We found 55085 price guide item(s) matching your search
There are 55085 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
55085 item(s)/page
Lot 89
A silver spirit kettle and stand by Charles Stuart Harris, London 1884, with reeded body, the stand on tapering legs with paw feet,29cm hightogether with a teapot,by Arthur Sibley, London 1862, the handle detached,15cm high 49ozt (2)Condition ReportKnocks, scuffs, surface, dents and surface scratches to all, and oxidisation.Handle detached on teapot and missing insulators.
Lot 560
An 18th century and later burr walnut and oak chest of drawers - with two short over three graduated drawers, the later brass swan-neck handles with pierced back-plates, raised on bracket feet. (LWH 92 x 52 x 98.5cm).* Condition: The later parts are relatively minor - the handles are later, and there are repaired fillet pieces to the top of each of the long drawers on the left hand side. There are also some later pieces of wood to the structure inside the chest to strengthen joints, so it has obviously been subject to some restoration at some stage. The drawers do run quite smoothly. One of the lower drawer swing handles is mis-matched (the backplate does match however). The top has some large, old deep scratches to the wood and a few minor spirit marks to the centre front. The top is made of two planks which have separated slightly. The front of the chest is faded, but evenly. There are old chips and dings to the edges and corners throughout. Both top drawers have a small shrinkage crack to the base liner. The front of the chest has some old repairs with wax fill around the joints between the side panels and the drawer frame. There is an old glued repair to the front left foot. The top RH drawer has a large chip to the wood beside the lock.
Lot 973
Mouseman and the Yorkshire Critters: a honey oak bowl by Thomas 'Gnomeman' Whittaker (1910-1991) - the fluted, chrysanthemum shaped bowl with deep adzed patterning to the underside, the well centred with his carved gnome signature, 24cm diameter. * Thomas Whittaker never worked for Robert 'Mouseman' Thompson, but was heavily influenced by his work, as well as the Black Forest craftsmen of southern Germany and Switzerland. Originally based in York but later in Littlebeck near Whitby, his trademark gnome was inspired by a German Jewish refugee he met as a judge at the North of England Craftsman's Exhibition in Newcastle, just before the outbreak of WW2. The judge was examining Whittaker's work and suggested it made him think of the German Oak Spirit, the legend that a gnome is born every time an acorn germinates, which guards the resulting oak tree throughout its life. * In good condition, with no faults - no chips, cracks or water marks / fading to the bowl.
Lot 1080
A small collection of vintage and modern spirit flasks - including four cut and moulded glass examples with plated mounts, the largest 15.4cm high; two wicker-wrapped glass flasks, one with a pull-off silver plated cup; a small mid-century silver plated trapezoidal pocket flask, 9.7cm high; and three modern leather-covered flasks, the largest by Marlborough, 13.4cm high. (10)
Lot 217
A collection of silver plated ware - comprising an early 20th century two-handled oval tray, 63.25cm long; a pair of 19th century candlesticks, 27.3cm high; an oval pierced tray with Dutch style pottery plaque, 35.25cm long, mid-20th century; an EPBM and leather spirit flask; three cased sets of cutlery; and two boxes of 'bone' handled fish knives and forks.
Lot 1088
A box of collectables - including a copper and brass hunting horn, 22.8cm long; a pewter and leather spirit flask; a silver mounted cut glass EII Silver Jubilee paperweight; an Omani white metal bangle with brass insert to convert to a dish, 12cm diameter; a small group of 1950s lead toy figures; a 1918 steel and brass police whistle, stamped maker's mark and date; various pocket knives and other tools; two fossil hunter's hammers; three vintage pre-war tin openers; a set of six EII EPNS Coronation tea spoons and jam spoon; etc.
Lot 248
A George VI silver spirit flask - William Suckling Ltd, London 1947, of typical form with engine turned decoration and turn-off locking hinged cover, 12.2cm high, weight 174g.* In good condition overall. Small ding to top of cover and another to bottom edge just below the marks. Turn-off cover functions correctly. Marks to side of body slightly rubbed but remain legible. Needs cleaning.
