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396323 Los(e)/Seite
Los 274
A gold plated 'Limit' pocket watch, the white enamel dial with Arabic numerals, 5cm wide, an Omega Prestons timer division pocket watch, and a Yards pedometer (3) Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
Los 323
A 20th century French yellow metal and enamel box, the oval hinged cover with blue enamel centre with surround of foliate detail, with gilt interior stamped indistinctly and conforming decoration to body, possible French eagle head stamp to interior, 7cm wide, within fitted box Condition report: Minor loss seen to the base of the box within the blue oval cartouche (seen with x10 loupe) Loss to gilt highlights throughout.Loss to the green, gilt and white enamel to reverse of box. Major loss to the white enamel at front of boxSurface scratches seen throughout the enamel, Interior of box with surface scratches and blemishes commensurate with use. A little discolouration is seen throughout, may benefit from a clean.Interior rim of box hand engraved '03-01-1935'
Los 326
A Grand Tour style micro mosaic mounted on tortoiseshell snuff box, 19th century, 8.5cm diameter, with a French enamel on copper open salt, polychrome enameled with floral sprays, gilt highlights throughout, 6.5cm diameter (2) (at fault) Condition report: snuff box - shows minor surface scratches to the base and small loss to the rim of the base (please see photo). There are minor losses to the mosaic throughout commensurate with age, (seen with x 10 loop). Residue present on the mosaic, would benefit from a clean. Hinge has been engraved numbered 10044, and is stiff. The snuff box would benefit from a clean.
Los 682
A pair of Staffordshire porcelain brass mounted candlesticks, each florally encrusted with gilt highlights throughout, 19.5cm high, and a French porcelain Rococco style mantle clock, 20th century, florally encrusted with gilt highlights, raised on four scroll feet, enamel dial with roman numerals, 39cm high (at fault) (3) Provenance: Wykey House
Los 762A
A Japanese cloisonne millefiori box and cover, Meiji Period (1868-1912), the kidney shaped box externally decorated with an abundance of flower heads, the removable cover opening to reveal a polished lined interior, 13.5cm wideCondition report; No obvious concerning external condition issues visible with the exception to some pitting to the black enamel and a very minor dent to the copper rim surrounding the cover. The interior lining to the cover and base is slightly loose but intact.
Los 764
A pair of Chinese porcelain celadon-ground famille rose jars, Guangxu (1875-1908), each of ovoid form with flared rim and integral covers, decorated with chrysanthemum and peony sprays, six character mark to the underside, 15cm high Provenance: Wykey House Condition report; Covers are integral and do not remove. Pitting and underglaze fritting to both. The pale celadon ground to both appears patchy and not consistent. The yunwen border to the underside of the rims appear naïve. Some enamel wear to the exteriors, accompanies with general scratches and grubbiness.
Los 80
A cased set of David Anderson silver gilt enamel spoons, the teaspoons in various colourways with enamel to stem and bowl, reverse stamped 'DA 925S Norway Sterling' with import marks, 9.5cm long, within an associated fitted 'Harrods London' case (case at fault) Condition report: Major loss seen to the green stem of the teaspoon. Loss to the enamel within bowl of blue spoon. Scratches and blemishes to the surface of all enamel. Discolouration to reverse of all teaspoons, will need attention. Minor dents and general wear throughout all the silver spoons. Major discolouration to the box, and fastening faulty. Possible re-enamelling seen.
Los 566
A collection of pocket and fob watches, comprising a Ruhlo stainless steel cased and black faced pocket watch, a Kienzle seven jewel movement stainless steel cased pocket watch, a railway timekeeper's pocket watch, Chinese dialled pocket watch, Uno fob watch, Santina fob watch, Cardinal fob watch, and stainless steel cased and white enamel cased fob watch. (8, AF)
Los 581
An Edward VII silver pocket watch, by Thomas Russell and Son of Liverpool, with horse shoe updown mount, the white enamel Roman numeric dial with second star and hands, with an English lever Thomas Russell and Son's movement of Liverpool, numbered 75217, the hands AF, Chester 1902, 145g all in.
