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Lot 469
Two silver hallmarked presentational cups, both unengraved (hallmarked Birmingham 1929 and 1928), together with a silver hallmarked cigarette case (hallmarked Birmingham 1938), a pair of hallmarked silver sugar tongs and a Victorian silver stick pin. Largest cup with weighted base. Measures 17cm tall.
Lot 119
A Small Quantity of Jewellery, including a diamond stick pin, the old cut diamond in a white claw setting, stamped '750', length 6cm; a garnet pendant, the double rows of round cut garnets in heart form, stamped '800', measures 2.3cm by 2.2cm; four blue glass studs, each stud measures 0.7cm by 0.5cm; a quartz brooch, length 6.7cm and three loose gemstones comprising of a citrine, moonstone and blue glassDiamond stick pin - 1.5 grams. Garnet pendant - in our opinion is silver gilt, 3.0 grams.
Lot 39
Rare limited edition hand painted mini box is a double hinged version of Sydney Australia's world famous and distinctive opera house. Both clasps are bars. One compartment reveals gold hockey stick. A ticket to the opera Carmen painted on other. Elda Creation Peint a La Main Limoges France. Issued: 20th c. Dimensions: 3"L x 2.5"W x 2.5"HManufacturer: EldaCountry of Origin: FranceCondition: Age related wear.
Lot 160
19th century antique Chinese painting, hand-painted in water colors on a pith surface, bordered by strips of silk fabric, attached to paper Paper dimensions: 24x35 cm, Frame dimensions: 26x37 cm. (* Pith is often mistakenly described, by those unfamiliar with the material, as rice paper. However, this surface on which they painted in China has nothing to do with paper in its structure and behavior. It is actually a sheet of inner bark derived from the pith plant, the Tetrapanax Papyrifer The unusual structure of the core of this plant, which creates a 'leaf' or such a thin surface, gives the transparent nature and soft surface with its velvety inner texture on which Chinese artists paint in watercolor. The colors were applied in diverse ways and created wonderful effects between transparency and opacity. Some of the strokes are light strokes - the colors stick to the edges of the cell and maintain the quality of the transparent support. Thicker applications of color on the peat tend to fill the cell of the plant, creating a more compressed effect as body paint. Additional colors, mainly red and white, were painted when they are raised from the surface and provide a three-dimensional effect. These may have been created by mixing shellac with watercolor. And these have a higher tendency to crack. Although peat seems similar to paper, it is actually a very thin sheet of wood that can easily break. The spongy and soft surface is easily damaged. Even the slightest pressure can change its structure and create all kinds of marks and changes on the surface. In addition, it is extremely sensitive to moisture, and moisture causes expansion and contraction that cause serious damage. Also, the colors themselves are sensitive to water, so any exposure to direct moisture should be avoided. Chinese peet paintings usually suffer from deficiencies, tears or cracks in their support for the painting itself, caused by the natural fragility of the peet during its aging as a raw material, many times the cracks and tears are caused by the stress caused by the traditional assembly method in China, which used a drip of glue and strips silk that framed the edges of the paintings. - from the Aguspedia). ** Attached for illustration is a screenshot from a sales house abroad with similar items and their price. Period: 19th century (1800-1900)
Lot 183
Y FOUR JEWELLERY ITEMS To include an 1840s pearl, seed pearl and mother of pearl bow brooch, with brooch fitting; together with an Edwardian half seed pearl set crescent bar brooch; a gilt metal early 20th century whistle; and a simulated pearl stick pin Size/dimensions: first brooch 4.5cm wide Gross weight: 14.2 grams Condition Report: As found Condition Report Disclaimer
Lot 403
A Stuart Linford oak dining table, the plain top over a single frieze drawer on turned tapering legs in the Victorian manner, 106.5 cm wide x 75 cm deep x 75.5 cm high, together with a set of four Stuart Linford oak stick back saddle seat dining chairs in the Victorian taste, on turned and ringed legs united by stretchers CONDITION REPORTS Whilst basically sound, the table top appears to have some fading/discolouration along one edge either caused by water damage or rubbing down of a stain possibly. There are some other areas of discolouration along the join to the top. Some scuffing to the base of the legs but over all solid condition. The chairs all appear to be in basically good condition though with some minor signs of wear and tear conducive with day to day use - see images for further details
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133752 item(s)/page