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396323 Los(e)/Seite
Los 331
ARCHIBALD KNOX FOR LIBERTY & CO., LONDON ARTS & CRAFTS OAK MANTEL CLOCK, CIRCA 1900 the single-train movement with circular enamel dial enclosed within shaped case carved with Celtic knotwork 34cm high Literature: Bennett, Daryl 'Liberty's Furniture', Woodbridge 2012, p. 223 where a similar clock is illustrated.
Los 338
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON SILVER AND ENAMEL MATCHBOX COVER, LONDON 1908 hallmarked Birmingham 1908, indistinctly stamped with maker's marks L&Co, 4.5cm across; and a PAIR OF ART NOUVEAU WHITE METAL AND ENAMEL HATPINS ATTRIBUTED TO ARCHIBALD KNOX FOR LIBERTY & CO., LONDON, CIRCA 1900, each with Celtic entwined decoration and rainbow enamels, unmarked, terminals 4cm high, total length 21cm (3)
Los 340
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON 'CYMRIC' SILVER & ENAMEL CORONATION SPOON, BIRMINGHAM 1901 the pointed ovoid bowl with cast Celtic knotwork and crown, and with inscription AC/ ER VII, the stem with pierced and cast reciprocal design, stamped maker's marks L&Co/ CYMRIC, hallmarked Birmingham 1901 12.3cm long
Los 341
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON 'CYMRIC' SILVER & ENAMEL CORONATION SPOON, BIRMINGHAM 1901 the pointed ovoid bowl with cast Celtic knotwork and crown, and with inscription AC/ ER VII, the stem with pierced and cast reciprocal design, stamped maker's marks L&Co/ CYMRIC, hallmarked Birmingham 1901 12.3cm long
Los 343
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON SILVER AND ENAMEL BROOCH, CIRCA 1905 with a blue/green enamel panel, flanked by entwined Celtic knot motifs, with stamped maker's marks for W. H. Haseler 4cm long Literature: Moro, G. 'European Designer Jewelry', 1995, p. 145, for illustration of a brooch of matching pattern designed by Archibald Knox.
Los 350
ATTRIBUTED TO OLIVER BAKER FOR LIBERTY & CO., LONDON ART NOUVEAU SILVER BELT BUCKLE, BIRMINGHAM 1912 cast with elaborate interlacing scrollwork, stamped maker's mark L&Co, 7.5cm across; and another LIBERTY & CO. SILVER & ENAMEL BUCKLE, of oval outline decorated with a leafy band, 6.6cm across, both with stamped maker's mark L&Co, hallmarked Birmingham 1912 (2)
Los 351
ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON 'TUDRIC' PEWTER AND ENAMEL CHAMBER CANDLESTICK, CIRCA 1900 cast with whiplash foliage, stamped maker's marks TUDRIC 0523, 18.5cm across; an ARCHIBALD KNOX LIBERTY PEWTER AND ENAMEL BOWL, stamped maker's marks TUDRIC 0288, 9cm diameter; and an ARCHIBALD KNOX PEWTER BOWL, stamped maker's marks ENGLISH PEWTER/ MADE BY LIBERTY & CO./ 0546, 12.5cm across (3)
Los 79
JAMES CROMAR WATT (1862-1940) ARTS & CRAFTS GOLD, ENAMEL AND PEARL AND GEM-SET NECKLACE, CIRCA 1905 with multiple chains with enamelled, seed pearl and garnet cabochon spacers, suspending graduated boteh-shaped painted enamel pendant drops 45cm long Literature: Gere, Charlotte and Munn, Geoffrey C. 'Pre-Raphaelite to Arts and Crafts Jewellery', Antique Collectors Club 1996, p. 40, pl. 15 Literature: Note: James Cromar Watt was born in Aberdeen. He worked in precious metals, and developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling. His work was exhibited in Turin in 1902 and was illustrated in the Art Journal periodical of the time. Some of his pieces were strongly influenced by the enamel work of Phoebe Traquair and some were designed in association with the painter and stained glass artist, Douglas Strachan. His work is predominantly in the collection of Aberdeen Art Gallery & Museum.
