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396325 Los(e)/Seite
Los 80
A 19th Century Continental enamel heart-shaped pill box the silver hinge stamped as .800 grade Austro-Hungary, the lid painted with a couple resting in rural setting, the body painted with seated females on a pale green ground with floral painted decoration, the base with a mausoleum in a rural landscape, the interior also painted with two rural landscapes, 4cm wide
Los 1
Vincenzo Verdejo (1809-1859)A hunting sceneMicro mosaic Gold frame Italy, 19th centuryLiterature: Benjamin, John, Starting to Collect Antique Jewellery, Suffolk: The Antique Collector’s Club, 2003. Bennett, David & Mascetti, Daniela, Understanding Jewellery, Suffolk: The Antique Collector’s Club, 2011. Bury, Shirley, Jewellery: The International Era 1789-1910, Volume II 1862-1910, Suffolk: The Antique Collector’s Club, 1997. Gere, Charlotte & Rudoe, Judy, Jewellery in the Age of Queen Victoria, London: The British Museum Press, 2010. Grieco, Roberto, Micromosaici Romani, Rome: Gangemi Editore, 2001. Mack, John, The Art of Small Things, Boston: Harvard University Press, 2007. Soros, Susan Weber & Walker, Stefanie, Castellani and Italian Archaeological Jewelry, New Haven: Yale University Press, 2004. 7,8x4 cm Additional Information:The vernacular expressions “God is in the details” and The Devil is in the details” express the concept that all must be made and thought in a thorough manner, and that something that might be perceived as plain and simple at first sight, can hide great effort and dedication.The plaque that we are now bringing into sale is an accomplished example of a meticulous and labour consuming art, in which the master crafter applied with a tweezers, hundreds if not thousands of tiny tesserae, in order to compose a scene depicting a lion attacking a dog.It was Sir Arthur Gilbert (1913-2001) – a notable British decorative arts collector – who coined the term micro mosaic. Such pieces were, up until then, simply known as ”roman mosaics”, a clear misnomer which, although alluding to ancient arts, was being applied to objects that did not exist up to the 18th century.These dense artworks are nonetheless a type of mosaic created from minute glass fragments or tesserae. Fired at high temperature, tesserae are mosaic components normally made in glass or enamel that can be produced in a wide range of colours, known as smalto. This smalto is produced in thin rods or strands, the filati (meaning strand enamel) which, once cooled are cut into hundreds of minuscule cubes, the tesserae, that are carefully applied onto a metal (copper, gold or silver) or stone ground (in the 19th century Belgium black was the favoured stone). They are fixed onto a layer of mastic or cement to create the desired pattern – be it a portrait, a landscape or a hunting scene. Once this substrate hardens, a layer of coloured waxes is applied to the whole surface and polished to reach a smooth and uniform finish. SOME HISTORICAL CONTEXT It is generally believed that the art of mosaic originated in the Far East, albeit the earliest mosaic compositions – created with pebbles and shells – are dated to the 3rd century B.C.E. and have been unearthed in Macedonia. It was however in Ancient Rome that mosaics, composed of small marble, terracotta and glass fragments, reached their utmost popularity for the decorating of floors in wealthy patrician villae.The climax of this art was reached during the Byzantine Empire (330-1453 C.E.), when mosaics were chosen for decorating the earliest Christian temples. Such choice is certainly related to the material durability but it is also associated to the sumptuous and extravagant impression they convey, particularly through the abundant use of gilt tesserae, such as those seen at the Mausoleum of Galla Placidia in the Italian city of Ravena.Throughout the Renaissance (14th – 17th century) and the Baroque (17th – 18th century) the use of decorative mosaic compositions decreased as painted frescoes became favoured for both inner and outer surfaces. The use of mosaics however, was never totally abandoned as is suggested by Michael Angelo’s (1475-1564) plans for the