We found 64936 price guide item(s) matching your search

A pair of Chinese spinach green jade bowls, 12cm in diameter

Paar Ohrgehänge im Art Déco-Stil Silber, vergoldet, gest. 925. Schauseitig besetzt mit schwarzem Onyx, roter Koralle und großen hellgrünen Jadetropfen mit Drachendekor in Ajour. Ges.-Gew. ca. 20,72 g. A pair of earrings set with jade, coral and onyx, in gilded silver.

A yellow metal mounted (tests as gold) opening dark green figured jade bangle, 7.5cms dimeter.

A carved jade / hardstone bead necklace with yellow metal clasp.

A Chinese bronze rui sceptre with inset green stones (not jade), 27cms long.

Two carved jade like pendants, each depicting a figure, 6cms and 5.5cms long (3).

A large pair of apple green jade beads, 2.4cms diameter; together with a pair of mutton fat jade carvings depicting flowers in vases, one on a hardwood stand (a/f) (3).

A Chinese jade / hardstone archers ring with later applied metal mounts, 3cms diameter; together with a metal finger guard and a jade carving of a panther type beast within foliage.

A Chinese jade group depicting a seated woman with a basket beside an animal, on a hardwood stand, 4cms high.

A Chinese jade pendant decorated with figures holding a scroll under a flowering tree and calligraphy to verso, 5.5cms high; together with a Chinese carved amethyst archaic style vase on pierced hardwood stand, overall 13cms high; and a carved amethyst temple lion on a hardwood stand (3).Condition ReportThe amethyst vase has been repaired around the base and the temple lion has losses and a break on the back left leg.

A Chinese pierced jade / hardstone pendant in the form of a butterfly. 7cm wide

A JADE RING, an oval jade in a claw setting, to fancy buckle strap shoulders and a scrolling under-bezel. Marked '9', with character marks, possibly Japanese, ring size K, 5.7 gramsCONDITION REPORTGood overall condition. The jade measures 188mm x 12mm approximately.

A 14 CARAT GOLD JADE RING, an oblong-cut jade in a closed back bezel setting, to a tapering shank. Hallmarked Edinburgh, ring size S1/2, 4.5 grams CONDITION REPORTGood condition.

A 9 CARAT GOLD JADE PENDANT AND EARRING SET, the pendant set with a cylindrical jade to a decorative bail, the earrings suspended from character surmounts, with post fittings. Hallmarked Birmingham, pendant 3.5cm long, earrings 2.5cm long, 7.2 gramsCONDITION REPORTGood overall condition 

A GROUP OF JEWELLERY AND COINS, including; A DIAMOND THREE STONE RING, estimated total diamond weight 0.15ct, marked '18CT&PLAT', ring size J1/2, 1.4 grams; A 9 CARAT GOLD CAMEO RING, ring size J, 2.4 grams; TWO VICTORIAN SILVER BROOCHES; THREE NECKLACES; TWO BROOCHES; TWO STICKPINS; A JADE RING; AND THREE SILVER COINS (Qty)

A GROUP OF JEWELLERY, including; A CORAL BEAD NECKLACE; A CORAL BROOCH; A MICRO MOSAIC BRACELET; CAMEO AND ENAMEL BROOCHES in gilt frames; A JADE BANGLE; A SIMULATED CORAL BANGLE; AN ORANGE PLASTIC BEAD NECKLACE; A RED BAKELITE BEAD NECKLACE; A PAIR OF BUTLER & WILSON PASTE PENDANT EARRINGS (Qty)

9ct gold ladies ring set with a jade centre stone: size J, 2.2g:

A Chinese ruyi sceptre, 20th century, the wood handle inset with shaped jade panels carved with scrolls, 49cm longWood with surface scratches and small cracks, minute knocks to edges. Signs of glue.

A Chinese blue-glazed cong vase,Guangxu (1875-1908), of archaic jade form, the square body rising from a short foot to a narrow tapering circular neck, flanked by two elephant-head handles with suspending rings, covered all over with an unctuous blue glaze, six-character Guangxu mark to base,29.5cm high For a similar lot, see Christie's London, 3 November 2020, lot 186, and Christie's Hong Kong, 27 May - 11 June 2021, lot 3240.清光绪 祭蓝釉象耳琮式瓶 《大清光绪年制》楷书款Surface scratches to corners.

