Freres Melly, A Paris. A gilt metal key wind open face pocket watch with Vernis Martin portraitDate: Circa 1790Movement: Gilt full plate fusee verge, pierced and engraved balance bridge, silver regulation, square baluster pillarsDial: White enamel, black Roman numerals interspersed with zircons, black outer minute track with Arabic numeral 5 minute markers, winding aperture at 2, gilt handsCase: Consular form with applied three colour gold bezel foliate decoration, portrait to reverse in Vernis Martin after a self-portrait of Rubens, diamond set push piece, D shaped bowSigned: Dial & movementSize: 44mmFootnotes:The oval portrait to the reverse is strikingly similar both in the detail and colour to the two self-portraits painted by Rubens, one of 1622 in Windsor Castle and the other, originally given by the artist to the Provencal antiquary Nicolas Fabris de Peiresc in 1628, now in the National Gallery, Canberra, Australia. It is, highly unusually for a small object such as a watch, painted in Vernis Martin, this having a degree of blistering very similar to that often found on oil paintings. Vernis Martin is a lacquer substitute perfected by the French martin brothers generally found on highly sought after late eighteenth century painted furniture.Provenance:Rt. Hon Marguerite, Lady Hastings and Rt Hon. Lord Hastings, Sothebys & Co December 15th 1958 lot 131T P Camerer Cuss CollectionIllustrated:The Country Life Book of Watches, T P Camerer Cuss, Country Life, 1967, colour plate IIThe Camerer Cuss Book of Antique Watches, T P & T A Camerer Cuss, AC C 1976, colour plate 3Reference:David Howarth, Rubens's 'owne pourtrait', Apollo Magazine Oct. 1990For further information on this lot please visit Bonhams.com
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Chaponniere. A continental gold and enamel key wind open face pocket watchDate: Circa 1800Movement: Gilt full plate fusee verge, silver regulationDial: White, black Roman numeral hour markers, black outer minute divisions with Arabic numeral five minute markers, winding aperture at 2, gilt beetle and poker style handsCase: Hinged consular, enamel decorated reverse depicting a young boy with flora and faunaSigned: Movement, case stamped NCSize: 41mm Accompaniments: Pocket watch keyFor further information on this lot please visit Bonhams.com
Lepautte, Paris. A continental gold key wind open face pocket watch with enamel decorationDate: Cira 1800Movement: Gilt full plate fusee verge, plain 3-arm balance, silver regulation, No.237Dial: White, black Roman numeral hour markers, black outer minute divisions with Arabic numeral five minute markers, winding aperture at 2, gilt beetle and poker style handsCase: Consular with enamel scene to back depicting a maiden with a dogSigned: Dial & movementSize: 42mm Accompaniments: KeyFor further information on this lot please visit Bonhams.com
P Braamer, Amsterdam. A silver key wind pair case calendar pocket watch with enamel decorationDate: Circa 1720Movement: Gilt full plate fusee verge, pierced and engraved balance bridge, silver regulationDial: Silver champlevé, black Roman numeral hour markers, black outer minute track with Arabic numeral 5 minute markers, date aperture above 6, gilt Louis XV style handsCase: Polished inner, foliate decorated outer with two profiles in relief, enamel panel depicting a man and a womanSigned: Dial & movementSize: 57mmFor further information on this lot please visit Bonhams.com
A continental gold and enamel key wind full hunter jump hour pocket watchDate: Circa 1890Movement: Cylinder escapement, plain 3-arm balanceDial: Apertures for jumping Arabic numeral hours and minutesCase: Polished round with enamel foliate decoration, No.6011Size: 38mmFor further information on this lot please visit Bonhams.com
Klaftenberger, 157 Regent St, London. An 18K gold keyless wind full hunter pocket watch with enamel full length portrait to case frontDate: Circa 1860Movement: Gilt 3/4 plate English lever, cut and compensated bi-metallic balance, No.11298Dial: White, black Roman numeral hour markers, black outer minute track, subsidiary seconds at 6, blued steel spade handsCase: Engine turned hinged, enamel full length portrait to front, presentation inscription to inner back, No.41018Signed: MovementSize: 49mmFor further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Hommage à Parthenis signé en grec et daté '67' (en bas à droite)huile sur toile55 x 46cm (21 5/8 x 18 1/8in).Peint en 1967.signed in Greek and dated ( lower right)oil on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 911, p. 353 (illustrated), p. 497-498 (catalogued), p. 498 (illustrated).I had the good fortune to apprenticeunder Constantinos Parthenis.Working with him I studied nature andgrasped the importance of line and colour.N. Engonopoulos1 An unconventional, modern-day