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Lot 508
Collection of autographs some in a book, including Reginald Dixon, Harold Secombe, Tommy Steele, Richard Todd, Winnifred Atwell, Patrick Moore, Norman Wisdom - signed photo, letter dated 1978 from Sir John Mills inc envelope, Eddie Murphy, Kenneth Branagh signed British theatre Stratford Upon Avon postcard, Anita Harris, Herbert Lom, George Cole x2, Bill Owen, Rodney Bewes, James Bolan, Patrick MacNee, Stanley Holloway, Gracie Fields, Ben Kingsley, John Thaw, Prunella Scales, Blithe Spirit stars, Dennis Waterman, Professor Jimmy Edwards, Quentin Crisp, Stephanie Powers, Nanette Newman, Anthony Hopkins, Jane Seymour, Liza Goddard, Alec Guinness, Lilian Gish, Za Za Gabor x2, Audrey Hepburn, Susanah York, Bill Maynard, Margaret Lockwood, Wendy Craig, Stan Laurel and Oliver Hardy, Will Hay, Alistair Sim, Margaret Lockwood, Mary Quant, Leslie Phillips, Barry Norman, Peter Cook and Dudley Moore, Wilfred Brambell. [Q]
Lot 19
10 Selwyn browsers 30 x 42 inch suitable for one sheet film posters inc The Fog, X-Files, The Ring, Spirit x2, Singing in the Rain RR x3 d/s, Matrix Revolutions d/s x 4, el Dorado x2, Amadeus d/s, Collateral, Jimmy Neutron x2, Legally Blonde 2, X-men 2 (teaser), 8 mile, Bridget Jones, Terminal, Dogma d/s x2, Rollerball, Evolution, Fight Club x2, Mod Squad, Akira, Oceans Eleven, Catch me if you can, Johnny Mnemonic, Titanic, 101 Dalmatians, Lord of the Rings, Matrix Revolutions. etc mostly EX condition. (10) [OO]
Lot 252
2 comic boxes of mainly Modern Marvel comics some variants titles inc; The Spirit no 1, 3, 4, 5, etc plus Holiday Specials, Spitfire, Squadron Supreme, The Stand (Stephen King), Star Brand, Star-Lord, Star Trek, Doctor Who, Strange Tales, Wonder Woman, 4 - 20, World War III, World of Warcraft, World's finest 1 thru 4, Huntress Power Girl, Worldstorm, Wraith, Wyrms, X, The X Files, X-23 no 2, 3, 4, 5, X-23 Target X 3, 4, 6, X-Babies, X-Club, X-Factor 29, 39, 40, 41, 42, 51, 52, 53, Annual 3, 4 , contains duplicates all NM. (2) [JJ]
Lot 1124
BENJAMIN SMITH III; a William IV hallmarked silver four piece tea set comprising a footed teapot of squat lobed form with raised cast foliate rim and floral finial to the flush hinged lid, with leaf capped loop handle and ivory insulators, length 29cm, a coffee pot, a cream jug and a spirit burner, diameter 15cm, London 1832-1837, combined approx 81.7ozt (4). CONDITION REPORT: Tarnishing, light surface scratches, ivory insulators so cannot be exported outside EU, several small dents to teapot, light surface scratches.
Lot 71
A Stuart Turner steam plant, with Stuart Turner beam engine and horizontal spirit fired boiler. The beam supported on central turned column with single cylinder having 2 inch stroke x 1 inch bore, outside steam chest with steam valve operated from linkage on crank, 7 inch inch diameter spoked flywheel, Watt’s parallel motion and finished in green and red paintwork. The model linked to a Stuart horizontal boiler having fitted pressure gauge, water sight-glass and safety valve. The whole mounted on rectangular plinth 39cm x 32cm. Overall height 32cm.
Lot 234
Battle of Britain World War Two cover signed by Air Comdre. Ronald Ras Berry CBE, DSO, DFC*. The Spirit of Victory in Europe 50th Anniversary 1945 1995. Cover design taken from a painting, RAF Fighter aircraft fly over the English countryside on a summers day. Cancelled Douglas, Isle of Man 8 June 1996. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.95
Lot 513
A SET OF THREE ENGLISH BLUE GLASS SPIRIT DECANTERS AND STOPPERS, EARLY 19TH C each with gilt label, in plated decanter frame with papier mâché base, 25cm h++One decanter with glancing corner chip on edge of the base, another with a similar but smaller chip, the third with polished chip on the pinched lip, slight wear to gilding. The initialled stoppers original but the gilding almost worn off
Lot 267
A Yankton Sioux vest circa 1890, buckskin with glass beads, the white ground with blue, yellow and red tipi and clouds designs to the front and back, with red borders, arm and base fringes, the ties with brass bells, 54cm long. Provenance The Ian West Collection. By repute - acquired from Red Thunder's family, Spirit Lake.
Lot 736
A Papuan Gulf spirit board Papua New Guinea of narrow elliptical form with a knopped top, the front carved a central stylised mask above a circle and sun motif and between spiked chevrons, with earth and white pigment and charred finish, the back inscribed in white 6004 and in yellow NEW GUINEA. WBST.JAN.1899, 111cm long. Provenance William D. Webster, number 6004 Lt. Gen. A.H.L.F Pitt-Rivers, Farnham, Dorset, acquired from the above 1899. Sotheby's, London, Tribal Art, 27th June 1983, lot 94.
