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Click here to subscribeA collection of silver items to include a sauce boat, by Walker & Hall, Sheffield 1902, 19cm wide, a Christening mug, by TM, London 1893, with reeded detail, 7cm high, a pair of wishbone silver tongs, Asprey 1902, 9cm, and cruet items 27ozt (qty.)Condition ReportKnocks, scuffs, surface scratches and dents throughout. Oxidisation also present.
A small collection of miscellanea - including an Asprey oxblood leather desk stand with perpetual calender and two pen holders, 28cm long; an oval brass tobacco box, 10.3cm high; a 1950s boxed Auto Bridge game, Deluxe Pocket Model No. PA; a vintage garden trug; a pair of wooden book ends by Barlow, USA; a pair of oak, leather and brass bellows (a/f); etc.
A fine quality Boulle style tortoiseshell, brass and morocco leather blotter by Asprey of London - c.1900, the cover with an oval centred by a cross, with all over foliate scroll decoration, within a similar reversed border, edged with rosewood and lined with very dark green morocco, signed 'ASPREY LONDON', 28.5 x 23.5cm; together with a matching stationary folder, 30.5 x 20.5cm, unsigned. (2)
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
RENÉ BOIVIN: A COLLECTIBLE 'GROSEILLES' CULTURED PEARL RINGOf bombé design, set with graduated cultured pearls, each punctuated with dot gold detailing, mounted in 18K gold, signed René Boivin, with maker's mark 'Sté RB' for René Boivin, French assay mark, with maker's case, ring size I½ (Probably a design from Juliette Moutard, later reinterpreted by Marie-Caroline)A similar ring is illustrated, page 388, 'René Boivin, Paris', by Francoise Cailles, éditions de l'Amateur.René Boivin (1864–1917) began his jewellery career at seventeen, following his elder brother Victor’s footsteps by working first as a goldsmith’s apprentice and taking drawing lessons at a local art school. Having refined his skills in several workshops, he soon earned a reputation as a talented draughtsman, designer and engraver. By 1890, René was ready to start his own enterprise. He acquired his first workshop in Paris, equipping it with all the necessary tools and skilled craftsmen. A few years later, he moved to new premises on the rue de Turbigo and married Jeanne Poirot, sister of the esteemed French fashion designer Paul Poiret. The firm’s reputation grew rapidly by word of mouth, thanks to its meticulously crafted pieces and commissions from jewellers such as Mellerio and Boucheron. Though proficient in both modern and classical design, René developed a keen interest in naturalism; his solid background in botany led him to create life-like floral motifs. While Art Nouveau’s flowing curves were fashionable at the time, the Boivin workshop chose a more unconventional path to appeal to a more discerning clientele. Boivin’s wife Jeanne had already been deeply involved in the business, and after René’s untimely death in 1917, she took full control of Maison Boivin. Though she had not planned a career in jewellery, she quickly adapted to managing both the creative and financial aspects of the business. Jeanne not only upheld René’s legacy, but she also steered the firm through challenging post-war years, leading a workshop of around twenty artisans and establishing it as the only major jewellery house of its time run by women. Jeanne possessed a keen eye for talent. In 1919, she recruited Suzanne Vuillerme, later known as Suzanne Belperron, a new graduate from the Besançon Beaux-Arts Academy. Belperron’s innovative use of coloured stones, texture, and predominantly 18K yellow gold set her work apart from the prevailing Art Nouveau and Art Deco styles. Her collaboration with Jeanne brought renewed energy to the firm throughout the 1920s. In 1931, Belperron left to form a partnership with Bernard Herz, paving the way for Juliette Moutard to join the firm. Moutard was an experienced designer having worked at Verger Frères and designed for Cartier and Van Cleef & Arpels. She began her long-standing association with Maison Boivin in 1933. Under Jeanne’s guidance, Juliette flourished. She introduced bold, imaginative designs that embraced organic, feminine lines over rigid Art Deco forms. Jeanne further recognised Juliette’s talent by entrusting her with drawing duties for both herself and her daughter Germaine, who had recently joined the business. The close collaboration between Jeanne, Germaine, and Juliette created a unified creative force, often making it hard to pinpoint the origin of any single design. The firm’s approach