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Click here to subscribeAn Elizabeth II Royal Mint Queen Mother Centenary Year gold proof five pounds crown 2000, cased with certificate, No. 2125, and a similar silver piedfort crown, cased with certificate.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of 19th and early 20th century silver shillings, including George IV, William IV, Victoria, Edward VII and George V.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A group of seven USA United States Mint silver proof coin sets, comprising two 1992, 1993, 1994, 1995, 1996 and 1997, together with four USA Olympic Prestige proof six-coin sets, comprising two 1983 and two 1984, all cased.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A large collection of silver and base metal commemorative coins, including a Westminster Mint silver Inaugural one pound two-coin set, a Westminster Mint First & Last Strike of the Guinea commemorative silver crown set, two South Africa Mint one-ounce silver Krugerrands, both cased, a Westminster Mint Tanks in Action twelve-coin set and a collection of circulated bimetal two pounds coins and fifty pence coins, the majority with cases of issue and certificates.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A small group of Victorian silver coinage, comprising a Young Head half-crown 1847, edge detailed 'XI', a Jubilee Head crown 1887, a Young Head half-crown 1883 and an Old Head half-crown 1894.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A small collection of Henry V and Henry VI hammered silver coinage, including two Henry VI groats, London and Calais Mints, a Henry VI half-groat, keys at neck, York Mint, and a Henry VI halfpenny, annulets by neck.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Victoria Young Head crown 1844, edge detailed 'VIII', a George VI crown 1937 and a small collection of pre-1947 British silver nickel coinage.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A group of Roman bronze and silver coinage, including a sestertius of Galba (68-69 AD) and a denarius of Severus Alexander (222-225 AD), together with a group of Roman barbarous copies.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Elizabeth II Westminster Collection five-ounce silver bullion Canadian Maple Leaf coin-bar 2017, cased with certificate.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A David II of Scotland hammered silver groat, Edinburgh Mint, a King John hammered silver penny, moneyer Roberd de Bedford, Dublin Mint, and a William the Lion cut halfpenny.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A small group of various 20th century world commemorative coin sets and collectors' coins, including a silver Iceland two-coin set, comprising five hundred kronur and one thousand kronur, commemorating the 1100th Anniversary of the Settlement of Iceland 874-1974, cased, a group of six Royal Mint New Baiza specimen coin sets, all cased (two incomplete), and thirteen Panama half-balboa, the majority 1968.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A small group of various European and world silver coinage, comprising two USA dollars, 1888 and 1922, four Austria fifty schillings, eleven Austria twenty-five schillings and two Victoria threepences, 1898 and 1899.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A group of five Elizabeth II Royal Mint deluxe silver crowns commemorating the Queen Mother's 80th Birthday and the Queen's Silver Jubilee, all cased.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A large collection of pre-1947 British silver nickel coinage, including half-crowns, florins, shillings, sixpences and threepences.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Elizabeth II London Mint Office silver proof five pounds commemorating the Royal Engagement of Prince William and Kate Middleton 2010, deluxe-cased with certificate, together with a London Mint Office St George and the Dragon five pounds 2009, deluxe-cased with certificate.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Elizabeth II Numisproof one-ounce 9ct gold proof medallion commemorating the Sapphire Jubilee, with printed photographic image, and a similar Numisproof two-ounce silver and diamond proof medallion commemorating the Queen's 90th Birthday, both cased with certificates.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Two USA United States Mint US Veterans commemorative silver proof one dollar three-coin sets, both 1984, deluxe-cased with certificates, together with a collection of other USA United States Mint deluxe silver proof year-type sets.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A late 19th century/early 20th century hardstone cameo and diamond brooch, carved to depict a classical female profile, collet set within old-cut diamond surround within millegrain border, gold and silver mounted, the reverse with brooch and pendant fittings, length 44.5mm. £800-£1,200
An Arts and Crafts gem-set pendant, formed as a cluster of silver beads, collet-set blister pearls and circular sapphire and citrine cabochons, with a blister pearl fringe below, mounted in silver, suspended from an integral cable-link chain, chain length 43cm, pendant length 5.5cm. £200-£260
A silver ‘Mesh Scarf’ necklace by Elsa Peretti for Tiffany & Co., of tapered woven mesh design, signed ‘PERETTI’ and ‘T&Co.’, stamped ‘925’, maker’s suede pouch and box, length 124cm. £500-£700 --- Elsa Peretti (1940-2021) was an Italian jewellery designer and fashion model. Having moved to New York in 1968, she originally started designing jewels for herself and soon after collaborated with fashion brands such as Halston. It was Roy Halston who introduced Peretti to Tiffany and in 1974 she debuted her first collection for them. The jewels sold out instantly and the following year she created the ‘Mesh’ collection, having sought out the old machines used to manufacture the precious metal mesh for purses and evening bags at the turn of the century. Peretti was one of the most successful jewellery designers to work at Tiffany and over the course of her career she went on to create over 30 collections for them, with many, including ‘Mesh’, still being sold at Tiffany today.
