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Click here to subscribePEARL; a reproduction longcase clock, the gilt dial set with Arabic numerals and subsidiary moon phase, height of case 197cm.Additional InformationComplete with pendulum and weights, we are unable to tell if the clock is working as we have not wound the movement up. Minimal wear to the case, the side panels are a little bit pushed in.
A Japanese Meiji period carved ivory okimono modelled as a warrior blowing into a conch shell with a sword upon his back, signed with mother of pearl plaque to base, height 15cm, and a further ivory okimono of a figure with toads, signed to mother of pearl plaque to base, height 70.5cm (2).Additional InformationThe conch shell figure is slightly loose to the base, there are a few natural striations to the ivory but overall in good condition. The toad figure has areas of damage around the base so his feet have been broken through and crudely glued, this has also damaged the lower toad and section of which his foot is upon which was once a serpent. Some stains, cracks to the base and some natural striations to the ivory throughout.
A group of collectors' items including three tortoiseshell card cases and a mother of pearl example, the largest 10.5 x 8cm (hinge af), cigarette lighters, pen knives, cameras, clocks, etc. Additional InformationLarger card case with very loose lid and hinge, the smaller tortoiseshell case with chips, all with scratches and general wear, further mixed condition throughout.
of cross over botanical design with a cultured baroque 10.2mm Tahitian black pearl, and a cultured baroque 10.1mm white pearl, probably South Seas, each within a pavé set diamond trumpet, estimated total approximate diamond weight 0.50ct, knife edge shank, size L½, Edinburgh hallmarks for 18ct gold, weight 9.4g
each suspended from a seed pearl ball and a delicate pear shaped drop with seed pearls attached to a mother-of-pearl frame, length 3cm, graduating width from 6.1 to 14.5mm, which in turn supports a floral bell shaped lower section, length 3.5cm, graduating width from 7.6 to 19mm, screw fittings, overall length 7.9cm, unmarked yellow metal fittings, tested as 9ct gold, weight 12.8g
the first, an oval brooch with an oval faceted amethyst set within a beaded border, pin and hook fitting, dimensions, 2.5 x 2.2cm, unmarked yellow metal tested as 9ct gold; the second, a pair of earpendants set with three claw set graduating oval faceted amethysts, hook fittings, length, 2.8cm, unmarked yellow metal, tested as 9ct gold; the third, a lozenge shaped amethyst and seed pearl pendant, bale fitting, length including bale 4.1cm, unhallmarked yellow metal stamped '9CT', gross weight 9.4g (3)
the central section with an oval cabochon amethyst of approximately 12 x 10mm, surrounded by a ring of seed pearls with brilliant cut diamond accents, topped with a seed pearl set bow and supporting two articulated diamond set knife edged bars with pear shaped pearl terminals, overall length, 5.5cm, suspended from a trace link chain, length, 42cm, unhallmarked, stamped '375', weight 7.9g
the first, a floral spray brooch with three (possibly natural) pearl terminals, pin and hook fitting, overall length 4cm, unmarked yellow metal tested as 18ct gold, weight 5.6g; the second, a circular pendant with blue enamelled lattice around a central pearl, with smaller pearl embellishments, verso with glazed panel, unmarked yellow metal tested as 18ct gold, suspended from a blue enamelled bow with pin and revolver fitting, stamped 900, gross weight 10.6g (2)
fifty three pearls, graduating from 8.5 to 11mm in diameter, of natural colour and graduating from dove grey to almost black and of very good lustre, strung knotted with grey silk to a white metal ball clasp stamped 'Au750', overall length 47cm, weight 71.8gFootnote: A graduated strand takes much longer to assemble than a uniform necklace and it can take many years to select the matching pearls, especially when the necklace is graduated in both colour and size. The jeweller has to take into account not only the lustre and orient, but in this particular case, the colour, size, surface blemishes and matching characteristic for each pearl. Tahitian pearls are rare, and the lack of choice makes it even more difficult and time-consuming for the jeweller to produce a strand such as this example.
