We found 26004 price guide item(s) matching your search

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 

French school. Nancy. 18th century. Attributed to the Guillot Brothers' workshop..Nativity scene with dressed wax figures. ‘Crèche en Cire Habillée’,Diorama measurements: 57 x 70 x 41 cm.Showcase dimensions: 67 x 75 x 53 cm.Diorama, and small showcase. Framed with a golden frame, the showcase contains a religious scene with figures made of wax, paper, cloth, mirror, moss and remains of shells representing a Nativity scene comprising the Virgin Mary, Saint Joseph and the Child and around them the Three Wise Men, shepherds, washerwomen, angels holding palm leaves and cherubs' heads between mountains decorated with paper flowers, animals and bushes in the background.The delicately painted figures wear clothes in the style of the court of Louis XVI, delicately embroidered with brocade, silk and muslin fabrics. The figures in the diorama are of different sizes, which, when placed on different planes, creates perspective.This remarkable work of exquisite detail is typical of those made in the 18th-century city of Nancy, famous for ‘Cires habillées’ or ‘dressed wax figures’. These wax figure scenes from Nancy are presented in lined cardboard boxes or wooden cases decorated with shells, beads, crystals, mirrors and other materials such as moss, wood or straw, etc. Mostly religious figures were made, but also secular ones, both in relief and in the round figures.According to specialists in this type of object, Nancy's wax figures were small dolls with heads, arms and limbs made of hard wax and a padded body, the eyes were made of glass and were completed with natural hair and eyelashes. As for the other components of this type of work from Nancy, including this example, the background and decoration were created with coloured paper, ribbons, sparkles, pieces of fabric, braids and lace and some natural materials such as wood or shells. To fix all the elements in the correct place, the characters and clothes were sewn onto the bottom of the box.The workshop of the Guillot Brothers (Nicolas and François) was the best known of Nancy's wax artists. Their workshop produced creations that were highly prized by the French elite of the 18th century.This example is closely related to some of the creations by Guillot Brothers' workshop, exquisite pieces that are kept in several European museums. Reference bibliography:-Aptel, Claire; Hochart, Brigitte et Choux, Jaques. Les cires habillées nancéiennes : tableaux de cire et d'étoffes, Nancy : Éditions du Musée Lorrain, 1989, 72 pages.-Cugy, Pascale; Letourmy-Bordier, Georgina et Selbach, Vanessa. « Les "estampes habillées" : acteurs, pratiques et publics en France aux XVIIe et XVIIIe siècles », Perspective 1, 2016, p. 163-170.-Letourmy Georgina et De Los Llanos, José. Le siècle d’or de l’éventail : du Roi-Soleil à Marie-Antoinette, Dijon : Éditions Faton, 2013.-Malherbe Anne, «La Vierge au voile», Labyrinthe 4, 1999, p. 59-72.-Chaidron Meggy,  « Honore l'Éternel avec tes biens » :  Les cires habillées, œuvres de dévotion privée. Catalogue de Expositions temporaires, Les objets insolites nº 4. Erasmus House Museum, Bruselas, 2024.Catalogue de l’exposition Cires de Nancy, paradis de cires et d’étoffes

Mick Rooney RA (b.1944)  Oil "Girl with Shells", 25cm x 20cm  Fosse Gallery receipt dated '2nd July 2001 Provenance: artist's studio' From the collection of the late Maurice Costley

A Derby porcelain patch figure c.1770, of Neptune, standing beside a fish, to a shell-encrusted base,23cm highCondition ReportLarge cracks to the base and small cracks throughout. Losses to the shells. Restoration to the arm. Missing the trident.

An Art Nouveau oil lamp, the moulded opaline glass shade above a squat spherical green glass reservoir and an opaque green glass stem on a cast metal base,72.5cm hightogether with another oil lamp, with globular etch glass shade,57.5cm high (2)Condition ReportMinor nibbles and shells. No cracks to the reservoir. The green example is uranium. 

A Papua New Guinea turtle shell mask, 20th century, with applied cowrie shells, feathers, and straw30cm wide42.5cm highCondition ReportMinor losses in places.