Lot 237
After Charles Sykes, a large bronze Spirit of Ecstasy, approx 44 cm high, on a green marble column, most likely from a Rolls-Royce showroom, base damaged, approx. 130 cm high (overall) Please see our terms and conditions in relation to collection We are unable to remove this lot - please see our Terms & Conditions relating to removal times and storage costs
Lot 205
A group of Chinese Cultural Revolution posters, 20th century, including one with 'LONG LIVE CHAIRMAN MAO!' slogan, one with 'WHEN WE GROW UP, WE'LL GO TO THE COUNTRYSIDE TOO' slogan, and one with 'Carry Forward the Revolutionary Spirit of Lu Hsun', 77 x 54 cm (10)Provenance: Arthur Probsthain bookshop, London.Condition ReportFolding marks and creases.Small tears to edges.
Lot 126
FRANCE. Louis XV 1715-1774. Silver 1 Ecu, 1729 COW. Pau, France. Obv: LUD• XV• D• G• FR• ET• NA• RE• BD, bare head left wearing the cord and the cross of the order of the Holy Spirit; lis below. Rev: SIT• NOMEN• DOMINI BENEDICTUM 1729, crowned oval shield of France between two olive branches. Edge in relief DOMINE SALVUM FAC REGEM.Reference: Dy royales-1675 var.; Gad.R2-321a.Mintage: 301,314.Diameter: 41 mm.Weight: 29.17 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 125
FRANCE. Louis XVIII, 1814-15 & 1815-24. Silver 5 Francs, 1814 B. Rouen, France . Mint Master; Joseph Lambert (1804-1817). Obv: LOUIS XVIII ROI DE FRANCE., Bareheaded bust of Louis XVIII left, dressed with the plaque of the Order of the Holy Spirit. Designed by Pierre-Joseph Tiolier. Rev: crowned shield of France between two olive branches, denomination above with date below. Designed by Pierre-Joseph Tiolier. Edge inscribed DOMINE SALVUM FAC REGEM.Reference: KM-702.2; Franc.2014-308; Gad.1789-591. Mintage: 634,669.Diameter: 37 mm.Weight: 24.99 g.Composition: 900/1000 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 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 47
A VICTORIAN GOLD NECKLACE, SECOND HALF OF THE 19th CENTURYComposed of a continuous row of wide oval-shaped links, in 14K gold, with case from 'J. Mavec & Company, New York, NY, length 42cm Provenance: Accompanied by a receipt from J. Mavec & Company Ltd, Jewelry and Objects of Vertu, on 946 Madison Avenue in New York, describing the necklace as '15K Victorian wide gold link necklace', dated November 14th 1998. Purchased at the time for $15,500.- Countess Miranda de Toulouse-Lautrec (née Redfield) was an American whose remarkable journey led her from Michigan to the French countryside, where she became a respected figure in agriculture. Raised in the American Midwest, Miranda held a degree from Harvard University and had already led an accomplished life before it took an unexpected turn. Following the death of her first husband, she set off on a global journey with her young daughter, a voyage that ultimately brought them to France. Miranda later married Charles-Constantin de Toulouse-Lautrec, a descendant of the celebrated artist Henri de Toulouse-Lautrec, whose vivid paintings famously captured the spirit of the Moulin Rouge. In 1970, the couple purchased a 330-acre estate named ‘1 Essart’, transforming it into a thriving haven for horse and sheep breeding. It marked the beginning of a new chapter for Miranda, as she embraced rural life in France alongside her daughter Laurie and son Alex. On February 16, 2024, Miranda passed away in Verneuil-sur-Vienne at the age of 89. Her life was one of grace, strength, and cultural richness, leaving behind a legacy that bridged continents and celebrated a deep bond between American roots and French tradition. Condition Report: The front and reverse with gold tarnish - can be cleanedThe reverse with two small hoops, could have been for additional pendantA couple of links on the reverse show some signs of soldieringA couple of minor dents visible on the reverseClasp closes securelyMetal unmarked, tested by the jewellery department to be 14-15K goldNormal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 116.7g
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 213
