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Click here to subscribe9ct yellow gold and malachite bracelet. Five mother-of-pearl Alhambra charms, link chain. Bracelet length 7 1/2 inch. Item Specifications: Clarity: . Metal: 9ct Yellow Gold. Condition: Boxed - Unworn - from Manufacturer. Certificate By: AGI Certificate Number: 999558 Certificate Link: https://www.agigems.com/reportcheck/viewpdfreport.php?id=999558 SC:7492006ML
Baroque shaped 8.0 - 8.5mm freshwater cultured pearl necklace. Pearl quality AAA. This necklace is 36 inches long. Item Specifications: Metal: Pearl. Condition: Boxed - Unworn - from Manufacturer. Certificate By: AGI Certificate Number: 999293 Certificate Link: https://www.agigems.com/reportcheck/viewpdfreport.php?id=999293 SC:P799023
9ct yellow gold and mother-of-pearl bracelet. Five mother-of-pearl Alhambra charms, link chain. Bracelet length 7 1/2 inch. Item Specifications: Clarity: . Metal: 9ct Yellow Gold. Condition: Boxed - Unworn - from Manufacturer. Certificate By: AGI Certificate Number: 999559 Certificate Link: https://www.agigems.com/reportcheck/viewpdfreport.php?id=999559 SC:7492004PL
TWO COMPANY SCHOOL DRAWINGS OF MUGHAL ARCHITECTURAL WHITE MARBLE LANDMARKS AN EYE FOR DETAIL: PROPERTY FROM A PRIVATE ESTATE IN NORTHERN LONDON Delhi, Northern India, ca. 1820 - 1840Opaque pigments, ink, and pencil on paper, comprising a study of Salim Chishti's white marble tomb (1478 - 1572), dedicated to the founder of the Sufi Chishtiyya Order, the mausoleum located within the Jama Masjid in the Mughal complex of Fatehpur Sikri, pasted onto eggshell blue card, the study 17.2cm x 20.3cm, 36cm x 25.4cm including the card; and another similar, depicting the Moti Masjid ('Pearl mosque'), a 17th-century mosque commissioned by Shah Jahan and located inside the Agra Fort complex, possibly the two studies once part of a Company School album celebrating and recording renowned Indian architectural landmarks, pasted onto blush pink card, the study 19cm x 23.4cm, 35.7cm x 25.4cm including the card. the largest 36cm x 25.4cm including the card Qty: 2
λ A MOTHER-OF-PEARL-INLAID CARVED AND PIERCED HARDWOOD FOLDABLE SCREEN Ottoman Syria, late 19th - first half 20th centuryOf tall rectangular shape, the screen unfolding in two pairs of separate panels joint together, each panel resting on two narrow feet, the upper section pierced with an intricate lattice forming a grid of globular, baluster-like elements, three panels with carved wooden decorative plaques in the centre and another with a protruding element in the style of a mashrabiya window, the borders, the crenelated tops with crescent moon designs, and the lower sections of the solid wooden panels inlaid with mother-of-pearl stars and roundels, and carved with vegetal meanderings, knotwork bands, and arabesque patterns, each panel 192cm x 60cm (when folded). λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. each panel 192cm x 60cm (when folded) Qty: 2 (missing pieces and some areas with damage)
λ A CARVED MOTHER-OF-PEARL SHELL PLAQUE WITH THE LAST SUPPER Bethlehem, Palestine, Holy Land, 20th centuryOf typical circular shape, the front deeply carved with a relief showcasing the traditional Christian iconography of the Last Supper with the Twelve Apostles and Christ in the middle, hovering over him from the ceiling a pyriform mosque lamp, possibly an artistic licence of the craftsman that produced this, the scene of the last mass given by Christ flanked by palm trees and encased within further vegetal foliate motifs on the base and all around the edges, the back with a foldable resting foot to lean the shell, 18cm x 20cm. λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. 18cm x 20cm Qty: 1
λ A MOTHER-OF-PEARL-INLAID COIN PURSE WITH THE DOME OF THE ROCK Jerusalem, Holy Land, first half 20th centuryOf rectangular shape, the exterior decorated with two carved and pierced mother-of-pearl plaques featuring on one side the renowned architecture of the Dome of the Rock (Qubbat aṣ-Ṣaḵra), an Islamic shrine located in the centre of the al-Aqsa Mosque compound in the Haram al-Sharif (Temple Mount) in the Old City of Jerusalem, and on the other side a large rose stem with lush foliage, the interior lined in teal blue satin silk, 6cm x 8.5cm. λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. 6cm x 8.5cm Qty: 1