DONOVAN, Edward: The Natural History of British Shells, Including Figures and Descriptions of all the Species Hitherto Discovered in Great Britain, Systematically Arranged in the Linnean manner. In 5 volumes. Rivington, 1799-1803, 1st. edn. With all 180 hand-coloured plates. Cont. full treecalf, Lacking most of the covers & title page loose in two volumes. Occasion spotting. (5)

Sowerby, George Brettingham: The Conchological Illustrations [or coloured figures of all the hitherto unfigured shells]. 1841. With 200 hand-coloured plates (some heightened with gum Arabic). Cont. half leather, rubbed. Clean copy

Assorted pottery, china and sea shells

Coquilles, an R. Lalique opalescent and polished glass bowl, pattern no.3204, the exterior moulded in relief with four stylised shells, wheel etched mark to underside, 13cm diameter; together with Primeveres, an R. Lalique opalescent and frosted glass box base, pattern no.77, the exterior moulded in high relief with blossoming flowers, impressed and etched mark to underside, 16cm diameter (2)The Coquilles bowl in good condition, the Primeveres bowl lacking its cover and with a minor imperfection within th eglass to the rim, otherwise in good condition.

A mid-century brass standard lamp, with three interlaced branches each with shaped conical fibreglass shells157cm high

Coquilles, an R. Lalique opalescent and polished glass plate, pattern no.3009, relief moulded with four shells, wheel-etched mark and acid-etched model number to underside30cm diameterSome light surface scratching, nut otherwise in seemingly good condition.

Brass jam pan, garden trug containing quantity of shells and shoehorn

Cased set of Philippine shells, 42 cm x 53 cm

A display of ornamental natural shells in a carved wooden glazed case 13" x 11"

2x bullet shells

Enamel bread bin and brass ware bullet shells

3x brass gun shells from WW2

A LARGE FLEMISH VERDURE TAPESTRY 17th century, depicting young men of court wearing fine clothes and headdresses playing at games, a chateau to the distance, within a border woven with flowers and shells, 264cm x 308cmProvenance: Property formerly in the collection at West Hall, Long Burton.

AN EARLY DERBY SWEETMEAT STAND circa 1765, with two tiers of three shell-shaped dishes enamelled in polychrome to the interior with butterflies, insects and sprays of flowers, the sectional stand modelled with various shells and seaweed surmounted by Neptune and a dolphin with tail raised, 47cm highProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: This centrepiece is recorded on Sir Philip de Malpas 1864 publication The Descriptive Catalogue of the Pictures and other Works of Art at Oulton Park, Cheshire, page 68. It is described as 'Old Chelsea' 'representing Neptune enthroned on a pyramid of shells'. This piece was exhibited in Manchester in 1857 on which occasion the figure of Neptune lost the left arm holding the trident. 'In a bill of Duesbury's, of September 1773, the following entry occurs: "A trident for Neptune gratis"'. 

A LOUIS XV STYLE GREEN-PAINTED AND PARCEL-GILT ARMCHAIR with verdure tapestry covers, the square back over shaped and padded arms with serpentine seat below, on short cabriole legs carved with shells and trailing bell flowers, 109cm high x 70cm wide x 85cm deepProvenance: The Digby family.

AN IMPORTANT VIENNA (DU PAQUIER) TWO-HANDLED OVAL TUREEN AND COVER circa 1740, from the Liechtenstein service, painted in Schwarzlot and lightly enriched with gilding, the tureen of ogee form with moulded scroll handle, the sides painted with game birds on a strapwork border, centred by shells and enriched with gilding, the interior with a bird in flight, flowers and a spider, the domed cover with game birds and dogs beneath similar strapwork around the cone finial, within a quatrefoil and lozenge border, 20cm high x 35cm wideProvenance: A. Lewis, New York, June 1950, $900,Collection of Frederick J. And Antoinette H. Van Slyke, Baltimore, U.S.A,Sotheby's New York, 26th September 1989,Christie's, 12th May 2010, lot 167,Roy Byrnes Children's Trust,The collection of the late Anthony du Boulay FSA (1929-2022),and thence by descent.Exhibited: The Baltimore Museum of Art, loan, 30th March 1964 - 2nd October 1969.