the necklace with central section set of alternate graduated opals and rubies, the round cabochon opals each with a seed pearl and oval cabochon opal dropper, the round faceted rubies each with a ruby dropper (one missing), trace link back chain set with evenly spaced opals, hook in clasp, length 31cm, unmarked yellow metal, tested as 18ct gold; the ear studs, each with a rubover set oval cabochon opal of 10 x 7.5mm, topped with an old brilliant cut diamond of approximately 0.05ct, unmarked yellow metal, tested as 18ct gold, gross weight 18.5g (2)
the body of opal and mother of pearl, with ruby eyes and multicoloured enamel decoration, pin and revolver fitting and fixed bale to allow for wear as a pendant, dimensions 3.2 x 3.9cm, unhallmarked white metal stamped '925', weight 8.7gFootnote: Plique-à-jour (French for 'letting in daylight') is a vitreous enamelling technique where the enamel is applied in cells without any backing so the light can shine through, giving a similar effect to that of a stained-glass window. It is very challenging technically and there is a high failure rate during production.
the circular drop pendant consisting of a central 5.5mm cultured pearl, surrounded by twelve grain set synthetic round faceted rubies and a further border of grain set seed pearls, with a fully drilled seed pearl fringe, bale pendant fitting, length including bale 3.6cm, unmarked yellow metal tested as 22ct gold; suspended from a diamond cut belcher link chain, 'S' shaped clasp, length 24cm, stamped '22CT', gross weight 17.1g
with a central 8mm cultured pearl flanked by six graduating round faceted rubies either side, mesh style slightly graduating bracelet with a bark and polished finish, push-in snap clasp with two figure of eight safety catches, length 18.5cm, unhallmarked white metal, stamped '585', weight 18.6g
with two golden pearls 12 and 10.9mm in diameter of strong and natural colour forming the head and body, the yellow metal embellishments tested as 18ct gold, as does the unmarked yellow cable wire terminating in a bolt ring catch and also a push-through silicone fastening to allow for the removal of the pendant, overall length 44cm, height of the snowman including the pendant loop 3cm, gross weight 7gFootnote: Pearls from the Pinctada Maxima oysters and especially the gold lipped variety are mainly produced in Oceania and produce one pearl per oyster every 1-2 years, with a size range typically from 8 to 14mm. These wild oysters are found in Indonesia, Papua New Guinea, The Philippines, and Vietnam. With a superlative nacre quality, including high transparency and colour overtone known as 'orient', these pearls produce cream, yellow, white and natural gold colour pearls.
the ten flat lapis plaques, alternating larger and smaller, claw set in patterned collets, the centres of each rubover set with either a cabochon emerald, ruby, sapphire or a pearl, with lengths of trace link chain between, in the style of Van Cleef & Arpels, trigger catch fastening stamped '925', length 105cm, weight 35.9g
sixty three pearls, with a central pearl of 15.9mm graduating to 10.4mm, of natural colour, alternately strung in white and pink with the pinks being proportionately larger, of good lustre and size, strung unknotted to a white metal ball and socket snap clasp, overall length 80cm, weight 171gFootnote: Edison pearls are nucleated freshwater pearls from China, produced by freshwater mussels such as the Hyriopsis. 'Edison' is the brand name given to a range of large bead nucleated freshwater pearls from one leading Chinese supplier and these particular pearls come from a Hyriopsis hybrid between Hyriopsis cumingi and Hyriopsis schlegeli. The average size for Edison pearls varies between 14 and 11mm with some rare examples above 16mm. Their natural colours include peach, purple, candy pink, cream and white. A single row of Edison pearls recently sold for £500,000 at auction.
thirty three pearls, with a central pearl of 13.9m graduating to 12mm, of natural colour in delicate shades including grey, pistachio, mushroom and aubergine and of excellent lustre, strung knotted on silk to a white metal stylised shepherd's crook shaped clasp pavé set with round brilliant cut diamonds, estimated total approximate weight of 0.40ct, unmarked tested as 18ct gold, overall length 48cm, weight 96.5gFootnote: Parented by the rare black-lipped oyster, Pinctada Margaritifera, Tahitian pearls were originally produced in Tahiti, French Polynesia, although now they also originate from the Marshall and Cook Islands, the Solomon Islands and Fiji. Even before pearl cultivation was discovered, Tahitian Pearls had gained a reputation for value and rarity. Over 15,000 shells would be opened before finding a single natural pearl. A unique aspect of this oyster is the natural dark colours of its pearls. Most 'black' Tahitian Pearls are not completely black, but instead range from silver or charcoal, to midnight black, pewter, and even a pale silvery-grey. These pearls can have overtones of green, blue, violet, silver-rose and copper. Typically, all of these pearls come with some degree of a green hue and generally range in size from 8-14 millimetres.
