We found 24981 price guide item(s) matching your search

An early Bow white salt, circa 1750-53Modelled as an upturned shell, set on a triangular base formed of shells encrusted with smaller shells and seaweed, 11cm wideFootnotes:This form was issued in four sizes. A very similar, slightly larger shell salt is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.43, no.42. Another from the Judy and Phelps Bell Collection was sold by Bonhams on 20 November 2019, lot 177.For further information on this lot please visit Bonhams.com

A 19th century German jug, relief moulded with shells and repeating floral designs. Height 43 cm.

A pair of antique brass fire dogs, moulded with shells and mythical sea creatures. Height 65 cm, width 28 cm, length 55 cm.

FOSSILS AND SHELLS, collection of assorted fossil fragments, ornate shells in pine storage box, etc

A LARGE 20TH CENTURY SAILORWORK SHELL VALENTINE the glazed wood octagonal case enclosing an arrangement of Carribean shells in concentric and geometric patterns with flowerhead centre surrounded by a red velvet border; in glazed case.58cm wideThere are no patched hinge marks or hanger, we have been informed that this is a copy of a 19th century, in good condition, small shells which are loose in the bottom.

A quantity of various seashells, stones/rocks and fossils, including several conch shells, and an ammonite, largest length 24cm

A quantity of decorative items including faux Ostrich eggs, shells, seagull models, fossil type ornaments etc

Quantity of china to include Wedgwood early morning tea set, 3 lobster footed salt cellars, pair of Bridgwater breakfast cups and saucers, pair of Italian ceramic dogs, pair of Minton plates decorated with fishing flies and 4 Copeland Spode plates decorated with hunting scenes, quantity C19th china to include 6 plates, a porter mug and sundry others, C19th sugar bowl decorated with roses, saucer dish decorated with flowers and saucer dish decorated with a Chinese scene; Flight Barr and barr Oval meat platter, decorated sea shells and gilt, 50.5cm L, gilding rubbed, and another platter, Derby, decorated Roses, 50cmL, cracked

After Pierre Reymond (French, c.1513-after 1584): A 19th century Limoges style grisaille and coloured enamel oval platter depicting Abraham Rejecting the Goods of the King of SodomBy Samson et Cie, ParisThe central reserve depicting Abraham kneeling before the barefoot king of Sodom resplendent in his armour, the king's right arm raised, his armies to the right, the immediate background with the palace entrance to the left and wooded vegetation with an undulating stream flowing from a far townscape to the horizon, the bottom right with a faint gilt 'C-S' monogram for Samson, set within an interlaced gilt border, the outer rim with an elaborate border depicting mythical winged and cloven footed beasts, chimera, shells, birds, figural terms, caparisoned elephants and chariots all united by foliate scrolls, the reverse with a figure of Hercules within a canopied tent with laurel fronds, vases, snails, winged grotesques and a central mask-head within drapery hung pendant strapwork, the outer rim border with fine gilt scrolls, 48.8cm wide, 38.5cm deep, 6.7cm high overallFootnotes:A comparable Limoges enamel platter by Pierre Reymond, dating from circa 1577, was formerly in the collections of both J. Pierpoint Morgan and William Randolf Hearst but is now in the permanent collection of Los Angeles County Museum of Art. This platter features an almost identical subject and border but lacks the two brownish streams to the landscape which feature on the present lot.In the story of Sodom and Abraham from the book of Genesis, chapter 14, the King of Sodom comes out to meet Abraham and orders him to 'Give me the people; keep the goods.' To this Abraham responds: 'I have raised my hand to the Lord, God most High and have taken an oath that I will accept nothing belonging to you, not even a thread or the thong of a sandal, so that you will never be able to say, 'I made Abraham rich, I will take nothing but what the young men have eaten, and the share of the men who went with me.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A George IV large silver two-handled trayBenjamin Smith, London 1822Shaped-oblong form, the border and handles with shells, anthemions among acanthus leaf scrolls in high relief, with engraved shield armorial to the centre, with crest and motto 'HAUD IMMEMOR', on four cast shell bracket feet embellished with fruiting vines, length 72cm, weight 173oz.Footnotes:ProvenanceFrom The Silver Collection of Dr Andrew J RaineyThe assumed armorial would appear to be owned by Golding BIRD (1791-1861), who in 1812 married by licence Mary Ann RIX (born 1791) at Downham Norfolk. In 1841 he is living in Finsbury, of independent means, with his wife and a number of his children. His death is recorded in Buckingham. Notably his two eldest sons were physicians, the eldest also Golding BIRD (1814-1854) was a Fellow of the Royal College of Surgeons and of some considerable reputation. The arms do appear on the bookplate of his great-grandson Frederic GOLDING-BIRD quartered with the arms of the GOLDING family. This offers the likelihood of the BIRD family and GOLDING family being connected by a marriage before 1791. The GOLDING family arms are fully registered. Either or both families may have Irish ancestry.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