Los 589
Two pocket watches, comprising a continental white metal fob watch, with white enamel Roman numeric dial and gold markers stamped 800, with rubbed back, and a white metal eastern inspired pocket watch, the silver face with Roman numeric border and floral scroll central motif, with blue hands and seconds dial, key wind, circa mid 19thC, unmarked, 91.8g all in. (2, AF)
Los 35
AN ART DECO DIAMOND BRACELET, CHAUMET, CIRCA 1925The openwork articulated band set at the centre with a stylised meander motif highlighted with old European and single-cut diamonds, between similarly-cut diamond borders, with millegrain detailing throughout, mounted in platinum, diamonds approximately 13.00cts total, with maker's mark 'JC' for Joseph Chaumet, French assay mark, with case by 'Armour-Winston Ltd, 43 Burlington Arcade, W1', length 17.4cmBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. A couple of links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010.Joseph Chaumet: maker's mark registered in 1890 until 1928 - located in the 2nd district of Paris, then place Vendome in the 1st district in 1902.A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Business boomed for jewellers during the interwar period. Jewellers, as was also the case with visual artists, interior designers and product designers, were influenced by the new Art Deco architecture and design. Art Deco buildings were often streamlined with minimal decoration, especially compared to the recent Victorian past. Designers and architects used new materials such as chrome, steel, decorative glass and aluminium, to create a forward looking, modern style. Dubbed ‘the vertical style’ in New York, elements included vertical windows, stylised floral patterns, and above all, abstract, geometric motifs. This Art Deco influence on jewellery is made clear by Georges Fouquet in the article La Bijouterie at la Joaillerie Modernes, published in Figaro’s Supplément Artistique on June 13th 1929, where he stated that: “the composition of a piece of jewellery must be really understood and it must be constructed of simple lines, free from all its point of departure it must have a principle of construction in which the harmonious rhythm of lines, masses and colours manifests itself.” During this turbulent but creative period, the firm of Chaumet managed to retain both their pre-war client base and their reputation. At that point in time their longevity already stretched back over a century and a half and their client base had included Emperor Napoleon, Empress Josephine and Queen Victoria. In 1928 at the height of the Art Deco era, Marcel Chaumet took over management of the firm on the death of his father, Joseph Chaumet, for whom the business was eponymously named. Declaring, at his father’s funeral that: “continuing the furrow he ploughed, perpetuating his work in every sphere, such is my goal, to which I will devout all my effort.” Recorded in Chaumet, Parisian Jeweler since 1780, directed by Henri Loyrette. Chaumet fully embraced the Art Deco trend, participating in the ground-breaking Exposition Internationale des Arts Décoratifs, in Paris in 1925. Their jewellery became more geometric in design and used a more eclectic range of gemstones than before, such as rock crystal, onyx, turquoise and red coral. These were often arranged either in monochromatic black and white or a riot of bright colours. If monochromatic, the diamond reigned supreme. Advances in gem-cutting had allowed new, innovative cuts such as the baguette and the calibre-cut and these were often contrasted with onyx or black enamel and set in platinum.At the exposition especially, the rising concept of the freed woman or named ‘garçonne’ in France became so popular and inspired books written about female empowerment, such as in the 1922 novel by Victor Margueritte, La Garçonne. During the war, women had replaced men in the working world as men were called to the front line, and in doing so it became evident that women held a new independence and freedom in society. Fashion designers of the time noticed this and created lines for the contemporary woman which included Coco Chanel’s little black dress. Such popularity of the concept inspired jewellery designed by Chaumet’s innovation and style. Stated in Chaumet, Parisian Jewler since 1780, Vogue even recommended Chaumet for the “chic woman’s wardrobe…jarred and bored by the jangling of many bracelets, one single cuff made for her by Chaumet -a thing of beautiful and intricate design.”The Art Deco period was also an effort to cast aside ideas of the past. Additionally, more exotic influences included Egyptian, Chinese and Japanese, often shown in the use of stylised motifs such as dragons, pagodas and Persian flower motifs. These influences also expressed themselves in the use of jade, coral, enamels, lacquer and pearls. In the 1920’s, Art Deco bracelets were often composed of intricate links set with coloured gemstones in geometric designs and there was a fashion for wearing multiple bracelets, high on the arm. The design of this intricate bracelet is based on the Greek key pattern and was inspired by the architectural motifs of Classical Greece. This pattern that is both interlocking and unbroken, became popular once again in the Art Deco era due to its pleasingly geometric character, and was said to represent both infinity and unity. As the 1930’s approached, larger, pave-set bracelets with outsized links gained in popularity and ‘convertible jewellery’ which could be worn in more than one way, became popular again. Condition Report: Diamonds: approx. 13.00cts total - overall bright and lively - estimated colour H/I, estimated clarity VS-SI (a few I)Partial Maker's mark: JC and star (no crescent visible) located on the tongue of clasp - dog's head for French platinum located on the tongue of claspOne dent visible on the rail track of the braceletClasp: secureNormal signs of wear given the age of the bracelet - overall in good conditionBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. Two links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010. A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Total gross weight approx. 42.9g
Los 108
A late 19th/early 20th century brass carriage clock with bevelled glass, white enamel dial by R. F. Beard Cheltenham, striking movement The clock ticks along OK but strike not working at present. Back glass panel had a tiny chip lower right hand side and left hand panel has a horizontal loss at base right hand side 25 x 3mm WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provIde any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.
