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Click here to subscribeA collection of vintage and later wristwatches to include a gents gold plated Rotary bracelet watch, along with gold plated Record watch, bracelet watches including an Automatic Seiko, Excalibur, Citron, Accurist etc, two vintage watch faces including Lucerne and ProVita, along with ladies wristwatches including Certina, Accurist, Rone, Rotary a silver Id bracelet etc (1 bag) Further details: movement untested wear and tear commensurate with age
A diamond and ruby three stone 18ct gold, comprising a central round cut ruby, approx 4mm, with two round brilliant cut diamonds to each size approx 0.14ct, size O, total gross weight approx 3gms Further details: good- stones present and intact, ruby with abrasions, wear and tear commensurate with age
A collection of early 20th century jewellery to include a pearl set gold ring, size N, unmarked assessed as 9ct gold, total gross weight approx 1.2gms, cased, a 9ct gold glazed double sided picture locket, size approx 30mm, along with a small seed pearl set 9ct gold star pendant, size approx 16mm, combined total gross weight approx 6.4gms, along with a continental silver gilt enamel necklet, comprising a fringed of white and blue petal daisies, a silver gilt enamel pendant featuring a robin (a/f missing bale) and a two gilt metal pendants a/f Further details: wear and tear commensurate with age
***AUCTIONEER TO ANNOUNCE CHANGE TO DESCRRIPTION BANGLE IS 9CT NOT 18CT GOLD****A collection of costume jewellery to include an unmarked 18ct gold torque bangle with ball terminals, internal diameter approx 2.3mm, weight approx 5.5gms (worn) a Victorian 9ct gold paste set brooch, a 9ct gold Mizpah brooch with later base pin, 9ct gold locket and chain, a/f, 9ct gold chain, 9ct white gold twist earrings, combined total gross weight approx 17.8gms, three stone 18ct gold diamond ring missing central stone, total gross weight approx 1.9gms, together with silver earrings, cubic zirconia pendant and chain, silver bangle, cigarette cutter, gilt metal cross, paste set Victorian brooch, various cufflinks, along with ladies and gents dress watches including Sekonda, Rotary, Smiths Empire, Swiss line, etc, tie slides/pin, crucifix etc
A collection of eight Edwardian gold and stone set brooches, to include an unmarked brooch set with tourmaline, platinum set, assessed as 15ct gold, later base pin, total gross weight approx 2.3gms together with six 9ct gold brooches, including amethyst, peridot and seed pearl, synthetic ruby and blue paste, all with base pins, combined total gross weight approx 11.3gms and an unmarked gold brooch set with a garnet, assessed as 9ct gold, base pin, total gross weight approx 2.3gms (1 bag)Further details: good all stones present some with abrasions and nibbles wear and tear commensurate with age
A collection of jewellery to include a 9ct gold cameo ring, size M, 9ct gold hoop earrings, 9ct gold miniature St Christopher, combined weight aprox 5.5gms, yellow metal knot earrings, gents Smiths vintage gold plated watch face a/f, a Thomas Russell & Sons steel cased gents watch face with sub dial (working) silver garnet ring, and costume jewellery etc (1 bag) Further details: wear and tear commensurate with age
A collection of three early 20th century ladies 9ct gold wristwatches to include a Majex 15 jewels Vitaflex, round guilloche dial with applied gilt number markers, subsidiary at 6m cushion case, approx 20mm, on later plated strap, along with another with white enamel dial, black Arabic markers, case approx 25mm, on a fancy rolled gold strap, together with an Art Deco rectangular wristwatch, silvered dial, gilt Arabic number markers, case approx 15mm, to a later fancy brick link rolled gold strap (foxing to dial will not wind) along with an unmarked gold brooch in the form of a leaf, assessed as 9ct gold, weight approx 6.5gms (3) Further details: two wind but unable to confirm if the non winding version is working, age related wear and tear replacement crowns