ATTRIBUTED TO JOHN OBRISSET (ENGLISH, ACTIVE 1705-1728): A RARE PRESSED HORN OVAL PORTRAIT RELIEF, HISTORICALLY BELIEVED TO DEPICT SIR OLIVER LEADER OF STOUGHTON MAGNA (ALIAS GREAT STOUGHTON/ STAUGHTON), COUNTY HUNTINGDON BUT PROBABLY DEPICTING CHARLES IMounted within a white metal oval snuff boxThe portrait depicting a bearded male sitter, with flowing locks, clad in an armoured breastplate and flowing drapery set within the hinged lid of the oval box with reeded foot, the underside of the base with an engraved coat of arms including three downturned shells, two boars and one lion head within a scrolling border, the interior with a handwritten ink label reading The arms on the base are registered to Sir Oliver Leader of Stoughton Magna Co. Huntingdon; (Temp? Elizabeth) and his descendants. Rec..St Search F66 (?). July 24, 1895, W.E.G, 7.7cm long, 5.8cm wideFootnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family decent. Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Obrisset was a British sculptor, medallist, goldsmith and metalworker of huguenot descent, the son of Jean Aubrisset of Dieppe, who was a noted ivory carver.LiteratureSee P.A.S Phillips review 'John Obrisset and his works in horn and tortoiseshell 1705-28', London, 1931 by WK (William King, of the British Museum), Burlington Magazine, vo. 60, no. 347, February 1932, p. 120.R. Fedden,'John Obrisset a notable Huguenot craftsman', The Connoisseur, vol. 180, May 1872, pp. 13-17.For further information on this lot please visit Bonhams.com

