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Four Pandora silver necklaces with silver cabochon charms, all stamped 925, together with mixed costume jewellery to include mainly silver items together with a Butler and Wilson coloured stone necklace with teddy bear design and a small quantity of stone and glass cabochons
Twentieth Century costume jewellery to include a small quantity of 9ct and 14ct gold earrings, total weight=2.9g, a yellow metal engraved bangle (9.8g not tested for gold), a yellow metal bar brooch (total weight 1.3g not tested for gold) and yellow metal half hoop earrings ( 0.6g not tested for gold), two enamelled butterfly brooches, a Victorian black jet necklace, 2 copper bracelets, a silver filigree brooch in the form of a flat fish stamped 925, bone china flower brooches, early 20th Century costume jewellery, bead necklaces to include rough cut amber, small Mother-of-Pearl lighter, an Accurist watch A/F, a pair of mid 20th Century yellow metal half framed ladies spectacles and a 1937 Wedding Day good luck token Location: Porters
An Orla Keilly fashion watch, new in original packaging, together with a Links of London silver key ring with aeroplane design, two boxed Vivienne Westwood Accessories silver coloured necklaces with large contemporary pendants with branded boxes and other jewellery items in the style of well-known fashion houses.
A miscellaneous lot comprising a vintage Fairylite pin cushion with assorted hat pins, enamelled dressing table brushes, a 1914 empty Christmas box, Chinese silver coloured tokens, a small Peruvian silver vase- formed pot containing cocktail sticks, a small silver photo frame and a silk scarf commemorating the Queen's silver jubilee.
An early 1980's Benny Steinberg, Slovitt & Kaslo gold coloured brooch in the form of shafts of wheat at harvest time together with a Christian Dior gold tone open chain necklace and one other, 2 faux pearl necklaces, a Monet silver coloured brooch and bangle, a silver locket stamped with the makers initials T.W with the monogram AMD on an open white metal chain and a sterling silver tie clip in a Murray Ward box, together with 3 ladies watches to include Smiths, Rowley Knowle and Lorus all housed in a modern blue Chriatian Dior fabric jewellery box.
pencil and watercolour, inscribed in pencil DESIGN FOR BROOCH IN TURQUOISE AND SILVER-/ OR PENDANT10cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M21Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
silver and enamel, signed lower left VARLEY, stamped STERLING SILVER 5.3cm x 3.6cmFootnote: Note: Fleetwood Varley (1863-1942) worked at The Guild of Handicraft from 1899 and was a renowned artist and gifted enameller. He was a friend of C. R. Ashbee and collaborated on finely painted enamel works mounted in silver at Chipping Camden.
sterling silver, pattern number 34A, comprising a COFFEE POT, with ebonised handle, stamped GEORG JENSEN/ GJ/ 925/ S/ DESSIN GJ/ DENMARK/ STERLING/ 34A, 19cm high; and a SUGAR BOWL, pattern 34A, stamped GEORG JENSEN/ GJ/ 92*/ STERLING/ DENMARK, 5cm high; together with a TEAPOT, pattern number 34, stamped GEORG JENSEN/ GJ/ 925/ S/ 34, 12.5cm high; and a MILK JUG, with ebonised handle, stamped GEORG JENSEN/ 925 S/ 34, 7cm high, all with import hallmarks: milk jug 1924; sugar bowl 1928; teapot; 1925; coffee pot: 1931
silver, set with mother-of-pearl roundels, amethyst drop, with chain spacers, stamped W.H.H., hallmarked Birmingham 1905pendant 4.3cm longFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
painted earthenware, three decorated with mermaids, one with a galleon in full sail, all painted JMK and rabbit, signed to each with monogram and rabbit cyphers, and three with Greengate mark each 16.5cm diameterFootnote: Note: Despite the disapproval of her parents Jessie Marion King pursued her early artistic promise and enrolled at the Glasgow School of Art in 1892. There she was encouraged by the inspirational, liberal Headmaster, Fra Newbery, to maintain her 'child-like vision' while developing her natural gift for linear expression. Primarily known for her book illustrations, King also designed an array of intricate silver and jewellery pieces for Liberty’s of London. After marrying the artist E. A. Taylor, the pair lived in Salford, following a stay in Paris, before eventually settling at her residence, ‘Greengate’, in Kirkcudbright in 1915. Here, they ran summer schools in Arran and befriended young emerging artists such as Cecile Walton, S.J. Peploe and Anne Redpath, all of whom became prominent figures in the town. By the 1920’s King established the ‘Green Gate Close Coterie’ a group of women artists who were King’s tenants in the cottages she renovated on Green Gate Close and this only further contributed to the close-knit community of artists living and working in an exciting hub of creativity. During this time, as well as continuing with her book illustrations, King turned her attention to ceramics and began painting on pottery blanks, which were sold exclusively through Paul Jones's Tea Rooms in Kirkcudbright. Her love for ‘green gate’ features on all of her pieces as she used this motif to sign her pottery. Throughout her varied professional career, King retained a distinctly individual style as she chose not to draw from life, but instead from ‘her own mind’, conjuring up fantasy-like scenes of fairies and pixies on enchanting adventures.
