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Lot 576
Pink Floyd, Pink Floyd - The First XI - Original Box Set released 1979 on Harvest (PF 11) Featuring all the Albums from Piper At The Gates of Dawn to Animals and with Picture Discs of Dark Side of the Moon and Wish You Were Here (Both Sealed in this case) - Just a very little wear in places on the outer Box - All Sleeves and Vinyl in mainly Excellent+ to Sealed Condition - comes with 'The Making of The Dark Side of the Moon (CR Magazine supplement)
Lot 198
THE HENLEY ROYAL REGATTA SILVER GOBLETS. THREE ELIZABETH II ROWING PRIZES chased with lilies and rushes, inscribed THE SILVER GOBLETS HENLEY ROYAL REGATTA and dated 1957, 1958 or 1963, the foot of the first further inscribed LEANDER CLUB D A T LEADLEY C G V DAVIDGE, 19cm h, by Garrard & Co Ltd, London 1957 and 62, 40ozs 8dwtsProvenance: Christopher Guy Vere Davidge, OBE, DL (1929-2014) of the Leander Club (Founded 1818).The Silver Goblets and Nickalls' Challenge Cup is the premier event for coxless pairs at the illustrious annual Henley Royal Regatta on the River Thames.Chris Davidge won the Silver Goblets three times (as represented here) on the first two occasions partnering Tony Leadley and in the 1963 competition Stuart MacKenzie. Educated at Eton College and Trinity College, Oxford, he was in the Oxford boat in three boat races, 1949, 1951 (when the Oxford boat sank causing the race to be rerun on the Monday) and 1952. An Olympic oarsman, he rowed for Great Britain in the 1952 Olympic Games at Helsinki, the 1956 games and lastly the XVII Olympiad in 1960. Chris Davidge also rowed for his country in the 1962 Commonwealth Games at Perth, Australia and twice in European rowing competitions during the 1950s.++Good condition and seldom offered for sale
Lot 207
THE SILVER SHAVING MUG AND BRUSH OF ARCHIE PITT the mug engraved presented to Mr Pitt by his sincere friend Marks August 10th 1933, 10cm h, by Deakin & Francis Ltd, Birmingham 1911, the brush by another, Birmingham 1912, mug 7ozs 16dwtsProvenance: Presented to Archie Pitt (1882-1940), British music hall entertainer and impresario; manager and later first husband of Dame Gracie Fields (1898-1979) (separated 1932, subsequently divorced); thence by descent to the present vendor.++Both in very good condition, the mug with single tiny shallow sent near the marks so small as not to detract or particularly noticeable
Lot 236
A VICTORIAN SILVER MOUNTED LEATHER BAROMETER CASE AND A CONTEMPORARY NICKEL PLATED ANEROID BAROMETER the first crested, the second engraved with corresponding armorials, 17cm h, by William Comyns & Sons, London 1899++Mount slightly loose but undamaged, light polish wear and old residues. Barometer in practically as new condition and apparently good working order and registering a change in air pressure
Lot 490
A ROYAL WORCESTER FIGURE OF NAPOLEON CROSSING THE ALPS, FROM THE MILITARY COMMANDERS SERIES MODELLED BY BERNARD WINSKILL, 1969 40cm h including brass inlaid wood plinth, printed mark, with framed certificate numbered 105 and original plywood packing case (3)Sold with the original receipt of Adnitt Bros Ltd, Northampton (for £526).++Fine condition, unpacked probably for the first time for this sale
Lot 501
AN HUNGARIAN PUCE MONOCHROME CRESTED BONE CHINA DINNER SERVICE, C1933 plates 31.5cm diam, green printed Huttl Tivadar Budapest mark (55)Provenance: The initials are those of Linley Francis Messel (1899-1971) and his first wife Agatha Anne Alexander, married 1933; thence by descent to the present vendor.++Good condition
Lot 512
