A late 19th Century Stevens & Williams scent bottle of footed spherical form with a ringed and facet cut neck rising to a hollow blown spherical stopper with spire finial cased to the whole in ruby over deep citron and flash cut with Gothic arched panels below diamond cut borders, height 20cm. ILLUSTRATED.
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A set of three early 20th Century Bohemian spirit flask in the Secessionist style by Julius Mühlhaus at Haida, each of stepped cylindrical form rising to a drawn tear form stopper with spherical terminal and each individually cased in ruby, blue and green and flash cut with a repeat linear and panel design, tallest 25cm. ILLUSTRATED.
A Louis Philippe silver-gilt paperweight. Fossin & Fils, Paris circa 1840, shaped oblong, decorated with scroll and formal foliage and set with ruby cabochons, with a shaped swing handle above a tortoiseshell oblong panel hiding a compartment, surrounded by a malachite inlaid border, engraved to rim 'A MON AMI CHARLES DE MORNAY SOUVENIR DE MON AMITIE 1840' and 'FOSSIN ET FILS JOALLIERS DU ROY'. 11.5cm wide. Notes: Fossin et Fils, Royal Jewellers, predecessors of the famous firm Chaumet, was patronised by the Paris elite in the 1830s and 40s, including the Duchesse de Berry and Anatole Nikolaievitch Demidoff. This hugely wealthy Russian, granted the title Prince of San Donato by his friend the Grand Duke of Tuscany, lived primarily in France. As a great admirer of Napoleon, he was involved in the movement to have the Emperor's remains returned to Paris, which was finally achieved in December 1840. A month earlier Demidoff had married, after protracted negotiations, Bonaparte's niece, Princesse Mathilde, having commissioned her wedding jewellery from Fossin et Fils. Counte Charles de Mornay, Louis Philippe's Marechal du Camp, was an old friend of Demidoff's. In 1833 Delacroix had painted a picture (now destroyed) portraying the Count welcoming Demidoff to his house. It appears Prince Demidoff ordered this paperweight from his jewellers as a gift to his friend, perhaps in celebration of his marriage, perhaps to mark the return of Napoleon's remains, or perhaps for both reasons.
A Russian silver-gilt turquoise set vase holder. Possibly Moscow 1899-1908, the slightly flared circular body with all over ground set with half turquoise, and faux ruby and emerald pastes forming a diamond pattern, the whole on a flared base with stylised shell and scrolling base, 10cm high

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