Los 87
ATTRIBUTED TO CLEMENT HEATON LARGE ARTS & CRAFTS CLOISONNÉ 'ENAMEL' PANEL, CIRCA 1890 the framed panel centred with the figure of an angel 75cm x 74cmNote: Clement Heaton, an early member of A.H. Mackmurdo’s Century Guild, set up his company ‘Heatons Cloisonné-Mosaic Ltd’ at 6 Berners Street, London in 1887, a year after selling his share in his father’s lucrative stained glass business Heaton, Butler & Bayne for £4,800. He patented his enamelling technique in 1886, inspired by medieval techniques which precluded the firing process and which instead used coloured cements: a mixture of resin, beeswax, sulphur marble dust and coloured pigments. Hardening over time, these cements could be polished to give the soft matt finish characteristic of Heaton’s work and seen in the present example.
Los 5282
Militaria - WW2, a two-piece set of silver ARP (Air Raid Precautions) badges, pin and button, hallmarked; Citizen Corps Northampton gilt-metal and enamel badge, Bliss Bros, Birmingham; South African War Veterans Association 1899 - 1902 gilt-metal and enamel badge; regimental and uniform cloth badge, various, office and NCO ranks (qty)
Los 5292
Militaria - WW1 - a death plaque, after Edward Carter Preston (1885 - 1965), named to Harry Hughes, 12cm diam, card envelope en suite; British War Medal, named to 2442 Gnr. T. Watson, R.A., silk ribbon en suite; 1914 - 15 Star; button polisher; British regimental and military association enamel badges, various; WW2, Third Reich, a Nazi/NSDAP party badge; etc
![World War II - Medals, France and Germany Star; 1939-45 Star; 1939-45 Medal [2]; Defence Medal; embroidery, Royal Artillery;](https://cdn.globalauctionplatform.com/841876aa-ce74-4b1a-9f87-a97e007032f4/c24f7ce0-8f50-47fa-b1e3-642c69c7e7a9/468x382.jpg)
Los 5324
World War II - Medals, France and Germany Star; 1939-45 Star; 1939-45 Medal [2]; Defence Medal; embroidery, Royal Artillery; a silver and enamel Royal Artilery sweetheart badge; a cloth badge; a whistle; Folkestone Cadet Mark medal; Royal Life Saving Society Medal, named to J Edgley, November 1932 (11)
Los 5336
Group Captain Sir Douglas Robert Steuart Bader, CBE, DSO & Bar, DFC & Bar, DL (1910 - 1982) - an interesting and important collection of personal momentos and ephemera, given by Group Captain Bader to his pre-War dancing partner and friend Mary 'Mollie' Evelyn Fox, including his 18ct gold RAF 23 Squadron signet ring, hallmarked, (the size altered by Mollie Fox); a George V silver and blue guilloché enamel rounded rectangular cigarette case, the front cover with Royal Air Force insignia, Albert Carter, Birmingham 1930; a similar rectangular vest case, Birmingham 1932; two b/w photographs of the fateful December 1931, with a pair of abandoned shoes removed next to the wreckage of the Bulldog Mk. IIA; other pre-accident & War b/w photographs of Bader, formal an informal larks with friends; a two-page and four-sided manuscript and autographed letter from Douglas Bader to T. Fox Esq, Hall Bank, Barnsley, Yorkshire - the Fox family home - written in purple pencil while in the Royal Berkshire Hospital, thanking him for his letter, recounting the painful amputation of his legs stoically and because he 'crashed through doing a very dangerous manoeuvre and being careless about it', dated Sunday, the envelope franked Reading, Berkshire, Jan 3, 6.30pm, 1932
Los 73
A gilt brass carriage clock, late 19th century, the eight-day gong striking movement with push button repeat and platform lever escapement, the movement signed PAYNE & Co. 163 New Bond Street, LONDON and serial numbered 7641 to one lower margin, the white enamel Roman numeral dial with Arabic five minutes to the outer track similarly signed, the cavetto moulded bevel glazed case with carrying handle, 18cm high (excluding handle) The British Museum states: William Payne is first recorded at 62 South Moulton Street London in 1816. By 1825 he has moved to 163 New Bond Street where the company remains until the 20th century. William Payne & Company, watch, clock and pedomater makers are first recorded there in 1852.