AN ENGLISH WINE GLASS, C1750 the bell bowl on shoulder knopped multi spiral air twist stem; another, with drawn trumpet bowl and one other, of soda metal, 15-17.5cm h (3)++The first glass with small flat chip under the foot, trumpet wine bowl wine glass in good condition. Soda metal glass in good condition
Lot 565
TWO PAIRS OF CHINESE EXPORT PORCELAIN FAMILLE ROSE PLATES, TWO CONTEMPORARY PLATES AND A MATCHING SAUCER DISH, ALL QING DYNASTY, FIRST HALF 19TH C 22-24.5cm diam++Pair of red rimmed plates in good condition, pair of blue bordered plates with panels of single roses worn, one with minor hairline crack, the two other plates with light wear, saucer dish caracked
Lot 603
RICHARD WESTMACOTT THE YOUNGER, RA (1799-1872) LANDSCAPE signed with initials and inscribed Monmouth, inscribed verso Mr Parry's Nr Monmouth From my father's sketch, watercolour, 24.5 x 40cm and a watercolour of Warwick Bridge in the manner of Thomas Baker of Leamington (2)++The first apparently not laid down, unexamined out of frame, in washline mount (slightly stained) backboard with label of Sanders of Oxford, the second laid down on early mount
Lot 624
FRANCIS NICHOLSON, OWS (1753-1844) VIEW ON THE RIVER MAWDDACH WITH PART OF THE VILLAGE OF LLANELLTYD watercolour, 22 x 32.5cm and two other watercolours, Near Barmouth and Highlanders in the Trossachs by a follower of A V Copley-Fielding (3)++The first faded and stained, the others in apparently good condition, unexamined out of frames
Lot 813
WORLD WAR II GROUP OF EIGHT British Empire Medal EIIR Military Division, 1939-45 Star, Africa Star, Italy Star, Defence Medal, War Medal, General Service Medal EIIR, one clasp Malaya and Royal Air Force Long Service and Good Conduct Medal F0626435 ACT F SGT ERNEST J COOPER RAF on first [626435 SGT E J COOPER RAF on GSM and last] and RAF Certificate of Service (FLT SGT ERNEST JACK COOPER, BEM 1917-1972)++tal
Lot 817
THE MOST DISTINGUISHED ORDER OF ST MICHAEL AND ST GEORGE, GCMG, KNIGHT GRAND CROSS INSIGNIA OF SIR COSMO PARKINSON comprising silver gilt collar chain of 26 links of crowned lions of England, Maltese Crosses in white enamel SM & SG ciphers and two pairs of winged lions each bearing a book and seven arrows, one surmounted by a crown and with swivel ring suspender, lacking one white enamel panel of one Maltese Cross, silver gilt, gold and enamel sash badge and silver, silver gilt, gold and enamel breast star with dress sash, two cases of Garrard & Co Ltd and a photograph of Sir Cosmo Parkinson on the steps of the British Consulate in Tonga, c1944GCMG: London Gazette, 11 June 1942.Sir Arthur Charles Cosmo Parkinson, GCMG, KCB, OBE, LL.D (1884-1967) was born at Wimborne Minster, Dorset, the son of S G Parkinson, a surgeon and his wife Elizabeth, nee Trench. A colonial administrator who embodied the best traditions of the Service for practically the first half of the 20th century, his work was especially valuable during World War Two. Seconded for special duties to the Colonial Office in 1942 he travelled, at a time of considerable risk, to far flung colonies as the Secretary of State's personal representative. These visits included the Caribbean and Bermuda in 1942-3, the Gambia, Nigeria, Kenya, Nyasaland, Mauritius, the Seychelles, Aden, Ceylon and Gibraltar after which, at the end of 1944 he retired only to be re-employed a year later to assist in the reorganisation of the Colonial Service resulting in further distant missions to British colonies in the Pacific. He was therefore uniquely well placed to publish his book The Colonial Office from Within, in 1947.
