST PETERSBURG, CIRCA 1885The old brilliant-cut diamond weighing approximately 0.85ct at the centre of a diamond similarly-cut seven pointed star, within a frame of old cushion-shaped diamonds to a further frame of seed pearls, struck with maker's mark in Latin 'ES' for Fabergé work master Eduard Schramm, 56 zolotnik-gold standard for 14K gold, remaining diamonds approximately 2.00cts total, length 2.8cmReference: Encyclopaedia of Who’s Who in the House of Faberge by Will Lowes and Christel Ludewig McCanless, page 235The initials ES are stamped on the diamond and pearl star brooch. This piece is by the German workmaster Eduard Wilhelm Schramm, who married a Russian girl Elena Zacharova and qualified as a master goldsmith in 1874. He opened his own workshop that same year, but he remained an independent master throughout his life, collaborating with foremost jewellers in St Petersburg, among them Fabergé and Bolin. Schramm had an extraordinary talent, and was particularly skilful, mastering complex and intricate techniques. He also had his finger on the pulse of current styles, such as Art Nouveau and Japonisme, which he adapted with his personnel touch. He occasionally supplied gold cigarette cases and small gold objects, such as pill boxes and plates to Fabergé, often with a hammered finish. The impeccable detail and tightness of design of this beautiful brooch, illustrates Schramm’s talent as a master goldsmith. Another example of Schramm’s jewellery went up for auction in Sotheby’s ‘Russian Work of Art, Fabergé and Icons’ in London on 1st December 2015, Lot 413, a rare Faberge Jewelled Gold Brooch. The house of Fabergé is held in the highest of esteem in the world of jewellery, with the name being synonymous with the Imperial Fabergé Eggs created for the Russian Royal Family. Carl Fabergé acquired unrivalled skill as a goldsmith and his posthumous reputation continues to increase, the further we move from Fabergé’s fleeting decades between 1882 and 1917.The Russian revolution brought irrevocable change, with the communist regime became more and more insular and the eventual drop of the “Iron Curtain” on the outside world. Luxury businesses were redundant in this communist society, where basic survival was paramount and Fabergé with its obvious connections to the Court was one of the first to have its doors closed. With Soviet Russia sealed off from the rest of the world, Fabergé’s glory faded fast and few people remembered Carl’s genius and the remarkable business it fostered. There was a dearth of knowledge about Fabergé and his work alone was left to speak for itself, the witty animal carvings, the extraordinary jewellery and intricate Imperial Easter eggs became silent witnesses on their own account.The story begins in 1842 with Gustav Faberge establishing his own jewellery store on the main street of Bolshaya Morskaya, post apprenticeship with the notorous firm of Keibel, goldsmiths and jewellers to the Emperors of Russia. Peter Carl Fabergé (1846-1920), the eldest son of Gustav took over the business in 1882, the design-led artist-jeweller with a penchant for colour through both stones and reviving the lost art of enamelling, brought the firm to great heights, along with his brother Agathon.Carl studied at the Dresden Arts and Crafts School and frequently visited the Grünes Gewölbe (Green Vault) museum, home to largest collection of treasures in Europe. In 1864, at age 18 toured Europe where he studied under respected goldsmiths in Germany, France and England and took a course at Schloss’s Commercial College in Paris. Carl returned to St Petersburg in 1870 to help run his father’s business, that was being managed by a team headed by workmaster Peter Hiskias Pendin, who assumed the role of both tutor and mentor. He got involved with cataloguing, repairing and restoring masterpieces in the Court museum and he went on to restore and repair the 18th Century objects d’art in the Collection. This no doubt sowed the seeds in his mind for using past genre as inspiration for contemporary art. He married Augusta Jacobs in 1872 with whom he would go on to have four sons.Fabergé showcased their jewellery at the Pan-Russian Exhibition in Moscow, this was a serendipitous occasion for the house, as it marked the beginning of a relationship with the royal family. The Tzar was very impressed with the quality and artistry of the jewels, and commissioned Fabergé to create an ornate Easter egg for his wife Maria Feodorovna. This was the first of 50 Imperial Easter eggs that Fabergé would create for the Romanovs and these same eggs continue to fascinate and inspire today. Fabergé were granted the Royal Warrant soon after and given the title ‘goldsmith by special appointment to the Imperial Crown’. Faberge’s international reputation was secured in 1900 at the Exposition Universelle in Paris , the overwhelming success of this event led to commissions from Edward VII and other European royals. The business was rapidly expanding and by 1900 Carl had about 500 people employed and was running the country’s largest jewellery firm, making a wealth of objects and jewels.The firm's success continued until the 1917 Revolution and despite the tragic circumstances surrounding the demise of the firm, the name Fabergé lives on and remains as revered today as it was in the 19th and early 20th centuries. Fabergé’s success stands as a testament to the exceptional talents of a vast team, including master goldsmiths and silversmiths, who were guided by the uncompromising and remarkable leadership of Carl Fabergé. Carl had a keen eye for skill and talent, he gave said craftsmen the opportunity to set up independent workshops to supply the expanding Fabergé business. These craftsmen hailed from regions not too far from St Petersburg, coming from poor families the thriving metropolis offered the opportunity for employment and advancement. They signed on as apprentices, and through hard work and resilience they qualified as master goldsmiths and silversmiths, experts in their field, necessary to meet the exacting requirements demanded of Carl Fabergé. The initials of the craftsmen were stamped on Fabergé pieces, allowing their skills be recorded in the annals of gold smithery.
A FINE FABERGE SAPPHIRE AND DIAMOND BROOCH, ST PETERSBURG, CIRCA 1885Of floral design, the elegant branch highlighted with an old cushion-shaped diamond to further rose-cut diamond accents and terminals, suspending five graduated oval-shaped cabochon sapphires within collet-setting, each within an old single-cut diamond surmount, mounted in gold, with town mark for 'St Petersburg', struck with maker's mark in Cyrillic 'M and ' (mark is rubbed) and attributed to one of the senior work master of the House of Fabergé 'Mikhail Perkhin', with scratched inventory number 517**, within its original fitted case and signed in gold 'K.Fabergé' in Cyrillic, length 4.9cmProvenance: ***** Waiting for email from client *********Reference: Encyclopedia of Who’s Who in the House of Faberge by Will Lowes and Christel Ludewig McCanless, page 227This piece is attributed to senior workmaster Mikhail Evlampievich Perkhin, a self-taught goldsmith who learned his trade from rural craftsmen in the Olonets province. Of peasant stock, he moved to St Petersburg as a young boy, took an apprenticeship at Fabergé’s St Petersburg headquarters and quickly rose through the ranks of the workshop, becoming senior workmaster in 1886. Perkhin was responsible for more than half of the Tsar Imperial Easter eggs and the best of Fabergé’s gold objects were produced in his workshop. He helped Carl and Agathon expand the business, to include new techniques and inventions such as transparent enamel and varicoloured gold, hardstone animals and flowers. One of Fabergé’s most treasured pieces the Balletta vase, named after the Russian prima ballerina Elizabet Balletta, came from Perkhin’s workshop. ProvenanceThe brooch of floral design was a gift from Frederick James Merrilees, who served as guardian to a young girl brought up as a companion to the Merrilees’s only daughter. The Merrilees were very generous to their daughter’s companion and she lived an extremely privileged life in their care in England, from the age of 8 to 18 years. This brooch was consigned by the granddaughter of the female companion. Frederick James Merrilees (sometimes spelled Mirrielees) was born in Russia of a Scottish father, Archibald Mirrielees (1797 - 1877), who arrived in St Petersburg and founded ‘Muir and Mirrielees’ Trading Company in 1857. Prior to his partnership with Andrew Muir, Archibald had been resident in St Petersburg from 1822 and in 1843 he established his own company, which was one of the most significant Anglo-Russian merchant houses. In the 1880’s ‘Muir and Mirrielees’ moved to Moscow, the impressive new premises was designed by the famous Russian architect Roman Klein. It was the first and largest department store in the last days of the Russian Empire and offered everything the Muscovites could wish for, satisfying not only the rich and high society, but also middle-class customers. The company was Nationalised during the Russian revolution and was renamed TsUM after 1922. The Merrilees had access to the very best of Russian jewellery and the delicate floral brooch is a tribute to the outstanding workmaster Perkhin, who left an impressive legacy of Fabergé pieces.