λ A EUROPEAN TURKISH-STYLE CHIBOUK TOBACCO MEERSCHAUM PIPE Possibly Vienna, Austro-Hungarian Empire made for the Ottoman export market, second half 19th centuryThe long gold-painted mother-of-pearl-clad faceted stem paired with a plain, upward-turned carved Meerschaum pipe head with stamped pre-1884 German gilt silver mounts, the top of the stem embellished with hybrid Chinoiserie and Turquerie elements including two stained bone sections arranged as a cushioned floral palanquin, the mouthpiece made of carved buffalo horn and amber, the form slavishly copying traditional Turkish tobacco pipes (chibouk) but the design and overall style suggesting European craftsmanship intended for the 19th-century export market, with a washed red silk tassel hanging on the side, ca. 66.5cm long. λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. ca. 66.5cm long Qty: 2
AN IRANIAN SILVER WATER PIPE (QALYAN) SET WITH ITS WOODEN STEM, SILVER BOWL AND STAND Late Qajar Iran, ca. 1880 - 1920The silver qalyan of typical drop-like shape, with a bulbous, knob-like tail, short cylindrical neck, and a tubular hose port on one side, surmounted by a later-added and purposefully matched mother-of-pearl and white metal wire-inlaid wooden stem decorated with fretwork bands, and a flared, incised and pierced silver bowl at the top made of two inverted, superimposed qalyan cups decorated with rosette festoons and clusters of tassels, resting on a silver tripod stand with a circular resting ring and sloping legs, the water pipe set 53.4cm high excluding the stand. 53.4cm high excluding the stand Qty: 3
A Napoleon III ebonised and ormolu mounted lady"s bonheur du jour, third quarter 19th Century, shaped cresting above a door mounted with an oval neo-classical decorated porcelain plaque and flanked by split decorated pilasters, inlaid overall with a variety of woods and mother-of-pearl. 26½"w x 59"h. Faults.
A Gretsch Orchestrella four string banjo, mother of pearl scrolled inlay to headstock with ‘GRETSCH ORCHESTRELLA 1926’, removable resonator, the back in maple with ebony line inlay and binding, ivory tuning pegs4 string, 11" head, 19 frets, 16 lugs, removable resonator, decorative mother of pearl inlay to front of headstock 'Gretsch Orchestrella 1925', in hard case. IVORY REFERENCE SW66WPQS
* CECIL ROCHFORT D'OYLY JOHN (BRITISH 1906 - 1993), RIVER VIEW oil on board, signedframed and under glassimage size 46cm x 35cm, overall size 56cm x 46cmNote: Painter, brought up in Durban, South Africa, who claimed relationship to the artist Augustus John. D’Oyly-John (sometimes unhyphenated) became a widely recognised painter for several decades after World War II with his idealised sun-drenched views of a never-never south of France and the Mediterranean, a few reproduced as prints, often high in the Printsellers’ Association’s popularity poll. He eventually settled in Rottingdean and was known as the Van Gogh of Sussex after a colourful past which included working on a Japanese tramp steamer, life-saving in Colombo and pearl-fishing in Manila and “a bit of hush-hush gun-running”. He also served for eight years with the police in Tanganyika, rising to district commissioner. When war broke out he returned to England, joined the Military Police, and served in Africa and the Middle East, later with Civil Affairs on the continent. “Mentally badly blitzed” by a V2 rocket D’Oyly-John recuperated with his friend the artist and teacher Edmund Fearnley-Whittingstall, who encouraged him to paint. He adopted a palette knife technique gleaned from a Belgian artist seen on holiday, later picking up tips from the Nice artist Paul Negeli. When KLG, the sparking plug firm he worked for, was taken over, D’Oyly-John and and his wife moved to South Africa, where he began painting seriously, with interest from the English dealer Frost and Reed. The D’Oyly-Johns lived in Cannes for some years before settling in England, but he continued to tour the continent as Gough’s Gallery, Bognor Regis, where he had a solo show in 1965, Stacy-Marks in Eastbourne and dealers around the world took up his work. Queen Elizabeth, visiting Africa as Princess Elizabeth, found her Treetops hotel decorated with several D’Oyly-Johns and acquired his work for the Royal Collection. A stroke in 1987 incapacitated the artist, partially paralysing him and blinding him in one eye.
