A simply stunning 1927 20hp, one of only two bodied by Brewster as a Brougham de Ville and featured in numerous Rolls-Royce publications. Following World War I, Rolls-Royce abandoned the ‘one model’ policy they had previously employed, and sought to expand within the luxury top tier echelons of the motor car industry and in 1922 the all-new 20hp or Twenty was introduced to their lineup alongside the simply fabulous 40/50hp Silver Ghost.The Twenty was built to reflect Henry Royce’s interest in contemporary trends within the American motor car industry, incorporating a singular construction of engine and gearbox, and featuring the modern innovation of a central ball change gearbox and a 'Hotchkiss drive' rear axle. The smooth and silent 3,127cc inline six-cylinder engine benefitted from being Rolls-Royce's first engine with overhead valves. While the car was well received overall, the three-speed, central change transmission was not well liked, so in 1925 the Twenty was reintroduced with four-wheel, servo-assisted brakes and importantly, a four-speed gearbox with a right-hand, gated gearchange.The 20hp was initially produced to target owner-drivers, but many were sold to customers with chauffeurs, somewhat expected with their clientele at the time. Only the chassis and mechanical parts were made by Rolls-Royce with the bodywork created and fitted by a coachbuilder selected by the owner.This, right-hand drive example, was purchased new, in rolling chassis form, on 31st January 1927 by Mrs A L Sylvester, a resident of the Plaza Hotel, New York and shipped to the USA aboard the SS Laconia. GAJ 15 wears unusual Panel Brougham de Ville coachwork by the respected coachbuilder Brewster, a company acquired by Rolls-Royce of America Inc. in December 1925.Presenting in simply fabulous condition, this wonderful example retains its original body and is one of just two built on the 20hp chassis. Credited to Henry Peter, 1st Baron Brougham and Vaux (1778-1868), this style of bodywork is noted for its formal upright and square appearance with a forward curving swage line in front of the rear compartment doors. This style was commonly seen on horse-drawn carriages of the time and, when the motorcar was introduced, many carriage designs were simply adapted by coachbuilders to accommodate an engine at the front as opposed to horses. This formal style is often referred to as a Town Car and would likely have been used for taking the owner(s) to the theatre or opera or other formal occasions. The well presented brightwork is nickel silver, and the style of the vertically striped paintwork is known as Dutch Pink although, in this case, it's undoubtedly red and not pink.Reportedly by Fabergé, the door furniture in the cabin is silver and enamel. The grey cord upholstery is not believed to be original, however, it presents well and the pull-down blinds are silk, albeit expectedly fragile. To confirm the high level of opulence, there is a speaking tube for the passengers to communicate with the chauffeur who sits on black leather seating. The solid artillery wheels present well. GAJ 15 changed hands five times whilst in the USA and was resident in the Powers Automobile Museum in Connecticut in the 1940s and '50s. The car returned to the UK in 1991 and soon after its arrival the engine was stripped and rebuilt before being stored between 2000 and 2005.Within the car's history file there is a list of all its owners in the USA up to and including the immediately preceding owner in the UK. Other documentation includes copies of the original Order Form and Chassis cards, photocopied literature, a quantity of old MOTs and tax discs, copies of previous registration documents, a current V5C and a most impressive quantity of bills for works carried out and parts purchased whilst with previous owners. The car has benefitted from some gentle recommissioning in our vendor's ownership having been purchased from an elderly gentleman who sadly wasn't able to maintain it due to failing health.This exceptional motor car comes complete with tools, jack, hubcap tool, rim lever and special grease gun, etc., all housed under the front seats and has a period-correct, Flying Lady mascot on a correct