A Victorian diamond, pearl and enamel mourning ring, the oval panel set with a central rose cut diamond (measuring 4mm x 3mm), within a surround of seventeen seed pearls, vacant glazed compartment verso, 13mm x 9mm, set to an unmarked gold coloured engraved shank with black enamel floral detail, ring size K, weight 3.3gms (at fault)CR; All stones are present and in tact. No chips or losses to any stones, though they do show general scratching and wear. There is is heavy glue repair around a few of the seed pearls on the border (this can be seen on the right of the ring in the first picture). The settings are very worn in some places, and while the stones current appear secure, future repair may be required. There appears to have been some solder repair to the sides of the head (see additional pictures). The cover of the compartment is slightly loose, and may need some repair to make it more stable. There is heavy scratching and wear to the black enamel flowers on the band, and some small areas of loss. No signs of splitting, resizing or repair to shank.
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A George V 9ct gold open face pocket watch, the circular white enamel dial with Roman numerals and subsidiary seconds dial, set to a plain polished 9ct gold case, 50mm diameter, case marked for Rotherham & Sons Ltd, Birmingham 1928, engraving to dust cover 'Imperial Chemical Industries Ltd Chance & Hunt Ltd Presented to W. Whitehead for 44 years service', manual wind movement, weight 93.3gms, attached gold plated watch chain Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
An early 20th century Austrian silver and enamel pill box, of circular form decorated in polychrome enamel with gilt highlighting, the cover depicting an Oriental lake scene, the sides and reverse decorated with pines and birds in flight, opening to reveal a gilt interior and mirror to cover, 36mm diameter, weight 30.1gms, complete in a red leather Nissell & Sikora box
A silver compact by Clark & Sewell, Chester 1942, 7.7cm diameter, together with a silver and enamel jewellery casket by IM Hutchfield, Chester 1920, 6cm diameter, an Edwardian silver circular snuff, Birmingham 1904, and a George V silver jewellery casket on four raised feet, Birmingham 1927 (4)
A pair of Chinese famille verte ginger jars and covers, 20th century, each with a panel depicting birds in blossom to one side and mythical beasts in blossom to the other, the bodies with extensive foliate ground and chrysanthemum motifs, auspicious motifs to shoulders, each 29.5cm high (2)Condition report; Each stamped 'China' to the underside. No obvious signs of chips, cracks or restoration. Wear to enamel and decoration is visible. Pitting and fritting visible along with general surface scratches and staining. Please see additional images for clarification.
A Victorian silver and enamelled card case by William Neale, Birmingham 1894, of rectangular form with white enamelled panel to sprung cover bearing the name 'Mrs Alfred M Simon', gilt interior, 9.6cm x 6.2cm, weight 3.74oztCR; Overall condition is good. The enamel to the cover is moderately scratched, but is largely in good order, no cracks, chips or losses. Spring mechanism is in working order, opening smoothly and closing with a snap, however the cover does not sit completely flush. Some minor denting to the sides. Heavy scratching and wear to the sides and base. Moderate wear to the gilt interior. All hallmarks are crisp and clear.
A hunting interest diamond set yellow metal brooch pin, realistically modelled as a fox head with fur effect chasing, the eyes set with rose cut diamonds, set to an unmarked yellow metal pin, 48mm long, together with a Victorian yellow metal and enamel bar brooch, stamped '9 CARAT' to reverse, 40mm wide, and a Victorian gold coloured travelling pencil set to a later 9ct gold stick pin, pencil 68mm long, pin 39mm (3)
An early 20th century Austrian silver gilt and enamel box by Nissel & Sikora, of rectangular form with canted corners, decorated in monochrome enamel with gilt highlighting, the cover depicting an oriental lakeside scene, opening to reveal a gilt interior, engraved to rim 'Nissel & Sikora 1.Karntnerstr. 45', 8cm x 5cm, weight 124.7gms, compete in a red leather boxCR; There is a small chip to the enamel on the left side of the box, and a couple of small grazes to the enamel on the same side. No other notable chips or losses to the enamel, just light scratching and wear only. No splits, denting, thinning or signs of repair to the box. Some wear to the gilt interior, concentrated at the the hinges and lip on the box, but otherwise this is in good order. Cover opens smoothly, but does not close completely flush - a small gap is left around the lip.