Orpheus, with cool sunglasses and rock-star hairstyle in a dazzlingly yellow chlamys, plays his lyre standing between a tall building that echoes similar structures in works by C. Parthenis2 and a robust tree trunk that conveys an equally commanding presence. The scene is crowned by two Greek flags, fluttering in the morning breeze against a luminous sky, and a set of the artist's signature clouds3 traveling over a dazzling, enamel-blue sea. Orpheus, the archetype of the poet as liberator and creator, held a particular fascination for Engonopoulos, who depicted him many times over a period of more than thirty years, often adopting him as his own persona. Lean and elegant, he is reminiscent of the Minoans immortalised on the Knossos frescoes while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.4 Parhenis, the artist's revered teacher at the Athens School of Fine Arts, was extensively involved with the hero. Implementing unexpected juxtapositions and undermining accepted norms of narrative cohesion, the artist creates a dreamlike atmosphere, introducing the viewer to an enigmatic world of poetic metaphor. The coexistence of mythical past and modern reality sets forth the main aesthetic and ideological preoccupations of the 1930s generation and faithfully reflects the artist's resolve to probe into the inner world of Greekness. He transports us from ancient/mythical times to the present say, using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in both miniature manuscripts and narthex decoration.5 This persistence on indigenous cultural experiences combined with a deep sense for history clearly indicates that 'while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a 'connecting link' that would restore cultural continuity.'6 As perceptively noted by art historian N. Loizidi, 'Engonopoulos formulated a new mythology, giving us some imaginative and creatively unorthodox interpretations of Greek myths enriched by the 'objective humour' and method of irrational surrealist expression.'7 1 N. Engonopoulos, as quoted in Epitheorisi Technis magazine, March 1963, pp. 193-197.2 See E. Benisi, Nikos Engonopoulos and Cityscapes [in Greek], doctoral dissertation, vo. 1, Athens 2002, p. 793 The travelling clouds seen through the rectangular opening on the background wall recall the verses from the artist's poem Orpheus: once - while the sun / was setting - / he noticed up in the sky's blue / enchanting oblong / clouds / - about which in Kavouri a gendarme / as if repentant once exclaimed: / 'lo and behold, Engonopoulos's clouds!' 4 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.5 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos publ., Athens 2006, p. 228. 6 N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.7 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 144.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Nu signé en grec et daté '41' (en bas à droite)huile sur toile100 x 120cm (39 3/8 x 47 1/4in).Peint en 1941.signed and dated (lower right)oil on canvasFootnotes:ProvenanceV. Embeirikos collection, Athens.Private collection, Athens.ExpositionsAthens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 13 (listed in the exhibition catalogue, p. 42).LittératureKathimerini newspaper, February 12, 1989 (illustrated).Sima magazine, no. 1, March-April 1991, p. 62 (listed with comment).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 297, p. 255 (illustrated), p. 423 (catalogued and illustrated).To Vima newspaper, October 21, 2007, p. A55 (illustrated).D. Connolly ed., Nikos Engonopoulos, The Beauty of a Greek, Ypsilon editions, Athens 2007, p. btw 64-65 (illustrated).Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros 2017, p/ 125, fn. 3 (mentioned).I love the bodies of women.With their breasts they eliminate our loneliness.Nikos Engonopoulos Always beautiful, seductive and full of life, the female form was a constant source of inspiration throughout Engonopoulos's career, a fundamental subject in both his painting and poetry. Here, set in a luminous interior against a typically Greek island townscape crowned by the unmistakably Engonopoulean formations of travelling clouds, a voluptuous female nude reclines languidly on a sofa holding a red bud in her left hand (Engonopoulos adored flowers and especially roses) and looking towards a still-life with luscious fruit that discreetly heightens the sensuality of the scene. 'I love the nude body more than the face' the artist noted in an interview. 'I love it because it is the chalice of life. As expressive as life is, even when tired. As sparkling as life is, when young.'1 Equally brilliant is the colour, a key element throughout Engonopoulos' career. Applied side by side, the enamel-like reds and blues invite the viewer to a festive ritual of pure colour. 