A large Chinese blue & white prunus pattern ginger jar and cover, late Qing, on cracked ice ground, 30cm; an 18th century famille rose enamel soup bowl, with wavy edge, 23.3cm diameter, an 18th century Chinese Imari plate, 22.5cm, two late Qing prunus pattern vases, each with apocryphal four character kangxi mark, 20cm & 25.5cm; three Chinese carved wood Chaozhou style panels, carved with musicians and figures amongst scrolling clouds, each with traces of gilding on a red ground, 22cm x 34cm, and a Chaozhou style carved wood and gesso figure of a court female, with traces of gilding, 19cmQty: 9The small lidded vase is damaged to the rim of the cover the vase has a hairline crack to the neck.The woodenfigure has lost a lot of its gesso and gilded surface, but is structurally intact and doesn't have any shrinkage cracks.The large ginger jar has repairs to the inner lip and the cover is broken in two but glued back together.The Famile rose plate has been repaired and has chips to the rim..One of the furniture panels has some worm holes.
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A pair of Chinese Canton enamel vases, circa 1860/1870, painted with alternating panels of figures, birds and peony, with gilt lion mask handles, 26cm; and two Canton enamel vases, circa 1880, painted with panels of figures, butterflies, insects and birds, 23cm & 24.5cmThe pair of vases each have rim chips one more so than the other, no apparent hairline cracks or signs of restoration. The smaller of the single vases has a small, shallow rim chip, but is otherwise in good condition. The single pear shaped vase has a large rim chip, from which issues a 6cm hairline crack and a glued piece with a small chip, from which issues a 2.5cm hairline crack.
An Edwardian silver-mounted tortoiseshell travel timepiece, London 1907 by William Comyns, the plain rectangular case with silver swing bale handle and set with white enamel "Roman" dial, supported by silver bun feet. 6.8 cm wide x 5 cm deep x 13 cm high to the top of the bale handle.The movement is wound solid, and the spring balance runs with agitation but soon stops the movement seems intact, and the movement is NOT currently running.The rear door has a small area of corner missing and the bottom of the clock body has a crack.
Bedeutende und in höchster Qualität gefertigte Empire-Kaminuhr mitfigürlicher Gestaltung von Claude Galle (1759 - 1815)56 x 48,5 x 17,2 cm.Paris, um 1810.Funktionen:Das Werk mit runden Messingplatinen, durch vier Pfeiler verbunden. Ankerwerk mit Pendel an Fadenaufhängung. Vierzehntagegehwerk. Geschwärzte Breguet-Zeiger für Stunden und Minuten. Schlossscheibenschlagwerk für Halbstunden- und Stundenschlag auf versilberte Glocke.Gehäuse:Bronze, vergoldet und braun patiniert, grüner Marmor. Der Aufbau betont vorrangig die skulpturale, bildkünstlerisch hervorragende Leistung als klassizistische Plastik, als das in der Gesamterscheinung untergeordnete Uhrwerk. Die Betonung der beiden Farbwirkungen Braun und Gold verleiht gediegene Eleganz. Der grünfarbene getreppte Sockel in Vert de Mer-Marmor erscheint dabei zurückhaltend, durch die vergoldeten Rundfüße jedoch mit dem Figurenwerk verklammert. Gezeigt ist eine schwarz patinierte Récamière, reich mit vergoldeten Applikationen besetzt, auf der eine bacchantische Mänade auf einem Kissen liegt. Der Körper nur mit einem um die Hüften gelegten Tuch bekleidet. Die Körperhaltung zeigt sie räkelnd, mit hochgenommenen Armen, wobei sie eine große Traube mit Blättern über dem Gesicht hält. Ihr Blick ist verschleiert, nahezu weintrunken wiedergegeben. Zu ihren Füßen ein Tamburin mit Tyrsosstab zwischen zwei Weinkannen am Fußende des Bettes. Dem antiken Thema entsprechend beziehen sich auch die Applikationen an der Vorderseite der Liege auf das Bacchusthema: zwei Panther, die sich an Trauben in einem Korb laben. Es sind die Attributtiere des Weingottes Bacchus, wurde er doch der Legende gemäß