A Chinese cong vase, Republic period (1912-1949), heavily potted after the archaic jade form, the square body rising from a short circular foot to a narrow tapering circular neck, moulded to each corner with bagua (Eight Daoist Trigrams) in two tiers framing in the centre of each side an undulating band, covered overall with a crackled opaque beige glaze, six-character Yongzheng mark to base,28cm high民国 八卦纹琮式瓶 《大清雍正年制》青花楷书款The shoulder with a burst glaze bubble. Minute chips and surface scratches to foot rim.

A Chinese jade pendant,late Qing dynasty, of rectangular form, pierced and carved with a bat above a double-xi character surrounded with scrolls, the stone of greyish-white tone, 6.1cm long 清晚期 玉雕囍字纹珮Minute chips to edges.

A Chinese jade cup,Qing dynasty (1644-1911), of cylindrical form on an everted foot, plain, the stone of greyish-white tone,6.3cm high清 玉杯Minute chips to foot rim.

A MODERN CHINESE JADE VASE AND COVER, CONTAINED IN A SILK BOX.

CELADON JADE 'FISH CAGE' BRUSH WASHER QING DYNASTY, 19TH CENTURY 清 青玉帶皮雕魚籠蝦蟹筆洗 carved as an oval bamboo-woven fish cage, the base supported by a pool of swirling waves, the sides further adorned with a fish, two crabs and a lotus bud popping out from the waves in high relief, the stone of greyish celadon tone with russet patches(9cm wide )

CELADON JADE WITH RUSSET SKIN 'TIGER' WATER POT QING DYNASTY, 19TH CENTURY 清 青玉帶皮雕虎形水丞 carved in the round in standing pose, the head looking straight forward with snarling expression, the body and legs incised with swirling pattern, the back with a circular aperture leading to a concave space for containing water, the stone of uneven celadon colour with russet streaky inclusions, resembling the natural tiger skin(6.5cm wide)

WHITE JADE WITH RUSSET SKIN CARVING OF WATER POT QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕童子水丞 carved in the round as a large bamboo basket surrounded by a playful boy, a crab and a blossoming lotus, the white jade with sections of russet skin(6.5cm wide)Provenance: Private collection, England, has been collecting Chinese jades for over 20 years

WHITE JADE 'LINGZHI' FLOWER POT QING DYNASTY, 19TH CENTURY 清 白玉雕靈芝花插 carved in openwork in the form of a branch of lingzhi sprig, with a large lingzhi head, a flower bud and leaf-form tubular vessel issuing upwards from the sprig, the stone of translucent white tone with some russet patches(11cm wide )

WHITE JADE 'BOY AND RUYI' WATER POT QING DYNASTY, 18TH CENTURY 清 白玉雕平安如意童子水丞 carved as an oval vase with a ruyi cloud mouth rim, flanked and carved in high relief on one side with a joyous seated boy holding a lingzhi sprig, the opposite with a chi dragon crawling upwards, further incised with a ruyi cloud pattern on both sides, the stone of creamy white colour with light russet patches(7.5cm wide )

WHITE JADE 'TURTLEDOVE' STAFF HEAD WESTERN HAN DYNASTY 西漢 白玉雕鳩杖首 carved in the round as a turtledove with a long beak and looking backwards, the body finely carved in low relief with feathered wings, the flattened base carved with a circle and two apertures for fitting onto staff, the translucent white stone with a slight green tinge and russet inclusions(5.5cm wide)Note: a closely comparable example, also dated to the Western Han dynasty, is in the collection of the National Palace Museum, Taipei, no. 購玉 270

CELADON JADE WITH RUSSET SKIN CARVING OF A TIGER MING DYNASTY, 17TH CENTURY 明 青玉帶皮雕虎形擺件 carved in the round in seated pose, its head turned towards its right and biting its own tail curling around its rear hind, the face vividly carved in relief with bulging eyes and pointed nose, the body delicately incised with parallel lines as tiger skin, the back has an aperture running through the body, the stone of uneven celadon colour with russet streaky inclusions, resembling the natural tiger skin(5cm high)

