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A quantity of assorted ceramics and glassware, including a pair of silver mounted orange opaque glass vases, London 1923, a silver overlay decanted and glass set, part Aynsley Georgian Cobalt service, Poole fruit bowl ,Royal Worcester "Masquerade" figure, Caithness paperweights etc
A quantity of Royal commemorative medallions and medals, including an Edward VII 1902 bronze coronation with 9th August 1902 date, boxed (AF). Together with two George V and an Edward VII silver coins, various silver jubilee 1935 medallions, a Birmingham Mint 1977 example, etc. Mostly contained in red card cases.
A Victorian hardstone and coral cameo pendant, oval shaped hardstone with an applied coral cameo depicting Minerva, the goddess of war and wisdom, surrounded by a knife-edge border with six rubover set rose cut diamonds, jump ring bale, length including jump ring 3.2cm, width 2cm, unmarked, tested as 18ct gold with silver settings, weight 5.2g
An Edwardian style diamond pendant and chain, rubover set central garnet topped doublet, diameter 6.5mm, surrounded by a border of twelve round brilliant cut diamonds and diamond set scroll detail, suspending a dropper with a rubover set central synthetic pear shaped sapphire, 7.5 x 4.2mm, surrounded by a border of twelve round brilliant cut diamonds, estimated approximate total diamond weight 2.00ct, length including bale 5.9cm, width 2.5cm, unmarked, tested as silver and 9ct gold, suspending from a franco link chain, length 44cm, import mark, Birmingham, 18ct gold, gross weight 14.8g
A diamond set double cluster crossover style ring, two claw set central old brilliant cut diamonds, diameter 3.4mm, surrounded by sixteen old brilliant cut diamonds, estimated approximate total diamond weight 1.20ct, crossover tapered shoulders, 'D' shaped shank, size Q½, unmarked, tested as 9ct gold with silver settings, weight 5g
A lapis lazuli bead necklace and ear studs en suite, mixed oval and round plain and faceted lapis beads varying in sizes, strung knotted to black thread, length 66cm, together with a pair of lapis ball ear studs, diameter 8mm, posts tested as silver, lacking scroll fittings, gross weight 83.5g (2)
A pair of Edwardian pearl and diamond ear pendants, each with an articulated bow motif drop section, set with eighty eight old brilliant cut diamonds and ten rose cut diamonds, estimated approximate total diamond weight 2.50ct, suspending a detachable oval shaped possibly natural pearl (untested), approximately 11.6mm, length 5.5cm, hook and screw fittings stamped '9CT', unhallmarked, tested as 9ct gold with silver settings, weight 15.9g, cased by S.J.Phillips of London
Alfred Dunhill - A gentleman's vermeil wristwatch, circa 1980, the signed rectangular white dial, 25mm diameter, with black Roman numerals and baton hands, signed 6 jewel ETA quartz movement, calibre V8 950 001 the crown with hardstone cabochon end stone, case, 27mm diameter, plain and polished, verso with two screws, convention marks and Swiss marks for Sterling silver, numbered 2 21648, interior similarly marked, to an original signed black leather strap with hallmarked pin buckle, cased by Theo Fennell
Tudor by Rolex - A lady's Swiss 18ct gold wristwatch, circa 1967, the signed circular silvered dial, 14mm diameter, with silver coloured triangular batons and hands and diamond facetted crystal, signed but un numbered 17 jewel mechanical crown wind movement calibre 2424 with liveried crown, case, 26mm diameter, the 12 o'clock lug with diamond set chevron embellishment, verso snap on, polished and numbered 1925, interior signed and numbered 544700, with Swiss markings for 18ct gold in addition to Poinçon de Maître, Key of Geneva number 2 for Fritz Baumgartner, to an aftermarket black leather strap with pin buckle
A George IV silver vinaigrette, mark of Nathaniel Mills, Birmingham 1831, of rectangular form, the part marked piano hinged cover with a raised decorative border around a bright cut engraved field with a central rectangular engraved cartouche, the base with bright cut engraved border and foliate decoration within a central bright cut bordered cartouche, gilt interior with pierced and decoratively engraved hinged grille, 3.5 x 2.5cm, 0.50ozt
A George IV silver vinaigrette, mark of Nathaniel Mills, Birmingham 1843, of rectangular escutcheon shaped form, decorated all over with cross-check engine turned engraving, the part marked piano hinged cover with a central escutcheon shaped engraved cartouche, gilt interior with pierced and decoratively engraved hinged grille, 3.5 x 2.5cm, 0.60ozt
A late Victorian silver snuff box, mark of Deakin & Francis, Birmingham 1894, of rectangular form with scrolled edges, the piano hinged cover engraved with two initials, gilt washed interior, the inner edge engraved, 'THORNHILL, BOND St LONDON', 7.5 x 4.5cm, 2.5oztProvenance: Julians Park, HertfordshireFootnote: The company of Thornhill can trace its roots back to the early 18th century. It built a great reputation for the quality of its work, winning a prize medal at the Great Exhibition of 1851, the International Exposition of 1855 in Paris, the International Exhibition of 1862 and then multiple medals at the International Exposition of 1878 in Paris. Thornhill acquired the Royal warrants of appointment to Queen Victoria and the Prince and Princess of Wales, as well as other members of the Royal family.
