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Click here to subscribeAN ARTS AND CRAFTS ARTISTS GUILD PLANISHED COPPER POT-POURI BOWL AND COVER the footed rounded body set with lozenge shaped abalone mounts beneath a pierced leaf spray and flower head cover with spire finial.13.5cm high in good undamaged condition, with no knocks or dents or splits, the inset mother-of-pearl lozenges are in tact and all original, it has good colour and patina.
A FINE 18TH/19TH CENTURY ITALIAN FLORAL MARQUETRY EBONY, IVORY AND MOTHER OF PEARL INLAID TABLE BOX with all-over panelled decoration and lined interior.UK Ivory Act 2018 Exemption Submission Reference - GVCTJY7B37cm wide 28.5cm deep 13.5cm high The lid has very fine splits to the veneer and some losses to the inlay, visible in the images. All sides are in good condition with no signs of damage or restoration, overall the piece is in good condition. There is no key present for the box.
A 19TH CENTURY PAPIER MACHE AND MOTHER OF PEARL INLAID WRITING BOX with gilt and painted decoration, the angled hinged fall revealing a felt-covered writing surface, pen and ink wells; on a serpentine-shaped moulded edge base.33cm wide 25cm deep 11cm highin good undamaged condition - small losses to the gilt decoration.
A FINE 19TH CENTURY FRENCH PALAIS ROYAL MOTHER OF PEARL AND GILT ORMOLU SIX BOTTLE PERFUME CASKET the finely engraved and filigree curved galleried top with leafwork corners enclosing an engraved panelled top with cushion centre above matching panelled sides raised on winged lions paw feet; the fitted interior with six cut glass perfume bottles18cm wide 13.5cm deep 8.5cm high
A collection of silver, hardstone and costume jewellery to include a sterling silver nursing badges, a silver brooch, silver pendants, an distinctive large simulated pearl neckace on a magnetic clasp, Art Deco style hematite necklaces and other items including precious metal cleaning cloths and brand new in bags costume pieces. To include an inlaid wooden naval themed box.
A selection of 9ct gold, sterling silver and yellow metal jewellery comprising: a stand of cultured pearls with a 9ct hallmarked clasp; an amethyst bar brooch stamped 9ct; a yellow metal, purple stone and seed pearl ring (as found - missing some pearls), in yellow metal stamped 9ct; A pair of sapphire and diamond 9ct gold hallmarked ear studs; a seed pearl and red stone set floral brooch, stamped 9ct (as found - one of the stones has been stuck in place and is unreliable); plus a silver frame pendant, fully hallmarked.Gross weight of the yellow metal items 8.5 grams (not inclusive of the pearl clasp or the sterling silver frame pendant
A selection of amethyst and yellow metal jewellery comprising an amethyst and diamond bracelet in yellow metal (unmarked), plus a Victorian Lavaliere pendant featuring amethyst and seed pearl on a 9ct stamped necklace with barrell clasp, plus a pair of contemporary amethyst and unmarked yellow metal earrings. Total gross weight approximately 9.5 grams.
Eleanor Coade (1733-1821) - attributed, life size garden sculpture of a classical half nude Venus looking and turned to the side in folded clothes on round base, on fluted and richly decorated round base with pearl band and acanthus leaves on octagonal base coade stone white coloured weathered, parts missing, partly with stamped numbers and inscriptions, British, late 18th/early 19th century, total heigth 250 cm, sculpture only 150 cm, base only 100 cm
Five chairs to include a Victorian small black and mother of pearl inlaid bergere seated chair and a bergere framed tub chair with blue upholstery seat (in need of restoration) and three other chairs to include a Victorian small bedroom chair, with a peach silk upholstered seat, and a Modern purple upholstered chair with 4 black legs, and a Georgian commode chair
A third quarter 18th century Italian tortoiseshell, mother-of-pearl inset and gold inlaid piqué snuff boxNeapolitan, circa 1760Of arc en arbelette ended rectangular form, the hinged lid depicting a watery scene with Neptune standing on his scallop shell chariot drawn by a pair of hippocampi before a goddess seated on rockwork, probably Salacia, islands with ruins and building to the background, within a moulded rim with waved border, 3cm high, 10cm wide, 7cm deepThis lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A mid Victorian ebony, calamander, abalone, mother of pearl, ivory, bone, rosewood, purpleheart, sycamore and fruitwood marquetry collector's cabinet1870-1875, possibly by Jackson and GrahamWith line-inlaid borders and stringing, the top surmounted by a baluster gallery to the rear, above a stylised foliate inlaid frieze comprised of alternating palmettes and lotus-leaves flanked by rosette tablet angles, over a twin double panelled door, the upper panel inlaid with a still life of assorted shells, moluscs, coral and seaweed, the lower door panel inlaid with stylised foliate and scrolled angles, enclosing a total of eleven satinwood veneered and mahogany lined drawers comprised of eight long drawers over three deep drawers, flanked by stylised foliate, palmette and honeysuckle inlaid angles, on a plinth base, the lock stamped: 'CHUBB PATENT, 128 QUEEN VICTORIA ST., ST. PAUL'S, LONDON, 800354', 96cm wide x 67cm deep x 148cm high, (37 1/2in wide x 26in deep x 58in high)Footnotes:The repeating inlay running across the frieze of the offered lot is redolent of some Greek revival or 'Neo-Grec' designs published in 1856 within 'The Grammar of Ornament' by