Attributed to Francois Villemsens (French, fl. mid 19th century): An impressive pair of First Universal 'Great Exhibition' gilt bronze Neptune ewersCirca 1851Each with mythological aquatic figural decoration, the elaborate rocaille cast urn bodies with intertwined sea serpent high scrolling handles and eagle pouring lips, the swept upper bodies cast with the sea gods drawn by twin pairs of hippocampi, trumpeting mermaids and mermen, shells and acanthus leaves, above foliate girdles applied with Neptune masks, dolphins and alternating shells and starfish, each raised on mermen and mermaid tripod supports, above rockwork tripartite platform footed bases, 56.5cm high (2)Footnotes:The model of the offered ewers is almost identical to a vase exhibited by the bronzier François Villemsens at the first Universal Exhibition known as the Great Exhibition, held in London in 1851. In the Art Journal illustrated catalogue the entry notes for his work commented: 'the three vases are from the establishment of M. Villemsens of Paris, worker in bronze, and manufacturer of church ornaments; the latter branch of business especially, being largely carried on by this house. During our visit to Paris towards the close of the past year, we saw in his extensive showrooms a vast variety of objects, exhibiting more or less taste in composition, and ingenuity of workmanship; these were principally executed in bronze and in brass, and were adapted as well for the embellishment of the private dwelling as for purposes of ecclesiastical use and decoration - statues, vases, chandeliers, candelabra, delicate rail-work, etc. The three bronze vases and dishes selected from the contributions of this firm are distinguished by beauty of outline and elaborate ornament, approaching very closely to the best antiques'.Likely descended from a family of goldsmiths in the 18th century, François Villemsens established his workshop in the Marais, first at 18 rue Michel Le Comte, then at 71 rue du Temple. In 1834, he exhibited a facsimile of the armour of Francis I, which was hailed by the Archives du Commerce et de l'Industrie (Paris, 1834, p. 157). By 1835, he entered the Réunion des Fabricants de Bronze, heir to the former corporation of foundrymen, and regularly participated in the Expositions des Produits de l'Industrie Française. Winning a silver medal at the Exhibition of 1839, Villemsens joined the 'Bronze of Art and Furnishings' category alongside Thomire & Cie and Victor Paillard before winning a further silver medal at the last Exposition des Produits de l'Industrie Française in 1849. With these successes he approached the Universal Exhibition in London in 1851 where he won a new medal by submitting the vases mentioned above, including the Neptune vase. The success led him to New York where he participated in the Universal Exhibition of 1853 and appeared in the official catalogue of the New York exhibition of the industry of all nations, p. 154, at No. 15 as 'Bronze candelabras, groups, lamps, etc. Villemsens & Co, manu. 71 rue de Temple, Paris'... He was again a medallist at the Universal Exhibition in Paris in 1855 and by 1863 Villemsens had offered to finance the award of a carving prize that would be awarded each year by the Réunion des Fabricants de Bronze. After participating in the Universal Exhibition of 1867 where he presented a cast door from the Baptistery of Florence, he finally retired from business.From the second quarter of the 19th century onwards sculptors, bronziers and goldsmiths particularly appreciated the shape of the ewer to express ornamentation in all its manifestations, giving a free rein to exuberance and eclecticism. Renaissance art was one of their main sources of inspiration, and in particular Mannerism, utilising mythological themes and motifs as illustrated by the present lot. The sculptor Adolphe-Victor Geoffroy-Dechaume and the goldsmith Charles Wagner, who were contemporaries of Villemsens, similarly produced a ewer on the theme of Ondine in 1844, which is reproduced in the Maciet Albums. Characteristically the decoration to this piece does not leave a single part of the vessel plain. Although renowned for the execution of religious ornaments, Villemsens did not limit himself to this field and contributed to renewing the genre of decorative bronzes for a secular and wealthy clientele during the mid 19th century. For a comparable identical pair of vases see Sotheby's Paris, Robert de Balkany, Rue de Varenne, Paris – Evening sale, 20th September, lot 51Related LiteratureD. Alcouffe, A. Dion-Tenenbaum and P. Ennès, Un âge d'or des arts décoratifs 1814-1848, Paris, 1991, op. cit., p. 311, fig. 162a.E. Voirot, Création le multiple : la Réunion des fabricants de bronze (1839-1870), phD thesis, Université Paris Ouest Nanterre - La Défense, 2014This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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.For further information on this lot please visit Bonhams.com

4th-7th century A.D. A bichrome ceramic stirrup vessel decorated with a frieze of geometric motifs to the lower body, circumferential band above with a conch shell around the shoulder. See Pimental, V. Peru, Kingdoms of the Sun and the Moon, 5 Continents, 2013, pp 104 for a discussion on the importance of spondylus shells in Andean culture and the possibility of trade in exotic items from Ecuador. 618 grams, 27.5 cm high (10 7/8 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P. R. of East Sussex. Thence by descent to family members. Positioned near coastal waters, the Moche relationship to the sea resulted in the production of a variety of vessels representing or portraying different shells. Given no stringed instruments were found pre conquest, it is likely the conch was used as an instrument for religious and ceremonial use. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

A Collection of Various Shells Together with Two Books on a Topic of Shells

A Collection of Various Shells and Rocks etc

Collection of sea shells.

A box containing seaside related items including; model lighthouses, collages, sea shells etc.

A pair of carved conch shells, (2) 20 x 18cm.

Military Interest - WWI trench art brass shell case with inscription "Glamorgan-Yeomanry, Lieut.-Col. The Hon. Odo Vivian, D.S.O, M.V.O, B. Squadron France-Belgium 1914-1919", 3 crests, list of Commands with dates, Battles with dates and a Roll of Honour of 2 who were killed, the cover "Engraved by 381 P.O.W Coy. Neuve Eglise Shells found at Messines", H.15cm, and a canvas covered cartridge case initialled "O.R.V.", W.55cm, with key (2)

Large Edwardian silver tray with twin handles, gadrooned rim with shells by William Hutton and Sons Ltd., Sheffield, 1904, retailed by Curtis and Horspool, Leicester, 76.8 x 46.1cm overall, 3.92kg approx.