Aberdeen - A very rare George III Scottish provincial silver snuffbox, mark of James Erskine (1792-1818) struck twice with a third indecipherable mark, of rectangular form, the flush fitting piano hinged cover with a rectangular rub over set agate within a border of bright cut engraving, the concave sides with parallel lines of bright cut engraving, underside with large and vacant rectangular cartouche within concentric borders of bright cut engraving, gilded interior, 7.5 x 6 x 2.5cm, 3.8oztFootnote: One of Aberdeen’s most celebrated 18th century silversmiths, James Erskine was apprenticed to James Smith in 1781 and was admitted as a member of the Hammermen in September 1792, becoming a Goldsmith Burgess in 1796. It is not known when he started his own business, but it seems to be around 1790. It is thought he retired in about 1820 and died in 1824. He produced items for the well-to-do of the town for use in prominent homes in the area and for those who purchased such items, the initials of the silversmith represented quality they could trust. There was, at that time, little effort made by Scottish provincial silversmiths to make use of the assay offices in Glasgow or Edinburgh and very often just maker’s marks, or a maker’s mark and a town mark was used instead of the full hallmark. The third, indecipherable, mark in this example may be the town mark, but there is insufficient detail to make a positive identification.
An Edward VII silver Art Nouveau box, mark of William Comyns, London 1910, of square form, the sides with repoussé entwined foliage over a textured ground, the fully marked friction fitting cover pierced out with a scene of a swan swimming between foliage, stamped to the base, '10243', 5 x 5cm, 1.5ozt
A 20th century two colour travelling compact, silver mark of Garrard & Co Ltd, Birmingham 1973 with bicentenary mark, of square form and decorated all over with hobnail engine turned engraving, the piano hinged friction fitting cover to match with a rose-coloured border and rose-coloured floral thumbpiece, interior gilded with vanity mirror, 7.5 x 7.5cm, 5ozt gross, presented with the original black silk pouchFootnote: The town mark for Birmingham is an anchor, but in commemoration of their bicentenary the anchor mark was flanked by two 'C's for items marked in 1973, CC is the Roman numeral for 200.
A Victorian silver trinket box, mark of Charles Henry Dumenil, London 1898, of circular form and decorated all over with repoussé scrolls, foliage and birds, the fully marked, slightly domed and friction fitting lid decorated to match around a central vacant cartouche, gilt washed interior, 8cm in diameter, 3.4ozt
A continental metalwares silver table snuff box, indecipherable marks, possibly Hanau, with sponsor mark of William Hutton & Sons Ltd and London import marks for Sterling silver 1901, of rectangular somewhat bulbous form, lavishly decorated all over with repoussé scrolls and foliage, the part marked piano hinged cover similarly decorated around the depiction of two lovers on a bench, gilt washed interior and raised on four bun feet, 7 x 7cm, 4ozt
A late 20th century silver pomander designed by Anthony Elson RCA, mark of Garrard & Co Ltd., London 1970, of globular form, the textured ground with decorative piercing and a pierced honeycomb overlay, gilded interior, suspended from a later white metal chain, 6.5cm in diameter, 6.4ozt gross and presented in the original retailer's fitted case
Four George V silver novelty menu holders, mark of Sampson Mordan & Co, retailed by Asprey, three with London hallmarks for 1919 and one with Chester hallmarks for 1918, each modelled as a fox mask with hardstone round cabochon 'eyes' (one pair lacking) on a circular base, 3cm in diameter, 3cm in height, 2.8ozt gross and presented in the original retailer's fitted caseProvenance: Julians Park, Hertfordshire
A George V silver novelty table cigar lighter, mark of the Goldsmiths' & Silversmiths' Company, London 1921, modelled as a hunting horn, the part marked threaded and detachable wick holder forming the 'mouthpiece', 18cm in height, 3.4ozt gross and presented in the original fitted caseProvenance: Julians Park, Hertfordshire
A Victorian silver 'campaign' style interlocking travelling fruit knife and fork, mark of James Deakin & Sons (John & William F Deakin), Sheffield 1900, having the appearance of a penknife with mother-of-pearl side panels, one side with a vacant escutcheon shaped cartouche, the two halves joined with two 'slide and lock' fittings, one half with a folding silver knife, signed to the base of the blade, verso stamped 'patent 28230', the other half, a 3 pronged fork, verso stamped 'patent 14520', maximum length (open) 14cm, (closed) 8cm, presented in the original leather travelling pouchFootnote: To detach: fully open knife blade, half open fork (to 90 degrees), and slide apart. To re-attach: fully open knife blade, half open fork and slide back together.
