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Lot 264
A collection of Nanking Cargo blue and white porcelain 18th century, to include various tea bowls and saucers, all having architectural dwellings in a landscape decoration, 13cm diameter of largest saucer, 8cm diameter of largest tea bowl (qty)1752, the Dutch East India Company, ship Geldermalsen, struck a reef on her return journey to the Netherlands and sank in the South China Sea. The cargo of Chinese porcelain was originally potted in Jingdezhen, Jiangzi province then shipped to Nanking for delivery to the Netherlands. The cargo was recovered by Captain Michael Hatcher and his team in 1985 and sold by Christie's Amsterdam on 28 April - 2 May 1985 as 'The Nanking Cargo. Chinese Export Porcelain and Gold' two hundred and thirty-five years later.Condition Reportminor chips and nibbles throughout. No apparent restoration. No hairline cracks. Please see additional images.
Lot 218
Company School, 19th century, an architectural drawing of the Pearl Mosque in the Red Fort, ink and watercolour on paper, inscribed 'The Motee Masjid Agra Fort',17.5 x 23cmProvenance: Arthur Probsthain bookshop, London.Condition ReportSmall tears to the edges, smudges present from the ink, evidence of previous folds present.
Lot 261
MARINA B: AN ONYX, EMERALD, RUBY AND DIAMOND 'NAJWA' NECKLACE, CIRCA 1982Designed as a rope of onyx beads, spaced by links set with pear-shaped cabochon emeralds, brilliant-cut diamonds, and onyx and ruby sections, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered W347, with maker's mark 'S.A. P.B' for Sté Pierre-G. Brun, French assay marks, with maker's case, length approximately 83cm (slightly extensible)Société Pierre-G Brun is a jewellery workshop which worked for Cartier, Fred, amongst others. They were bought by Cartier in 2000.For a similar model, page 75: 'Marina B. The Art of Jewellery Design', by Viviane Jutheau de Witt, first published in 2003 by Skira Editore S.p.A. In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: A couple of beads discoloured to the front near the clasp (discreet) and a dozen on the reverseEmeralds: of bluish-green hue, medium tone, overall well matchedRubies: of purplish-red hue, medium tone, overall well matchedDiamonds: bright and livelySignature on clasp + maker's mark 'MB' for Marina B located on the tongue of claspEagle's head for French 18K gold + stamped OR750Maker's mark for Marina B - numbered W347With maker's mark for Société Pierre-G BrunClasp closes securelyNormal signs of wear, commensurate with ageTotal gross weight approx. 130g
Lot 200
LANGI: A FINE DIAMOND SINGLE-STONE RINGOf architectural design, centring a marquise-shaped diamond weighing 2.13cts, to a plain brushed gold mount, mounted in 18K gold, signed Langi, Italian registry mark, ring size MAccompanied by a report from the GIA laboratory in America, stating that the natural diamond is 2.13cts, F colour, VS1 clarity. Report number 6224853215, dated March 23rd 2023.Alessandro Langella's story starts in Rome, a city where art and tradition have always come together. In 2010, he began his journey in the world of vintage designer jewellery. His love for art and design soon led him to create unique notable pieces.Langi Jewels, his signature collection, combines precious metals with modern materials and striking geometric shapes. Each piece reflects a mix of Rome's rich artistic heritage and a touch of futuristic style. Langi Jewels beautifully blends tradition with new ideas, creating jewellery that is both classic and contemporary. Condition Report: Signature and Italian registry mark located inside the hoopDiamond: accompanied by a report from the GIA laboratory in America, stating that the natural diamond is 2.13cts, F colour, VS1 clarity. Report number 6224853215, dated March 23rd 2023.Superficial signs of wear, overall in good conditionTotal gross weight approx. 11.9g
Lot 277
MARINA B: A MOTHER-OF PEARL AND GOLD RING, CIRCA 1980Of bombé design, centring a heart-shaped plaque, within a mother-of-pearl frame, to further mother-of-pearl shoulders, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered, with maker's mark 'GS' for Guillemin & Soulaine, French assay mark, ring size FGuillemin & Soulaine was a Parisian workshop established in 1955. They worked for jewellery houses such as Marina B, Bulgari, Harry Winston to name just a few. The workshop closed in 1984.In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: Mother-of-pearl: of white body colour with pink and green overtones - a minor chip at the tip of one shoulderNumbered 1075/34Normal signs of wear, overall in good condition commensurate with ageTotal gross weight approx. 8.9g
