Group of studio glass including a Cowdy flared cylindrical purple iridescent vase, etched mark to base, a cased perfume bottle and stopper of tapering conical form, etched marks, a winged perfume bottle and stopper attributed to Steven Newell, 10.5cm high, a frosted amethyst jug with clear whiplash handle attributed to Steven Newell, a pale blue tinted baluster goblet with trailed ornament by Mark Taylor, etched signature, dated 1998 to footrim, a George Elliott mug with combed red, ochre and pink inclusions, etched signature, dated 1980 to base, a pressed glass sculpture of the Madonna with child designed by Stef Uiterwaal (1889-1960) by Glasfabriek Leerdam circa 1930's, moulded factory mark, 36cm high, a blue tinted conical footed bowl with spiralling trailed ornament, indistinct signature possibly Janet Glover, a green tinted globular two-handled jar with label for Mark Taylor, etched signature and dated 1992 to footrim and a small Vasart top-hat shaped vase in pale lilac and aventurine, etched mark to base (10) Condition Report Leerdam Madonna - Light surface marks, small bruise to side of head, two chips and ground down area on base. General wear and tear.We do not offer in-house shipping. Please try Mailboxes.com, bidandbox.com or mjmpost458@gmail.com
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Peter Randall-Page RA (1954) hand carved granite “A Little Bit of Infinity – Stone 5", 2020, with invoice from the Rabley Gallery October 2020 from the exhibition 'A Little Bit of Infinity', 22cm x 16cm x 9cm, together with book 'Peter Randall-Page at Yorkshire Sculpture Park' From the collection of the late Maurice Costley
An early 20th century Edwardian mahogany tabletop trunk, with twin brass carrying handles and hinged lift lid, 53 x 33cm, a bronzed resin sculpture of two hands, raised on wooden plinth base, height 25cm, a copper Guernsey creamer jug, height 24cm, a Chinese brass bound three tier hardwood box, 31.5 x 16cm, three Chinese carved hardwood stands, etc (8).
A large glass sculpture in the form of a leaping shark in smoky tones, in the style of Murano, on separate glass base, the base with etched name 'W.' (possibly 'Fuslor'), length of shark 47cm.Condition Report: Both items are separate and would need some kind of fixing agent to keep them together.
Two Japanese wood block prints, 19th century, comprising: one, by Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864), Snow (Yuki): Actors Nakamura Fukusuke I as Hakomawashi Fukusaku, 26 x 36 cm, and the other, by Keisai Eisen (1790 - 1848), A beauty reading a letter, 68 x 23 cm, framed and glazed (2)From the contents of Brook House, Ongar, the former home of Gillian Raffles (1930-2021) an art dealer and owner of the Mercury Gallery in Cork Street, London in 1964. She exhibited and promoted the work of young figurative British artists and dealt in sculpture, paintings, and works of art by 20th Century British and European artists.Condition ReportDid not examine out of the frames. Both with staining and foxing marks. Paper cockled. Colours faded. Some small holes on the Kunisada print.
A Victorian silver cup and saucer London 1893,the cup with half reeded body,together with a pair of pirced sweetmeat dishes,Birmingham 1903,other silver items comprising a circular pin dish, a novelty frog on a lily pad sculpture, a pair of sugar nips, and a silver cased porcelain tea cup with saucer,and three silver plated items an oval tray, a cut glass sugar bowl and a circular salver31cm diametertotal weighable silver weight 10tozCondition Reportsurface scratches, dents and tarnishing
Picturesque Views of the Principal Seats of the Nobility and Gentry in England and Wales. By the most eminent British Artists. With a Description of each Seat. Harrison & Co. N.D. C1788 (Plates dated 1786-88). After two counts, I can only find 99 plates of the 100, Hence missing one plate. Oblong 4to. Later half leather; light damp staining; Jones' Views of the Seats, Mansions, Castles, & c. of Noblemen & Gentlemen in England, Wales, Scotland & Ireland. Forming part of the general Series of Jones' Great Britain Illustrated. L, Jones & Co. 1829, 1st. Edn. Engraved title page with vignette plus 298 engraved views on 149 Plates. 4to. Near cont. half leather over marbled boards and marbled endpapers. With the bookplate of 'Martin Drury' to front pastedown. VG Joseph Pannell: The Work of Charles Keene With an Introduction and Comments on the Drawings.. New York, R H Russell, 1897, 1st. Edn. With an Original Etching by Keene, mounted & bound in at the front, together with an autograph letter sent from 55 Baker Street, to S Read (10 lines), Signed is full & tipped-in to the front blank. Folio, original cloth gilt; rubbed and with tears to the spine; Edward Horswell: Sculpture of Les Animaliers 1900-1950. Scala Arts and Heritage Publishers Ltd, 2019, Title page Inscribed and signed by Edward. VG+ (4)
Three African carved stone sculptures - comprising a stylised carved greenstone figure of an elephant, 13.5cm high; a sculpture of a male figure drinking, signed 'R. M. Zvinavashe' to base, 17cm high; a carved soapstone group of two figures with a child, 22.75cm high; together with an African carved wooden bust; a knife with carved hardwood and brass sheath; and four miniature figures of animals. (9)
ZANETTI, ITALY: A MURANO ART GLASS TWIN ANGEL FISH SCULPTURE Venetian, the bubbled smoked glass with aqua, amber and orange swirling to the stylised fish, terminating on plain black glass plinth etched with indistinct artist's name 'Murano 14.02.2008', 46.5cm high (chip to fin of the taller fish) x 29cm wide x 11cm deepProvenance: Acquired from Zanetti and the furnaces of Venice.