** RE OFFER **Omega - A gents 1970's gold plated Omega Geneva automatic wristwatch, comprising a signed round silver dial with applied gilt baton markers, date aperture at 3, tonneau shaped case approx 34mm, case back inscribed EMGAS J. Billington 25 years, on later brown leather strapFurther details: good- working, movement untested, scratches to case and glass, later replacement crown
An early 20th century amethyst and gold fringe style necklace, comprising fine chain suspending a row of optical set graduated oval mixed cut amethysts, the largest approx 8x4mm, length approx 16'', unmarked assessed as 15ct gold, total gross weight approx 6.2gms in original fitted retailers case, T Reed & Son Cambridge Further details: good all stones present and intact, minor wear and tear slight tarnish commensurate with age
A collection of jewellery to include a cultured black, grey and white pearl three strand necklace with gold bead accents and 14ct gold clasp, along with a garnet bead necklace, together with a graduated cherry plastic type oval bead necklace, largest bead approx 34 x 25mm, total gross weight approx 85.8gms and a carved serpentine pendant on green cord (1 bag) Further details: minor wear and tear commensurate with age
A Victorian ruby and diamond star set ring with scroll decoration, width approx 8mm, size L, total gross weight approx 2.7gms along with a Victorian 9ct gold ring set with coral (centre stone missing) size Q, total gross weight approx 5gms Further details: good all stones present, wear and tear commensurate with age
Coins - Worcestershire Medal Service - ' Waterloo 200 1815-2015 A Defining Moment In European History - full presentation pack of proof coins, featuring five bronze examples and a 14ct gold The Duke Of Wellington proof coin. Housed within its presentation folder, with certificate and information brochure.
A collection of sixteen vintage and antique fountain pens, ballpoint pens and propelling pecils. Including a silver architects pencil by J. Butler London with carnelian end, a Sheaffer 14 carat gold nib fountain pen, a rolled gold Parker fountain pen, Pitman's Fono with 14ct gold nib, Onoto pen with 14ct gold nib, A W.A.Shaeffer pen with 14 carat gold nib, a Dunhill rolled gold ballpoint and other ball point pens.
Brooch featuring an elephant 18K gold entirely set with colourless and coloured diamonds, the tusk made of ivory, the howdah topped with a sapphire, calibré cut diamonds and two cultured pearls. The hanging on the side is set with a grid pattern of emeralds, rubis, sapphires and baguette cut diamonds. Can be attached to a malachite and onyx base supported by four 18K gold elephant set with diamonds, brooch: 7.4x8.0 cm, h. on the base: 10 cm
Oro 12kt inciso a motivi ornamentali con al centro medaglione raffigurante ragazza contornato da piccole perle. Fine secolo XIX. Peso gr. 5412kt gold engraved with ornamental motifs with a central medallion depicting a girl surrounded by small pearls. Late 19th century. Weight gr. 54
Uno dei due cammei raffigurante La Madonna e San Giovannino, l'altro con profilo di antenato. Uno dei due montato a spilla in oro 12kt.One of the two cameos depicting the Madonna and San Giovannino, the other with the profile of an ancestor. One of the two mounted on a 12kt gold brooch.
