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Lot 18
Three Mintons pottery Queen Victoria Diamond Jubilee 1897 commemorative beakers, printed crowned globe marks, retailer's marks for Mortlocks of Oxford Street, each of tapering conical form, printed in sepia with portraits of the Queen and a list of 'A Few Notable Achievements in Peace and War During Her Majesty's Memorable Reign', including the Afghan War 1839, The Great Exhibition 1851, The Education Act of 1870 and others, 9.5cm high (3)
Lot 54
A small group of ceramics and collectables - including a Portmeirion Botanic Garden cake slice; a boxed Selangor Pewter 'The Four Seasons' vase, 9.2cm high; a Thai carved rosewood deity figure; a Royal Doulton HN2433 Peace figure; a Royal Doulton Bunnykins ball-shaped money bank; a nested set of four wooden spheres, the largest painted as a globe; a boxed Spode 'Rosa' plate; a boxed Dartington Crystal 'Capredoni' paperweight; and two other items.
Lot 105
A collection of vintage glass kitchen jars, bottles and Kilner jars - including four pharmacy bottles with printed labels, 14cm high; three antique 'Mellins Infant's Food London' bottles, 16.5cm high; a Bristol green glass shaft and globe flask, c.1900, 14cm high; and ten Kilner jars with lids; 35cm high max. (29)
Lot 127
Three pairs of antique cut glass decanters - mid-19th and early 20th century, comprising a pair of late-Georgian ovoid decanters with three facet cut neck rings and panel and diamond cut bodies, star cut bases, 20.5cm high (no stoppers); a pair of late 19th / early 20th century shaft and globe decanters, with panel cut necks and printie and diamond cut bodies, star cut bases, 24.2cm high (one with tiny rim frit, the stoppers similar but one probably matched); and a pair of Edwardian bell-shaped decanters, with panel and prismatic cut necks, one with original plain mushroom stopper, the other matched, 24.2cm high; together with a single Georgian Prussian decanter with three rings to the panel cut neck, over a petal cut shoulder and comb basal cutting, the base plain, 22cm high (no stopper). (7)
Lot 119
Twelve 19th and early 20th century cut glass decanters - including a closely matched set of four Georgian Prussian decanters with panel and comb cut decoration and three neck rings, 20.75cm to 22.25cm high, three lack stoppers, one stopper broken and glued, one decanter with crack to rim); a pair of mallet shaped pint decanters, mid-19th century, with spire stoppers, 29cm high; another similar (lacks stopper); two pairs of Victorian / Edwardian shaft and globe decanters, one pair with stoppers, 29.25cm high, the other pair with matched stoppers (one stopper repaired); and a plain ovoid decanter, lacks stopper.
Lot 287
A BP Super shield shape glass pump globe, Hailware, British Made, 46 cm high Please see our terms and conditions in relation to collectionMarked to the inside, Returnable on Demand Made in England, Regd Design No 858887 (?) Property of Shell-Mex & BP Ltd, colours generally good, although one side slightly more faded and the decoration worn, very minor rim chips
Lot 221
PORTUGAL. Province of Angola, 1575–1975. Silver 20 Escudos, 1952. Obv: ANGOLA, turreted arms over globe, denomination below. Rev: REPÚBLICA·PORTUGUESA, arms and globe over cross, date below. Edge milled.Reference: KM-74.Mintage: 1,003,150.Diameter: 30 mm.Weight: 10 g.Composition: 720/1000 Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 393
MEXICO. NEW SPAIN. Ferdinand VI, 1746-59. Silver 1/2 Real, 1757. Mexican mint. Obv: ·FRD·VI·D·G·HISP·ETIND·R·, crowned shield of arms. Rev: VTRA QUE VNUM, crowned globe flanked by crowned pillars, date below.Reference: KM-67.Diameter: 17 mm.Weight: 1.69 g.Composition: 917/1000 Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 385
BRAZIL. John VI, 1799-1816. Copper 40 Reis, 1796. countermarked 20 Reis. Obv: MARIA·I·D·G·P·ET·BRASILIÆ·REGINA, crowned overstruck denomination within beaded circle. Rev: CIRCUMIT·ORBEM PECUNIA·TOTUM legend around globe. Edge smooth.Reference: KM-283.1.Diameter: 36 mm.Weight: 13.24 g.Composition: Copper.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 116