A diamond star brooch, circa 1890, the stylised star with flowerhead and foliate detailing, set throughout with old brilliant and rose-cut diamonds, mounted in silver and gold, detachable brooch fitting and hook to reverse, total diamond weight approximately 1.40 carats, length 40mm. £800-£1,200
A late 19th century enamel and gem-set brooch, the central oval blue enamel plaque with engine-turned decoration and set with an old brilliant-cut diamond, in a garland surround of floral design, set throughout with old brilliant and rose-cut diamonds and with circular-cut ruby highlights, mounted in silver and gold, with locket compartment to reverse, length 28mm. £500-£600
An early 20th century enamel, seed pearl and diamond stick pin, the spotted white enamel bow surmount above a seed pearl and old brilliant-cut diamond set circlet with central suspended pearl drop, mounted in silver and gold, composite, pearls untested, total diamond weight approximately 0.35 carat, terminal length 33mm. £400-£600
An early 20th century seed pearl necklace, the graduated seed pearls measuring 1.50 - 4.80mm, strung as a single-row necklace, the clasp set with a bouton-shaped pearl with an old-brilliant-cut diamond to either side, mounted in silver and gold, clasp stamped ‘585’, pearls untested, together with a two-row cultured pearl necklace with a circular-cut paste cluster clasp, various lengths. (2) £150-£200
A cultured pearl necklace with diamond and amethyst set clasp, the three uniform strands of cultured pearls to a late 19th century tiered cluster clasp, later converted and set throughout with old-cut diamonds and centred with a later mounted cabochon amethyst, gold and silver mounted, total diamond weight approximately 4.95 carats, length 45.5cm. £2,600-£3,000
An early 19th century diamond flower brooch, the flowerhead set with an old brilliant-cut diamond to the centre, the openwork petals set throughout with old brilliant and cushion-shaped diamonds, petals with closed-back settings, mounted in silver, fitted case by Wartski, London & Llandudno, principal diamond approximately 1.60 carats, remaining total diamond weight approximately 8.50 carats, diameter 46mm. £7,000-£9,000
A turquoise bead necklace by Buccellati, the graduated row of turquoise beads terminating in a collet-set cabochon clasp, with textured satin ‘rigato’ finish, signed ‘Buccellati’ and ‘750’, length 56cm. £2,000-£3,000 --- The Italian firm Buccellati is famous for its rich textural gold jewellery spanning the decades from the 1920s to the 1960s. Their finest pieces are bold and immediately recognisable. Born in to a family of goldsmiths in 1892, Mario Bucellati was apprenticed to the jewellers and goldsmiths Beltrami & Bernati. In 1919 he opened his own jewellery store and workshop on the Largo Santa Maria, near the Teatro alla Scalla, in Milan. In 1951 Mario and his son Luca opened their first store in New York, with another following, on 5th Avenue, in 1954. Mario Buccellati was the first to introduce the technique of texture-engraving, often using mixed metals of silver and gold, or platinum and gold. The different engraving techniques are called rigato (parallel lines cut onto the surface of metal to obtain a sheen effect), telato (texture, obtained by fine cross-hatched lines), segrinato (engraving in every directions with overlapping textures), ornato (decoration based on natural forms such as animals, leaves and flowers), and modellato (the most delicate engraving technique which consists of reproducing several designs chiselled in three dimensions). When the process is complete, the finish will often resemble a fine fabric - linen, lace or silk. In 1971 Gianmaria Buccellati, grandson of Mario, set up his own eponymous jewellery firm, going on to open stores around the world, including the Place Vendome in Paris. He also set the Italian Gemological Institute, IGI, in 1973, remaining as it’s president for the next quarter century. In 2011, the two firms of Mario Buccellati and Gianmaria Buccellati merged to form the single firm of Buccellati. Exhibitions of Buccellati jewels include: 1995: The Art of Buccellati, at the Academy of Sciences in San Fransisco, USA and the Royal Ontario Museum in Toronto, Canada. 