A RUSSIAN GOLD CIGARETTE CASE, ST PETERSBURG, 1908-1917The surface with sunburst and diagonal reeding, with cabochon sapphire thumbpiece, struck with maker's mark in Cyrillic 'CB' (in English, it would be 'SV'), possibly by Fabergé workmaster Sergei Verkhovtsev, marked 56 zolotnik-gold standard for 14K gold, width 9.2cm, length 6.4cm, depth 1.6cmReference: Encyclopedia of Who’s Who in the House of Faberge by Will Lowes and Christel Ludewig McCanless, page 191Occasionally a Fabergé piece will bear the initials of a workmaster that cannot be confidently identified. The initials CB on the gold cigarette case are possibly attributed to Sergei Verthovtsev. A gold cigarette case sold at Christies New York in 1998, it was stamped with initials CB and their catalogue suggests Verthovtsev as the workmaster. However, Von Habsburg, Fabergé (1987) states CB was a workmaster for Fabergé’s rival, jeweller Karl Karlovich Hahn. Karl Bok was also thought to have used the initials CB and another possible creator of this piece was an artist called Ekaterina Yakovlevna Aleksandrova. She was the wife of François Birbaum, studied at the Baron Stieglitz Central school of applied arts and later worked for Fabergé.
A FABERGÉ SILVER FRAME, BY WORKMASTER ARMFELT HJALMAR, ST PETERSBURG, 1908-1917The double-sided silver frame with rock crystal and round-shaped loop surmount, struck with maker's mark 'ЯА' in Cyrillic, 88 Zolotnik-silver, length 22cm, width 13.7cmReference: Encyclopaedia of Who’s Who in the House of Faberge by Will Lowes and Christel Ludewig McCanless, page 181The initials Я А are stamped on the Silver Frame. This piece is by Finish workmaster Karl Gustav Hjalmar Armfelt, who went to St Petersburg at age thirteen and apprenticed to the silversmith Paul Fredrik Sohkman. He was well qualified in his field, after studying at the German Art School in St Petersburg and at the Baron Stieglitz Central School of Applied Arts, he trained under Anders Nevalainen from 1895 -1904 and qualified as workmaster in 1904. He went on to purchase Viktor Aarne’s workshop, then employing twenty goldsmiths and three apprentices. Aarne recommended Armfelt to Fabergé and he did not disappoint, producing high quality objects of art in gold, silver and miniature frames until 1916. The silver and rock crystal frame on offer in Adams sale is a prime example of the top-quality frames produced by Armfelt, during his tenure as work master in collaboration with Fabergé. Armfelt returned to Finland in 1920, where he worked with Kultakeskus from 1925 to 1937 and he died in Helsinki in 1959.