A Cartier Yellow Gold, Lapis Lazuli and Jade-Cased Desk ClockSecond Half 20th Centurythe Roman Numeral dial signed 'Cartier', the case stamped 'HYA 128 / 2904' to the reverse, the movement stamped 'Made in Switzerland' and 'CAL 57' in an oval.Height 3 1/8 x width 2 5/8 x depth 3 inches.This lot is located in Chicago.Showing some light surface dents, scratches and rubbing to movement case and gold components commensurate with age and handling. Dial signed Cartier. Not tested for functionality. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Silver-Gilt Mounted Bleu Celeste Porcelain Hot Milk Jug and Cover (Pot a Lait 'Duvaux')Circa 1763bearing blue interlaced Ls enclosing date letter K, painter's mark of an anchor for Buteux and incised M; the small squat pear-shaped pot with flat slightly domed cover hinged to the loop handle with a silver-gilt mount and shell-shaped thumb rest, painted front and back either with a trophy emblematic of Autumn (ribbon-tied thyrsus, wine ewer, fruiting vine) or of Spring (pilgrim's straw hat with scallop shells on the brim, walking stick, Cupid's arrow and flaming torch, flower garland) reserved on the bleu celeste ground within a concentric gilt cisele band and a further trailing vine, the cover with a less elaborate trophy, the handle and applied spout left in the white within gilt banding, with gilt dentil rims.Height 4 1/4 inches.This lot is located in Chicago.Provenance: Elizabeth Parke Firestone, Detroit, Michigan;Christie", New York, The Elizabeth Parke Firestone Collection, Part I, 21 March 1991, Sale 7254, Lot 246 (as part of a dejeuner losange a baguette)Dragesco-Cramoisan, Paris, no. D.1062, 18 September 1996 (as a marabou; with copy of invoice)Exhibited:Detroit Institute of Arts, Detroit, French Taste in the Eighteenth Century, 2 April-2 June 1956, loan nos. 469a-d as a part dejeuner losange a baguette comprising a lozenge-shaped tray, the present hot milk jug and cover, a sugar bowl and cover, a cup and saucerNote:The shape of the present squat pear-shaped hot-milk jug and cover takes its name from a plateau 'Duvaux', a serpentine pentagonal two-handled tray for a tea or coffee service. One such dejeuner is in the Rothschild Collection at Waddesdon Manor, painted with reserves on a bleu nouveau ground after David Teniers. See Tamara Preaud and Marcelle Brunet, Sevres des origines nos jours, Fribourg, 1978, plate XXXI, no. 121 and Svend Erikson, The James A. De Rothschild Collection at Waddesdon Manor: Sevres, Fribourg, 1968, no. 58. When its loop handle is replaced with a vari-baluster handle repositioned to the side, the shape of the present model is known as a 'marabou'. Described as a coffee pot when the handle is at the side, an example painted with loose bouquets within blue-line-and-gilt-dash rims was included in Elizabeth Parke Firestone" collection sale, lot 216. Whether sold on their own or as part of a small service, neither pots a lait 'Duvaux' nor marabou are commonly found. A gold-mounted example painted with a muddy landscape reserved on a rose marbre ground from the New England Collection was sold Christie", New York, 5 May 1999, sale 9182, lot 63. A frises riches Dejeuner Losange of 1763 that included a marabou as a coffee pot along with a sugar bowl and cover and a cup and saucer, was sold Christie", New York, Treasures of France, sale 2762, 23 October 2012, lot 157. Charles Buteux l'aïne, later pere (active 1756-1782), is recorded at Sevres as a painter specializing in figures, trophies and flowers, but it is trophy painting for which he is best known and on which his reputation as a skilled decorator rests.In excellent condition with negligible wear.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
An Important Cartier Carved Rock Crystal, Aventurine and Moonstone Lily of the Valley Flower StudyCirca 1925the stem with scratched inventory number '8614'.Height 5 1/2 inches.This lot is located in Chicago.Exhibited: The Hermitage Museum, St. Petersburg, L'Art de Cartier, 14 May-20 June, 1992Literature:L'Art de Cartier, Exhibition Catalogue, p. 51 (with catalog)Note:As one of the first plants to emerge from the ice and cold of European winters, the delicate Lily of the Valley flower symbolizes renewal. This work by Cartier, dated to approximately 1925, embraces that symbolism while communicating the firm" ascendence to the highest standards of craftsmanship following the closure of the House of Faberge during the Russian Revolution. Using this