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Preisdatenbank abonnierenA Chinese enamel and gilt metal brush washer, 19th century, decorated with pink stylised bats around the top rim, with floral sprays, height 3.5cm, width 11.5cm, depth 6.5cm.Condition report: A very small chip on the rim, area of enamel missing on edge, scuff marks and general wear. Extra images on David Lay website.
A lot comprising a glass & painted enamel vase decorated with birds & foliage with applied amber glass base, a two handled smoked glass vase painted with white enamelled foliage & applied blue glass fish decoration, a Lipasmata frosted glass baluster vase, a glass beaker with silvered decoration, a pair of lidded slender vases decorated with birds among foliage, among other items Condition Report: Parrot decorated vases - one lid has lost finial, chips and cracks to interior rim, scratches to decoration, other has small chips to interior rim & exterior as well as surface scratches.
A Bilston enamel snuff box painted with a cockfighting scene. together with another snuff box possibly BatterseaCondition Report:Bilston - has slight enamel losses to interior rim & to exterior blue body below metal lining. Pastoral scene snuff box - badly cracked throughout & restored in places, scratches & losses to lid decoration, needs some tlc.
A Chinese vase, drilled and made into a lamp together with a large Satsuma bowl decorated with chrysanthemums Condition Report: Vase has had handles/applied decoration that have been broken off, chip beside where it has been drilled, base has some chips, some enamel losses, dimensions 32 x 16 cm.
A collection of Japanese and Chinese items including closionne vase, and dishes, ginger jar with wooden lid, turquoise glazed jar and cover etc Condition Report: cloisonne bowl - some small dents and pitting to exterior, enamels very worn to interior, circular trinket dishes have some scratches to base, rectangular example has pitting to enamels, vase has chip to rim and the centre, some losses to enamel, blue vase has some glaze/enamel losses and chips to the bottom & rim of lid, finial worn, black ground vase has surface scratches & some enamel losses, vase with wooden lid has chips to body and interior rim, paint losses. cylindrical vase in good condition.
A French giltmetal and Sevres-style porcelain inset mantel clock, unsigned, second half 19th century, with eight-day bell striking movement with outside countwheel, the white enamel dial with blue Roman numerals, the case surmounted by a maiden with her harp and attendant amorino, 42cm highCondition Report: Dreweatts have not tested the movement and cannot make any guarantees or comments as to accuracy or if the movement is working we suggest getting the clock appraised by a professional clock restorer prior to use. With a winding key, and pendulum. The case with marks, knocks, scratches, abrasions, consistent with age and use, dirt and discolouration and uneven finish to the surface overallSevres-style plaques with light wear and rubbing, no obvious chips or cracks Condition Report Disclaimer
A French ormolu mantel clock, AD Mougin, mid 19th century, the eight-day bell striking movement stamped with the maker's deux medaille roundel to the backplate and numbered 1142, and with white enamel Roman numeral dial signed Martinot A Paris to the centre and with Arabic numerals to the outside track, the rococo shaped case incorporating a rigid handle finial 28cm high, together with a pair of twin light candlesticks, forming a garniture, each with an ear-of-wheat final and the outscrolling sconce arms, 20cm highProvenance: From the private collection of Sir David and Lady Scholey
A French giltwood mantel clock, Raingo Freres, Paris, second half 19th century, the eight-day bell striking movement with outside countwheel, serial numbered 901 and with roundel for the maker, the white enamel Roman numeral dial with Arabic five minutes to the outer-track, the centre further marked for the maker, the case surmounted with amorini, various elements serial numbered 1162, 35cm highCondition Report: Marks, knocks, scratches, abrasions consistent with age and use, The gilt metal areas with dirt and discoloration and pitting, there are some areas of spotting and to one cupid there is a clear join showing. One has a quiver of arrows, the other has no attribute but appears to be missing one to the open hand.The dial with various old cracks and splits, some chips and losses - the areas around the 'III' and 'VIII' most damagedThe movement has a bell, a key, and a pendulum all present - these appear to be replacements. Dreweatts have not tested the movement and give no guarantees or comments as to whether it is working order or not. We would recommend getting it appraised by a professional clock restorer prior to use Condition Report Disclaimer