each hook wire fitting headed with a crimp set 5mm round faceted peridot, supporting a lyre shaped drop section, the wire work neck topped with a round brilliant cut diamond and further crimp set with a small pearl, the bulb set with an oval faceted amethyst, overall length from the head, 3cm, silver gilt, weight 2.9gFootnote: At the close of the 19th century, women began actively looking for better rights, in particular to have their voices heard in government. The Suffragettes were a group of women campaigning and protesting for the right to vote. Many women proudly wore jewellery expressing their support for the movement, though, for fear of persecution, the jewels incorporated a 'secret code'. The pieces are instantly recognisable now as they were decorated with green, white, and violet stones. The first letter of each colour, G, W, V reflected the Suffragette’s demand to "Give Women the Vote". This example is a modern interpretation of one of these historic jewels.
the collar comprising of fourteen bars each set with two rows of rose cut diamonds interspaced with slightly graduating pearls, to a central round plaque set with a 6mm pearl within a rose cut diamond border, hinged ring supporting the detachable pendant comprising of a central oval cabochon rock crystal 31 x 19mm surrounded by a foliate border of seed pearls and rose cut diamonds, suspended from a rose cut diamond bow topped with a pearl and diamond set hook bale, length of the collar 40cm, the pendant 6.6cm, unmarked yellow and white metal tested as 15ct gold with silver settings, gross weight 43.1g, presented in the original fitted case by Joseph Hemming
sixty three pearls, with a central pearl of 15.5mm graduating to 11.5mm, of natural colour and graduating from white to candy pink, of good lustre and size, strung knotted on silk to a white metal ball clasp stamped 'Au750', overall length 94cm, weight 246gFootnote: While most freshwater pearls are nucleated by tissue, Edison cultured pearls are nucleated with beads, in a similar way to saltwater pearls (Australian South Sea, Tahitian South Sea, Japanese Akoya) and the beads are implanted into the creature. Edison pearls are almost perfectly round, have an intense lustre comparable to that of high quality South Seas or Tahitian pearls and large sizes over 15mm. Of fine quality, they often command a price tag similar to, or even above, saltwater cultured pearls. This single row has taken many years to produce and assemble, is very probably unique and would be an exceptionally difficult jewel to replace.
seventy seven pearls, with a central pearl of 13mm graduating to 9.2mm, of natural colour in delicate shades of grey, pink, gold, white and peach, originating from Australian South Seas, Indonesian South Seas and Tahitian South Seas together with Edison Freshwater and all of exceptional lustre, strung knotted on silk to a rose coloured ball clasp, stamped '750', overall length 89cm, weight 133gFootnote: The rare and large Australian and Indonesian South Sea pearls are native to the deep offshore waters of Australia, Myanmar, Indonesia and the islands of the South Pacific. Their parent oyster, Pinctada Maxima, is the world's largest oyster and can grow up to 30cm in diameter. These pearls are rare due to the length of time they take to grow and the costly methods employed for their recovery at harvest time and as a result, South Seas pearls tend also to be the most expensive of pearls. Edison pearls are cultivated in only a few freshwater pearl farms in China, and are nucleated with just one bead at a time, allowing the creature to direct all of its attention to producing just one pearl. They are known for their intense, almost metallic lustre with sizes averaging between 11 to 14mm.
