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Lot 2201
A 22 Carat Gold Necklacethe central section comprised of beadwork roundels spaced by ribbed, cannetille style and plain polished beads, to a beadwork back chain length 43.2cmThe necklace is in good condition, with minor scuffing/dings commensurate with use. It fastens with a hook catch. The catch is hallmarked with sponsor's mark 'H.F.L', Sheffield (import), 1996, the tapered end link of the central section is also stamped '22C'. Gross weight 49.3 grams. CR made 30.01.25.
Lot 188
A CHINESE CARVED HARDWOOD FIGURE OF IMMORTAL, EARLY 20TH CENTURY. The figure stood dressed in robes open at the chest, holding a staff with calligraphy brush and beads. Mounted on a later square base. 54.5cm tall. Some cracking to front of figure with some smaller surface cracks in places. No major losses and no signs of repairs.
Lot 134
TWO CHINESE CARVED JADE PENDANTS AND A BRACELET. A pale jade pendant of shaped rectangular form, carved with stylised scrolling dragons and clouds, the other with a pierced winged insect with three white metal chain attachments suspending two leaves, the bracelet mounted with pale and mottled jade beads carved with ruyi-shaped scrolls alternating with carnelian beads (3) The pale jade pendant with chains is lacking a central chain and jade leaf attachment, the bracelet is on elasticated string. Minor wear overall
Lot 378
Group of 19th Century coral necklaces to include a two strand branch coral necklace with carved cameo and gold clasp (unmarked tests indicate gold), and a four strand branch coral necklace with gold box clasp engraved 'mother' (unmarked, tests indicate gold), and a coral necklace with carved coral beads (clasp AF). Measures 16, 18 and 16 inches.
Lot 214
A group of vintage 20th century costume jewellery comprising an amber and green glass set necklace, a green glass bead necklace, a turquoise coloured beaded necklace another necklace with coral coloured beads ad a resin necklace of egg yolk coloured beads and curvilinear geometric links, together with a cobalt ring, set with two small diamond chips, size M.
Lot 267
A vintage egg yolk and clear amber necklace - mid-20th century, the polished, naturalistically-shaped beads in a variety of sizes and forms, including five large teardrop shaped beads divided by fringed-trios of smaller beads, the upper section of the necklace with smaller singles and trios of beads, all divided by yellow metal twisted-wire links, no clasp, approx. 80cm long.
Lot 22
Ann Carrington Tiddarren, 2024 Beads, brooches, and necklaces on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ann Carrington is part magpie, part alchemist; working in the folk tradition, she creates pieces that take extraordinary amounts of time to complete. Some of the most collectable pieces she has created are part of her Pearly Queens series with coloured buttons sewn onto a crimson, or black background to emulate the 1st Class Royal Mail stamp. Carrington holds an official license from Royal Mail to produce stamp artworks featuring the Queen. Carrington was commissioned to make 'The Royal Jubilee Banner' for the Queen in celebration of her Diamond Jubilee. The banner hung from the stern of the Royal Barge 'The Spirit of Chartwell' as it made its journey up the River Thames on the Diamond Jubilee procession in the summer of 2012. Jacob Rothschild purchased the first Pearly Queen which now forms part of the Rothschild collection and was recently shown alongside Lucien Freud's famous portrait of the Queen at his exhibition 'Power and Portraiture'. The Queen also commissioned one (in red and gold) to accompany the banner made for her Diamond Jubilee. Collectors of Carrington's work include Elton John, Paul Smith and Lulu Guinness. The United Nations invited Carrington to help raise awareness of current issues through her artwork in 2010, her first piece for The UN was presented at their Human Trafficking conference in Luxor, Egypt. August 2016 saw a large retrospective exhibition of Carrington's work open at the Royal College of Art, London. The centrepiece of the exhibition, Devil's Trumpet, a floral sculpture crafted from cutlery, was acquired by the V&A for their collection and is on permanent display in the Silver Gallery. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 85
TRIO OF TUTSI BASKETS RWANDA, EARLY 20TH CENTURY woven grass, of varying sizes, each with lids evoking an architectural form, all with diverse black geometric designs across the body (3) largest 19cm high Clive Loveless, London, United Kingdom Traditional Tutsi miniature baskets, known for their exquisite craftsmanship, embody both artistic refinement and cultural significance. These finely woven baskets, often featuring intricate geometric patterns in black and natural gold hues, reflect the striking conical roofs of traditional Tutsi houses. Their delicate construction required exacting skill, with women of the Tutsi elite using locally sourced fibres and natural black pigments to create visually dynamic compositions. Unlike larger utilitarian baskets used for storage, these miniatures served as prestigious gifts, safeguarding precious items like amulets, beads, or the master of the house’s pipe.