cap. It also comes with an original instruction book, a full set of keys for ignition, bonnet locks, rear compartment, and the padlocks on the spare wheels and the fuel can. Side-screens for the front compartment are kept in a black bag in the rear compartment. This car is featured in several publications including Rolls-Royce in America by John Webb de Campi; The Rolls-Royce Twenty by John Fasal, and Coachwork on Rolls-Royce by Lawrence Dalton. A die-cast scale model of this particular car has been made by Top Marques of Honiton and an example is included in the sale.With the other car bodied in this style still residing in the USA, and with both examples being owned by the same family in the 1960s, this is a fabulous opportunity to own a very special motor car that epitomises why Rolls-Royce were considered, and remain, the 'Best Car in the World'.SpecificationMake: ROLLS-ROYCEModel: 20HP PANEL BROUGHAM DE VILLEYear: 1927Chassis Number: GAJ15Registration Number: BF 4349Transmission: ManualEngine Number: D5WDrive Side: Right-hand DriveOdometer Reading: 1 MilesMake: RHDInterior Colour: Black/Grey Click here for more details and images
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A set of twelve Fabergé 'Snow Dove' glass champagne flutes, designed by Igor Carl Fabergé, acid etched marks to bases, height 24.5cm, boxed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A GROUP OF GLASSWARE, comprising a mid-century amber coloured lemonade set, four whisky tumblers and three tall tumblers with blue bases, a set of four cups, four saucers and five tea plates in vintage French Acoroc smoked glass, a French Fabergé perfume bottle, cut crystal glass ink well and parts of a cut glass cruet set, etc. (Qty)
Limoges France für Fabergé: kobaltblaue Vase, dat. 1878. "Fabergé Collection", reichliche von Hand bemalte Goldmalerei, unter dem Boden Manufakturstempel sowie Malersignatur, datiert 1878 und nummeriert 23 (S-Nr.), keine Beschädigungen, leichte Verschmutzung (womöglich entfernbar). H ca. 23 cm. Zustand II
A Theo Fabergé (1922-2007) St. Petersburg Collection 'Eternity Egg', turned bubinga wood surmounted by a cabochon ruby set imperial crown, opening to reveal an African blackwood ring holder, no. 416/750, 13.5cm high, together with an accompanying book, 'Theo Fabergé and the St. Petersburg Collection', Dauphin Publishing Ltd, 1989
A pair of Fabergé diamond and enamel cufflinks, in red guilloche enamel, set to the centre with a round brilliant cut diamond, with rows of diamonds to either side, the pair with a total estimated diamond weight of 0.35ct, each cufflink signed 'Fabergé 8/1000' and stamped 750 with maker's mark for Victor Mayer. Total weight 17.4 grams.
Factory of O. F. Kurlyukov, Moscow, late 19th centurymarks: silver mark ‘84’ with a «woman’s head facing right», the coat of arms of the city, mark in Cyrillic «O. KURLYUKOV»inscribed in French: ‘COMITE SUPÉRIEUR DE L’ÉDUCATION PHYSIQUE ET DES SPORTS DE L’USSR L’ÉQUIPE DE BOXE DE LA FÉDÉRATION PUGILISTIQUE FRANÇAISE EN SOUVENIR DE RENCONTRES EN URSS DÉCEMBRE 1937’; inscription made probably in 1937, in memory of the boxing match USSR - France in Moscow in December1937.height 43 cmOrest Fedorovich Kurlyukov (1845-1916) was the owner of one of the most famous silverware manufactories founded by him in Moscow in 1884. Producing silverware, precious stones and tableware made of crystal and art glass, the Kurlyukov’s factory was actively developing at the end of the 19th century, when they actively cooperated with the workshops of Rückert and Fabergé, and closed after the revolution in 1918.
Fabergé-Schreibzeug12 x 25 x 13 cm.Das Schreibzeug punziert mit 84 Zolotnik und Herstellermarke Fabergé.Russland, 1896 – 1908.Auf vier Kugelfüßen ruhender rechteckige Basis mit fein ziseliertem Ornamentdekor. In den Einsätzen die gesteinelten Glaskörpereinsätze mit gedeckelter Montierung den feinen Dekor aufnehmend, Schanierdeckel etwas locker und Zapfenknauf. Weiterhin eine ebenfalls russische silbermontierte Löschwiege mit Punzen der Initialen von Karl Fabergé. (1360611) (13)Fabergé Desk set12 x 25 x 13 cm.Desk set with silver standard hallmark 84 zolotnik and maker’s mark, probably by Fabergé.Russia, 1896 – 1908.