dome of Saint Peter’s Basilica in Rome.Although the Vatican’s mosaic workshops emerge initially under the Papacy of Gregory XIII (1572-1585) with the purpose of producing the mosaics that were being applied in Saint Peter’s, as well as on the altarpiece of the Basilica of the Vatican, they would not be fully inaugurated until the 18th century. By then some of the Basilica’s decorative paintings had deteriorated and the decision was made to replace them with mosaic compositions. This fact, together with the increasing numbers of papal commissions, contributed to the growth of master crafters able to fulfil the demand. The availability of free time in-between papal commissions allowed these crafters to experiment and perfect the use of the minute tesserae, that would eventually become the small portable artworks that we now know as micro mosaic.Almost simultaneously the aristocratic taste for the Grand Tour emerges amongst the European educated elites. Lasting for months or even years the Grand Tour was perceived as an essential step in the education of the upper classes. Its main ideal was that these Grand Tourists would return home imbued with the culture of the cites they had visited and their greatest art. Within that mind frame, and to be able to remember and revisit what they had seen and experienced, the Grand Tourists developed a growing awareness of the importance of acquiring souvenirs. As such, a visit to micro mosaic workshops became almost as important as a visit to famous classical ruins or art museums.Easy to carry – they could be kept with luggage until the end of the trip or sent home as “postcards” – they could portray a variety of subjects such as Roman ruins, flowers, birds, animals or Italian country scenes. Later, inspired by the latest archaeological discoveries in Europe (particularly those at Pompey), Northern Africa or the Middle East, they would replicate newly unearthed Roman motifs, Etruscan tombs, early Christian signs and hieroglyphs.Often adapted or applied to pieces of jewellery these small precious objects became undisputed Grand Tour mementos.Bibliografia/Literature:Benjamin, John, Starting to Collect Antique Jewellery, Suffolk: The Antique Collector’s Club, 2003;Bennett, David & Mascetti, Daniela, Understanding Jewellery, Suffolk: The Antique Collector’s Club, 2011;Bury, Shirley, Jewellery: The International Era 1789-1910, Volume II 1862-1910, Suffolk: The Antique Collector’s Club, 1997;Gere, Charlotte & Rudoe, Judy, Jewellery in the Age of Queen Victoria, London: The British Museum Press, 2010;
Los 282
Zweiflammiger Leuchter mit Spindeltaschenuhr, Meissenfigur und Vincennes-BlütenFrankreich/Meissen, 18. Jh. Vergoldete Bronze bzw. Porzellan mit Farb- und Goldstaffage. Auf durchbrochenem Rankensockel vor mit Porzellanblüten bestückten Blattranken und zwei Leuchtertüllen steht eine kleine Gärtnerin unter einer von einem Papagei bekrönten Rankenkartusche. Spindeltaschenuhr mit Emailzifferblatt und römischen Ziffern sowie ornamental durchbrochener Spindelbrücke. Gärtnerin mit blauer Schwertermarke. Schlüssel. Rest., besch. 32 x 28 x 13 cm. Two-light candlestick with a pocket watch, Meissen figure and Vincennes flowersFrance / Meissen, 18th century Gilt bronze / porcelain with coloured and gold decoration. Verge pocket watch with enamel dial and Roman numerals and bar. Gardener with blue crossed swords mark. Key. Restored, damaged. 32 x 28 x 13 cm.
Los 285
OffiziersuhrWohl Frankreich, um 1800 Bronze, vergoldet. Annähernd quadratisches Gehäuse mit gewalmten Aufsatz und Schlangengriff auf Tatzenfüßen, florale Ornamentapplikationen. Emailzifferblatt mit römischen Ziffern. Weckstellzeiger. Spindelwerk. 4/4-Stundenschlagwerk. Repetition. Schlüssel. Besch. H. 23,5 cm. Provenienz: Aus dem Besitz der Nachfahren des Generalmajors Friedrich von Winther (1784-1857), Schloss Mühlfeld / Herrsching. An officer's clockprobably France, circa 1800 Bronze, gilt. Enamel dial with Roman numerals. Alarm hand. Verge movement. 4/4 striking mechanism. Repeater. Key. Damaged. Height 23.5 cm. Provenance: From the estate of the descendants of Major-General Friedrich von Winther (1784-1857), Mühlfeld Castle / Herrsching.