Group of Assorted Vintage Factice and Perfume Bottles, a mixture of advertising display dummy bottles, real fragrance and empty bottles, contents varying including a plated Cavale Fabergé case; Balà Versailles; Joy de Jean Patou; Prince Matchabelli; Larbalestier's of Jersey (in original box); Nuit De Noël; Fete De Molyneux; Guerlain; various examples in decorative filigree mounts etc (qty)
A FRENCH SILVER-GILT-MOUNTED LUSTRE CLARET JUG, CLEMENT MASSIER EARTHENWARE, GOLFE JUAN (ALPES MARITIME), SILVER BY MAISON BOIN-TABURET, PARIS, CIRCA 1890 the baluster jug moulded with a girdle at the shoulder covered in a burnt orange glaze with gilt highlights, gilt painted marks 'C.M / GOLFE JUAN / (AM)', the mounts cast in foliate openwork Rococo style, the lid with cast flower finial, maker's mark Georges Boin, 950 standard, in its chamois and silk lined green box 27cm. high Clément Massier (1844-1917), from an established family of potters in Vallauris, started his gallery / workshop 'La Poterie du Golfe Juan' in 1883. Famous for the metallic lustre glazes he developed, his premises became a destination for wealthy visitors to the French Riviera. At the same time Rococo style silver was enjoying a revival: the magazine 'Le Temps' of 11 January 1889 citing (in translation) 'It is perhaps M. Boin-Taburet, more than any other silversmith, who has contributed to this return to Louis XV.' For another Massier claret jug with Rococo style silver mounts, with marks for Karl Fabergé, see Sotheby's, New York, 12 April 2011, lot 279. The inspiration for this claret jug may have been one of a handful of 18th century jasper ewers with Rococo mounts. A gold-mounted example, Paris, circa 1734/35, is in the Museu Gulbenkian, Lisbon. Although the design has long been attributed to François Boucher (1703-1770), Peter Fuhring more recently has suggested that it may have been the work of Juste-Auréle Meissonier (1695-1750). Another example, with gilt bronze mounts of the same design, formerly in the collection of Baron Edmond de Rothschild (1845-1934), was sold at Sotheby's, London, 8 July 2015, lot 15.
BELLE EPOCH DEMANTOID AND DIAMOND PENDANT, 1890s the cushion-shaped demantoid garnet millegrain set between bow and swag decoration suspending an articulated pendant surmounted by knife wire and collet set diamonds to a bow motif set throughout with rose and circular cut stones length 50mm approximately Demantoid is a green gemstone sub-variety of the mineral andradite, the most valuable of the garnet group of minerals. Fine specimens are exceedingly hard to obtain and are increasingly costly. The first demantoid garnet was discovered in the mid-19th century in Russia's Ural Mountains. Miners were immediately struck by the highly refractive nature of the gem and its exceptional fire. They compared it to diamond, possibly thinking the flashing green colour resembled the eyes of demons, hence supposedly the name. Very popular in Russia, they were often used by Carl Fabergé in his jewellery. The stones have characteristic inclusions of fine asbestos fibres (chrysotile). These fibres radiate out from small crystals of chromite. They are referred to as 'horsetail' inclusions and are diagnostic, as no other green stones have these inclusions. This stone is mounted in a brooch from the late 19th century, which makes it highly likely that it is in its original setting. Although the gemstone has low hardness, this stone is relatively unmarked; additionally demantoids are generally small, so a stone of this size is very rare.
A cased 18ct gold diamond and enamel contemporary egg pendant, by Victor Mayer for Fabergé. The hinged egg with blue champlevé enamel lattice decoration, with a brilliant cut diamond, grain set at each crossover point to a green guilloché enamel ground. A Russian Orthodox cross and chain, pendant drop below that can also be enclosed within the egg to a hinged bale. Signed Fabergé, no. 55/500. Import hallmark London 1997. 50 x 15.30mm, 10.20g
A group of ceramic figures to include a pair dressed in 18th century costume, a Lladró-style figure of a young girl, a pair of House of Fabergé 'Romance in the Garden' figures of a couple in period costume etc, five Danbury Mint figures by Jane Hart from the 'Farmer's Journey' collection to include 'A Chat at the Lark', 'Lunch at the Inn', 'The Farmer's Visits', 'Delivering to the Gatehouse' and 'Late at the Junction', five boxed Michelangelo hand painted resin rabbits and two boxed ceramic collectible ornamental teapots (2).
