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396325 Los(e)/Seite
Los 123
A Gentleman's 9ct gold wristwatch, the white enamel dial with Roman numerals and a seconds subsidiary dial, the movement marked Moeris CONDITION REPORT: None of the clocks and watches are sold as working - however the second hand does tick when wound, there are hairline cracks to the dial, surface scratches to the glass and case
Los 124
A 14K yellow metal keyless wound full hunter pocket watch, the white enamel dial with Roman numerals and a seconds subsidiary dial inscribed Albert & Andrew, inscribed to the inside of the back cover "1st Prize 1 Mill Scratch Cycle won by G O Ackerman May 8th 1907", 45mm diameter approximately 66 grams
Los 125
A 14K yellow metal Longines hunter keyless wound full hunter pocket watch, the white enamel dial with Roman numerals and a seconds subsidiary dial at 6, the back plate marked "Grand Prix Paris 1900", the movement under a protective glass cover, 55mm diameter, approximately 137.5 grams CONDITION REPORT: None of the clocks and watches are sold as working, however the second hand ticks when wound, surface scratches and minor dents to the case conversant with wear and use, hinges ok
Los 153
A Victorian silver open faced pocket watch, the circular enamel dial with Roman numerals and a seconds subsidiary dial at 6, the movement William Williams Llanidloes No. 19986,hallmarked for London, 1875, together with a continental white metal open faced pocket watch and a white metal Albert chain converted to a charm bracelet
Los 104
A MID 19TH CENTURY ONYX CAMEO, ENAMEL, PEARL AND DIAMOND BRACELETThe oval sardonyx cameo, an interpretation of an intaglio by Luigi Pichler (see Georg Lippold, 'Gemmen und Kameen des Altertums und der Neuzeit', Hoffman, Stuttgart, 1922, CXXV,/5), depicting a lion fawning over Eros, embodying the notion 'love conquers all', within a border of pearls, old brilliant-cut diamonds and black enamel fleur-de-lys motifs, on a black enamel articulated openwork strap with pearl, old brilliant-cut diamond and black enamel fleur-de-lys quatrefoils, mounted in yellow gold, diamonds approximately 10.10 carats total, pearls untested, cameo dimensions 2.8 x 1.9cm, two black enamel and diamond fleur-de-lys motifs deficient, length 16.9cm, fitted case by Hartley, 45 Albemarle St, London, W.Footnotes:ProvenanceAdrian John Hope (1811-1863), son of Thomas HopeLady Beatrice Lister Kaye (1862-1935), his great-niece and daughter of 6th Duke of NewcastleAdeline de la Feld, (1881-1975), her daughterMichael Parsons, 6th Earl of Rosse, (1906-1979), her nephew, on his marriage to Anne Messel in 1935Anne Parsons, Countess of Rosse, (1902-1992), his wife and mother of Antony Armstrong-Jones, Earl of SnowdonThe bracelet's first owner is said to have been Adrian John Hope, scion of the Anglo-Dutch dynasty of merchant-bankers and patrons of the arts. Adrian was the son of Thomas Hope, the noted scholar, prominent collector, writer, and proponent of Neo-Classicism who filled his London townhouse in Duchess Street, Mayfair and his country mansion, The Deepene in Dorking, Surrey, with his collections of art. Thomas's brother was the gem connoisseur Henry Philip Hope, whose legendary collection of gems, that included the blue Hope Diamond (now in the National Museum of Natural History, Washington DC) and the Hope Spinel (sold at Bonhams for a world record price in 2015), was one of the most important private collections of gems ever assembled. The two brothers would also purchase, share and exchange works of art and jewels with each other and after their deaths, their vast collections were inherited and dispersed by their many relatives and heirs. It is uncertain when or how Adrian acquired this bracelet; perhaps he inherited the cameo from his father or his uncle and had it mounted. It is also possible he purchased the bracelet as a complete piece. Adrian Hope's great-niece, Lady Beatrice Lister Kaye, wore it at her wedding in 1880. In 1935, it was again given at a wedding, this time to Michael Parsons, 6th Earl of Rosse, himself a descendent of the illustrious Hopes, for his bride, the beautiful Anne Armstrong-Jones (née Messel), whose love of jewels is described by Diana Scarisbrick on the previous pages. The bracelet is a fitting marriage token: not only is the lion proffering its paw to Eros an allegory of love but during the 19th century the bracelet was the premier jewel of sentiment.This bracelet and the emerald bangle, lot 103, were great favourites of the Countess of Rosse and she may be seen wearing them in many society photographs of her. She wore them at the marriage of her son Antony Armstrong-Jones, 1st Lord Snowdon, to HRH The Princess