Los 288
Bilderuhr "Hirtenidyll im Berchtesgadener Land"Süddeutsch, 1. Drittel 19. Jh. Öl auf Metall. Vergoldeter Holzrahmen mit Eierstabfries. Emailziffering mit römischen Ziffern. Messingwerk mit Spindelhemmung und Rückpendel. Schlagwerk auf zwei Tonfedern. Repetition. Besch. 58 x 81 cm. A clock painting "Pastoral idyll in the Berchtesgadener Land"South German, 1st third of the 19th century Oil on metal. Gilt wooden frame with egg-and-dart frieze. Enamel dial with Roman numerals. Brass movement with verge escapement and back pendulum. Striking mechanism on two coiled gongs. Repeater. Damaged. 58 x 81 cm.
Los 293
Kette mit Medaillon, Medaillon mit Blumenbouquet, Uhrkette und RingFrankreich, um 1870-1880 Kette: Gold en deux couleurs 750/-, getestet. Medaillon mit Blumenbouquet: Gold en trois couleurs 750/-, getestet. Uhrkette: Gelbgold 750/-, getestet, Pariser Garantiestempel ab 1838. Ring: Gelbgold 750/-, getestet. Ring: schwarzes und weißes opakes Email. Kette: L. ca. 47 cm. Medaillon: ca. 4 x 2,2 cm (im Oval). Uhrkette: L. ca. 33 cm. Ringgröße: 48. Ca. 42,7 g. SvP A necklace with locket, locket with bouquet of flowers, watch chain and ringFrance, circa 1870-1880 Necklace: bicolour gold 750/-, assayed. Locket with bouquet of flowers: tricolour gold 750/-, assayed. Watch chain: yellow gold 750/-, assayed, Paris guarantee stamp as of 1838. Ring: yellow gold 750/-, assayed. Ring: black and white opaque enamel. Necklace: length approx. 47 cm. Locket: approx. 4 x 2.2 cm (in the oval). Watch chain: length approx. 33 cm. Ring Size: 48. Approx. 42.7 g.
Los 406
Armreif mit Diamanten und EmailIndien Gold 750/-, getestet. 44 Diamanten im Polki-Schliff. Weißes, mittel- und hellblaues opakes Email, grünes, rotes und blaues Transluzidemail auf graviertem Grund. 1 Diamant fehlt. Email min. best. Innendurchmesser: ca. 5,38 cm. Ca. 8,83 x 7,8 cm. Ca. 123 g. Der Reif endet in zwei Häuptern des Makaras, dem mythischen Symboltier des Liebesgottes Kamadeva. Der Gott Kamadeva weist deutliche Parallelen zum griechischen Gott Eros und zum römischen Gott Amor auf, denn auch er entzündet das Liebesverlangen mit einem Pfeil. Der Reif wird mit einem dreigeteilten "Schloss", in das eine Schraube greift, verschlossen. SvP A bangle with diamonds and enamelIndia Gold 750/-, assayed. 44 Polki cut diamonds. White, medium and light blue opaque enamel, green, red and blue translucent enamel on engraved background. 1 diamond missing. Minor damage to enamel. Inner diameter: approx. 5.38 cm. Approx. 8.83 x 7.8 cm. Ca. 123 g.