was as distinctive as its jewellery. Clients were rarely given cost estimates or delivery dates, and customer gemstones or design ideas were only accepted for particularly significant patrons, such as the Duchess of Windsor and Millicent Rogers. Madame Boivin was so confident in her workshop’s output that she famously declared, “my style is my signature”, believing the pieces spoke for themselves. Many clients appreciated this unconventional method, knowing each design was unique, with few repeats and even fewer exact copies. Juliette Moutard dedicated her entire career to Maison Boivin, remaining at the firm even after Madame Boivin retired in 1954 and passed away five years later, leaving Germaine in charge. Together, Moutard and Germaine maintained the firm’s creative integrity and commitment to originality. Moutard retired in 1970 but stayed connected to the firm until her death in 1990. The family sold the jewellery house to their diamond supplier Mr. Perrier, and in 1967 Jacques Bernard took over, with a former Cartier workshop manager later assuming ownership. The 1980s brought revived interest in the Boivin Maison, first led by Marie-Caroline de Brosses and subsequently by Sylvie Vilein. The introduction of fresh, new creations that remained true to the Boivin style, attracting clients such as Hélène Rochas and the Aga Khan. The Asprey Group, acquired the firm before Nathalie Choay purchased it in 1999 to preserve its heritage and archives. Now overseen by Thomas Torroni-Levene, these documents will form the basis of a definitive book scheduled for publication this year, one that aims to record the complete history of René Boivin and highlight the contributions of each designer along the way. Condition Report:Cultured pearls: of white/cream tint with pink and green overtones, very good lustreSignature located inside mount, on the upper side of the galleryEagle's head for French 18K gold & maker's mark for René Boivin, 'RB with snake'Normal signs of wear, overall in good conditionTotal gross weight approx. 29.5g
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
RENÉ BOIVIN: A RARE CULTURED PEARL CLIP PENDANT BROOCH, CIRCA 1940Designed as a cluster of grapes, of various sized cultured pearls of cream tint, suspended from a polished vine leaf surmount, mounted in silver and gold, signed René Boivin, indistinct maker's mark, French assay marks, length 6.8cmAccompanied by a certificate of authenticity from René Boivin Joaillier, certifying that the brooch is an original piece manufactured by René Boivin, circa 1940, after a drawing by Juliette Moutard. Certificate no. 202503PEP, dated March 31st 2025.René Boivin (1864–1917) began his jewellery career at seventeen, following his elder brother Victor’s footsteps by working first as a goldsmith’s apprentice and taking drawing lessons at a local art school. Having refined his skills in several workshops, he soon earned a reputation as a talented draughtsman, designer and engraver. By 1890, René was ready to start his own enterprise. He acquired his first workshop in Paris, equipping it with all the necessary tools and skilled craftsmen. A few years later, he moved to new premises on the rue de Turbigo and married Jeanne Poirot, sister of the esteemed French fashion designer Paul Poiret. The firm’s reputation grew rapidly by word of mouth, thanks to its meticulously crafted pieces and commissions from jewellers such as Mellerio and Boucheron. Though proficient in both modern and classical design, René developed a keen interest in naturalism; his solid background in botany led him to create life-like floral motifs. While Art Nouveau’s flowing curves were fashionable at the time, the Boivin workshop chose a more unconventional path to appeal to a more discerning clientele. Boivin’s wife Jeanne had already been deeply involved in the business, and after René’s untimely death in 1917, she took full control of Maison Boivin. Though she had not planned a career in jewellery, she quickly adapted to managing both the creative and financial aspects of the business. Jeanne not only upheld René’s legacy, but she also steered the firm through challenging post-war years, leading a workshop of around twenty artisans and establishing it as the only major jewellery house of its time run by women. Jeanne possessed a keen eye for talent. In 1919, she recruited Suzanne Vuillerme, later known as Suzanne Belperron, a new graduate from the Besançon Beaux-Arts Academy. Belperron’s innovative use of coloured stones, texture, and predominantly 18K yellow gold set