PenduleFrankreich, um 1870. Stil Louis XV. Holzgehäuse mit Sockel und Aufsatz und reicher, feiner Boulle-Marketerie aus Horn und Messing. Reich verzierte, vergoldete Bronzebeschläge. Vergoldetes Bronze-Zifferblatt mit Reliefornamentik. Stahlzeiger. Emailkartuschen mit römischen Ziffern. Messingwerk mit Ankerhemmung und Pendelgang. Halbstundenschlag auf Glocke. Pendel mit Federaufhängung. Gangfähig. Schlüssel vorhanden. H 132.5 cm.- Leichte Altersspuren, Verschluss der Fronttüre ergänzt.
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1 Paar Figuren "Jeu de Grace"Frankreich, um 1900. Nach den Modellen von Vincent Désiré Faure de Broussé (Paris?–1908). Bronze vergoldet. Auf den Sockeln Messingschilder mit Inschrift: "JEU de GRACE par Faure de Broussé". 2 junge Frauen mit faltenreichen Gewändern, je mit 2 Auffangstäben einen Reifen balancierend. Auf rote Marmorsockel mit Messingfuss montiert. H 29,5 cm.- Leichte Altersspuren. Vergoldung berieben.
Figurengruppe "La Récompense"Frankreich, Ende 19.Jh. Nach dem Modell von Ernest Rancoulet (tätig ab 1870–1915). Bronze mit goldbrauner Patina. Bezeichnet: "Rancoulet". Am Sockel bezeichnet: "La Récompense" (Die Belohnung). Messingplakette mit Widmungsinschrift: "Offert par Son Altesse LE PRINCE ROLAND BONAPARTE GLARIS 1892". Auf Terrainsockel stehender junger Mann mit Pflug, Zahnrad, Buch, Palette, Zirkel und Äskulapstab (Allegorie der Industrie und Landwirtschaft), dem Fortuna ein Füllhorn überreicht. Auf runden Sockel montiert, drehbar. H 86 cm. - Altersspuren. Stellenweise leicht berieben.
Lantaka-SeegeschützIndonesien, 18. Jh. Diese leichten Bordgeschütze aus Bronze waren regelhaft in einem schwenkbaren "Stativ" montiert. Das Rohr mit Visier und Korn ist im hinteren Bereich mit reliefiert floralen und geometrischen Motiven gestaltet, was auch auf den Mündungsbereich zutrifft. Die Zündpfanne wird von zwei Zapfen flankiert, Kal. 24 mm, L ca. 66 cm.
Kaminuhr AmorFrankreich, um 1820, Restauration. Gehäuse aus brünierter Bronze mit vergoldetem, ziseliertem Reliefzierat. Figurenaufsatz "Amor mit Pfeil" aus feuervergoldeter Bronze. Guillochiertes, vergoldetes Zifferblatt. Stahlzeiger. Pendulenwerk mit Halbstundenschlag auf Glocke. Pendel mit Fadenaufhängung. Gangfähig. Schlüssel vorhanden. H 38 cm.
Wiener ReiseuhrUm 1840. Auf dem Zifferblatt signiert Heckel (Anton Felix Heckel, Meister 1815). Feuervergoldetes, mit reliefierten und ziseletierten Rocaillen reich verziertes Gehäuse aus Bronze und Messing. Emailzifferblatt. Stahlzeiger. Wiener Reiseuhrwerk mit Schlüsselaufzug über Kette und Schnecke. Spindelhemmung. Ornamental durchbrochene Unruhbrücke. Wiener Vierviertelschlag auf zwei Tonfedern. Zugrepetition. Schlagwerkabstellung oberhalb des Zifferblatts. Gangfähig. Schlüssel vorhanden. H 21,5 cm.- Vergoldung partiell berieben, das Zifferblatt mit Haarrissen. Zeigerstellung zu revidieren.