Y A French tortoiseshell and 'Boule' marquetry mantel clock, 19th century, the eight-day bell striking movement with outside countwheel stamped by the maker S. Marti et Cie and serial numbered 2145, the dial with enamel Roman numerals and plaque inscribed Thuret / A Paris, the gilt metal mounted case 33.5cm highCondition Report: Marks, knocks, scratches, abrasions consistent with age and use,Some old splits and cracks, some lifting and losses to veneers and inlays,The finials are bent out of shape to the top of the case but all seem firmly in place, The metal areas with dirt and discoloration, The cartouche numerals are slightly loose to the dial surround but do not appear to be in danger of falling out.The rear door catch is loose and there is losses to the timber around this partThe pendulum is almost certainly original, it is serial numbered to match the movement, the movement has a bell and retaining nut. The suspension is twisted and the pendulum does not swing smoothly. There is a winding key present that turns both chains. Dreweatts have not tested the movement and give no guarantees or comments as to whether it is working order or not. We would recommend getting it appraised by a professional clock restorer.Condition Report Disclaimer
Henry Pierce Bone (1779-1855) after Robert Walker (1599-1658) Portrait miniature of Sir Charles Lucas (1613-1648), wearing armour Signed, dated and inscribed on the counter-enamel in red paint P.M/Ve**Mix B/Sir Charles Lucas Kt./Governor of Colchester on the surrender of which Place/he was ungenerously shot by order of Lord Fairfax./ London March 1834. Painted/by Henry Pierce Bone, enamel painter to/her Majesty and their Royal Highnesses the/ Duchess of Kent and Princess Victoria. After/ the original by Walker in the collection of the/Honble Lord Lyttelton, Hagley, Worcestershire Enamel on copper, rectangular, in a giltwood frame 121 x 97mm Sir Charles Lucas served in the Royalist armies during the civil war, but was forced to surrender at the siege of Colchester, and was subsequently condemned to death.
Attributed to Christian Friedrich Zincke (German 1683/4-1767) after Jean-Baptiste van Loo (French 1684-1745) Portrait miniature of John James Heidegger (1666-1749), wearing a brown coat and brown waistcoat with gold brocade Enamel on copper, oval, in a gilt and carved wood frame 45 x 37mm Provenance: Ralp Bernal (1783-1854); His posthumous sale, Christie, Manson & Woods, 14 March 1855, lot 1090, where purchased by T. Butler Esq; Gifted to Edward Croft-Murray and his first wife Giovanna Zaffi on their marriage in 1946; From the collection of Edward Croft-Murray (1907-1980) Literature: H.C. Robbins Landon, Handel and his World (Weidenfeld and Nicolson, 1984), p.76 (illustrated in colour) Heidegger was a central figure in the London theatre world and a popular figure at court for forty years. Manager of the Queen's (subsequently King's) theatre, Haymarket, London, he was known as Handel's impresario and worked very closely with the composer from 1713 to the late 1730s. Heidegger also ran masquerades or balls or ridottoes at the Haymarket theatre on non-opera nights and additionally was a party or events contractor. His biggest job was the coronation of George II in 1727, subsequently becoming friends with the monarch and his 'Master of the Revels'. Heidegger's last years were spent living at No. 4 Maids of Honour Row, Richmond where in 1745 he commissioned Antonio Jolli to decorate the entrance hall. This is the same house where Edward Croft-Murray lived. Jean-Baptiste Van Loo was in England from 1737 to 1742; his portrait of Heidegger was engraved by John Faber Jnr. (c.1695-1756) and first published in 1742. The National Portrait Gallery and British Museum hold copies. The National Portrait Gallery, London has previously proposed an attribution to Nathaniel Hone (1718-1784) for this work.
Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Girl leaning on a pedestal, 'The Laughing Girl' Oil on canvas 76.4 x 63.5cm; 30 x 25in Provenance: Painted for the Polygraphic Society, 1787; Their sale, Christie's, London, 14 November 1793, where purchased by John Opie RA (1761-1807); His posthumous sale, Peter Coxe, London, 6 June 1807, lot 108, where purchased by William Lowther, 1st Earl of Lonsdale (1757-1844) (£451.10s); By descent to William Lowther, 2nd Earl of Lonsdale (1787-1872); By descent to Henry Lowther, 3rd Earl of Lonsdale (1818-1876); By descent to St George Lowther, 4th Earl of Lonsdale (1855-1882); His sale, Christie, Manson and Woods, London, 8 March 1879, lot 5 (unsold); By descent to Hugh Lowther, 5th Earl of Lonsdale (1857-1944); His sale, Christie, Manson and Woods, London, 18 June 1887, lot 819, where purchased by Thos. Agnew & Sons; From whom purchased by James Orrock RI, ROI (1829-1913), 23 June 1887; Arthur Sanderson Esq. by c.1900; His sale, Christie, Manson and Woods, London, 6 May 1910, lot 120 (unsold); Christie, Manson and Woods, London, Important Pictures by Old Masters, 2 July 1937, lot 21, where purchased by The Fine Art Society, London (£199); The Fine Art Society, London, November 1937; Private Collection, Berkshire; And by descent Literature: James Northcote, The Life of Sir Joshua Reynolds (London, 1819), vol. II, p.350; Joseph Farington, The Farington Diary, ed. James Greig (London, Hutchinson & Co.), vol. I, p.18; Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds (London, 1899), vol. III, p.1167, and vol. IV, p.1456; Sir Walter Armstrong, Sir Joshua Reynolds: First President of the Royal Academy, (London, 1910), p.240; Martin Postle, Sir Joshua Reynolds: The Subject Pictures (Cambridge University Press, 1995), pp.106-107; Martin Postle, in David Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings (New Haven and London, 2000), text vol., p. 532, cat. no. 2074 (untraced) Exhibited: London, British Institution, 1813, no.81; London, British Institution, 1823, no.39; London, British Institution, 1833, no.44; London, British Institution, 1843, no.2; London, Royal Academy, 1876, no.2 Engraved: W. Bond, in stipple, 1813, as 'The Laughing Girl. Engraved from a highly finished Enamel, painted by H. Bone Esq. from the original picture now in the possession of Lord Lonsdale'; J. Singleton, small oval stipple; G.S. Shury, 1864 Despite its illustrious provenance, this fine example of Sir Joshua Reynolds' 'fancy pictures' has not been seen since 1937, and has only been recently rediscovered, after hanging for decades unrecognised on the walls of a family home. Reynolds painted two distinct versions of this subject, popularly known as 'The Laughing Girl', which Martin Postle has labelled Type A and Type B. The original version of Type A is at Kenwood House, probably painted in 1782, and shows a girl wearing a cream coloured dress, golden shawl and hair held back by a hairband. It is thought that Reynolds may have originally painted Type B, to which the present version belongs, as a pendant to Rembrandt's Girl at a window (Dulwich Picture Gallery, no.163). Reynolds painted the present work in 1787 for the Polygraphic Society, a commercial venture which produced facsimile copies of both old masters and modern paintings. When the society closed, the painting was bought by the artist John Opie. On 25 November 1793 Joseph Farington (1747-1831) recorded in his diary that 'Opie has bought a three-quarter picture painted by Sir Joshua Reynolds, for which he gave to the Proprietors of the Polygraphic Manufactory 60 guineas. The subject of a girl resting on her arms. Opie thinks Sir Joshua was the greatest colourist that we have any knowledge of by their works, including the Italian and Flemish masters'. Whilst in Opie's collection the painting was also copied by the noted enamel painter Henry Bone (1755-1834), and Bone's squared drawing of Reynolds' work is in the National Portrait Gallery (no.D17474). After Opie's death, the painting was purchased at auction by William Lowther, 1st Earl of Lonsdale, when it was described as 'The Laughing Girl - one of his [Reynolds'] best