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Lot 1
The Property of the late Lady Elizabeth Dobell (1878-1972) Elizabeth Anne Campbell (née Meyrick Bankes) married Major Charles Dobell in 1908, and travelled widely with him during his distinguished military career. They were avid collectors in every field from oriental rugs to stamps. However, Lady Dobell had a keen eye for fine jewellery, much of it purchased from Tessier in Bond Street. Lady Dobell's jewellery has since remained in the family, and its provenance is by direct descent. A ruby and diamond Royal Welch Fusiliers regimental brooch, circa 1925, the rampant draig goch, the regimental emblem of the Royal Welch Fusiliers, set with calibre cut ruby wings and body, with old cut diamond spine, tail and front claws. This brooch was comissioned from Messers Tessier, 26 New Bond Street, London along with a second example given to Queen Mary. The brooch offered here was a gift from Sir Charles Dobell to his wife, Lady Elizabeth Dobell, on the occasion of his appointment as Colonel of the the Royal Welch Fusiliers in 1926, when both Lady Dobell and Queen Mary wore these regimental brooches. The second example is thought to be still in the Royal Collection. Lt General Sir Charles Macpherson Dobell K.C.B.,C.M.G.,D.S.O., Com. Legion dÕHonneur (France) (1869-1954) was born in Canada and educated at Charterhouse and The Royal Military College in Ontario. In 1890 he joined the Royal Welch Fusiliers, and led a distinguished career with active service in South Africa, Northern China, and The Cameroons. During the First World War, Sir Charles served as Chief Commander of the Allied Forces in Northern Nigeria, as well as commanding forces in Gaza, India, and Afghanistan. Sir Charles retired from active service in 1923, and in 1926 he became regimental Colonel of the Royal Welch Fusiliers until 1938.
Lot 1
A French Art Nouveau carved horn pendant by Georges Pierre (GIP), circa 1920, the pendant carved as a sunflower set with a turquoise cabochon, suspended by a cord necklace set with purple glass and horn beads, signed GIP to the reverse. Georges Pierre and Madame Bonté were two of the leading Parisian jewellers making jewels from horn and glass in the Art Nouveau tradition. They began their careers in competion with one another, but they joined forces and continued to produce horn jewels together until 1936. Literature: Becker V., 'Art Nouveau Jewellery', London 1985 Brcker V., 'Rough Diamonds', London 1990
Lot 1
An exquisite Belle Epoque jadeite box by Cartier Paris, circa 1910, in the Russian style, the box hollowed out from a single piece of mottled greenish jadeite, with rose cut diamond and calibré cut sapphire hinges (three sapphires missing), the front thumb piece similarly set with a cabochon sapphire lock, the thumb piece signed 'Cartier Paris' with French pionon assay marks, maker's mark 'PD' From 1900 Louis Cartier and his brothers were enthralled by the work of Fabergé in St Petersburg. Following the appeal of their own unique garland style, they actively sought to create a range of jewels and bibelots inspired by Fabergé (see lot 231A). In 1904 Pierre began traveling to Russia to not only court the jewellery loving Russian aristocracy and royal family, but also to seek out Russian workshops to supply Cartier in Paris. The lot offered here is a wonderful example of Cartier's interpretation of the Fabergé style that continued until the First World War. Literature: Nadelhoffer H., 'Cartier', London 1984
Lot 1
A fine garland style diamond and platinum bandeau and corsage jewel, circa 1910, the articulated sections set throughout with old brilliant cut diamonds in stems and flower heads, to a flower head cluster at the centre set with six old brilliant cut diamonds, the whole surrounded by a continuous border of millegrain set rose cut diamonds, with eyelet fittings for a ribbon at the sides, and a central fitting for use as a corsage jewel, in the original fitted pink leather and gold tooled Cartier London, Paris and New York case dated 1909 to 1917. From 1900, Cartier began to produce a range of jewels in the Garland style, including tiras, aigrettes, bandeaux and corsage ornaments, creating a style that has become redolent of early 20th century Cartier jewellery. Cartier's bandeaux were a less ornate ribbon shaped tiara, designed to be worn on the forehead, or just above the hair line, and tied by a ribbon at the back of the head. By 1910, the bandeau had come to prominence in Paris, once large tiaras were no longer considered chic in France. Cartier's promotion of their simple and elegant bandeaux ensured they remained popular throughout the Art Deco period of the 1920's and 1930's. Cartier's signature Garland style was born when Louis Cartier relocated the Paris shop to 13 rue de la Paix in 1899. From 1895, encouraged by Louis Cartier, the Paris workshops had been experimenting with the use of platinum to create a new style of jewellery for Cartier's international clientele, which included royalty (Edward VII and Grand Duchess Vladimir), aristocrats, industrialists and theatrical celebrities.