* CECIL ROCHFORT D'OYLY JOHN (BRITISH 1906 - 1993), IN THE OLDE VILLE IN NICE, SOUTH OF FRANCE oil on canvas, signedframedimage size 26cm x 36cm, overall size 33cm x 43.5cm Note: Painter, brought up in Durban, South Africa, who claimed relationship to the artist Augustus John. D’Oyly-John (sometimes unhyphenated) became a widely recognised painter for several decades after World War II with his idealised sun-drenched views of a never-never south of France and the Mediterranean, a few reproduced as prints, often high in the Printsellers’ Association’s popularity poll. He eventually settled in Rottingdean and was known as the Van Gogh of Sussex after a colourful past which included working on a Japanese tramp steamer, life-saving in Colombo and pearl-fishing in Manila and “a bit of hush-hush gun-running”. He also served for eight years with the police in Tanganyika, rising to district commissioner. When war broke out he returned to England, joined the Military Police, and served in Africa and the Middle East, later with Civil Affairs on the continent. “Mentally badly blitzed” by a V2 rocket D’Oyly-John recuperated with his friend the artist and teacher Edmund Fearnley-Whittingstall, who encouraged him to paint. He adopted a palette knife technique gleaned from a Belgian artist seen on holiday, later picking up tips from the Nice artist Paul Negeli. When KLG, the sparking plug firm he worked for, was taken over, D’Oyly-John and and his wife moved to South Africa, where he began painting seriously, with interest from the English dealer Frost and Reed. The D’Oyly-Johns lived in Cannes for some years before settling in England, but he continued to tour the continent as Gough’s Gallery, Bognor Regis, where he had a solo show in 1965, Stacy-Marks in Eastbourne and dealers around the world took up his work. Queen Elizabeth, visiting Africa as Princess Elizabeth, found her Treetops hotel decorated with several D’Oyly-Johns and acquired his work for the Royal Collection. A stroke in 1987 incapacitated the artist, partially paralysing him and blinding him in one eye.Condition is good overall, with no visible or known issues.
* CECIL ROCHFORT D'OYLY JOHN (BRITISH 1906 - 1993), A CORNER OF ST TROPEZ, FRENCH RIVIERA oil on canvas, signedframedimage size 30.5cm x 40.5cm, overall size 39cm x 49cm Note: Painter, brought up in Durban, South Africa, who claimed relationship to the artist Augustus John. D’Oyly-John (sometimes unhyphenated) became a widely recognised painter for several decades after World War II with his idealised sun-drenched views of a never-never south of France and the Mediterranean, a few reproduced as prints, often high in the Printsellers’ Association’s popularity poll. He eventually settled in Rottingdean and was known as the Van Gogh of Sussex after a colourful past which included working on a Japanese tramp steamer, life-saving in Colombo and pearl-fishing in Manila and “a bit of hush-hush gun-running”. He also served for eight years with the police in Tanganyika, rising to district commissioner. When war broke out he returned to England, joined the Military Police, and served in Africa and the Middle East, later with Civil Affairs on the continent. “Mentally badly blitzed” by a V2 rocket D’Oyly-John recuperated with his friend the artist and teacher Edmund Fearnley-Whittingstall, who encouraged him to paint. He adopted a palette knife technique gleaned from a Belgian artist seen on holiday, later picking up tips from the Nice artist Paul Negeli. When KLG, the sparking plug firm he worked for, was taken over, D’Oyly-John and and his wife moved to South Africa, where he began painting seriously, with interest from the English dealer Frost and Reed. The D’Oyly-Johns lived in Cannes for some years before settling in England, but he continued to tour the continent as Gough’s Gallery, Bognor Regis, where he had a solo show in 1965, Stacy-Marks in Eastbourne and dealers around the world took up his work. Queen Elizabeth, visiting Africa as Princess Elizabeth, found her Treetops hotel decorated with several D’Oyly-Johns and acquired his work for the Royal Collection. A stroke in 1987 incapacitated the artist, partially paralysing him and blinding him in one eye.Condition is good overall, with no visible or known issues.