Los 333
An 18ct gold brooch in form of a two tier oak leaf wreath, inter set with ruby's and seed pearls to centre (10g gross); a Victorian target brooch blue enamel star to centre with a raised star inset with a seed pearl; an oval Victorian target brooch set with alternate purple coloured and white stones with one large stone to centre, portrait to verso (3)
Los 236
An enamel and gem-set gold portrait pendant, c1890, centred with an enamel oval plaque depicting the profile of a lady in the Renaissance-manner, signed with initials AG for Alfred Jean Garnier, within a shaped polychrome plique a jour enamel border, and with four old circular-cut diamonds and suspending a natural pearl and smaller diamond, the frame signed AB & MAlfred Jean Garnier (1848-1908) was a French enameller and pupil and collaborator of Paul Grandhomme, several of his works are exhibited at the Musée d'OrsayAccompanied by original purchase receipt from Didier Antiques dated 14th November 2003.
Los 237
A finely worked 19th century gold brooch in the style of Castellani, c1890, centred with a twisted rope design cruciform section set with five small pearls and with enamel decoration within further borders of red enamel within rope twist borders ad within a surround of small turquoise cabochons (some missing), the reverse engraved 'SOUVENIR BLSB JUNE 11/91', 3.8cm wide, case by S.J. PhillipsAccompanied by original purchase receipt from S.J. Phillips Ltd. dated 4th July 2008.
Los 238
A gem-set gold portrait pendant mounted with an enamel Limoges-style portrait plaque on copper, by Robert Phillips of Cockspur Street, c1890, depicting the profile of a 16th century nobleman wearing a hat with enseigne and flowing red scarf, painted with the name Iohanes, probably the sitter, with blue enamel border and ornate openwork frame in the Renaissance-style and set with cabochon sapphires, pearls and rose-cut diamonds with black and white enamel openwork surround, the suspension loop in the form of a fleur de lys with conforming black and white enamel decoration and mounted to the reverse with a lozenge containing the Phillips of Cockspur Street trefoil mark. the pendant 6cm high (maximum), case by Hancocks. The portrait miniature signed to the reverse A. Meyer who was strongly associated with the Limoges Revival and in fact claimed to have initiated it. Although he apparently produced enamels for more than one jewellery house, it is rare for a piece to combine his signature and the jewellery as in this piece. The glazed locket compartment to the reverse of the pendant removes to reveal Meyer's signature. Alfred Meyer (1832-1904) worked with many of the finest Parisian jewellers of his time including Emile Froment-Meurice, Lucien Falize and Maison Vever. Another example of Alfred Meyer's enamel work mounted by Robert Phillips in a gold and enamel frame exists with the subject of a reclining female nude in the Renaissance-style.Accompanied by original purchase receipt from T.Robert, Cromer dated 28th November 2004.
Los 241
A gold, silvergilt and silver foliate brooch attributed to Fannière Frères, c1870, centred with a silver floral swag on plain gold ground within a shaped border with enamel decoration, lattice frame to the mount, the pin hoop stamped with an unidentified mark but probably a French manufacturing mark, 7cm wide, fitted case by Lavender. For similar brooch by Fannière Frères see VEVER, H., La Bijouterie Francais au XIXe siecle (1800-1900), volume II, Le Second Empire 1850-1870, page 201Accompanied by original purchase receipt from D.S. Lavender Antiques, London dated 1st September 2000
Los 249
A lozenge-shaped pendant by Fabergé, centred with a lozenge-shaped ruby on white guilloche enamel ground within a border of millegrain-set rose-cut diamonds, the suspension ring marked AT for workmaster Alfred Thielmann, 56 Zolotnik and a Kokoshnik, scratched inventory no. 84263, fine link platinum neck chain, the pendant 2.9cm high, the chain 426cm long
Los 259
An Art Deco gem-set open foliate bar brooch, c1925, centred with a sugarloaf emerald and millegrain-set with small circular-cut diamonds, cabochon sapphires and further emeralds, in platinum, the rectangular frame with black enamel decoration and with two square-shaped diamonds to each terminal, white gold pin, stamped with multiple marks including French control marks and initials ST, 5.5cm wideAccompanied by original purchase receipt from A. Aardewerk, Belgium dated 2nd April 2008.