Owen Jones (1809-1868). Worthy of particular comparison are several decorative patterns inspired by ancient Greek vase ornamentation which feature among Plates XVI and XVII, Greek No.'s 2 and 4. Owen Jones was among the most notable designers employed by the renowned cabinet making combination of Jackson and Graham so it seems probable that the present cabinet was indeed executed by this firm. Added to this, the use of ivory (amongst the various other exotic materials) inlaid into ebony, along with its distinctive stylised foliate embellishments, are certainly characteristics very much in keeping with those pieces produced by Jackson and Graham during the period 1865-1875. Jackson and Graham (fl. 1836-1885)Jackson and Graham were one of the most successful and prestigious firms of the early and mid-Victorian periods. Based in London, they were responsible for enhancing the reputation and improving the renown of English cabinet makers throughout the rest of the World. In 1836 the partnership of Peter Graham (1811-1877) and Thomas Charles Jackson (1807-1848) was founded at 37 Oxford Street, but by 1839 the venture had developed to incorporate 37 & 38 Oxford Street, as well as an additional location at 18 Newman Street.In 1845 the company was recorded in the Post Office Directory as cabinet makers, upholsterers, carvers, gilders and house agents. However, by as early as 1866 they had grown sufficiently quickly as to include locations at 29, 33, 34, 35, 37 and 38 Oxford Street, together with the ownership and running of addresses at Perry's Place, Freston Place and Newman's Yard. In the 1860s, as part of their operation, Jackson and Graham employed 250 workers. During the 1850s the firm set up a steam engine for the more rudimentary sawing requirements, however by the next decade they had established machine-carving as well. By 1875 their total number of employees had reached within the region of 600 to 1,000. The rapid rise of the business is summarised in a London Directory advertisement of 1866 in the following way: 'Jackson and Graham announce... that they have recently made great additions to their former extensive premises, which render their establishment the largest of its kind in this or any other country. The Spacious Show Rooms and Galleries are filled with an unrivalled stock, the prices of which are all marked in plain figures at the most moderate rates for ready money. The extensive Manufactory adjoining, with machinery worked by steam power, is fitted with all means and appliances to ensure superiority and economise cost. Each of the departments will be found as complete as if it formed a separate business...' Only one decade on from this, another detailed account of the company is provided in J.H. Pollen's publication of Bevan's 'British Manufacturing Industries' (London, 1876). It elucidates a business which was as almost entirely automated as any other at that time in Victorian Britain, utilising and manipulating steam in order to power their wide assortment of machinery. Yet, despite this fact, the substantial contribution of highly skilled human labour and craftsmanship was also simultaneously championed therein. And, probably in part due to their employment of specialist foreign inlayers or marquetry experts, the firm's output easily rivalled anything then being produced in Europe, as evidenced by the numerous awards they were honoured with over time. Jackson and Graham used every opportunity to display their 'wares' at the various International Exhibitions which took place throughout much of the second half of the 19th century. They did so in order to showcase the very best of what they could produce. Their notable participation at the first and most famous of these, the Great Exhibition of 1851, was described thus by the 'Art Journal': 'Messrs Jackson and Graham, the eminent upholsterers of London are large contributors to the Great Exhibition of many important articles of their manufacture'. At the 1851 Exhibition in London, they received a prize medal for their exhibits.For the 1855 Paris Exhibition the firm showed a large Eugene Prignot-designed cabinet to the public, which was thereafter acquired by the Victoria and Albert Museum for £2,000: W.81-981, where it is still housed today. Among the more significant furniture supplied for the 1862 International Exhibition in London were a pollard oak sideboard and a Louis XVI style ebony and ivory cabinet with an onyx top. Again, they were honoured with multiple awards in London, but also gained similar trophies five years hence at the Paris Exposition. In 1871 an ebony and inlaid cabinet, which followed a design by R.S. Lorimer, was displayed by Jackson and Graham at the International Exhibition. They were also involved at Vienna in 1873 and took part in London the next year. However, it appears that at the 1878 Paris Exposition, which was their ultimate event of this scale and scope, they obtained the Prix d'Honneur for the British section. Whilst for the star item, known as the 'Juno' cabinet, they in fact achieved the 'Grand Prix' before the Viceroy of India bought the piece for £2,000 (now in the Victoria and Albert, W.18: 1-6 1981). Their principal documented commissions include work provided for; the Ball Room at Buckingham Palace; the Palace of the Khedive in Cairo, Egypt; the City Carlton Club; and the Livadia, a yacht belonging to the Czar of Russia.It should be noted that a great deal of the success of this business was allied to the fact that they often employed the major designers of the day. Such prominent figures as Owen Jones, Thomas Jeckyll, Bruce Talbert and Christopher Dresser all worked at one time or another for Jackson and Graham. As on the offered lot, the particular emphasis in the designs of Owen Jones was largely upon ebony pieces inlaid with ivory and sometimes also metal. During the period 1862-c.1864, Alfred Morrison commissioned Jackson and Graham together with Jones to produce extensive work at Fonthill House in Tis... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A rare Dutch mother of pearl inlaid panel depicting a vase of garden flowers in the manner of Dirck Van Rijswijck (1596-1679)Probably 18th centuryThe classical twin handled pedestal urn containing an arrangement of blooms including roses, carnations, pansies and tulips on a black ground, the mother of pearl inlay with finely engraved detail, the plinth base of the vase appearing to rest on a rosewood ledge, the panel mounted in a later moulded rectangular gilt frame, the panel 26cm high x 21cm wide, the frame 34cm wide x 40cm high Footnotes:Although originally training as a goldsmith, Dirck Van Rijswijck developed his own characteristic style whilst working as a silversmith in Antwerp experimenting with the effects that could be created by the processes of engraving. This led him to perfect an idiosyncratic technique using engraved mother of pearl inlay to represent floral still life subjects using the natural variations of colour apparent in the shell to suggest the colours and surface textures of the various flowers. In terms of creative output, Rijswijck is recorded as producing a number of these mother of pearl inlaid panels depicting vases of flowers some also incorporating a chained monkey. The fine and detailed engraved decoration to the panel in the present lot demonstrates a similarly high degree of technical skill very reminiscent of Rijswijck's work.For further information on this lot please visit Bonhams.com
Imperial German Bavarian Court Sword, fine example of an Imperial German court sword with gilt lion head pommel, mother of pearl grips with gilt brass crowned monogram to centre, knuckle guard with fine relief and dish guard with lying Bavarian lion. Housed in its original leather scabbard with brass mounts. Fine quality slender blade with blue and gilt decoration including foliage and trophy of arms. Some light surface staining to the blade but generally a good example.
A late 19th century hardstone cameo brooch, the oval agate cameo carved to depict a classical maiden in profile, in a gold surround with bead detailing and seed pearl highlights, French assay mark, partial maker’s mark, scratched inventory number to cameo reverse ‘458’, length 40mm. £300-£400
Two early 19th century memorial rings, the first with a central glazed hairwork compartment within a seed pearl surround between similarly-set bifurcated shoulders, cased by Bristol Goldsmiths Alliance, some seed pearls deficient, the second designed as an emerald and seed pearl cluster with a glazed hairwork compartment to the reverse, both mounted in gold, ring sizes M and E. £240-£300
A small collection of jewellery, comprising an early 20th century blue stone and seed pearl brooch/pendant of whiplash scroll design, an 18ct gold ruby and diamond five stone ring, together with a Chimera scroll ring with blue enamel and white stone decoration, total diamond weight approximately 0.50 carat, ring sizes N and M respectively. (3) £500-£700
An Arts and Crafts gem-set pendant, formed as a cluster of silver beads, collet-set blister pearls and circular sapphire and citrine cabochons, with a blister pearl fringe below, mounted in silver, suspended from an integral cable-link chain, chain length 43cm, pendant length 5.5cm. £200-£260
A collection of antique jewellery, circa 1890-1900, comprising a peridot and seed pearl bar brooch, cased by Weir & Sons, a seed pearl necklace of scroll and star design, two gem-set pendants further set with seed pearls, and a seed pearl butterfly and heart pendant, all mounted in gold, various lengths. (5) £400-£600
A pearl and diamond combination jewel, circa 1900, the tiered cluster set with a central pearl within a surround of half-pearls and old brilliant-cut diamonds, the jewel converting to a brooch, pendant and hair pin, mounted in gold, pearls untested, original fitted case, length including bale 40mm. £600-£800
An aquamarine and seed pearl necklace, circa 1900, the cable-link chain leading to a scrolling frontispiece with trellis detailing, set throughout with seed pearls, with a cushion-shaped aquamarine to the centre, mounted in gold, stamped ‘15CT’, drop deficient, case by Muir & Sons, Glasgow, length 42.5cm. £600-£800
A colour change sapphire ring, the cushion-shaped sapphire weighing 9.15 carats, and claw-set to single-cut diamond shoulders, ring size leading edge O. £3,000-£5,000 --- Accompanied by a Report from The Gem & Pearl Laboratory stating the sapphire is of Sri Lankan origin with no evidence of heat treatment. Report number 15475, dated 27 March 2018.
An early 20th century pearl necklace, the pendant designed as a fruiting vine, the grapes formed as a pearls and the platinum leaves with a textured finish, suspended from a cable-link chain interspersed with pearls and seed pearls, mounted in platinum and gold, stamped ‘PLATIN 15CT’, fitted case by Boodle & Dunthorne, Liverpool, chain length 48cm, pendant length 37mm. £700-£900
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