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Lot 363
A Victorian figured Coramandel square perfume casket. With gilt metal mounts and a dark blue oval jasper panel decorated with a classical muse applique. The cover Opening to reveal a fitted interior with blue velvet lining and four square, cut glass bottles with gilt metal screw caps. 15 cm wide x 15 cm long x 14 cm high.Condition report: Good order
Lot 152
A cut-glass bowl within an ornate silver-plated mount headed with four female mask and ring heads above acanthus leaves and a spreading circular foot, together with a further 19th century glass bowl (broken and repaired) within an ornate pierced silver-plated stand decorated with scrolling foliage and the pierced lid with the finial as a young cherubic-style figure (the second bowl 16.5 diameter) (2)
Lot 269
A 19th century banded onyx and champlevé enamel mounted eight-day mantle clock; the central gilt-metal-mounted and champlevé enamel decorated urn finial above a pagoda-style top and a cream enamel dial with Arabic numerals and signed 'D.Todd & Son' and with floral garland of roses surrounding an ornate circular champlevé centre and border, the four outer gilt-metal and enamel columns flanking four cut-glass panels, the gilded movement striking on a gong and with enamel decorated double mercury compensating pendulum, further enamel bordered rectangular onyx plinth base with two outset gilt-metal and enamel decorated front feet (46cm full height to tip of urn finial x 28.5cm wide x 15cm deep)
Lot 331
An interesting selection of bijouterie etc; to include early 19th century rock crystal seals, hand-cut 19th century spherical scent bottle, a pair of miniature silver plated wick trimmers/candle snuffers, various treen include a circular seal box, a horn-cased magnifying glass, an oval tortoiseshell snuff box with an applied silver plated profile of the king etc. all within an early 20th century hinged oak rectangular box
Lot 65
A 19th century cut-glass and silver-mounted claret jug of globe and shaft form with handle; the squat, cylindrical body finely engraved with alternating star and hobnail panels, the faceted neck leading to the hinged lid decorated in relief with an exterior tavern style scene with seated figures at a table with flagons and tankards etc., two birds flying above and a building visible at the far left, all within shaped and foliate-style borders, the neck with cast spout and also decorated repoussé style with C-scrolls and vertical lozenges in rocaille style, the neck with maker's mark W.C and assayed London 1892 (19cm high)
Lot 121
Prachtvoller großer Empire-Kronleuchter aus Kristall und vergoldeter BronzeDurchmesser: 110 cm.Höhe: 130 cm. Frankreich, um 1810.Bronze, gegossen, getrieben und vergoldet, Glas, entfärbt und geschliffen. Um das zentrale Gestänge angeordneter Reif mit mehreren Blattarmen auf zwei Ebenen und entsprechend vielen Brennstellen. Die sechs Leuchterarme oberhalb des Reifes auf einem sich nach unten verjüngenden Podest, das jeweils seitlich von einem geflügelten Wesen gehalten wird. Die Leuchterarme direkt am Reif jeweils mit einem behelmten Kopf versehen. Zwischen den Leuchterarmen applizierte Kränze mit Schleifendekor. Der Reif durch mehrere Innenreife hinterfangen, die und der Außenreif je mit dichtem Prismenbehang verziert. Deckenkrone mit sechsfacher Blattzier mit Prismenbehang, das Gestänge durch Glasketten verhangen. Nach unten hin mit einem vergoldeten Knauf abschließend. (1270737) (2) (18)Large magnificent Empire crystal and gilt bronze chandelierDiameter: 110 cm. Height: 130 cm.France, ca. 1810.Bronze; cast, wrought and gilt. Colourless cut glass.