garland style, topped with an openwork diamond set ribbon and bow with a central rubover set old mine cut diamond, estimated approximate weight 1.00ct, from which drops a grain set open circle of diamonds supporting a diamond and probably natural pearl dropper, with an inner foliate diamond set circle and a central diamond set dropper terminating in a probably natural pearl, estimated total approximate weight 7.00ct, overall length 7cm, concealed hook bales and detachable screw brooch fitting, currently suspended from a slender trace link chain, length 42cm with barrel clasp, all unmarked white metal, tested as platinum, weight 21.8g, presented in a fitted case by Wartski
the oval painting depicting Eugénie as a young woman with a blue ribband in her auburn hair, pale grey blue eyes, a three row pearl necklace, and lace fichu at her nape, in a glazed frame with pierced border of round faceted pastes and beaded edging; verso with a glazed panel over dark brown felt, and applied monogram of a crown surmounting a capital E entwined with another reversed; later hinged bale, tapered with raised beaded edges; length with bale 5.6cm, length of portrait 3.2cm; unmarked, surround tested as 9ct gold, settings tested as silver and bale tested as 18ct gold, presented in a period oval leather caseFootnote: Provenance: A wedding present to the vendor's great grandmother by her great great grandfather, Sir John Baker (1828-1909), MP for Portsmouth, Hampshire. Doña María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 16th Countess of Teba, 15th Marchioness of Ardales, known as Eugénie de Montijo, was born in Spain in 1826, but spent her later childhood in Paris, returning to Spain in her early teens. She had some formal education in France, but also English governesses and briefly attended school in Bristol (where she was teased for her red hair). Her principal interests were in various sports and politics. She met Charles-Louis Napoléon Bonaparte (nephew of Napoleon I) in Paris when he was the first President of France after the revolution of 1848. By the time of their wedding in 1853, he had been made Emperor as Napoleon III; thus she became Empress. During this period France underwent considerable social and economic reform, with improved infrastructure and the re-designing of Paris under Baron Haussmann. Foreign policy was more mixed, with success in the Crimean War and expansion in Asia, but also with unfortunate meddling in Mexico and a disastrous facing of Bismarck in the Franco-Prussian War of 1870. As Empress, Eugénie was politically active. She travelled to the Ottoman Empire and to Cairo to open the Suez canal, promoted female education and acted as Regent in her husband's absences - including the Franco-Prussian War when he was with his troops at the front. Napoleon was captured, deposed, and eventually joined Eugénie in exile in England (Farnborough, Hampshire), where she lived on after his death in 1873, socially vibrant but politically quiet, until her own death in 1920. There exist a great many portraits of the Empress Eugénie, both photographic and painted (including by Winterhalter, one of Queen Victoria's portraitists); they all show her unusually straight eyebrows and distinctive nose and eyes, and many show her wearing ropes of pearls (she was famous for her jewellery), just as in the present example.
the central section comprising an oval pearl, 7.2 x 6.2mm surrounded by eight petals each set with one old and one rose cut diamond, estimated total approximate weight 1.30ct, oval border with four 5.5mm pearls at cardinal points spacing four quadrants each set with five seed pearls, detachable pearl set trefoil shaped bale and detachable brooch pin fitting, overall dimensions excluding the bale, 3.3 x 2.8cm, unmarked yellow metal tested to at least 15ct gold, weight 18.1g, presented in the original fitted case with an applied shield engraved 'To Lady Victoria Alexandrina Alberta Kerr from her Godmother VICTORIA R 11 December 1876', along with a cased portrait miniature said to be of the recipient and accompanying correspondence from Queen Victoria and the recipient's mother, Lady Victoria Montagu-Douglas-ScottFootnote: Provenance: By direct descent to the current vendor Lady Victoria Alexandrina Alberta Kerr was the 5th daughter of Schomberg Henry Kerr, 9th Marquess of Lothian and Lady Victoria Montagu-Douglas-Scott. Born on November 7th 1876, this jewel was gifted by Queen Victoria to the young Lady Victoria to whom she was godmother, as a christening present. The young Lady Victoria's mother, Lady Victoria Montagu-Douglas-Scott, was herself christened in Buckingham Palace in 1845 and was also god daughter to the Queen. She went on to marry, in November 1903, William Sullivan Gosling, a British Army Office and footballer, who competed as a member