Coppa superiore circolare con bordo traforato e sbalzato ornato da teste, fiere e ghirlande e sormontata da presa a foggia di putto, sorretta da tre teste d’ariete da cui si dipartono tre bracci culminati con tre vasche in cristallo; corpo centrale sorretto da grifoni poggianti su tre sostegni ferini uniti da serpente attorcigliato, base mistilinea ornata da decori floreali, punzoni Bollo con le insegne imperiali - Fabergé - PB 1891- 84 - Mosca, gr. 4586, H cm 72x39x39 (lievi difetti)
FABERGÉ; an 18ct yellow gold diamond and enamelled limited edition 'Arum Lily' brooch, the flower head decorated in orange/salmon coloured enamels within a border of 106 pavé set diamonds with a further 52 diamonds to the stamen and with swept angled stem, presented on a 'vase' cut glass stand in original wooden velvet lined box, outer box and with Fabergé certificate of authenticity. The diamonds totalling approx 1.31ct, assessed colour VG, clarity VS, length 10.2cm, approx 20.20g, numbered F2035M2 with limited edition number 17/75 and with further mark for Victor Mayer.Victor Mayer Jewellers produced 'Fabergé' pieces under license between 1989 and 2009. This brooch was given as a gift to the vendor when leaving the company she worked for. It is accompanied by an insurance valuation.Additional InformationPresented in exquisite condition. Has not been worn.
Fabergé - A sapphire and diamond brooch, set with a circular cabochon sapphire within twisted borders of diamonds in silver and gold, maker's mark for August Hollming, 56 zolotnik and kokoschnik, 4cm wide The sapphire contains an unusual negative crystal inclusion containing a gas bubble within liquid which changes appearance depending on the temperature. At 18 degrees the bubble within the cavity will not move. At 23 degrees the bubble will move freely. At 28 degrees the bubble is not visible at all. Accompanied by report number 79223-50 dated 22 July 2019 from GCS, London stating that the cabochon-cut star sapphire weighs approximately 14.20cts and is a natural sapphire with no indications of heat treatment. Origin: Sri Lanka (Ceylon). This sapphire presents large biphasic inclusions with free moving gas bubbles.
Fabergé - A two-colour gold, silver gilt and enamel cigarette case, rectangular oval section, oyster guilloche enamel decoration overall, laurel bands to base and cover with further band of seed pearls, ruby thumb piece releases sprung hinged cover, body marked ÔÀÁÅÐÆÅ, HW for Henrik Wigström, 56 zolotnik and kokoshnik and and 88 inside base, HW repeated to inside cover with 88 zolotnik, damage to base and cover, 8.5cm high
Fabergé Art's Applied Craft Ltd., The Imperial Collection, a gilt metal and faux agate egg shaped decanter case, circa 2006, the hinged cover with crowned eagle finial and husk chased strap work, on three winged lion mask and paw feet, opening to a glass vodka decanter with four vodka cups, with a Fabergé Art's Craft Ltd. box, two booklets and outer card packaging, 28cm (11in) high
Fabergé. A late 19th century two colour gold, enamel and diamond mounted bowenite parasol handle,: the tapering pale green bowenite handle with a red enamelled two colour gold collar inset with three star-set rose diamonds between chased foliate bands struck with marks for work master Michael Perchin, St Petersburg and 56 standard, subsequently converted for use as a desk seal with bloodstone intaglio of initials 'AC', approximately 7cm long overall, 32gms gross weight.
An 18ct enamel and diamond set pendant, Fabergé of egg form, the shaded enamel ground collet set with four round brilliant cut diamonds, signed Fabergé 17 (Dimensions: Length (including bale): 26mm)(Length (including bale): 26mm)Condition report: Good overall condition. Fully hallmarked. Enamel is good. Estiamted total diamond weight: 0.12cts Gross weight: 5.2g Please note that diamonds and gemstones can not be accurately graded and measured when mounted in jewellery.
FABERGÉ; an early 20th century yellow metal diamond and sapphire 'fancy' ring, the open framework set with sapphire, white diamond and coloured diamond with further diamonds to the scroll work and shoulders, signed for Calr Fabergé, 56nc (in Cyrillic) and with two further indistinct marks including a maker's mark MK?, size M 1/2, approx 4.8g.Purchased from Bentley & Co in April 1967, with original receipt and letter of purchase from Bentley & Co detailing the Carl Fabergé fancy ring, with work master detailed as Michael Kosoloff.Additional InformationLength is 2.8cm, please refer to photograph on a finger.
