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396323 Los(e)/Seite
Los 547
A BRASS CASED CARRIAGE CLOCK, early 20th century, the twin barrel movement with platform escapement striking the hour and half hour on a gong, plain white enamel dial with Roman numerals, the Corniche style case with inscription dated 1927, 6 3/4" high, in maroon leather carrying case (Est. plus 24% premium inc. VAT)Condition Report: Appears to be in working order, the case and dial in very good condition. Carrying case very faded and with some mild scuffing, also lacking handle.
Los 167
A KEY WIND FOB WATCH, the white enamel dial with black Roman numerals, the un-numbered movement with blued steel screws and three quarter back plate, hinged metal cuvee, in a plain case engraved with a vacant shield panel, stamped 14k, pendant from an engraved gold plated bow brooch (Est. plus 24% premium inc. VAT)Condition Report: Appears to be in working order, dial 5.3cm diameter, case 3.7cm diameter, watch gross weight excluding brooch 39.8g gross,
Los 553
A BRASS CASED CARRIAGE CLOCK, early 20th century, the cylinder movement with platform escapement and repeat mechanism striking on a gong, the white enamel dial with Roman numerals signed Reid & Sons, Paris, the Corniche style with scrolled loop handle, 8" to tip of handle, with maroon leather carrying case (Est. plus 24% premium inc. VAT) Condition Report: Appears to be in working order. Hairline cracks and small chip to top right corner of dial, minute corner chip to both front, back and left side glass panels
Los 541
A FRENCH GILT AND PATINATED BRONZE MANTEL CLOCK BY BREGUET, early 19th century, with single train movement, the white enamel dial with Roman numerals and signature, moon hands, the drum case on scrolling foliate support surmounted and flanked by swans, the breakfront rounded oblong base with classical appliques flanking a bacchanalian mask, on turned feet, 15” wide (Illustrated) (Est. plus 24% premium inc. VAT)Condition Report: Movement good and in working order, chips to dial near winding hole and to edge near “IX”, mild hairline cracking near “IV”, case in very good condition.
Los 551
A MAHOGANY CASED MANTEL CLOCK, early/mid 19th century, the three train movement quarter striking on two bells, 6" enamel dial with Roman numerals and signed "Martin London", the domed oblong case with ebony stringing, and brass trim surmounted by a loop handle, pierced brass sound frets, moulded base and ogee bracket feet, 9" x 15 3/4" (to tip of handle) (Est. plus 24% premium inc. VAT)Condition Report: Appears to be in very good condition, movement clean, the dial has some very minor chips near winding holes, two minor paint chips near the number "V" which have been touched up and some mild crazing and scratches. String missing from pendulum
Los 556
A MAHOGANY LONGCASE CLOCK SIGNED J. SHARP, CORNERHOUSE, LONDON BRIDGE, the eight day moverment with anchor escapement striking on a bell, 11 1/2" white enamel dial with Roman numerals, the brass inlaid case with domed hood surmounted by three brass ball finials, arched panel door, stop fluted angles, cut corner beaded panel to base, on plinth, 80" high (Est. plus 24% premium inc. VAT)Condition Report: Movement needs a clean, dial paintwork retouched, incorrect pendulum, case good and of good colour but lacking sound frets to hood
Los 297
A CHINESE CLOISONNE ENAMEL VASE of two handled ovoid form, cast with panels of figures in landscapes within cloisonne borders, unmarked, 14 1/2" high (Est. plus 24% premium inc. VAT)Condition Report: firing faults to heavy enamelling, damages to white roundels below handles, otherwise generally good
Los 94
A Timing and Repeating Watch Company yellow metal pocket watch, with white enamel chronograph dial and blue hands stamped Geneva, inscribed International Walking Match Donald Linden Canada George V Bonhag America Won by Gem de Bonhag World Champion, yellow metal stamped 14k, 99.6g all in. George Valentine Bonhag (1882-1860) was an American athlete. He competed in distance events, both racewalking and running. He was selected for the 1904 (800 metres), 1908 (3 mile team event won gold), and 1912 Olympics (3 mile team event won gold), and for the 1906 Intercalated Games (placed 4th in the 4 miles and 6th in the 1500 metres, but won the 1500 metres walk gold medal). He also competed in the exhibition baseball event at the 1912 Olympics.
