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Lot 1083
A late 19th Century walnut and ebonised "Vienna Regulator" wall clock, the 5ins diameter cream enamel dial with Roman numerals to the eight day movement striking on a gong, contained in case with carved pediment surmounted by a figure of a rearing horse, split turned columns to sides and with conforming apron, 35ins high
Lot 182
A George V Charles Horner silver and enamel pendant, the stylised face enamelled in blue and green and suspended from a fine 410mm chain necklet, Chester 1910, an Edward VII blue and green enamelled brooch by Charles Horner of "Organic" form, Chester 1907, and five other silver and enamel pieces by Charles Horner, four silver and amethyst set brooches by Charles Horner, three arm bangles, two napkin rings, three thimbles and a dress stud
Lot 185
A late 19th Century Swiss lady's silver open face pocket watch, the silver and gilt dial with floral and foliate engraving to the centre and Roman numerals, contained in plain 35mm case, two early 20th Century silver and enamel hat pins, the stylised loops with pink and white enamel daisies, 12mm diameter, by Charles Horner, and a quantity of other silver and silvery metal coloured items, various
Lot 206
A Cartier gold and enamel locket of circular form, the face with guilloche blue enamel ground to central monogram within white bead borders, the reverse with a green enamel central motif and diamond set bale, bearing French control marks and contained in a Cartier leather and gilt decorated pouch, 22mm diameter overall (gross weight 9.2 grammes)
Lot 39
A Continental silvery metal and royal blue guilloche enamel rectangular card/cigarette case with marquisite and paste push button opening mechanism, the sides cast with leaf and ribbon ornament, the back engraved with a flaming torch quiver of arrows within floral wreath, and with scroll borders, with silver gilt interior, 3.75ins x 2.25ins (stamped 935 and entwined initials "AS" - slight separation of enamel from base)
Lot 49
A George VI silver rectangular snuff box with engine turned decoration and cast mounts, the lid applied with a Royal Tank Regiment badge and green and red enamel stripe to one corner, 2.5ins x 1.75ins x .625ins high, by The Goldsmiths & Silversmiths Company Ltd, Birmingham 1937 (weight 2.8ozs)
Lot 688
A good mid 18th Century English enamel snuff box, the lid, sides and base all enamelled with quayside mercantile views, the lid variously inscribed and dated 1749 to one merchant's bale, and similar inscriptions including "No.27" are included on the back side to a map, the interior of the lid painted on cameo puce with a harbour scene, 3.25ins x 2.375ins x 1.25ins (possibly London)
Lot 629
A vintage advertising interest to include an enamel sign for sunlight soap manufactured by Lever bros brothers 43 cm x 50 cm approx together with an enamel plaque reading appointed agent for Tudor Dairies, Henleys ices, 41 x 35.5 cm, a double sided shop open/closed sign advertising A1 light tobacco - "the golden smoke", numbered 13957, also together with a timber wall plaque of oval with painted gilded text reading E.W.Forster Electrical & Radio Engineers, etc, 30 cm x 45 cm approx
Lot 24
China, Qing Dynasty, late 19th to early 20th century CE. A Chinese jade brush washer in the form of a lotus with tendrils, flowers, and a dragonfly hand carved on the exterior. A brush washer is used to wash the ink that remains on the user's brush after use. Brush washers are appreciated for their attractive forms and elegant designs. Traditionally brush washers are made from jade, porcelain, enamel, ivory, agate, or rhinoceros horn. All are regarded as precious; however, jade occupies an especially revered position. This example is carved from jade of lovely translucence and soft hues. Size: 6-1/2" x 2-1/4" x; opening is approximately 2" in diameter. Provenance: Ex-private A. Kowsky collection, NY Condition: Intact and near choice. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #110023
Lot 93b
Limoges, France, ca. late 15th to 16th centuries CE. This is a vitreous enamel copper dish of the sort produced at Limoges. It forms a shallow bowl with three dimensional interior elements and two delicate handles. The exterior depicts swirling ferns in white; the interior intersperses ferns with religious designs. On the interior bottom is a scene of Jesus and a man in a mitre -- potentially St Peter -- crowning a woman in blue who is almost certainly the Virgin Mary. Above the scene is a white dove; winged cherubs ring the scene on the interior sides of the bowl. The colors include black, a delicate white, a deep purple, and a deep blue; on the back are green and dark red. The bottom of the bowl shows a scene of a red-roofed mill over a river with a tree in the foreground, possibly alluding to where the piece was manufactured. The details of the painting, particularly for Jesus's musculature and the other man's robes, are fine. This piece looks very similar to one done by the famous Limoges enameller Jean de Court and his sister Susanne de Court that is part of the Waddesdon Bequest to the British Museum. Size: 6.5" W x 1.4" H (16.5 cm x 3.6 cm).From the Middle Ages onwards, the city of Limoges in central France has been renowned for its production of enamel on metal -- not only were most of the natural elements required to make enamel present in the environment there, but it was also an important pilgrimage center and stop along the route to Santiago de Compostela. Enamel is similar to glass; it consists of silica and a fluxing agent that is then colored by metallic oxides or carbonates and fused to a metal surface by heat. Towards the end of the fifteenth century, the artisans at Limoges began to develop the materials and techniques to paint freely on copper surfaces, without demarcations between colors, allowing more naturalistic art styles. Some of the best artisans in Limoges had the ability to paint enamel so that it looks almost like an oil painting. The blue here is probably cobalt, and the purple is probably manganese. These advancements in technology coincided with the widespread circulation of printed images, so decorations on enamel were often based on printed scenes. The copper had to be pure to be suitable for enamelling; it is thought that this copper came from France until the 16th century, when it may have been Spanish New World copper coming up the pilgrimage route. Provenance: Ex. M. Reiniger collection, Chicago, IL Condition: The piece has been restored, but appears intact. Nearly all of the artwork survives from the original and is bright and clear. There are flashes of copper if you look closely. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #111198
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358743 item(s)/page