An Imperial Russian blue chalcedony and diamond pendant, probably by Fabergé, circa 1900. The circular blue chalcedony cabochon surrounded by a border of rose cut diamonds suspended from a diamond bow, on a trace chain with pearl spacers. Pendant approximately 20mm x 13mm. Chain approximately 520mm. 1899-1908 Kokoshnik mark, 56 standard mark, Workmaster's mark H*.Provenance: The vendor purchased the pendant from Tennants Auctions on 20th November 2008 (Lot 273) where it was catalogued with the provenance that the pendant was gifted by The Grand Duchess Marie of Russia, circa 1911/1912 as a thank you gift for walking her dog.
H.M. Queen Alexandra, fine Imperial Russian Fabergé silver gilt mounted hardwood circular bell push with moonstone cabochon button, crossed arrows within wreath with ribbons and swags, raised on fluted bun feet, 88 standard mark and Workmasters mark for Hjalmar Armfelt (active 1904-1917) and scratched inventory mark '8013', 4.4cm diameter in original grey silk covered box with Fabergé warrant mark to interior of lid. Sold with handwritten card from Her Majesty 'With very best wishes for Lady Alington from Alexandra'. The Rt. Hon. Lord Alington KCVO (1859-1919) and Lady Alington (1864-1934) were personal friends of T.M.King Edward VII and Queen Alexandra.Good original condition, small edge chip and area of lifting to top, two edge cracks, see extra images
Vorlegelöffel im Spatenmuster, Fabergé. 84 zolotnik Silber, 153 g. Seitlich abgeschrägter Griff, Ende mit ziseliertem Besitzer-Monog. Gebrauchsspuren wie Kratzer und teils fleckig. Mz. Carl Fabergé mit St. Petersburger Beschau und 1. Kokoshnikmarke, Beschaumeister Yakov Nikolayevich Lyapunov, St. Petersburg, 1898-1903. L. 26 cm.
August Frederik Hollming for Fabergé (1854-1915). A pair of late 19th/early 20th century Russian mother-of-pearl, ruby and diamond-set cufflinks by the Faberge workmaster August Frederik Hollming, each dark mother-of-pearl oval panel designed with an oval ruby cabochon centre to an old-cut diamond border, chain link and associated Russian clip connections, the reverse of one panel engraved with scratched inventory number 64240, each with work master's mark Latin A. H., and 56 standard mark, panels approximately 1.7cm longProvenance: The Barry Lock collectionAugust Frederik Hollming was born in Finland and moved to Saint Petersburg in 1876. He qualified as a master goldsmith in 1879 and was hired as a Faberge workmaster shortly afterwards. By the mid 1890s, he is believed to have been working exclusively for Faberge, and in 1900/1901 he moved his workshop to the Faberge premises at No. 24 Bolshaya Morskaya. The St Petersburg kokoshnik mark on these cufflinks dates them to between 1899-1908, when Hollming was known to have been working for Faberge. Hollming specialised in miniature Easter eggs, enamelled cufflinks, jewellery and cigarette cases. Condition Report: Gross weight approx. 5.9gNot stamped with a Faberge mark
Konvolut 8 Bücher- S. Wichmann. Jugendstil. Art Nouveau. 128 Sn. - J. A. Schmoll, H. Schmoll. Nancy 1900. Jugendstil in Lothringen. 1980. 454 Sn. - K. Hantschmann. Nymphenburger Porzellan. 1797 bis 1847. 1996. 495 Sn. - H. D. Flach. Ludwigsburger Porzellan. Ein Handbuch. 1997. 1079 Sn. - A. Ziffer. Nymphenburger Porzellan. Sammlung Bäuml. 1997. 399 Sn. - R. Joppien. Louis C. Tiffany. Meisterwerke des amerikanischen Jugendstils. 1999. 271 Sn. - U. Tillander-Godenhielm u. a. Golden Years of Fabergé. Drawings and Objects from the Wigström Workshop. 2000. 175 Sn. - A.-B. Christ, B. John-Willeke. Frühstück bei Hofe. 100 Jahre fürstliches Porzellan. 2008. 103 Sn.
