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RIAAN BOLT ANTIQUES
A fine Cape Rococo Stinkwood and Amboyna Inlaid Silver-Mounted Desk, Cape Town, c.1760–1780, (91 x 60 x 113 cm). Literature: Baraitser and Obholzer (1978): 211.
A fine and important Cape Stinkwood and Satinwood Cupboard with original Cape Silver Escutcheons (apparently unmarked), Cape Town, c.1780, (145 x 60 x 201 cm). Literature: Atmore (1976): 120.
Stanley Pinker (SA 1924–2012), "Little White Lies" Mixed media. Signed (100 x 80 x 9 cm).
Lucas Sithole (SA 1931–1994), "Let Go! Ngiyeke!" (LS8819) Carved Msimbiti wood Signed, 1988 (H: 54 cm).
Fanie Eloff (SA 1885–1947), "Seated Woman" Bronze on a granite base. Signed and stamped with the Valsuani foundry mark (H: 12 cm without the base).
A Pair of Cape Neo-Classical Stinkwood Split-Splat Chairs, early 19th c.
BANCROFT
Vintage Silver Graziella Laffi Cuff Bracelet
This striking wide silver cuff bracelet is handcrafted in Peru and signed “G. Laffi 925”, denoting the work of Graziella Laffi (1923–2009), one of Peru’s most celebrated 20th-century silversmiths. The bracelet features bold, raised figures inspired by pre-Columbian iconography, depicting stylized anthropomorphic and animal motifs reminiscent of ancient Moche and Chavín designs. The high-relief decoration contrasts beautifully against the hammered, polished background, and is framed by geometric borders etched with circular and diamond motifs. Laffi, an Italian-born artist who settled in Lima after World War II, became renowned for fusing modernist forms with traditional Andean imagery, creating sculptural silverwork that is both contemporary and deeply rooted in Peru’s cultural heritage. Her pieces were exhibited internationally and are now highly collectible for their distinctive artistry and craftsmanship.
Antique 22ct Yellow Gold, Enamel, Coral and Diamond Locket Pendant
A striking antique locket pendant crafted in 22ct yellow gold, with vivid blue enamel centred by a coral cabochon and six rose-cut diamonds. Lockets became particularly fashionable during the Victorian era, when jewellery was frequently imbued with personal and sentimental meaning, providing a discreet place to keep the image or memento of someone dear. This example is especially decorative, combining the strong colour contrasts and elaborate goldwork favoured in later 19th-century jewellery with a glazed compartment to the reverse for a photograph or miniature. The combination of coral, diamonds and richly coloured enamel gives the piece an exotic character typical of the Victorian fascination with unusual materials and bold, romantic ornament.
Antique 19th Century 18ct Yellow Gold, Blue Enamel and Diamond Brooch
A striking 19th-century brooch crafted in 18ct yellow gold, formed as two domed oval panels joined by a decorative central bar. Each is embellished with deep cobalt-blue enamel in a radiating star motif and centred by an old-cut diamond, surrounded by finely applied ropework and granulated gold detailing. Jewellery of this type was fashionable during the Victorian period, when richly coloured enamels were frequently combined with high-carat gold and diamonds to create pieces with strong architectural and geometric decoration. The use of old-cut diamonds, individually fashioned before modern standardised cutting, adds particularly appealing period character. With its bold symmetry, vivid enamel and archaeological-revival flavour, the brooch is a wonderful example of the richly ornamented jewellery of the later 19th century.
Modernist Margaret Richardson Sterling Silver and Onyx Ring
Bold and architectural, this striking vintage Margaret Richardson sterling silver ring features a polished rectangular onyx panel accented with a row of geometric silver detailing in a distinctly modernist style. The ring is stamped “925” for sterling silver, and “mr” for Margaret Richardson. Born Ulli Margarete Samuelson in Russia 1908, Margaret Richardson later settled in South Africa after WWII, worked in Johannesburg in the 1960’s and 1970’s, and became well known for her hand-made gold and silver jewellery, which was generally in the Modernist style. She died in 1989.
Large Cilea Bijoux Paris “Anemone” Necklace
A wonderfully exuberant statement necklace by Cilea Bijoux Paris, handcrafted in the house’s signature Emaline resin and formed as a cascade of seven sculptural anemone flowers in rich, varying shades of red. Each flower is individually made and assembled, giving the petals subtle variations in colour, translucency and form, with black textured centres providing a dramatic contrast. The floral centrepiece is finished with gold-tone chain and an adjustable lobster-claw clasp, with a signed “Cilea Paris” tag. Maison Cilea was founded in Paris in 1992 by Stéphane Ravel, whose encounter with artist Monique Védié introduced him to the creative possibilities of working with resin in jewellery. Named after his wife, Cilea developed a distinctive style of highly individual, handcrafted costume jewellery, particularly celebrated for its colourful botanical forms. The house remains a small family enterprise, with Ravel’s daughters Ameline and Ambre continuing its tradition of producing jewellery by hand in France. Bold, playful and unmistakably French, Cilea pieces occupy the appealing territory between costume jewellery and wearable art.
MELISSA ANTIQUE JEWELLERY
Antique, 14K gold diamond lavaliere pendant, Netherlands, c.1910.
Art Nouveau, 18K gold ruby, diamond and pearl pendant, c.1907.
Edwardian, 18K gold sapphire and diamond ring, c.1905.
Estate, 18K gold sapphire and diamond earrings by Charles Greig.
Mid-century, 18K gold diamond ring, c.1960s.
Victorian, 14K gold diamond 'heart' brooch, c.1880.
Victorian, platinum and diamond grape leaf pendant, c.1850s.
Vintage, 18K gold diamond Brutalist pendant, c.1970s.