Collection of costume jewellery, shells and watches

WWI battle site finds to include shells and barbed wire etc

A pot lid, a miniature painting of a Regency lady, two miniature circular French plaques of Napoleon and Josephine, four pill and trinket boxes, two abalone shells, etc.

A unique snuff box made of solid amethyst with an engraved gold lid and a handmade enamel medallion. Luxurious and majestic incarnation of the baroque universe. The fullness of life in the standard baroque motifs: shells, waves and currencies, meet with a slight sadness of remembrance, in a medallion. The elements of feelings, nature, unbridled passions coexist with the inevitability of fate and the will of fate. Enjoying luxury, a holiday on the verge of sadness - this is a special cocktail that baroque gives with every touch of a snuffbox. Hallmarks: 56 (gold proof), hallmark of the city of St. Petersburg, imported French hallmark (used from 1838 to the present), poorly readable hallmark of the master, presumably Keibel. The Keibel workshop (operating from 1768 to 1910) is considered one of the most significant jewelry houses of the Russian Empire, specializing in the manufacture of gold and silver items, as well as the manufacture of orders. Total weight 163 gr. Width: 8cm, Height: 4cm, Depth: 5.5cm, Weight: 0.2kg, Condition: Excellent, Material: Gold 56, Amethyst, Enamel

JAPANESE KUTANI TEACUP AND SAUCER,Meiji Period (1868-1912), both exteriors decorated with shells in grey, red and gilt against a black ground, the cup with moulded handle, both further decorated with dragon chasing the Sacred Pearl and a peony bloom respectively in the traditional Kutani palatte, the cup 6.8cm high (2)

1960s contemporary abstract painting of field plans with plaster, fabric, copper and shells additions, 24" x 48" in aluminium frame, artist unknown

A collection of semi precious stones shells and rocks

Sea Shells, weights, cigarette case, magnifier, printing blocks, desk set, etc:- One Tray.

AN AUSTRO-HUNGARIAN LARGE ENAMEL AND GEM-SET ZARF 19th Century, boldly applied with scrolling foliage, shells and flowers. 10cm high

A KUBA BWOOM HELMET MASK (DEMOCRATIC REPUBLIC OF CONGO) of typical form with a bulging forehead, decorated with cowrie shells, nails and coloured glass beads to woven fabric and painted in tones of red and yellow. 33cm high (head only), front section 43cm longIn Kuba mythology this mask represents the evil brother 'Bwoom' in ritual reenactments of Royal power struggles. Bwoom masks are distinguished by the bulging forehead, cowrie shell and bead embroidery and decorative beard.

PAIR OF LALIQUE OPALESCENT GLASS COQUILLES WALL SCONCES,both moulded with overlapping shells, with twin bore holes for fitting, engraved signature, 29.9cm wide (2)One with small internal chip or irregularity likely from manufacture, otherwise some nicks, nibbles and flea bites to corners and edges; some small chipping around the holes both to fronts and reverse, but no further chips or cracks to bodies, additional images available

Ear Trumpets, Ear Shells and Quack Audiphone, a cased single Audiphone Invisible Bernard, French c.1900, moulded ear piece fits around the pinna, made from two plates, one tin which rests on skin, the other copper which has flesh toned paint, case reads ' AUDIOPHONE INVISABLE BERNARD 7 Rue de Londres 7 PARIS DEPOSEE', case 8cm across; a set of celluloid ear shells, in case with instructions, case with plaque 'DrC E STOKES 320CENTRAL BLDG LOS ANGELES CAL.', case 9.6cm across Note: The auditory benefits of the Audiphone were attributed to magnetism and the case comes with its own ‘Galvanometer’ (which is actually a simple compass) and does confirm that they are magnetic.

