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  • Your search returned 9 908 results
  • 0—5 680 000 GBP
  • 28 May 1992—24 May 2016

A MILANESE REPOUSSE-METAL AND ORMOLU-MOUNTED WALNUT, BURR-WALNUT, OLIVEWOOD, FRUITWOOD AND MARQUETRY LIBRARY DESK

A MILANESE REPOUSSE-METAL AND ORMOLU-MOUNTED WALNUT, BURR-WALNUT, OLIVEWOOD, FRUITWOOD AND MARQUETRY LIBRARY DESK By Giuseppe Maggiolini, circa 1784 Inlaid overall with floral marquetry arabesques, the rectangular top inlaid with a central segment-veneered roundel within a ribbon-scrolled border and within a quarter-veneered outer border of fruitwood, cedar and foliate trails centred by rosette patera, flanked to each side by cut-cornered panels surmounted by a removable cartonnier, the cartonniers each with spring-loaded ratchetted reading-slope inlaid with a central medallion within a foliate stiff-leaf border and flanked to each side by similarly-inlaid spring-loaded compartments, the frieze inlaid with trailing vines centred by scallop-shells and above two open shelves with panelled ends inlaid with further foliate arabesques and with domed patera carrying-handles, the base with oak-leaf wrapped moulded cornice supported by husk-trailed scrolled volutes, above a panelled frieze inlaid with alternating foliate arabesques, fasces and crowns and enclosing three drawers to each side, each with two short and one long sliding secret drawer within, the twelve further panelled drawers each with two secret drawers to the inside, divided by guilloche-inlaid tapering pilaster strips and flanking a kneehole to one side and a panelled door to the other, the panelled door inlaid with a central oval beaded Medusa-head shield garlanded with laurel and foliate arabesques and supported by Mercury's serpent-wrapped caduceus, enclosing a plain interior originally fitted with a shelf, the panelled ends inlaid with a terrestrial and celestial orb suspended by scrolled oak, laurel and acanthus, centred to one end by Janus with mother-of-pearl inlaid collar against a serpent-entwind spear and mirror, emblematic of Prudence and to the other a crowned sword emblematic of Justice and Good Government, with eye-centered hilt supporting a trophy of fasces, an urn and weighing-scales, the pilasters terminating in scalloped square blocks with patera handles, on turned tapering fluted legs wrapped with upspringing laurel 110in. (279.5cm.) wide; 48in. (122cm.) high; 46½in. (118cm.) deep

  • GBRChelsea, London, United Kingdom
  • 1996-07-03
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A George II enamel and gold Royal Presentation snuff-box

A George II enamel and gold Royal Presentation snuff-box by George Michael Moser, two enamel panels signed, circa 1760, containing an enamel miniature of George, Prince of Wales, later King George III Rectangular, the cover, sides and base inset with enamel panels depicting, on the lid, Alexander the Great swearing before Jupiter's statue at the wall of Rome before his campaign against Darius, King of Persia, on the base Alexander in the reception of Sisgambis, the mother of the defeated Darius, on the front side panel 'Peace' symbolised by Minerva reclining by a Roman shield and holding Victory's statue in glory beside Rome's ancient buildings, the rear panel with 'Abundance' represented by Fortune at rest beside her temple, holding a rudder, and leaning on a wheel, the left-hand side panel with 'Triumph of the Arts and Sciences' with laurel-bearing Minerva reclining beside emblems of the arts and sciences and holding a torch to a trophy emblematic of War, the other side with 'Liberty' represented by a female displaying a 'Phrygian cap' and supported by books inscribed Law, Religion, Commerce, while a ship sails from a harbour, the gold panels decorated with repoussé reeded scrolls and foliage on a matted ground, the rims chased with guilloche ornament, the interior of the lid inset with a gold panel containing an oval enamel portrait miniature of George, Prince of Wales, later King George III (1738-1820) wearing state robes and the insignia of the Garter. The box 3 1/8in. (80mm.) wide The miniature 1 7/8in. (48mm.) high