Lot 52
Attributed to William Burges (British, 1821-1881): An impressive enamelled, polished semi-precious stone and ivory inset parcel gilt and silvered bronze centrepiece base together with a polished semi-precious stone and ivory inset parcel gilt and silvered bronze upper sectional epergne support ensuiteby Hart, Son, Peard & Co., London in the later Gothic Revival style, circa 1875, the two parts originally from a centrepiece epergne exhibited at the 1878 Paris International Exhibition the base of architectural tripartite pedestal form, the conforming columnar support with cusped column decoration surmounted by a composite Corinthian capital with leafy and whorl decoration and punctuated by a knopped central section with applied beaded and banded agate cabochon set scrolling filigree decoration and three carved ivory busts depicting a king, a maiden and youth playing a lute, the elaborate hipped base of architectural form formed as three arched openings with circular steeple tower pinnacles surmounted by open filigree and turquoise cabochon inset orbs flanked by crocketed finials, the scrolling filigree and whorl decorated sides banded to the edges by black and white chevron enamelled panels with inset carnelian cabochons, the lower corners modelled as circular domed towers above inset square cornelian panels, the lower frieze with alternating pierced and blue enamel square motif decoration, raised on standing silvered lion passant supports; the upper section with flared scrolling open pierced filigree and lapis and banded agate cabochon inset supports terminating in stylised leafy griffins heads, beneath a border of six inset carved ivory panels depicting food related vignettes, comprising a boars head, a swan, a carp, a turtle, a truckle of cheese and an oval pie, the upper girdle supporting a cut glass dished lobed shallow bowl fitting with panelled star cut centre, the hexagonal columnar support below a filigree and whorl knopped section with lions mask heads, raised on a later fixed black painted stepped hexagonal support, the glass bowl of the upper support probably associated, its fixed stand of a later date, the base, 57cm high, 38cm diameter approximately, the support 28cm high, the support including bowl and later base, 41.5cm high overall (2)Footnotes:Upper Epergne SectionProvenanceJ. S. M. Scott, London - the Birkenhead CollectionWith the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, 11th June 2014 (4, Epergne fragment - INV 34276).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021ExhibitedParis International Exhibition, 1878.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, June-July 2014 (4).LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870', Exhibition Catalogue 2014 (4), p.16.Centrepiece BaseProvenancePrivate UK collection.With RIBA, 66 Portland Pl, London W1B 1AD (on loan) prior to August 2014.Purchased (private treaty sale) by the present vendor in conjunction with Haslam & Whiteway Ltd (advisors), Kensington Church Street, London W8 7NL, 15th September 2014 (INV 6491).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021.ExhibitedParis International Exhibition, 1878.LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.M. Whiteway & C. Gere, Nineteenth-Century Design; From Pugin to Mackintosh, London 1993, p.175.At the time of his death in 1881, the esteemed architect and designer William Burges was widely thought to be the most influential and gifted figure of his generation. An unstable and extravagant eccentric, he was a brilliant pre-Raphaelite architect who pursued his artistic goals via an idealised vision of the past. In his work he sought to escape from both modern industrialisation and the prevalent Neoclassical architectural style of the establishment and re-affirm the architectural and social values of a utopian medieval England. Standing within the tradition of the Gothic Revival, his works echo his predecessor Pugin and his contemporaries of the pre-Raphaelite brotherhood, whilst heralding those of the Arts and Crafts movement.In a short but illustrious career he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was thirty five working with a long established team of craftsmen and artisans he produced a small but architecturally varied output including castles, houses, churches, a warehouse, a university and a school, although many of his designs were either never executed or subsequently demolished. Of Burges's works, his most notable