Lot 258
MARINA B: A TOURMALINE 'PATRIZIA' RINGHorizontally set to the bezel, the oval-shaped pink tourmaline, set within a bi-coloured 18K gold hoop, signed Marina B, maker's mark 'MB', numbered, French import mark, ring size OCf: See Vivianne Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori for comparable rings, page 112, no. 214 (dated 1987). In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: Tourmaline: of purplish-pink hue, medium tone, good transparency, facets are smoothNumbered C1510Normal signs of wear, overall in good conditionTotal gross weight approx. 12.1g
Lot 308
A baroque-style painted and gilt altarpiece or architectural cresting, 19th century and later, Italian, centred with an arched mirror plate, and decorated with scrolling harebells and acanthus leaves, with a newly boarded back,250cm wide23cm deep112cm highCondition Reportmirror later, with repainitng and reguilding throughout, overall numerous small knocks and dinks but fair cosmetic order for age and use.
Lot 161
▲ Chinks Vere Grylls (b.1949) Four-fold smoke glass screen, 1979framed in ebonised mahogany with interlocking fixed hingingeach panel 155cm x 51cmBased in Somerset, Chinks Vere Grylls is a designer and maker of architectural stained and painted glass. In 1989, she was commissioned to make the glass window for The Wilson Art Gallery & Museum in Cheltenham.Condition Reportsmall cracks and areas of damage, the leading loose in places, overall fair order
Lot 2
Imposing gilded copper, embossed, engraved, and enamelled pax-board with rock crystal cabochons and gemstones. Italy. Circa 1400.18,4 x 11,3 cm.A marvellous piece of liturgical metalwork. With an architectural structure, in the centre, the figure of Saint Gregory as the Pope giving a blessing is affixed there, flanked by two slender turned columns and under a Gothic archway with pinnacles.The background is adorned with a delicate white enamelled copper plate with highlights in gold and blue.The entire pax is embellished with multiple rock crystal cabochons and green and red gemstones.It has some flaws.This lot has been imported, therefore its exportation permit from the Spanish Ministry of Culture is guaranteed.
Lot 33
Mudejar cabinet chest in walnut wood with bone inlay. Decorative “Pinyonet” or rice grain technique. Aragonese manufacture from Teruel. Torrellas. 16th century.32 x 48 x 29.5 cm. Magnificent example of Aragonese Mudejar furniture. Structurally, it has two hinged doors and an interior body divided into three sections, the first being a single receptacle without a lid, while the last two house drawers: the central section is divided into two drawers, and the lower one is composed of a single drawer.It retains all its original iron fittings: hinges, handles and the lock, which remains complete but has lost the surround for the keyhole.As is usual in the highest quality examples, this cabinet chest is completely covered with “Pinyonet” decoration. The front of the chest is ornamented with a very architectural design that, in our opinion, creates a sensation of depth on two planes. In the second plane, there is a balustrade with two large arcades decorated on the inside with a border of geometric motifs, which end on both sides with a kind of fountain vase at each end, all supported by amphorae serving as columns, topped by a pomegranate on each side.Superimposed in the foreground of this landscape are two square vases that preside over the decoration. Nine flowers in their maximum splendor are displayed in the vases and there are also two lateral ones that seem to wither towards their pots, with the intention of creating movement in order to, with this format, better combine their forms with the previously mentioned amphorae on each side. A simplified version with some variations of this decoration can be found on the inside of the upper lid.The sides present concentric circles with sinuous garlands. Following the same pattern, we find richer and more elaborate decoration on the inside of the front lid. It should be noted that the lid has old stains, perhaps ink