A REGENCY ROSEWOOD WORK BOX the hinged lid inset with a needlework depicting musicians, opening to a silk lined fitted interior, with gilt metal ring handles to each side and feet cast with shells and scrolls, 17cm high x 32cm wide x 27cm wideProvenance: The Les Watts Collection.

A WORCESTER FIRST PERIOD PORCELAIN 'DOLPHIN EWER' CREAM JUGcirca 1770, decorated with floral sprays on a 'silver shape' body moulded with shells and swags, 8cm high; sold together with a magazine advert for a similar (possibly the same) example sold by Esme M. Godkin of Loughborough (2)

Pair of three-light Candelabra833/000 silverDecorated with raised motifs of shells, flowers, and leavesPorto assay mark (1887-1937) and silversmith mark of Júlio Ernesto da Silva (1896-1932)(signs of wear)Alt.: 42,5 cm1942,6 g

A salt and pepper set with standSilvered metalReliefs floral and shells decorationWith two spoonsMarked18,5x19x11 cm

A display salverSilver Reliefs floral, foliage and shells decorationCentral medallion with dragonLisbon assay-mark (1694-ca. 1723) and unidentified goldsmith's mark IRGDiam.: 36 cm584 gLiterature:ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisboa: IN-CM, 2018, L-24.0C e L-390.0

A pair of King João V style five branch candelabraSilver 833/000Chiselled and reliefs shells and foliage motifs decorationOporto hallmark (1938-1984) and goldsmith's mark Florêncio José da Costa (1903-1962)Alt.: 45 cm5443,4 gLiterature:VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 49 e 1792

A chamber stickSilver 833/000Floral and shells motifs decorationOporto hallmark (1887-1937) and goldsmith's mark António Augusto Lopes da Cunha (1901-1915)10x15x15 cm161 gLiterature:VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 73 e 997

A King João V style jugSilver 833/000Amphora shaped body of repousse and chiselled decoration with shells and foliage motifsOporto hallmark (1938-1984), goldsmith's mark Rocha & Azevedo (1936-1969) and commercial mark REIS-PORTOAlt.: 33 cm1783,8 gLiterature:VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 94 e 2996

A Regence cabinet on standLacquered cabinet of landscapes, oriental figures and birds chinoiserie decorationTwo doors and ten inner drawers simulating elevenEngraved and pierced yellow metal hardwareProfusely carved and gilt wooden stand of acanthus leaves, flowers, scrolls, putti and shells decoration with central Roman emperor figureEngland, 17th / 18th century(signs of wear, losses and faults)166x114x56 cmProvenance:Former collection of Francisco de Curiel Marques PereiraLiterature:"O Mundo da Laca 200 anos de História"; Exhibition Catalogue Calouste Gulbenkian Museum 30th March - 10th June 2001; p. 207, fig. 92.

A pair of João V style stoolsCarved, gilt and painted walnut of shells and foliage motifsX shaped stretchersClaw and ball feetDamask upholsteryPortugal, 20th century(restoration)52x8x48 cm

A salt and pepper set with standSilvered metalReliefs floral and shells decorationWith two spoonsMarked18,5x19x11 cm

Early 20th century French walnut bijouterie table, shaped serpentine form, hinged lid inlaid with scrolling leafy branches and shells, fabric lined interior, on cabriole supports with silvered cast metal mounts depicting female mask with shells and scrolled foliate Dimensions: Height: 74cm  Length/Width: 51cm  Depth/Diameter: 33cmCondition Report:The lid is warped and the lock mechanism does not function correctly because of this. See images.

An Old Sheffield plated salver decorated with scrolls and shells, 16" diameter

Thirty-eight exotic sea shells - including two Nautilus shells, Leopard Cone shells, sea urchins, polished Jade Turbo shells, a Mosaic Tun shell and a Conch shell; the larger sea urchin 11.5 cm in diameter.

A handmade evening bag by Judy Geib of New York - the woven latticework bag with ivory sateen lining, decorated to the exterior with polished jade turbo shells, with drawstring closure, interior with maker's label, approx. 14cm high plus handles.

