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An Eastern brass spitoon, a coffee pot, a part suite of glass, and a dessert set of knives and forks, with mother of pearl handles, cased (qty)

A 19th century lacquered card case, decorated ruin, and a mother of pearl card case (2)

A Chinese hardwood mother of pearl inlaid table top display cabinet, 47 cm wide17.5 cm deep47.5 cm high

A pair of Chinese blue and white oil lamps, decorated dragons chasing a flaming pearl in underglaze blue, 27 cm high (2)Some damage/losses, firing faults.

A group of 19th century Chinese Cantonese mother of pearl gaming counters, mostly initialled or crested, various shapes

A large pair of Chinese mother of pearl bi-discs, carved figures, horses, dwellings and fish, on carved and pierced hardwood stands, 26 cm widea few chips to the edges, approx 36 cm high, from a local country house

Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 

Viceregal or Novo-Hispanic work. 18th century."Christ"Delicate and unusual sculpture made of polychromed nacre with slight gilt residue. In its wooden frame with mother-of-pearl appliqués. 19 x 17,5 cm.

A Chinese Famille Rose circular porcelain censer, Qing Dynasty, 19th century, the interior painted with a writhing five-clawed dragon pursuing the pearl, amidst stylised clouds within a reciprocal sawtooth border, the exterior moulded with ruyi sceptre heads and a labyrinthine band, the base with vacant double blue ring and small ruyi feet, 9 cm high x 24 cm diameter.An old repair to one foot

A Chinese carved rock crystal official's seal carved in the form of a Foo Dog turning to lick the pearl of wisdom on its rear end, the oval matric carved with a six-character, 7 cm long x 5.5 cm x 7 cm high together with another rock crystal seal, the matrix with a four-character reign mark and domed rear with a suspension hole, 3.1 cm x 3.1 cm x 2 cm high, together with two smaller agate seals of similar form. (4)The Foo Dog seal with chipped edge the other seals Good order throughout

A Korean cinnabar and mother of pearl inlaid "Marriage Box" Joseon Dynasty, late 19th century, with paktong (?) lock and case furniture and inlaid with flying bats, a crane and a central Shou symbol, the lock bearing blessings for long life and male heirs. 37 cm wide x 28 cm deep x 23 cm heightThe box is generally in good order but has a few old knocks and minor scars.All of the metal fittings are present, with lock.Only one small piece of mother of pearl is missing from the top (please see the extra images)The box has had a fabric lining applied at some pointThe lacquer surface is dry and mellow with a good patina.

Pirates of the Caribbean: Collection of related memorabilia - includes a full set of Pirates of the Caribbean Dead Man's Chest series one reel toy characters Will Turner, Jack Sparrow, Davey Jones and Maccus; Pirates of the Caribbean motion activated sound figurine; together with, two Pirates of the Caribbean Curse of the Black Pearl lobby cards. (7)From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

Sixteen British Quad film posters – includes: Pearl Harbour, Dead Babies, Gunshy, Pirates of the Caribbean: Curse of The Black Pearl, Emperor’s New Groove ( x2 designs), The Quiet American, Indiana Jones and The Kingdom of the Crystal Skull, Blade Runner 2049 (x2 designs Harrison Ford/Ryan Gosling), Ae Fond Kiss, Monsters Inc, Return to Neverland (Disney), Atlantis, Matrix Revolution, and Dirty Pretty Things, all rolled, 30 x 40 inches. (16)From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

Twenty British Quad film posters – includes: Croupier, Iris, Monsoon Wedding, In The Bedroom, Invincible, Dancer in the Dark, Hamlet, Signs, The Shipping News, The Royal Tenenbaums, Dragon Fly, The Count of Monte Cristo, Dracula, Spider, Enigma, Bully, We Were Soldiers, Jeepers Creepers, City of God, and Pearl Harbour, all rolled, 30 x 40 inches. (20)From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

Twenty US One Sheet film posters - includes: James Bond: Sky Fall, Sorority Boys, Bubble Boy, Princess Diaries, Big Trouble (Red), Big Trouble (Blue), Signs, Blade Runner 2049 (X2 Group/ Ryan Gosling), Dragonfly, Atlantis (x2 designs), The Rookie, In The Bedroom, Return to Neverland, Sweet Home Alabama, Monsters Inc., The Others, K-Pax, Pearl Harbour, all rolled, 27 x 41 inches. (20)From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