WHITE JADE WITH RUSSET SKIN CARVING OF A MYTHICAL WINGED ANIMAL QING DYNASTY, 18TH-19TH CENTURY 清 白玉帶皮雕翼獸擺件 帶木座 carved in the round with its legs tucked underneath its body, the body finely carved in relief with spread wings, the horned head well defined with bulging eyes, the stone of even white tone with some russet skin, with a fitted wooden stand(8cm wide)Provenance: Private European collection

CELADON JADE 'TORTOISESHELL' PENDANT MING DYNASTY, 17TH CENTURY 明 青玉雕龜甲吊墜 carved in the round in the form of a naturalistic tortoiseshell on both sides, an aperture running through the centre, the stone of uneven brownish celadon colour with black streak inclusions(7.2cm high)

CELADON JADE WITH RUSSET SKIN CARVING OF A TOAD MING DYNASTY, 17TH CENTURY 明 青玉帶皮雕蟾蜍擺件 naturalistically carved in the round with four legs tucked under its body, and with circular holes on its back and bulging eyes carved in relief, the stone of uneven celadon colour with brown and orangy patches on its back and legs(7cm wide )

YELLOW JADE CARVING OF A QILIN QING DYNASTY, 18TH-19TH CENTURY 清 黃玉雕麒麟擺件 well depicted recumbent with the hind legs and front left leg tucked beneath the body, the right leg against the ground, rendered with its head looking straight ahead, the horned beast further detailed with bulging eyes, curled whiskers and a winged body, the stone of a yellowish celadon colour highlighted with russet veins(10.2cm wide)

PALE CELADON JADE CARVING OF A QILIN AND CUB MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清 青白玉提油雕麒麟帶子擺件 carved with a unicorn qilin together with its cub, both in the recumbent position, the minutely carved head looking backwards to the cub, the stone of uneven celadon and black colour(5cm wide )

WHITE AND RUSSET JADE 'TAOTIE' CUP WITH DRAGON AND CHILONG HANDLES MING DYNASTY, 16TH-17TH CENTURY 明 白玉提油仿古饕餮紋倭角海棠式龍首杯 raised on a stepped ring foot, the quatrefoil form cup carved in low relief on either side with an archaic taotie mask flanked by a stylised phoenix head, the vessel flanked with a chilong clambering up from the bottom to the slightly everted rim on one side, the other side carved with a protruding horned dragon head forming handles, the creamy-white stone has some dark brown russet section, with a fitted wooden stand(18.5cm wide)Provenance: Private collection, England, has been collecting Chinese jades for over 20 years; Previously in a private Swiss collection

WHITE JADE CARVING OF A TIGER DEITY QING DYNASTY, 18TH CENTURY 清 白玉雕十二生肖虎官座像擺件 depicting one of the Chinese zodiac animals, the upright-seated tiger deity with human-form body in incised robe, holding a flower basket in his right hand, the stone of even translucent whitish colour(4.6cm high)

AGARWOOD NECKLACE 沉香木念珠 comprising one hundred and eight agarwood beads spaced with red beads and adorned with jade and tassels, with a square wooden box(0.5cm diameter each bead)

WHITE JADE 'PHOENIX AND CHI DRAGON' LIBATION CUP QING DYNASTY, 19TH CENTURY 清 白玉雕鳳凰螭龍犀角杯 in the archaic style, the horn-shaped cup finely carved with a phoenix's head on its narrower end, the bird's scaled body and feathered wings minutely carved in low relief on either side, a chi dragon crawling upwards the mouth rim that further incised with a band of key-fret pattern, the stone of even translucent white tone(8cm high )

WHITE JADE WITH RUSSET SKIN CARVING 'DOUBLE-GOURD WITH BAT' PENDANT QING DYNASTY, 19TH CENTURY 清 白玉帶皮巧雕福祿雙全吊墜 finely carved of a double-gourd form, decorated with a further gourd and a flying bat in high relief, the stone of even white colour, the bat highlighted in russet colour with the original stone skin(6cm high )