painted earthenware, signed to each with Greengate and rabbit cyphers, 15.5cm diameter; together with TWO TEACUPS, painted earthenware, one similarly marked, the other indistinct, 7.5cm highFootnote: Note: Despite the disapproval of her parents, Jessie Marion King pursued her early artistic promise and enrolled at the Glasgow School of Art in 1892. There she was encouraged by the inspirational, liberal Headmaster, Fra Newbery, to maintain her 'child-like vision' while developing her natural gift for linear expression. Primarily known for her book illustrations, King also designed an array of intricate silver and jewellery pieces for Liberty’s of London. After marrying the artist E. A. Taylor, the pair lived in Salford, followed by a stay in Paris, before eventually settling at her residence, ‘Greengate’, in Kirkcudbright in 1915. Here, they ran summer schools in Arran and befriended young emerging artists such as Cecile Walton, S.J. Peploe and Anne Redpath, all of whom became prominent figures in the town. By the 1920’s King established the ‘Greengate Close Coterie’ a group of women artists who were King’s tenants in the cottages she renovated on Greengate Close and this helped foster a close-knit community of artists living and working in an exciting hub of creativity. During this time, as well as continuing with her book illustrations, King turned her attention to ceramics and began painting on pottery blanks, which were sold exclusively through Paul Jones's Tea Rooms in Kirkcudbright. Her love for ‘Greengate’ features on all of her pieces as she used this motif to sign her pottery. Throughout her varied professional career, King retained a distinctly individual style as she chose not to draw from life, but instead from ‘her own mind’, conjuring up fantasy-like scenes of fairies and pixies on enchanting adventures.
electroplated silver with ebonised handle, removable nozzle and vesta cover, stamped H&H/ 487613.5cm highFootnote: Literature: Durant, S. Christopher Dresser, Academy 1993, cover illustrationHalén, Widar Christopher Dresser: A Pioneer of Modern Design London 1990, p.178, pl. 201
silver plate with enamel set openwork finial, bears an inscription to rim TO RUTH SPENCE GOWER 1912 D.D. T.H. & T.W. MINSHALL22cm diameterFootnote: Literature: See Crawford, A. C.R. Ashbee's English Silverwork, B. Weinreb, 1974, p. 345, pl. XIII where a similar dish in silver is illustrated.Provenance: Property from an Important Private Collection
enamel with foil in copper, within white metal mount5cm acrossFootnote: Literature: Cumming, E. Phoebe Anna Traquair 1852-1936 National Galleries of Scotland 1993, p. 85, no. 121, p. 82, no 101 Note: Traquair learned the craft of art enamelling from her friend Lady Carmichael in 1901, and over the coming decade her enamels would be set either as jewellery (notably pendants and necklaces) or ‘architectural’ formats such as triptychs in stands often designed by her architect son Ramsay. They were exhibited both in Scotland and in London with the Arts and Crafts Exhibition Society. Her fine enamels soon became the craft for which she was best known south of the Border, with The Studio critic commenting in 1906 that ‘the qualities which are attained in enamel by a worker with a sensitivity to colour make it peculiarly a medium which satisfies an artistic nature ... that enamelling is Mrs Traquair’s medium we do not doubt’. Her subjects, painted on copper or more occasionally silver or gold, were taken from classical or religious subjects, the latter often popularised as angels comforting or watching over female figures. A pendant, necklace or the occasional brooch, set to her design by John Maitland Talbot, Hamilton & Inches, Brook & Sons or (after 1909) Henry Tatton would sell for two or three guineas.Traquair the artist always gave her craft pieces titles, and The Dream copies the central plaque of a 1906 necklace of the same name. Enamels that were admired or which she herself found particularly satisfying were duplicated, with a number remaining unset in her studio. One such unmounted piece is The Dream, given to the V&A by her granddaughter and dated 1909. The enamel is from the same date: the setting may be by Brook. The dream concept was one that greatly appealed to her, and was introduced to her Mansfield Place Church mural where Joseph’s dream is central to the Old Testament narrative on the nave’s south wall (1900). A dream image was also present on the Lorimer piano painted for Frank Tennant as part of her illustrations of The Song of Solomon (National Museums Scotland).With thanks to Elizabeth Cumming for her footnote for this lot
pencil, watercolour and silver paint16.5cm x 12.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M19Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
oak, with iron fittings106cm wide, 166cm high, 45.5cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 153Note: This model is the first time an arched apron was employed by the designer.Note: Ambrose Heal is widely considered a pioneer of modern furniture design. After studying at the Slade School of Art, Heal joined the family furniture business established by his great-grandfather John Harris Heal in 1893, where he initially worked in the bedding department. Not long after, he began designing furniture for the firm. These designs adopted simple lines, using unvarnished oak or chestnut and were far more robust in appearance, much to the disdain of his sales colleagues who were used to selling far more elaborate furniture that took inspiration from the early 18th century. Despite this, Heal was recognised in 1900 when he won a silver medal at the Paris Exhibition for a bedroom suite. He was soon appointed chairman of the company in 1913; he was the driving force behind their renewed marketing efforts and expanded the range of products produced in a bid to appeal to the emerging middle class. Heals' furniture embraced the Arts & Crafts ideals, and while he did accept some machinery into the production line, he was resolute in ensuring that the quality of craftsmanship never suffered as a result. As well as chairman of the family business, Heal was also a founding member of the Design & Industries Association, which campaigned to increase the standard of British Design under the slogan ‘Fitness for Purpose’. Early Heal’s designs clearly demonstrate an admiration for Arts & Crafts, but as tastes changed the company was able to innovate quickly and began to embrace stylistic influences from Art Deco and Modernism. Before his retirement from the family firm in 1959, Heal was knighted in 1933 and appointed a Royal designer for industry in 1939.
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2466194 item(s)/page