Margaret in 1960 and both are clearly visible, one on each wrist, in their wedding portrait by Cecil Beaton with HM The Queen and HRH The Duke of Edinburgh in attendance. For reasons of copyright we are unable to reproduce the image in the catalogue but it may be searched for and viewed online.LOTS 103 – 104 TWO JEWELS FROM THE COLLECTION OF THE COUNTESS OF ROSSEINTRODUCED BY DIANA SCARISBRICKWhen I asked the Countess of Rosse what she considered the purpose of jewellery, her answer came swift and sure: 'it is for the beautification of women'. She followed this precept, for the jewels in her collection certainly enhanced her own appearance which was that of a great beauty much photographed by the Royal and society favourite, Cecil Beaton. Leaving nothing to chance, she explained that before each of her many social engagements she would always take the time to plan for it well in advance. She would first choose the right outfit and then with her husband, decide whether her diamonds, her emeralds or her rubies would best suit the colour and design of the dress as well as the circumstances of the particular event. She wore her most important jewels with one of the architectonic satin and tulle ball gowns created for her by the New York dressmaker, Charles James, and the combination made her look as majestic as the Empress Eugénie portrayed in a Charles Worth crinoline by F.X. Winterhalter, circa 1860. Similarly, when her son, Antony Armstrong-Jones, later 1st Earl of Snowdon, married Princess Margaret in May 1960 and their wedding was preceded by a ball at Buckingham Palace, she rose splendidly to the occasion. The invitations read 'tiaras will be worn' and she dazzled in the Rosse family diamond and emerald parure - tiara, long earrings and necklace - with an exquisite black and white organza gown from Victor Stiebel, standing out in the brilliant crowd. Daytime, less formal but official, events connected with the National Trust, the Georgian Group and the world of art and museums brought out her pearls and the Victorian diamond stars which she arranged so often in so many different combinations that they seemed to be part of her personality. They, like these two bracelets, evoke the period after World War 2, chronicled in the inimitable diaries of Henry 'Chips' Channon, when, through her marriage to Lord Rosse in 1935, her connections with royalty and her friendships with the leading figures in the arts, she played the part of an important hostess in London and in Ireland to perfection.In Michael Rosse she had found the ideal partner and would therefore have been particularly attached to the cameo bracelet for it was one of their wedding presents, with an interesting provenance, having previously been given by Adrian Hope to the parents of her mother-in-law on their marriage in 1880. As the sister of Oliver Messel, the genius of British theatrical design, heiress to the estate and gardens of Nymans in Sussex, Anne Rosse had been brought up surrounded by beauty, and passed on her feeling for it to her children and grandchildren. Coming from such a cultivated milieu, she would have appreciated that, as the son of Thomas Hope of The Deepdene, famous for its Greek style interiors, Adrian shared the Hope family passion for classical art, which is reflected in his choice of a cameo inspired by an ancient Roman model. Moreover, to friends admiring the bracelet on her elegant wrist, she must have enjoyed explaining the significance of the happy scene of the mischievous little divinity playing with the lion tamed by the all-conquering power of love, so relevant to her own personal experience. © Diana Scarisbrick 2021For further information on this lot please visit Bonhams.com
Los 11
AN ENAMEL AND DIAMOND PENDANT, CIRCA 1860The pale blue enamelled heart-shaped locket applied with old brilliant, single and rose-cut diamond-set thistles, roses and shamrocks around a star, opening to reveal a glazed compartment containing a hair scroll, suspended from a similarly-set diamond surmount, mounted in silver and gold, length 3.2cm, fitted case by Hunt & Roskell, Late Storr, Mortimer & Hunt, Jewellers & Goldmiths, to the Queen and Royal Family, 156 New Bond Street, LondonFootnotes:ProvenanceMargaret (née Shaw-Stewart), Duchess of Somerset (died 1880)Accompanied by a handwritten note worded 'Containing hair of H. M. The Empress Queen Victoria. This locket was given by her to the Duchess of Somerset while on a visit at Wimbledon Park'.This lot was inherited by the current owners from various lines - both male and female - of their family. The majority of jewels in this collection were owned by members of the Surtees family; a prominent family from County Durham whose ancestry may be traced back to William the Conqueror. The surname Surtees, is derived from 'sur-Tees' or 'sur-Tays', in reference to the rivers Tee or Tay, near where the family anciently settled. The Surtees' family home was the 17th century Jacobean manor house, Redworth Hall, sold in the mid 20th century and now a luxury hotel. Some of the jewels in this collection, notably the three pendants with Royal connections, were owned by the Shaw Stewart family of Scotland, descended via the male line from Sir John Stewart, illegitimate son of Robert III of Scotland. The ownership of the jewels by individuals is stated where possible.For further information on this lot please visit Bonhams.com