Los 70
The beautiful fish pin is made from colorfully enameled sterling silver and measures 1.75"L x 1.75"W. The green flower is a single clip-on earring that measures 0.75"dia. and could potentially be modified and worn as a pendant. David Andersen Sterling Silver hallmarks. The total weight of both pieces is approximately 14g. Artist: David AndersenDimensions: See DescriptionCountry of Origin: NorwayCondition: Age related wear. Some of the enamel on the fish tail is scratched.
Los 294
10 Medium 20th century Cold enamel realistic pin buttons.Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Unless otherwise noted we find no significant condition concerns except for normal age related wear for the age of these items.
Los 612
REVOK (Jason Williams), American b.1977 - 3652 Canfield, 2013; acrylic, enamel and found objects on panel, 135 x 136 cm (as a diagonal) (unframed)Provenance: with Jonathan Levine Gallery, New York (according to the label attached to the reverse); private collection, UK, purchased from the above
Los 407
George Carwardine (1887-1947) a Herbert Terry & Sons "Anglepoise" lamp, four spring, model 1208, in black enamel, when fully extended measuring L120cm. This is the original four-spring design, made for working environments (doctors' and dentists' surgeries), c1930s - 40s. Provenance: Dr S. Sarris.
Los 22
STUPA EN ÉMAUX CLOISONNÉES ET ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLE64 cm (25 1/4 in.) high Footnotes:A CLOISONNÉ ENAMEL AND GILT COPPER ALLOY STUPAQING DYNASTY, 18TH CENTURY ProvenanceAn American CollectionChristie's, Paris, 13 June 2018, lot 209 This unusually large gilt-bronze and cloisonné enamel stupa follows the most ancient form of stupa replicating the monumental burial mounds of ancient India that were appropriated into Buddhism as depositories for Buddha's relics. The stupa is dominated at the centre by a large dome and aperture wreathed with gold, resting on a circular stepped base and surmounted by a tall spire consisting of thirteen stacked gold discs telescoping in size from large to small in an upward direction, representing the ten bodhisattva levels and the three stages of a buddha, tapering towards the top and crowned by an ornate parasol suspending strands of beads, and topped by a tapering flame diminishing into the state of luminosity-emptiness, all set on a gilt-metal tiered circular pedestal and entirely decorated with lotus scrolls on a vibrant turquoise ground. The elaborate shape of this stupa evolved over a long time. Originally, burial mounds were erected over the bodies of great teachers who were buried in a seated, meditative position. The basic form of the stupa was adopted by Buddhists who saw the dome of the stupa not just containing a great master seated in meditation, but Buddha seated in padmasana with his legs crossed in a meditative pose when he achieved enlightenment, his upright body represented by the tall spire of stacked discs, and the top of the spire representing his head. As Buddhist doctrine spread from India to Nepal, Tibet and China, the form of the stupa changed while their function remained the same. Stupa were made in large as well as smaller, scaled-down versions, and in many different materials, often containing small relics or a small image of Buddha. This large stupa would also have contained an image of the seated Buddha Amitayus, the Buddha of Infinite Life, within the cavity of the dome, the unmoving center, a space