A 9ct gold and seed pearl heart shape pendant, 3 g (all in)One seed pearl missing21 x 17 mm approx

A pearl triple strand necklace, with a 9ct gold clasp, by Coleman Douglas, cased

A yellow coloured metal and seed pearl panel ring, probably 19th century, ring size K

A Victorian silver and mother of pearl caddy spoon, Birmingham 1895

A cultured pearl necklace, other cultured and simulated pearl jewellery, and costume jewellery (box)

Assorted engraved mother of pearl gaming counters

A 9ct gold, turquoise and seed pearl bracelet, 10.7 g (all in)

A matched set of twelve silver plated dessert knives and forks, with silver collars and carved mother of pearl handles

A 9ct gold, seed pearl and turquoise ring, ring size Q

A pale blue and pearl pendant, in a vintage jewellery box, and a pair of red stone earrings, in a vintage jewellery box (3)earrings gross weight approx 4.6g, approx 2.0cm drop lengthpendant gross weight approx 2.7g, 4.2cm in lengthpendant, no damage foundearrings, overall condition good, light ware

An early 20th century rose gold and seed pearl pendant, with a chain, and a pair of pearl earrings, in a vintage jewellery box, with retail mark for F Gibson, Glasgow (4)

A yellow coloured metal, seed pearl, diamond chip and white enamel broochProbably converted from a lid of a small box, 7.7 g all in, testing as 15ct gold

A yellow metal, red stone and seed pearl floral brooch, on a chain

A pair of 9ct gold, garnet and pearl earrings

A 9ct gold and cultured pearl pendant7.3 g all in

A pearl and diamond ring, ring size N3g all in, diamonds white and bright, some staining to the pearl, various natural faults, pearl 6.7 mm diameter approx

A George VI silver two handled cup, Sheffield 1940, 5.3 ozt, and a set of six silver coloured metal and mother of pearl silver coffee spoons, cased (2)

An early 20th century yellow coloured metal, garnet and seed pearl broochAll in 7.9 g

A George V silver and mother of pearl kidney shape dressing table box, Birmingham 1911, 6.5 cm wide

A collection of jewellery, comprising: a sapphire and diamond tank track bracelet, length 17cm, stamped 14K, a cultured pearl necklace to a silver clasp, length 41cm, stamped 925, a white gold ring set with single-cut diamonds, size O, signed Damas, stamped 750, a 9ct gold ring set with single-cut diamonds, size J1/2, British hallmarks, stamped 375, a three-tone gold ring, size M1/2, a 9ct gold clasp, length 2.5cm, British hallmarks, a cultured mabé pearl gold pendant and an aquamarine silver pendant, three gold charms, a gold bangle, and two gold pairs and one silver pair of gem-set stud earrings

A cultured pearl necklace, the single-row of twenty-six cultured pearls measuring approximately 15.0-19.2mm, to a rope-twist white gold clasp, length 46.8cm, stamped 14K and 585

A collection of jewels, comprising: a gold Virgo pendant on a gold snake chain, pendant length 4.0cm, chain length 44.5cm; a bicoloured gold and platinum chain necklace, stamped 18ct Plat; a cubic zirconia pendant necklace on a 9ct gold chain, British hallmarks; an amethyst and garnet pendant on a 9ct gold chain, British hallmarks; a double strand cultured pearl necklace, to a gold clasp, stamped 14K; a lady's stainless steel watch by Ebel, quartz movement, Ebel case and spare links; a lady's stainless steel watch by Seiko, quartz movement, Seiko case; a gold ring modelled as the titular ring from Lord of the Rings, size Q, stamped 18CT; a 9ct gold and green tourmaline ring, size S, British hallmarks; a ring set with a brilliant-cut diamond weighing approximately 0.35 carats, in a bicoloured mount, size P, stamped 18ct Plat; a square cluster ring of brilliant-cut and baguette diamonds in 18ct gold, size J1/2, British hallmarks; a gold ring of buckle design, size L; and a ring set with two cushion-shaped diamonds in 18ct gold, size K, British hallmarks, central stone deficient