2000: Buccellati, Art in Gold, Silver and Gems, at the Smithsonian Institution National Museum of Natural History, in Washington DC, USA. 2008: Buccellati, Timeless Art at the State Museum of Moscow Kremlin, Moscow, Russia (this is the first exhibition dedicated to a still living jeweller) See: https://uk.buccellati.com/en/timeline Literature: Ragot, Vincent-Emmanuel, Gianmaria Buccellati, pub. Assouline Publishing. Luzzatto, Sylvia, ed., Buccellati: Timeless Art, pub. Moscow Kremlin Museums, 2008.
A late 19th century gem-set brooch, the cornucopia issuing flowerheads, foliage and berries, set throughout with old brilliant and rose-cut diamonds, with various gem-set highlights including pearls, two diamonds of yellow tint, green tourmalines, sapphires, etc., mounted in silver and gold, brooch fitting detachable, some pearls deficient, partial maker’s mark ‘C*’, length 9.5cm. £2,000-£3,000
Swiss. A lady’s silver and enamel keyless watch with matching chain, circa 1910 Movement: cylinder escapement. Dial: silver, engine-turned centre, Arabic numerals. Case: silver, engine-turned back, translucent blue enamel, London import mark for 1910, maker’s mark HAD, no. 313480, matching silver and blue and white enamel chain. Signed: unsigned. Dimensions: diameter 28.5mm, chain length 29mm. £150-£200
Tag Heuer. A stainless steel mid-size wristwatch with date and bracelet, Ref. 962.213R, Professional, circa 2000 Movement: quartz. Dial: silver, applied luminescent triangular, baton and dot indexes, date aperture, centre seconds. Case: stainless steel, screw-down back, rotating bezel, no. M68182, stainless steel bracelet. Signed: case, dial, movement and bracelet. Dimension: diameter 33mm, bracelet circumference approximately 195mm. Accessories: presentation case. £150-£250
A silver and coppered leaf necklace and earring suite by Victoria Sackwild, the fine silver wirework collar suspending a textured spiralling leaf pendant of naturalistic design, the earrings en suite, maker’s mark ‘VS’, London hallmark for 2018, collar inner diameter 12.4cm, pendant length 6.7cm. £100-£150
A gold novelty brooch, by Hans Georg Mautner, 1968, designed as a stylised 18ct gold reindeer with textured body, polished antlers and legs, the eye set with a ruby cabochon, maker’s mark ‘HGM’, London hallmark, length 49mm. £260-£360 --- Hans Georg Mautner Hans Georg Mautner (1901-circa 1972) was born in Weigelsdorft, Austria, and did an apprenticeship in Prague in 1919, then started work in 1921 for wholesale silversmiths and jewellers Berthold Muller at Hanau. He went on to establish a workshop and retail shop in Vienna in 1925, exhibiting regularly at the Künstlerhaus in Vienna. In 1933 he won a silver medal at the Triennale de Milano and a gold medal at the Paris Exhibition in 1937. According to his biography which accompanied the catalogue for the 1961 International Exhibition of Modern Jewellery 1890-1961, he came to work in London in 1938 where he had a workshop in Hatton Garden. In the late 1950s and early 1960s, Mautner produced jewels for S. J. Rood in Burlington Arcade and Boucheron in Old Bond Street, both in London. He also made jewellery for the Crown Jeweller Garrard & Co. Ltd from 1952, the year in which they merged with The Goldsmiths & Silversmiths Co. Ltd, and moved premises to 112 Regent Street, London. Mautner worked with both 9 and 18ct gold, and used semi-precious stones. He produced ‘wacky animal brooches in whimsical poses, often using rubies or emeralds as eyes’ , (Wingfield) - these brooches often being small in size. Our thanks to: Mary Ann Wingfield: Modern British Jewellery Designers 1960-1980), pub. ACC ART BOOKS, 2021, pages 112-121, for additional background information.