A George V silver Arts & Crafts caster, mark of the Guild of Handicraft, London 1911, possibly designed by Charles Robert Ashbee, of hammered form and flaring wide to the base with fully marked and bayonet fitting detachable pierced and domed cover, 6cm in height, diameter at the base 5cm, 1.5ozt
A mid-19th century French metalwares silver tastevin, mark untraced (JP with anchor between), 800/1000 standard silver, of circular form, the bowl with punched bead and grape decoration, beaded upper border under engraving; 'GILBERT JOLY DE VERTAIZON 1866', base with Napoleonic 'Médaille Commémorative de la Campagne d’Italie de 1859' insert, fluted scroll handle, 8cm diameter, 3.2oztFootnote: The Commemorative Medal of the 1859 Italian Campaign was established by Napoleon III following the French campaign in Italy during the Second Italian War of Independence. During the three-month campaign, French losses amounted to 8,000 dead and 40,000 wounded. To reward all participants, the medal was created by Imperial Decree on August 11, 1859. Nearly 120,000 medals were awarded. It seems likely that M. Joly from Vertaizon - a village in the Auvergne-Rhône-Alpes region of South-East Central France - was the original recipient of the medal and commissioned this piece, possibly to commemorate the end of the war and incorporating his medal into the base.
A 19th century French metalwares silver tot cup, mark of Jules Guetin, Paris circa 1881, 950/1000 standard silver and with bignore strike, slightly tapering and with reed and star engraving around a vacant oval cartouche, the rim with a band of reed and circle engraving and with applied decorative handle, 4cm in height, 0.7ozt
A George V silver mounted Sgian Dubh, mark of Joseph Cook & Son, Birmingham 1913, the 8cm blade with facetted back edge, pressed hilt with basket weave and thistle design, pommel rub over set with an oval facetted smokey quartz, silver mounts with Celtic knotwork design, leather coated metal scabbard with silver locket and tip, both with thistle designs, overall length 19cmFootnote: The sgian-dubh (pronounced Skee-en Doo) is a small, single-edged knife worn as part of traditional Scottish Highland dress tucked into the top of the kilt hose with only the upper portion of the hilt visible. It is usually worn on the same side as the dominant hand and was originally used for preparing and eating food.
A collection of 8 silver tea caddy spoons, including a Victorian floral example, mark of Joseph Willmore, a George III shovel shaped example with green stained handle, 2 examples, mark of Josiah Snatt with pear shaped bowls, one with bright cut decoration, a George III example, mark of John Lawrence with simple oval bowl, a George III example, mark of Cocks & Bettridge with reeded handle and round bowl, a Victorian example, mark of Robert Williams & Sons and with Exeter marks and a decorative Dutch example dated 1850 (8)
A collection of five early 20th century Russian metalwares silver and enamel objets, all struck with the second Kokoshnik mark (1908-1926) Moscow, 84 zolonitki indicating a minimum 875/1000 standard silver and lavishly decorated with polychrome cloisonné enamel; the first, a vodka cup, mark of Grigory Sbitnev, gilt washed interior and base, 7cm in height, 5cm diameter at the rim, 2.5ozt; the second, a salt pot, probable mark of Grigory Sbitnev, second Kokoshnik import mark, gilt washed interior and base, 2cm in height, 4.5cm diameter, 0.90ozt; the third, a spoon, mark of Nikolai Pavlovich Pavlov, the top section of the stem enamelled both sides along with the back of the bowl, 18cm in length, 1.3ozt; the fourth, a spoon, mark of Nikolai Pavlovich Pavlov, second Kokoshnik import mark, with twisted stem, enamelled to the top section and back of the bowl, 14cm in length, 0.90ozt; the fifth, a travelling pencil cover, mark of D.P. Nikitin, with removable pencil and suspensory ring, 9cm in length (closed) (5)Footnote: Cloisonné is a style of enamelling used for decorating metalwork objects. Compartments ('cloisons' in French) are created on the item by soldering wires or thin metal strips placed on their edges. Enamel powders, usually of different colours, are mixed into a paste and used to fill the separate compartments, which are then fired in a kiln. The wires remain visible on the finished piece, separating the different compartments. Despite it being a French word, and evidence of this style of decoration being used as far back as ancient Egypt, cloisonné decoration is often contemporarily referred to as Russian enamel as it was extremely popular in Russia in the nineteenth and early twentieth centuries. Cloisonné decoration is also popular in Far Eastern ware. The finished result, however, has a much different look, with not only the cloisons filled as well as the spaces in between, but also the dividing metalwork ground flat to the enamel giving just a two-dimensional effect. The Russian style has a three-dimensional look with the dividers raised above the enamel, and is instantly recognisable for its bright colours.
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2466194 item(s)/page