von einer Pantherin aufgezogen. Seitlich Panflöten, darunter erscheinen die Masken des gehörnten Pan an den Bocksfüßen der Kline. Ein hochsteigender Bock sowie ein Widderkopf-Rhyton an der Lehne ergänzen das Bildprogramm. Das Uhrwerk im Zentrum unterhalb der Récamière eingefügt. Zifferblatt:Das weiße Emailzifferblatt zeigt römische Stunden und arabische Viertelstunden, über der VI bezeichnet „Le Roy“.Das Thema der figürlichen Darstellung lässt sich auf reiche antike Sagenstoffe zurückführen, die von dem römischen Dichter Ovid überliefert wurden. Dabei spielt die vorgeschichtliche Erfindung der Weinherstellung eine übergeordnete Rolle, etwa die Legenden von Bacchus und Erigone, der Tochter des Ikarios. Hier wird erzählt, Bacchus hätte die Herstellung des Weines verraten, ohne die Folgen der Betrunkenheit zu erwähnen, woraufhin Ikarios getötet wurde. Aber auch ohne diese Vorgeschichte fand das Motiv der trunkenen Mänade im Gefolge des Bacchus vielfach Anregung zu künstlerischer Gestaltung. Und dies auch in der Plastik, in Zusammenhang mit Uhrengehäusen. So hat Clodion ebenfalls eine Bacchusnymphe in Marmor auf einer Liege gestaltet, für eine Musikuhr, die in die Sammlung von Prinz Napoleon in Brüssel kam.Als ein weiteres Vergleichsbeispiel kann eine ähnliche Kaminuhr zitiert werden, gefertigt von Courvoisier & Compagnie, La Chaux-de-Fonds, mit der ebenfalls vergoldeten Bronze von Thomire, Paris (Inv.Nr. IV-693). Die Zuweisung an Thomire basiert auf einem Entwurf im Stockholm National Museum of Fine Arts.Letztlich jedoch verrät uns ein Katalog des Hotel Drouot, Paris (Salle M. Etienne Ader, Lot 121), vom 18. Juni 1848, mit Abb. den Bronzier Claude Galle (1759-1815).Der Uhrmacher unterhielt sein Atelier laut seiner Briefadresse in der Rue Vobert 1 sowie Rue Vivienne 9, wurde 1786 Meister, dann Lieferant für die Ausstattung der Schlösser Fontainebleau, Les Tuileries, Compiégne und Rambouillet. Auch außerhalb Frankreichs belieferte er höchstrangige Auftraggeber, wie etwa das Savoy-Schloss Stupinigi bei Turin oder den Quirinal in Rom. Unter Napoleon I galt er als einer der bedeutendsten Bronzehersteller Frankreichs. Als Hersteller und Distributeur unterhielt er im Jahre 1811 nahezu 400 Mitarbeiter, somit eines der größten Unternehmen. 1806 wurde er anlässlich einer Kunstindustrieausstellung mit einer Medaille ausgezeichnet; für eine figürlich gestaltete Uhr, die sich heute im Museum des Château Malmaison befindet.Nicht allein der Entwurf, sondern auch die hervorragende Fertigung macht dieses Objekt zu einem der markantesten Beispiele des Pariser Empire und ist ohne Zweifel als bedeutend museal zu bezeichnen. Tadelloser Zustand. Das Pendel sowie ein Schlüssel vorhanden.Nicht auf Funktionsfähigkeit geprüft.Literatur:Vgl. Michael Edward Shapiro, Monsieur Galle, Bronzier et Doreur, in: The J. Paul Getty Museum Journal, Bd. 6/7, 1978/1979, S. 57-74.Vgl. Louna Zek, Bronzes d‘ameublement et meubles français achetés par Paul I-er pour le Château Saint Michel de Saint Petersbourg 1798/99, in: Bulletin de la Société de l'Histoire de l'Art Français, 1994.Vgl. Jean Dominique Augarde, Une nouvelle vision du bronze et des bronziers sous le Directoire et l‘Empire, in: L'Estampille - L'Objet 'art, Januar 2005, Nr. 298, S. 62-85. (1350596) (1) (10)Important empire style mantel clock of the highest quality with figural décor by Claude Galle (1759 – 1815)56 x 48.5 x 17.2 cm.Paris, ca. 1810.Functions:The clockwork with round brass plates, connected by four pillars. Lever work with pendulum on silk suspension. Fourteen-day striker. Blackened Breguet hands for hours and minutes. Count wheel striking mechanism for half-hour and hour strike on silver-plated bell.Case: Bronze; gilt and with brown patina; green marble. The design primarily emphasizes the sculptural, an artistically outstanding achievement as a classicist sculpture, while the clockwork is subordinate in the overall appearance. The