* CECIL ROCHFORT D'OYLY JOHN (BRITISH 1906 - 1993), ALONG THE BEACH oil on canvas, signedframedimage size 35cm x 45cm, overall size 51cm x 71cm Note: Painter, brought up in Durban, South Africa, who claimed relationship to the artist Augustus John. D’Oyly-John (sometimes unhyphenated) became a widely recognised painter for several decades after World War II with his idealised sun-drenched views of a never-never south of France and the Mediterranean, a few reproduced as prints, often high in the Printsellers’ Association’s popularity poll. He eventually settled in Rottingdean and was known as the Van Gogh of Sussex after a colourful past which included working on a Japanese tramp steamer, life-saving in Colombo and pearl-fishing in Manila and “a bit of hush-hush gun-running”. He also served for eight years with the police in Tanganyika, rising to district commissioner. When war broke out he returned to England, joined the Military Police, and served in Africa and the Middle East, later with Civil Affairs on the continent. “Mentally badly blitzed” by a V2 rocket D’Oyly-John recuperated with his friend the artist and teacher Edmund Fearnley-Whittingstall, who encouraged him to paint. He adopted a palette knife technique gleaned from a Belgian artist seen on holiday, later picking up tips from the Nice artist Paul Negeli. When KLG, the sparking plug firm he worked for, was taken over, D’Oyly-John and and his wife moved to South Africa, where he began painting seriously, with interest from the English dealer Frost and Reed. The D’Oyly-Johns lived in Cannes for some years before settling in England, but he continued to tour the continent as Gough’s Gallery, Bognor Regis, where he had a solo show in 1965, Stacy-Marks in Eastbourne and dealers around the world took up his work. Queen Elizabeth, visiting Africa as Princess Elizabeth, found her Treetops hotel decorated with several D’Oyly-Johns and acquired his work for the Royal Collection. A stroke in 1987 incapacitated the artist, partially paralysing him and blinding him in one eye.
A collection of 11 various Crummles enamelled boxes depicting various birds including Robin (x 2), Blue Tit, Kingfisher, Pheasants, Owl, Wren, "Happy Birthday", etc, together with a collection of 21 various thimbles in wall mount, a soapstone miniature teapot, malachite miniature Hippopotamus and a white metal scent bottle, a mother of pearl cased folding silver fruit knife and a German miniature cloth bodied doll
A collection of small silver wares to include a pair of salt and pepper, two sets of coffee bean spoons, one napkin ring, sifter spoon and two Georgian bright cut teaspoons, together with a plated set of coffee bean spoons, two sets of six silver sheathed handled tea knives with plated blades, two mother of pearl handled fruit knives, one pair of mother of pearl handled fruit knife and fork and four further mother of pearl handled tea knives, 6.61 oz weighable silver
A circa 1900 mahogany music chest of six drawers, each containing various books of sheet music, 51 cm wide x 36 cm deep x 79.5 cm high, a modern circular cherrywood chest of six drawers, 40 cm diameter x 86 cm high, a modern mahogany serpentine fronted bachelor's chest with brushing slide over four drawers, 74 cm wide x 40 cm deep x 76 cm high, a Victorian mahogany two drawer writing table, the tooled and gilded red leather writing surface on turned tapering legs, 91 cm wide x 52.5 cm deep x 74 cm high and a Victorian buttoned upholstered salon chair on hexagonal baluster front legs to castors, a poker work decorated two-handled drinks' tray and a pen and ink and mother of pearl inlaid three tier cake stand, a Victorian dome top dressing mirror and a 20th Century gilt framed oval wall mirror in the Victorian style
A Chinese crackle ware and matt brown banded jardiniere, 21 cm high, a pair of crackle ware and matt brown embellished vases with battle scene decoration, 35 cm high, a chocolate patinated bronze miniature teapot with dragon decoration bearing four character mark to base, 9.5 cm high, pair of green glazed miniature teapots, 9 cm high, Staffordshire figure of a cricketer, pot lid decorated with harbour scene and figures on quayside, 6 cm diameter, a black lacquered mother of pearl inlaid and gilt decorated folder and a black lacquered and chinoiserie decorated dish, 16.5 cm diameter