Jaspis-Henne von FabergéJaspis, Gold, Rubine. Naturalistisch und detailliert ausgeführte Darstellung eines Huhns aus graublauem Achat. Zwei Rubin-Cabochons als Augen; die Beine und Füße aus fein ziseliertem 18karätigem Gold. Im originalen, samtgefütterten Holzetui; im Deckelinneren kyrillisch bezeichnet "FABERGÉ, ST. PETERSBURG, MOSKAU, LONDON". Unauffällige Restaurierung am Hals. Marken: Feingehaltstempel 72, Werkmeistermarke Henrik Emanuel Wigström (Goldberg Nr. 1536). H 5 cm.St. Petersburg, Carl Fabergé, um 1907.1907 bestellte Edward VII. bei Fabergé Miniaturausgaben sämtlicher Tiere, die das Königspaar auf ihrem Landsitz Sandringham in Norfolk hielten. Fabergé schickte den jungen Künstler Boris Frödman-Cluzel, um zu jedem Tier ein Wachsmodell anzufertigen, das später in Russland in Hartstein nachgeschnitten, mit Gold und Edelsteinen besetzt und nach London geschickt wurde. Die sog. Sandringham Commission umfasste unter anderem Hühner, Enten, Küken, aber auch Pferde, Hunde, Bullen und Schweine. Sie war von November 2021 bis Mai 2022 im Victoria and Albert Museum, London, ausgestellt: https://www.vam.ac.uk/articles/faberg%C3%A9-the-sandringham-commissionWir bedanken uns bei Herrn Alexander v. Solodkoff für seine Expertise.ProvenienzWestfälische Privatsammlung.LiteraturVgl. eine Henne aus der Sammlung Woolf, abgebildet bei Alexander von Solodkoff, Fabergé, Juwelier des Zarenhofes, Berlin 1995, Nr. 30. Zu den Steinschnitt-Skulpturen Fabergés vgl. auch Géza von Habsburg (Hrsg.), Fabergé - Cartier, Rivalen am Zarenhof, München 2004, S. 245 ff. Zum Sandringham-Auftrag vgl. Caroline de Guitaut, Fabergé's Animals, A Royal Farm in Miniature, London 2010, mit zahlreichen Abbildungen.
A FINE DIAMOND BRACELET, BY KUTCHINSKY, 1967The articulated strap set with brilliant-cut diamonds throughout, between textured gold borders with foliate detailing, mounted in 18K gold, diamonds approximately 6.00cts total, with maker's mark for Kutchinsky, English hallmarks for London 1967, length 17.6cmKutchinsky is an admired, collectable, and highly respected brand whose 20th century pieces have been said to represent the interesting intersection of war and beauty.According to historian Mary Ann Wingfield, Hirsch Kutchinsky, having fled Poland with his son Morris and their family, founded the business on Commercial Road, London in 1893, girded with the experience of serving as jeweller to the court of Ludwig of Bavaria. By 1930 the business was well-respected and multigenerational with Morris’ son Joseph working his way up, learning the importance of craftsmanship and customer service. Joseph quickly rose to head the firm’s production of platinum and diamond watches. His natural salesmanship, charisma, and seemingly endless energy ensured the company’s continuing success.Joseph Kutchinsky married in 1940, just before he was called to serve in the Second World War. After his service, he returned to lead the family firm.Jewellery created by Kutchinsky during the late 1940s and the 1950s were striking and ostentatious, celebrating the end of wartime restrictions and the ability to once again have access to luxury items. Marquise and baguette diamonds adorned rings, bangles, brooches and earrings, many pieces also used beautiful gemstones and natural materials like coral and turquoise. Kutchinsky was especially known at this time for their stone-cutting technique and for their oftentimes whimsical designs including animal and floral pieces.From 1960 to 1991 Sannit & Stein was the main workshop for Kutchinsky. This workshop, along with Joseph’s sons Paul and Roger Kutchinsky (who took over leadership in 1989), shared an obsession with Fabergé. This interest can clearly be seen in Kutchinsky’s employment of flashy designs and a mission to use only the highest quality materials. This obsession has become a cornerstone of the Kutchinsky story, inspiring Paul’s daughter Serena, a journalist, to write many articles about this era of the House’s history.London’s high society, as well as customers from as far afield as the Middle East, sought out the designs created by the House of Kutchinsky. The Middle East proved particularly lucrative, until the invasion of Kuwait and the war that followed.Kutchinsky jewellery at auction now distinguishes