A large collection of Chinese Art reference books, including Great Heritages of Chinese Art with Illustrative Plates, 2 Vols, 1951; Zhongguo Meishu Quanji, Diaosu bian 2; Qin Han Diaosu (The Great Treasury of Chinese Art, Sculpture; Qin and Han), vol. 2, Beijing, 1985; Luoyang Tang sancai/Tang Dynasty Tri-Colour Pottery of Luoyang, Beijing, 1980, Jintong fo zaoxiang tezhan tulu / The Crucible of Compassion and Wisdom, Taipei, 1987; Gugong Falangqi Xuancui/Masterpieces of Chinese Enamel Ware in the National Palace Museum, 1971; Zhongguo fojiao yishu [Buddhist Art in China], National Museum of History ROC, Taipei, 1978; The Eminent Mongolian Sculptor G. Zanabazar, 1982; Tang sancai (shang) [Tang Three-colored Pottery (Part I)], Taipei, 1984; Hai-Wai Yi-Chen Chinese art in Overseas Collections, Pottery & Porcelain, Taipei, 1990; Gugong tongqi xuancui [Masterworks of Chinese Bronze in the National Palace Museum], 1970; Si chou zhi lu. Han Tang zhi wu.[Silk Road textiles from Han Dynasty to Tang Dynasty],1972, and Collector's notes and Etc. (Qty) Provenance: The David and Sarah Battie Collection.
Chinese Art: Osvald Siren: collection, including: Les Peintures Chinoises Dans Les Collections Americaines, 3 vols. Planches 81-2000. Paris, 1928, Folio, slipcase; Ars Asiatica: vol. vii- Documents d'arts Chinois; Plus: Nott, S C: Chinese Jade Throughout the Ages. L, Batsford Ltd, 1936; Fenollosa, E F: Epochs of Chinese and Japanese Art, Vol.1, Heinemann, no date; Bushell, S: Chinese Art vol. 1, L, Board of Education, 1924; Roger Fry, Bernard Brackham et. Al: Chinese Art, An Introductory Handbook to Painting, Sculpture, Ceramics, Textiles, Bronzes & Minor Arts. L, Batsford, 1935 (qty.)Provenance: Arthur Probsthain bookshop, London.
TIFFANY & CO. DESIGNED BY ELSA PERETTI: A PAIR OF JADE 'BEAN' CUFFLINKSEach polished jade bean front and back, mounted in 925 silver, signed Tiffany & Co. & Elsa PerettiBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her. Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design. Condition Report: Normal signs of wear, overall in good conditionTotal gross weight approx. 11.4g
TIFFANY & CO., DESIGNED BY ELSA PERETTI: A GOLD 'MESH SCARF' NECKLACEOf woven mesh-linking, in 18K gold, signed Peretti and T&Co., with maker's pouch and outer box, length approximately 96.2cmBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her. Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design. Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 90gRetail price on Tiffany & Co.'s website: €29,400 (currently out of stock)https://www.tiffany.ie/jewelry/necklaces-pendants/ep-mesh-18k-rose-gold-necklaces-pendants-60145954.html?queryID=233b5787aee6a0c495c4437336c5f578&objectID=60145954&indexName=ecommerce_eu_products__en_IE&searchQuery=MESH&variantId=1415168429According to client: bought in the 1990s, worn once
TIFFANY & CO., DESIGNED BY ELSA PERETTI: A GOLD 'SNAKE' NECKLACEThe articulating graduated 'bean' links, finishing with a polished gold snake head clasp, mounted in 18K gold, signed Tiffany & Co. and Elsa Peretti, with maker's pouch and outer box, length 50.4cmBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her. Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design. Condition Report: Normal signs of wear, overall in good conditionWith maker's pouch and outer boxRetail price on Tiffany's website: €27,200https://www.tiffany.ie/jewelry/necklaces-pendants/18k-yellow-gold-necklaces-pendants-60116249.html?queryID=52817da0174899a6e7b063789b6a43b6&objectID=60116249&indexName=ecommerce_eu_products__en_IE&searchQuery=snake%20peretti&variantId=1415134711Total gross weight approx. 76.6g
A monumental plaster figure of Diana of Gabii after the antique, 20th century, by Manifattura di Signa, stamped with maker's mark and 'Made in Italy', 52cm wide 52cm deep 225cm high The sculpture is widely believed to represent the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. The original sculpture, which this piece is modelled after, was discovered in 1792 by Gavin Hamilton on the property of Prince Borghese at Gabii. It was promptly added to the Borghese collection and is now housed in the Louvre.
Laura Ashley, Capodimonte - A boxed Laura Ashley Mille Fleurs 3 tier cake stand in excellent condition. A boxed set of six stainless steel table knives (made in Sheffield) in excellent condition. A Capodimonte salt & pepper grinder set in blue cherub style. A resin sculpture of a naked lady. Two white cat ornaments, the tallest (by Just Cats & Co) has a hairline to the rear and is approx 28 cm tall. (This does not constitute a guarantee) [L]
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