emphasis on the two-colour effects of brown and gold give an appearance of dignified elegance. The design of the green-coloured stepped base in Vert-de-mer marble seems restrained but is connected to the figurative work by means of round gilt feet. The figurative design features a bacchanalian maenad reclining on a cushion on a black patinated recamier, richly decorated with gilt applications. She is only dressed in a cloth draped around her waist. She is stretching out with her raised arms holding a large bunch of grapes with leaves above her face. Her gaze is hooded, appearing almost intoxicated. A tambourine with a thyrsus between two wine jugs is positioned at the foot of the recamier by her feet. In accordance with this ancient subject, the applications on the front of the recamier also refer to the Bacchus theme: two panthers are feasting on grapes in a basket. They are the attribute animals of the wine god Bacchus, who, according to legend, was raised by a panther. Panpipes are shown on the sides, below the masks of the horned Pan appear on the goat feet of the recamier. The backrest is decorated with a rearing goat and a ram's head rhyton. The clockwork is inserted at the centre below the recamier.Dial:The white enamel dial shows Roman hours and Arabic quarter hours, “Le Roy” inscribed above number VI.The subject of the figurative design can be traced back to rich ancient legends that were handed down by the Roman poet Ovid. The prehistoric invention of wine production plays a major role here, such as the legends of Bacchus and Erigone, the daughter of Icarius. It recounts that Bacchus betrayed the secrets of wine production without mentioning the consequences of drunkenness, whereupon Icarius was killed. But even without this background, the motif of the drunken maenad in the entourage of Bacchus often gave inspiration to artistic expression. And this was also the case for figurative work in combination with clock cases. Clodion also designed a nymph of Bacchus on a couch in marble for a musical clock that came into the collection of Prince Napoleon in Brussels. A similar ma...
Paar figürliche LeuchterHöhe je: 42 cm.Bronze, brüniert und feuervergoldet, Augen weiß emailiert.Frankreich, Ende 18. Jahrhundert.Bronze, brüniert und feuervergoldet, Augen weiß emailiert. Figürlich gestaltete Tischkaminleuchter mit zylindrischen Sockeln auf runder Basis mit Löwentatzenfüßen, darauf je eine männliche jugendliche Figur in brünierter Bronze mit feuervergoldetem Rock und Halsketten; in den Händen jeweils zwei hochgehaltene Stäbe mit abschließenden Kerzentüllen. A.R. (13514212) (1) (11)A pair of figural candelabrasHeight: 42 cm each.France, end of the 18th century.Bronze; burnished and fire-gilt. Eyes in white enamel.
Art déco-Email-Diamant-Puderdose von CARTIERMaße: ca. 8,5 x 7,4 x 1 cm. Gewicht (inkl. Spiegel): ca. 171,9 g. GG 750.Signiert „Cartier Paris“, Nr.04320.Um 1930.Beigefügt eine Schätzung für Versicherung von HEMMERLE vom März 1994.Seltene hochfeine Puderdose von CARTIER beidseitig mit Blütenmotiven aus cremefarbenem Email, seitlich mit schwarzem Email und vier geometrischen Gold-Applikationen besetzt mit 52 feinen Achtkant-Diamanten, zus. ca. 1 ct. Druckmechanik an zwei der Diamantteile. Außergewöhnlich guter Zustand ohne Beschädigungen. In schwarzem HEMMERLE-Etui. (13504014) (16)Art Deco enamel and diamond powder compact by CartierDimensions: ca. 8.5 x 7.4 x 1 cm. Weight (incl. mirror): ca. 171.9 g. 18 ct yellow gold.Signed “Cartier Paris”, no. 04320.Ca. 1930.Accompanied by an insurance valuation by HEMMERLE dated March 1994. Rare very fine powder compact by CARTIER, on both sides decorated with crème-coloured enamel with floral motifs, the sides in black enamel and four geometrical gold applications set with 52 fine octagon-cut diamonds, totalling ca. 1 ct. Snap closure on two of the diamond parts. Exceptionally good condition without damage. In black HEMMERLE case.