A RARE AND COLLECTIBLE GOLD 'PETITE TÊTE CARÉE' PENDANT, BY ANDRÉ DERAIN (1880-1954)A rare 23K gold pendant, conceived circa 1965, stamped with the artist's signature, incised 'Exemplaire d'auteur 1/2', with the Francois and Pierre Hugo reference numbered '1702' and '2915', stamped with Francois Hugo's hallmark, published by Ateliers Hugo in 2012, within its original wooden fitted case, length 7.9cm, width 5.9cmFor a comparable piece by Andre Derain, see see Hugo, P. and Siaud, C. (2001) Bijoux d'artistes. Artist’s Jewels, Hommage à Francois Hugo, p. 89Long-time friend of François Hugo, Parisian artist and sculptor André Derain (1880-1954) was one of the many creatives who set out to create jewellery pieces at the workshop in the South of France. Alongside Henri Matisse, Derain was founder of the Fauvist movement at the beginning of the 20th century. Derain was initially friends with Francois’ older brother Jean, but later developed an even closer relationship with the younger of the Hugo brothers. Hugo and Derain influenced each other in both their personal and artistic lives. Derain was best man at Hugo’s wedding to his wife Monique and remained close to the couple throughout his life. Having devoted himself to painting in the 1920s, Derain turned increasingly to sculpture during the 1930s. Following World War II, he modelled some medallions in terracotta which were later cast in bronze. Although Derain continued to pursue his passion for sculptural works, his interest in jewellery design and casting emerged from his sculptural practices and was undoubtably propelled to new heights by his friendship with Francois Hugo.In the early days of their friendship, Derain had tried his hand at ceramics with the guide of Hugo, but the collaboration didn’t amount to much and the pieces do not survive. In the late 1940s, Derain once more turned to Hugo to draw upon his knowledge and skill in the creation of 10 sculptural jewels for his wife Alice Prense. Derain’s initial designs were crafted from the lead he had reused from empty paint-tubes from his studio. Six of these jewels were intended to be made in editions of 23 carat gold by Hugo, but Derain tragically died in a road accident in 1954 before the project could come to fruition. Hugo paid homage to the legacy of his friend and legendary artist by eventually making editions in 1966 and 1967.Jewellery made by artists is a rarity. This is not simply down to the fact that there have been only a select number of painters and sculptors who have managed to master the skill involved with making jewellery, but more so because the fruits of their work remain largely buried in private collections. Artist’s jewellery may be given as a gift to a lover, passed down as a family heirloom, or simply kept by the artist themselves. Jewellery of this kind is therefore imbued with a deeply personal nature which is integral to the creative process. The term ‘art jewellery’ itself signifies that the work is handmade and unique. Never mass produced, such jewellery is rather the result of a collaboration between the artist and a jeweller who is trained in the field, or the sole efforts of the artist to step outside his or her own métier to embrace an entirely different world. As with any creative endeavour, the jewellery becomes an extension of the artist’s wider body of work and offers an insight into a realm of design aside from painting or sculpture. The pieces in this sale offer just that and provide us with a glimpse into the intricate workings and personal motivations of three prolific early 20th century artists – Jean Cocteau, André Derain and Pablo Picasso. All three worked under the helm of goldsmith and master-craftsman François Hugo, who provided them with the tools to enable their artistic vision to flourish in the world of jewellery-making.The great-grandson of the eminent writer Victor Hugo and son of painter Georges Hugo, François Hugo’s well-established lineage boasts a host of widely celebrated French cultural figures. François was born in Rovezzano, Italy, in 1899, and trained as an engineer in his early years before entering the creative field by trying his hand at sculpture and painting. He then opened his own workshop in Paris in 1934, where he worked as a silver and goldsmith from 1936 onwards. Throughout the Second World War and following into the late 40s and 50s, François Hugo designed and created buttons from non-precious metals and enamel for fashion houses including Dior, Chanel, Givenchy and Lanvin. His first attempt at creating jewellery had in fact come before the War, in the form of a brief and experimental collaboration with his close friend Andre Derain, but it wasn’t until later that he fully dedicated himself to perfecting the craft of silver and goldsmithing.Francois Hugo was responsible for some of the most important collaborations in precious metals of the twentieth century. Since the 1950s, Ateliers Hugo have famously collaborated with some of the world’s greatest artists and sparked a movement of ‘Bijoux d’Artistes’. Initially, all the artists who Hugo worked with were long-time friends, and included the likes of Max Ernst, Jean Arp, Jean Cocteau, Andre Derain, Dorothea Tanning and Pablo Picasso amongst others. Hugo ingeniously proposed to them to make reduced versions of their works which would be crafted in his workshop and could serve as wearable jewellery. Over sixty-five years later, François’ 32-year-old grandson Nicolas now runs the family business, following in his father and grandfather’s footsteps as the third generation of Ateliers Hugo to create intricate treasures and develop new collections with contemporary artists at their goldsmith workshop in the South of France. The 65th anniversary of Ateliers Hugo was celebrated in 2020 and marked by new collaborations, including one with American artist Josh Sperling, released in April of this year.Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 60.80gplease note that this pendant was authenticated verbally by the workshop HUGO and a certificate of authenticity would be made by the workshop if purchased.