French Henry Marc of Paris, 19th century brass carriage clock, white enamel face set with both Arabic and Roman dial, approx 9 x 13.5 cms, hammer strikes to a coil, complete with winding key. Note glazing in good condition, white enamel face is in good condition, not working at the present time.
A JAPANESE CLOISSONE ENAMEL BALUSTER VASE, c.1920, decorated with flower spray against a red ground, with chevron banded collar and foot. 22cm high; together with a small crackleware blue and white ginger jar, 14cm high; a polychrome bowl with wavy rim, 25cm diameter; a small model of buddha and a majolica dish (5)Condition Report: The cloisonné vase has a small impact mark on the neckOtherwise goodSee images***other pieces in Adams do not send until done***
A RARE JAMES PENNINGTON LIVERPOOL BLUE AND WHITE SAUCEBOAT, mid 18th century, exhibition label and Watney collection label, moulded with stipples and leaves; together with a Bow enamel porcelain sauceboat, c. 1755 (replaced handle), and a "kakiemon" pattern teacup c.18th century and a rare moulded blue and white sauceboat probably Worcester and another of near identical design (5) and a collectionCondition Report: Fair condition overall Many pieces damaged and repaired. See images.
A FRENCH BRASS AND CLOSIONNE ENAMEL COMBINATION CLOCK AND BAROMETER, 19th century, with twin white enamel dials, one inked with Roman numerals, the other with humidity registers, the top with central carrying handle and viewing panels, raised on bun feet. 14cm high to handle, 12cm wide Condition Report: Movement ticking overNot tested for accurate timeDoes not come with key so cannot windCase in very good condition
THREE ART NOUVEAU BROOCHES, one brooch (possibly a former central plaque for choker), of openwork foliate design, decorated with green enamel plique-a-jour, with baroque pearl highlights, mounted in silver, with maker’s mark for Karl Hermann or Levinger & Bissinger, length 4.5cm, width 8.3cmA second brooch of Egyptian revival design, the central carved scarab in greyish-green hardstone highlighted by two blue cabochons, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12.4cmA third brooch of Egyptian revival design, the central faceted purple stones (possibly glass) highlighted with two similar stones, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12cmThe designs of Art Nouveau jewellery first began to appeal to the masses during the period known as the Belle Époque (1890-1910), yet their popularity reached its zenith in the decade leading up to World War I. While the Edwardian sensibility was far more interested in stones than in their settings, an artier crowd during this time began to veer towards a more intricate type of jewellery with an increased focus on detailed craftsmanship. The work of Art Nouveau artists and jewellers was inspired by the natural world, which was exoticized in their creations to show curling lines and elaborate arabesques.Recurring motifs included dragonflies and peacocks, whose bold colours provided ideal grounds for beautiful enamel work and advanced metalworking techniques. Renowned jewellery designer and silversmith Heinrich Levinger was an early advocate of the Art Nouveau style from the town of Pforzheim in Southern-West Germany. Pforzheim was famous for its jewellery-making traditions from the mid-18th century, ensuring the small town was dubbed the “Golden City”. Levinger worked here during the latter part of the 19th century up and founded his workshop around the year 1881, when he was listed in a Pforzheim address book as a dealer in bijourterie wares. By 1893, Levinger’s workshop had become renowned for the creation of gold and silver wares and novelty items worked in silver and enamel, inspired by the waves of Art Nouveau and Japonisme trends which had spread throughout western Europe at the turn of the 20th century. The talented craftsman followed in the footsteps of emerging artists such as René Lalique, who was hugely influential in pushing the boundaries of acceptable themes and materials in the world of jewellery design towards the end of the Victorian era.Heinrich Levinger died in 1899 and left his workshop to Emil Levinger, who sought to lead the firm in a new direction by producing more modern silver jewellery. Wishing to expand the firm, Emil was joined in 1903 by jewellery designer Karl Bissinger, who worked as artistic partner of alongside Emil. Together, the two became known as Levinger & Bissinger from 1904 onwards. They