A collection of silver jewellery and a Georgian engraved silver vinaigrette with pierced and gilded interior. (Hallmarked: IS for John Shaw, Birmingham,1793 ). Jewellery includes a silver and black enamel seed pearl set brooch, a silver babies bangle, and a pair of silver repousse drop earring with engraved U.
A 14 carat gold American Waltham gentleman's pocket watch with white enamel dial and black roman numerals. Two plates of 14ct gold with a composite plate in the middle. Movement engraved 'American Waltham watch', inside of case stamped 'ALD Dennison watch case company'. No key. Gross weight 55.06g
Damien Hirst (British 1965-), '2626. Let It Come Down (The Currency)', 2016, enamel paint on handmade paper, contained in the original black card box, signed, titled, dated, and numbered 2626 in pencil, from an edition of 10,000 unique works, with the artist's blindstamp, microdot, hallmark and hologram on the reverse; sheet: 21 x 30cmARRIn very good conditionNo knocks, tears or creases to the sheet Stored flat inside its original Heni packaging.
14k gold cased Waltham full hunter pocket watchthe cover concealing a white enamel dial with black Roman numerals and subsidiary dial, the case stamped '14K', the dial measures 3cm across, the outer case with engraved decoration and monogrammed cartouche, 47g approx overallThis watch is not currently working, we have wound it and it does not appear to be running/ticking. There is a monogram to the outer case. Small dents and marks in places, especially around the area to the movement case. Very tiny dents to the case in places.
Collection of gold and costume jewellery comprising of: an indistinctly marked precious yellow metal ring in the Art Deco style with white (untested) stones, 5g approx overall, a 9ct gold pearl spray brooch, 4g approx overall, a Chinese white metal jade ring, one other Chinese white metal ring with purple faceted stone, miscellaneous yellow metal earrings and a possibly Indian enamel pendant set in unmarked yellow metal with bead detail on an unmarked yellow metal chainAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Archibald Knox (1864-1399) for Liberty & Co 'Tudric' pewter and enamel inkwell of square form, stamped 'Tudric 0141 5' to the base, 15.5cm wide x 7.5cm high x 15cm deepOverall wear, the base is slighlty mis-shapen in places. Some bruises and small losses to the enamel. Corrosion to the underside of the lid and interior. Scratches, marks, signs of wear and use.
SUFFRAGETTES – PANKHURST, TERRERO & THE PINNER WSPUPortrait photograph signed 'E. Pankhurst/ Nov. 1913' in ink on the image, depicting Emmeline Pankhurst half-length in a white dress with black buttons and bow tie, photographer's stamp '©/ Matzene/ Chicago' on the image, 188 x 115mm., with frame 307 x 222mm., November 1913; Autograph letter signed ('Jane Terrero/ One of the Bold Bad Ones!') to Mrs Verden, thanking her for her support ('...I can't tell you what a joy and what a privilege I feel it is to be here for our glorious cause... Had I come here as an 'anti' I should certainly be a suffragette now!...'), 3 pages on a bifolium, marks and dust-staining, loss to corners where removed from album, torn in two and roughly repaired, 4to (237 x 190mm.), on pale blue Holloway Prison notepaper, 18 March 1912; Album compiled by Marie Wallis Verden of the Pinner branch of the WSPU, containing postcards (portraits, demonstrations etc.), photographs of outdoor meetings, programme for the Demonstration in Hyde Park, 14 July 1912, WSPU correspondence, press cuttings from Votes for Women and other newspapers about the activities of the branch including the imprisonment of Jane Terrero and descriptions of forcible feeding, 32 leaves, some leaves loose, foxed, marked and discoloured, upper cover disbound, spine lacking, folio (365 x 242mm.), [1911-1913]; with three other letters, one to Mr Terrero from Keir Hardie (secretarial) about the unjust sentences passed on suffragettes, 2 April 1912, typed letter to Mrs Terrero regarding her letter to the Times, 3 July 1912, and typed letter from Antony Derville of BBC's Woman's Hour to Mrs Phyllis Pearce asking to read her memoirs of her time as house parlour-maid to Mrs Pankhurst, with her autograph notes on reverse, 28 January 