her work apart from the prevailing Art Nouveau and Art Deco styles. Her collaboration with Jeanne brought renewed energy to the firm throughout the 1920s. In 1931, Belperron left to form a partnership with Bernard Herz, paving the way for Juliette Moutard to join the firm. Moutard was an experienced designer having worked at Verger Frères and designed for Cartier and Van Cleef & Arpels. She began her long-standing association with Maison Boivin in 1933. Under Jeanne’s guidance, Juliette flourished. She introduced bold, imaginative designs that embraced organic, feminine lines over rigid Art Deco forms. Jeanne further recognised Juliette’s talent by entrusting her with drawing duties for both herself and her daughter Germaine, who had recently joined the business. The close collaboration between Jeanne, Germaine, and Juliette created a unified creative force, often making it hard to pinpoint the origin of any single design. The firm’s approach was as distinctive as its jewellery. Clients were rarely given cost estimates or delivery dates, and customer gemstones or design ideas were only accepted for particularly significant patrons, such as the Duchess of Windsor and Millicent Rogers. Madame Boivin was so confident in her workshop’s output that she famously declared, “my style is my signature”, believing the pieces spoke for themselves. Many clients appreciated this unconventional method, knowing each design was unique, with few repeats and even fewer exact copies. Juliette Moutard dedicated her entire career to Maison Boivin, remaining at the firm even after Madame Boivin retired in 1954 and passed away five years later, leaving Germaine in charge. Together, Moutard and Germaine maintained the firm’s creative integrity and commitment to originality. Moutard retired in 1970 but stayed connected to the firm until her death in 1990. The family sold the jewellery house to their diamond supplier Mr. Perrier, and in 1967 Jacques Bernard took over, with a former Cartier workshop manager later assuming ownership. The 1980s brought revived interest in the Boivin Maison, first led by Marie-Caroline de Brosses and subsequently by Sylvie Vilein. The introduction of fresh, new creations that remained true to the Boivin style, attracting clients such as Hélène Rochas and the Aga Khan. The Asprey Group, acquired the firm before Nathalie Choay purchased it in 1999 to preserve its heritage and archives. Now overseen by Thomas Torroni-Levene, these documents will form the basis of a definitive book scheduled for publication this year, one that aims to record the complete history of René Boivin and highlight the contributions of each designer along the way. Condition Report: Pearls: of cream/white body colour, with pink and green overtones, some pearls with presence of growth marks, and some pearls with visible blemishesFrench assay mark: an oval with boar & eagle's head for - Mixed gold and silver - mark introduced in 1905. Mark located on the reverse of the leaf surmount. Eagle's head for 18K gold located on the two pins and indistinct maker's mark also on one pinSignature René Boivin located on the reverse of the leaf surmount.Normal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 22.36g
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
Asprey of London A leather desk set, including a pen stand, a blotter, a note pad and a correspondence box. Tanned leather with gilt decoration. Inscribed 'Asprey London' to the base. Property of a nobleman Dimensions: (Pen stand) 3 in. (H) x 13 in. (W) x 7 in. (D) (Box) 7.5 in. (H) x 11 in. (W) x 5.5 in. (D)
A group of silver items To include: [a] Middle Eastern, A silver coffee pot. Hallmarked. [b] An Ari D Norman silver picture frame. Hallmarked Sheffield 2006. [c] German, A Deyhle sterling silver box. Hallmarked 925. [d] An Investcorp commemorative silver box. Hallmarked 925. [e] Middle Eastern, A rectangular silver box, Inscribed 'G.S' to top. Hallmarked. [f] Middle Eastern, Three small silver prayer boxes with inscribed stone tops. Hallmarked. [g] A small sterling silver pill box. Hallmarked 925. [h] Omani, A sterling silver condiment cover with a small silver khanjar attached. Hallmarked. [i] A round dish with enamel inset decoration. Hallmarked London, 1995. [j] An Asprey silver dish commemorating Elizabeth II and Prince Philip's wedding. Hallmarked London, 1991. [k] An Asprey commemorative silver dish with two ovals for photographs. Inscribed with dates and Arabic writing. Hallmarked London, 1978. Property of a nobleman Total weighable silver: Approx. 4,187.4 g.
