396323 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenOmar Ramsden, an Arts and Crafts silver gilt and enamelled medal, London 1938, for a Past Master of the Worshipful Company of Woolmen, the foil backed roundel applied with the cast crest and emblem of the livery company, below a rams mask, the banner below inscribed in blue enamel, suspended on a loop, A M Morris 1901-3, 6cm long, 0.88ozt
Third Reich German SA dagger with part Rohm inscription, housed in painted steel scabbard with white metal mounts, white metal hilt and wood grip inset with eagle and swastika and enamel SA badge, etched double edged blade with inscription Alles fur Deutschland, the reverse with inscription In herzlicher Freundschaft and marked Carl Eickhorn Solingen, 37cm total length
K K Fachschule fur Glasindustrie Steinschonau for Conrath and Liebsch, a Secessionist enamelled glass bowl, circa 1915, shouldered ovoid form, decorated with a sinuous band of stylised leaves in green and blue enamel, between beaded borders, above a body of floral bud sprigs, 8.5cm high Note: reminiscent of the designs of Josef Hoffman, Adolf Beckert and Paul Eiselt, the style was often retailed through the Wiener Werkstatte shop.
A Late XIX Centuy French Clock Garniture, the clock with speltre maiden and cherub holding a basket of flowers, the circular white enamel dial with Roman numerals, attached plaque inscribed 'Printemps Fleuri', raised on mottled rouge marble base, an a matching pair of urns, draped with floral swags, clock 43cm, long, urns 36cm high. (3)
Armand Aubert, Nantes, an early 20th century French gilt metal and white marble mantle clock, the 3" white enamel dial with Arabic numerals, the F. Marti, Paris Medaille D'Or movement striking on a bell, the case raised on four columns with a rectangular base, vase finial, lacking pendulum, key. 38cm.
Edwardian 15 carat gold and enamel pendant watch, the tied bow pendant with red enamel ground and white dot decoration, the watch caseback with central diamond set fly surrounded by red swirled enamel, the silvered dial with Roman numerals and central foliate engraving, crown wound, the case 33.5cm diameter,
SET OF SIX SILVER-GILT AND ENAMEL COFFEE SPOONSCondition report: Unable to locate a makers mark however photos of markings added. The enamel of the spoons depict nature scenes and of a long boat and fisherman. Some damage present to the enamel around some of the edges of the spoons. Tarnishing also present to the metal of the spoons. Additional photographs of enamel added.
Seltene Prunkschatulle Émile-Auguste Reiber (Entwurf), Christofle, Paris, um 1880 Quaderförmiger Korpus auf vier Füßchen. Rotbraun patinierter Fond mit vegetabil-floralen Auflagen, teils vergoldet und versilbert: Rollwerk, Maiglöckchenzweige, Rosenblüten, Fächerkartuschen und Blattwerk. Unterseite mit Wurmliniendekor. Schlüsselende in Form eines Rosenblütenkranzes. 9,3 x 18 x 10,5 cm Emile Reiber (1826 - 1893) stellte eine in der Machart vergleichbare Jardinière zusammen mit zwei Kandelabern auf der Weltausstellung 1878 in Paris aus. Die Orfèvrerie Christofle selbst ist ein französischer Hersteller von vornehmlich feinem Silberbesteck, aber auch von silbernen Bilderrahmen, Kristallvasen, Glaswaren, Porzellangeschirr und Silberschmuck. Das Unternehmen wurde 1830 gegründet. Christofle wurde wenige Jahre später Hoflieferant von Kaiser Napoleon III. Auf den Weltausstellungen in Paris 1867 und Wien 1873 stellte Christofle japanisch-inspirierte Silberwaren vor. 1883 stattete die Firma den Orient-Express mit Tafelsilber aus. Christofle is a French manufacturer of fine silver flatware and home accessories. They are renowned for their sterling, silverplate and stainless flatware. The origins of Christofle date to 1830. This overall design is reminiscent of 18th century Chinese table screens. It illustrates the significant Far Eastern influence on European decorative arts following the reopening of Japan to the West in 1854, and the restoration of Emperor Meiji in 1868. Subsequently, widespread interest in all things Asian was stimulated by Japanese displays at the International Exhibitions in London, 1862, in Paris, 1867, and in Philadelphia, 1876. In 1869, an Exhibition was held by the Union des Arts Décoratifs in Paris, where an entire museum of Oriental art was displayed. The Western hunger for this new taste is evident in a range of products, such as this lot, where romantic motifs and naturalism were combined with a mélange of styles to create an atmosphere, instead of simply attempting to produce accurate reproductions of Oriental articles. Designers and makers responded to the challenge of these new influences by studying forms and techniques of Asian decoration, and produced cloisonné enamel, marquetry of shell and ivory, patinated bronzes, and carved woods, all using the stylised vocabulary of the Far East. Makers such a Viardot, Lièvre, Giroux, L'Escalier de Cristal, Duvinage and Christofle, all conjured up images of the Orient in pieces of the utmost refinement and quality. Photographs of Christofle's stands at the 1878 and 1889 Paris exhibitions include items enamelled in the Japanese taste, a testament to the enduring market for Asian-inspired objects throughout the century (see H. Bouilhet, Christofle, Silversmith since 1830, Paris, 1981). Emile-Auguste Reiber imitated Japanese production techniques to satisfy the vogue for exotic styles. His much lauded designs were used by many of the leading artisans of the time, including Theodore Deck, and the ébéniste Jean-Michel Grohé who created two cabinets for La Païva. Interestingly, the bronzes and enamels for these cabinets were executed by Christofle, where Reiber was employed as chief designer. At the 1873 exhibition in Vienna, which was billed as a ''meeting of East and West'', Christofle exhibited a Chinese style enamelled vase designed by Reiber that received high accolades. In 1877 in Paris, he published Le premier volume des Albums-Reiber, a volume of 40 design prints concentrating on Japanese objects by Cernuschi, Bing, and Maron in Yokohama. Vgl.: M. Bascou; M.-M. Massé; P. Thiébaut (Hrsg.): Musée d'Orsay. Catalogue sommaire illustré des arts décoratifs, 1988, OAO 1017. Vgl.: E. Bergerat: Les Chefs-d'oeuvre d'Art à l'Exposition universelle 1878, 1878, S. 35. Emile Reiber (1826 - 1893) stellte eine in der Machart vergleichbare Jardinière zusammen mit zwei Kandelabern auf der Weltausstellung 1878 in Paris aus. Die Orfèvrerie Christofle selbst ist ein französischer Hersteller von vornehmlich feinem Silberbesteck, aber auch von silbernen Bilderrahmen, Kristallvasen, Glaswaren, Porzellangeschirr und Silberschmuck. Das Unternehmen wurde 1830 gegründet. Christofle wurde wenige Jahre später Hoflieferant von Kaiser Napoleon III. Auf den Weltausstellungen in Paris 1867 und Wien 1873 stellte Christofle japanisch-inspirierte Silberwaren vor. 1883 stattete die Firma den Orient-Express mit Tafelsilber aus. Lit.: E. Bergerat, LesChefs-d'oeuvre d'Art à l'Exposition universelle 1878, S. 35 Lit.: Catalogue sommaire illustré des arts décoratifs, Museè d'Orsay, 1988, OAO 1017.
Loading...
