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An Elizabeth II Art Nouveau style silver-fronted dressing table strut mirror, relief embossed daffodil decoration with planished ground and velvet backing, maker's marks RBB, hallmarks London 1989, overall height 30cm, internal dimensions 20cm x 16cmNo damage or repairs, silver lightly abraded and very slightly worn on high points, strut is working, hallmarks clear
A George II silver salt cellar, plain circular form, by David Hennell I, hallmarks London 1750, diameter 6.5cm, and a Victorian silver 3-piece cutlery eating set, by Martin, Hall & Co, hallmarks Sheffield 1868, knife length 20cmSalt has a few small dents around the body, and all feet are pushed inwards to the body, glass liner not original, hallmarks very rubbed. Eating set has general wear, all pieces have engraved intials, hallmarks slightly rubbed.
Various Vintage Danish stylised silver and amber jewellery, comprising 3 x rings, 3 x pendants and 1 x brooch, ring sizes L x 2, and O, brooch length 66.2mm, 45g total (7)No major damage, amber stones have rubbed and abraded facets, settings also lightly abraded, fittings working
Various Vintage Danish stylised silver and amber jewellery, comprising pendant necklace, ring and a pair of cufflinks, makers include Niels Erik From, pendant height excluding bale 51.9mm, chain length 68cm, ring size S/T, 45.4g total (3)No damage, amber has general surface abrasions, clasp working
An Elizabeth II circular silver compact, allover engine turned decoration with scalloped rim and gilt interior, by Kigu Ltd, hallmarks London 1965, diameter 8cmNo damage or repair, silver lightly abraded, cartouche is vacant, hinge and catch working, gilding still bright, hallmarks clear
Various Vintage Danish silver and marine ivory jewellery, comprising torque bracelet, pendant necklace, ring and pair of earrings, bracelet internal measurements 5.5cm x 5cm, chain length 44cm, ring size L, 27.4g total (4)No damage, settings lightly abraded, marks generally clear
An early 20th century Chinese silver card case, relief embossed iris and chrysanthemum decoration with planished ground, maker's character mark on collar, 8.5 x 6cm, 2ozNo damage or repair, no splits, both sides of collar are slightly bent inwards, high points slightly rubbed, a couple of very light dents on corners, marks slightly rubbed, engraved 88.
A pair of Elizabeth II silver table candlesticks, tapered cylindrical form with heavy octagonal green marble bases, maker's mark ACS, hallmarks Birmingham 2011, overall height 22.5cmNo obvious damage or repair, silver lightly abraded with a couple of minor dents around the top rims and the bodies, no chips to marble, hallmarks clear.
A Victorian silver pint tankard mug, tapered cylindrical form with glass base and inscription for "Malta Union Club", by Thomas Smily, hallmarks London 1873, height 12.5cm, 12oz grossNo damage, base is a circular piece of glass, inscription is clear, body has a couple of light dents and general surface wear, hallmarks slightly rubbed.
An Art Deco George V silver mustard pot, cylindrical form with stepped lid and blue glass liner, by Edward Barnard & Sons Ltd, hallmarks London 1933, height 7cm, 3.9oz weighableNo damage or repair, blue glass liner not original, no spoon, light surface abrasions all over, hallmarks slightly rubbed.
A heavy gauge George V silver sugar caster, baluster form with acanthus spiral finial and relief embossed decoration, by Jay, Richard Attenborough Co Ltd, hallmarks Chester 1933, height 23.5cm, 11.5ozNo damage or repair, body has one light dent, high points have some wear, hallmarks slightly rubbed.
A good quality service of Elizabeth II solid silver Rattail pattern cutlery for 12 people, by Gee & Holmes, hallmarks mostly Sheffield 1959, retailed by Harrods of London, comprising 12 x silver-handled dinner knives, 12 x dinner forks, 18 x silver-handled dessert knives, 18 x dessert forks, 12 x dessert spoons, 12 x soup spoons, 12 x fish knives, 12 x fish forks, pair fish servers, 2 x butter knives, 6 x serving spoons, 18 x teaspoons, pair of sauce ladles (Georgian), 138 pieces total, 166oz / 5.139kg weighable (excluding steel bladed knives), in fitted Tarnproof lined cutlery drawersGenerally good condition, some wear and abrasions through general use but pieces still heavy, mostly similar hallmarks with a few slightly later, sauce ladles are George III, a very good quality service.