Y &nbspA RARE PAIR OF SHELLWORK FLORAL DISPLAYS POSSIBLY BY LADY SUSAN BIRCH (1881-1965) OR THE HON. CLAUDE YORKE (1872-1940) Each of shaped square form with chamfered tops, painted faux verde antico glazed surrounds enclosing a display of mother-of-pearl and shell and painted metal flowers on mirrored bases, one titled 'From Fancie's Garden' the other 'From Ocean Stranded Petals' 73cm high, 35.5cm wide and deep at the feet Provenance: Probably created by Lady Susan Birch and thence by family descent Illustrated: The Connoisseur, May 1965, p.4These floral shellwork displays are likely to have been created by Lady Susan Birch, only daughter of John Manners Yorke, 7th Earl of Hardwicke and sister of the Hon. Claude John (John) Yorke. In the 1920s, having travelled to the United States with her brother, Lady Susan was credited with the renewed interest in shellwork, which had been popular in the 18th century in England and France (Ripon Observer, 28 February 1929, p. 3). She advocated that 'women could adopt it as a lucrative way of making a living, more particularly in what is known as shell architecture', and went on to describe a shop in Brussels where the 'whole shop was devoted to the work, and the variety and colouring of the shell exhibits were amazing'. Earlier, in June 1922, a visit to an exhibition of Lady Susan's shellwork was described as 'an eye-opener on the possibilities of shells' (Truth, 28 June 1922, p. 54). The author went on to describe the 'gifted' Lady Susan's decoration for tables: 'a magnolia tree in an Eastern pot, some narcissi in soapstone jars, gold leaved apple-blossoms on natural branches, and varied schemes to show a corolla of tiny shells of gleaming like jewels in the centre of single-shelled petals shining with alluring complexion, and glowing with a hundred tints'.  Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both are sealed and internal glass and mirror bases have become quite dirty with signs of old mould. Some loose elements of bouquets which are now hanging down and with some loose sections of shell and branches visible on mirrored bases. Externally with some surface dirt and rubbing to raised edges. One finial slightly loose. Some drying out and hairline cracks to composition elements on feet and one case with small areas of loss to two feet. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

A SET OF TWELVE REGENCY MAHOGANY DINING CHAIRS ATTRIBUTED TO GILLOWS, CIRCA 1815 To include a pair of armchairs, each with scrolled tablet top rail centred by a shell, above a horizontal splat and padded drop-in seat and on sabre legs, Eight chairs with seat rail incised 'B', three chairs stamped 'I.YALLOT'(?) the armchairs 91cm high, 57cm wide, 56cm deepProvenance: Colonel Norman Coleville M.C (1893-1974), sold Christie's 16th September 2004, Lot 40 (£17,925 incl. BP) The collection of Colonel Norman Coleville M.C (1893-1974) was well known to Percy Macquoid and Ralph Edwards, compilers of the Dictionary of English Furniture in the 1920s, and many illustrations of his furniture were used in those volumes.The collection from Trethill House, Cornwall Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. All chairs with restored joints, mostly with metal brackets discretely secured. Some glued repairs, one front seat rail relaced in oak (the others are all of beech). At least one chair with a glued repair to back leg at join with seat rails, another chair with replaced front part oof scroll at top of front leg. Several chairs with old repairs to the joints of the bar backs (a traditional weak point in this chair pattern). The carving is good, the shells particularly so. All the drop in seat frames appear to be original, the horse hair covering is in good condition and can be re-used, the stuffing and webbing in poor condition so they should be attended to. Overall a good set of chairs, in usable condition but which woiuld benefit from tidying up, particularly so the drop in seats. Note the provenance should read Colonel Norman Colville (not Coleville).The side chairs measure 88cm high, 49cm wide, 56cm deep.Condition Report Disclaimer

AN ITALIAN SHELL CAMEO NECKLACE CIRCA 1830s The graduated shell panels carved primarily with Cupid as a main theme, including a woman selling cupids, based upon a fresco discovered in Pompeii in 1759, Cupid Revives Psyche after Thorvaldsen, Cupid with a butterfly (Psyche), Cupid riding a chariot pulled by lions, and another with him being pulled by lionesses, the clasp with Cupid riding a lion, also a cameo of Theseus defeating the Centaur after Canova, the shells within polished gold settings with chain connectors, stamped with Rome 1815-1870 control mark Size/dimensions: 48cm long Gross weight: 25 grams Condition Report: The chains have a number of repairs and one of the chains is not attached by the clasp. A few of the cameos have some hairline fractures, but nothing major. The cameo panels all have an Italian control mark on on e of the connector loops. General wear commensurate with age and use. Condition Report Disclaimer