CARTIER: AN 18K GOLD 'LA DONA' WRISTWATCH, CIRCA 2007Of quartz movement, the silvered guilloche asymmetrical tonneau-shaped dial, with Roman numerals ad inner hours and minute track, blued steel hands, fitted burgundy strap with original gold buckle, faceted blue crown, ref. 2904, case no. 83878MX, case, dial, movement and buckle signed, with certificate from Cartier in Milan dated December 25th 2007, with manual booklet and maker's case, case from 20mm to 16mm In 2006, Cartier unveiled ‘La Dona’ watch collection as a heartfelt tribute to the legendary Mexican actress and singer, María Félix. The collection, designed to honour her extraordinary legacy as both a style icon and a loyal Cartier client, captures the essence of the woman known to her fans as "La Doña". The La Dona watch, with its distinctive silhouette, tells a fascinating story, one woven from the deep connection between Maria Félix and the legendary jeweller. This bond dates back to the 1950s when the actress at the height of her fame, became a muse for the Maison. Known for her commanding sense of style and love for bold, statement-making accessories, she frequently turned to Cartier for bespoke creations. It was during this time that her renowned jewellery collection began to take shape, featuring striking pieces like the Snake Necklace and the Crocodile Necklace, two of her most famous Cartier designs. The crocodile, one of María Félix's favourite animals, played a pivotal role in one of the most memorable stories behind her jewellery. Legend has it that Félix brought her pet crocodile to Cartier's Rue de la Paix Paris boutique, hoping it would inspire the master jewellers to recreate the creature as realistically as possible. The result was a necklace that captured the wild elegance of the reptile, cementing Félix's love for animal-themed designs, a theme that Cartier had long been celebrated for. When Cartier launched the 'La Dona' watch in 2006, they paid tribute to the iconic relationship between the designer and María Félix, celebrating her fierce and exotic spirit while incorporating subtle nods to the crocodile that Félix so admired. The watch's trapezoidal case echoes the asymmetrical shape of a crocodile's head. Available in both polished metal and vibrant leather strap options, it offers a modern take on the boldness and elegance that defined Félix's personal style. Its classic dial, featuring black Roman numerals and blue sword-shaped hands, evokes Cartier's signature timeless elegance, while the faceted crown, topped with a blue stone, adds a touch of refinement. The design is both daring and graceful, perfectly capturing the essence of the woman it honours. Although María Félix passed away in 2002, before ‘La Dona’ watches were introduced, it's easy to imagine that she would have appreciated the watch's bold yet refined design. Today, the pieces she cherished, like her famous Snake and Crocodile Necklaces, live on in Cartier's official heritage collection, frequently displayed in exhibitions around the world. ‘La Dona’ watch collection, like these iconic pieces, serves as a lasting testament to María Félix's legacy, her love for the extraordinary, and her unique place in both Cartier's history and the world of style. Condition Report: Glass: no scratches observedCase & bezel: minor scratches due to normal wearBuckle: normal signs of wearBracelet: Normal signs of wearIn running condition at the time of cataloguing.Normal signs of wear, overall in good conditionTotal gross weight approx. 35.2gWith Cartier certificate from Cartier Milan dated 25.12.2007 & Cartier CaseAn external watch specialist who verifies every watch prior to each auction in order to open them, checks their working condition and mentions any potential damage, mentions any movement, reference numbers etc...The movement is running at the time of cataloguing, however, it was not tested for the accuracy of time or duration of the power reserve and may need servicing at the buyer's discretion. Please note that Adam's cannot guarantee the future working of the movement. The jewellery department is happy to offer any additional assistance.
