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396323 Los(e)/Seite
A 1950'S CREAM PAINTED ENAMEL KITCHEN WALL MOUNTED CABINET/TABLE, with double tambour doors revealing an open interior, single long drawer, to the right side is a single lever releasing a fold out wooden table with drop down cylindrical supporting legs and single drawer, width 133cm x closed depth 26cm x open depth 98cm x height 114cm x height to table 75.5cm (condition: later overpainted, tambour doors working, lever working, worn table top, drop down legs working)
TWO GEORGE III SILVER OLD ENGLISH PATTERN TABLESPOONS, engraved initials, maker Thomas Wallis II, London 1793 and 1797, a George III silver bright cut teaspoon, engraved initial, makers Peter, Ann & William Bateman, two George IV condiment spoons, two other silver teaspoons and a Norwegian silver pickle fork with damaged enamel to the handle, together with three mother of pearl handled folding silver fruit knives, another with silver blade and handle and two other mother of pearl handled pocket knives with steel blades, approximate gross weight of weighable silver 4.5ozt, 140 grams (condition: mixed condition overall, generally used, the two steel blades knives both have cracked mother of pearl handles and one of the silver fruit knives has a cracked mother of pearl handle)
A CASED SET OF SIX ELIZABETH II SILVER GILT AND HARLEQUIN ENAMEL COFFEE SPOONS, circular seal end finials, makers Barker Brothers Silver Ltd, Birmingham 1956, together with a cased set of six Elizabeth II silver coffee spoons with cast reeded finials, makers Cooper Brothers & Sons Ltd, Sheffield 1958 and two cased sets of silver gilt cocktail sticks with cockerel finials, one set of six, the other with five, makers Walker & Hall, Birmingham 1934, approximate gross weight 5.3ozt, 164 grams (4) (condition: one cocktail stick missing)
A LATE VICTORIAN DOUBLE ENDED GREEN GLASS SCENT BOTTLE, gilt metal ends, one hinged, the other screw fitting, lacks internal glass stoppers, no marks visible, length 9.5cm, together with a Victorian silver condiment spoon with shell shaped bowl, maker David Pettifer, Birmingham 1852, twelve assorted silver, white metal and enamel spoons, a white metal posy holder, a Victorian papier mache snuff box and a 19th Century mother of pearl condiment fork and spoon (18) (condition: posy holder has damaged/repaired handle, scent bottle has a few small dents to the covers, glass appears to be in good condition, Venezia and Genova spoons have some damage to the enamel)
A VICTORIAN SILVER CASED POCKET WATCH BY JOHN DONEGAN OF DUBLIN, the white enamel dial with subsidiary seconds dial, the signed fusee movement numbered 12434, the silver case also numbered and hallmarked for Dublin 1865, diameter 4.5cm, with a winding key (condition: dial has cracks to the enamel between 'V' and 'VIII', also slightly stained, engine turned back is heavily worn)
French silver gilt mounted glass scent bottle, London import marks for 1910, having a screw cap with shell form details enclosing a glass stopper, the body engraved with scrolls and anthemion, height 14cm; also a George V silver mounted glass jar, London 1927, the screw cap decorated with blue guilloche enamel, 6.5cm diameter; and a modern silver photograph frame in the Adam style, decorated with bellflower garlands, blue velvet backing, interior size 12cm x 8.5cm (3)
Two Hellenistic style gold and enamel rosettes each composed of a double cup of petals with white and green enamelled ovary and separately modelled stamen, the backs with a short tubular mount with four pieces holes and a bead edge, 3.2cm diameter. (2) Provenance Ingrid McAlpine, 1939 - 2018, London and Epsom. With McAlpine circa 1994. cf. see The British Museum, no. 1963,0524.1.a-d, for four similar.