are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch constructed between 1872 and 1891, both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Aside from his architecture, Burges also designed metalwork, sculpture, jewellery, furniture and stained glass. He also gave a series of lectures called 'Art Applied to Industry' to the Society of Arts in 1864, illustrating the breadth of his artistic interests. Burges was a notable designer of Gothic-inspired metalwork and jewellery and who is now seen as the successor to architect and designer A.W.N. Pugin in refining and developing the Gothic revival style. In his book, William Burges and the High Victorian, the author and art critic Prof. J Mordaunt Crook states that 'Burges's genius as a designer is expressed to perfection in his jewellery and metalwork'. He produced a 'dazzling' array of religious artefacts including candlesticks, chalices, crosses either as individual commissions or as part of the decorative schemes for buildings. Burges also had an early and close connection to the Ecclesiological Society taking on the role of superintendent of the Society's church plate scheme in 1864. However, his most notable metalworks were created for himself, often from the proceeds of the winning of an architectural competition. Examples include his Elephant Inkstand and a pair of jewelled decanters, paid for by the fees for the plans of the Crimea Memorial Church and his series of lectures, 'Art Applied to Industry', and the Cat Cup, created in commemoration of the Law Courts competition. He also designed more utilitarian articles including silverware featuring various fantastical creatures including mermaids and spiders and a set of knives and forks specifically designed for his own residence, The Tower House, with the handles carved as types of meat and vegetables. His own large collection of historic armour was subsequently bequeathed to the British Museum upon his death. Hart, Son, Peard & Co. (1842–1913) were British architectural metalworkers basedin London and Birmingham most associated with the production of ecclesiastical works.Founded in 1842 in Wych St, off The Strand, by bible-trained ironmonger Joseph Hart who was also a member of the Ecclesiological Society, they became artistic metalworkers specialising in ecclesiastical manufactures after merging with Birmingham-based Peard & Jackson in 1866–67. Also skilled in sculpture and with an agent in Paris, Henri Collet, the firm made Burges designs by J.P. Seddon, B.J. Talbert, Alfred Waterhouse and William Butterfield. and importantly had a long-sta... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 54
Augustus Welby Northmore Pugin (British, 1812-1852): A rare silvered and gilt plated brass and copper three light candelabrumby John Hardman & Co., Birmingham, in the Gothic Revival style, circa 1840the twin spiral scrolling arms flanking a matching central stem supporting bulbous gadrooned drip pans with scalloped plain galleries centred by plain cylindrical candle nozzles, all issuing from a central decorative roundel with applied engraved shields bearing the assumed and unrecorded coat of arms for the Hardman family, on corresponding knopped gadrooned support and swept swirling gadrooned cusped circular base, 80cm high, 55cm wide, 24cm deep approximatelyFootnotes:ProvenanceJohn Hardman Snr., made for John Hardman Jnr. (1812-1867), thence by descent.Neil Phillips, John Hardman Studio, Lightwoods House, Birmingham.With the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, 21st February 2013 (INV 33052).LiteratureThe Journal of Design and Manufactures, II, 1849, p. 52.P. Atterbury & C. Wainwright (eds), Pugin - A Gothic Passion, Exhibition Catalogue, Victoria & Albert Museum 1994, pub. Yale University Press, p. 237, pl. 44. ExhibitedExhibition of Industrial Arts and Manufacturers, Birmingham, 3rd September to 15th December 1849.Arguably one of the most talented and prolific designers of the 19th century, A.W.N. Pugin was an architect, draughtsftsman and designer, antiquary and collector, and artist and critic. Today he is recognised as the trailblazing pioneer of the revival of the Gothic style in Great Britain with a modus operandi derived less from a mere aesthetic but more from exacting religious and moral principles. As the architect of numerous high-profile public and domestic ecclesiastical and secular building commissions in England, Ireland, and Australia, he was also responsible for their interiors and furnishings, collaborating with several