There are 400830 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Diamond five-stone ring, VictorianSet with a graduation of old round brilliant-cut diamonds, with rose-cut diamond accents, to a scrollwork gallery, with plain hoop, size N, estimated total diamond weight approximately 1.00-1.25ctsFor further information on this lot please visit Bonhams.com
PAIR OF SUBSTANTIAL AND IMPOSING STONE COMPOSITION GARDEN URNS ON PLINTHS, second half 20th century, each with a shallow domed top above a waisted neck, the spiral stop-fluted ovoid bodies each with twin vacant plaques, on waisted shafts and square bases, 124cm high; the square section pedestals panel moulded to each side, 100cm high, 66cm wide; the overall height, 224cm Note: These urns are in the manner of a design by William Kent, his original pattern having been for a scheme in Alexander Pope's garden at Twickenham. The design is illustrated in Vardy's 'Some Designs of Mr Inigo Jones and Mr William Kent', 1744. Pope's gardens, overlooking the River Thames and laid out over some 25 years, became one of the most original contributions to garden design of 18th and 19th century England Cf: Christie's South Kensington, 'The Country Seat', 22nd June 2000, lot 58, a very similar pair
GROUP OF FIVE INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a circular black button with a Roman head in low relief, 1.3cm diameter; an amber coloured oval example engraved 'M & W', 1.8cm wide; an amber coloured oval example depicting Cupid driving a two-horse chariot, 1cm wide; a green oval example depicting Fortuna holding balance scales, 1.2cm high; an engraved amethyst stone intaglio loosely depicting a horse, probably ancient, 1.8cm wide; a Victorian engraved bloodstone seal disk, with monogram, 1.1cm diameter; three Tassie plaster portrait reliefs; a white ceramic profile relief in Classical style; and two other items Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
GROUP OF SIXTEEN RED COMPOSITION INTAGLIO CASTS, probably by Tassie, mostly formed as doubles, being obverse and reverse of ancient coins, all within gilt card borders, the largest 8cm wide; a black wax seal cast fragment; two red wax seal imprints; a near eastern engraved stone toggle, possibly ancient: a pair of faceted carnelian cuff links; three small metal desk seals and other items, all within a painted wood and glazed case, the case 52 x 41cm Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
PAIR OF GRAND TOUR SOUVENIR NEAPOLITAN BRONZE MODELS OF ROMAN KANTHAROI, late 19th century, after the Roman silver 'Centaur cups' excavated at Pompeii, each with twin looped handles rising from the rim and descending past ovoid bodies cast in high relief with centaurs and amorini, the slender stems each on a shallow domed foot; later mounted atop square section polished black stone bases; the bronzes 16.5cm high, the height overall 21cm Note: In the Spring of 1835 after decades of upheaval, the Neapolitan government ordered the resumption of excavations in Pompeii, specifically in a street which would later be named the Strada della Fortuna, and at a house that would be called the Casa dei Vasi d'Argento (House of Silver Vases). A breathtaking hoard of fourteen vases comprising two silver Kantharoi embossed with centaurs and cherubs, upon which the current bronzes are based, was unearthed. The treasure was transferred to the Museo Archeologico Nazionale of Naples, where they still reside
A Fine & Rare Chinese Straits Silver Sireh Box, 19th Century, H.G.Beasley Collection. A tobacco or betel-nut box with hinged cover. The box covered in embossed decoration of high quality workmanship. The centre of the cover being a separate roundel of filigree surmounted by a semi-precious stone. Diameter of box 7cm.Provenance: from the well-known H. G. Beasley Collection. Harry Geoffrey Beasely assembled his collection between 1895 & 1939. Following his death in 1939 the collection was widely dispersed with many pieces going to the British Museum, such was the quality of the collection. The accompanying label suggests this box was acquired from the “Wray Collection” in 1938.Also from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.For reference and details of similar items see the 1984 book “Straits Chinese Silver” by Ho Wing Meng.Note: this is one of six lots of Straits silver from the H. G. Beasley Collection we are offering.
the first a ruby two stone crossover ring, with round cut rubies claw set to coronet galleries, the shank forming a serpentine line between, unmarked white metal, size K-L; the second a trefoil of even sized round cut diamond, ruby and light blue sapphire, the stalk with a further small diamond, unmarked yellow metal, size I½; the third a line of five round cut sapphires with round brilliant cut diamond points in the interstices, hallmarked 18ct white gold, London 1975, size M½ (3)
the necklace strung with small faceted onyx beads with occasional dyed green beads and gilt spacers, suspending from the front a pear cut green stone and Moor’s hat feature set with lilac coloured stones, and holding a tassel of smaller onyx beads, length of necklace 90cm, of pendant 12cm; also a pair of pendant earrings each with a long briolette onyx beneath a dyed green bead, hook fittings, length 6.0cm (2)
the first set with a large oval cut London blue topaz, claw set in a bombé pierced gold mesh tapering into the polished shank, size R, Sheffield import hallmarks for 14ct gold, 1994, maximum width of ring 2cm, cased; the second a 19mm long oval cabochon simulated turquoise, each shoulder overlapping the central stone and set with three marquise cabochon lapis lazuli leaves, all collet set, plain slightly tapered shank size Q, Birmingham hallmarks for 9ct gold 2010, cased (2)
the first with hook fittings holding a round cabochon moonstone and suspending an abstract drop with wirework top and two round brilliant cut diamonds with an oval cabochon collet set below, length 4.3cm, cased; the second pair single stone, each post with a claw set oval cabochon opal, cased (2)
the first with a single stone round brilliant cut diamond in a raised setting with tapered patterned shoulders, 9ct gold, London 1977, size M; a single stone oval cut tanzanite, four claw set between double S scroll shoulders, 9ct gold, Birmingham 2007, size N; and an oval garnet cluster ring with a central oval cabochon in a textured plaque with eight smaller round cabochon garnets around, Birmingham common control hallmark for 9ct gold, size P; all three separately cased (3)
each designed as a three row low pointed arch, with a line of round brilliant cut diamonds between rows of round cut rubies, all in raised linear galleries, the ring with a plain tapered shank size N, the earrings with threaded posts and screw-on disc butterflies, yellow metal stamped '14k, 585', boxed, length of each stone set feature 1.7cm (2)
Loading...