WHITE JADE CARVING OF A TIGER PENDANT QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕虎形珮 the circular pendant carved in the form of a tiger biting its own tail, the stone of even white tone(3.5cm wide)Provenance: Private collection, England, has been collecting Chinese jades for over 20 years

WHITE JADE 'MELON AND BUTTERFLY' PENDANT QING DYNASTY, 18TH CENTURY 清 白玉雕瓜瓞綿綿吊墜 finely carved and pierced as a leafy stem bearing two ripe melons, a butterfly perched upon one of the fruits, the stone of even white tone with the russet inclusions cleverly worked into the carving to highlight the butterfly(5cm high )

PALE CELADON JADE 'MONKEY ON HORSE' CARVING QING DYNASTY, 19TH CENTURY 清 青白玉馬上封侯把件 carved in the round with a recumbent horse turning its head backwards to face the monkey seated upon its back, the monkey playfully holding the horse's reins, the stone of even pale celadon colour with minor white inclusions(6.6cm wide)Provenance: Private Scottish collection, Perthshire

CELADON JADE 'BOYS AT PLAY' BALL MING DYNASTY OR LATER 明或以後 青玉雕嬰戲紋珠 carved in relief with boys in dance or riding on a large goose, together with an auspicious deer and bird in flight, all against a billowing cloud ground, a perforation piercing through the ball, with a wooden stand(4cm diameter)Provenance: Private collection, England, has been collecting Chinese jades for over 20 years

MUGHAL STYLE PALE CELADON JADE HANDLED BOWL QING DYNASTY, 19TH CENTURY 清 青白玉雕痕都斯坦式花葉紋雙柄碗 the delicate body intricately carved in low relief on the exterior with a band of acanthus leaf, the tip rising from the rim and curling to form a pair of bud-form handles, the deep round body supported on an intricate rosette foot, further encircled by a band of acanthus leaves, the stone of even and translucent pale celadon colour with light occasional cloud inclusions(16cm wide)Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018) Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996. The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain. Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents. Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army. When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax. The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022.

MUGHAL-STYLE WHITE JADE 'CHRYSANTHEMUM' BOWL QING DYNASTY, 19TH CENTURY 清 白玉雕痕都斯坦式菊紋碗 elegantly carved with steep and gently flaring plain sides, supported on a medallion of a blossoming chrysanthemum, the thin polished stone of even and translucent white colour with light occasional cloud inclusions(12cm diameter)Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018) Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996. The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain. Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents. Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army. When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax. The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022.

FAMILLE ROSE 'HORSE' ALTAR EMBLEM QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆款 粉彩七珍勝馬寳供 of columnar form, on top of the drum-shaped podium surmounted by a horse standing on all fours covered with a cloth bearing a stand, the podium raised on an openwork foliated stem issuing from a double-gourd flanked with ribbons supported on a dome foot painted with dragons, the base with a six-character Qianlong mark within double squares in iron-red(23.2cm high)Note: The present alter emblem is one of the Seven Regal Treasures, Qizhenbao, in Buddhism. These Seven Treasures, also known as the Seven Jewels of Royal Power, as described in the Buddhist sutra, were brought to earth by the Universal Monarch- Chakravartin. These saptaratna serve as the indispensable symbols for the governance of a 'wheel turning sage king'. They include the Elephant, symbolising sovereignty and opulence; the Wheel, representing the Buddhist doctrine; the Horse, representing facility in war and mobility; the Wish-Granting Jewel; the Queen who serves as the virtuous wife to the king; the Minister who is responsible for the welfare of the people; and the General who holds authority over the military troops for peace. A comparable example of a famille rose horse altar emblem, Qianlong mark and period, was sold together with an elephant altar emblem, at Christie's London, 8 Jun 2004, lot 437; Two famille rose 'Minister' and 'Woman' altar emblems, Qianlong mark and period, were offered at Sotheby's Hong Kong, 08 October 2008, lot 2608; a pair of 'Flaming Pearl' altar emblems, Qianlong mark and period, were offered at Sotheby's Hong Kong, 04 October 2016, lot 106. A number of sets of the ‘Seven Regal Treasures’ are known in various materials; for example a rare group of seven imperial cloisonne enamel, gilt bronze and white jade alter emblems, in which three are the Seven Treasures, and four are the Eight Buddhist Emblems, dated to Qianlong period, were sold at Christie's, 3 Dec 2008, lot 2601; a parcel-gilt full set of Seven Regal Treasures are in the collection of Bodhimanda Foundation, accession no V-851