AN IMPORTANT EMERALD AND DIAMOND NECKLACE AND EARCLIPS EN SUITE The necklace composed of graduated curved pavé-set brilliant-cut diamond links, with collet-set brilliant-cut diamond accents, each motif claw-set with a graduated oval-shaped emerald, to a concealed clasp; together with a pair of matching earclips, mounted in 18K gold and platinum, diamonds approximately 25.00cts total, with green leather pouch, length of necklace 38.5cm, length of earclips 2cmAccompanied by a report from the SSEF laboratory in Switzerland, stating that the twenty-two emeralds are natural, of Zambian origin, with strong green saturation, minor to moderate (oil & wax). Dimensions from approx. 12.20x9.20x5.80mm to 6.85x5.20x3.60mm. Report number 144739, dated March 3rd 2025.Emeralds have captivated civilizations for centuries, from Cleopatra’s Egypt to the Mayans and the Mughals. The name “emerald” comes from the Greek 'smaragdos', meaning “green gem,” symbolizing life and renewal. Over time, the emerald became legendary, thought to hold powers of prophecy and truth-telling, solidifying its status as a revered gemstone. For centuries, Colombia has been the most famous source of emeralds, renowned for their deep green colour with rich undertones. Colombian emeralds owe their striking hue to the presence of chromium and vanadium. These stones are often described as having a “velvety” softness. However, they typically contain more inclusions, known as jardin, which are natural characteristics of the gem but can impact its durability. Despite these inclusions, Colombian emeralds are still highly sought after for their rich, saturated green tones. In contrast, Zambian emeralds, which gained recognition in the late 20th century, have carved out a prominent position in the global gemstone market. These emeralds are known for their intense bluish-green hue and exceptional clarity, which results from the presence of iron rather than chromium. Zambian emeralds typically have fewer inclusions, giving them a cleaner appearance and making them more structurally durable. This clarity has made them increasingly popular among jewellers who value both beauty and resilience in gemstones. The Kagem Mine in Zambia’s Copperbelt Province, the world’s largest emerald mine, supplies around 25% of global emeralds. Notable finds include the 5,655-carat “Inkalamu” (2018), 1,225-carat “Kafubu Cluster” (2022), and 1,104-carat “Lion Emerald” (2017), cementing Zambia’s status as a leading source of large, high-quality emeralds with exceptional clarity. In recent years, Zambian emeralds have broken auction records, underscoring their growing value. A 56.87-carat piece by Chopard sold for over $1 million at Phillips Hong Kong in 2021, while a 17.43-carat emerald fetched £1.2 million at Bonhams London in 2022. Renowned jewellers such as Chopard, Graff, Boucheron, and David Morris have incorporated Zambian emeralds into their collections. High-profile figures like Julianne Moore at the 2016 Cannes Film Festival, Taraji P. Henson at the 2016 Golden Globe Awards, and Ellie Goulding at the 2020 Green Carpet Fashion Awards, have all been spotted wearing them. Condition Report:Largest emerald estimated to weigh approximately 3.70cts and smallest emerald estimated to weigh approximately 0.73cts. Emeralds of deep green hue, good transparency, overall well matched in colourDiamonds: approx. 25.00cts total, estimated colour approximately G, estimated clarity approximately VS2, one of the smallest diamond deficient near claspEarclips for non-pierced ears, clips with tight tensionClasp closes securelyMetal unmarked, tested by the jewellery department to be platinum and 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 94gAccompanied by a soft green case
Lot 113
JEAN & PIERRE BELLIN: A CORAL, DIAMOND AND CULTURED PEARL PENDANT NECKLACE, CIRCA 1970The ropetwist-link chain suspending two openwork lozenge motifs highlighted with brilliant-cut diamonds, within ropetwist and beading detailing, suspending a detachable cultured pearl and coral tassel finishing with gold bead terminals, mounted in 18K gold, with maker's marks 'Sté JPB' for Jean & Pierre Bellin', unsigned, French assay marks, necklace length 50.5cm, detachable tassel length 9.2cmProspective buyers are advised that several countries prohibit the importation of items containing materials from endangered species, such as coral. Therefore, buyers should familiarise themselves with relevant customs regulations before bidding if they plan to import this lot into another countryJean & Pierre Bellin, heirs to a long lineage of master jewellers, represented the fourth generation of a family whose legacy in fine craftsmanship began in the early 20th century. Trained by both their father and grandfather, the