motif, and probably employing the lapidary artisans that created Faberge" famous "flower studies" at the turn of the twentieth century [1], Cartier transmitted to the world that a French firm stood ready to assume the mantle of the world" unmatched premiere jeweler.Faberge used the Lily of the Valley flower multiple times in works belonging to the Imperial family. First, on a large gold wire basket inset with a nephrite and pearl bouquet presented to Czarina Alexandra Feodorovna in 1896 (now housed in The Metropolitan Museum of Art, L.2011.66.56a, b), and two years later on an easter egg commissioned by Czar Nicholas II in 1898. While the name of the workmaster is typically the only name associated with them, Faberge relied on the workshop of Carl Woerffel (and later Peter Kremlev) to work precious stones into the realistic leaves and flowers that adorn these objects. Woerffel" workshop and the lapidarists they employed were not beholden to Faberge as they also worked for other premiere European jewelers of the day [2]. A closer inspection of this flower study" workmanship, particularly the carving of the parallel venules of the leaf, reveals distinct similarities and suggests a possible connection between the workshops of Woerffel and the lapidarist who made the present Cartier example.Amongst the thousands of works produced by Faberge, fewer than one hundred flower studies are known to exist. Much like this Cartier study, they are set within rock crystal bases and employ a multitude of materials and techniques, their luxurious construction only outdone by their verisimilitude. These works of art naturally found their way into Royal collections and the homes of titans of industry.Cartier emerged from the 1920s as a premiere jeweler, proving that they could create works as technically and stylistically virtuosic as their now-defunct competitor. Like nature" Lily of the Valley, Cartier sprang forth from the "winter" of the Russian Revolution and onto the global stage as a worthy successor to Faberge.[1] Gilles Chazal, L'Art de Cartier, Hermitage Museum, St. Petersburg, 1992, p. 49.[2] Ulla Tillander-Godenheilm, Faberge: His Masters and Artisans, London, Unicorn Publishing Group, 2018, pp. 254-255.In overall stable, attractive condition. The glass base with two small flat flakes to interior surrounding aperture for stem likely from contact to stem. One leaf with possible professional restoration where leaf meets stem. Additional images available upon request. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Cartier Belle Epoque Yellow Gold, Diamond, Enamel and Agate Table ClockCirca 1915the dial inscribed 'L'amitie / Vous l'offre', the backplate engraved 'Cartier', the reverse stamped '1028', '1815' and '0198', the movement stamped 'M' and a further plate stamped 'RASF', with a later applied plaque bearing engraved presentation inscription.Diameter 4 1/4 inches.This lot is located in Chicago.Light surface scratching. Some minor tarnish to enamel borders. One small natural occulsion to the reverse, not visible from the front. The backplate with scratch marks 112235, 5.40, 515054, W13499, C10930.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Swedish Giltwood and Verre Eglomise MirrorAttributed to Gustav Precht, Circa 1720Height 43 1/2 x width 27 inches.This lot is located in Chicago.Provenance:Ariane Dandois, Paris, 18 September 1996 (with memorandum)Note:See lots 136 and 178 for two other examples of Precht mirrors, respectively attributed to Burchard Precht (father) and Gustav Precht (son).The gold motifs on the glass panels are later-decorated. Giltwood surfaces are also re-gilded; some decorative elements are gilt metal, possibly lead. Mirror plate appears to be original. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Cartier Brown Agate, Green Jade, Yellow Gold, Enamel and Diamond Picture Framewith applied 'HA' monogram, the reverse stamped 'Cartier' and 'HYA 79'.Height 4 3/8 inches.This lot is located in Chicago.