Forester (C. S.). The African Queen, Boston: Little Brown and Co., February 1935 reprint, contemporary brown morocco, 8vo, inscribed at front 'Sandra Coe, best wishes from C. S. Forester, May 1940', together with Buchan (John). The Thirty-Nine Steps, Boston: Houghton Mifflin Co., Book Club edition, 1919?, textblock toned, original cloth, dust jacket, a little rubbed with repairs to verso, 8vo, with a loosely inserted 1 pp. typed letter signed by John Buchan to Frances Newbold Noyes Hart (1890-1943, US author), dated 8 June 1931, 'I am so sorry to hear that you have been having tonsilitis. All my American friends this year seem to succumb to the rigours of our climate... I will be a great pleasure to meet you. Will you let me know when your husband arrives, and perhaps you would come to tea with me at the House of Commons', plus 4 others: The Yellow Room, by Mary Roberts Rinehart, 1st edition, New York, 1945 (with a typed letter signed, dated 1945, discussing writing and raising a family), Miss Brown of X. Y. O., by E. Phillips Oppenheim, 1st Canadian edition, 1927 (with a signed half-tone folded photographic portrait), The Emperor's Pearl, by Robert van Gulik, 1st edition, 1963 (with a bookplate inscribed by the author),, and Wild America. The record of a 30,000 mile journey around the continent by a distinguished naturalist and his British colleague, by Roger Tory Peterson and James Fisher, 5th printing, 1956 (signed to title by Peterson) QTY: (6)
Roman Imperial Coinage, Theodosius II (402-450), Solidus, Constantinople, 408-20, d n theodosivs p f avg, pearl-diademed and cuirassed bust facing, holding spear and shield, rev. vot xxx mvlt xxxx, Constantinopolis seated left, feet resting on ship prow, holding sceptre and cross on globe, officiana e, conob in exergue, 4.45g (RIC X, 257; RCV 21158). Scratched in obverse field, otherwise very fine £300-£360
Roman Imperial Coinage, Theodosius I (379-395), Siliqua, Siscia, 383-8, d n theodo-sivs p f avg, pearl-diademed, draped and cuirassed bust right, rev. vot v mvlt x within wreath, siscpz in exergue, 1.58g (RIC IX 24(b); RSC 67a); together with a Siliqua of Trier [2]. Both nearly very fine, first with hairline crack, second heavily clipped £100-£120
Byzantine Coinage, Tiberius II Constantine (578-582), Tremissis, Constantiople mint, pearl-diademed, draped and cuirassed bust right, rev. cross potent, conob in exergue, 1.42g/6h (DOC 7; Sear 425). A little die rust, otherwise good very fine £200-£260 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Roman Imperial Coinage, Flavius Victor, Siliqua, Milan, 387-8, pearl-diademed, draped and cuirassed bust right, rev. virtvs ro-manorvm, Roma enthroned, holding globe and spear, md p s in exergue, 1.56g/12h (RIC IX p.80, 19(b); RSC 6Ac); together with a Styca of Æthelred II of Northumbria [2]. First rare but with a significant flan crack, otherwise fine £80-£100
Roman Imperial Coinage, Honorius (393-423), Solidus, Milan, c. 402-3, d n honorivs p f avg, pearl-diademed, draped and cuirassed right, rev. victoria avggg, Emperor standing right, holding standard in right hand and Victory on globe in left, treading on captive below, m d in field, 4.43g (RIC X 1206; RCV 20916). Good very fine £400-£500
Roman Imperial Coinage, Julian II, Siliqua, Lugdunum 360-1, pearl-diademed, draped and cuirassed bust right, rev. votis v mvltis x in four lines within wreath, lvg in exergue, 1.83g (RIC 218; RSC 163a); together with 2 silquae of Julian and Valens (plated) [3] About very fine, last two both damaged. £40-£60
Roman Imperial Coinage, Eugenius (392-394), Siliqua, Milan, d n evgeni-vs p f avg, pearl-diademed, draped and cuirassed bust right, rev. virtvs ro-manorvm, Roma seated left on cuirass, holding reversed spear and Victoriola on globe, dress carries over to her right arm, md ps in exergue, 0.90g (RIC IX 32c; RSC 14+b). surface marks, otherwise very fine £150-£200
A Late Victorian peridot and pearl pendant, featuring a triangular-cut peridot of bright yellowish-green colour, approximately measuring 18.3 x 15.3 x 7.5 mm, to a ribbon surmount and bail set with rose-cut diamond and split pearls, further decorated with a freshwater pearl drop below, unmarked metal testing as 14ct, 4.3 cm drop, total weight 6.5 grams.
A collection of four Georgian and Victorian rings; comprising a late 18th century ring set with green and colourless paste, ring size U; a Victorian garnet ring with a scrolling gallery, pierced shoulders and engraved pattern to the shank, ring size S 1/2; a Victorian peridot and diamond cluster ring with chased shoulders and glazed locket to the reverse containing hair, ring size O 1/2; and a Victorian seed pearl and emerald ring with beaded detail around the head and shank, ring size N 1/2. Total combined weight 11.8 grams (4)
A pair of mother of pearl and diamond cufflinks, of concave circular form, each mother of pearl panel centred with an old-cut diamond accent, encircled with a white enamel border, connected with cable links, yellow metal stamped '750', each panel measures 1.5 cm across, in a Goldsmiths & Silversmiths company fitted case, total weight of item 8.6 grams.
A gem-set bar brooch, knife-edged bar comprising three round pearls of 4.5 mm, the central pearl encircled by a surround set with four old-cut diamonds and four sapphires, further set with two smaller old-cut diamonds at the ends, estimated total diamond weight 1.02ct, brooch fittings to the reverse, unmarked yellow metal testing 14ct, gilt pin, 5.3 cm wide, total weight 4.6 grams.
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