Lot 628
* Purse. An embroidered lute-shaped purse (or sweete bag?), early 18th century, purse in the shape of a powder flask, padded (probably with horse hair) and embroidered with coloured and metallised threads, using mainly long and short stitch and stem stitch, and incorporating two small beads (remaining few missing), with flowers tied in a bow and stems of daffodils, carnation, and tulip above, on a beige grosgrain ground, faded and dusty, backed with green silk, and with a pouch of the same sewn to the back, gathered with drawstring ribbon of woven cream, green, and metallised silver threads (a little frayed to one side), the two ends of the ribbon caught together in a metal thread toggle, purse edged with woven metallic braid, 9.5 x 6 cm (3.75 x 2.25 ins)QTY: (1)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); thence by descent.A most unusual early purse; we have not been able to trace another the same either at auction or in an institution. The British Museum has a purse not wholly dissimilar, made of velvet and purporting to have been given by King Henry VIII to Anne Boleyn (registration number 1878,1101.635): 'Curator's comments - This is an unusual construction and its purpose is not clear'. The Rijksmuseum, Netherlands, also has a padded shaped purse of velvet (more akin to the British Museum's than that offered here), which they call 'in the shape of scissors (phallus?)' - object number BK-KOG-29.Although these two examples are referred to as purses, it seems more likely, given the contruction, that our receptacle was intended to be filled with sweet-smelling herbs such as lavender, so that a lady could wear it around her neck to ward off infection and unpleasant odours, much like the more commonly found sweete bags of the 16th and 17th centuries. The delicate silk could only have been used to hold something light, and the narrow opening at the top would have been enough for a lady's nose to imbibe the sweet scent within, rather like a perfume bottle.
Lot 531
* Clothing. A pair of Native American beaded moccasins, early 20th century, hide moccasins, embellished with seed beads in white, red, blue, green, and purple, some beads coming loose, with a fringe of metal conical beads to one side of vamp, matching laces, width 9 cm (3.5 ins), length 26 cm (10.25 ins), together with:A pair of Native American child's beaded moccasins, late 19th/early 20th century, hide moccasins, the vamps embellished with a pale pink silk bow (creased and faded) and seed beads in pink, blue, and black, edges bound with blue silk ribbon and trimmed with white seed beads, some wear to ribbon and loss of beads, lined with muslin (a remnant only remaining in one shoe, slightly torn in the other), width 7 cm (2.75 ins), length 16.5 cm (6.5 ins) QTY: (2 pairs)
Lot 528
* Clothing. A fine needlework infant's cap, early 18th century, 3-panelled cream linen baby cap, finely-worked in quilted cord on a ground of semé french knots, with pattern consisting of a bunch of grapes within a border of beads suspended from a bow, surrounded by foliate garlands and sinuous floral stems, linen neck flap folded up inside and sewn down, toned, some very minor wear in places, dimensions when laid flat 18.5 x 16 cm (7.25 x 6.25 ins)QTY: (1)NOTE:The Quilter's Guild has a baby cap in its collection which is very similar.
Lot 720
* Folk Art. A wishbone penwipe doll, early-mid 19th century, modelled and painted as a negro woman, with white seed bead eyes, and wearing a green cape over a pink velvet dress, both with pinking shears edging embellished with polychrome seed beads, cream silk ribbon to neck a little frayed, contemporary paper label stitched to front annotated in sepia ink 'once I was a merry thought/growing on a hen/now I am a little slave/made to wipe a pen', length 9 cm QTY: (1)NOTE:A rare negro penwipe doll, judging by the condition never used for its intended purpose of soaking up ink. Long before repurposing became fashionable, it was a necessity, when household items and toys were much more difficult to come by, and in any case, only attainable by the well-off. In the 19th century, and before, it was common to give disposable objects such as bones, feathers, spools and nut shells a new life as functional or ornamental objects, for the home, or as gifts. As well as dolls, wishbones were also used to make dolls' furniture: see The National Museum of Toys and Miniatures for a spinster wishbone doll, and a set of furniture made of wishbones.Founder and director of The National Black Doll Museum, Debra Britt, says that the earliest black dolls to appear in America were wishbone dolls made on slave ships. Although the Slavery Act of 1807 had probably been passed by the time this doll was made, slaves in the colonies were not freed until 1838, and so the debate around slavery was probably still a hot topic when this doll was made; despite this, its creation would not have been controversial as it would be today.
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