Lot 898
AN ITALIAN 15 BORE PERCUSSION PISTOL, C1770 the rifled 32.5cm moulded barrel with brass sight, plain lock and horn tipped, carved walnut full stock with two brass ramrod pipes, engraved brass mounts and trigger guard, pierced rococo sideplates, escutcheon engraved with initials CD and butt cap, 50cm l and an 18th c Italian 25 bore flintlock pistol, indistinctly engraved ... MINZZO (2)++The first basically complete with some pitting and knocks, scratches and wear/polish residue, sold with an associated horn tipped ramrod. The flintlock pistol with damaged and incomplete stock and much wear
Lot 901
AN ENGLISH FLINTLOCK BLUNDERBUSS,... BOROUGH LONDON, C1780 the 35.5cm swamped brass barrel engraved on the top flat BOROUGH LONDON, with spring bayonet and sliding safety catch, the lock also with sliding safety catch and indistinctly inscribed ....G..., the chequered walnut stock with two brass ramrod pipes, engraved brass trigger guard with pineapple and butt plate, 75cm l, horn tipped ramrod and another late 18th c English full stocked and brass barrelled flintlock blunderbuss, incomplete (2)++The first in good condition, unrestored and dirty, the lock somewhat pitted and the signature now illegible. Both long in the present private family ownership. Both free from breaks or repair, the chequering on the first gun splashed with white paint. The second gun lacking part of the lock, the stock split under the muzzle. The lock rusty/pitted and signature illegible
Lot 924
A FINE ENGLISH EMBROIDERED MINIATURE OF CHARLES I, LONDON, C1660-70 silk and metal thread, based on the 1641 engraving by Wencelas Hollar, inscribed Deus Meus Est Rupes Meaa Psal: 18, 13 x 10.8cm, embossed copper gilt frameThis spectacular example of English Restoration needlework of the highest quality is one of small group of portraits of the king by the same unknown professional hand. All are closely based on Hollar's well known engraving of Charles I wearing the ribbon of the Order of the Garter. Such is the fidelity with which the portrait is rendered that it justifies the description of a 'cabinet miniature', one intended for display in a cabinet or on a table.The quotation from Psalm 18 (v 2-3) is King David's invoking God's protection from his enemies. An identical example is in the Metropolitan Museum, New York. It was acquired from Percival D Griffiths in 1938. Two are in the Victoria & Albert Museum and another is in the Wallace Collection, London.Nevinson (see below) considers this select group, of which the present example is hitherto unrecorded, date from the first few years of the reign of Charles II. As such they represent some of the earliest evidence of the cult of the 'Martyr King'. In several respects they relate to the miniatures incorporated as centrepieces in embroidered bindings, such as that on a copy of the Eikon Basilike (1649) although none of these can be dated with certainty to the Commonwealth. Nor is there a particular reason to link them to the Broderers Company and although metal thread and purl wire is seen on some bindings of the period, as it is hard on the hands and the professional embroideress, whether working in her small workshop or domestically, would have certainly used silk in preference, or wool for tent stitch on canvas, with metal braid reserved for borders or edges, as here.The embroidered portraits of Charles I at his trial (in a hat) are technically different featuring brick stitch, for example on the King's cloak. They date from later in the 17th century. See Nevinson (J L) The Embroidered Miniature Portraits of Charles I, 'Apollo', October 1965, pp 310-313.
Lot 249
A pair of Iroquois beaded vamps on velvet with glass and metal floral decoration, the wide ends with metal beaded text, 14cm long, and a matching scallop edge collar, 31.5cm long, a pair of Iroquois vamps, an Iroquois purse flap, an Iroquois or Maliseet moccasin flap, an Cippewa gauntlet cuff, a pair of child's moccasin insteps and a floral panel, a pair of Blackfoot beaded triangles with fringes, a pair of child's vamps, an instep, a vamp, two Plains bands, a Blood floral band and a beaded belt by Emma First Rider, Cardston, Alberta. (21) Provenance The Ian West Collection.