A ROCK CRYSTAL, ONYX, DIAMOND AND CULTURED PEARL PENDANT/BROOCH, BY DAVID WEBBThe rock crystal pendant accented with brilliant-cut diamonds and onyx, suspending a tassel of cultured pearls of white tint, measuring approximately 9.50mm, mounted in 14 & 18K gold and platinum, diamonds approximately 3.30cts total, signed Webb, length 13.2cmDavid Webb began designing jewellery as a young boy growing up in North Carolina. In 1940, he moved to New York at the age of seventeen and apprenticed at his uncle’s silversmith shop, where he learned metal smiting techniques, further honing his keen eye for jewellery design. Five years later, Webb founded his eponymous jewellery line on Manhattan’s Madison Avenue. His brand would go on to help define the direction of American jewellery over the next two decades. Webb’s designs standing out as one of the few artists of the 20th century who lay claim to an aesthetic style which remains wholly their own. Devoted clients of Webb included Jacqueline Kennedy, Elizabeth Taylor and Estée Lauder, all of whom proudly wore his designs throughout the 1950s and 60s. Throughout his lifetime, his pieces took centre stage on the covers of fashion magazines such as Vogue, Harper’s Bazaar, and Town & Country.Webb’s designs are distinguished by a vivid colour palette, dimension, and meticulous attention to detail. He oversaw the whole process of jewellery making, from the initial conceptualisation of the pieces to the finished product, with his entire production process sometimes being comprised of as many as 18 steps before his designs came to fruition. Webb worked in enamel, coral, jade, carved crystal, and gold alongside a vibrant mixture of gemstones and pearls. He drew inspiration from a vast range of cultures and periods, founded in his regular visits to all the museums and collections New York city had to offer. This included the Metropolitan Museum of Art where Webb made a point of going weekly to study and admire the ancient collections housed there, from the painted terracotta vases of the Bronze Age Minoans to the papyri of the Ancient Egyptians and the gold jewellery of the Byzantine Empire. For Webb, a Minoan bull became a gold belt buckle, and Greek penannular bracelets were transformed into the models for his signature gold animal bracelets.It was this breadth of influence, boldness of design and unabashed individuality which drew the attention of First Lady Jackie Kennedy, when she asked Webb to create the White House Gifts of State in 1960. Directed to use minerals native to the United States, all seven designs were accepted, sparking a lifetime of collaboration between the pair. When Webb passed away in 1975, at the young age of 50, his legacy was remembered by those who admired his work. The Duchess of Windsor remembered him as “Faberge reborn”, whilst his friend and associate Jackie Kennedy called him a “modern day Cellini”. In 2010, Marc Emmanuel and Robert Sadian bought over the company, bringing David Webb designs into the 21st century by faithfully restoring the jeweller’s original designs from his archives. Today, all of David Webb’s jewellery continues to be made on the premises in New York, as it has been since 1948.Condition Report: Pearls: of white tint with high lustre and with green and pink overtones, some blemishes visible under a bright light sourceOnyx & rock crystal in good conditionDiamonds bright and well matched - approx. 3.30cts total, estimated colour of bigger stones G/H, estimated clarity VSNormal signs of wear, overall in good conditionTotal gross weight approx. 96.6g
Georg Jensen: a Danish silver butterfly brooch, designed by Arno Malinowski, No. 283, the circular design incorporating two butterflies amidst flowers and foliage, post 1945 maker’s marks, numbered ‘283’, diameter 5.2cm. £150-£200 --- Arno Malinowski (1899-1976) was multi talented artist, being a successful silver designer, sculptor, ceramist, engraver and medalist. He trained at the Royal Danish Academy of Fine Arts and School of Sculpture in Copenhagen from 1919-1922 and worked for Georg Jensen between 1936-1944 and again from 1949-1965, creating designs for jewellery and hollowware. His pieces tend to be executed in low relief medallist form, his designs often including stylised animals; the Art Deco style Kneeling Deer being one of his most popular which he designed in 1937. He received several awards for his designs for objects made of silver, porcelain and bronze, including a silver medal at the Paris international exposition in 1925, the Eckersberg Medal (1933) and the Carlson Prize (1936).
CLASSIC/ HEAVY/ PROG ROCK - LPs. A quality selection of 15 LPs. Artists/ titles include King Crimson inc Lizard (ILPS9141, pink-rim Island label. Record Ex/ sleeve VG+), Alice Cooper - Killer (K56005), Uriah Heep inc Salisbury (ILPS 9152, Bronze records), Live. Pink Floyd inc Meddle, Relics. Emerson Lake & Palmer inc Brain Salad Surgery. Gentle Giant inc Octopus (6360 080, Spaceship label). Yes inc Yessongs, Relayer. Deep Purple, The Beatles, The Rolling Stones, Jimi Hendrix, Rainbow. Condition is generally VG to Ex.
A French Louis XV-style kingwood and parquetry bonheur-du-jour,late 19th century, the shaped and raised top section with five drawers around a central pigeonhole, over a fold-out writing surface which encloses a writing inset and two tambour-topped recesses, this over three frieze drawers and angular scrolled supports, the whole with gilt-bronze mounts, edges and sabots,75cm wide45cm deep95cm highCondition report: No key for locking fold-over top or drawers.Losses to veneer to front edge of scrolled legs.Further minor veneer loss and blemishes.Base lining to central frieze drawer missing.
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