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  Asprey & Co., Important Cardinal Sculpture gem set with natural rubies, 18K gold and amethyst quartz, signed,1980

  ASPREY & CO. LTD. (founded 1781) London, UK

  Important Natural Ruby Gem Set 18K Gold Cardinal Bird Sculpture   1980

  Finely chased and chiseled 18K yellow and white gold realistically rendered sculpture of a Cardinal bird set with
  85+ carats (approx.) of natural gem quality oval and round cut Burmese rubies (GIA certificate) further heightened with enamel eyes and blackened gold face plumage details, the 18K gold and natural ruby cardinal sets atop a natural Amethyst crystal “mountain rock” with a tooled and gilt (script mark) on the leather under-pad.

  Marks: A & Co. (in a quatrefoil), Crown mark, 750 (gold standard mark) Lion’s head (London assay mark) “F” date mark for 1980, tooled and gilt Asprey (script mark) on the leather under-pad

  Provenance: Privately commissioned by the Sultan of Brunei’s younger brother, Prince Jefri Bolkiah who also later became the owner of Asprey & Co in the 1995. This rare sculptural 18K gold and natural ruby Cardinal was handmade by the finest jewelers and work masters in the workshop of the London Asprey & Co. located above the flagship store at 167 New Bond Street.

  H: 3 ¾” x L: 5 3/4” x W: 1 ½”(Cardinal only)
  H: 6” x W: 6 ¾” x D: 5 ¾” (with Cardinal atop natural Amethyst crystal rock)

  As one might guess, a large part of the animal symbolism of the cardinal comes from the brilliant red color of the males. In fact, its name is derived from the royal red vestments worn by Catholic cardinals. This shock of red, especially against the stark backdrop of winter snow, is a magnificent sight. The male cardinal reminds us passion, warmth and vibrancy is available to us – even under the cloak of Winter’s grey clouds. Interestingly, the more bold and bright his color is, the more successful the cardinal will be at prolonging his lineage. Dull colored male cardinals are less likely to mate successfully than bright colored ones. True to the fire of his color, the crimson cardinal has got some major spunk. He will aggressively defend his territory, and fight attackers with ferocity. Indeed, they have been known to fight ghost males (their reflections) in mirrors for hours on end. Both male and female give us glorious songs. Along with peeps and pips and warbles, the tuned ear can also hear “cheer, cheer, cheer!” Very appropriate to the animal symbolism of cardinals, because they are a delight to both eyes and ears. The cardinal makes a fantastic animal totem. It reminds us to hold ourselves with pride, not ego pride but rather the cardinal asks us to stand a little taller, be a bit more regal and step into our natural confidence as if we were born to lead with grace and nobility. Those who attract the cardinal as their totem are naturally energetic, love life, and happily help others where and when they can!

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  Details

  Lawrence Hunter Hand Wrought Brass and Walnut Punch Set c.1965

  LAWRENCE HUNTER, San Diego, California

  Punch Bowl set c.1965

  Hand hammered and hand wrought large asymmetric punch bowl with matching ladle, turned walnut pedestal platter and twenty four hand wrought brass and walnut pedestal shape goblets

  Marks: HUNTER spelled out within a large outline of an H (name logo and monogram mark on all pieces)

  Punchbowl H: 13 ½” x Dia: 16”
  Cups: H: 5” x Dia: 3 ½”
  Serving tray: H: 2 ¾” x Dia: 17 ¾”

  Price: $11,500

  By repute, this elaborate punch set was a custom commissioned work for a West Coast collector and likewise was purchased directly from Larry Hunter in the mid-1960’s for $2,500.

  Lawrence “Larry” Hunter grew up in San Diego and received a BA from San Diego State College in the late 1950s. As an undergraduate, Hunter studied with John Dirks, who founded the furniture design program at San Diego State College, and Ilse Ruocco. While completing an MA at University of California, Los Angeles, Hunter worked in clay and was a teaching assistant for Laura Andreson. Hunter was hired to teach general crafts and design classes at San Diego State in 1962, and later inherited the furniture design program from Dirks.
  Hunter was a member of the Allied Craftsmen of San Diego and exhibited furniture regularly in the California Design series at the Pasadena Art Museum and the California Crafts series at the Crocker Art Gallery in Sacramento. Hunter led the San Diego State furniture design program until the late 1980s, helping the furniture program to become a vital part of the community. Featured artists will include Toza and Ruth Radakovich, Rhoda Lopez, Jack Hopkins, Arline Fisch, Ellamarie and Jackson Woolley, Larry Hunter, Kay Whitcomb, Ilse Ruocco, and James Hubbell. It was at this same time that Constantine’s, a New York fine wood merchant, offered plans for clocks with wooden works; that John Gaughan made a skeletal grandfather’s clock with wooden works; and that Larry Hunter, who taught at San Diego State, used the clock form to explore kinetic sculpture within a functional format. Hunter eschewed the older traditional adornment of the case and focused upon visible works so that people could watch time actually move.