A Danish silver ‘Right Little Finger’ ring designed by Minas Spiridis for Georg Jensen, of undulating design, signed, numbered ‘244’, stamped ‘Georg Jensen’, ‘925S’, maker’s box, ring size K. £100-£150 --- Minas Spiridis (1938-2020), a Greek designer, started his career as an apprentice goldsmith in 1953 and began creating his own designs in 1961. In 1969 he moved to New York City, making and selling his jewellery throughout the U.S. and Europe, and working in different media. In 1992 he started creating pieces for Georg Jensen. Known for their sculptural sensibility, his designs included not only jewellery but also a watch and various hollowwares.
A large German silver heron table ornament, circa 1900, by Neresheimer & Söhne, Hanau, realistically modelled, with finely detailed feathers, the heron, its head sunk upon its chest, and with downwards gaze, with detachable head, height 27.5cm. £2,000-£3,000 --- Neresheimer & Söhne of Hanau At the end of the 19th century, the German city of Hanau, located not far from Frankfurt, became famous for its silver industry. With a long tradition as a free trade city, Hanau’s silver industry at this time was prolific, largely specialising in fine copies after the antique, and mostly marked with pseudo marks in the styles of those regions which they were emulating. Exporting worldwide, the most famous firm of Hanau silversmiths was undoubtedly Neresheimer & Söhne. Founded circa 1890 by August and Ludwig Neresheimer, the company quickly rose in popularity, thanks to the incredible quality of their silver objects. They were soon direct competitors of Schleissner, who are now considered the forefathers of the Hanau silversmiths. Neresheimer & Söhne exhibited at the 1893 Chicago World’s Colombian Exposition and the 1904 St Louis International Exposition and contemporary reports state: ‘In the silver-goods trade, the imitation of antiquities plays, and has always played, a large part… and it is in this direction that Messrs Neresheimer and Söhne are best known…… everything being copied with a care and minuteness designed to show the beauty of the old German silversmiths’ work”. Noonans are delighted to offer for sale this enchanting ‘Silver Menagerie’ including fine examples of works by Neresheimer & Söhne.
A pair of German silver peppers modelled as Great Auks, early 20th century, by Neresheimer & Söhne, Hanau, realistically fashioned, import marks for Berthold Müller, Chester 1910, height 12.5cm. £1,000-£1,500 --- The great auk (Pinguinus impennis) is a species of flightless alcid that became extinct during the mid-19th century. They mated for life and inhabited remote rocky islands in the waters of the North Atlantic, from northern Spain and along the coastlines of Canada, Greenland, Iceland, the Faroe Islands, Norway, Ireland and Great Britain. With hooked black beaks and black and white bodies, the great auks were indeed visually similar to the modern day penguin. Although not closely related, the birds now known as penguins were in fact later discovered and so-named by sailors because of their physical similarities to the Pinguinus impennis.
A pair of large Continental silver cockerel and hen table ornaments, realistically modelled, with finely detailed feathers, import marks for Israel Segalov, London 1932, heights 22.5cm and 21.5cm. £2,000-3,000 --- Israel Segalov was an importer, trading as a jeweller and silversmith of Black Lion Yard, Whitechapel, London EC1.
A pair of large silver and parcel gilt pheasant table ornaments, 20th century, realistically modelled, with finely detailed feathers, stamped ‘STERLING’, import marks for Israel Freeman & Sons Ltd, London 1970, heights 22cm and 15cm. £1,000-£1,500 --- Israel Freeman & Son Ltd worked in London at the beginning of the 20th century, moving to New York City in the 1920s. The company was still in business in New York City in 2006 and run by a mother and daughter team, descendants of Isaac Freeman.