of stillness, peace, and enlightenment. The spire (yasti) symbolizing the axis mundi, centre of the cosmos bisecting sacred Mount Meru, centre of the Buddhist world, surrounded by a harmika and crowned by an umbrella (chattra). This impressive gilt-bronze and cloisonné enamel stupa was made in the 18th century, probably during the reign of the Qianlong emperor (1736-95), a devout practitioner of the Tibetan form of Buddhism. Its unusually large size, attention to detail including the multi-tiered base and stairs recall imperial architecture, suggesting that this stupa was commissioned by the Qing court. The strong imperial patronage of Tibetan Buddhism and the support of the Dalai and Panchen lamas of Tibet was an important point in pacifying the Tibetan-Mongolian subjects. Between the three Qing emperors Kangxi (1662-1722), Yongzheng (1723-35) and Qianlong (1736-95), twenty-five Tibetan Buddhist temples were founded, all three emperors being the dominant financial supporters. Under the Qianlong emperor, Beijing, Chengde and Mount Wutai in Shanxi were transformed into major Tibetan Buddhist centres, the emperor initiating and financing the construction of many monasteries of the dominant Gelugpa order. He similarly initiated the construction of Tibetan Buddhist shrines within his many palaces, dedicating the largest part of religious space within the Forbidden City to Tibetan Buddhist shrines with resident lama, see Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City. The Glorious Reign of Emperor Qianlong, New York, 2004, pp. 128-130. Six shrines dedicated to Tibetan Buddhism with a distinctive layout were constructed in the imperial residences for the emperor's personal use, three of them in the Forbidden City in Beijing. Each shrine consisted of six double-storied cells flanking a central hall, all furnished with large religious paintings, images, and ritual objects. In the Fanhua Lou, the Building of Buddhist Brilliance, located in the retirement compound of the Qianlong emperor in the Forbidden City, a monumental cloisonné enamel stupa is at the centre of each cell (Fig. 1), see The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 148-149 and pl. 141; also Chuimei Ho and Bennet Bronson, op.cit., pp. 133-139. A pair of massive stupa can be seen flanking the main altar at the Pu-to-cong-cheng (Temple of the Potalaka Doctrine) at the Imperial Summer Retreat in Chengde, see A Special Exhibition of Buddhist Gilt Votive Object, Taipei, 1995, p. 20, fig. 5. As a sign of filial piety and devotion to Tibetan Buddhism, in 1777, the Qianlong emperor decreed a stupa be made of solid gold to store his mother's hair after her death together with an image of the Buddha Amitayus, see Chuimei Ho and Bennet Bronson, op.cit., pp. 152-153, fig. 181. Several cloisonné enamel stupa of 18th century date are known. Compare, for example, a cloisonné enamel stupa of the same size, also dated to the 18th century, in the collection of the National Museum of Art, Smithsonian Institution, Washington, DC, accession number F1991.6. A slightly smaller, gilt-bronze and cloisonné enamel stupa in the Palace Museum collection, Beijing, is published in The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 150, p. 142. A smaller example formerly in the Ann and Gordon Getty collection, was sold in Christie's New York, 23 October 2022, lot 524.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金掐絲琺瑯佛塔清 十八世紀來源美國私人收藏佳士得，巴黎，2018年6月13日，拍品209這座構造龐大的銅鎏金掐絲琺琅佛塔，遵循了古印度存放佛陀舍利的墓丘佛塔的樣式。