Sir Frederick Rowland, 1st Baronet of Taunton and Lord Mayor of London 1949-50: his Baronet's Badge, silver-gilt and enamels, rose, thistle and shamrock border, reverse inscribed 'Rowland of Taunton U.K. 20th November 1950', Royal Mint mark (R.J.), London 1936, with neck cravat and in Royal Mint box of issue, 36.2mm wide, scuffing to reverse, otherwise good very fine or better; together with his City Livery Company Past President's jewel, silver-gilt and enamel, suspension involving an oak tree, reverse inscribed 'Presented to Alderman Sir Frederick Rowland, F.C.A.C.C. in appreciation of his services as President 1942-1943', C. Weedon & Sons, London 1935, 53.9mm wide, with neck cravat and in maker's case, good very fine or better; and a miniature spade presented to Sir Frederick as Lord Mayor of London on 'his planting of a tree in Vivary Park Taunton to commemorate his Admission as an Honourary Freeman of the Borough 1st May 1950', cased. [3]
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Chanel : Veste Maille Bouclette VerteAnnées 1990Modèle sans col, quatre poches avant, boutons CC en émail vert et orRapport de condition : B-Poitrine 36'/90cm, taille approximative 38TVA sur les articles importés au taux en vigeur sur le prix d'adjudication et la comission d'achat.Footnotes:Chanel: a Green Boucle Wool Jacket1990sCollarless design with four front pockets, green and gold tone enamel CC buttonsCondition Grade B-Chest 36'/90cm, approximate size 38Please note this lot has TVA at the prevailing rate on both Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on hammer price and buyer's premium, if the object remains in the EU.TVA sur les objets importés au taux en vigueur prelevable sur le prix d'adjudication ainsi que sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Hermès : Bracelet En EmailMotif de corde torsadée rouge sur fond vert menthe, garniture en métal doréRapport de condition : CDiamètre : 6.5cm, largeur : 1cmFootnotes:Hermès: An Enamel BraceletRed twisted rope design against mint green ground, gold tone hardwareCondition Grade C6.5cm diam., 1cm wideFor further information on this lot please visit Bonhams.com
Two boxes of oil lamps, hurricane lantern, gas lantern, one glass chimney and a couple of glass shades. (B.P. 21% + VAT) large hurricane, very rusty, as is the smaller one. One with dark brown enamel contains fuel. That and the cream enamel one appear to be in reasonable condition but wouldn't know if they are complete. Glass shades and chimney show no obvious damage.
Two small Japanese cloisonné vases with dark blue ground, the larger decorated with a group of cranes, and oval mark to base. 15cm high approx. Together with a tiny similar baluster vase, decorated with irises. 6cm high approx. (2) (B.P. 21% + VAT) Small vase appears good. Larger vase has large missing area of enamel at back on undecorated side.
A Victorian 18ct gold open face pocket watch with stop/start seconds, circular white enamel dial with Roman numerals, outer minute and 0-300 markers, set to a plain polished 18ct gold case with stop/start slide at two, case marked for Chester 1879, movement inscribed 'Thos Pritchard Runcorn' and 'No2126', 50mm diameter, weight 117.9gms 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.
A selection of vintage costume jewellery, to include a ladies Gucci bi-coloured wristwatch, a silver, enamel and marcasite floral brooch, a Sergio Bustamante silver sun pendant on chain, a silver coloured charm bracelet set assorted silver and silver coloured charms, a gold coloured pendant and matching earrings, and two further silver coloured marcasite brooches (9)
An early 20th century silver gilt and enamel fob watch, the round white enamel dial with arabic numerals, simulated pearls set to bezel, the reverse decorated with a courting couple in 18th century dress amongst foliage to a blue guilloche enamel ground, 30mm diameter, set to a Victorian gold coloured belcher link guard chain, with lobster claw fastening stamped 'JM9c', 127cm long, weight of chain 28gms
A late 19th century 14ct gold and enamel Swiss fob watch, the circular white dial with Roman numerals and gilt highlights, set to a octagonal case with textured detail, the reverse decorated with an enamelled blue bird holding a sprig of clovers, 31mm wide, set upon a later 9ct gold pendant loop, upon a 9ct gold rope-twist chain with spring ring and loop fastening, 60cm long, gross weight 25.7gms
A selection of jewellery and accessories, to include a pair of Oystein Balle silver gilt and enamel clip-on earrings, each 23mm long, a silver and sodalite collarette and matching earrings, marked for 'J GOMES', necklace, 43cm long, a pair of 9ct gold ruby set stud earrings, and a Georg Jensen novelty brass bottle opener (8)
A George V silver mounted vanity set, Daniel Manufacturing Company, Birmingham 1930-31, comprising two cut glass jars, a shoe buffer, tweezers nail implements, a pair of steel nail scissors, and a further pair of associated steel nail scissors, complete in a fitted leather case, together with a silver plated enamelled dressing table set, comprising handheld mirror, two hairbrushes and two clothes brushes, each decorated with blue guilloche enamel, mirror 29.5cm long (14) (at fault)