A Dutch silver decanter modelled as a barn owl, late 19th century, with glass bead eyes and detachable head, enclosing a lipped pierced grill, import marks SBL for Samuel Boyce (or Boaz) Landeck, London 1898, the pierced grill stamped with Dutch standard sword mark (in use between 1814-1905), height 28.5cm. £4,000-£6,000
A set of four silver owl menu holders, by Sampson Mordan & Co., Chester 1913, realistically modelled, with glass eyes, mounted on circular bases, three numbered ‘20’ to underside of base, one numbered ‘11’, all stamped with Registration No. 433091, with case, height 3.3cm. £300-£500
A silver mounted desk paperweight of ‘Bristol Bulldog’, by John Henry Hill, London 1935, of rectangular form, the glazed top mounted with a model of a bulldog,enclosing tricoloured panels of blue, white and red, raised on stepped base, the side containing a pull-out silver paperknife/letter opener and two propelling silver pencils, base loaded, dimensions 12.8 x 7.8cm. £300-£500 --- The Bristol Bulldog was a British Royal Air Force single-seat biplane fighter, designed in the 1920s by the Bristol Aeroplane company. The wheel hubs and propeller bosses were in the Flight colours. The Flight colours were blue, white and red. More than 400 Bulldogs were produced for the RAF and overseas customers, and it was one of the most famous aircraft used by the RAF during the inter-war period.
A pair of Victorian silver lion salts, by Daniel and Charles Houle, London 1872, of similar design to the British Museum lions, the seated lions with pull off heads, raised on lozenge-shaped bases, height 7.2cm. £3,000-£5,000 --- Although not identical, these silver lion salts closely resemble the cast iron lion sculptures that were positioned on the cast iron railings outside the British Museum, designed by Alfred Stevens in 1852. Alfred George Stevens (1817-1875) was born in Blandford, Dorset, the son of a decorator and joiner. By the age of ten, he was working in his father’s shop as an assistant. In 1833, Stevens travelled to Italy and studied in Naples, Bologna, Siena, Pompeii, Rome, Florence and Venice, remaining in Italy for nine years. While in Rome, he attended the Accademia di Belle Arti and was also employed by the Danish sculptor, Bertel Horvaldsen. Upon his return to England, the young Stevens was hired as a tutor by the School of Design, Somerset House, London. He stayed there until 1850 when he became the head artist at H. E. Hoole and Co in Sheffield, a company that specialised in bronze and metal objects. In 1852, Stevens returned to London, at which time he designed the vases on the railings and the cast iron lions for the dwarf posts in front of the British Museum. The main gates and railings of the museum were installed in May 1852, and a second lower set of railings were erected outside the inner railings, to mark the museum’s boundary, and these were ornamented at intervals with the 25 small cast iron lions, approximately 35cm in height. The story recounted by the British Museum recalls the “regal posture (of the lions) was inspired by a particularly impressive cat belonging to one of the sculptor’s friends”. When the lions are removed in 1896, some were installed on the railings around the Wellington monument in St Paul’s Cathedral.