brothers honed their skills in the prestigious workshops of Cartier before setting out to revive their own family’s maison. In 1962, they brought new life to the house by opening an impressive atelier at 62 rue La Fayette, one of the largest jewellery workshops in Paris. This expansion followed their original atelier on 16 rue de la Grange-Batelière, established decades earlier. Their sister Pierrette later joined them, as did thier brother Philippe, as representatives of the next generation, ensuring that the Bellin legacy would continue to shine. Jean & Pierre Bellin quickly gained a reputation for being extraordinary craftsmen: their work was defined by a vibrant aesthetic, blending the clean, bold lines of Art Deco with the rich, flowing elegance of Baroque art. They were particularly renowned for their use of emeralds, rock crystal, and other stones that required intricate cutting and imaginative setting. Demand for their pieces was so high that clients were often placed on lengthy waiting lists. Though they were among the most successful independent jewellers in France, a significant portion of their revenue came from international markets, particularly in the Middle East and Asia, where their name became synonymous with refined French luxury. In the 1980s, the two brothers also produced unique, high-priced pieces, destined for Place Vendôme houses such as Mauboussin and Chaumet, and numerous pieces of jewellery for Fred. In the 1980s and 1990s, the Bellin workshop embraced evolving techniques, including the popular “chaté de chaton”, a setting style that added movement and energy to gemstone designs. Whether it’s a turquoise cabochon bird pendant with ruby foliage and emerald eyes or a finely polished brooch with engraved detail, every Bellin jewel holds a spark of individuality and imagination. From the narrow streets of Paris’s 9th arrondissement to private collections across the globe, such as the Sultan of Brunei, Jean & Pierre Bellin crafted a legacy of elegance, imagination, and timeless artistry. In a testament to the enduring appeal of their creations, a sale held last March by Margaux Serrano Maison de ventes in Paris featured 56 pieces dedicated to the jewellery crafted by the Bellin brothers. This exceptional auction offered collectors and connoisseurs the rare opportunity to acquire works from the renowned Parisian house. Condition Report: Coral: Typical angel's skin hue, overall well matched and in good conditionPearls: cream tint with pink and green overtones, high lustreDiamonds: bright and livelyMaker's marks located on the clasp of the necklace and on the clasp of the pendantFrench assay marks - eagle's head for 18K gold - located on both the necklace and pendantClasps close securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 59.5g
Lot 45
AN IMPORTANT LATE 19TH CENTURY PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGSOf girandole design, each set with three pear-shaped amethyst drops, to the old-cut diamond foliate motif and circular-cut amethyst and old-cut diamond cluster surmount, mounted in silver and gold, with partial Russian assay mark ?'56', amethysts approximately 35.00cts total, diamonds approximately 3.30cts total, length 4.9cmA historical pair from the 18th century, of similar design, was sold at Christie's in Geneva, 13.11.2007, lot 269.Amethysts have been treasured for centuries, revered by ancient cultures from Greece to medieval Europe. The name comes from the Greek amethysts, meaning “not intoxicated,” reflecting the belief that the stone could ward off drunkenness and promote mental clarity. Symbolising wisdom, royalty, and spiritual protection, amethysts were worn by bishops and monarchs, were valued for their beauty and their perceived ability to calm the mind and strengthen resolve. Among the most coveted are Siberian amethysts, famed for their rich, velvety purple hue often accented with flashes of red and blue. Mined from Russia’s Ural Mountains since the 18th century, these stones quickly became the gold standard of amethyst quality. Though production from the region has declined, Siberian amethysts remain highly prized for their depth of colour and exceptional clarity, often commanding premium prices on the market. Today, amethysts are sourced from regions including Brazil, Zambia, Uruguay, and Madagascar, each offering distinct characteristics. Brazilian stones are typically lighter with a clear, violet hue, while Zambian