executed their own designs as well as those of other artists. Collaborations included the creationof Art Nouveau pieces with Austrian designer Otto Ptrutscher (1880-1949) and German designer Goerg Kleemann (1863-1932). Bissinger eventually left the firm in 1909, and Emil decided to return to the name of his predecessor, Heinrich Levinger, under which the workshop had experienced its original success. The first creations by German jeweller Karl Hermann were recorded in 1898, under the mention of his workshop in Pforzheim, Germany, in the same local address book as his contemporary Heinrich Levinger. Here, the firm advertised itself as a factory for jewellery and enamelled silverware. By 1902, the workshop had expanded enough for Hermann to require a business partner and he recruited his former jewellery technician Albert Speck to join him in running the bourgeoning business. From this time onwards the company used the mark ‘HS’, continuing to work under the name of Karl Hermann, even after he left the business to the solecare of Albert Spec in 1906.By 1900, Karl Hermann’s workshop was well known in the area for creating pieces which were heavily influenced by the Art Nouveau stylistic approach which had taken the jewellery industry by storm at the turn of the 20th century.For another design by Karl Hermann from the same year, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 135, no. 222.For a comparable brooch by Levinger & Bissinger, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 134, no. 221.Condition Report: Brooch no1: Normal signs of wear, no damage observed on plique-a-jour, clasp on the reverse loose, total gross weight approx. 31gBrooch no2: some loss of colour/enamel on the wings, mark on the reverse unidentified, clasp loose, total gross weight approx. 18.9gBrooch n3: purple glass, main stone with obvious chips, some signs of repair on the enamel, clasp loose, total gross weight approx. 19.10g
AN IRISH EBONISED MANTLE CLOCK, by Chancellor, Dublin, of arched shape, the body with lion mask ring carrying handles, enclosing a white enamel dial with Roman numerals, raised on bun feet. 40cm high, 24cm wideCondition Report: Overall good conditionTimber case with split and discoloured in some areasKey and winder presentOriginal movement, bell possibly replacedHas not been overwound, chime workingMovement comes to a stop soon after winding
A FRENCH ENAMEL SNUFF BOX, late 18th century, of rectangular form, with gilt metal glass, painted with classical scenes, to each side, 8.5cm wide; together with a pair of carved alabaster miniature bird bathsCondition Report: Enamelled snuff box with detached lid and mount Decorated on all sidesThe interior applied with later gilt which is partially present and can be scraped away The upper corners with small enamel lossessee images
A pair of costume jewellery ear pendants marked A & S, a cultured pearl necklace with a 9ct gold opal snap, a silver watch chain, a shell cameo brooch (lacking pin), a silver cased wristwatch, the white enamel dial with Arabic numerals, an openwork pendant set with diamonds and sapphires and sundry jewellery in a burr walnut box
An 18ct gold half-hunter pocket watch with blue enamel Roman numerals to the outer case/Provenance: Rous Lench Collection and by descent to the current owner/see illustration CONDITION REPORT: No inscription inside dust cover. No cracks to dial. Currently winds and runs however we do not guarantee working order. No dents to case rims. Case 5cm diameter. Gross weight 116.5gm
A Napoleon III ormolu and porcelain mounted eight-day mantel clock, retailed by Charles Frodsham, Paris, the case with female figure surmount amongst foliage and two porcelain panels beneath and beside the white enamel dial, fitted a twin-barrel movement, striking on a bell and on a serpentine giltwood base, complete with glass dome on an ebonised base, 59cm high CONDITION REPORT: There is no number to the dial, 6545 on the movement. Gilding rubbed in places especially to arm of figure, back also rubbed, panels good. Clock and serpentine stand maybe a marriage with dome and base. Not at present in working order and dome slightly chipped at base.
A gilt brass cased carriage clock with repeat mechanism and alarm, the white enamel dial signed Dent, 33 Cockspur St, 15.5cm high CONDITION REPORT: Serial number - 3899. Front name badly rubbed, case very dull condition but complete. Glass panels in good condition. Currently in intermittent working order.