individually chosen manufacturers on the design and production of furniture, ceramics, books, textiles, wallpapers, and as with the present lot, metalware. However, his defining commission for the interiors of the Palace of Westminster was ironically instigated via a competition for the commission made by the architect Sir Charles Barry who turned to Pugin for his assistance with the drawings for the proposal. Initially the young Pugin was paid £400 by Barry for assisting with preliminary drawings but as the construction of the Palace progressed, Barry began to rely more heavily on him for the design and execution of the interior furnishings and fittings which ranged from the wall panelling and colour schemes down to the metalwork including the lighting and the door furniture. Pugin's earliest ventures into designing for the medium of metalwork were in the mid 1820's when he met the goldsmith John Gawler Bridge of Rundell, Bridge and Rundell. However, as the company were known for their revivalist historical styles including Rococo and 'Romanticised Gothic', their output was never particularly authentic and consequently few, if any, of Pugin's designs were probably ever realised, despite the existence of archival evidence of sketches showing his involvement with the company. John Hardman & Co. and John Hardman JuniorIn 1835, Pugin's conversion to Catholicism finally provided him with an opportunity to design and produce more purist metalwork pieces whilst undertaking a commission for the seminary of St Mary's College, Oscott. It was at the seminary that Pugin most likely met John Hardman Junior who was a member of a prominent Roman Catholic metalwork manufacturing family, John Hardman & Co. in Birmingham. Hardman Junior and Pugin became close friends sharing a commitment to the revival of their religion and practice. Their subsequent collaboration was responsible for bringing to fruition the majority of Pugin's important designs for precious and base metalwork pieces.Although the pair concentrated on recreating archaeological metalware designs of cathedral and church furnishings, few resources existed documenting domestic metalware forms in the Medieval period. As Pugin had previously dismissed the random application of perceived period detail applied superficially as 'patterns of Brumagen gothic' he was not inclined to 'imagined' Medieval objects to fill a gap in the market. However, he and Hardman inventively produced vessels and lighting of a type that would naturally satisfy this gap. Although it is estimated that as much as 95% of the church and other metalwork supplied by John Hardman & Co were in base metals, most of it being in brass in conjunction with copper, nickel or 'German silver ,' the quality of the gilding and silvering was so good it was often apparently extremely difficult for the firms' patrons to establish if the piece was made in a precious metal, in a base one or constructed in both materials. As a result of increased orders, including those from Charles Barry for the Palace of Westminster (all in base metal) which continued throughout the 1840s, Hardman Junior, although a partner in his father's metalworking company subsequently set up his own firm to provide 'Ecclesiastical Ornaments' from 1838. Continued important commissions and the preparation for the Birmingham Exhibition in 1849 and 1851 Great Exhibition also kept the business at full capacity during this period.In 1849 John Hardman & Co. worked alongside Crace and Co. and Herbert Minton, all of whom collaborated with Pugin at the Birmingham Exhibition of Manufacturers which was held in September of that year where the present lot was shown. An engraved plate with the inscription '(Altar Plate manufactured by Hardman & Co.; Silk Hanging by Crace and Son, London)' shows the candelabrum as the centrepiece of the display and was illustrated in the 'The Journal of Design and Manufacturers, II, 1849, p. 52. Although apparently conceived as an altar candelabrum, its Hardman Family provenance combined with the inclusion of an engraved decorative device assumed to be the unrecorded coat of arms for the Hardmans, demonstrate that its use was almost certainly exclusively secular. The arms were most likely designed by Pugin, who had previously created similar undocumented devices more for aesthetic purposes than from any recognised principles governed by the College of Arms. Indeed this imagined heraldry can perhaps be viewed as a token of Pugin's gratitude and