Lot 451
Various world GB and other used collectors stamps, first day cover sets etc., to include Marine Timekeepers, Sherlock Holmes, quantities of world used stamps, endangered species and other collectors stamps, various first day covers, House of Hanover and other envelopes, other world used etc. (1 box)
Lot 453
Various German first day covers, 1980's, cattle, Europa, various other world used stamps Italy, Malta to include 2½d orange back, 3d red back, Rhodesia, Seychelles, Venezuela, collectors and bird stamps, Columbus collectors stamps 1940's, various other world used stamps etc., Norfolk Island, Falkland Islands etc. (a quantity)
Lot 455
Various world stamps, covers and related ephemera, to include Munich 1970 cover, various other German, GB 1967 definitive issue stamps, others for Diana Princess of Wales, various other loose definitives, first day of issue Star Wars, Christmas 2015, Rugby World Cup 2015, various other definitives, 1958 Special Year coin set etc. (a quantity)
Lot 456
Various European and other world used stamps, stamp sets etc., to include Europa used, blue back, green back etc., Hamburg, other German, 1934 and other Netherlands, some definitives and other collectors stamps, Yemen, 1950's Austrian unused, various Canadian used stamps mid 20thC and later, 30 GB first class stamps, various other World used GB etc. (a quantity)
Lot 465
Various world used stamps, Russia 1957, various other Russian collectors stamps, some used, German stamp covers, other world used, early 20thC and later, Centavus, some stamped Official, various collectors stamps, 1860's and other covers, others for Sverige, early Ecuador, Seychelles, Sierra Leone, British Solomon Island, Turks & Caycos, Hong Kong 1954, blue back 30 cent, Lancaster printed signed cover, other first day issued. (a quantity)
Lot 441
Various 19thC world used stamps etc., to include Liberia 1894 triangle, Lebanon 1951, other 20thC stamps, Luxembourg, Monaco, used orange back 1955, Royal Wedding 1956, South Africa, GB Elizabeth II, used repeat stamps various denominations, other GB related world stamp sets for the Cook Islands, Channel Tunnel first day cover set, a further part filled album of GB used. (a quantity)
Lot 204
German WWII K98 Bayonet Both scabbard and bayonet have matched serial numbers (8985a), matched maker (Clemen & Jung) dated 1939. Marked with correct Waffen code WaA253. The leather frog is dated 1942 made by O. Reichel, Lengfeld. It is very unusual to find such an early example with its matched scabbard and in such good condition. The letter "a" suffix denotes that this is bayonet is from one of the very first batches. The bayonets pommel and scabbard have been painted red, with lovely bluing on the blade.
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 123
A PAIR OF DIAMOND AND ENAMEL PENDENT EARRINGS, BY VICTOR MAYEREach earring set with an oval-shaped diamond at the centre in a four-claw setting, within an openwork frames of grey enamel and round brilliant-cut diamond, suspended from a similarly-cut diamond surmount, mounted in 18K gold, diamonds approximately 1.50cts total, length 2.8cmVictor Mayer (1887-1946) was born in Germany to a family of entrepreneurs and founded his jewellery manufacture in 1890, on the cusp of the Belle Époque. Showing promise as a talented draftsman, he first trained as a steel engraver before enrolling at the Grand Ducal School of Arts and Crafts in Vienna. He spent three years there, learning and developing the guilloché engraving and fire enamelling techniques that are still being used to this day. These traditional techniques, which require excellent craftsmanship and precision, have been preserved by the company for over 125 years, making Victor Mayer the only jewellery manufacturer in Europe to produce guilloché engraving and fire enamel to such a superior standard.
Lot 46
AN ART NOUVEAU GEM-SET AND ENAMEL BROOCH, BY TIFFANY & CO., CIRCA 1900The openwork oval plaque decorated with scrolled white enamel ribbons, accented by an old round brilliant-cut diamond of yellow tint, seven similarly-cut topaz, two chrysoberyls and one zircon, mounted in gold, diamond approximately 0.50ct, signed Tiffany & Co., length 3cmThe name Tiffany & Co. - and the little blue box with which we all associate it - is synonymous with luxury and sparkling quality. Many of us however, are not as familiar with Tiffany’s contribution to the decorative arts. Louis Comfort Tiffany was the son of Tiffany founder, Charles Louis Tiffany. A well-known artist in his own right, the young Louis joined the company in 1902 and was responsible for establishing the “Tiffany Art Jewellery” department. Here, he directed the production of highly imaginative and innovative Art Nouveau pieces, mainly in enamel and exemplified by the brooch included in this sale.After his father’s death, Louis Comfort Tiffany became the firm’s first Artistic Director. A patron of the Metropolitan Museum of Arts, as well as a founder of the New York Society of Fine Arts, his contributions to the field were later rewarded with his appointment as a chevalier of the Legion of Honour. Today Art Nouveau pieces by Tiffany are highly collectible and can be seen in the collections of many museums internationally, including at the Met in New York.