SPINACH JADE PANEL INCISED WITH ARHAT, THE FIGURE OF ARHAT AFTER DING GUAN PENG QING DYNASTY, 清 碧玉描金御題詩第四嘎禮嘎尊者圖玉片 finely incised and gilded, depicting the fourth Arhat Kālika (Galiga zunzhe) seated on a jagged rock after a painting by Ding Guanpeng, all below an incised poem extracted from the text by the Qianlong Emperor entitled "Guanxiu hua shiliu yingzhen xiang zan" (Praise of the sixteen luohans painted by Guan Xiu)(14cm x 9cm)Provenance: formerly in a private Paris collectionNote: the translation of the poem: 'Shaking the rock, he leans his knee on it and there takes his rest. It is only this superior being, neither speaking nor silent, who has such eyebrows that trail to the ground. As he pulls them up by hand, does he not seem to be sorting through clouds, and this shows how very fine they are.' A comparable white jade panel incised with sixteen arhats and poem was sold at Sotheby's Paris, 11 December 2014, lot 164

COURT OFFICIAL HAT 頂戴花翎（含玉翎管） of conical form, red threads overlaid the creamy ground, wide edge bound with patterned silk roll, lined in burgundy fabric, topped with a red bead finial and jade tube(34cm diameter)

A jade pendant mounted in yellow metal on a 9ct gold chain plus a pair of large carved jade yellow metal mounted floral style earrings

A graduated jade bead necklace, knotted to a clasp stamped '9CT', length 83cm (a.f.)Gross weight 53.9 grams.

China, drie jade en een groen hardstenen snuifflesje, 19e/20e eeuw, bestaande uit een zeegroene jade snuiffles, een wit geaderd en een crème jade flesje en een gespikkeld groen hardstenen flesje [4] h. 6-7,5 cm China, three jade and one green hardstone snuff bottle, 19th/ 20th century, comprising a seagreen jade snuff bottle, a white veined and a cream jade bottle, as well as a mottled green hardstone bottle

China, vier celadon jade snijwerkjes, bestaande uit een kylin, een haas, een os en een Onsterfelijke [4] l. 4,5-7,5 cm China, four celadon carvings, comprising a kylin, a hare, an ox and an Immortal

China, vier jade snijwerkjes, 19e/20e eeuw, alle verschillend gesneden met chilong en vleermuizen op een vrucht, de steen variërend in kleur van lavendel tot celadon tot crème (chipjes) [4] b. 4-6 cm China, four jadeite carvings, 18th/ 19th century, each variously decorated with chilong and bats on a fruit, the stone varying in tone frome lavender to celadon to cream (small chips)

China, drie jade snijwerkjes, twee gesneden als een ram, een in de vorm van een draak [3] l. 5,5-6,2 cm China, three jade carvings, two carved as a ram, one in the shape of a dragon

An Art Deco style ruby and diamond bar brooch with a central jade roundel, unmarked, 4.5cm long, 4g