  • GBRChelsea, London, United Kingdom
  • 1996-07-03
Hammer price
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A MAGNIFICENT SPANISH COLONIAL EMERALD AND GOLD PECTORAL CROSS of lobed outline, the front set with sixty-six well matched rectangular and lozenge-cut

A MAGNIFICENT SPANISH COLONIAL EMERALD AND GOLD PECTORAL CROSS of lobed outline, the front set with sixty-six well matched rectangular and lozenge-cut Colombian emeralds, the reverse profusely engraved with scrolls, quatrefoils and crosses and showing traces of the original black enamel or niello decoration, circa 1650 4in. (10.0cm.) high The cross is one of the most important pieces of jewellery of its type to have been recovered from the seabed and has survived in near perfect condition despite a sojourn of over three hundred years in saltwater. Its unusual combination of decorative features such as the lobed outline and distinctively patterned reverse are uncharacteristic of mid-17th Century mainland Spanish work and point to a Spanish Colonial origin. The cross in lobed surround relates to Spanish coinage where it is found during the reign of Philip III (1598-1621) decorating coins from mints such as Seville and re-appears again during the reign of Philip V (1780-24) on coins from mints in the New World. The same lobed surround is also present in Spanish 17th Century religious pendants where the centre can be either figurative or set with gems. The reverse of the present cross presents a puzzle and is reminiscent of the etched decoration found on German Renaissance armour and metalwork with its complex medley of foliage, arabesques, circles and quatrefoils incorporating, in this instance, a fleur-de-lys cross inspired by one of the Spanish military orders. This fusion of decoration with its emphasis on scrollwork more typical of late 16th and early 17th Century Europe gives the cross a different character. It has a richness of materials and a boldness of form which sets it apart from the more fastidious designs favoured by goldsmiths in Barcelona and Seville, and is an important example of the sumptuous jewels from the New World so admired at the courts of Europe. Although there are a number of extant emerald crosses of Spanish and Spanish Colonial origin including important examples from treasure ships such as the Nuestra Señora de Atocha (sank 1622) and the San Pedro (sank 1595), there is no close comparison to the present example. Looking at the detail of its design, similarities in the setting of the emeralds can be found in an aigrette-shaped jewel sold at Christie's, London on 3 October 1990, lot 373, which utilized the same pointed gold settings of jagged outline for its lozenge-shaped stones. Of unknown provenance, the jewel was almost certainly of Spanish Colonial manufacture. The same rather spiky goldwork is also found on an impressive emerald and gold 'rostrillo'* with matching set of nineteen dress ornaments donated to the Treasury of the Virgen de Gracia de Carmona in 1680 by Francisco de Rivera y Aral and described as being of undoubted Spanish American origin (M.J.Sanz Serrano, La Virgen de Gracia de Carmona, 1990, no.16). The richness of the jewels in this Treasury as well as the many others to be found in Spain may give a clue as to the intended destiny of the Maravillas cross. Although it may have belonged to one of the Spanish grandees aboard the laden vessel or been intended as a noble or even royal gift on its return to Spain, a possible explanation may be that it was commissioned in the New World by a member of one of the Spanish orders of knighthood as a gift of thanks to an image of the Virgin, in much the same way as a gold filigree chain was donated in 1659 to the Carmona Treasury by Captain Gregoria Morera (op.cit., no.42) who fortuitously survived the perils of his voyage undertaken only three years after the fateful journey of the Maravillas. * 'rostrillo' - the decorative border immediately surrounding the face on images of the Virgin. We are grateful to Dr Priscilla E. Muller and Dr Anna Beatriz Chadour for their help in compiling this entry

  • GBRChelsea, London, United Kingdom
  • 1992-05-28
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* Note that the price doesn’t correlate with today’s value, but only relates to the actual end price at the time of the purchase.

Works of Art

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