Los 105
A pair of silver and enamelled bird cufflinks by Joan MacKarell, 2006, modelled as birds in flight decorated in shades of golden brown basse-taille enamel, with red highlights to the head, the oval back panels detailed with a feather, with chain connectors, maker’s mark ‘JMK’, London, length 29mm. £100-£200 --- Condition Report In good condition, gross weight 15.4gm.
Los 121
Three pairs of cufflinks, comprising a pair of polished knot cufflinks, a pair of gem-set mother-of-pearl cufflinks with enamel decoration, and a pair of concave circular cufflinks with applied geometric motifs, the first and third pair stamped ‘18CT’ and ‘18K’ respectively, largest diameter 15mm. £500-£600 --- Condition Report General light surface wear commensurate with age and use. Gross weight 29gm.
Los 122
Three pairs of cufflinks, comprising an 18ct gold pair by Tiffany & Co., the oval panels applied with crown and lion, with chain connectors, stamped ‘Tiffany & Co, 18k’, and two pairs of silver and enamel cufflinks, first pair length 18.5mm, silver cufflinks both 16.5mm. £600-£800 --- Condition Report Gold cufflinks - Rubbed to high points, general light wear. Weight 15.5gm. Silver cufflinks - both with light wear, no enamel loss. Weight of both pairs 23.3gm.
Los 126
Two Royal Yacht Squadron burgee stickpins, each with polychrome enamel decoration, the first stamped ‘18CT’, the second smaller pin mounted in 9ct gold, hallmark for London 1958, together with a pair of enamel cufflinks, of yachting interest, stamped ‘18CT’, first pin length approximately 6cm. £200-£300 --- Condition Report Both with very light general surface wear commensurate with age and use. The enamel on both pins in good condition. Gross weight 3.7gm.
Los 130
A gold and turquoise suite, comprising a matching bangle, brooch, ring and pair of earrings, each set to the front with tassels of collet-set turquoise cabochons (one deficient), ring size L½. £1,500-£2,000 --- According to a PMI test on an XRF Analyzer, the suite is testing as 17ct and 18ct gold. Condition Report General light surface wear commensurate with age and use. The ring with one cabochon deficient. One earring with signs of pink enamel/pink discolouration visiible. Turquoise untested. Gross weight 81.4gm.
Los 144
An Arts and Crafts enamel and opal pendant by James Cromar Watt, circa 1905, of organic design, the central opal matrix collet-set within an open framework of butterflies decorated in polychrome translucent enamels, to a scrollwork opal-set surmount, the whole suspending a small black hardstone drop, mounted in gold, the reverse with conjoined maker’s initials ‘JCW’, length 6.7cm. £1,500-£2,000 --- James Cromar Watt (1862-1940) was born and grew up in Aberdeen and in 1879 he began his training as an architect with W & J Smith of Aberdeen. In the late 1880s he travelled in Belgium, Germany and Italy which inspired his love of Renaissance arts and crafts. On his return he rejoined W & J Smith, and qualified as an architect at the Architectural School of the Royal Academy, London. Watt continued his travels in the 1890s, spending time in Greece, where his love for decoration and craft skills deepened. In the course of his travels, he appears to have begun dealing in works of art, taking a particular interest in ancient metalworks. By 1896, he had resigned his architectural associateship to concentrate exclusively on his work with precious metals. He took a particular interest in developing his skills in the ancient techniques of gold granulation and translucent foiled enamelling, working firstly on large objects, then concentrating on jewellery. Inspiration from contemporary artists, included Alexander Fisher and Phoebe Traquair. During the First World War, Watt was engaged on secret government work - the true nature of which has never been disclosed. He did not return to jewellery-making - apparently due to failing eyesight - and devoted most of his energies into working with the English architect and goldsmith Henry Wilson, a friend since at least 1905, together completing the bronze tomb of Bishop Elphinstone, co-founder of the University of Aberdeen. He was granted an honorary degree in 1931 by the University of Aberdeen.. Watt assembled an important collection of ancient ceramics and artefacts, particularly from China and the Far East, including porcelain, jade, silk paintings, ivories, lacquer work, enamels and bronzes. After his death in 1940, his collection was divided between the Aberdeen Art Gallery and the Royal Scottish Museum. Literature: Charlotte Gere/Geoffrey C. Munn: Pre-Raphaelite to Arts and Crafts Jewellery, pub. ACC, 1996. Beatriz Chadour-Sampson/Sonya Newell-Smith: Tadema Gallery London Jewellery from the 1860s to 1960s, pub. Arnoldsche Art Publishers, Stuttgart 2021. Condition Report General light surface wear commensurate with age and use. The opal matrix with good play of colour with flashes of red, blue and green. Gross weight 9.2gm.