Los 18
A LATE 17TH CENTURY GOLD AND QUARTZ RINGCollet-set with a table-cut smokey-quartz in an elaborately engraved gold mount, the base decorated with green enamel via incised delineation, between engraved chain-link shoulders with cruciform terminals, ring size KFootnotes:This ring was found by a metal detectorist in Peatling Magna, Leicestershire on 3rd June 2016. Under the stipulations of the Treasure Act 1996 and due to its age and metal content of a minimum of 10% precious metal, the ring qualifies as Treasure and has been disclaimed by the Crown (treasure number: 2016T677; PAS Database number: LEIC-6B7C83). The design is comparable to rings in the Cheapside Hoard in the Museum of London. See Forsyth, Hazel, 'The Cheapside Hoard: London's Lost Jewels', Museum of London, 2013.For further information on this lot please visit Bonhams.com
Los 32
AN ART DECO MULTI GEM-SET AND DIAMOND PENDANT, CIRCA 1925 AND LATERThe pentagonal plaque pierced and decorated with highly stylised floral and foliate motifs, set with single-cut diamonds, ruby, sapphire and emerald cabochons, onyx and green hardstone leaves with scalloped enamel borders, the outer plaque set with onyx cabochons, suspending diamond-set tassels terminating in fluted and polished emerald beads, the fountain surmount with similarly-set diamonds and a central sugarloaf ruby, on a cord set with green paste beads, between old brilliant-cut diamond and engraved foliate spacers, mounted in platinum, diamonds approximately 3.25 carats total, lengths: pendant 10.7cm, cord 65.0cmFootnotes:This flat, highly stylised design of flowers and leaves in diamonds, rubies, sapphires, emeralds, jade and onyx of various cuts and shapes, is similar in taste to the jewels produced by Mauboussin in their Rue de Choiseul workshop in Paris from 1925 to 1928. During this period Mauboussin moved away from the 'cold stiffness' and 'dry formulae of the Cubists' towards curves and colour. For similar examples, see De Cerval, Marguerite, 'Mauboussin', Paris, 1992, chapter 'The 1920s A Burst of Colour', and Garbardi, Melissa, 'Art Deco Jewellery 1920-49', Antique Collectors Club, 1989, pp 98, 100-101, 106, 111. It is also interesting to compare this jewel to the boldly coloured, naïve floral dress fabrics by Atelier Martine for Paul Poiret in 1919. Examples may be seen in the Victoria & Albert Museum London, accession number T.540-1919For further information on this lot please visit Bonhams.com
Los 9
A GOLD AND ENAMEL PENDANT, CIRCA 1830Heart-shaped pale blue enamel locket decorated on one side with fleur-de-lys amongst floral and foliate motifs, the reverse inscribed in gilt ICI ELLES FLEURIRONT TOUJOURS (here they will always bloom), surmounted by the French royal crown in polychrome enamel, opening to reveal a glazed compartment containing a lock of hair against a pale blue silk ground, small area of enamel damage, length 4.6cmFootnotes:Accompanied by a handwritten note worded 'Hair of H.M. King Charles XII of France given, in locket by him to Miss Shaw-Stewart' (presumably XII is a mistake)ProvenanceMargaret (née Shaw-Stewart), Duchess of Somerset (died 1880)Margaret, Duchess of Somerset, was lady-in-waiting to H.M. Queen Victoria, and second wife of Edward St. Maur, 11th Duke of Somerset, (married 1836) and daughter of Sir Michael Shaw-Stewart, 5th Baronet.Charles X (1757-1836) was King of France from 1824 to 1830. He was the last monarch from the senior branch of the House of Bourbon.This lot was inherited by the current owners from various lines - both male and female - of their family. The majority of jewels in this collection were owned by members of the Surtees family; a prominent family from County Durham whose ancestry may be traced back to William the Conqueror. The surname Surtees, is derived from 'sur-Tees' or 'sur-Tays', in reference to the rivers Tee or Tay, near where the family anciently settled. The Surtees' family home was the 17th century Jacobean manor house, Redworth Hall, sold in the mid 20th century and now a luxury hotel. Some of the jewels in this collection, notably the three pendants with Royal connections, were owned by the Shaw Stewart family of Scotland, descended via the male line from Sir John Stewart, illegitimate son of Robert III of Scotland. The ownership of the jewels by individuals is stated where possible.For further information on this lot please visit Bonhams.com