Miscellaneous, Miscellaneous, group of primitive African currency and related items to include cowrie shells, Gaboon ‘Mimbass’ iron money, West African ‘Kissi Penny’, brass Manillas (5), Katanga cross, six strings of trade beads, including two strings of multi coloured Venetian Millefiori trade beads; together with a necklace of camel teeth sewn onto a woven cloth band, an unusual item; and A Survey of Primitive Money pub. 1949, reprinted 1970, by A. H. Quiggin £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

George III, Preserved from Assassination, 1800, a copper medal by C.H. Küchler, bust left, rev. burning altar, Eye of Providence above, 48mm (BHM 483; E 916). Brilliant and virtually as struck in original metal shells £150-£200

A traditional hand bell, two trench art shells, brass kettle and trivet etc.

A collection of blown glass animals and three glass shells.

Georges Weissbort (1928-2013), a still life of shells and a book, oil on board, 12" x 15" (30 x 38cm), along with another of a still life, unframed, (2).

Collection of shells, specimen stones and similar

Group of figure ornaments including Lladro, Nao, Hummel, Royal Doulton, Coalport 'Grace' in box, various hard stone eggs and some shells

A SET OF TWELVE FRAMED MAHOGANY DINING CHAIRS BY BUTLER OF DUBLIN, 19TH CENTURY  following a design adapted from Thomas Chippendale, the serpentine carved crest rails, carved with leaves above pierced vase shape splats, drop-in upholstered seats, the seat rails centred by scallop shells raised on cabriole legs with leaf carved knees on claw and ball feet, ten single chairs and two carvers, with scroll bird head armrests. (12)

A pair of wooden and brass mounted wall mounted sconces, formed as shells featuring gilt decorated glass shades. Height: 29cm, Depth: 26cm.Purchased by the vendor from collector Stanley J. Seegar. 

A quantity of assorted unmounted carved mainly cameo shells, largest 49mm, smallest 6mm. Condition - poor to good

Collection of natural sea shells. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

A pair of 19th Century French painted mussel shells, depicting coastal scenes with figures and measuring 18cm long

Three modern decorated fly covers, assorted collectables to include shells, ceramic bottle stoppers labelled whisky, vermouth, etc, plate racks, a print, flower jardinieres, ceramic white and blue Chinese-style vase, assorted plates, meat plates, etc (3 boxes) 

Thomas Abbott of Birmingham, a pair of Louis XV style gilt-metal mounted turquoise porcelain candelabra, 19th century, each with foliate-cast scrolling twin candle arms terminating in foliate-cast cups and drip pans, the twin-handled body of baluster form, on a circular foot cast with scrolls and shells, stamped 'ABBOTT' to base Height 50cm.

A good Edwardian silver bread or cake basket, C.S. Harris & Sons, London 1905, of oval form, the scalloped rim modelled with shells, scrolls and flowerheads over pierced sides enriched with swags, raised on shell feet. Length 27cm, 17 troy ounces.

Taxidermy; An antique cased Diorama of Seabirds, comprising of ; a Puffin(Fratercula?), two Ducks(Anatidae?), and two others(unknown), set in seascape background, including; sand, rocks, shells, etc, W 78 cm x H 65 cm x D 25 cm, together with an antique Taxidermy cased specimen of a Herring Gull(Larus Argentatus?), also in seascape background, with sand and shells, W 69.5 cm x H 53 cm x D 23(2)

Collection of minerals to include quartz, shells etc

Carved African sculpture of crouching male with hat, adorned with beads, bell, shells and seed pods

An old weathered composition stone angel corbel, 43cm wide; together with two clam shells; and another conch, 36cm wide.

A Pair of Bow Porcelain Sweetmeat Stands, circa 1760, each with central fluted circular bowl on a collar stem flanked by three shells, painted in underglaze blue with fruiting vine, on three peg feet, 18cm wideFirst with a section re attached to the rim of the central bowl and repaired, one of the lower shells detached and restoredSecond with a crack to one lower shell.Both with chips to feet, minor glaze flakes and losses to applied work. Slight staining and some firing tears.