Los 147
An early 19th century French bracelet, the hollow bracelet composed of hinged panels with reeded ground and dotted pattern, bordered by a decoration of overlapping fan motifs and black enamel, the principal panel with scrolled surmounts, French assay marks and lozenge-shaped maker’s mark, length approximately 17.5cm. £1,000-£1,500 --- Condition Report General light to moderate wear commensurate with age and use. Scratches to the reeded finish throughout. The bracelet also dented in parts, and there is a small split to one of the panel frames. Lead solder visible at safety chain fitting. Extensive enamel loss. Viewing is advised. Gross weight 41.8gm.
Los 20
A 19th century agate and enamel coin locket, the front formed by George III gold guinea, spade type, 1793, later enamelled, the reverse with a polished agate, opening to reveal a glazed compartment, length including bale 33mm. £300-£400 --- Condition Report Gross weight 13.9gm. The reverse of the locket (not the coin) is testing as 17ct gold.
Los 216
A diamond and enamel panel ring, set throughout with circular-cut diamonds, the pierced panel revealing a blue enamel ground, to a scrollwork gallery and trifurcated shoulders, total diamond weight approximately 1.00 carat, ring size O. £600-£800 --- Condition Report General surface wear to the mount and settings commensurate with use. The enamel plague/under-bezel is fitted by screws which are visible through the pierced panel, and have some slight enamel loss around the screw fitting. The principal brilliant-cut diamond has at least two small nicks to the girdle, observed under 10x magnification, and will need the claws re-tipping to be worn with confidence, the stone being loose in its setting. Gross weight 12.2gm.
Los 260
A gold and enamelled ladybird clip brooch, by Cartier, circa 1940, the ladybird applied to a multi-petal flowerhead, with twin prong fitting, signed ‘Cartier Paris’, numbered ‘88**’, (indistinct), eagle’s head assay mark, maker’s mark, with box, length 22mm. £500-£700 --- Condition Report A few tiny scratches to the red enamel. Black enamel possibly retouched. Otherwise good condition. Weight 4.7gm.
Los 262
A rose-cut diamond and enamel circular pendant/brooch, circa 1900, centred with blue guilloché enamel, mounted with a single pearl, within pierced work border, to outer diamond scalloped edge, gold mounted, with diamond set detachable bale, later mounted pin, (with enamel loss), diameter 24mm. £300-£500 --- Condition Report Enamel loss to one side of the central panel.
Los 266
A diamond animal mask brooch, circa 1890, realistically modelled, the shaggy coat set throughout with rose-cut diamonds, with yellow and brown glass eyes, the tongue originally enamelled, mounted in silver and gold, French assay marks and import marks, diameter 28mm. £800-£1,200 --- Condition Report General light surface wear commensurate with age and use. The tongue has lost the majority of its enamel. Small chip to one eye. Spot solder repairs visible to the reverse. Brooch fitting reattached at both sides / replaced. Overall good aesthetic. Gross weight 14.6gm.
Los 323
A gold and enamelled serpent bracelet, mid 19th century, the body composed throughout of graduating articulated links each decorated with blue enamel, the head applied with an opal and rose-cut diamond cluster and with cabochon ruby eyes, contained in fitted case, the underside bearing a handwritten label, reading: ‘Belonged to Grandmama Aberdare, given her by Sir Charles Napier, (Norah Creine Napier) given me at my wedding by Aunt Alice Bruce. To go back to England’, length 21cm. £3,000-£5,000 --- Provenance: According to the note of provenance attached to the case, Sir Charles Napier (1782-1853) had given the bracelet to 'Grandmama Aberdare'. It had then passed down through the family to Alice Bruce, an aunt of the ultimate recipient, who had written the history on this note, as a wedding gift. ‘Grandmama Aberdare’ was Lady Nora Creina Blanche Bruce (1827-97), second wife of the 1st Baron Aberdare (1815-95), who became Lord President of the Council and Home Secretary under Gladstone, and the daughter of Sir William Napier (1785-1860), the younger brother of Sir Charles. Both brothers fought in the Peninsular War, and both later rose to the rank of General. While William wrote a definitive history of the Peninsular War, Charles pursued a military career: in 1839 he was given command in Northern England to control the Chartist agitation, and is remembered for his sensitive handling of the unrest due to the hardships experienced by the labouring classes in the aftermath of the Napoleonic Wars, thereby averting conflict. He spent time in India (1841-44) involved in the controversial annexation of the native states of Sind into the British Empire for which he received a Knighthood. Alice Bruce (1867-1951) was the youngest daughter of the Lord and Lady Aberdare, and granddaughter of Sir William Napier. A celebrated educationalist and administrator, she served as President of Aberdare Hall in Cardiff. Then by direct family descent to the vendor. Condition Report Slight enamel loss to both sides of the head, and tip of the nose, plus some small areas of loss to the body. Ruby cabochon eyes showing abrasions. Total length of 21cm includes the full tongue of the clasp. Gross weight 37gm. Box with some exterior scuffs, and tear to interior silk above the position of the head.
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396323 Los(e)/Seite