Lot 61
PROPERTY OF A CONTINENTAL LADYA MAGNIFICENT DIAMOND RIVIERE NECKLACE, BY MAUBOUSSIN, CIRCA 1955Designed as two graduating rows of round brilliant and baguette-cut diamonds, each side accented by a stylised ribbon of similarly-cut diamonds, mounted in platinum, diamonds 53.06cts total, signed Mauboussin, maker's mark, French assay marks, case stamped 'Mauboussin, 20 place Vandôme, Paris', length approximately 38cmAccording to the invoice of Mauboussin place Vendôme Paris, dated February 20th 1962, the necklace comprises of 19 principal round brilliant-cut diamonds weighing 19.67cts in total, 62 remaining round brilliant-cut diamonds weighing 12.07cts in total and 117 baguette-cut diamonds weighing 21.32cts in total, 'all of top quality'The house of Mauboussin began its days in a humble workshop in the Rue Greneta area in central Paris. Initially established by a Mr Rocher, the firm was taken over by his partner Jean Baptiste Noury in 1869. Having survived the first years of business through a period of tough economic and political instability, Noury began to exhibit the firm’s crafts at international exhibitions and fairs which were popular throughout France and across Europe during the late 19th century. This move proved to be crucial in terms of building recognition for the brand, particularly when in 1878 he was awarded a bronze medal at the ‘Exposition Universelle’ in Paris. Around this time, Noury’s young nephew Georges Mauboussin was quietly working in the background as an apprentice at the firm. Mauboussin moved quickly through the ranks, taking over the management of the workshops in 1883 and taking sole control of the company by 1898. This innovative young man was keenly aware of the need to adhere to the social norms important to his audience and his tireless efforts to align the brand with the social spirit of the time became the key to creating the house that we now know.In 1923, he moved the firm to Rue de Choiseul, taking his place near to the opera district and holding his own against competitors such as Cartier and Boucheron. At this point, in spite of the brewing excitement of the Roaring Twenties, Mauboussin’s clients remained fiercely private so Mauboussin located his new showrooms on the first floor, away from the prying eyes of the public. When it came to what they wore however, these same clients had a taste for the exotic and for the brilliance of the Parisian Art Deco style. Mauboussin again delivered, his skilled workshops constantly sourcing and manipulating the most innovative materials in bold colours - from jade and shellac from the Far East to mother-of-pearl, pearls, coral and lapis lazuli from the Middle East and carved coloured stones from India - to create magnificent stylised forms such as the famed Tutti Frutti brooches and geometric monochrome sautoirs for which the house is still known and recognised. Throughout this time, Mauboussin exhibited widely, showcasing pieces from Milan to Buenos Aires, constantly winning awards for his designs and his tireless work in contributing to the decorative arts, and all the while building the name of his brand. In fact these exhibitions were so successful in terms of marketing and promotion, that Mauboussin held three exhibitions of his own during the late twenties, showcasing the range and quality of gems and precious stones available at his Paris store. These exhibitions drew wide attention including that of the Prince of Wales and the Maharajas of Kapurthala and Indore. Indeed it would be the business of these clients that would help to support the firm through the economic struggles which would follow with the Second World War.Prior to this however, in 1928, Georges’ son, Pierre, opened new stores in New York, London and Buenos Aires. These led to a very prosperous collaboration in 1936 with the New York jeweller Trabert & Hoeffer, which, under the name Trabert & Hoeffer-Mauboussin Inc., set up a flagship store at 407 Park Avenue and later opened branches across the US. It was around this time that the famous “Reflections” line of the 1930s was launched and it immediately enthralled Hollywood’s golden girls including Marlene Dietrich, Paulette Godard and Audrey Hepburn. High-end magazines such as Vogue, Harper’s Bazaar and L’Officiel also regularly featured pieces created by Mauboussin as accessories to gowns by designers such as Lucien Lelong. Captured by famous photographers such as Horst and George Hoyningen-Huene, these served to further enhance the glittering image being broadcast across the world of La Maison Mauboussin.Following the period of the Second World War, there was a distinct change in taste and a move away from the Art Deco style. Mauboussin was quick to adapt to the new appetite for chunkier, less restrained pieces inspired by a fresh post-war optimism. By the 1950s, luxury was making a comeback with the prolific use of diamonds and precious stones adorning pieces in the form of coils and scrolls. The piece being offered in this sale is a classic example of this bold and fantastical style. It is set in a typical fine platinum setting (Paris as the international capital for expertise in jewellery, had been producing platinum settings since the late 19th century) and the lightness of this setting affords and supports the boldness of the design and the number of diamonds without causing discomfort to the wearer. Once again it is a piece which embodies the spirit of its time. Throughout the 1940s and 50s, as the economic landscape continued to improve, Mauboussin’s client base began to expand as disposable income rose amongst the middle class. Suddenly there was no longer a need for secrecy or privacy when shopping and the windows of Mauboussin’s new store at 20 Place Vendôme were opened up in 1946. By 1955, in a bid to embrace the democratization of fine jewellery and echoing the move of their neighbours Van Cleef & Arpels, the firm opened a new ‘boutique’ offering pieces produced on a larger scale and at a more affordable price. This new clientele however still understood the value of the brand and its heritage and was highly selective when it came to quality. It marked the beginning of a new era in jewellery marketing and production.Today, La Maison Mauboussin remains an independent house - a remarkable achievement in an era when almost all family-owned jewellers have been taken over by multinational conglomerates. Owned since 2002 by Dominique Fremont, it has stores in Paris, Japan, Singapore and New York and as a brand, it still remains firmly attuned to the needs and spirit of the time.
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49305 item(s)/page