stains, due to the use of the lid as a writing desk.Finally, the decoration on the drawers displays elements that we have already seen adorning the external part of the chest, such as pomegranates, eight-pointed stars typical of the Mudejar style, flowers and sinuous garlands. It is very interesting to read the article recently published in 2023, in “Vegueta. Anuario de la Facultad de Geografía e Historia” by Mª Isabel Álvaro Zamora "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" (Furniture in 16th century Zaragoza homes. Lexicon, functionality, ornament and prestige), because, as she says in her introduction, she ’studies the furniture existing in 16th century houses, of varied social class and different economic position in Zaragoza [,] based on unpublished documentation from the archive of notarial protocols of Zaragoza (which includes, above all, inventories, as well as partitions of goods, sales, wills, marriage contracts, repossessions and work contracts)’. As it is of specific interest to the piece we present here, we quote an excerpt from section 2.7. dedicated to the “Escritorio, Escribanía, Arquimesa”, included in the section “Muebles de guardar y exhibir” (Furniture for storing and exhibiting) which, as the author indicates, groups together “all those pieces of furniture whose main function was to store one or more types of belongings in their interior or exterior, with the intention of keeping them safe, although some of these pieces of furniture, because of their material, shape and coating, could be decorative objects in themselves”. Such would be the case with this desk. Álvaro Zamora explains that “the documentation consulted in Zaragoza shows that they were almost exclusively owned by the wealthier classes. Thus, we find this type of cabinet chest in the living rooms of the houses of several gentleman merchants. As an example, the “pine cabinet chest with its lock and key” owned by Joan de Palomar, with the “the books of the business, study scissors, a lead inkwell and a dustpan”; the “walnut chest with a base”, that both Miguel Piquer and Miguel de Portas had, the first having documents related to Piquer´s trade and the second having numerous delivery notes, cash, some jewels and silver pieces, a mirror, a prayer book and even a gold tooth cleaner, which also had “two writing desks with two knives and scissors”. They were also found in the study of some notaries, such as Francisco Tobeña, who had “a large pine desk with a red cloth cover” (upholstered). And, exceptionally, we find another one in the house of two well-placed Moors from Villafeliche (Zaragoza), in 1609, a year before their expulsion. [...]However, the most refined and expensive examples were owned by nobles, such as Count Sástago II or the Duke of Villahermosa IV. Of the former, two archives were recorded in the study of his house in Pina de Ebro, one “in which there are two large drawers full of writings”, and another “of walnut carved with inlaid wood”, with documents of the county possessions and lineage kept in their drawers, and writing utensils (“silver and lead inkwells, penknives, silver powder compact and tin salver”). The second had “two small desks of plain wood”, “a small writing desk made of inlaid wood covered in black leather with eight drawers”, there was another one “with eight drawers inside and covered in crimson velvet with golden studs” and another one “made of inlaid wood with eight drawers”, as well as “a chest cabinet covered with green velvet with golden studs and six drawers” and another “of inlaid wood with two drawers”, presumably Spanish furniture that joined other German furniture, such as “a wooden desk from Germany with five drawers”, “a chest cabinet with German inlay with gilded trimming and ten drawers” and another, ‘of German wood with seven drawers and gilded studs with six pieces of carved glass rings.’ It is clear that the upper classes treasured the best chest cabinets as luxury objects that they exhibited and which gave them prestige, from the examples with Torrellas inlay to the pieces that were gilded and upholstered with the best leathers and fabrics, or the highly prized German ones, arriving especially from Ausburg.” This lot has been imported, so its export permit from the Ministry of Culture is guaranteed. Reference bibliography:Álvaro Zamora, Mª Isabel. (2023). "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" en "Vegueta. Anuario de la Facultad de Geografía e Historia", 23 (2), 629-659. ULPGC. https://doi.org/10.51349/veg.2023.2.04