A jade bead necklace with 9ct gold clasp, 68cm long, 49g

PARKER DUOFOLD GREENWICH FOUNTAIN PENBarrel in black resin and 18 kts. gold plated decoration.M nib in 18kt yellow gold and 750 ml silver. Screw cap.Cartridge loading.No box.Dimensions: 13.5 cm. length; 19.53 mm. diameter.Parker Duofold is a range of fountain pens produced by the Parker Pen Company.The first model was produced in 1921 and was a large pen, measuring 5.5 inches long when capped. It was made of an eye-catching bright red rubber.The original full-size Duofold was soon joined by the smaller Duofold Junior, Duofold Special and Lady Duofold. While the Junior and Special could also be fitted with the Parker Ring Clip, the Lady Duofold was available with a Chatelaine, or Ring Top to hang around the neck. The Ring Top would also appear on Parker's waistcoat pocket models, to be attached to a fob watch. Matching pens would come with either clip or ring, depending on the pen selected. The pen was available only in red and black hard rubber until 1926, when Parker introduced the "unbreakable Permanite" Duofold (Permanite was Parker's trade name for a plastic manufactured by DuPont). The first new shade was the now traditional red, followed by Jade Green (created to compete with Sheaffer's revolutionary Lifetime Jade Radite pens) which was not originally called Duofold, but Black Tipped Jade (changed shortly thereafter). This was followed by Blue Lapis Lazuli and Mandarin Yellow. In 1928, Moderne black and pearl (black striped pearl) was introduced as a Deluxe model and Parker signified this by the addition of a third cap ring on the cap band instead of the usual two found at the time. In 1930, the Duofold line was simplified with tapered ends replacing the familiar "flat top" style. Additional varieties were introduced: burgundy (red and black pearl); Modern green and pearl (green pearl lined); and finally, green and black pearl (green pearl lined with black).But by the early 1930s, the manufacturer considered the Duofold design to be rather outdated. Parker launched its replacement, the Vacumatic, in 1933, and the Duofold line was moved to the second tier, although it closely followed the Vacumatic design with a slimmer profile, streamlined appearance and a vacuum filling mechanism. Duofolds remained popular in Europe, were produced in the 1960s in different sizes and shades, and were revived in the 1980s as Parker's flagship offering once again. In 1988 (to celebrate the company's centenary), Parker launched the Duofold Centennial series of Pens (Nibs, Rollerballs and Pencils). Later, they introduced the Duofold International line with models that also evoked the classic Duofold design, although smaller than the Centennial. There are also differences in the ink feed systems, changing from their push-button filling mechanism to a cartridge/converter system.

PELIKAN ORIGINALS OF THEIR TIME FOUNTAIN PEN 1935, LAPIS LAZULI LIMITED EDITIONCelluloid barrel of marbled lapis lazuli.Nib M in 18 kts. gold and silver 750 mm.Piston-loaded and rock cap.Limited edition 425/1935.No box.Measurements: 11,80 cm. longitus; 13 mm. diameter.The historic German brand Pelikan has more than 179 years of tradition in the creation of writing instruments of the highest standard.The 1935 Lapis was launched in 2001 as an edition of only 1935 pieces. A marbled lapis lazuli celluloid cap and barrel are married with a knob and piston section made of black hard rubber, and the lapis lazuli colour is as striking as the jade. The piston knob sports an arrow and the cabinet again features an 18-carat gold-plated hanging clip and the double cap bands reappear. The familiar cap features return with the word "Pelikan" in a white filler with the unfilled numbered edition on the reverse. The ink window is dark amber and the nib remains unchanged from previous examples, a writing variant in 18-karat yellow gold.

PARKER DUOFOLD FOUNTAIN PEN MANDARIN YELLOW, LIMITED EDITION.Barrel in resin with yellow lacquer.Nib in 18 Kts yellow gold, tip F.Limited edition.No box.Measurements: 13.5 cm in length; 19.3 mm in diameter.Duofold Mandarin Yellow is the reinterpretation of Parker's first iconic model, introduced in 1927. Each piece is numbered from 1 to 1088, making this edition a very exclusive item. The top of the cap features a unique stamp die-cut in solid 18k gold. The modern recreation pays tribute to the innovative spirit of George Parker, founder of the brand. Parker was an incessant traveller, and in one such journey, he found inspiration in a yellow Cloisonne vase that he had the opportunity to view and study in depth while enjoying the exoticism of Japan.The Duofold Mandarin Yellow is still considered an iconic piece of writing instruments as it was the fifth colour added to the collection after the Chinese red, black, jade green and lapis lazuli lacquer. This limited edition features the same curved lucky stripe and identical engravings as the original model.The tribute is completed by a medium solid gold nib, engraved with the brand's retro 1920s logo. Screw cap closure.