A GOLD AND ENAMEL CELLESTIAL MONEY CLIPOf circular shape, in the form of a sun dial, with ropetwist banding, the centre panel inlaid with signs of the zodiac, lunar and sunburst, scattered stars on a midnight blue ground, contained within a segmented outer ring filled with Roman numerals numbered I to XXIIII, mounted in 18K gold, length 4.7cm
A TURQUOISE, SAPPHIRE AND ENAMEL FLOWER BROOCH, CIRCA 1965The plique-a-jour blue enamel petals arranged around a central cluster of turquoise cabochons and a circular-cut sapphire to the centre, mounted on an 18K gold stem with pierced scrolling leaves, maker's mark 'MG', Swiss assay marks, length 6.5cm
A CORAL, ENAMEL AND DIAMOND BLACKAMOOR BROOCH, BY CARTIER, CIRCA 1935The black enamelled bust wearing seed pearl earrings, on a reeded gold neck and wearing a cream enamel turban with coral corallium rubrum highlight and rose-cut diamond detail, mounted in 18K gold, signed Cartier Paris, numbered, French assay marks, with Cartier case (not original), length 3.2cm**Please note that this lot contains coral and is subject to CITES regulations when exporting outside of the EUThe house of Cartier was founded in Paris in 1847 by Louis-François Cartier. A family venture, soon saw the growth of Cartier and the expansion to London and New York, with subsequent generations taking the helm.Cartier has established itself as one of the world's preeminent crafters of high-end, modern, and vintage jewellery. Its watches have adorned the wrists of celebrities and royalty alike, with King Edward VII of England once referring to Cartier as the jeweller of kings and the king of jewellers. Cartier's extensive collections are known to embody revival, Art Deco, and more contemporary styles, making them a sought-after commodity for generations both past and present. Jeanne Toussaint was made Creative Director for jewellery in 1933 and she continued to work for Cartier until her retirement in 1970. The working relationship between Louis Cartier and Toussaint was very successful, with Cartier imparting his knowledge of gemstones, diamonds, settings and technique, and Toussaint bringing her joie de vivre, relentless creativity and eye for contemporary fashions. By the time she retired from Cartier in 1970, Toussaint had established her legacy as an artistic visionary; always experimenting, exploring and creating jewels for those with a worldly outlook and an eye on the future.Cartier is a notable creator of pieces depicting elaborate Blackamoor heads, which had been introduced by the Venetian form of Nardi. Blackamoor jewellery, also known as Moretti jewellery, was particularly popular during the 17th and 18th centuries and it is believed that it was originally created as amulets to ward off evil, or invasion by the Moors into Italy. Cartier first released their Blackamoor brooches in the early 1930’s. Blackamoor brooches depict black figures within the design, they are typically male with a head covering, usually a turban and covered in rich jewels and gold leaf. Early examples often have European racial features, apart from the colour. They are typically enamelled, carved from ebony or painted black to contrast with the bright colours of the embellishments. Depictions may only represent the head, or head and shoulders, facing the viewer in a symmetrical pose.The brooch on sale at Adams is a lovely example of a typical Blackamoor brooch, made of black enamel, detailing a white enamel turban and surrounded by precious gems, including coral, seed pearls and diamond. The head faces the viewer in a symmetrical pose and sits on a yellow gold reeded neck.
A Chinese silver and enamel pill box circa 1900, of lobed form, the domed cover with enamelled repoussé floral and foliate decoration, headed by a large bat, the sides with chinese symbols, the cover opening to a two compartment interior on a butterfly surmounted hinge, stamped character marks to base, 75X62mm together with Chinese silver and engraved spoon with a bat finial, L11cm. (2)
A Large Chinese red on red cinnabar carved lacquer on brass vase, decorated with scholars and attendants amongst a mountainous landscape, the neck with lotus scrolls, the interior lined in blue enamel, the base in blue enamel, presented on a carved hardwood stand, mid 20th century. H44cm incl. base, W18cm. Note the three kinds of brocade-ground.

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396323 Los(e)/Seite