Lot 36
Madrid School. 17th century."View of El Escorial"Oil on canvas.108 x 160 cm.Spectacular painting of an architectural view, which is not just a painting of a building but the relaxed view of a great “architectural complex” that houses several buildings and that forged Spanish history, a living legend that defies the passage of time. On April 23, 1563, the first stone was laid for the construction of this great Monastery, one of the most representative monuments of Spanish architecture. A colossal architectural ensemble consisting of a monastery and a church, a palace and a royal pantheon, it is known as the Monastery of San Lorenzo el Real or, simply, El Escorial. It was designed in the second half of the 16th century by King Philip II and his architect Juan Bautista de Toledo, although it was later completed by Juan de Herrera, and also by Juan de Minjares, Giovanni Batistta Castello “El Bergamasco” and Francisco de Mora. At the time it was the largest building in Europe and is considered to be the Eighth Wonder of the World. Since 1984 it has been a UNESCO World Heritage Site. The architecture of the Escorial is symmetrical and balanced. The building is built in granite and divided into three vertical zones. In the central axis is the courtyard of Monarchs, the Temple and the King's House; to the left is the College and the Palace; and to the right, the monastery and kitchens. The architectural mass is simplified ny using squares, rectangles and circles through the rule of “Universal Trace” (or Universal Path). It consists of 15 cloisters, 13 oratories, 86 stairways, 88 forts, and 73 sculptures. The church has a Greek cross plan and in its main chapel are the funerary monuments of Charles V and Philip II. The painting controls space and perspective, showing painted architecture “that rationalizes the gaze”. The painting presents us with a stage of very ordered stones harboring some characters, (carriages that bring and carry ladies and gentlemen of court, characters that walk through the courtyards and that give life “to the theater and scene of so much stone”, the beginning of a procession with altar boys in front...), and that shows us the evolution of the scenography through time. This painting is a metaphor for ideal architecture, ordered, perfect, with inner order being expressed on the exterior ...., and showing the external order that is imposed on the interior. This is undoubtedly a marvelous painting that “frames and orders” our aesthetic tastes, that idealizes our thoughts, that erases stress with its mere contemplation, as it is designed to delight the viewer's gaze. A painting that serves to perpetuate the grandeur of the past and the memory of so much contained opulence. An exquisite perspective understood as a symbolic way of ordering the world and the gaze.
Lot 24
A carved wood architectural fragment, India19th century and later, carved with stylised flowers and scrolling foliage, with later applied cast iron hinged hooks to either side.23cm highProvenance:From the estate of a distinguished collector of Islamic and Indian art, the property of a gentleman.
Lot 21
Two Southern Indian carved wood architectural fragments17th/18th century, the first modelled as a multi-armed attendant of Shiva, 21cm high, the second of two seated attendants, 21cm high. (2)Provenance:From the estate of a distinguished collector of Islamic and Indian art, the property of a gentleman.Footnote:A fragment very similar to the first item in this lot can be found in the Asian Art Museum, San Francisco, object number B60S316.
Lot 735
Colen Campbell (c.1676-1729) and Vitruvius Britannicus - A collection of twenty 18th century architectural engravings taken from The Third Volume of Vitruvius Britannicus: Tome III, engraved by Hendrik Hulsberg after illustrations by Colen Campbell, plate dimensions: 25 x 37 cm, mount dimensions: 46 x 61 cm, unframed (20)
Lot 293
A Seiko Melodies in Motion wall clock, the ovoid dial with circular chapter ring bearing Arabic numerals, with jewelled detailing, the melody selection playing eighteen excerpts from classical music, the dial within a relief architectural surround, with a niche holding a crystal rotating pendulum, 44.5cm high, 40.5cm wide.