A French gilt metal mounted mantel clock, the white enamel dial signed Pepin a Paris, surmounted by a Bacchante and set with Sèvres style panels, 33.5cm high/see illustration CONDITION REPORT: Condition overall good. Rubbing to arch top and base. All feet need tightening. Half hour striking. In intermittent working order
A 9ct gold cased hunter pocket watch, the white enamel dial with Roman numerals and subsidiary seconds dial at 6 o'clock, fitted a 15 jewel movement with four adjustments, the inner cover with presentation inscription dated 1920, the case with Chester hallmarks for 1919, exterior monogrammed, a Waltham open faced pocket watch, a silver cased pocket watch, three wristwatches and four propelling pencils CONDITION REPORT: 9ct hunter pocket watch- Inner dust cover is hallmarked. No cracks to dial. Does not wind and run. No dents to case rims. Case diameter 5cm. Gross weight approximately 80gm. Lady Waltham pocket watch is unhalmarked, not thought to be gold.
An early 19th Century enamel monocular, with vignette of flowers in gilded reserves on a blue ground/Provenance: Rous Lench Collection and by descent to the current owner/see illustration CONDITION REPORT: Inside the enamel is flaking, no small tools within the tube. Magnification approximately 2x. Some chips to exterior, mounts a little dull.
A collection of silver souvenir spoons, to include two plique-a-jour examples, each dated 1891 with '830' mark, another similar example marked sterling, a Mappin & Webb QEII Coronation spoon, and similar examples, total 6.7oztCondition report: Plique-a-jour spoons with losses. Losses to enamel, knocks and wear throughout.
A collection of various Art Deco pottery, comprising Carltonware and Crown Devon vases, five Shelley plates, five preserve pots and covers, an Ivory ware jug, and three Carltonware and Gray's pottery bowls (qty)Condition report: All pieces with wear and rubbing to the designs. One preserve pot has no cover.Orange lustre preserve pot chipped. Gray’s oval dish chipped. Blue lustre vase chipped. Crazing and wear to enamel/gilding throughout.
A pair of Chinese famille rose brush pots, 19th century, of cylindrical form, painted with birds and flowers in shaped panels against a blue ground with bats and scrolling lotus, four-character Tongzhi mark to base, 12.5cm high (2)Condition report: Surface scratches, some enamel losses. One with a glaze chip to rim. The other with a hairline crack to base.
Three Chinese blue and white vases, comprising one of ovoid form, 12cm high, one of baluster form, four-character Kangxi mark, 23cm high, another of baluster form, four-character Kangxi mark,14cm high, all similarly decorated with blossoming prunus, in addition, a zisha teapot, of compressed globular form, four-character mark to base, 11.5cm long, another, of globular form, inscription to base, 10cm long, a gu vase, with a blue glaze, 14.5cm high and a bottle vase, with a turquoise glaze, 16.7cm high (11)Condition report: Compressed globular zisha - surface scratches.Globular zisha - no obvious faultsOvoid blue and white - enamel losses to the lid.Baluster - associated lid with chips and hairline crack, rim restored with cracks and chip, surface scratches.Smaller baluster - chips to the foot rim.Gu vase - no obvious faults.Bottle vase - no obvious faults.
A Chinese famille rose plate, 18th-century, of octagonal form painted with a landscape, 23cm wide, a pair of famille rose bowls, the rounded sides with a slightly everted rim rising from a circular foot, the interior decorated with a lotus flower, the exterior under a pink glaze, six-character Qianlong mark to base, 12cm diameter, a Japanese porcelain figure of Fukurokuju, standing holding a staff in one hand and a scroll in the other, 25.5cm high, and a Japanese blue and white vase in the shape of a basket, 9.5cm diameter (5)Condition report: Plate - chips to the rim and foot rim, enamel loss, surface scratches. Bowls - losses to gilt, surface scratches, pink retouched where the glaze has pulled away.Figure - surface scratches and enamel losses.Vase - chips to the rim.
A Chinese famille rose vase, of compressed baluster form, painted with boys in the garden in pomegranate-shaped panels, surrounded by scrolling flowers against a turquoise ground, 29cm high approximately, now fitted as a lamp, and a pair of famille verte vases, of baluster form, painted with figures in a sitting room, four-character Qianlong mark, 25.5cm high (3)Condition report: Famille rose vase - enamel losses, now fitted as a lamp with brass fittings to the rim and foot rim, unable to see beneath the brass fittings, signs of glue to rim, possibly drilled to base, minus the electrical cord, including brass fittings 54cm high approximately. Pair of vases - both restored, chips and cracks throughout, signs of glue and surface scratches (a/f)
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