the slide with green paper to the front and red paper to the back with 2 handwritten labels to the front which read 'a film containing one of the actual messages ???? siege of Paris, a message sent by carrier pigeon 1871' and to the reverse 'one of the actual messages photographed sent by carrier pigeon ?? siege of Paris 1871' the slide with no mounters name. The Siege of Paris (1871) occurred between 19 September 1870 – 28 January 1871, during the Franco-Prussian War. Napoleon III’s armies were pushed back after the Battle of Sedan, resulting in the Emperor’s surrender. However, the French Third Republic that was formed after his abdication were not ready for peace with Prussia. In response, the Prussians lay siege to Paris for four and half months. In order to bring the siege to a close, the Prussians fired 12,000 shells into the city within three weeks. In the end, however, it was starvation and working class resentment that brought peace to the city. The Pigeon Post - During the siege, communication was maintained with the outside world through the use of hot-air balloons and carrier pigeons. The first successful balloon flight out of Paris was Neptune, piloted by Jules Duruof, followed two days later by Ville de Florence, piloted by Gabriel Mangin. This second balloon contained a basket of carrier pigeons, which enabled messages to start being relayed into the city and more balloons to be sent out. French photographers used innovative microphotography, pioneered by John Benjamin Dancer in 1839, to enable the transferral of large amounts of important information. This process was overseen by Blaise, who printed the messages on photographic paper, and the images were then viewed through microscopes and microscope projectors.

LATE 19TH/EARLY 20TH CENTURY DUTCH SILVER CADDY,of navette form, decorated in repousse with figures in country settings against floral sprays, swags and shells, bearing marks to base and further marks for Chester 1903, 9.3cm high, approx 135gThe body does need to be pressed in for the lid to close, once done does smile at either side; finial slightly knocked at an angle; pronounced wobble on a flat surface, base knocked and uneven; lid and rim obviously knocked and misshapen, some further indents as well as usual scratches, nicks and tarnish; would benefit from attention particularly regarding the lid; rubbing to detail; additional images available

* Battle of Nivelle. A Good Autograph Letter Signed from Patrick Bain, ensign 38th Regiment, Guetry, 3 miles from Bayonne, 21 November 1813, neatly cross-written letter describing the battle of Nivelle to his brother Robert Bain, giving vivid details, '...this arrangement being made, we were ordered to advance in close column of regiments and if possible to get under the enemies gun batteries before daylight in order that we might get undercover before they could be made acquainted with our different movements, but scarcely had we got half our distance when we receive a grand salute from their different batteries as much as to say we were welcome, and for which we returned them a compliment of three cheers. However, this was a proper signal to commence operations on our part and the artillery who had been previously posted on the heights in our rear thought it high time to begin their business, and gave them quite a different sort of return to what we gave them, our light troops also commenced at the same time. Then nothing was to be heard all day long (whenever daylight made its way until late in the evening) but the roaring of cannon and musketry, enough to terrify a man, who had never seen or heard the like before, out of his senses, for person whether in column or otherwise could warrant himself safe for a single moment let him go where he may, the shells and shot from musketry were continually whizzing about one's ears. To tell the truth, I was a little startled at the first commencements of the business but before a quarter of an hour had passed thought little more about it...' and later, '...in short, I could not wish my greatest enemy to experience such work as this, indeed it will be much easier for you to conceive what we have come through within these eight days than I can sufficiently describe to you at this distance. Several of the officers who have been with the army since the commencement of the campaign said they had not experienced such difficulties during the campaign as they did that eight days we were on the move. The roads in consequence of the heavy rains certainly surpassed anything I ever saw, for here you would have seen 20 at a time stuck in the muck up to their knees and getting themselves extricated with a loss of a pair of shoes and perhaps stockings...', a total of approximately 1,500 words written on 4 pages with integral address panel, minor soiling, folioQTY: (1)NOTE:Patrick Bain was promoted Lieutenant on 3 June 1818, again on 25 March 1824 in the 13th Light Infantry, dying in 1825.The Battle of Nivelle (10 November 1813) took place near the end of the Peninsular War. Wellington's troops attacked those of Marshal Sault, splitting his army in two. Sault was forced to retreat and so lost another battle on French soil. Casualties were high with the French losing 4,500 men to Wellington's 5,500. A typed transcript is included with the lot.