'Engonopoulos is a wizard with colour, which he handles with conscious daring, unique aptitude and undisputed love.'2 As Errieti Engonopoulou, his daughter, notes, 'for him each colour has its own value, its own voice'3; much the same as in Byzantine art, which Engonopoulos always considered the art form Greeks most closely relate to.4 1 Apogevmatini newspaper, August 2, 1969.2 S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa publ., Athens 1974, p. 262.3 E. Engonopoulou, 'Freedom and Discipline' in Nikos Engonopoulos, The Painter and the Poe, [in Greek], Kathimerini newspaper, Epta Imeres, May 25, 1997, p. 23.4 See Epitheorisi Technis magazine, March 1963, no.99, pp. 193-197.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A gold plated keyless wound hunter pocket watch, the circular enamel dial with Roman numerals and seconds subsidiary dial inscribed Waltham, together with faux pearl earrings, a Georg Jensen Botanique leaf brooch, a gilt metal and hardstone set fob seal and assorted costume jewellery including faux pearls, earrings, brooches etc
An 18ct yellow gold and platinum daisy ring, set with seven old round cut diamonds, size P, approximately 2.5 grams CONDITION REPORT: None of the diamonds appear to be chipped or fractured, the dark patches surrounding the diamonds are not black enamel, it is a build up of dirt, the ring is in need of a clean, there are no other inscriptions and it does not appear to be re-sized or adjusted
An 18ct yellow gold half hunter fob watch, case enamelled with blue Roman numerals on an orange enamel ground, overall approximately 38 grams CONDITION REPORT: None of the clocks and watches are sold as working, however it does wind and tick, inner dusk cover is marked 18k, the inscription is shallow however the inner dust cover is very thin, 36mm diameter overall
An Arts and Crafts inspired white metal brooch set with irregular pearls and turquoise beads with enamel decoration together with a 9ct yellow gold bar brooch set with a circular faceted amethyst and a pair of double drop amethyst earrings CONDITION REPORT: Amethyst earrings - facets all still sharp, internal inclusions, some repairs to setting, Bar brooch - facets rubbed, Brooch - some enamel loss, in worn condition
A FRENCH GILT-BRASS AND ENAMEL 'GLOBE' CLOCK, REDIER ET CIE, PARIS, CIRCA 1875 the eight day movement with cylinder escapement and concealed winding contained within an enamelled globe with longitude lines and differently coloured continents, the gilt equatorial ring applied with two sets of 12 hour numerals on enamel bosses between a band of engraved quarter hour indicators and a band engraved with further 12 hour numerals, a blued metal pointer from the North pole indicating the time against the ring, signed with a monogram for Antoine Redier within a shield and above also signed ‘REDIER A PARIS 1873.’ beneath the equatorial ring, the globe on an inclined axis mounted in a gilt-brass gimbal, the position maintained by a concealed counterweight, set on a baluster turned socle and red marble octagonal plinth, with a two-prong key to be inserted into the base of the gimbal and globe allowing the globe to be rotated to wind the movement, 18cm highAntoine Redier (1817-1892) was an innovative clock-maker, credited with the development of the portable ‘bedside’ alarm clock, obtaining twenty-seven patents of invention or improvement for various time-keeping and recording devices. Despite the fame and success garnered during his career, Redier’s life ended in penury, apparently ruined by an unscrupulous banker.For other examples of this model, see Pousse-Cornet, Blois, 27 June 2021, lot 220 and Sotheby’s, London, 15 June 2004, lot 104.
☐ AN EDWARDIAN SILVER AND ENAMEL PHOTOGRAPH FRAME, DEAKIN & FRANCIS LTD., BIRMINGHAM, 1904 the relief mount with hammered ground against stylised lilies flanking a vacant cartouche, with contemporary blue and green enamel highlights to two flowers to top and to bean-shaped motifs to base, with bevelled glazing and a shaped oak back with easel strut, 24cm long
☐ A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, J. & R. GRIFFIN OF BIRMINGHAM, CHESTER, 1905/07 rectangular, each relief mount with a bobbled ground under stylised irises, the four flowerheads later decorated in blue and green enamel paint, each with a vacent ovoid boss to top, glazed over oak backs with easel struts, 31.5cm long
A FRENCH GILT-BRASS CARRIAGE ALARM CLOCK, DIETTE-HOUR FOR MAISON CARTIER, PARIS, 1890s eight-day timepiece movement, enamel dial and subsidiary alarm dial with arabic numerals behind a frosted mask set with a surrounding border of faceted pastes, dial signed 'CARTIER PARIS', Corniche case, backplate stamped DH, with key, 14.5cm high with handle raised