Lot 924
PSALMS -- PELLIKAN, K. Psalterium Davidis, opera elaboratum. Strassb., W. Köpfel, 1527. 285, (2) lvs. Ti. printed within architectural woodcut border. Sm-8°. Mod. h. vellum extra. (Some marg. annot. and underl. in an old hand, sl. browned).NOTE: Konrad Pellikan (1478-1556), was a German Protestant theologian, humanist, Protestant reformer and Christian Hebraist who worked chiefly in Switzerland. - Rare and early psalm commentary. VD 16 B3144.
Lot 323
VESELOVSKII, N.I., A SHCHUSEV, P. POKRYSHKIN & A. MINENKO, (artists). Mecheti Samarkanda/Les Mosquées de Samarcande. Publ. p. la Commission Imperiale Archéologique. Fasc. I: Gour-Emir. (=all publ.). St. Petersburg, 1905. IX pp. (dedic. leaf, title, text and table). Text in French and Russian. W. 18 (chromo)lithogr. plates (12 cold.). Lge-fol. In ohcl. portfol. With custom-made wooden box. (Portfol. stained, front and back cover of or. grey wrappers present, lower margin of all lvs./plates a bit waterstained).NOTE: This, the first and only volume in the series, is devoted to the Gur-e-Amir ("Tomb of the King") mosque in Samarkand, Uzbekistan. Begun in 1405, it is the fabled mausoleum of the conqueror Timur or Tamerlane and his sons and grandsons. Although only the foundations of the madrasah and khanaka, the entrance portal and part of one of four minarets still remain, it is still considered one of the masterpieces of Persian architecture. The cost of producing this lavish volume was so enormous that the Imperial Architectural Commission was unable to issue a second one. The delicacy and clarity of the chromolithographs, based on paintings made on site by the three artists, make it one of the most exquisitely printed and desirable Russian books of the Silver Age.
Lot 58
An early 20th century oak cased mantel clock, of architectural form with carved and gilded surmount and spandrels enclosing the painted dial with Roman hours, winding aperture and makers/retailers details Kirk & Co, Hull. Sold with two keys and pendulum 28.5cm Condition report: Additional pictures uploaded.
Lot 29
This etching and aquatint on paper by Japanese artist Shoichi Hasegawa, titled Castle in Fog (Chateau dans le Brouillard), was created in 1971. The composition features a dreamlike castle emerging from an atmospheric background, blending architectural elements with Hasegawa's signature delicate linework and ethereal color palette. Executed in a style that merges Eastern aesthetics with European modernist influences, the work demonstrates the artist's mastery of intaglio techniques. The soft greens and earthy hues, combined with intricate linear details, create a sense of depth and mystery. Hand-signed by the artist in pencil in the lower right and titled in the lower center, the piece is numbered II/XXX.Artist: Shoichi Hasegawa (Japanese 1929-2023) Issued: 1971Dimensions: 32.25"L x 28.50"HCountry of Origin: JapanCondition: Age related wear.
Lot 74
Gorgeous Modernist table lamp featuring a tall, geometric body composed of stacked Lucite blocks in varying sizes, supported by a square Lucite base with rounded feet. The translucent elements create a light-catching effect, enhanced when lit. The lamp is topped with a brown trapezoidal faux-hide lampshade, complementing the sculptural clarity of the Lucite form. An excellent example of mid-century modern design with a sleek, architectural profile.Issued: c. 1970Dimensions: Approximately 12"L x 12"W x 23"HCondition: Age related wear.
Lot 138
A finely detailed large Persian painting executed on silk, depicting a lively courtly scene with figures engaged in various activities within an architectural and garden setting. The composition is enriched with vibrant colors, delicate linework, and intricate patterns, characteristic of Persian manuscript illumination and Safavid-era artistic traditions. The figures, adorned in flowing robes and elaborate turbans, are meticulously rendered with expressive gestures, narrating a moment of social interaction, possibly a game or philosophical discourse. The architectural elements feature intricate geometric patterns and floral motifs, reminiscent of Persian palace interiors, while the natural landscape in the background enhances the composition's depth. Framed in an ornate painted gilded border, this piece exemplifies the refined aesthetic of Persian painting, celebrated for its detailed storytelling and symbolic visual language.Issued: 20th centuryDimensions: 32"L x 43"HCountry of Origin: IranCondition: Age related wear.