1964; programme for the unveiling of Mrs Pankhurst's statue by Mr Baldwin, 6 March 1930; a loose collection of six portrait photograph postcards (Christabel Pankhurst, Emily Wilding Davison, Annie Kenney, Lady Constance Lytton, the arrest of Grace Roe with accompanying press photograph, etc.); and a shield-shaped WSPU Votes for Women pin badge, green, white and purple enamel, maker's mark 'W.O. Lewis' on reverse, 21 x 22mm., [c.1910] (collection)Footnotes:'ONE OF THE BOLD BAD ONES!': A collection of suffragette memorabilia from the Pinner Branch of the WSPU.The collection comes from the family of Phyllis Crome Pearce, née Verden (1889-1981) and her mother Marie Wallis Verden (1866-1956), wife of Mr Mark Verden, who were leading lights of the Pinner branch of the WSPU. The branch was founded in 1908 by five women, all neighbours, including Marie Verden and its Honorary Secretary, Janie Terrero (1848-1944) who, with her husband Manuel, frequently hosted fundraising garden parties in the grounds of their home, Rockstone House. Terrero was arrested for window smashing on 1 March 1912 and was sentenced to four months in Holloway during which she took part in two hunger strikes - her extensive notes describing her experiences in prison are held as part of the Suffragette Fellowship Collection. As well as documenting Terrero's arrest and imprisonment, newspaper cuttings in the album mention Marie Verden's role as Honorary Treasurer of the branch, whilst her daughter Phyllis is also mentioned as being involved in fundraising events. Both Marie and Phyllis held the role of Secretary at one time. Marie is said to have sustained injuries in the deputation to Buckingham Palace on 21 May 1914, the last major act of militancy before the First World War. Whilst training to be a nurse Phyllis met and married Frank Pearce (1878-1946), already a leading dental surgeon and Honorary Secretary of the British Dental Association. In 1936 he was created President of the Royal College of Dental Surgery, their highest honour, and received a knighthood for his contribution to dentistry, although Lady Pearce was said to be uncomfortable with using the title. A letter from the BBC's Woman's Hour Programme from 1964 reveals that Phyllis at one time held the position of 'house parlour maid' to Emmeline Pankhurst, through whom she may well have met leading suffragettes including Ada Wright (see adjacent lot). According to the family, Phyllis was the most active and militant of the Verden family and served in Holloway prison at the same time as Emmeline Pankhurst. They tell of the family house being stoned and windows broken by opponents of the Suffragette movement, with family members being chased up Pinner High Street by anti-suffragists. For more on the Verden family and the suffragette movement in Pinner see Thomas MacIver's article, 'Pinner's Suffragette's', London and Middlesex Archaeological Society Transactions, 69, 2018, pp.269-282. In this article a 'Miss Wright' is mentioned as sharing the responsibility for running the branch with Mrs Verden in 1914 but the connection, if any, to Ada Wright is not known.The photograph of Emmeline Pankhurst was taken in Chicago on a highly successful tour of the USA in the Autumn of 1913. She was on the run from the British authorities after refusing to return to Holloway in June 1913 under the terms of the Cat and Mouse Act and, as a convicted criminal, she should have been refused entry to the USA. She was detained at Ellis Island on arrival but, after pressure from various women's groups, she was allowed to continue her visit on the promise of good behaviour. She was rearrested on her return to the UK in December 1913. Provenance: Phyllis Crome Pearce, née Verden (1889-1981), the present owner's grandmother.For further information on this lot please visit Bonhams.com
A RUSSIAN SILVER-GILT, PLIQUE-À-JOUR AND CLOISONNÉ ENAMEL CIGARETTE CASE c.1900, the hinged case decorated with a flowerhead to the centre of each side, amidst brightly coloured scrolling flowers and foliage, stamped 84 only. 8.7cm by 8cm, 5.6 troy ouncesStamped 84 only. The push-button opening works well and the cover snaps close sharply. A few tiny losses to the border running parallel to the hinge. Otherwise in very good order.