☐ A MATCHED PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, BIRMINGHAM, 1902/07 each relief mount with stylised fruits and foliage centred at the top by a flowerhead later decorated in blue and green enamel paint, with bevelled glazing, the shaped oak backs with easel struts, one Reynolds & Westwood, Birmingham, 1902, one Nathan & Hayes of Birmingham, Chester, 1907, 35cm long
A FRENCH SILVER SNUFF BOX, PARIS, MID 19TH CENTURY rounded oblong, with blue taille-d'épargne scrolling strapwork surrounding panels of enamel highlighted engraved flowers, all on a variety of engine-turned grounds, gilt interior, maker's mark indecipherable, 800 standard Minerva head, 9cm long, 98g
A Very Rare Officer's 1829 Pattern Shako Of The 3rd Bombay Native Infantry The 'beaver' covered body with broad gold lace band around the top and a narrow lace band beneath, the gilt-metal and silver frontal plate of standard star pattern overlaid with a silver-gilt and green enamel plate, the strap pierced with the honours 'Buxar' and 'Guzeratt' enclosing 'III', sunken black leather top and unbound peak, tall four leaf gilt-metal plume-holder with white over red feather plume, velvet-lined graduated gilt-metal chinscales with floral button fastener, and ornate foliate supports, the interior with original retailer's label of Oliphant's, Cockspur Street, London (leather sweatband missing)For further information on this lot please visit Bonhams.com
An Indian Pesh-KabzLate 18th CenturyWith shapely tapering blade of very finely watered wootz steel reinforced along the bright cutting edge, the spine of T-section, silver basal mount enamelled in green and blue, and beaked walrus-ivory grip of oval section with silver tang button on a silver floret-shaped washer, in original wooden scabbard covered in fabric (worn) embroidered with flower-heads and retaining the remains of the gold thread and spangle decoration, the silver locket (split on each side) and chape decorated with repeated flower-heads and foliage in polychrome enamel (minor damage), and each with a pierced double arabesque on both sides, the chape with bud-shaped terminal 27.5 cm. bladeFootnotes:For a related example see Robert Hales, Islamic And Oriental Arms & Armour..., 2013, p. 9, fig. 20For further information on this lot please visit Bonhams.com
The Grand Cross Mantle Star Of The Most Distinguished Order Of St. Michael And St. George Worn At Investitures By George IV And William IV And Presented By Admiral Sir George Seymour To His Excellency Lt. General Sir Gaspard Le Marchant, Governor of Malta in 1860Circa 1820Of polychrome enamelled silver-gilt, the central medallion finely painted with St. Michael vanquishing Satan (dark blue motto enamel with some old repairs and later minor damage, red enamel with areas of minor damage), and centred on the bright-cut parcel-gilt star: mounted beneath a domed glass frame of hexagonal form covered in burgundy velvet with gilt-metal mounts, the outer border pierced and engraved with foliage, and surmounted by an applied elaborately pierced and engraved 'VR' monogram centred on a crown, the reverse with central gilt medallion engraved 'THIS STAR OF THE GRAND CROSS OF THE ORDER ST. MICHAEL & ST. GEORGE WAS WORN AT INVESTITURES BY THEIR MAJESTIES GEORGE IVTH AND WILLIAM IVTH AND WAS PRESENTED BY ADMIRAL SIR GEORGE SEYMOUR, G.C.B. TO HIS EXCELLENCY LT. GENERAL SIR GASPARD LE MARCHANT GOVERNOR OF MALTA. 1860', hinged and pierced gilt-metal stand, and three rings for suspension The order 24 cm. wide, the frame 36.6 cm. wide X 50 cm. highFootnotes:ProvenanceLanglois Ltd. Auction, Guernsey C.I., according to an old label attached of the back of the frameAdmiral of the Fleet Sir George Francis Seymour, GCB, GCH, PC (1787-1870) joined the Royal Navy in 1797 and was assigned to the Royal yacht HMY Princess Augusta. In March 1798 he was transferred to HMS Sans Pareil and to HMS Prince of Wales in the West Indies later the same year. He was present at the surrender of Suriname in August 1799, and on promotion to midshipman he transferred to HMS Acasta in early 1800. During 1802 Seymour served aboard HMS Endymion and HMS Victory, flagship of the Mediterranean Squadron. Promoted to Lieutenant in October 1804, he took part in the pursuit of the French Fleet, and was present at the capture of the Spanish Rayo (100 guns) in October 1805. Promoted to Commander in 1806 Seymour served as commanding officer of HMS Northumberland in 1806 and fought at the Battle of San Domingo under Sir John Duckworth where he was wounded. He took part in the blockade of Rochefort, and was promoted to Captain in July 1806. In 1808 he was given command of HMS Pallas and fought at the Battle of the Basque Roads in 1809. During the War of 1812 he captured the privateer USS Paul Jones in May 1813 whilst in command of HMS Leonidas. Appointed a Companion of the Order of the Bath in June 1815, he became Serjeant-at-Arms to the