An Edwardian silver salt modelled as a baby chick, by Sampson Mordan & Co, Chester 1906, the chick realistically modelled, with open mouth, height 39mm, and two Norwegian silver novelty pepperettes, designed as a penguin and polar bear, by David Anderson, circa 1940, both signed ‘David Anderson Sterling Norway’, penguin height 67mm, polar bear 53mm. £150-£200
A Victorian silver gilt Trophy Ewer, presented for the King’s Cup, Royal Yacht Squadron Regatta, Cowes 1901, Won by Rupert Guinness’s ‘Leander’, the ewer by Robert Garrard, London 1875, the base by James Garrard (R & S Garrard & Co), London 1899, the ewer modelled after John Flaxman’s design for Wedgwood, entitled ‘Sacred to Neptune’, the triton, representing Water, its arms encircling the neck of the ewer, before a dolphin’s mask, suspending a festoon of rushes to either side, with entwined handle, the body engraved with the inscription: ‘WON BY RUPERT GUINNESS’S ‘LEANDER’, AUGUST 10TH’, with lobed decoration below, knopped stem and fluted spreading foot, the ewer mounted on a square section silver gilt pedestal plinth, applied to one side with the Royal Coat of Arms, the front engraved with presentation inscription: ‘ROYAL YACHT SQUADRON REGATTA COWES 1901. THE GIFT OF HIS MAJESTY THE KING.’, the plinth stamped ‘R & S GARRARD & CO. HAYMARKET. LONDON’, height of ewer: 44cm, height of plinth: 14.5cm. £4,000-£5,000 --- ‘Leander’ In the 1880s, yachting had become a popular sport amongst the aristocracy, led by Albert Edward, Prince of Wales, with Cowes Week becoming the focus of lavish entertainment and competitive racing. The Guinness family took to the new sport with enthusiasm. The Hon. Rupert Guinness himself was a keen yachtsman, and member of the Royal Yacht Squadron. Rupert Guinness owned the fine 98-ton, 90 foot yawl named Leander designed by Arthur E. Payne, and built by Messrs. Summers and Payne in the winter of 1889/1900. On 10 August 1901, Rupert Guinness won the prestigious King’s Cup at the Royal Yacht Squadron Regatta, Cowes with Leander. The Sphere Magazine, issue dated 17 August 1901, (an illustrated weekly magazine first published in 1900), printed a photograph of Leander in full sail, captioned beneath: ‘THE “LEANDER”, WINNER OF THE KING’S CUP AT COWES Five yachts, including the German Emperor’s “Meteor” started on Saturday for the King’s Cup, which was won by the Hon. Rupert Guinness’s yawl, “Leander”. She is a fine typical cruiser designed by Payne and built in the winter of 1899-1900, but launched early this year on the return of Mr. Guinness from the front.” The following year in June 1902, Leander was placed second in the Heligoland Cup, the Dover to Heligoland yacht race, (the brainchild of King Edward VI’s cousin, Kaiser Wilhelm, a race open to any cruising yachts of over 70 tons, being a member of any of the Royal or recognised British yacht clubs, built in Britain and owned by a British subject). Leander also competed in the Cowes’ King’s Cup the same year, finishing fourth, the winner being Brynhilde owned by Sir James Pender. Rupert Guinness, 2nd Earl of Iveagh Rupert Edward Cecil Lee Guinness (1874-1967) was the eldest of three sons of Edward Cecil Guinness, 1st Earl of Iveagh, the wealthy Anglo-Irish brewing family. Rupert was educated at Eton and Trinity College, Cambridge. At Eton he had a brilliant rowing career, winning the School Sculling in 1892, rowing in the Eton Eight of 1893, which won the Ladies Plate at Henley. He won the Diamond Sculls at Henley in 1895, and again in 1896, and the same year he also won the Wingfield Sculls, making him the undisputed leading amateur oarsman of his day. Rupert Guinness saw active service between 1899-1900 in the Boer War. He was mentioned in dispatches and awarded the CMG in 1901. In 1928, on the death of his father, he became the 2nd Lord Iveagh, taking up the family seat of Elveden Hall, Thetford, Norfolk, (his father had purchased the property in 1894 from the executors of the will of the Maharaja Duleep Singh, following his death in 1893). A businessman, politician and philanthropist, Rupert Guinness was to take a keen interest in agricultural and medical research, and amongst Rupert’s many achievements number the founding of the Guinness World Records, first published in 1955 and an annual publication now published in more than 100 countries and 37 languages. * * * The design of the Trophy Ewer offered here for sale is one of a pair entitled ‘Sacred to Neptune’, and ‘Sacred to Bacchus’, representing Water and Wine, after John Flaxman, the plaster models supplied by Flaxman to the factory of Josiah Wedgwood in March 1775. The ornamental ewers were produced in different coloured clay bodies, including black basalt and blue and white jasper. These designs were, in turn, based on bronzes from the French sculptor, Michel Sigisbert-François (1728-1811). An example in black basalt can be seen at the V & A Museum (on display in Room 138), circa 1840, after the model made in 1776.
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