Lot 1
A Suite of Sapphire and Diamond Jewellery, comprising, a bracelet, composed of a uniform row of oval-cut sapphire collets each within a bezel of brilliant-cut diamonds with moulded connecting links; a pendant, the oval cabochon-cut sapphire collet set within a pear shaped diamond set mount, on tracelink chain; and a watch, by Baume and Mercier, the oval face within a diamond set bezel with cabochon-cut sapphire and diamond lugs, on double ropework bracelet strap (3)
Lot 1
Circle of Mason Chamberlain (1727-1787) Marriage Portrait of John Morton Jordan and his Wife Dorothy, Half Length, Wearing Period Costume, Dorothy Wearing a Pink Dress with Lace Accessories, a Pearl necklace, Pearl Earrings and Jewellery Decorating her Hair, Oil on canvas, oval, 58cm by 74.5cm (33 1/2in by 29 1/4in) *The painting has been ascribed to Francis Cotes (1726-1770)and a tentative attribution was originally given to Benjamin West (1738-1820) but this has subsequently been discounted by another academic *Contained within an elaborately decorated early Victorian gilt plaster frame with acanthus leaf and scroll decoration *The painting is sold together with historical information including the family bible, detailing their involvement in Virginia and Maryland and John Morton Jordan's appointment as Manager of Lord Baltimore's great Landed provinces
Lot 1
A collection of antique and various costume jewellery including a silver marquisite set ring, paste brooches and stick pins, buckles and clips and an ivory ring, all in a black leather jewellery box. A lot. Together with a garnet bar brooch, rolled gold and set overall with small facetted garnets, a white metal torque style antique key ring, bearing the remains of Eastern markings, an Art Deco double brooch clip, set green and white pastes, stamped on the reverse 'Britpat 410696' and a 9ct yellow gold bar brooch, set three cabochon garnets. A lot.
Lot 1
AN EARLY VICTORIAN TORTOISESHELL-VENEERED TWO COMPARTMENT TEA- CADDY of rectangular form with rounded corners, having pewter strung panels, on silver-plated (on copper) ball feet, complete with interior lids with ivory knob handles, the top with silver escutcheon engraved "V.W.S" in shaded sans-serif upper case, now detached, enclosing a later-filled pigskin tray (as jewellery box), 16cm, (6.4in) long (complete with key)
Lot 1
A SET OF MATCHING OPAL JEWELLERY in oval yellow and white metal settings each opal within a surround of small diamond-simulants, comprising a flexible bracelet with three opals, (now broken into two sections), a pendant on trace-linked chain, a ring and a bar brooch, each with a single opal and a pair of clip-on earrings, and A WHITE-METAL BROOCH OF SCORPION DESIGN set with nine opals, (6)
Lot 1
TWO PIECES OF VICTORIAN CAMEO JEWELLERY comprising, A carved shell cameo depicting Britannia, in white-metal-gilt mount marked SILVER, 8.5cm, (3.25in) high overall, a pendant of two cameos, one of teardrop form carved with the head of "Flora" suspended from an oval cameo carved with a leaf, both in unmarked gold cabled mounts, on later trace-linked chain, marked 9CT, and a 15CT-GOLD AND SEVEN-STONE DIAMOND BAR BROOCH of navette form with cabled and scroll-and-ball borders, hallmarked Birmingham, 1896, the small old-cut diamonds of good colour, all in small jewellery case
Lot 1
C19th Continental Walnut? Triple Mirror Dressing Table, 62' high, 49' wide on a low demi-lune stand with fluted & carved tapering supports with 2 jewellery drawers of quadrant shape with brass handles on a Quarter Veneered central stand, the triple arched mirrors with bevelled glasses fluted & reeded columns with carved ball finials.
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326240 item(s)/page