performances, if not his very best - it is Perfection itself! and has all the great merits of Rembrandt, with the taste and beauty of Correggio'. It seems to have been whilst it was in the collections of successive Earls of Lonsdale that the present work achieved wider popularity, partly due to its regular appearance in exhibitions, and partly due to its dissemination through engravings. Reynolds began to paint 'fancy pictures', so called to distinguish them from traditional commissioned portraits, in the early 1770s and became increasingly fixated on the genre towards the end of his career. While he could complete the face of a portrait sitter within a matter of hours, his subject pictures often absorbed him for months. As Postle notes, 'it is clear from Reynolds's own preoccupation with them, and the critical coverage they received during his day, that the subject pictures lay at the very heart of Reynolds's practice as a painter'. Postle lists four autograph versions of this composition, of which the present work is the only one recorded as untraced. However, there are also numerous copies, which are a testament to the success and popularity of the scene, and a reflection of the importance of this rediscovered work.
A collection of eleven pocket watches, to include seven gold plated examples by Elgin, Dennison, Waltham and Vertex, and four silver examples, to include a Waltham silver pocket watch with white enamel dial, Roman numerals, key wind, in a silver gilt case, a late 19thC silver pocket watch, Chester assay, a continental silver fob watch with white dial and silvered coloured dots, and a further example with gilt scroll borders in a heavily embossed silver case. (11)
Continental walnut cased bracket clock of architectural form with pagoda top, turned reeded columns on acanthus carved plinth base, enamel plaques with Roman numerals, twin train movement, striking on a gong h60cm x w 48cm x 22cm with pendulumProvenance: Private and extensive collection of over 100 clocks sent in for sale by the executors of a local deceased estate.
Costume jewellery, including an agate bead necklace, a free-form gem set bead necklace, set with amethyst, citrine and peridot beads, a silver and blue enamel twist ring, a double clip brooch, a pair of tested 9 ct earrings, a pair of silver earrings, an enamel bangle and three enamel rings, together with other bead necklacesCondition Report: 9 ct gross weight 0.75gSilver gross weight 3.42g
Large collection of costume jewellery including, Wedgwood blue cameo pendant, micro mosaic necklace with a chain, large beaded necklace, a silver hedgehog pendant and chain, silver heart bracelet, two silver chains, two necklaces in the same style one with green beads the other with blue, silver ring with pink enamel, size K, plastic bead necklace a faux pearl necklace and an assortment of other beaded necklaces and a ring box.Condition Report: Gross silver weight 24 grams All items show signs of either wear, scratches and damage
Raymond Weil, a Ladies reference 5368 wristwatch with white enamel dial, Roman numeral hour markers and date at three, fitted with a quartz movement, with another Raymond Weil 9822 gold plated ladies dress watch, a Services ladies gold plated wristwatch with manual wind movement, MuDu a gentleman's 25 jewel Doublematic self winding watch and an Ingersoll Tachymeter pocket watch with Arabic numeral hour markers, railway minute track, outer tachymeter track in red, blued steel hands, fitted with a lever wound movement, with a brown leather travel caseCondition Report: One Raymond Weil watch back is loose MuDu watch glass is scratchedEwbank's do not guarantee the working order or accuracy of any lots sold.
Pair of Japanese bottle vases, hand-painted with blossoming flowers and birds, character marks to bases, 18cm high, together with a Chinese blue and white porcelain plate, 21.5cm diameter, a Chinese cloisonné enamel tazza, 12cm high 21cm diameter, a Chinese resin figure of the God of Longevity with attending holding tray of tea, 22cm high, and two blue and white vases with flared rims, 17.5cm high, (7)
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