A VICTORIAN ENAMELLED MASONIC PAST MASTER BREAST JEWEL the circular plaque with central square and compass to a blue enamel ground within a wreath, topped by a star, picked out in blue enamel 'Chigwell Lodge 453', the reverse engraved with presentation inscription to Bro. Frederick J. Cox, dated 1875, suspended from a ribbon. 6cm by 4.2cm (excl. ribbon), 1.2 troy ounces grossNot hallmarked or stamped. The central enamel disc is hairlined and fallen back in the setting, general surface wear to the reverse, ribbon discoloured and tattered.
A GEORGE V SILVER AND GUILLOCHÉ ENAMEL-TOPPED GLASS POWDER JAR by Adie Brothers, Birmingham 1913, the squat faceted glass bowl with a pull-off cover filled with powder blue guilloché enamel. 4cm high, 10.5cm diameterGood condition, enamel in good condition with no noted damage or restoration.
A SMALL GROUP OF MIXED SILVER, 20TH CENTURY comprising an Edwardian silver small pierced dish by Atkin Brothers, Sheffield 1905, oval with shaped thumbpieces; a George V silver and enamel teaspoon by Prestons Ltd, Sheffield 1933, the oval terminal enamelled with a Eurasian Bullfinch, cased; and a Continental compact, import marks, the hinged circular cover with engine-turned engraving, cover mirror-inset. (3) Dish 11.6cm wide, spoon 10.1cm long, 2.7 troy ounces gross
AN EDWARDIAN SILVER AND ENAMEL BOX by William Hutton & Sons Ltd, London 1905, rounded rectangular, the hinged cover inlaid with turquoise enamel to a raised central flowerhead motif and the corners. 6.8cm by 4.2cm by 2.5cm, 2.2 troy ounces grossMarks clear and well struck. Cover hinge sturdy. Minor ding to base, very slight rocking. Small losses to all four corner sections of enamel, and to some of the flowerhead sections also. Light surface scratches commensurate with age and use.
AN ELIZABETH II SILVER AND GUILLOCHÉ ENAMEL SNUFF BOX by S J Rose & Son, Birmingham 1980, of rectangular form with a moulded border, the hinged cover painted with a pheasant in flight over a shaded guilloché enamel ground. 1.4cm by 3.3cm by 4.5cm, 1.7 troy ouncesSome enamel to the moulded border, light general wear, enamel in good condition
A GEORGE V SILVER AND GUILLOCHÉ ENAMEL-TOPPED GLASS POWDER JAR by William Hutton & Sons, Birmingham 1929/1930, the square faceted glass body with a pull-off cover filled with green and grey guilloché enamel. 6.5cm high, 12cm wideDate letter rubbed, probably 1929 or 1930, minor chipping/nibbling to the tips of the glass bowl, enamel good with no noted damage or restoration.
A SET OF TWELVE ELIZABETH II SILVER AND ENAMEL PICKLE FORKS by Garrard & Co Ltd, Birmingham 1961, each terminal enamelled with a royal playing card, cased. 8.6cm long, 2.4 troy ounces grossThe marks to each are clear. The Jack of Diamonds with a minute blemish to the enamel. In otherwise good condition.
A FINE ENAMEL AND GLASS CASKET of square form with glass sides and hinged cover, the cover mounted with a decorative fleur-de-lys and papyrus border, filled with coloured enamels, the front with a decorative escutcheon, raised on four vine cast feet, the interior lined with green velvet, complete with key. 10cm high, 13cm by 13cmNo hallmarks or other marks. Lock working. Enamel good with no noted losses or damage. Some minor surface scratching to the inside of the glass.
A VICTORIAN PORCELAIN SCENT FLASK by Samuel Mordan & Co, the globular body enamelled with a pair of birds perching upon a blossoming bough, the hinged gilt cover opening with a push button and fitted with a suspension ring. 7.5cm by 6cmNo hallmarks but in our opinion would test as silver-gilt, signed 'S. Mordan & Co' to inside cover. Light wear to the enamel mounts not hallmarked, lacking stopper, indistinct kite mark painted to side.