A Collection of Eleven Reference and Collectors Books of Various Subjects to Include The Book of Silk by Philippa Scott, Miniature Victorian Lamps, Treen, a 1906 Edition of English Furniture and Furniture Makers of the 18th Century by R S Clouston, Clock and Watch Makers in Wales by Iorwerth C Peate, A List of Monumental Brasses in The British Isles, Josiah Wedgwood Smiles, Playing and Other Cards in The British Museum by William Hughes Willshire, The Fabergé Menagerie, The Price Guide to Antique Silver by Peter Waldron, Royal Mail 1987 Special Stamps
Please read the Important Information section before registering to bid for this lot.Fabergé nephrite, rock crystal, mother-of-pearl and vari-colour gold miniature model of a sedan chair, marked with the Kokoshnik and 56 to one foot and workmaster’s initials M.N for Mikhail Perchin, St. Petersburg, to another foot, scratched inventory number 5885 at base, circa 1899-1903, with import marks for George Stockwell, London, 1928 to one gold side panel below window. The rocaille vari-colour gold frame chased with scrolls to the interior, mounted with six rich green nephrite panels, the rock crystal windows engraved with simulated swagged and tasselled curtains, the hinged door with functioning handle revealing a mother-of-pearl seat to the interior, each side with two chased gold hinged brackets supporting a reeded gold and nephrite pole, in a velvet and satin-lined Fabergé wooden case 7.8 cm. high Provenance Acquired by Mr. K.W. Woollcombe-Boyce on 9 October 1929 from Wartski for £75 and thence by descent to the present owner. Recorded in two family inventories, the first inscribed: ‘Tortoiseshell, Ivory, Coral, Jade etc, 9.10.29: Jade, gold & crystal miniature sedan-chair with poles, maker Fabergé, from the Russian Imperial Collection at the Hermitage - Wartski, London £75’. The second inventory inscribed: ‘Objects in the Possession of Mr. K.W. Woollcombe-Boyce (and Daughter), made in the Workshop of Peter Carl Fabergé, in St. Petersburg, Moscow Or Odessa between 1841-1918’: ‘Item 1: A Sedan chair with moveable poles, made of Jadeite, mother-of-pearl (seat), crystal (windows) & gold, height 3’’ overall length 6’’. Stamped with gold mark on underside of bottom of one foot and under second foot, Wkmaster M. Perchin. Bought in 1929 from Wartski for £75. In original white-wood case from the Russian Imperial Collection at the Hermitage…’ Further Literature is available from the auctioneers on request Condition ReportThis is in good overall condition. There are remnants of old discoloured glue around the edge of the mother of pearl seat, where two pieces of mother of pearl join at the back of the seat. This may be original and has dried and discoloured over time. There are very small remnants of dried glue to the inner edge of the joining of the nephrite and gold at the opening of the door which are most likely original. One of the nephrite poles is loose and another has traces of glue around the join of the nephrite to the reeded gold pole although it does not appear to have been cracked. The nephrite and rock crystal panels are in good order. The wooden box has some surface scratching, some tearing to the silk lining at the hinge and some typical discolouration to the velvet where the chair sits. 3 tiny holes in goldwork at the top of carriage on the left hand side when facing. TIny scratches to the windows. Chip to the Nephrite, at the base, in one corner. It is highly recomended that you view in person to satisfy yourself of condition before bidding.
A yellow metal circular locket with push button activated sprung interior revealing four photograph spaces, hammered finish with three vertical lines leading to a red stone, a diamond and a blue stone on the front, unmarked, 23mm diameter, a yellow metal egg pendant, engraved design with cabochon blue stone, unmarked. (Qty: 2)Footnote: Provenance - The family of Albert and Nora McGill, thence by descent. The McGill family were influential industrialists who are accredited for playing a significant role in the founding of Russia's cotton mill industry in the mid-19th century. As a prominent British family living in 19th century Moscow, they formed close family ties with other British families based in the city, such as the Shanks, and the Bowes, as well as the Russian aristocracy. Albert's first cousin, Emma, married Allan Bowe who had close ties with the Fabergé lineage, and became their retail representative in London in the early 20th century.
Loading...