An early 20th century Chinese silver coloured enamel server, shield-shaped blade with tapering planished handle, applied enamel 'Shanghai' flag, marks for Tuck Chang, 25.7cm long, together with a matched set of four silver coloured enamel teaspoons, two each for 'Shanghai' and 'Hong Kong', each marked 'TC', 12.8cm long, and a set of six silver coloured teaspoons for The Shanghai Scottish Volunteer Corps, each marked 'TC', 12.8cm long, gross weight 9.06ozt (11)
Ibrahim El-Salahi (Sudan, born 1930)Head I oil, enamel and mixed media on canvassigned 'EL SALAHI' and inscribed 'Head I' on the verso, executed circa late 1960's34 x 40cm (13 3/8 x 15 3/4in).Footnotes:Provenance:Property from a private collection, London Acquired directly from the artist by the present owner's aunt, circa late 1960'sNote:The authenticity of the present work has been confirmed by the artist and the present work is accompanied by a Certificate of Authenticity LOTS 18 & 19:TWO RARE AND HIGHLY SIGNIFICANT 1960'S OIL PAINTINGS BY IBRAHIM EL SALAHI'With the colours I was trying very hard to create something that appealed to the Sudanese public. You can almost smell the air and the dust in it. It's the colour of the savanna, the desert. Apart from the Nile, there is not much green in Sudan. I was trying to create a work that reflects the country's actual colours. I was keen to link it with people because I don't think an artist should live in isolation from his audience. I tried to use what they appreciate: a dark brown, which is burnt sienna, and black. I just tried to be as close as possible to nature, and to the people I live with and love'-Ibrahim El Salahi'To me the bird represents a sense of freedom. I am thinking of the people and their nomadic lives – they reject authority and they are all by themselves'-Ibrahim El SalahiBonham's is immensely privileged to present two astounding 1960's oil paintings by the doyen Sudanese modernism, Ibrahim El Salahi, the first canvas paintings by the artist to ever appear at international auction. In Head I, Salahi weaves together the modernist visual language absorbed during his European studies with local colours and symbolism. A large, almost primitive head is seen interlaced with folk animal motifs, the most important of which is the bird, a powerful symbol with both personal and religious meaning for the artist. For Salahi, the bird represents artistic freedom, as well as the nomadic freedom of Sudanese tribal life. In its religious and Quranic interpretation, the Sufi's believe that birds speak a mystical tongue which is said to be understood only by winged creatures as an indication of their favour in the eyes of the Divine.Both works are painted in tar-like mixed media and enamel that would comprise Salahi's signature technique upon the artists return to Sudan, representing the commencement of Salahi's mature period. Salahi's use of colour and media was very much a concerted effort on his part to reflect the tonal and environmental characteristics of his native land, and the artist notes of these series of works that you can 'almost smell the air and the dust in them' On this particular period of his oeuvre, Salahi states that he returned to Sudan 'a conceited young artist fresh from London' but, 'Over time I came to see that conditions in Sudan required a very different approach on the part of the artist... If I was to have a relationship with an audience, I had to examine the Sudanese environment, identify what it offered.... As an artistic resource...'. Accordingly El-Salahi stopped painting for two years embarked on a long and open ended exploration of 'what kinds of art were shown, and therefore appreciated, in typical Sudanese homes and public places... I was amazed to rediscover the riches I had seen all around me during my childhood, and whose value and rich meanings I had for years abysmally failed to grasp'.This search for a style culminated in the foundation a movement that became known as the Khartoum School, 'hoping to fill the gap between the artist and his audience, the cumulative outcome of different historical, social and political factors, I began an experiment later called 'the Khartoum School'. The common factor in the Khartoum School work was the abstract and representational symbolic potential of the Arabic letter'. Developed along with fellow artists such as Ahmed Shibrain and Kamala Ishag, the Khartoum school became then the foundational, visual language of Sudanese ModernismIbrahim Salahi is widely considered the founding father of Sudanese Modernism. In 1953 the Sudan government sent Salahi to the Slade School of Art for three years, where he specialised in painting and drawing. Returning to Sudan in 1957, Salahi taught for a number of years at the School of Fine and Applied Art, Khartoum Polytechnic, now Sudan University. UNESCO and Rockefeller Foundation scholarships gave him the opportunity to work and travel in the US twice in the 1960s. After a short period back in London as assistant cultural attaché at the Sudanese Embassy, in 1972 he became the Sudan government's undersecretary for culture and information, a job which landed him in jail as a political prisoner, having been wrongly suspected of anti-government activities. In 1977, he went into voluntary exile in the Gulf State of Qatar, where he worked as an adviser and translator for the government, and in the UK. He is now based in Oxford. Salahi's work is held in several major institutions including The British Museum, London; The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York, and Mathaf: Arab Museum of Modern Art, DohaThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Pichet Têtes, 1956.White earthenware, decoration with oxidised paraffin, black and white enamel. Current print run of 500 copies.Work referenced in: Catalogue of the edited ceramic works 1947-1971, by Alain Ramié, Editions Madoura, 1988, illustrated under no.367, p.189.Presents stamp on the base Picasso edition. Madoura.Size: 13 x 14 cm (diameter).The artist produced a large production of ceramic works at the Madoura factory in Vallauris, in the south of France, from 1947 onwards, devoting himself to this technique until the end of 1948. He then returned to his usual activities as a painter, engraver and sculptor, combining them with ceramics until 1971.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in the most important museums around the world, such as the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