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Beau Bleu Porcelain Coffee Can and a Saucer (Gobelet 'Litron', 2eme Grandeur et sa Soucoupe, 3eme Grandeur)Circa 1785the cup with gilt interlaced Ls and incised 36D F, the still life painting attributed to Micaud, the gilding to Le Guay, the saucer with blue interlaced Ls enclosing date letter HH, painter's mark for Julien le jeune, unidentified PR and incised 117; the cup painted in colors with a still life of fruit and flowers in a basket on a marble ledge reserved within a gilt cisele band and with tiny gold foil stars applied to the cobalt blue ground, the substitute saucer with a central jewelled star within a sunburst, the border with gilt foil stars between gilt bands.Height of cup 2 3/4 inches; diameter of saucer 4 5/8 inches.This lot is located in Chicago.Provenance:Mary Poter Walsh, Oklahoma City;Christie", New York, Fine French and Continental & European Ceramics and [...], 16-18 November 1999, Lot 221 Rinceaux, Palm Beach, no. 1101, 30 May 2000 (with invoice) Note:The present gobelet 'Litron' is almost certainly a cup missing from a part cabaret retained in the British Royal Collection. In 1826, an inventory of the Confectionary at Carlton House noted 'no. 239: A Dejeuni of blue with gold stars, painted in fruit and flowers. Consisting of five Cups & Saucers, Teapot, Sugar Bason and Cover, Cream Ewer and Slop Bason.' Of these, only the sugar bowl and cover (pot a sucre 'Calabre' 1ere grandeur), one cup (gobelet 'Litron', 2eme grandeur) and two saucers (soucoupes, 2eme grandeur) remain in the Royal Collection. A comparison of the present cup with the illustrations in Sir Geoffrey" comprehensive catalogue leave little doubt that the still lifes of a basket of flowers on a marble table found on each piece are by the same hand. That the factory mark on the present cup also corresponds to the other pieces in this cabaret helps solidify the attribution of the lush still life painting on the present cup to Jacques-Francois Micaud pere (active 1757-1810 as a flower painter), the stars and gilding to Le Guay (active 1751-1797 as a gilder), and the piece itself as originally part of this service.See Sir Geoffrey de Bellaigue, French Porcelain: In the Collection of Her Majesty the Queen, London, Vol. III, cat. no. 251, pp. 895-898 for a detailed discussion of these pieces and of what is almost certainly the payment records for Micaud and Le Guay when they worked on this service, executed between May 1784 and April 1785.Julien le jeune (active 1784-1786), is recorded at Sevres as a painter specializing in flowers and as a gilder. His mark appears only on the slightly small replacement saucer with gilt decoration.In generally good condition, some foil stars starting to lift or lacking a point here and there.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Partially Beau Bleu Jewelled Porcelain Coffee Can and Saucer (Gobelet 'Litron' et sa Soucoupe, 1ere Grandeur)The Porcelain Circa 1782both bearing gilt interlaced Ls mark flanked by date letters ee above decorator's mark L. for L'Ecot, the cup further incised 73, the saucer incised 38A; jewelled between bands of white enamel €˜pearls' with a wide band of gilt foil interlaced S-scrolls enriched with turquoise and red cabochons, the cup with gilt ribbon-tied white beaded swags suspended from the band running around the mouth of the cup, the saucer with a central medallion.Height of cup 2 7/8 inches; diameter of saucer 6 1/8 inches.This lot is located in Chicago.Provenance:Drouot, Paris, Anonymous sale, 23 October 1996, Lot 71Dragesco-Cramoisan, Paris, June 1997 (purchased at the International Ceramics Fair, London)Note:Introduced at Sevres circa 1779, jewelling was at the height of its popularity during the early years of the 1780s. It was an extremely laborious and, therefore, expensive process resulting in an exceptionally delicate finished product.Making the 'jewels' involved the application of drops of enamel in imitation of precious stones-opaque white for pearls, translucent blue, red and green for sapphires, rubies and emeralds, ochre for topaz, purple for amethyst, etc.-onto gold foils stamped by steel dies and then engraved and tooled in shallow relief with star bursts and other patterns, these tooled patterns remaining visible through the translucent enamel, giving depth to the 'cabochons'. Applied in the eighteenth century to both hard- and soft-paste porcelain, jewelling was used at Sevres in combination with a wide range of ground colors. In addition to the rich blue (beau bleu) of the present example, undoubtedly the most popular and successful ground color, examples are known on green, bleu celeste, lapis lazuli, black, merde d'oie (an olive green), boue de Paris (a taupe-beige), mauve, red, lilac, and maroon grounds, as well as on white, perhaps the least successful.One other jewelled beau bleu cup and saucer of 1782 virtually identical in decoration to the present example