amethysts are darker, often with a bluish tint. Uruguayan gems stand out for their vivid saturation and purity. Yet among them all, Siberian amethysts remain the most prized, distinguished by their intensity and historical provenance. Siberian amethysts were favoured by the Russian nobility, with figures like Empress Catherine the Great adorning themselves in amethyst-laden jewels. In modern times, the stone continues to make public appearances. Queen Elizabeth II famously wore amethyst pieces from the Kent Amethyst Suite, while Lupita Nyong’o stunned at the 2015 Golden Globe Awards in Chopard amethyst earrings.Siberian amethysts have achieved remarkable results at auction, reflecting their rarity and historic value. A Victorian amethyst and diamond necklace from the 19th century sold at Christie’s London for over £75,000, far exceeding its estimate. Similarly, pieces from Queen Alexandra’s collection have also surfaced in royal exhibitions and private sales, often valued in the six-figure range, underscoring the enduring prestige of these exceptional gems. The Romanov dynasty ruled Russia from 1613 until 1917, when the Revolution abruptly ended their empire. The last years of the 19th and the early 20th century was a period of elegance and excess for the Tsars and the wealthy families of Russia. The Imperial family’s jewellery was amongst the most precious in the world. These jewels were tangible symbols of the power of the Romanovs and their deep ties to European aristocracy and culture and were once the epitome of Russian opulence. After the Bolshevik Revolution, the fate of these precious treasures would become one of the most captivating chapters in the story of the Russian Empire’s fall. The Bolsheviks, in their sweeping promises of equality, claimed that the jewels once hoarded by the aristocracy would be used for the benefit of the people. “Diamonds, pearls, and precious stones that have cost workers endless suffering for centuries are now in safe hands. The proletariat will be able to use them wisely,” they boasted in the 1920s. Yet, while the Soviet government officially denied any sale of the Romanov collection, they could not entirely escape the growing rumours that began circulating in the West. In response to these whispers, the Bolsheviks organised a lavish exhibition of the Russian Crown Jewels in Moscow on December 18, 1925, to counter the belief that the revolution had torn apart the cultural and material legacy of Russia’s royal family. But less than a year later, the treasures were quietly sold, and the secrets of their dispersal would only emerge later. In a remarkable twist of history, American antiquarian Norman Weiss acquired a substantial portion of the Crown Jewels exhibition in 1926, purchasing 9 kilograms of imperial treasures for $50,000. Among the pieces were two pairs of magnificent 18th-century girandole earrings, a quintessential example of Russian royal jewellery, that soon entered the international market. One of these pairs, set with vibrant Ural amethysts, is famously associated with Empress Catherine the Great. The earrings are prominently featured in a portrait of the young Catherine, then still a Tsarevna and Grand Duchess, long before she assumed the throne. Though not yet immersed in imperial luxury, the gift, commissioned by Empress Elizabeth Petrovna from her court jeweller, Jérémie Pauzié, already reflected the grandeur of the 18th-century Russian court. Crafted by Pauzié, renowned for his meticulous attention to detail and his intricate, heavy designs, the earrings became a significant part of Catherine’s early life. When time came for Cathrine’s coronation, the soon-to-be crowned empress entrusted Pauzié with the creation of the Imperial Crown of Russia. The jeweller collaborated closely with the court’s most skilled artisans, and together, they fashioned the exquisite crown, adorned with nearly 5,000 diamonds and 75 large pearls, a feat that has since become an iconic piece of Russian history. After the earrings were sold to Weiss, they resurfaced in 1929 when JS Phillips purchased them at Christie’s London for 135 pounds. Decades later, in 2007, they appeared again at Christie’s in Geneva, fetching 433,000 Swiss francs and reaffirming the enduring allure of Russian imperial jewellery. The sale of the Romanov jewels remains a poignant and fascinating story, illustrating the complex intersection of revolution, power, and history. These jewels, symbols of a vanished world, continue to captivate collectors, historians, and admirers offering a glimpse into the opulence of the Russian Empire before its collapse. Condition Report: Amethysts:3 PS each approx. 