of Upton Park football team in the 1900 Paris Olympic Games, winning a gold medal. They had 4 sons. Transcripts of the correspondence: Newbattle Abbey Dalkeith Dec 6 1876 Madam Your Majesty's gracious invitation of being sponsor to our little daughter was told me by my mother some little time ago who also conveyed to us that it is your Majesty's pleasure that the child should be named 'Victoria Alberta'. My mother indicated to let your Majesty know with what pleasure and gratification we heard of the news which it was your Majesty's intention to confer upon us. I write now to inform your Majesty that the christening is fixed for Monday next the 11th.... and that we intend asking Lady Elphinstone to represent your Majesty on the occasion and hope that this will meet with your Majesty's approval. I should have informed your Majesty of this sooner, but that it was not possible definitely to fix the day until yesterday. I remain Madam your Majesty's very faithful and obedient humble servant & subject, V A Lothian Windsor Castle December 9th 1876 Dear Victoria, I send with this letter my gift to my dear little god daughter of whom I am so pleased. She was…my… great… my god child and only regret I cannot hold her as I did…..many years ago at that(?) christening. I rejoice to hear that you have recovered so well and that Margaret is also getting better. With kind remembrances….dear parents as well as to Lord Lothian believe me always…..Affect_ Godmother Newbattle Abbey December 11th 1876 Madam, Your Majesty’s gracious letter reached us this morning and also the most beautiful locket which your Majesty has sent for our little daughter and which has arrived quite safely. I am unable to find words to express how deeply we feel your Majesty’s very great kindship to us on this occasion, and which I can assure your Majesty will never be forgotten by us. My mother and Margaret beg me to say how much gratified they are by your Majesty’s kind remembrance of them. I remain Madam Your Majesty’s very faithful and dedicated servant & subject Victoria A Lothian
the first, an oval Grecian style bust portrait of a lady rubover set in a plain mount, pin and hook fitting with later safety chain, dimensions, 4.2 x 3.5cm, unmarked yellow metal, tested as 9ct gold with a base metal pin, weight 9g; the second, an oval mother-of-pearl Roman style bust portrait rubover set in a plain mount, pin and hook fitting, dimensions, 2.6 x 2cm, unmarked yellow metal, tested as 9ct gold, weight 5.3g; the third, a three row wave design bar brooch with a central oval shell cameo depicting a dancing lady, pin and hook fitting with safety catch, dimensions 8 x 1.9cm, unmarked yellow metal, tested as 18ct gold, weight 6.9g (3)
the chocolate brown shell cameo with an image of a long haired female wearing a long flowing dress, rope twist mount, pin and hook fitting with additional pendant hook, dimensions, 4.8 x 5.6cm, unmarked yellow metal, tested as 18ct gold, weight 21.9g, together with a stick pin, the top with a multi coloured banded and carved agate in the shape of an oyster shell with a pearl in the centre, length, 8cm, unmarked yellow metal tested as 9ct gold, weight 4g (2)
the first, an Edwardian seed pearl and diamond target and bar brooch with applied wire decoration, pin and hook fitting with safety chain, length 4.5cm, Chester hallmarks for 15ct gold, 1905; the second, a Victorian seed pearl and rose cut diamond scroll design ring, split shoulders, plain shank, size O½, Chester hallmarks for 18ct gold, 1897; the third, a five stone graduated seed pearl ring, the pearls grain set in a communal navette shaped sunken setting, size N, Birmingham hallmarks for 18ct gold, date letter lacking, gross weight 11.5g (3)
the first, a larger brooch featuring a bust portrait of a lady, seed pearl and black enamel border and scroll mount, pin and revolver fitting with additional hinged pendant bale, dimensions including bale, 6 x 4.7cm, unmarked yellow metal, tested as 15ct gold, weight 32.6g; the second, a miniature version in a plain mount with a pin and revolver fitting, dimensions, 2.7 x 2.2cm, unmarked yellow metal, tested as 15ct gold, weight 8.2g (2)
all of hollow construction with attached pairs of bells and mother of pearl handles, the first by W H Collins & Co, Glasgow 1928 featuring Bo Peep; the second, maker's mark indecipherable, Glasgow 1930, featuring Tom, Tom the piper's son; the third, by Adie & Lovekin Ltd, Birmingham 1919, featuring little Jack Horner with integral suspension ring, and the fourth, probably by Crisford & Norris Ltd, Birmingham, hallmark almost indecipherable, in the form of an owl (4)
