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Lot 572
A CHINESE JADE PLAQUE, QING DYNASTY, QIANLONG/JIAQING PERIOD carved with a shou character and four surrounding auspicious emblems, including carp, 7.5 x 9.5cm, mounted in the cover of a Chinese engraved brass box, 12cm wProvenance: Major-General Sir Hereward Wake, 13th Bt., CB, CMG, DSO (1876-1963) by whom and his wife presented to a friend and his wife on their Golden Wedding Anniversary in 1938; re-presented by the recipient's daughter in 1958 (following her parent's death) to Sir Hereward's sister, the distinguished historian Miss Joan Wake, CBE, FSA, FR Hist S (1884-1974); Christopher Guy Vere Davidge, OBE, DL (1929-2014) (sold with related correspondence)
Lot 134
A PAIR OF JADEITE JADE, CHROME DIOPSIDE AND DIAMOND EARRINGS, BY MARGHERITA BURGENEREach polished square jadeite jade plaque set at the centre with a rectangular step-cut chrome diopside, within a pavé-set round brilliant-cut diamond border, mounted in 18K gold, diamonds 0.96ct total, chrome diopside 2.80cts total, signed Margherita Burgener, maker's mark, Italian assay marks, maker's case, length 2.3cm Until very recently diopside was well-known only in the realm of serious gemstone collectors. Recently however, the forest-green chrome diopside variety, which is similar to emerald, has begun to appear more regularly on the high-jewellery market.
Lot 136
A PAIR OF JADEITE JADE AND DIAMOND EARRINGS, BY MARGHERITA BURGENEREach designed as a stylised green leaf of jadeite jade with engraved details, set with a central line of round brilliant-cut diamonds, mounted in 18K gold, diamonds 0.14ct total, signed Margherita Burgener, maker's mark, Italian assay marks, with maker's case, length 1.7cm
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.
Lot 198
COLLECTION OF JADE CARVINGScomprising: a grey jade pendant in the form of a flattened bian zhong, chime bell; a chrysanthemum-shaped celadon jade pendant with a central Fu character; a circular grey jade pendant, reticulated with two dragons flanking a phoenix; a jadeite cicada; and a greyish white jade figure of a mythical bird (5)largest 12.2cm long
Lot 201
CARVED AGATE MYTHICAL BEASTQING DYNASTY, 19TH CENTURY in the form of a reclining lion dog with its head turned sideward and its mouth clasping a lingzhi branch, resting on a thick plinth formed by a cluster of lingzhi8cm wideProvenance:Private Scottish collection; purchased from William Clayton Fine Chinese Jade, Porcelain and Works of Art, London, in the 1960s and 1970s.
Lot 15
A Victorian silver repoussé decorated oval box, a small silver pill box, a silver napkin ring, a tortoiseshell mounted magnifying glass, two silver mounted scent bottles, a jade earring and other silver bead necklaces in a mahogany box Condition Report: The magnifying glass has a flat chip to the edge of the glass about the size of a fingernail. The tortoiseshell case has a crack to each side, both issuing from the hinge area.The silver box has light wear and scratched in line with age and usage. The lid fits snugly and the hinge is sound. The interior is silver gilt there is some surface corrosion which looks as if a paperclip has been left there for some time in the past.
Lot 114
A silver cigarette case, the back engraved with a list of Naval Establishments and Ships in which the owner served 1918-27, Birmingham 1918, to/w a small drum mustard, Birmingham 1935, a preserve spoon with (probably) jade handle, Birmingham 1954 and three ivory handled dessert forks with a single knife, Sheffield 1936 (7)
Lot 139
Property of a LadyCartier Paris, A French Cartier Art Deco enamel, jade and diamond set compact, circa 1925, the rectangular case black enamelled throughout and set to the cover with a rose cut diamond leaping antelope beside a jade set tree, the jade clasp opening to reveal mirrored interior (cracked), two powder compartments and a central lipstick, signed 'Cartier Made in France', 6.8cm x 4.5cm, within fitted red and gilt tooled case CONDITION REPORT: Two small nibbles to the enamel on the bottom back corners, some minor surface scratching and wear. Interior mirror cracked - see the additional images for further clarification of the chips.
Lot 551
A Chinese carved jade double peach dish, 11.5cm wide with a Chinese ivory netsuke of a seated tradesman c1900, 2.5cm high (2) CONDITION REPORT: Please note: Trevanion & Dean does not ship items containing ivory outside the EU.The government have proposed legislation to create a UK law to ban the sale of all ivory which is likely to come into effect by the end of 2018. Please note this means that this lot is legal to sell now but may not be in the future.
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64936 item(s)/page