6.43cts, 4.57cts & 4.18cts & 1 RD 2.12cts3 PS each approx. 6.57cts, 4.35cts & 4.40cts & 1 RD 2.11ctsPS: Of purple hue, medium to dark tone, good transparency, facets are smooth, well matched in colourRD: Of purple hue, medium tone, good transparency, one slightly darker than the other oneDiamonds: approx. 3.30cts total, bright and livelyWith partial Russian assay mark ? '56' on each back earrings, one posts slightly looser when opening itFor pierced earsNormal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 22.6g
![Lot comprising ceramics to include Wedgwood, Denby and similar, small terrestrial globe, blow lamp and other. [W]](https://cdn.globalauctionplatform.com/5a38e368-c006-4d67-a12e-b2ab00f92a0a/f8192c91-96f7-4c71-8540-b2bf010cc35d/468x382.jpg)
Lot 289
Collection of TV / Film related toys and figures to include Touchstone Pictures Nightmare Before Christmas Snow Globe, 5 x NECA Head Knockers bobblehead figures including Halloween Mummy, Mad Alfred E. Neuman, Napoleon Dynamite, Beetlejuice and The Nightmare Before Christmas Oogie Boogie, Funko Batman Batmobile, 3 x ERTL The Joker diecast models, etc
Lot 812
NORTH AMERICA -- "AMÉRIQUE. Lorsque cette partie du Globe (appellée nouveau monde) (…)". Paris, Codoni ainé, n.d. (c. 1830). Engr. dep. a wedding in a North American Indian tribe, captioned in the plate, cold. by hand. 246 x 318 mm (sheet size). (Margins trimmed, a bit soiled). -- "WAHRE ABBILDUNG, wie die Wilden in America, (…) ihre gefangene Feinde behandeln (…)". N.pl., n.d. (c. 1800?). Plain woodcut by Dohnhaeuser(?). 192 x 320 mm. Laid down on mount. (Part of a larger print?). -- "UOMO DELL'INCOLA FLORIDA/Homme de l'Incola Florida" - "RE DELLA FLORIDA nell'America Settentrionale vestito in pompa/Roi de la Floride (…)" - "REGINA DELLA FLORIDA/Reine de la Floride" - "DONNA DELLA FLORIDA/Femme de la Floride" - Venice, (c. 1789). 4 plain engr./etchings by Th. Viero. 280 x 200 mm each. -- And 16 similar prints. (22).
Lot 235
Limoges France hand-painted porcelain treasure box in the form of a world globe on a brass tripod stand, opening to reveal a miniature compass inside. The piece is richly detailed with continents labeled in French, and features a painted compass rose on the base. Marked “Limoges France, Peint Main” on the underside. Measures 4"H. Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
Lot 280
Birdcage by Ruben Carrasco is a limited edition 23 Color Screen Print on 330 gsm Somerset Paper with 24ct Gold Leaf Hand Painted by the Artist, numbered 7 of 20, showcasing the artist’s fusion of surrealism and street art. The piece features intricate detailing with a striking composition that conveys depth and symbolism. Ruben Carrasco is a Mexican-Canadian contemporary artist and muralist based in Montreal, renowned for his international impact and multifaceted approach to art. Born and raised in Mexico, he began his artistic journey at 19 as a self-taught artist, later enhancing his skills at institutions such as the Anáhuac University in Cancun, Mexico, and McGill and Dawson College in Montreal, Canada. Throughout his career, Carrasco has created over 200 murals across the globe, including countries like Mexico, France, Canada, the United States, South Africa, England, China, Italy, Germany, Spain, Belize, Cuba, and Israel. His work has been featured in solo and group exhibitions, mural festivals, biennials, and live painting events, earning recognition from cultural organizations, embassies, governments, the press, and the artistic community. Based in Montreal, Carrasco actively engages in urban art projects with the support of local authorities. He has collaborated with the General Consulate of Mexico as a jury member for the Art Exhibitions Evaluation Committee for "Espacio Mexico." Additionally, he co-founded the international artists' collective "5 Wolves No Pigs" and played a pivotal role in establishing the FIAP and IPAF art festivals. Stamped with the Graffiti Prints Co. mark and signed with the artist’s name, this artwork is a standout in contemporary urban art. Measures 22"L x 29.25"H.Artist: Ruben CarrascoIssued: 2019Dimensions: See DescriptionCountry of Origin: UKCondition: Excellent.
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