佛塔中央見大圓頂及開口，圓頂周圍鑲有金絲，底部是一個圓形階梯基座，上面是由十三個金盤組成的高塔尖，金盤由下至上尺寸遞減，代表十個菩薩層次和三個佛陀的階段，頂部是則為華蓋，懸掛串珠，並以逐漸變細的火焰作為頂飾，象徵光明空性的狀態。此構造安置於一個銅鎏金圓形底座上，整體裝飾有捲葉蓮紋，底色為鮮艷的綠松石色。大型佛塔內部成為一個靜止、安寧、和平與令人得開悟之空間，或曾供奉一尊無量壽佛像。尖塔（剎）象徵著世界的軸心，穿過須彌山正中，即佛教世界的中心。佛塔之鑄造工藝精湛，銅鎏金以及掐絲琺琅相映成輝，可能製作於十八世紀，或為乾隆皇帝（1736-95）在位期間。乾隆正是一位虔誠的藏傳佛教修行者。其不尋常的碩大尺寸，以及多層基座及階梯上的精緻細節，讓人聯想到皇家建築，表明這座佛塔可能是由清朝宮廷所委託而造。對藏傳佛教的鼎力資助，以及對西藏達賴和班禪喇嘛的支持，是清廷穩定藏蒙兩族人民的重要方式。在康熙（1662-1722）、雍正（1723-35）和乾隆（1736-95）三位皇帝在位年間，一共建立了二十五座藏傳佛教寺廟，而皇帝都是其主要的財政支持者。在乾隆皇帝統治下，北京承德以及山西五台山皆轉化為主要的藏傳佛教聖地，由皇帝發起並資助了許多當時極盛的格魯派的寺廟。同時，乾隆亦在其諸多宮殿內建立佛堂，將紫禁城內主要的宗教場所變為駐有喇嘛高僧之佛堂（見Chuimei Ho 及 Bennet Bronson，《Splendors of China's Forbidden City ——The Glorious Reign of Emperor Qianlong》，紐約，2004年，頁128-130。已知幾件亦為十八世紀之掐絲琺瑯佛塔可資比較。例如，一件同樣大小的掐絲琺瑯佛塔，收藏於華盛頓特史密森尼學會國家藝術博物館（編號F1991.6）。另一件略小的鎏金掐絲琺瑯佛塔著錄於《故宮博物院藏文物珍品大系43：金屬胎琺瑯器》，香港，2002年，頁150，圖版142。另一較小之例，曾屬於Ann 及 Gordon Getty 收藏，於2022年10月23日在紐約佳士得拍賣，拍品524。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Los 9
BOL À AUMÔNES EN ÉMAUX CLOISONNÉS ET ALLIAGE DE CUIVRE DORÉDYNASTIE MING, MARQUE À SIX CARACTÈRES ET ÉPOQUE JINGTAI7.1 cm (2 3/4 in.) high; 14.1 cm (5 1/2 in.) diam. Footnotes:A CLOISONNÉ ENAMEL AND GILT COPPER ALLOY ALMS BOWLMING DYNASTY, JINGTAI SIX-CHARACTER MARK AND OF THE PERIODThe shape of this simple yet elegant bowl with its gently tapered body, generous rounded shoulders, flat bottom and narrowed opening is representative of the objects used in Buddhist religious ceremonies as well as in daily life by monastics. Its shape, composition and size are described in the monastic rules where it is stipulated that an alms bowl should be crude in form to not create greed, dark grey in color to not incite desire, and of a fixed size to encourage contentment. An alms bowl was considered a requisite and was one of only six objects including three garments, a stool, and a water strainer, that a Buddhist monk was allowed to own. The basic shape of this bowl originally stems from metalwork first introduced from Persia or Central Asia to China. The present alms bowl is heavily cast and exquisitely decorated in vibrant enamels around the exterior with a band of large lotus blooms with radiating multi-coloured, spiky petals, borne on meandering leafy stems with smaller lotus buds, all on a bright turquoise ground, the interior and base richly gilt. Both the material and decoration defy monastic rules of simplicity and functionality. The bowl is made in the highly complex cloisonné technique which involved creating designs on metal surfaces using coloured glass paste which was then placed within spaces created by thin copper or bronze wires bent into the desired motifs and then soldered onto the metal body. The cloisons thus created served to enrich the surface, outline parts of the design and keep the enamel colours from running into each other. As on this alms bowl, the enamels were polished after they had been fired, and the surface of the wires gilt to give the piece added brilliance. Vessels decorated in the cloisonné technique reached China during the Yuan dynasty (1206-1368) yet the earliest dated examples of Chinese cloisonné enamels date to the Xuande reign (1425-35) of the Ming dynasty when this art form flourished under imperial patronage as a massive, covered jar and a small covered box with finely incised Xuande marks from the Uldry Collection demonstrate, compare Helmut Brinker and Albert Lutz, Chinesisches Cloisonné. Die Sammlung Pierre