Los 388
A pair of silver trumpet shaped posy vases, hollow filled, 15cm, Birmingham 1920; a silver miniature two handled tray, engine turned, guilloche lilac enamel border, 10.5cm wide, Mappin & Webb, London 1914, 22.3g; a silver ashtray, presentation inscription, 8cm, Birmingham 1955, 29.2g; a silver backed clothes brush (5)
Los 10
A quantity of silver items to include an engine turned ladies dressing table set, two silver topped dressing table pots (one Victorian, one with blue enamel), one white metal topped dressing table pot, a sterling silver crumb brush, a white metal button hook, two napkins, a boxed Christening set, total weight minus the glass bottles 1165.7gLocation: Porter
Los 267
A Victorian yellow metal bangle in the form of a belt, set with turquoise beads on the buckle(unmarked), together with a 9 carat gold dress ring (one stone missing), total weight approx 13.5 g CONDITION REPORTS Ring is missing one stone together with all over knocks, bumps, etc. Some areas of damage to the enamel particularly on the right-hand side between the two "flower heads". There is also some bare metal evident at the very top just below the hanging loop, unsure if this was during manufacture though or later damage. There is also some cracking evident under loop to the enamel. The hanging loop has got a small split in it which has possibly been re-soldered or adjusted at some point also hanging down. General wear and tear to include surface scratches, etc. See images for more details.
Los 312
A collection of jewellery, etc, to include a Thune of Norway sterling brooch with blue enamel in the form of a butterfly, a Georgian silver tablespoon, a Georgian silver Scottish sugar sifting spoon, cameo brooch, etc, together with a box of assorted costume jewellery including various brooches, watches, bangles, etc and a small suitcase of 20th Century coins of the realm - mainly half penny pieces
Los 190A
A pair of Chinese cloisonne egg shaped vases with narrow necks, the bodies decorated with butterflies amongst blossom with fence and river, raised on a circular foot, 14 cm high CONDITION REPORTS Overall good condition. As with all Chinese cloisonne - some minor bubbles / blemishes to the enamel within the original working but good condition.
Los 179
A Victorian Aesthetic Movement cabinet, attributed to Collinson & Lock, gilded and ebonised wood, the upper part having Oriental style open-shelved centre flanked by cloisonne enamel inset doors and glazed cupboard below, width 94cm, height 161cmGenerally in good original condition, the top surface of the base ebonising is rubbed, gilding all over is rubbed, enamel panels are perfect
Los 327
A Chinese Canton enamel vase with painted enamel panels and text, height 24cm, and 4 pieces of Japanese porcelain Canton vase in very good condition with a few tiny chips on the outside of the rim and light gilt rubbing, jar is in good condition but cover has been broken and restored, large square dish has hairline crack at one corner, larger plate has a chip, smaller plate has short hairline crack.
Los 410
An Art Deco brass and enamel combination compact/purse, a German leather and silver plate evening purse, and 1 other leather purse.The enamel compact purse has a damaged front panel, chipped and cracked surfaces and it is not closing properly.The leather purse inner and outer clasps are not closing and there is some deterioration to the material.Metal frame purse has worn surfaces and there is a split at the hinge interior. Otherwise it is in complete condition.
Los 204
Henry Marc of Paris mantel clock Victorian, slate, gilt metal and bronze mounts, the white enamel dial with Roman numerals and signed also, 29cm wide x 40cm high and 10cm deep Condition: at present, there is no condition report for this lot. This in no way indicates a good condition. Please contact the saleroom for a full condition report
Los 210
Mantel clock late 19th Century, with gilt painted scrolling acanthus decoration, the white enamel dial with roman numerals, the movement cramped 'CS 7700' 30cm high Condition: Surface dust, dirt and scratches. No key, no pendulum. Unknown if this clock works. Cracks and discolouration to the white enamel dial. Old repairs to the reverse, some cracks and crazing to the finish throughout.
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396325 Los(e)/Seite