House of Lords in 1818. He was appointed a Knight Commander of the Royal Guelphic Order in 1831 and was knighted later the same year. In 1834 he was advanced to Knight Grand Cross of the Royal Guelphic Order. In June 1837 he attended the funeral of William IV, his last act as Master of the Robes to the King. Appointed Third Naval Lord in September 1841 and soon promoted to Rear Admiral, he became Commander-in-Chief Pacific Station in May 1844. His tactful handling of the 'Pritchard Affair' during the Franco-Tahitian War that same year avoided a confrontation with the French Government. Promoted to Vice-Admiral in March 1850, he became Commander-in-Chief North America and West Indies Station in January 1851. In 1856 he was Commander-in-Chief, Portsmouth and was promoted to Full Admiral in May 1857. Appointed Rear-Admiral in 1863, Vice-Admiral in 1856, he became an Admiral of the Fleet in November 1866. Following his death in 1870 his body was placed in a tomb on which rests a recumbent marble sculpture of him by Victor Gleichen, at Holy Trinity Church, Arrow, near the family seat at Ragley Hall in WarwickshireLieutenant General Sir John Gaspard Le Marchant, GCMG, KCB (1803-1874) was the son of Major-General John Le Marchant, founder of the Royal Military College, Sandhurst and designer of the 1796 Pattern Light Cavalry sabre. In 1820 he was commissioned into the Royal Lincolnshire Regiment as ensign. In 1821 he transferred to the 57th Foot as Lieutenant and later into the 98th Foot with the rank Major. In 1835 he became Adjutant-General of the British Auxiliary Legion in Spain in support of Queen Isabella II in the First Carlist War. He transferred to the 20th Foot in 1837 and was appointed a Knight of the Order of Charles III by Isabella II the same year, being given permission to use his Spanish knighthood in Britain. He transferred to the 99th Foot as Lieutenant-Colonel in 1839, and to the 85th Foot in 1845. In 1847 he reluctantly accepted the governorship of Newfoundland, and served as Lieutenant Governor of Nova Scotia between 1852-58, before becoming Governor of Malta until 1864. In 1865 he was appointed Commander-in-Chief of the Madras Army and retired in 1868. His memorial stone is in Town Church, GuernseyFor further information on this lot please visit Bonhams.com
A Lt. Colonel's Full Dress Tunic Of The Derbyshire Regiment (Sherwood Foresters)Circa 1881-1904Of red cloth with green facings, gold lace decoration and gold cord epaulettes, complete complement of gilt unit buttons for 1881-1901, and collar badges in silver, gilt and blue enamel bearing Imperial crown but to the Derbyshire regiment (1901-1904); together with a pair of navy blue cloth overalls with narrow red outer stripes, and a gold and red leather levee pattern sash; and an officer's full dress tunic of the Cheshire Regiment, circa 1881-1914, of red cloth with buff facings, gold lace decoration and gold cord epaulettes (rank badges missing), and complete complement of gilt unit buttons (4)For further information on this lot please visit Bonhams.com
A silver pair cased pocket watch, hallmarked London 1796, the pocket watch maker is Isaac Rogers of White Hart Court on Greenwich Street, it has a white enamel dial with Roman numeral hour markers and arrow hands, the pair case is approx 56mm in size, it has a Verge key wound movement signed Isaac Rogers, London 20202
A white metal repeater half Hunter pocket watch, stamped in the case back 0.935 along with the Swiss control mark, the back of the case is engraved and reads "HMS Collingwood RJP from WEE 1896 Mediterranean", it has a crown wound movement with a white enamel dial and black Roman numeral hour markers
A silver Verge pocket watch with a continental white metal pair case, the pocket watch is hallmarked London 1741, the repousse pair case is circa 18th Century, the pocket watch has a white enamel dial with Roman numeral hour markers, movement is signed J Wilders of London, 3447, approx 50mm pair case and approx 42mm pocket watch case size, included in the pair case is an embroidered case liner
A 9ct gold Longines and Mappin & Webb wristwatch, the watch is on a yellow metal bracelet stamped on the clasp 750, it has a manually crown wound Longines stamped movement, g/w approx 73gms, it has a white enamel dial with Arabic numeral hour markers and sub-second dial, Longines and Mappin is also stamped on the dial
An Art Deco silver and guilloche enamel vanity set, each with a turquoise enamel decoration comprising glass jar and lid, mirror, two hairbrushes, two clothes brushes together with a silver framed manicure stand suspending nail buffer, nail file and cuticle pushers, Birmingham 1929/30/33, makers mark for Danial Manufacturing Company, and Sanders & McKenzie
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396323 Los(e)/Seite