Mafeking Mail. Special Siege Slip, Issued Daily, Shells Permitting, edited by G.N.H. Whales, numbers 1-152, 159, 171 and 321, November 1st 1899 - May 31st 1900, June 8th 1900, June 22nd 1900 & December 17th 1900, single leaf or double-page, printed on various mostly thin papers including pink, brown and blue, together with a general preface leaf to the series dated Mafeking July 1900, a single-sheet printed list of garrison forces (as at May 17th 1900) and town guard (to October 12th 1900), printed explanation for the unissued number 56, and twelve other duplicate issues of the Mafeking Mail, occasional marginal fraying and tears without loss, folioQTY: (approximately 165)NOTE:Mendelssohn 967.Issued daily, 'shells permitting', by the Mafeking publisher Townshend & Son, Market Square. From 5 January 1900, the 86th day, up to the 16 May 1900, the 216th and last day of the siege, the newspaper included the number of days under siege in its heading. The Special Siege Slip had to be suspended from the 17-20 January 1900 due to heavy bombing. Paper shortages led to the newspaper being printed on several different coloured papers.

A pair of fancy ear studs, stylized hollow shells, length 3.7cm, width 2cm, post and hinged clip fittings, unhallmarked, stamped '750', weight 10.4g

Doulton Lambeth stoneware jug, applied with four cameos of figure heads and surrounded by text "He That Buys Land, Buys Stones", He That Buys Flesh, Buys Bones", "He That Buys Eggs, Buys Many Shells", and "He That Buys Good Ale, Buys Nothing Else", 19cm tall

Miscellaneous jewellery, including three pairs of earrings including a pair of coral drop earrings and two pairs of pearl drop earrings together with a necklace of small luminescent shells and two green hard-stone bracelets. 

BRASS HANDLES, IRON AND OTHER MOUNTS, SEA SHELLS, ETC.

A TREEN SHALLOW BOWL LINED WITH NACREOUS SHELLS

A COLLECTION OF SPECIMEN STONE EGGS TOGETHER WITH SEA SHELLS

Group of radio controlled cars and accessories to include Neko Rover Mini Monte Carlo in purple, Acoms Monster Beetle, contols, 3 x shells etc

Kyosho 1/10 Radio Controlled Racing Team Buggy Radio Control Off Road Race Car with 2 x shells

Iron handled brass jam pan, pair of brass shells, fireside irons, brass beaker etc.

Brass gun shells, horse brasses, leather doctors bag & other collectables

Eight early 20th century polished pearlescent oyster shells. H.23 W.25cm (largest)

Leyly Matine-Daftary (Iran, 1937-2007)Les Coquilles (The Shells) oil on canvas, framedtitled 'Les Coquilles' on the verso, executed in the late 1980s90 x 72cm (35 7/16 x 28 3/8in).Footnotes:Provenance:Property from a private collection, London'The softness you see is because of the difference in the technique which I am lately using in my work. My method has changed slightly. I have painted plants before and also shells, but gradually I have paid more attention to detail. That's not how it was ten or twelve years ago. Then, it was just planes of colour positioned next to each other. It had neither lines nor details'- Leyly Matine-DaftaryBonhams is proud to present this magnificent painting by one of Iran's foremost female modernists Leyly-Matine Daftary. Leyly was born in Tehran in 1937. After having completed her primary education in Tehran, she attended Cheltenham Ladies College in Gloucestershire. She then went on to obtaining a Fine Art degree from the Slade School of Fine Arts in London before returning to Tehran in the late 1950s. Her artistic career began in the early 1960s, an era of great innovation in the arts in an international scale. Leyly was part of the first generation of Iranian women artists and part of the new wave of artists in Iran breaking against traditional art forms and techniques. The year of the revolution 1979 Leyly moved to Paris where she lived for the rest of her life.Here the artist beautifully captures a still life with shells using a novel perspective. The warm but soft colour palette and the delicate placement of the pieces in conjunction with the stark backdrop creates a visually stylized overall composition. Leyly is best known for her focus on extreme simplification of form, freshness of colour and the reduction of space into flat surfaces.For further information on this lot please visit Bonhams.com

Tricks, An assortment of metal and wooden items including a boxed set of three pewter walnut shells, candle sticks and candle gimmicks, Billet knife, various small wooden items,

A Chinese Blanc de Chine porcelain figure of a bearded man holding a shoe, standing amongst shells, waves and coral, 21cm high

A GEORGE V SILVER WAITER, HAWKSWORTH, EYRE & CO. LTD., LONDON, 1913, shaped circular, moulded rim below scrolls and shells, on three volute feet, 15.5cm diameter, 221gr