A canteen of George III solid silver Fiddle and Thread pattern cutlery for 12 people, by Richard Crossley & George Smith IV, hallmarks mostly London 1808, comprising 18 x dinner forks, 18 x silver-handled dinner knives, 12 x tablespoons, 12 x dessert forks, 12 x silver-handled dessert knives, 11 x teaspoons, 2 x sauce ladles, 2 x serving spoons, and silver-handled carving set, 89 pieces total, 111.1oz/3.457kg weighable (excluding all knives and carving set), in fitted caseGenerally good overall, all pieces have signs of wear, pieces not matching hallmarks and maker include 3 x dinner forks, 6 x dessert forks, 4 x teaspoons, 2 x sauce ladles, and 1 x serving spoon, all unmatching pieces are either slightly later or different makers but still match the pattern
Various silver Old English pattern cutlery, including dinner forks, dessert forks, tablespoons and dessert spoons, 41.4oz total, and a set of 6 National Silver Co silver plated grapefruit spoons All solid silver cutlery have black marks and banding around handles from rubber-band deterioration, otherwise all are generally worn, hallmarks clear
A George V silver teapot, oval form with engraved Adam's style swag decoration and ebonised mounts, by Barker Brothers, hallmarks Chester 1914, height 15cm, 16.3oz grossNo damage or repair, no holes, spout end has a couple of light dents, general surface wear, hallmarks very rubbed.
HARRODS - a pair of Elizabeth II silver sauce boats, with gadrooned rim and scrolled acanthus handle, by Harrods Ltd, hallmarks London 1959, length 18cm, 13.8ozNo damage or repair, one boat has two small dents near the feet, general surface wear and abrasions, hallmarks clear.
ASPREY - an Elizabeth II cast silver sauce boat, gadrooned rim with scrolled acanthus handle and three lion mask and paw feet, by Asprey & Co Ltd, Coronation hallmarks London 1953, length 20cm, 12.5ozNo damage or repair, boat is heavy gauge with some slight surface wear, hallmarks clear.
School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Head of Saint John the Baptist". Oil on canvas. Relined. Measurements: 46 x 63,5 cm. In this canvas the author deals with a theme of great dramatism, very much in accordance with the popular sensibility of the Spain of the time, strongly influenced by the Counter-Reformation, which demanded from the art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Thus we see the decapitated head of the Baptist, placed on the silver tray on which it was given to Salome. However, there are no narrative elements to tell the story; it is a static, devotional composition in which we see only the severed head on the tray placed on a table dressed in a rich red cloth. The space is undefined and closed, with a dark background worked in neutral tones against which the saint's head stands out, strongly illuminated by a light of Tenebrist heritage, directed and contrasted, which leaves the secondary areas of the composition in semi-darkness, focusing the viewer's attention on the saint's dead face. From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the figure of José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before it arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also influenced the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushstroke that the artist learned directly from Ribera's work.
Circle of BLAS DE PRADO (Camarena, Toledo, around 1545- Madrid, 1599)."St. Jerome.Oil on canvas.Relined.Frame of the XVIII century.Size: 130 x 108 cm; 140 x 120 cm (frame).In this canvas the theme of St. Jerome penitent in the desert is approached through a scenographic and open composition, with a silver illumination that succeeds in the way of enhancing the pathos of the scene. The painting is attributed to Blas de Prado, whose work was characterized by his monumental figures, skillfully modeled with a contrasting light, as is the case here. The saint appears full-length, chiseled by the chiaroscuro, his torso being naked and the muscles of his legs partially covered by the draped mantle, of intense crimson tone. The saint appears in a rocky environment, open to a nocturnal landscape with a waterfall. Next to him we see the lion, lying at his feet, the skull and a crucifix, all enveloped in a nuanced penumbra.Blas de Prado was a painter of whom we have, so far, little biographical information. He worked mainly in Toledo, where there are some contracts located in the surroundings of the city and where contemporary sources mention him. It is also known that he worked at the court, earning the appreciation of Philip II.It is known that he painted portraits, Francisco Pacheco considers him as the introducer of the still life in Spain (he was Juan Sánchez Cotán's teacher) and, besides knowing the Italian production by his works in El Escorial, there are those who defend the possibility of a trip to Italy that would allow him to know the works first hand, influenced, above all, by Michelangelo in several conserved works.At present, it is possible to appreciate his painting only in outstanding private collections and institutions such as the Prado Museum in Madrid, the Museum of Santa Cruz in Toledo, the Cathedral of Valencia, the Collegiate Church of Santa Maria la Mayor in Talavera de la Reina (Toledo), in the Palace of Liria (Madrid), drawings in the Uffizzi Gallery in Florence, the Louvre Museum in Paris, etc..
A silver mounted tanzanite necklace and bracelet set Condition Report: Both bracelet and necklace stamped 925 with the tongue of the clasp stamped Metal on the bracelet and the tag by the clasp on the necklace stamped TJC (The Jewellery Channel) 925. Set with natural tanzanites some have surface reaching inclusions some a little cloudy some still have polishing scratches they have a good overall look and colour but are not top quality stones.
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2477115 item(s)/page