An Edwardian amethyst and seed pearl fringe necklace, the single row of seed pearls suspending nineteen oval-shaped amethysts, length 42.5cm

λ A mixed group of jewellery, including: an abstract diamond ring, set with round brilliant-cut diamonds in white gold, total approximate diamond weight 0.85cts, size K, a diamond half hoop ring, set with six circular-cut diamonds in fluted white gold setting, stamped 18K, size K, a demantoid garnet pendant with a diamond-set bail and a mid 19th century coral and seed pearl oval brooch, length 3cm

An enamel and seed pearl watch and chain, early 20th century, the watch with a circular golden dial with enamel indicators and blue steel hands, within a case applied with pale blue guilloché enamel, the back set with rose-cut diamonds, length 5.5cm including bail, interior with French assay mark for gold, numbered 6645, manual winding movement, to a necklace composed of baton links applied with blue guilloché and white enamel, on a chain threaded with seed pearls, length 59cm, French assay and maker's marks, pearls untested

Koch, an Art Deco amethyst, moonstone, pearl and diamond sautoir, 1920s, the fancy-link platinum chain threaded with pearls and carved amethyst and moonstone links accented with rose-cut diamond roundels, suspending a fluted amethyst drop with a rose-cut diamond and calibré-cut amethyst surmount, chain length 62cm, pendant length 4.5cm, signed Koch

A collection of jewels, comprising: a bracelet set with circular-cut amethysts, mounted in gold, stamped 9ct; a garnet bar brooch in 9ct gold, British hallmarks; a sapphire and diamond ring, stamped 18K; a jadeite pendant on a gilt metal chain; a pair of cultured pearl pendent earrings in gold; a pair of turquoise cluster stud earrings in gold; a low-carat gold longchain; and an onyx brooch mounted in gilt metal

An emerald, ruby, pearl and enamel plaque, late 19th/early 20th century, designed in the Renaissance Revival style, centring on a cluster of step-cut emeralds and cushion-shaped rubies, to an elongated plaque composed of abstract scroll work and foliate motifs applied with multicoloured enamel accented with pearls, mounted in silver gilt, length 9.6cm

A pair of pink topaz and pearl earrings, mid 19th century, each of pendent design, composed of a cushion-shaped pink topaz suspending a pear-shaped pink topaz pendant, spaced by a half pearl, mounted in gold, length 3.8cm each, hook fittings, pearls untested

A natural pearl and diamond necklace, early 20th century, designed as a single strand of graduated natural pearls measuring 3.1-2.1mm, to a cluster clasp set with circular-cut diamonds, mounted in white gold, length 47cmAccompanied by GCS report no. 5784-3292, dated 1st August 2024, stating that the 103 pearls are natural saltwater.

A group of jewels, comprising: a pair of floral earrings set with foiled garnets, mounted in silver, length 1.7cm, screw fittings; a hexagonal synthetic ruby ring mounted in gold, size K1/2; a gold and amethyst bar brooch; a cultured pearl bar brooch; an aquamarine and diamond ring in gold and platinum, size P1/2, stamped 18CT PLAT; an emerald, ruby and sapphire 'Day and Night' eternity ring, size P; and a 19th century gold fob seal chased with floral designs set with an intaglio depicting a classical couple making an offering at an altar, handle deficient

A gold, pearl and onyx watch chain, France, early 20th century, of rope twist linking, suspending a tassel and T-bar, with sections of fancy linking set with onyx spheres and pearls, length 32cm, French assay marks for 18ct gold, gross weight 24 grams, pearls untested

A pearl and multi-gem necklace, early 20th century, composed of sapphire, emerald and ruby beads threaded onto a platinum chain, spaced by pearls, length 51cm, pearls untested

An Art Nouveau garnet and pearl pendant/brooch, late 19th century, centred on a carved garnet depicting the profile of a maiden in low relief, within a scrolling foliate bi-colour gold frame detailed with red paste and diamonds, surmounted by two doves with river pearl bodies and the base suspending a further pearl, length 6cm, maker's mark FV and city mark for Pilsen

A cultured pearl and diamond ring, set with a pinkish and a light grey cultured pearl, each approximately 12mm diameter, to shoulders of knotted design, set with brilliant-cut diamonds, mounted in white gold, size N, stamped 750

A Victorian natural pearl and diamond necklace, late 19th century composite, the three rows of graduated pearls separated with three diamond cluster clasps in silver and gold, each clasp detaches entirely and can be worn separately as a pendant, the largest central clasp with vacant brooch fittings, length 38cmAccompanied by GCS report no. 5784-2804, dated 19th July 2024, stating that the pearls are natural saltwater.