Lot 56
A LADY'S 18K GOLD AND DIAMOND COCKTAIL WATCH, BY VACHERON & CONSTANTIN, CIRCA 195020-jewel manual wind movement, cream dial, black Roman hour numerals, black sword hands, brushed and polished 18K white gold case, snap on case back, diamond set octagonal bezel, integral 18K gold textured woven bracelet with folding clasp, dial and movement signed, movement no. K1050XX, Serial no. 4251XX, Swiss assay marks, maker's mark, case (including crown): 2.1cm, length 16.8cm, with maker's leather & velvet caseVacheron Constantin, the oldest watch manufacturer in the world, was established in Geneva in 1755 by Jean-Marc Constantin, master watchmaker. Known today as the producer of the Kallista, one of the world's most expensive wristwatches, the company has a legacy unmatched by any other watchmaker. At the end of the 18th century, c.1790, Vacheron gave us the first complication - any feature in a mechanical watch beyond the simple display of hours and minutes, for example day or date display. Less than a decade later, they produced the first engine-turned dials.Throughout a rich and sometimes turbulent history, the firm was passed through generations of the Vacheron family. In 1819, the founder's grandson Jacques Barthélémy Vacheron - worn out from the constant travel necessitated by what had become a merchant business - made the decision to partner with François Constantin, a fellow merchant watchmaker. A dynamic partnership resulted in an even more dynamic product. Vacheron & Constantin extended into new markets taking North America by storm. Under the direction of inventor, Georges-Auguste Leschot, Vacheron & Constantin were responsible for the standardisation of movements into calibers and won many medals and awards. In 1885, the company created the first non-magnetic timepiece, the construction of which may have inspired the design of the company's logo, a Maltese cross which is still in use today. Although the company ceased to be family owned in 1987, today it maintains its international reputation and continues to push the boundaries of invention. With stores across the world and impressive headquarters in Geneva, Vacheron Constantin boasts an enviable array of clientele over the course of its history, from Napoleon Bonaparte to Pope Pius XI, American Presidents Eisenhower and Truman, and the iconic Queen of Hearts, Princess Diana. More recent fans of the brand include actress Kate Bosworth and another American president, Bill Clinton.Above all the company remains true to the motto of the original partners, word uttered by François Constantin in 1819: Do better if possible and that is always possible.
Lot 61
PROPERTY OF A CONTINENTAL LADYA MAGNIFICENT DIAMOND RIVIERE NECKLACE, BY MAUBOUSSIN, CIRCA 1955Designed as two graduating rows of round brilliant and baguette-cut diamonds, each side accented by a stylised ribbon of similarly-cut diamonds, mounted in platinum, diamonds 53.06cts total, signed Mauboussin, maker's mark, French assay marks, case stamped 'Mauboussin, 20 place Vandôme, Paris', length approximately 38cmAccording to the invoice of Mauboussin place Vendôme Paris, dated February 20th 1962, the necklace comprises of 19 principal round brilliant-cut diamonds weighing 19.67cts in total, 62 remaining round brilliant-cut diamonds weighing 12.07cts in total and 117 baguette-cut diamonds weighing 21.32cts in total, 'all of top quality'The house of Mauboussin began its days in a humble workshop in the Rue Greneta area in central Paris. Initially established by a Mr Rocher, the firm was taken over by his partner Jean Baptiste Noury in 1869. Having survived the first years of business through a period of tough economic and political instability, Noury began to exhibit the firm’s crafts at international exhibitions and fairs which were popular throughout France and across Europe during the late 19th century. This move proved to be crucial in terms of building recognition for the brand, particularly when in 1878 he was awarded a bronze medal at the ‘Exposition Universelle’ in Paris. Around this time, Noury’s young nephew Georges Mauboussin was quietly working in the background as an apprentice at the firm. Mauboussin moved quickly through the ranks, taking over the management of the workshops in 1883 and taking sole control of the company by 1898. This innovative young man was keenly aware of the need to adhere to the social norms important to his audience and his tireless efforts to align the brand with the social spirit of the time became the key to creating the house that we now know.In 1923, he moved the firm to Rue de Choiseul, taking his place near to the opera district and holding his own against competitors such as Cartier and Boucheron. At this point, in spite of the brewing excitement of the Roaring Twenties, Mauboussin’s clients remained fiercely private so Mauboussin located his new showrooms on the first floor, away from the prying eyes of the public. When it came to what they wore however, these same clients had a taste for the exotic and for the brilliance of the Parisian Art Deco style. Mauboussin again delivered, his skilled workshops constantly sourcing and manipulating the most innovative materials in bold colours - from