A VICTORIAN SILVER SUGAR BOWL, GEORGE ADAMS FOR CHAWNER & CO., LONDON, 1861, the almost hemispherical bowl bright-cut below the beaded rim with two vacant panels flanked by foliate strapwork panels on a linear ground, rim foot, 11cm diameter; together with a German silver miniature sweetmeat dish, shaped oval on pedestal foot, soft cast with shells and foliage, Hanau, import marked for Eustace George Parker, London, 1896, 8.5cm long; 180gr (2)

A VICTORIAN SILVER SALVER, EDWARD & WILLIAM SMITH, SHEFFIELD, 1852, shaped circular, presentation inscription surrounded by engraved scroll strapwork anthemion motifs, the applied reeded rim interrupted by shells and leafage, on three volute feet, 27cm diameter, 598gr The inscription reads: This Salver, Part of a Service of Plate was presented to Mr John Eadon as a mark of the Gratitude and Esteem of his Old Pupils. July 1853.

A GEORGE II SILVER SALVER, WILLIAM & ROBERT PEASTON, LONDON, 1758, shaped circular, later engraved with a crest flanked by an inscription surrounded by a flat-chased band of flowers, scrolls and diaper panels, the moulded rim below scrolls and shells, on three pad feet, 21cm diameter, 327gr The inscription reads: Vice Admiral James R. Dacres to Henry Duncan P. Cunningham, 29th January 1850.

‡ A PAIR OF BARR, FLIGHT & BARR (WORCESTER) CHOCOLATE CUPS, COVERS AND STANDS, CIRCA 1810, of tapered cylindrical form set with angular handles, each printed 'en grisaille' with shells against a ground scattered with gilt leaves, gilt line borders, impressed BFB and crown, 14.5cm high overall Provenance: a Swiss Private Collection of English Porcelain (Lots 44-76)

TWO METAL MOUNTED SHELLS, on formed as a swan, together with a metal stand, (3).

AN INDIAN COLONIAL SILVER TUREEN, LINER AND COVER HAMILTON & CO., CALCUTTA CIRCA 1825With a bud finial to the lobed domed cover, a gadrooned rim, the liner with a gadrooned rim, shells and foliage to the quarters, the base with twin turned wood handles, on four bold scroll and paw feet 30.5cm (12in) across handles 2791g (87.4 oz) grossCondition Report: Cover unmarked (a tureen by George Gordon & Co., Madras of a similar period also had an unmarked cover, lot 134, 08/12/2020, sale these rooms). One foot repaired, some rippling to silver beneath base. No dents, some scratches and nicks. Chip to one of the handles. The cover and liner fit well to the body. Body, liner and cover marked 2, suggesting that these are all original to each other. One handle slightly pushed into the bodyCondition Report Disclaimer

SEAMAN SCHEPPS, A PAIR OF SEA SHELL, MABÉ PEARL AND GOLD COLOURED EAR CLIPSThe nerita exuvia shells with collet set mabé pearl tips, the settings signed Seaman Schepps, stamped 750 with makers mark and numbered 15990, with clip fittingsSize/dimensions: 2.6cm longGross weight: 18.7 gramsCondition Report: The shell is from a sea snail, the clips are well sprung, some light wear commensurate with use, no major damage or repairsCondition Report Disclaimer

A PAIR OF GEORGE II CAST SILVER CANDLESTICKSWILLIAM GOULD, LONDON 1748The shaped square sconces with shells to the corners, turned and knopped stems to shaped square bases, engraved with a crest21cm (8 1/4in) high1108g (35.6 oz)It is likely that the crest is associated with the arms of the PENRICE family. There are several strands of the PENRICE family who use the same crest and these include the PENRICE families of: Witton House Norfolk, Kilvrough House Glamorgan, Plumstead Hall Norfolk and Hopland Hall Suffolk. The blazon of the crest: a wing elevated surmounting another argent, the former charged with two mullets of five points in pale gules Provenance: Sold at Woolley & Wallis, 28th June 2000, Lot 370 Condition Report: Marks to bases are clearSterling marks to the capitals partially obscuredSconces appear to be unmarkedCrests lightly rubbedOne slightly wobbles, the other goodPitting throughoutBoth are straightLight scratches and wear commensurate with age and useCondition Report Disclaimer