goodwill towards his patron John Hardman junior. A comparable secular candelabrum in gilt brass and cut crystal glass designed by Pugin for the House of Lords circa 1850 also by John Hardman & Co Birmingham was subsequently exhibited at the 1851 Great Exhibition. However the 1849 Birmingham exhibition itself was a precursor of the 1851 Great Exhibition organised by Henry Cole and Prince Albert, both of whom had praised the work of Pugin and his manufacturers at the exhibition, causing Pugin to comment 'Our exposition at Birmingham was very creditable, has attracted a deal of attention, and done much good'. However the 1851 London Exhibition, known as the ''Great Exhibition of the Works of Industry of All Nations,'' held in Joseph Paxton's prefabricated 'Crystal Palace' was problematic for Pugin who was commissioned to design a Medieval Court due to his differences with the designer of such a modern glass and iron structure. Nevertheless, he worked har... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 146
Sammlung von fünfzehn Ringen mit Motiv der Dextrarum IunctioEuropa, 16.-19. Jahrhundert Gold 750/-, 585/-, 333/- und Silber getestet. 2 kleine Diamantrosen. 1 geschnittener Türkis. 1 Amethyst im ovalen Facettenschliff. 1 Glasgemme, tlw. vergoldet unter Glas. Email. Haararbeit. Min. best. Rest. Ringgröße: 53-67. Ca. 54,7 g. Das Motiv der verschlungenen Hände geht auf die Dextrarum iunctio zurück. Sie war ein Teil des antiken römischen Hochzeitsbrauches. Bei der Hochzeitszeremonie reichen sich die Brautleute ihre rechten Hände und legen sie ineinander. Die Eheschließung mit der dextrarum iunctio ist häufig auf Sarkophagen dargestellt und taucht daneben auch auf antiken Gemmen auf. Ringe mit dem Motiv waren lange beliebt und gelten noch weit bis in die modernen Zeiten als Zeichen für die Verbindung zweier Menschen, die eine Ehe eingehen wollen. Sie waren also Verlobungsringe aber auch Hochzeits- und Eheringe. Die vorliegende Ringsammlung zeigt sehr anschaulich die Bedeutung dieses Ringtypus. Das früheste Expemplar ist 1566 datiert. SvP A collection of 15 rings with motif of the dextrarum iunctioEurope, 16th - 19th century Gold 750/-, 585/-, 333/- and silver, assayed. 2 small diamond roses. 1 cut turquoise. 1 oval facet cut amethyst. 1 glass gem, partly gilt under glass. Enamel. Hair work. Minor damage. Restored. Ring Size: 53-67. Approx. 54.7 g.
Lot 196
Zwei Paar OhrgehängeEngland, um 1860 bzw. 1950er Jahre Gelbgold 333/-, getestet, facettierter Stahl und Metall, tlw. geschwärzt. 2 fliederfarbene Glassteine im dreieckigen Cabochonschliff. 62 verschiedenfarbige Glassteine in unterschiedlichen Schliffformen. 2 Mabé-Wachsperlen. L. ca. 13 cm bzw. ca. 9 cm. Die schwarzen Ohrgehänge sind in ihrer Gestaltung an den Berliner Eisenschmuck angelehnt und haben eine Clipbrisur. SvP Two pair of drop earringsEngland, circa 1860 and 1950s Yellow gold 333/-, assayed, faceted steel and metal, partly blackened. 2 lilac-coloured glass stones in triangular cabochon cut. 62 different coloured glass stones in different cuts. 2 Mabé wax pearls. Length approx. 13 cm / approx. 9 cm.
Lot 87
PokalBöhmen, 18. Jh. Farbloses Glas. Konische Kuppa auf gestuftem, facettiertem Balusterschaft mit Scheibennodi und eingeschossenen roten Spiralfäden auf Scheibenfuß mit Abriss. Mattschnittdekor: in geschwungener Kartusche fünf Pfeile, die auf ein Herz abzielen, flankiert von Blütenranken und der Devise "QUO PROPRIVS EO MELIUS". H. 19 cm. Provenienz: norddeutsche Privatsammlung. A gobletBohemia, 18th century Colourless glass. Faceted baluster stem, red spiral threads, pontil mark. Matt cut decoration. Motto "QUO PROPRIVS EO MELIUS". Height 19 cm. Provenance: private collection, North Germany.
Lot 89
Zwei Ranftbecher mit Transparentmalerei "La Vénértion"Böhmen, Anfang 20. Jh. Farbloses Glas, tlw. silbergelb geätzt, Goldstaffage. Leicht konisch, geschlägelter Ranft mit Bodenschliffstern. Bunte Transparentmalerei: auf den Schauseiten zwischen Ornamentbändern eine Schäferin in Landschaft einen Blumenkranz bindend bzw. einen Spinnrocken haltend. Rücks. in Gold betitelt. H. 12,5 cm. Provenienz: Dorotheum, Auktion 25.02.1997, Lot 40 und 74. - norddeutsche Privatsammlung. Two beakers with transparent painting "La Vénértion"Bohemia, early 20th century Colourless glass, partly etched in silver yellow, gold decoration. Star cut bottom. Titled in gold on the back. Height 12.5 cm. Provenance: Dorotheum, Auction 25 February 1997, lot 40 and 74. Private collection, North Germany.