Lot 260
Limited edition color lithograph on paper by French artist Michel Delacroix, depicting a Parisian night scene with the Eiffel Tower rising in the background. Delacroix's signature naive style captures the charm of old Paris with bustling shopfronts, vintage automobiles, and elegantly dressed pedestrians. His muted color palette and intricate architectural details create a dreamlike atmosphere, evoking the city's timeless allure. Hand-signed by the artist in pencil at the lower right and numbered XCV/CC (95/200) at the lower left. Presented in an elegant gold-tone frame with a double mat.Artist: Michel Delacroix (French, b. 1933)Issued: c. 2000Dimensions: 45"L x 40.50"HCountry of Origin: FranceCondition: Age related wear.
Lot 7002
19th century continental mahogany architectural pier table with mirror, with corniced top above a tall rectangular mirror plate framed in moulded edge, over a narrow console with rounded front corners supported by turned columns, on a plinth baseDimensions: Height: 222cm Length/Width: 64cm Depth/Diameter: 29cm
Lot 6559
L K Karunaratne (Sri Lankan 1932-2013): 'Sigiriya Maiden', monochrome felt on card signed with initials 28cm x 20cmNotes: Notes: Karunaratne was an artist and architect whose work was dedicated to the preservation of Sri Lanka’s cultural heritage. A trained draftsman, he worked with the Department of Archaeology, focusing on the conservation of historic sites, including Kuttampokuna in Anuradhapura. Sigiriya Maiden reflects his interest in the ancient frescoes of Sigiriya, a recurring subject in his work. Over his career, Karunaratne produced over 200 works, many of which were personal studies of archaeological and architectural features. He held a landmark exhibition in 2018, accompanied by a publication of his works. His contributions to art and heritage preservation are recognized in collections at the National Trust of Sri Lanka and University of Moratuwa and other important private and state collections.
Lot 25
Art Deco, circa 1925 A fine sapphire and diamond plaque brooch, of architectural design, set throughout with baguette and brilliant cut diamonds, milgrain set with calibre cut sapphire detail. Mounted in platinum Provenance: Ex collection Helen Louise Taft, First Lady of the United States (1861-1943) Dimensions: Length: 5.12cm Width: 2.6cm Total weight: 14.90 grams
Lot 29
Six terracotta relief fragments Circa 4th-1st Centuries B.C. and Later Including a fragmentary Hellenistic terracotta female head, the hair centrally parted and drawn back under a diadem, circa 3rd-2nd Century B.C., , 6in. (15.2cm.) high, mounted; an antefix with a frontal face, leaves extending from the chin, wearing a diadem, with polychrome decoration remaining, 6in. (15.5cm.) high, chipped; another with the top of a doric column, and an architectural panel above with a seated sphinx, 4¼in. (10.8cm.) diam.; another with the head and forelegs of a horse, pierced, 5in. (12.6cm.), and a two panel sections of arcatrave, one with fluting, pierced, 5¼in. (13.5cm.) long, the other with foliate motifs, Uncertain Date, 61/8in. (15.6cm.) (6) Provenance: The female face mask is ex Hofmann Collection, founded before 1939; Bonhams 20 October 2005, Lot 364; Private London collection; thence by descent
Lot 380
Two Pietra dura studies from the tomb of Mumtaz Mahal, Company School, Agra, north India, circa 1820, Gouache on paper, comprising two floral studies within cartouches, mounted, framed and glazed30.8 x 27.4cm. framed, 17.4 x 6.9cm. and 16.4 x 6.4cm. visibleProvenance: From the Collection of Francis Golding (1944-2013)The cenotaph of Mumtaz Mahal (d.1632) lies at the centre of the Taj Mahal beneath the large dome, alongside the cenotaph of her husband, the Mughal emperor Shah Jahan (d.1666). Drawings of the tops and side elevations of the cenotaphs of Shah Jahan and Mumtaz Mahal, along with views of the Taj Mahal, would often be included in early nineteenth century architectural albums of Mughal monuments produced by Agra draughtsmen for British patrons. Studies of Mughal pietra dura decoration were much admired by the British. The tops of both cenotaphs would either be illustrated together on the same sheet of paper or individually.