Vintage, 18K gold diamond cluster ring, c.1970s.
Vintage, 18K gold ruby, sapphire, and diamond bypass ring, c.1980s.
Cased set of six silver and enamel ‘Medea’ pattern grapefruit/ orange spoons marked for Birmingham 1935, designed by Archibald Knox for Liberty & Co.
Cased set of six silver and enamel ‘Medea’ pattern grapefruit/ orange spoons marked for Birmingham 1935, designed by Archibald Knox for Liberty & Co. These have the optional Silver Jubilee mark.
JEREMY STEPHEN ANTIQUES
Finn Juhl (Denmark 1912-1989). Model FD 137/3 Japan sofa, 1958 France & Son, Denmark. Burmese teak & brass with company coin logo. 187 x 77 x 74,5 cm.
Note : Design was inspired by the Miajima water gate off the coast of Hiroshima. Reference : Design Museum Danmark, furniture index RP00614.
Anzolo Fuga, (1914-1998). Bizantino glass vase, 1953/62. A.VE.M. Glassworks, Murano, Italy. Large tapering oval-shape body with indented rim, blown in red glass with broken silver foil & zanfarico canes. Height : 34,5 cm.
Reference : AVEM 1932-1972, Marc Heirmans; p.106 similar illustrated vase.
Archimede Seguso (1909-1999) Sfumato glass fish, c.1954. Vetreria Archimede Seguso, Murano. Polviri glass with amethyst & green shading, modelled in large fish-shape. Width : 33 cm, Height : 20 cm.
Pair LC1 Basculant chairs, c.1980s. Designed in 1928 by Le Corbusier, Pierre Jeanneret & Charlotte Perriand. Produced by Cassina, Italy, with black painted tubular steel frames, original calfskin seat & backrest, and slung leather arms. Cassina logo on stretcher impressed LC1 24567. 60 x 65 x 64 cm.
Lubis furniture, South Africa. Lounge armchairs, circa 1960s. After a design by the Norwegian, Fredrik Kayser. Honduras mahogany arms & legs with new boucle fabric and brass feet. 80 x 84 x 75 cm.
Gunnar Nylund (1904-1997). Hedgehog vase, c.1940s. Rorstrand pottery, Sweden. Chamotte stoneware series with yellow glaze. Impressed markings on base. Height : 14 cm. Gunnar Nylund (1904-1997).
Gunnar Nylund was a Danish-Finnish painter, designer and sculptor. His parents were the well-known Finnish sculptor Felix Nylund and the Danish born artist Fernanda Jacobson-Nylund. In 1925, Nylund began architectural studies in Copenhagen. However, he soon left to begin work at Bing & Gröndahl's porcelain factory. In 1929, he quit B&G to start his own ceramic studio, in Saxbo, along with chemist Nathalie Krebs. Nylund was responsible for shaping the goods while Krebs did the glazing and firing. After an exhibition in Stockholm, Nylund was offered the position as Artistic Director at Rörstrand. At Rörstrand, he received great support for his modern ideas and made his most important contributions as an artist. He was employed at Rörstrand for most of the early 1930's and remained until mid 1950's. Nylund is regarded as one of the most important ceramists of the 20th century.
Braam Kruger (SA 1950-2008). Ostrich Hunt, 1991. Oil on board. Signed & dated 38 x 29 cm.
Danish High Sideboard c.1960s. Design attributed to Borge Seindal for Westergaards Mobelfabrik, Silkeborg. Tall sideboard with six sliding doors and six drawers in book-matched teak veneer with solid wood edge-banding. Interior with adjustable shelves and an integrated bar section with pull-out storage trays. 184,5 x 46 x 127 cm.
Gerrit Thomas Rietveld (1888-1964). Zeilmaker Version of the Red and Blue armchair, designed in 1918. Released by Cassina in a numbered edition in 2015. Edition no.8033. Lounge chair with frame in black-stained beechwood with painted white crossbar edges, plywood seat/backrest with polyester lacquer in dark green colour. Company & designer marks on stretcher. 65,5 x 83 x 88 cm. (including Cassina leather cushions).
Rietveld believed that there was a greater goal for the furniture designer than just physical comfort – the well-being and comfort of the spirit. Rietveld & his de Stijl colleagues, including the movement’s most famous theorist and practioner, Piet Mondrian, sought to create a utopia based upon a harmonic man-made order, which they believed could renew Europe after the devastating turmoil of World War I.
While researching the origins of the Red and Blue model by Rietveld, it emerged that the key idea of the first prototypes was based on the concept of spatial organisation expressed through the monochrome tones of the parts.
The first version (the one upon which a young Rietveld is sitting on outside his furniture workshop in Utrecht) was in fact produced with unpainted wood. In the following years Rietveld proposed various examples, either monochrome or painted with different colours, according to the requirements of his customers and the interiors for which the chairs were intended. As such it comes as no surprise to find an example from the 1920s created for the Dutch school teacher, Wicher Zeilmaker, featuring a black frame and white ends but where the seat and backrest were painted dark green.
Walter Battiss (SA 1906-1982). Bathing in Rock pool, 1981. Watercolour on paper. Signed, dated & inscribed. 22,5 x 31,5 cm.
Fratelli Toso, Murano, Italy. Model 2177 murrine glass vase, c.1920. Vase in murrine set in vertical strips with clear glass thread on rim and applied handles. Height: 27,5 cm. Reference: murine e millefiori 1830-1930, Rosella Junck; p.41 archive photograph.
Braam Kruger (SA 1950-2008). Venus & Metal Dog, 1989. Oil on board. Signed & dated. 118 x 200 cm.
Exhibited : Retrospective Exhibition, UJ Art Gallery, illustrated in catalogue p.30.