A VICTORIAN SILVER SCENT FLASK, AND A NORWEGIAN SILVER-GILT AND ENAMEL PIN DISH the scent flask by William Henry Stokes & Arthur George Ireland, Birmingham 1890, circular, repoussé with a flowerhead each side, with waisted edge and screw-off cover; the Scandinavian dish by Marius Hammer, Bergen, early 20th Century, circular, the well with pale blue starburst guilloché enamel decoration, stamped '925S'. (2) Dish 6.1cm diameter, 1.6 troy ounces grossFlask - marks clear and well struck, multiple strikings to base and each side. Minor dings to the body and edges, the cover heavily dented and slightly misshapen.Dish - gilding to reverse heavily worn. Surface marks/tarnish and light scratches to reverse. Minor dings to edge. Light surface scratches to enamel but no losses.
An 18ct gold half hunter pocket watch by Hilton of Stockton with a two tone 9ct gold chain and a 9ct gold cased pocket knife, hallmarks for the pocket watch can be found inside the case back, the pocket watch has a white enamel dial with Arabic numeral hour markers and sub-second dial, it features a crown wound movement, the chain is stamped on the clips at each end 9ct, the pocket knife is hallmarked 375 on the sides of the case, circa 1900, the pocket watch case size is approx 50mm and the gross weight of the pocket watch chain and knife is 144 gms approx
A yellow metal pocket watch stamped 18k inside the case back with a Dent of London fitted box, the pocket watch has a key wound movement, white enamel dial with contrasting black Roman numeral hour markers and sub-second dial, the movement cover plate is metal, approx 45mm case and the gross weight is approx 70 gms, including key, circa 1890
A decorative Waltham PS Bartlett yellow metal pocket watch stamped 14k inside the case back, the movement number is 4302387, it has a manually crown wound movement and is circa 1900, it has a 53mm case size approx, gross weight approx 120gms, it has a white enamel dial with black Roman numeral hour markers and a sub second dial
A rare and impressive pair of 19th century Herend vases painted in chinoiserie style with Chinese figures the covers with foo dog finials and matching decoration, one vase with impressed mark the other with blue enamel mark (2) Note: similar vases were exhibited by Herend at the Paris Exposition in 188962cm highone vase with firing crack running down vase from top rim for 8cm approx with some over-painting overall height of vases is 64cm
A good quality19th century French clock garniture, the clock set in a green marble case mounted with a bronze model of four putto, the base of the cherubs signed Feuchere (French 1807-1852), the white enamel clock face with Roman numerals and twin winding holes to a brass movement striking on a bell, the clock face signed E Vittoz Paris, green marble case with applied gilt metal detail, together with a pair of accompanying bronze and green marble urn type vases, largest piece 51cm high (3)
An 18ct J W Benson half hunter pocket watch, hallmarked in the case back, has a manually crown wound movement with the movement number 252680, has a white enamel dial with black Roman numeral hour markers and the movement cover is engraved Souvenir 6th August 1918, approx 46mm case and gross weight of 75 gms (a/f)
A rare Lowestoft porcelain teapot the central cartouche inscribed Sarah Roberts 1793 surrounded by floral decoration within a green and brown feather border the cover with mushroom knop picked out in green enamel with matching decoration and small cartouche inscribed with SR 179318cm highcover broken and repaired
Late Victorian diamond, opal and enamelled 18ct gold pendant, circa 1890-1900, centred with a cabochon opal bordered with twelve old round cut diamonds totalling approx. 1.2cts, in a baroque scroll foliate mount detailed with green enamel, unmarked yellow gold testing as 18ct, 50mm x 35mm, gross weight approx. 20g, suspended from a 9ct gold box link necklace with lobster claw clasp, length 45cm, weight approx. 5.7g
Victorian diamond and blue enamel pendant brooch, centred with an old round cut diamond of approx. 0.5ct against a blue guilloche enamelled ground and bordered with tiny rose cut diamonds, picture locket back in unmarked yellow gold, 32mm x 25mm, with loop for suspension, gross weight approx. 11.3g
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396323 Los(e)/Seite