Lot 535
A FRENCH BLACK ENAMELED VICTORIAN MOURNING LOCKET stamped with the French eagles head hallmark for 18ct, with two facet cut glass glazed sections one with 'Hair' initials and the other a portrait of a child, with hidden compartment with a plaited hair panel. Dimensions including the bail 4.9cm x 2.8cm, weight 13.8gms Condition Report: Available upon request
Lot 566
VICTORIAN AND REGENCY JEWELS a crescent moon brooch, set with old cut diamonds to an estimated approximate diamond total of 0.95cts, diameter approx 1.9cm, made in yellow and white metal. weight 3gms. A yellow metal haley's comet brooch set with a cut glass gem, circa 1835. Length 3.3cm, weight 2.4gms. A brooch set with a large blue glass gem and seed pearls, mounted in yellow metal with monogram to the back. Dimensions 2.3cm x 1.7cm, weight 5.7gms Condition Report: Available upon request
Lot 14
An engraved 'Thistle Club' wine glass and another of Jacobite interest, circa 1770-75The first with an ovoid bowl cut with an 'OXO' border and engraved with an upright thistle sprig, the diamond faceted stem extending into the base of the bowl with a series of petal flutes, on a conical foot, 14.3cm high, the other with a round funnel bowl slice-cut and wheel engraved with a six-petalled rose on a thorny stem with a single closed bud, a moth in flight alongside, the reverse with a four-petalled flower sprig, on a diamond faceted stem and conical foot, 14.7cm high (2)For further information on this lot please visit Bonhams.com
Lot 20
A Bohemian 'Annagrun' cut glass goblet and cover and a pair of beakers, circa 1840-60Of campana shape with octagonal hobnail-cut diaper panels around the base, on a hexagonal baluster stem and deeply scalloped foot carved with fan-shaped panels of fine diaper underneath, the pagoda cover with a deeply cut petal-shaped rim and heavy hexagonal finial, 43.5cm high, the Ranftbechern of typical flared form cut with ten flutes, 11.5cm high (4)Footnotes:ProvenanceWith Mallet Antiques, LondonJosef Riedl purportedly named this so-called Uranium glass after his wife Anna, calling it Annagrun and Annagelb. Similar colours were subsequently made by other glassworks and safer substitutes were developed to replace uranium oxide.For further information on this lot please visit Bonhams.com
Lot 41
Four Baccarat flower paperweights, circa 1850Set in clear glass, one with a red and white dog rose with a stardust centre, on a stem with a variety of leaves, star-cut base, 6.4cm diam, 4.3cm high, together with three pansy weights, the flowers with dark purple and ochre-yellow petals and stardust centres on leafy stems, star-cut bases, 6.3cm diam, 4.2cm high and 5.6cm diam, 4.3cm high, including one faceted with a top window and six side printies, 7.1cm diam, 4.6cm high (4)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 44
A rare American garlanded buttercup paperweight from the New England Glass Co, circa 1852-80Set in clear glass, the white and yellow flower with five distinctive angular cupped petals, on a stem with eight leaves and one closed striped bud, a solitary fallen leaf beside, within a garland of alternating dark blue and white composite canes, star-cut base, 7.9cm diam, 4.8cm highFootnotes:Buttercup paperweights were produced by both Baccarat and the New England Glass Company, but are rare from both makers. It is considered one of New England's finest paperweights. An example on a jasper ground is illustrated by Paul Dunlop, The Dictionary of Glass Paperweights (2009), p.68, fig.73.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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