A pearl, enamel and diamond mourning ring, early 19th century, centring on a circular-cut diamond in a border of black enamel, to shoulders set with half pearls, mounted in gold, size L, pearls untested, case

A pink topaz and pearl brooch, mid 19th century, of plaque design, set with rectangular cushion-shaped and circular-cut pink topazes and four half pearls, in a scrolled gold border, length 33.8cm, pearls untested

A turquoise and seed pearl sentimental ring, 1830s, set with turquoise cabochons and a seed pearl, designed as a forget-me-not, the reverse with a glazed compartment for hairwork, to gold shoulders of scroll design, mounted in gold, size N

A pearl and diamond brooch/pendant, early 20th century, of circular outline, with a radiating design in openwork knife wire, set with circular-cut diamonds and pearls, mounted in silver and gold, diameter 4.6cm, detachable brooch fitting, pearls untested

A Victorian seed pearl, demantoid garnet and ruby brooch, late 19th century, designed as a salamander, set with seed pearls, circular-cut demantoid garnets and cushion-shaped ruby eyes, mounted in gold, length 5.6cm, pearls untested

λ A collection of jewels including a cultured pearl and diamond necklace, comprising: an early 20th century necklace composed of graduated cultured pearls measuring 3.0-6.2mm, to a clasp set with three circular-cut diamonds totalling approximately 0.50 carats, mounted in platinum and gold, length 42cm, pearls untested; a necklace of graduated peau d'ange coral beads measuring 4.6-13.1mm, to a clasp set with rose-cut diamonds, length 45cm; three gilt silver Masonic pendants; a silver fob watch sautoir, signed Flari, stamped 925; a silver pendant designed as two confronted wasps; a heart-shaped garnet and diamond cluster ring; turquoise and seed pearl floral brooch and a floral brooch set with a carved amethyst; two paste eternity rings; a Rolex watch movement with a square dial; a stainless steel fob watch; and a collection of loose gemstones including amethyst, malachite, garnet and smoky quartz

A pair of natural pearl and diamond drop earrings, set with pear-shaped diamonds weighing 2.51 and 2.59cts within a border of graduated fancy coloured and colourless diamonds in platinum and gold, each suspending a natural pearl drop, length 4.5cmAccompanied by report number 140165 dated 30th August 2024 from SSEF stating that the slightly cream pearls measuring 10.43-11.03 x 16.22mm and 10.39-11.14 x 15.82mm weigh 12.61 and 11.97 carats (50.47 and 47.92 grains) respectively, and are natural saltwaterVerbal reports were obtained on a sample of the diamonds, all of which were found to have natural colour origin, including:A pear-shaped diamond weighing 2.51cts, H colour SI1 clarity A pear-shaped diamond weighing 2.59cts, I colour, SI1 A marquise-shaped diamond weighing 0.52cts, Fancy Intense Yellow - SI1 A marquise-shaped diamond weighing 0.12cts, Fancy Intense Purplish Pink, I1 A marquise-shaped diamond weighing 0.54cts, Fancy Intense Yellow, SI1 An old European cut diamond weighing 0.19cts, Fancy Vivid Yellow, I1

A hardstone cameo and seed pearl necklace, late 18th/early 19th century, designed as a series of agate cameos depicting classical figures in profile, each within a border of seed pearls, connected by two rows of fine chain linking, to a later back section of seed pearls and a gold clasp, length 37.5cm, largest cameo 1.1 x 0.8cm, pearls untested, case stamped Garrard

An Art Nouveau gold and pearl brooch, Russia, late 19th/early 20th century, designed as a stylised flower set with a seed pearl, mounted in gold, length 3.6cm, Russian 56 zolotnik and St Petersburg city marks, assayer or workmaster mark ПT, pearl untested