Lot 36
A LATE 19TH CENTURY 'SAINT ESPRIT' DIAMOND PENDANT/BROOCH, CIRCA 1880Modelled as dove in flight, set with five principal old-mine diamonds, to smaller similarly-cut diamonds throughout, with circular-cut garnet cabochon eyes, finishing with an old-cut pear-shaped diamond suspended from its beak, mounted in silver and gold, diamonds approximately 4.50-5.00cts total, length 3.9cmThe dove is an animal rich in symbolism: in ancient times, the white dove was associated with Aphrodite or Venus, the goddess of love, and even today, turtledoves are linked to romantic themes. In Christian traditions, the dove carrying an olive branch in its beak symbolises peace and hope, inspired by the Book of Genesis, where a dove sent out by Noah returns to the ark, bringing back an olive leaf that signifies a new beginning. This also suggests the reconciliation of mankind with God after the flood. Additionally, the dove is a symbol of the Holy Spirit, often depicted flying down to the earth with an olive branch in its beak. This symbolism is reflected in what is known as “Saint Esprit” jewellery. The dove charm, commonly seen in the form of pendants or brooches, is named after the biblical story of the dove descending from heaven with wings spread, seen as a powerful sign and a symbol of love. The use of the Saint Esprit in jewellery likely originates from the Ordre du Saint-Espirit chivalry pendant. These dove-shaped pieces were particularly popular in 18th-century Normandy, where they were worn by the elite and fashionable women of the time. As the years passed, the charm gained even more popularity in 19th-century France, spreading to other social classes and becoming a symbol of elegance. Condition Report: Diamonds: approx. 4.50-5.00cts total, G/H, with a couple of J/K, estimated clarity SI1 with some VS, bright and livelyClasp closes securelyNormal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 9.1g
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 316
A scratch-built model of the aeroplane 'Spirit of St. Louis', 20th century, raised on a tapering stand,plane 49cm long39cm wide9cm high (2)Condition ReportNo obvious internal detail visible, looking through the window you can see three circular 'dials' but these might be screw heads... Looks to be mid to late 20th C.quality overall fair, with small areas of cosmetic damage
![A collection of tools to include spirit levels, clamps, measures and similar. [W]](https://cdn.globalauctionplatform.com/5a38e368-c006-4d67-a12e-b2ab00f92a0a/c8abdb9f-949b-47cd-8046-b2c1009844ed/468x382.jpg)
Lot 1465
The following 121 Lots are the residual contents of The Monastery of the Holy Spirit, known locally as Kirk Edge Convent, a Carmelite Monastery for nuns situated on Kirk Edge Road between the villages of Worrall and High Bradfield. Nineteen Printing Blocks, with Christmas greetings, flowers, Religious symbols etc; a pestle and mortar, a box of white candles and circular holders and a box of beads and crosses. (A Lot)
Lot 138
Miguel de Herrera (La Laguna, Santa Cruz de Tenerife, 1696 - Mexico, after 1765)“Allegory and exaltation of the purity and virginity of Mary Immaculate, and symbolism of some lauretan litanies”.Oil on canvas. Signed, dated and located: “Fr. Miguel de Herrera, Augustiniano f. Mexico 1743”. In its original carved, polychromed and gilded wooden frame. 102 x 76 cm.Delicate allegorical work by Miguel de Herrera, a painter from the Canary Islands, also known as Fray Miguel de Herrera, as in 1712 he became a monk, entering the Monastery of the Holy Spirit of the order of St. Augustine. The painting portrays the theological and devotional exaltation of the purity and virginity of Mary Immaculate, with the symbolism of some lauretan litanies. This painter moved to New Spain in 1719, developing most of his artistic career in Mexico, which is why for a time it was believed that Mexico was his birthplace.It should be noted that in 1753 this painter from Tenerife entered the First Academy of Painting in Mexico. The exact date of his death is unknown, but he remained active at least until 1765.Certainly, this mature work by the Augustinian friar reflects the metaphors that appear in the Bible with mastery. They are already seen in patristics as prefigurations of Christ and are contemplated here totally in a Marian sense.In a background of purity and mystical light, with delicate tones almost of celestial mist, below and in the background, Nazareth appears, pointed out by Saint Anne as the place of the Virgin's birth, as well as the walls of Jerusalem, where the life and death of her Son will take place.From the union of her two holy parents, Joachim and Anne, the Virgin Mary emerges as a white lily (Lilium Candidum), an emblematic species because of its immaculate white flowers and its deep cultural and religious symbolism, being a botanical hermaphrodite and icon of purity and