Los 72
TischuhrWien, um 1840/1850 Bronze, vergoldet. Buntes Email. Von vier Adlern getragenes, geschweiftes Gehäuse mit seitlichen Löwenköpfen als Handhaben und Pinienzapfen als Bekrönung. Allseitig bunter Emaildekor mit Szenen aus Torquato Tassos Epos "Das befreite Jerusalem" bzw. aus der Mythologie sowie auf den Schmalseiten Groteskenornamente mit Blüten und Mischwesen. Schlüssel. Min. besch. 47 x 26 x 11,5 cm. Frontal die Szene aus Torquato Tassos Epos: Armida fesselt den unter einem Baum schlafenden Ritter Rinaldo, umringt von Amoretten, Nymphen und der Liebesgöttin Venus. Rückseitig lässt der am Fuß eines Berges sitzende Gott Aeolus die Winde aus einer Felsenhöhle frei. Über ihm schweben ein Liebespaar, die Göttin Juno und zahlreiche Amoretten. Literatur: Pietsch, Ulrich, Preziosen einer süddeutschen Kunstsammlung. München 2001, S. 22 f. A table clockVienna, circa 1840/1850 Bronze, gilt. Colourful enamel. Key. Minor damage. 47 x 26 x 11.5 cm. Literature: Pietsch, Ulrich, Preziosen einer süddeutschen Kunstsammlung. Munich 2001, page 22 f.
Los 97
Alexandre (wohl Louis Alexandre, 1759 Reims - 1827 ebenda)Ende 18. Jh. Zwei junge Damen in ParklandschaftHalbfiguren annähernd frontal, einander zugewandt. R. u. signiert "Alexandre f.". Aquarell und Deckfarben auf Elfenbein. D. 7 cm. Min. besch. Messingrahmen mit Emaildekor. Alexandre (probably Louis Alexandre, 1759 Reims - 1827 ibid.)end of the 18th century Two young ladies in park landscapeSigned "Alexandre f." lower right. Watercolour and opaque paints on ivory. Diameter 7 cm. Minor damage. Brass frame with enamel decoration.
Los 115
ApostelkrugCreußen, datiert 1694 Braunes, salzglasiertes Steinzeug mit bunten Emailfarben staffiert. Leicht konisch mit Ohrenhenkel. Zinndeckel mit Marken. Reliefdekor: umlaufend zwischen Ornamentbändern und Gurtfurchen die zwölf Apostel, getrennt durch Maiglöckchen und Punktrosetten, frontal Rundmedaillon mit Madonna mit Kind. Am Fußrand Trinkspruch mit Datierung: "DRINCK MICH AVS VND SCHENCK MICH EIN DU ERFRISCHE DAS HERZE DEIN 1694". Besch. H.15 cm. An apostle jugCreußen, dated 1694 Brown, salt-glazed stoneware decorated with colourful enamel colours. Pewter cover with hallmarks. Relief decoration. Toast with date "DRINCK MICH AVS VND SCHENCK MICH EIN DU ERFRISCHE DAS HERZE DEIN 1694" on the foot rim. Damaged. Height 15 cm.
Los 130
A Romanian Presentation Dagger, the 21cm double edge steel blade numbered 43392, the gilt metal hilt with recurving crossguard with faux amber grip, gilt metal scabbard and hanging straps in a fitted case; a Very Similar Russian Dagger, with wood grip, no case; a Chinese Presentation Sword, with telescopic blade, cloisonne enamel grip and scabbard, in a fitted case; a Display Case of Fourteen Romanian Military Badges, in enamelled white metal and gilt metal (4)
Los 44
An Early 20th Century Enamel Advertising Sign 'The Passing Show', depicting Lloyd George seated reading the magazine, a steward restraining members of his War Cabinet, including Winston Churchill, Bonar Law, A.J.Balfour and Edward Carson, inscribed 'Hush!! He's Busy', 71cm x 51cm, loosely mounted in a pine frame
Los 51
A Pair of Second World War CF41 7X Naval Binoculars by Barr & Stroud, marked A.P No.1900A, broad arrow, serial no. 36501, maker's mark, and various patent numbers dated 1934 and 1940, with blackened finish, individual focussing to each eyepiece, four-way filters, crinkle enamel grips with yellow painted broad arrow . Internal specks of dirt. Enamel scraped in places.