Two fine Continental late 17th century portrait miniatures, both oil on copper depicting a nobleman wearing armour and a noblewoman dressed in a green lace gown and wearing pearls, approx 65 x 80 mm, set in antique frames, Asprey and Birch & Gadon Ltd labels to verso that suggest Dutch in style.
An early 20th century silver and tusk corkscrew, retailed by Asprey, mark of Grey & Company, Chester 1927, the curved boar tusk in two parts, joined in the centre with a part marked silver strap, fully marked and silver cap at the terminal, additionally stamped ASPREY LONDON, decorative steel shaft and steel worm, 17 x 16cm
A set of 6 mid 20th century silver fish eaters, cased by Asprey, mark of William Comyns & Sons Ltd. (Richard Comyns), London, with filled handles (1947) and silver tines and blades (1948), presented in a burgundy fitted case lined in red velvet and cream satin and marked ASPREY 166 BOND ST LONDON
A small collection of scent bottle cases, comprising: an 18th century black shagreen case, the interior with two gilt-metal mounted glass scent bottles, (no stoppers), plus a green shagreen scent bottle case, two other cases, an Asprey box and a shagreen fan case. (6)Provenance: A Private Collection of Scent Bottles.
λ A set of four Victorian Scottish silver menu card holders, by Hamilton & Inches, Edinburgh 1888, pierced semi-circular form, a pheasant to the centre surrounded by foliate decoration, length 6.1cm, plus a set of four silver inlaid tortoiseshell menu card holders by Asprey & Co Ltd, London 1927, total approx. weighable 3oz. (8)
A silver-mounted copper regimental photograph frame,by Horton & Allday, Birmingham 1917,shaped rectangular form, with an applied Army Service Corps cap badge, plus an Asprey electroplated photograph frame with an applied Royal Army Medical Corps cap badge and an electroplated photograph frame with an applied Royal Engineers badge, height 45.6cm. (3)
18 kt., 2 round rubies, cufflinks signed Asprey, with English hallmarks, studs signed Buccellati, Italy, with Italian assay marks, ap. 27.8 dwts. With fitted box signed Buccellati for three studs. Cufflinks 1 3/16 x 3/8 inches.Studs diameter 7/16 inch.Minor patina on reverse.Cufflinks 1 3/16 x 3/8 inches. Studs diameter 7/16 inch. Minor patina on reverse.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Group of jewellery to include a pair of Victorian diamond, pearl, ruby and black onyx buttons/studs, pair of Art Deco 9ct white gold and mother of pearl studs in Asprey box, pair of Edwardian 9ct gold cufflinks and an antique gold seal fobPair 9ct white gold studs and pair 9ct gold cufflinks weigh 5.6 grams in total.Gold seal fob and jump ring are both unmarked and weighs 4.3 grams in total.
A George V 9ct gold mounted black leather cigar case, made and retailed by Asprey and Co, London, 1928, 17cm and one other yellow metal mounted leather cigar case, both with monogram appliqué and both belonged to Sir John Henry (Harry) Preston, (1860-1936) of Brighton. Condition - poor to fair
A George V silver pedestal sauce boat, of helmet shape, George Nathan & Ridley Hayes, retailed by Asprey, Chester 1913, 7.7oztAsprey printed to base and number 16.Signs of wear/over polishing and polish residue on base, however no sign of repair, dinks or dents.Hallmarks are on the side towards the rim to the side of the handle.
An Elizabeth II silver presentation dish, inscribed ' Jim Furlong 1999-2003, British Horseracing Board', Camelot Silverware Ltd, Sheffield 2003, dia.15cm, 6.7ozt, together with an Asprey silver mounted magnifier, inscribed 'To Jim, in appreciation of serving two years as ROA President, 2001-2003, dia.9cm (2)
A Pair of George V Pierced Silver Pedestal Bon Bon Dishes, by Asprey & Co, Birmingham, 1911, 12.5cm diameter, together with a French gilt metal mounted scent bottle with Sèvres style plaques, a Bristol blue "Hollands" decanter, a pair of painted glass scent bottles and a modern glass paperweight (one tray)Porcelain mounted bottle lacking stopper. No other condition issues.
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