Los 268
A carved hardstone cameo pendant in gold and enamel Revivalist frame by Froment-Meurice, c1870, the cameo depicting a female profile with hair tied up and within a white pellet border, in Neo-Renaissance openwork gold scroll frame set with small diamonds and blue enamel decoration, suspending a drop-shaped natural pearl, French control mark and obscure maker's lozenge, possibly for Froment-Meurice, the conforming suspension loop and frame can be removed by the withdrawal of a baton, 6.5cm high (maximum), with original fitted case by Froment-Meurice, marked for 372 rue St Honoré which the firm occupied from 1856 through until the last decade of the century, the leather embossed with initials M.P., a sliding panel reveals a small compartment which probably originally contained a brooch fittingAccompanied by original purchase receipt from Lydia Courteille Bijoux Anciens, Paris dated 3rd October 1998
Los 269
A gold fob watch by Froment-Meurice, c1890, the dial decorated with blue and white concentric enamel and gold pellet decoration, the hands set with rose-cut diamonds, the two-colour gold bezel set with leaf decoration, the case-back decorated with a cherub carrying a sythe to represent time passing, turquoise and diamond decoration, signed and numbered 400 10, French control marks, 4.6cm highAccompanied by original purchase receipt from Triannon Antiques, London dated 3rd September 1998
Los 270
A silver and gold Gothic Revival necklace attributed to Froment-Meurice, c1850, the links formed from silver scrolls and gold cruciforms decorated with blue enamel, later gold clasp, French control marks, 39cm longAccompanied by original purchase receipt from AR'THEM Louvre des Antiquaries, Paris dated 3rd October 1998 A similar example is illustrated in VEVER, H., Le Bijouterie Francaise au XIXe siècle (1800-1900) Vol I - Consulat, Empire, Restauration, Louis-Philippe, p. 178
Los 272
A mid 19th century silver and enamel Renaissance Revival brooch by Froment-Meurice, designed as a standing figure 'Harmonie' playing a cello flanked by two cherubs, the silver frame decorated with green guilloche enamel leaves, scrolls and birds of paradise, pearl finials and pendant drops, rubbed signature to reverse, French control marks, original fitted case.For a similar brooch see VEVER, H., Le Bijouterie Francaise au XIXe siècle (1800-1900) Vol I - Consulat, Empire, Restauration, Louis-Philippe, p. 158Accompanied by original purchase receipt from Didier Antiques, London dated 17th June 1999
Los 276
A gold portrait plaque bracelet by Castellani, c1860, six plaques chased with the profile of celebrated Medieval and later philosophers, artists, scientists, etc., one plaque with an owl to one side representing wisdom, the symbol of Athena, and the inverted Cs signature of Castellani, all with black enamel borders and joined with chain and vertical baton spacer bars, simple double-hook clasp, 21cm, case by S.J. Phillips .Exhibited BARD Graduate Centre, New York, under their Classical revival Jewellery exhibition in 2004 and 2005 and later in Rome.Accompanied by original purchase receipt from S.J. Phillips dated 4th September 1998
Los 284
A Revivalist gold pendant with enamel portrait, c1885, the portrait depicting the profile of a woman with elaborate headdress in the Renaissance-style, the foliate scroll frame with a fleur-de-lys to the upper and lower sections and with black and white enamel decoration, locket compartment to the reverse, on a fine link gold chain, in the style of Falize, 3.6cm high Provenance: Sotheby's 'Fine Jewels', 29th June 2004, lot 23Accompanied by the original purchase receipt from Sotheby's, New Bond Street dated 29th June 2004
Los 285
An Art Nouveau brooch pendant by Falize, c1895, centred with an oval-shaped ruby within diamond surround and pierced gold foliate border, suspending a natural pearl and with plique a jour enamel stylised peacock feathers to the upper section and surmounted with a further natural pearl in a gold foliate cap, with further diamonds, two sapphires and an emerald, detachable brooch fitting, French control marks and the maker's lozenge for Bapst et Falize, 6cm highAccompanied by original purchase receipt from John Joseph Antique Jewellery dated 8th June 2001
Los 287
A carved coral cameo-mounted pendant in the style of Giuliano, c1895, the cameo depicting the head of a girl with fruiting vines to her flowing hair, the Renaissance-style gold frame with black, and white pellet enamel decoration to the scrolls and set with seed pearls and small diamonds, suspension loop and glazed locket compartment to the reverse, 5cm high, case by BloomAccompanied by original purchase receipt from N.Bloom & Son, New Bond Street dated 14th June 1999
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396323 Los(e)/Seite