renewal, which exudes a deep, sweet and intense fragrance.This figure is surrounded by immaculist symbolism and some Laurelian litanies, which were born in the Song of Songs, which became part of the landscape and background of many artworks and which enclosed the iconographic model of the “Tota Pulchra”.On the upper right, “the Door”, Mary is symbolized as the door to heaven through which the Savior has come to us, according to Christian theology, as well as the door that leads us to Him.Below, two angels hold “the Tower of David or Tower of ivory”, in clear parallelism to the tower of the Alcazar in which King David settled when he conquered Jerusalem, symbol of his power and of singular dignity and beauty. The Tower of David, alludes to Mary´s spiritual beauty, her firmness in faith and her dignity as Mother of the Messiah. They also hold the lily, which, like the lilies, signifies her virginal being and her conception without stain of sin. That whiteness is an image of the Virgin's spiritual beauty, and the petals opening upwards are a reference to her openness to God the Father. The petals opening to her sides allude to her generous and essentially missionary motherhood. All the petals form a single flower, an image of fraternity. According to the thought of St. Bernard, Mary's lily is not cultivated and pampered in gardens, but the wild lily of the valley, which sprouts and blooms without the intervention and the hand of man.On the left, above, two other angels hold the Mirror, Mary as “Mirror of Justice”. This Lauretan litany expresses that Mary reflects divine holiness, that is, perfection. In Mary “God was reflected and reproduced through his faithful transcript Jesus, without wounding or altering the mirror itself,” as the Holy Fathers say.The mirror is also related to the soul and the reflection it produces. Therefore, it would come to be one of the faces of truth and, because of its complexity, it would allude at the same time to conscience, clarity and divine intelligence.They also hold an olive branch, which symbolizes peace and values of fecundity, victory or purification applied to the Virgin Mary.The palm or “Palm Tree” which, because of its greenness and life, usually has a meaning related to the hope of salvation. Likewise, recalling the events of the Passion of Christ, the inhabitants of Jerusalem acclaimed Jesus at the entrance of the city as a sign of triumph and victory. In that sense, it evokes ascension, regeneration and immortality. Likewise, we cannot forget that the palm tree was one of the trees that existed in paradise. Iconographically, in the expulsion of Adam and Eve from the Garden of Eden, this element usually appears as an allegory of justice.Finally, a basket of roses speaks of the “Mystical Rose”, as a symbol of the passion and charity of Christ, showing Mary as queen of flowers and queen of virtues, as St. Bonaventure reflected in his work “The Mystical Vine”.
Lot 143
Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist. These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb. The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition. The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings. He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.
Lot 304
A Scratch Built Live Steam Horizontal Steam Plant; 7 x 18cm boiler connection to a single cylinder operating some form of power tool, spirit fired with three wick burner, finished in black/green, and bright metal, mounted to a 14 x 38cm wooden base, overall hight 20cm; untested and requiring T.L.C
Lot 15
An early 20th century Burmese unmarked silver double spirit measure / jigger. Two bowls form with a central bulbous stem, decorated with embossed figurines above the lotus pedels to the base. Tested silver. Weight approx. 100g.Maesures approx. 9.5cm tal x 6.5cm diameter.Slightly tilted, deformed mouth rim.
Lot 171
A dynamic showcase of motion and elegance, this crystal rearing horse figurine captures the spirit and strength of the noble animal. Expertly faceted in clear crystal, the sculpture features lifelike detailing in the mane, tail, and musculature, all accentuated by brilliant light refractions. Mounted on a beveled base for stability and visual impact. Swarovski etched backstamp. Artist: Heinz Tabertshofer Issued: 2019Dimensions: 2.25"L x 5.5"W x 6.5"HCountry of Origin: AustriaCondition: Age related wear.
Lot 238
Charming hand-painted Limoges porcelain treasure box in the shape of a woven basket with a twisted bronze handle and clasp. The lid is vibrantly decorated with colorful produce and market signs reading "Letrilot de Paris" and "Look de France," capturing the spirit of a bustling Parisian market. The underside is marked "Limoges France Peint Main," and the interior features a blue maker’s stamp reading "Paris." Measures 2.75"H.Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
Loading...-
55085 item(s)/page