jade and shellac from the Far East to mother-of-pearl, pearls, coral and lapis lazuli from the Middle East and carved coloured stones from India - to create magnificent stylised forms such as the famed Tutti Frutti brooches and geometric monochrome sautoirs for which the house is still known and recognised. Throughout this time, Mauboussin exhibited widely, showcasing pieces from Milan to Buenos Aires, constantly winning awards for his designs and his tireless work in contributing to the decorative arts, and all the while building the name of his brand. In fact these exhibitions were so successful in terms of marketing and promotion, that Mauboussin held three exhibitions of his own during the late twenties, showcasing the range and quality of gems and precious stones available at his Paris store. These exhibitions drew wide attention including that of the Prince of Wales and the Maharajas of Kapurthala and Indore. Indeed it would be the business of these clients that would help to support the firm through the economic struggles which would follow with the Second World War.Prior to this however, in 1928, Georges’ son, Pierre, opened new stores in New York, London and Buenos Aires. These led to a very prosperous collaboration in 1936 with the New York jeweller Trabert & Hoeffer, which, under the name Trabert & Hoeffer-Mauboussin Inc., set up a flagship store at 407 Park Avenue and later opened branches across the US. It was around this time that the famous “Reflections” line of the 1930s was launched and it immediately enthralled Hollywood’s golden girls including Marlene Dietrich, Paulette Godard and Audrey Hepburn. High-end magazines such as Vogue, Harper’s Bazaar and L’Officiel also regularly featured pieces created by Mauboussin as accessories to gowns by designers such as Lucien Lelong. Captured by famous photographers such as Horst and George Hoyningen-Huene, these served to further enhance the glittering image being broadcast across the world of La Maison Mauboussin.Following the period of the Second World War, there was a distinct change in taste and a move away from the Art Deco style. Mauboussin was quick to adapt to the new appetite for chunkier, less restrained pieces inspired by a fresh post-war optimism. By the 1950s, luxury was making a comeback with the prolific use of diamonds and precious stones adorning pieces in the form of coils and scrolls. The piece being offered in this sale is a classic example of this bold and fantastical style. It is set in a typical fine platinum setting (Paris as the international capital for expertise in jewellery, had been producing platinum settings since the late 19th century) and the lightness of this setting affords and supports the boldness of the design and the number of diamonds without causing discomfort to the wearer. Once again it is a piece which embodies the spirit of its time. Throughout the 1940s and 50s, as the economic landscape continued to improve, Mauboussin’s client base began to expand as disposable income rose amongst the middle class. Suddenly there was no longer a need for secrecy or privacy when shopping and the windows of Mauboussin’s new store at 20 Place Vendôme were opened up in 1946. By 1955, in a bid to embrace the democratization of fine jewellery and echoing the move of their neighbours Van Cleef & Arpels, the firm opened a new ‘boutique’ offering pieces produced on a larger scale and at a more affordable price. This new clientele however still understood the value of the brand and its heritage and was highly selective when it came to quality. It marked the beginning of a new era in jewellery marketing and production.Today, La Maison Mauboussin remains an independent house - a remarkable achievement in an era when almost all family-owned jewellers have been taken over by multinational conglomerates. Owned since 2002 by Dominique Fremont, it has stores in Paris, Japan, Singapore and New York and as a brand, it still remains firmly attuned to the needs and spirit of the time.
Lot 171
PAIR OF FAMILLE ROSE BRUSHPOTSGUANGXU MARK, 19TH CENTURY decorated in delicate pastel colours with gilt highlights, the first showing two civil, and the second two military officials engaged in a conversation, with impressed iron-red Guangxu seal mark to the base (2)12.1cm highProvenance:Private Glasgow collection.
Lot 21
TWO PAIRS OF EMBROIDERED SILK SLEEVE BANDSLATE QING DYNASTY, 19TH CENTURY both pair of ivory colour, the first embroidered with shaped panels enclosing butterflies and flowers, reserved on a geometrical diaper ground, the second pair decorated with beauties at leisure in a traditional garden landscape, framed and glazed (2)larger pair 55cm high, 18cm wide (sight)
Lot 220
TWO GOLD-LACQUER FOUR-CASE INROMEIJI PERIOD the first lacquered with a cockerel and a hen under bamboo, signed Hidenobu, with a manju netsuke decorated with cottage under pine and by a stream; the second decorated with a cat and a rat, unsigned; together with a CARVED AND PIERCED IVORY NETSUKE, depicting a bird surrounded by precious antiques, 4.5cm diam; and a SMALL LACQUERED METAL BOX AND COVER, 9cm long (4)larger one 8.2cm high
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596772 item(s)/page