Mixed Lot: pair of Old English silver table spoons, London 1905, maker's mark Josiah Williams & Co, a Victorian silver fork and spoon with beaded edge and engraved detail, Birmingham 1876, maker's mark Thomas Prime & Son, together with a sterling Danish decorative spoon with enamel detail to finial, marked 10 June 1967 A Michelsen, g/w 270gms
First quarter of the 20th century nickel cased pocket watch with button wind, having blued steel hands to a white enamel dial with black Roman numerals, subsidiary seconds dial, (small hairline cracks), the dial inscribed 'H Williamson Ltd, London' numbered 20124F, dial diam 5cm, the back cover and bezel both stamped with Govt broad arrow and numbered 7054F
A white metal and enamel compact, the hinged case, opening to reveal a comb, with chain suspension,8 x 5cmand an Ingrid glass scent bottle, of octagonal form, moulded with a maiden and flowers, with an ivorine screw lid, 8cm high (2)Surface scratches to the compact. Small crack to the ivorine lid of the scent bottle, and a scratch to the base.
An Edwardian mahogany cased mantel clock,8-day French movement striking on a gong, the case inlaid with a conch shell to a chequered line border, on brass bracket feet, 19.25cm wide12.5cm deep24cm highThe case is lightly faded, chips to the enamel dial. Door is a little stiff.Key is present. The movement has been ticking, however, given the nature of this item, we cannot guarantee this will continue.
A collection of Eastern enamelled items,of recent manufacture, each decorated in the Iznik taste,comprising a footed bowl,26.2cm diameter15cm higha charger, 35cm diameter,and a similar larger example,in a hinged display case,49.5cm diameter (3)Footed bowl) Chip to the enamel on around the edge of the foot. Nibbles to the edge of the rim. Some scratching to the inside.General scratches, wear and minor losses to the edges throughout.
A group of three Halcyon Days enamel pillboxes,comprising the Royal Cypher Diamond Jubilee Collection, 8 x 6cm, Scully & Scully, 8 x 6cm, and Scully & Scully, 6 x 4cm, together with a Herend porcelain figure, of a crouching Oriental gentleman, 7cm high,and a Herend porcelain butterfly box and cover, 8cm long (5)Wear and blemishes commensurate with age.
A silver and enamelled compact, by Adie Brothers, Birmingham, 1932, of circular form, 10cm diameterand a silver and blue enamelled compact, the cover inset with a coronet, JW Benson, London 1939, 7.5cm diameter (2)Small chip to the enamel of the larger compact. Surface scratches and marks throughout.
A silver and enamelled compact, by Clifford Davies Ltd, Birmingham, 1939, the pink enamel with an orchid to the cover, the reverse engine turned, with a mirror to the cover, 6.5cm squareEnamel with some minor scratches. Silver in good order. Interior fitting loose. Please see additional images.
6th-7th century A.D. A bronze bowl mount comprising a discoid body, scrolled tail and arched neck; the 'head' split at the forward end to accept the rim of the vessel, of which a fragment is held in place by the stub of an integral pin; the head and neck with a panel of reserved guilloche ornament on a red enamel field; the body a gently curved discoid panel with reserved Ultimate La Tène comma-leaf decoration, symmetrically disposed on a field of red enamel, with pins to the shoulders; the integral tail a D-shaped panel with reserved scrolls on a red enamel field. Cf. Bruce-Mitford, R., The Corpus of Late Celtic Hanging Bowls, Oxford, 2005, corpus no.96 (Seagry, Wiltshire), for similar profile and decoration. 6.19 grams, 44 mm (1 3/4 in). Found while searching with a metal detector near Feltwell, Norfolk, UK, 1998. Property of a Norfolk gentleman. Accompanied by a detailed report by Anglo-Saxon specialist Stephen Pollington. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11190-187995. Bowl mounts of this type with reserved La Tène ornament are found on hanging bowls mainly in 6th-7th century Anglo-Saxon princely or royal burials. They probably formed part of the so-called 'economy of prestige' in which decorative high-status tableware and feasting equipment circulated among the leading families of the various British and Anglo-Saxon kingdoms. A number of these items have been found in 7th century burial mounds such as Sutton Hoo (Suffolk), Prittlewell (Essex) and Benty Grange (Derbyshire). The decoration and manufacturing techniques suggest an origin among the late Romano-British groups of western and northern Britain. [A video of this lot is available to view on Timeline Auctions Website] Very fine 'as found' condition. Extremely rare type of museum quality.
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