all with decorative mother-of-pearl handles; the first spade, makers mark (R.B) not traced, London 1786, the triangular blade with a border of bright cut engraving around a central initial, 21cm long; the second spade by George Unite, Birmingham 1867, the triangular blade with a border of decorative bright cut engraving, 18cm long; the first scoop by Samuel Pemberton, Birmingham 1809 with slightly concave round topped blade, 16cm long; the second scoop by Francis Clark, Birmingham 1845, with concave round topped blade and ornately carved handle 17cm long (4)
by William Pugh, Birmingham 1813, shovel shaped with mother of pearl handle, the blade decorated with bright cut basket weave design engravingFootnote: The caddy spoon was used for measuring out loose tea. Traditionally made of silver, they were particularly popular in the 19th century, when tea was an expensive and luxury commodity. The tea itself was stored in elaborate boxes or caddies, and the spoons were designed with short handles and wide, shallow curved bowls to be used with such containers. The short handle enables the spoon to be locked in the tea caddy itself, securing both the spoon and the precious tea. By the turn of the 19th century, caddy spoons were not only becoming more popular, but also more ornate. The sheer number of shapes and styles veered on being works of art as much as being practical tools. The imagination used in the creation of different designs ranged from natural objects such as feathers, leaves, and shells to more imaginative creations such as hands, shovels, and jockey caps, as in these examples. By the turn of the 20th century, the silver caddy spoon and indeed loose tea were becoming less popular following the invention of the tea bag. By the beginning of World War II, silversmiths were finding little demand for these once popular and now highly collectable little pieces of historical flatware.
A group of three antique Victorian wooden boxes to include a Tunbridge ware inlaid box having a domed lid, a square shaped walnut tea caddy decorated with inlaid mother of pearl and abalone atop and a 20th century rectangular casket with black arabesque motifs painted to the outside and hand painted roses to the inside. Measures 13cm x 25cm x 13cm.
A group of vintage ladies silver jewellery to include an amber pendant on a snake chain, an amber style pendant on a fine link chain, a snake chain necklace with a pink mother of pearl and pink stone pendant, a ladies fancy oval link bracelet chain, a heart pendant set with white stones, a pair of pink glass drop earrings and a Mexican silver open bangle.Total weight 57g.
A collection of vintage Norwegian silver jewellery to include an Albert T Scharning enamelled brooch, a pair of David Andersen green enamelled clip on leaf earrings, a pair of Arne Nordling blue enamelled earrings, a pair of green enamelled screw back earrings together with some marcasite and mother of pearl earrings. Silver weight 20g.
A collection of three mid 20th Century ladies fans to include a a black lace and mother of pearl having fine decoration of a lady on a swing surrounded by dragonflies and butterflies together with an Art Deco flapper ostrich feather and mother of pearl fan together with another fan. Measures 56cm wide.
An unusual copper diorama figurine of fireman with hose together with a large brass horse and cart, a large brass pestle and mortar and a pair of mother of pearl inlaid shoes with leather strapping and a Victorian 19th century oak and brass bound cigar humidor type box with twin hinged lid. Measures 8 cm high x 26 cm wide x 16 cm deep.
A group of six ladies silver rings to include a black and white enamelled ring set with white stones, a ring channel set with blank and white stones, a ring channel set with different coloured stones, a crossover ring set with black and white stones, a crossover ring set with a pearl and a crossover ring set with a pink stone. All marked as silver. Weight 33g.
CARLO BERGONZI - an Italian violin instrument having a two piece maple back with ebony fingerboard and rosewood pegs, together with a violin bow having an ebony and mother of pearl frog, stamper HOMA to the side. The violin having a paper label to the inside “ Anno 1740 Carlo Bergonzi Fece In Cremona “. along with seven ebony spare tuning pegs. In original hard wood case.
A collection of ten vintage 20th century fruit knives. Two knives having silver hallmarked blades for Sheffield 1919 by John Yeomans Cowlishaw and date 1893. Both having mother of pearl handles along with other eight fruit knives with mother of pearl handles, bone handles etc. Measures 10 cm long.
Two 9ct gold early 20th Century Edwardian Art Nouveau open work pendants to include one of round form being set with three round cut peridots and a seed pearl on a fine link 9ct gold necklace chain, together with a navette shaped pendant set with two round cut amethysts and seed pearls. All marked 9ct. Weight 4.9g.
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