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396325 Los(e)/Seite
Los 143
A George V Silver and Enamel Cigarette-Box and a George VI Silver and Enamel Box, one Birmingham, 1937, and one Chester, 1934, each oblong with blue enamel over engine-turned engraving, each 8.5cm high, gross weight 6oz 17dwt, 215gr (2)Each is fully marked on base and further part marked on cover. There is some surface scratching and wear, consistent with age and use. There are some chips and scratching to the enamel. The chips are mostly to the very edges.
Los 221
A Small Quantity of Jewellery, including a diamond three stone ring, stamped '18CT' and 'PLAT', finger size J; a garnet ring, stamped '9CT', finger size L1/2; a green hardstone ring, stamped '585', finger size L1/2; a single 9 carat gold cufflink; a diamond brooch with applied plaque stamped '9C'; an anchor charm/pendant stamped '9CT'; an enamel Charles Horner brooch (a.f.); an enamel pendant; an enamel buckle; a split pearl stickpin etcThree stone ring - 1.8 grams. Garnet ring - 1.3 grams. Ring stamped '585' - 3.4 grams. Cufflink - 1.8 grams. Diamond brooch - 2.3 grams. Anchor - 1.1 grams.
Los 62
A Collection of Assorted Silver, Silver-Gilt and Enamel Flatware, including two cased sets of coffee spoons; a cased christening set of two Dutch silver spoons; a pair of Norwegian silver-gilt and blue enamel serving spoons, by J.Tostrup and other items (qty)The pieces are marked as expected. There is some surface scratching and wear, consistent with age and use. There are some minor imperfections to the enamel.
Los 5055
Simon Matthewson. Rear of Card. 'Dis Eye'. Acrylic on canvas, 41 x 41 cm. Signed on reverse. Simon Mathewson is a British artist whose practice is a unique combination of Op art and abstraction. He predominantly paints abstract geometric designs in enamel/acrylic on driftwood. Interaction of colours, geometric forms, optical effects - all of these features are treated as primary in Simon's art. Interestingly, Mathewson's previous work includes video art, sound design, live music and animation. Although very different on both the conceptual and visual level when compared to his current work, Simon's initial experimentations with various media served him very well in forming the foundation of his abstract geometric designs on wood. Mathewson mainly paints enamel on driftwood found on the Dorset coast that's near where he lives and works. Through the use of bright colors and rigid geometry, Simon's work explores the transformation of the discarded into the decorative with the possibility that these paintings are fragments of larger designs. It took him a long time to find the appropriate style and for many years Mathewson was making work that was very derivative. It wasnt until he started painting and sanding rigid geometric forms on driftwood that he felt he was making something unique and that he was really getting some public interest. Simon's creative process starts with collecting driftwood and deciding which pieces to keep and which ones to discard. Once he gets them ready to paint, Mathewson goes through a decision-making process regarding shape and colour and what would best compliment the piece of wood.
Los 24
Devotional work in filigree composed of a phytomorphic floral decoration in silver threads that start from one hundred where small corollas center an oval niche in which a devotional image in enamel is depicted. Work of expert Sicilian artisans skilled in combining different materials. h 15.5 cm x 12.5 cm Trapani, 18th century
Los 26
A FINE LACQUER SUZURIBAKO DEPICTING A PAIR OF PIGEONSJapan, early to mid-19th century, Edo period (1615-1868)Of unusual oval form, the cover finely decorated in gold and silver takamaki-e depicting two pigeons, their feet and beaks inlaid in stained horn, the eyes inlaid in glass. The interior embellished with shida wakaba ferns in gold takamaki-e and with a silver patinated metal character 申 which is pronounced Shin and represents 神 (Kami). The detachable baseboard with a suzuri (ink-grinding stone) and a cloisonné enamel suiteki (water dropper) in the form of a teapot with a fitted silver mount.SIZE 24.1 x 20.3 x 4.6 cmCondition: Very good condition, minor wear, discoloration to the lacquer, minor losses to the inlays and rims, light surface scratches.Provenance: British private collection. Two old labels to the silver mount of the suiteki.