is known. It has been in the British Royal Collection since 1907 and is currently on display at Windsor Castle in the Green Drawing Room (Sir Geoffrey de Bellaigue, French Porcelain: In the Collection of Her Majesty the Queen, London, Vol. II, cat. no. 216, pp. 828-830, inv. 58189a-b). The cup has the same capital L mark for Louis-Francois L' ecot (active 1761-1764 and 1772-1800), one of the few decorators at the factory skilled in jewelling. Recorded as a gilder and painter, he also specialized in chinoiseries and arabesques. Its saucer, with a variant central medallion and a different date letter, has been identified by de Bellaigue as a later replacement. Catalogue entry no. 216 references two other bleu nouveau examples known on the Paris art market in the mid-1990s. These are, in fact, one example-the present cup with its original saucer. A third cup and saucer with the same jewelling pattern but on a bleu celeste ground was in the collection of Rene Fribourg, sold The Rene Fribourg Collection - V: French Faience and European Porcelain, Part II, Sotheby", London, 15 October 1963, lot 434.In generally good condition. The cup lacking most of the red enamel €˜cabochons' on the S-scrolls, revealing the tooled foil beneath. Several also lacking on the row of €˜lollipop' flowers running around the foot. The saucer also lacking some red enamel on the band of lollipop flowers enclosing the central rosette and rinceau.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A George III Carved Giltwood BergereAttributed to Ince and Mayhew, Circa 1780Height 33 3/8 x width 28 inches. This lot is located in Chicago.Seat height: 19 inches. Re-gilt. The underside of the seat rail with a black wash; the seat rail partially re-built due to worming and upholstery. The back legs previously broken out and re-built with new blocks. The front proper right leg has been affixed to a new block and re-secured into the seat frame. Cramp cuts visible around the frame. A few areas of flaking gold with exposed gesso.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Persia, Ca. 18th-19th century AD. Meticulous and highly detailed image of a turbaned man looking to his right and index finger raised. Depicted wearing a gold and blue kaftan with animal and floral patterns. Backdropped with flowering trees. Size: L:321mm / W:262mm ; 820gProvenance: Private UK collection, formed since the 1990s on the UK and International Art market.
1172 Hijrah / 1758 or 1759 AD. An 18th century Ottoman Empire Quran copied by Hamza al Shukri(_amzHijrah al-Shukr_). SurHijrah titles in burnished gold leaf with white calligraphy headings. Carpet pages with lapis blue, gold leaf and red pigments highlighted with floral motifs. Burnished gold leaf verse dividers and borders throughout. Original tooled leather cover. Naskh script.Size: L:170mm / W:100mm ; 384gProvenance: Private London collection of F.A; formerly acquired on the UK and International art market; 1970s-2020.
Ca. 1500 AD. An illuminated with decorative carpet pages containing the opening surHijrahs. Carpet pages are decorated in burnished gold leaf and lapis blue pigments. With red and blue borders throughout and gold quranic verse dividers. In Naskh script. With red tooled leather decorative cover possibly later rebound.Size: L:160mm / W:120mm ; 270gProvenance: Private London family collection; formed between 1970-2008.
AD 1708/9. Hafez was the most famous Sufi poet. This fine manuscript of his poems is a good example of the finer editions, with most attractive layout, gold clouds and blue and red cartouches with gold floral decoration highlighting text. The final folio was dated precisely Hijrah1120, which translates to 1708/9 AD. It is thus quite an early example, some 300 years old. The condition of the text is fine, but some later folios have worm infestation, as do all the margins. These cannot be seen under mounts.A very attractive and imposing addition to any Islamic manuscript collection. Size: L:255mm / W:208mm ; 41.5gProvenance: Private London family collection; formed between 1970-2008.
Ca. late 15th - 16th Century. A Story book written in Farsi with beautiful colour illustrations and decorated in gold, white and blue lapis pigments amongst other colours.Rebound dark tooled leather cover.Size: L:185mm / W:120mm ; 305gProvenance: Private London collection of F.A; formerly acquired on the UK and International art market; 1970s-2020.
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