Los 72
A Pair of Second World War CF41 7X Naval Binoculars by Barr & Stroud, marked A.P No.1900A, broad arrow, serial no. 41208, and with maker's mark, R.A.M. 3152 and various patent numbers dated 1940, with blackened finish, triple filters, crinkle enamel grips with yellow painted broad arrow, leather neck strap and brown leather carrying case.. Lenses quite good. In well used condition with scrapes to the black enamel . Eyepieces rotate smoothly and filters work.
Los 84
A Rare Second World War Soviet Infantry Officer's Green Wool Shirt/Jacket, to a Lieutenant of the Guards Infantry, with stand up collar and half length button placket, maroon pipe edged shoulder boards, brass buttons and Guards red enamel and brass badge.. Some fraying to the piping on the shoulder boards
Los 505
Y A cased set of eleven Norwegian silver coloured and enamel coffee spoons by Askel Holmsen, .925 standard, enamelled with birds and figures in landscapes, 9.5cm (3 3/4in) long; another silver coloured and enamel coffee spoon; a matched silver mounted three piece dressing table set by Adie Bros, Birmingham 1958 (1) and 1959 (2), with engine turned decoration and engraved with a monogram, the hand mirror 28cm (11in) long; and a similar silver mounted and tortoiseshell comb by Mappin & Webb, Birmingham 1958, 17cm (6 3/4in) long Condition Report: There is no condition report available for this lot and is sold as seen Condition Report Disclaimer
Los 538
A cased set of six Danish silver gilt and enamel coffee spoons, import mark for London 1959, with enamelled handles and bowls, 9.5cm (3 3/4in) long; Swedish silver gilt coloured and enamel spoon, national mark, stamped MH 900, with blue enamel decoration, 23cm (9in) long; a silver spoon, sponsor's mark for Berthold Muller, import mark for Chester 1905, the crossbow handle ending with Christ on the crucifix, 18cm (7in) long; a Scottish silver spoon by Mackay & Chisholm, Edinburgh 1910, with a thistle terminal, the shaped bowl chased with an armorial, 19.5cm (7 3/4in) long; and another silver spoon, 355g (11.4 oz) gross Condition Report: There is no condition report available for this lot and is sold as seen Condition Report Disclaimer
Los 560
A silver cigarette case, maker's mark GHR, Birmingham 1961, with engine turned decoration, 9cm (3 1/2im) long; a rectangular silver and green enamel cigarette case by William Neale & Son Ltd., Birmingham 1932, 9cm (3 1/2in) long; and a silver and green enamel oval box by Mappin & Webb, Birmingham 1912, 5cm (2in) long, 258g (8.3 oz) gross Condition Report: There is no condition report available for this lot and is sold as seen Condition Report Disclaimer
Los 567
A collection of silver items, to include: a silver armada dish by L. & S., London 1979, 17cm (6 3/4in) diameter; a silver, silver gilt and enamel rectangular cigarette case, London 1936, the engine turned covers with Greek key borders and enamelled CCC, 14cm (5 1/2in) long; a silver mounted brush; a silver mounted cigarette box; and a silver coloured bowl, stamped Sterling .925, 11.5cm (4 1/2in) diameter, 591g (19 oz) gross weighable Condition Report: There is no condition report available for this lot and is sold as seen Condition Report Disclaimer
Los 612
A silver coloured and precious stone set and pierced casket, unmarked, set with mixed cut garnets, peridots, aquamarines, amethysts, citrines, amongst sapphire set foliage, 8cm (3in) long; and a silver and enamel rectangular box, stamped silver 800, the cover with a chased foliate border and set with an enamel bid, 7.5cm (3in) long
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396325 Los(e)/Seite