Los 112
KINZAN: A CLOISONN̉ۡ ENAMEL SQUARE TRAY WITH COCKEREL AND HENBy the Kinzan company, signed Kinzan and with seal KinzanJapan, late 19th - early 20th century, Meiji period (1868-1912)Of rounded square form, the design after a painting by Watanabe Seitei (1851-1918), worked in copper wire with a cockerel, hen, and chick against a pale-blue ground, bordered by a band of half-chrysanthemum blossoms and stylized tendrils on a brown ground, the underside decorated with a large peony blossom issuing tendrils above a blue ground, signed KINZAN with a two red seals KINZAN.SIZE 27.9 x 27.9 cmWEIGHT 1,302 gCondition: Good overall condition, some wear, manufacturing flaws including pitting, small hairlines, few minor losses to the enamels, light surface scratches.Provenance: From a private collection, Zagreb.Literature comparison:The design of the present object is inspired by a painting of rooster and hen with chicks by Watanabe Seitei, a famous artist of the Meiji period (1868-1912), who worked closely with Namikawa Sosuke. Compare a related painting of rooster and hen with chick by Watanabe Seitei, circa 1887, in the Metropolitan Museum of Art, accession number 14.76.61.54.Auction comparison: Compare a closely related square tray with near-identical motif by Kinzan, of closely related size (27.6 x 27.5 cm), at Bonhams, Polish and Poise Japanese Art Across the Centuries, 12 May 2022, London, lot 220 (sold for 2,805 GBP). Compare a related square tray with near-identical motif, attributed to Namikawa Sosuke, 19th century, at Christie's, Innovative Japanese Design: Art of the Meiji Period, 18 November 2015, New York, lot 10 (sold for 13,750 USD).
Los 111
ANDO: A CLOISONN̉ۡ ENAMEL VASE DEPICTING PHEASANTS AND CHRYSANTHEMUMSBy the Ando company, signed with the Ando company markJapan, Nagoya, early 20th century, Meiji (1868-1912) to Taisho period (1912-1926)The broad baluster body supported on a short spreading foot and rising to a waisted neck with flared rim, the sides finely decorated in bright enamels with two pheasants on a rocky outcrop, a stream running between them, amid large leafy chrysanthemums, daisies, and other flowers, all against a deep-blue ground, with floral diapered bands below the rim and above the foot. The rims of silver, the foot rim with a two-character mark 'jungin' (pure silver), and the base with the Ando company mark.HEIGHT 24.2 cm (excl. stand)WEIGHT 1,100 g (excl. stand)Condition: Excellent condition with minor wear and minimal manufacturing irregularities. Provenance: From the collection of Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, and thence by descent. The vase was gifted to Vice-Admiral Holt by Admiral Koshiro Oikawa, the Japanese Naval Minister during World War II, as commemorated by the silver plaque on the wood stand. The wood stand further with remnants of an original Ando company label to the base. Koshiro Oikawa (1883-1958) was an admiral in the Imperial Japanese Navy and Naval Minister during World War II. Oikawa was appointed as Minister of the Navy in the second and third cabinets of Prime Minister Fumimaro Konoe between 5 September 1940 and 18 October 1941. While Navy Minister, he strove to maintain ties with the United States, and instructed his naval attach̩s in Washington DC to work together with the Japanese ambassador to prevent war from breaking out. He continued to serve as Naval Councilor until near the end of World War II and was Chief of the Navy General Staff in late 1944 but resigned in May 1945. Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, (1884-1957) was an officer in the Royal Navy. He commanded a considerable number of destroyers and torpedo craft during World War I. Holt was promoted to the rank of Vice-Admiral on 15 December, 1939. He was placed on the Retired List at his own request on 4 May, 1940.With a finely carved and openworked wood stand, fitted with a silver commemorative plaque inscribed, 'Vice-Admiral R.B. [sic] Holt. January 1940. From K. Oikawa, Admiral I. J. Navy', and incised with a symbol of an anchor and prunus blossom.Auction comparison: Compare a closely related cloisonn̩ vase by the Ando workshop, dated Taisho period (1912-1926), 30.8 cm high, at Bonhams, Fine Japanese and Korean Works of Art, 18 March 2015, New York, lot 3166 (sold for 3,250 USD).
Los 113
A FINE CLOISONN̉ۡ ENAMEL TRAY DEPICTING MOUNT FUIJI IN THE STYLE OF NAMIKAWA SOSUKEJapan, Meiji period (1868-1912)Of oval form, the shallow rounded sides finely decorated to the interior in musen (wireless) enamels with a view of the snow-capped Mount Fuji in the mist and to the base in copper wire with bamboo leaves, chrysanthemum roundels, stylized flowerheads, and scrolling vines against a turquoise-blue ground.LENGTH 18.4 cmWEIGHT 266.3 gCondition: Excellent condition with minor wear and manufacturing irregularities. Provenance: The Strong National Museum of Play, accession number 76.2503 (lacquered to the base). Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her accumulation grew, Margaret planned a museum to house her collection. It eventually opened to the public in 1982, and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play.Auction comparison: Compare to a tray by Namikawa Sosuke sold at Bonhams, Fine Japanese Art, 12 May 2011, London, lot 179 (sold for 22,800 GBP).
Los 182
An early 20th century French striking mantle clock c1910, in a green variegated onyx case on cast metal rococo feet and surmounted by a cast metal figure of an 18th century gallant, white enamel dial with Arabic numerals and minute track, eight-day movement with countwheel striking sounding the hours and half hours on a bell. With pendulum. Dimensions: Height: 38cm Length/Width: 28cm Depth/Diameter: 18cm
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396325 Los(e)/Seite