Lot 355
Four architectural views of Mughal sites : the Taj Mahal from the bank of the Yamuna river, the gateway to the Taj Mahal, the Taj Mahal and the tomb of the emperor Akbar at Sikandara Company School, Delhi, India, 19th centuryTransparent pigments on paper, each within black and cream rules, titles in pencil below, mounted, framed and glazedLargest 32.2 x 38.6cm. framed, 21 x 26.6cm. visible(4)Provenance: From the Collection of Francis Golding (1944-2013)
Lot 314
A large sketch of a hunt scene, Kotah, Rajasthan, 18th centuryInk heighted with gouache on paper, hills and monuments identified in black Devanagari script, mounted, glazed and framed, 46 x 63cm.Provenance: From the Collection of Francis Golding (1944-2013).Francis Golding's collection of Chinese works of art was sold at Christie's in 2015 and was assembled over forty years from reputable London dealers such as Bluett & Sons, John Sparks, and Spink & Son, and international auction houses including Sotheby's, Bonham's, and Christie’s. His collection of Indian paintings and drawings were acquired with a similar approach and a number were purchased from his friend the painter and Indian art collector Sir Howard Hodgkin (1932-2017). They were placed artfully in his London Georgian townhouse, where he lived with his partner, art historian Dr Satish Padiyar. He was widely considered to be one of the country’s leading architectural, planning and conservation consultants. As such, he greatly influenced the contemporary architectural landscape of London. His clients included world renowned architect Richard Rogers, with whom he advised on The Leadenhall Building in the City of London known as “The Cheese Grater”; and Rafael Viñoly, whose distinctive building nicknamed “The Walkie-Talkie” towers above London’s surrounding historic financial district at 20 Fenchurch Street. The soaring public sky terrace there, “The Francis Golding Terrace”, was named after him as a mark of respect for a man whose passion for London’s architecture and urban landscape improved the quality of the many developments on which he advised. Francis Golding also advised the celebrated architect Norman Foster, with whom he worked on London’s iconic building the “Gherkin.” More than one hundred and fifty items of Francis Golding’s wardrobe were acquired by Museum of London in 2017.
Lot 372
Set of six Spode Copelands China porcelain teacups, retailed by George L. Emerson of Boston, Massachusetts. These finely crafted cups feature a vibrant magenta and floral scrolling border around the exterior and interior rim, accented with gilt trim. Each cup is decorated with a unique handpainted landscape scene at the bottom of the interior, showcasing trees, architectural elements, and figures in classical settings. Marked to the underside: Spode Copelands China along with retailer's stamp and pattern number R4434M.Issued: 20th centuryDimensions: 2"H x 4" dia. Country of Origin: EnglandCondition: Age related wear.
Lot 312
Collection of seven antique glass bottles in varying dark olive and black glass tones. Includes two embossed bottles from Whitbread & Co., the historic British brewing company. Also featured is a bottle from Ind Coope & Sons, a noted UK brewery, embossed with “Romford and a domed architectural motif. A bottle labeled “Aurum Potabile Arandaensis includes a humorous printed label referencing a 120-year burial and miner folklore. The remaining three bottles are unmarked, showcasing 19th-century glassblowing characteristics. Largest bottle measures 11.75"H.Issued: 19th-20th centuryDimensions: See DescriptionCondition: Age related wear.
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