Uldry, Zürich, 1985, col. pls. 4 and 5. Stylistically and technically, these Xuande-marked cloisonné enamel vessels with their heavily cast metal bodies, vibrant enamel palette including yellow, green, blue, red and white, their hammered bronze cloisons and rich gilding as well as their use of lotus scrolls with leaves of varied form, spiral tendrils, spiky leaves and buds, are very close to Jingtai-marked cloisonné enamel pieces. It has been argued that Jingtai-marked wares, which are often of superb quality, are in fact of the earlier Xuande period but with later added Jingtai marks, see Claudia Brown, Chinese Cloisonné. The Clague Collection, Phoenix, Arizona, 1980, pp. 7-8. The present alms bowl with its exquisitely rendered decoration of scrolling lotus scrolls executed in vibrant and colourful enamels testifies to the type of luxury good that was made in the imperial workshops of the early Ming court under the Yongle (1403-25), Xuande (1426-35) and Jingtai (1450-57) emperors. Its rather diminutive size and precious material value suggest that it was meant to be handled and appreciated. The finely incised Jingtai six-character mark on the base of this alms bowl can be compared to that incised on a circular cloisonné enamel covered box in the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasty, Taipei, 1999, cat. no. 1. It is also similar to the Jingtai mark on a dish from the Speelman Collection, sold Sotheby's Hong Kong, 3 April 2018, lot 3406. Fifteenth century marked coisonné enamel alms bowls are very rare. A closely related but larger alms bowl was sold in Christie's Hong Kong, 29 May 2007, lot 1435.銅鎏金掐絲琺瑯缽明 景泰 「大明景泰年製」款此缽造型簡潔而優雅，肩部圓潤豐滿，腹輕微收細，底部平坦，開口收窄，是佛教宗教儀式及僧侶日常生活中使用器物的代表。這種缽的基本形狀最初源於從波斯或中亞傳入中國的金屬工藝。缽被視為宗教生活之必需品，是佛教僧侶被允許擁有的六樣物品之一，其餘則包括三件衣物、一張凳子和一個過濾水的器具。雖然這樣的缽的形狀、結構和尺寸在僧侶規則中有所描述，其中規定缽應外形粗糙以免僧侶生貪念，顏色深灰以免引起欲望，大小固定以鼓勵知足，但此缽鑄造厚實且外部飾有鮮艷的琺琅彩，包括一圈碩大的飽滿尖瓣蓮花，生於捲葉蓮莖上，小巧的花蕾點綴其間，色彩絢麗，映襯著明亮的綠松石色背景與缽內和底部的厚重鎏金。顯然，無論其材料或是其裝飾皆違反僧侶中對簡樸和功能性的規定。掐絲工藝創造出獨立的空間，勾勒成精心設計的細節以令琺琅彩不相互流淌混合。如此缽上的琺琅彩，在經過燒制後被打磨拋光，並在金屬絲表面鎏金，使得整件作品更加璀璨。掐絲琺瑯裝飾的器皿在元朝（1206-1368）期間傳入中國，然而最早可追溯的刻有年款之中國掐絲琺瑯器為明朝宣德年間（1425-1435），這一藝術形式在宮廷的贊助下繁榮發展，如Uldry收藏所示的一件大型蓋罐和一件小蓋盒，上刻精細的宣德年款，見Helmut Brinker 及 Albert Lutz，《Chinesisches Cloisonné. Die Sammlung Pierre Uldry》，蘇黎世，1985年，彩色圖版4及5。自風格與工藝而言，宣德年間的銅胎掐絲琺瑯器與景泰年間的產物十分近似。此缽上鮮艷多彩的琺瑯飾捲葉蓮花的絢麗工藝，正證明著明朝早期永樂（1403-25）、宣德（1426-35）以及景泰（1450-57）三朝宮廷皇家工坊製作的奢侈品樣式與品質。相對較小的尺寸以及珍貴的材料表明其原為置於手上品玩欣賞而作。缽底細刻景泰六字款，可以與台北故宮所藏的一個圓形掐絲琺琅蓋盒上的款識相較，該蓋盒於《明清琺瑯器展覽圖錄》（台北，1999年）中作為圖錄1號作品而展示。此外，其亦可另一件Speelman舊藏之掐絲琺瑯盤之景泰款相似，見蘇富比，香港，2018年4月3日，拍品3406。十五世紀且帶年款的掐絲琺琅缽非常罕見。一個與之相似但尺寸更大之例可參考佳士得，香港，2007年5月29日，拍品1435。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Los 373
A 19th century emerald and enamel necklace, the engraved links leading to a central scroll frontispiece with scallop and fan detail, with similarly designed clasp and panel motifs to either side, highlighted throughout with blue and white enamel and set with step-cut emeralds, length 46cm. £200-£300 --- According to a PMI test on the XRF analyzer, the necklace is testing as gold plated. Condition Report The whole necklace in worn condition. There is patchy loss to the enamel detail. The emeralds have damage to their collet settings; the stones show some general wear, the settings are foiled back, one of which is discoloured. The clasp is damaged - half the tongue is lacking, and no longer closes. Gross weight 35.1gm.
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396323 Los(e)/Seite