itself from a backdrop of mass-produced items. Its uniqueness is a leading factor in the brand’s timeless and iconic status and has contributed significantly to the demand for and value of the jewellery.Lot 72 and Lot 73 certainly capture the lustre and magnificence expected from Kutchinsky. The repeating floral patterns in both diamonds and gold in Lot 72 exudes a celebration of nature and of the beautiful, glistening gems and gold that make up the piece. Similarly, Lot 73 centres the dynamism of diamonds and gold with a delicate and fanciful leaf motif while Lot 75 is both refined and playful with the use of onyx and coral. These pieces, which are from the 1960s and 1980s, are a wonderful example of the work of Kutchinsky from this time. They reflect the zeitgeist, as jewellery historian Alba Cappellieri explains, “This was indubitably the decade of art jewellery and experimental jewellery … making it instead a form of research of experimentation unlinked to manufacturing logics and marketing demands.”Condition Report: Diamonds: approx. 6.00cts total, unable to assess colour due to yellow mount, estimated clarity VSNormal signs of wear, overall in good conditionTotal gross weight approx. 84.9g
A DIAMOND COCKTAIL RING, BY KUTCHINSKY, CIRCA 1965Of bombé design, pavé-set with brilliant-cut diamonds within textured gold foliate detailing, mounted in 18K gold, signed Kutchinsky, with maker's mark for Kutchinsky, partial London hallmarks, ring size KKutchinsky is an admired, collectable, and highly respected brand whose 20th century pieces have been said to represent the interesting intersection of war and beauty.According to historian Mary Ann Wingfield, Hirsch Kutchinsky, having fled Poland with his son Morris and their family, founded the business on Commercial Road, London in 1893, girded with the experience of serving as jeweller to the court of Ludwig of Bavaria. By 1930 the business was well-respected and multigenerational with Morris’ son Joseph working his way up, learning the importance of craftsmanship and customer service. Joseph quickly rose to head the firm’s production of platinum and diamond watches. His natural salesmanship, charisma, and seemingly endless energy ensured the company’s continuing success.Joseph Kutchinsky married in 1940, just before he was called to serve in the Second World War. After his service, he returned to lead the family firm.Jewellery created by Kutchinsky during the late 1940s and the 1950s were striking and ostentatious, celebrating the end of wartime restrictions and the ability to once again have access to luxury items. Marquise and baguette diamonds adorned rings, bangles, brooches and earrings, many pieces also used beautiful gemstones and natural materials like coral and turquoise. Kutchinsky was especially known at this time for their stone-cutting technique and for their oftentimes whimsical designs including animal and floral pieces.From 1960 to 1991 Sannit & Stein was the main workshop for Kutchinsky. This workshop, along with Joseph’s sons Paul and Roger Kutchinsky (who took over leadership in 1989), shared an obsession with Fabergé. This interest can clearly be seen in Kutchinsky’s employment of flashy designs and a mission to use only the highest quality materials. This obsession has become a cornerstone of the Kutchinsky story, inspiring Paul’s daughter Serena, a journalist, to write many articles about this era of the House’s history.London’s high society, as well as customers from as far afield as the Middle East, sought out the designs created by the House of Kutchinsky. The Middle East proved particularly lucrative, until the invasion of Kuwait and the war that followed.Kutchinsky jewellery at auction now distinguishes itself from a backdrop of mass-produced items. Its uniqueness is a leading factor in the brand’s timeless and iconic status and has contributed significantly to the demand for and value of the jewellery.Lot 72 and Lot 73 certainly capture the lustre and magnificence expected from Kutchinsky. The repeating floral patterns in both diamonds and gold in Lot 72 exudes a celebration of nature and of the beautiful, glistening gems and gold that make up the piece. Similarly, Lot 73 centres the dynamism of diamonds and gold with a delicate and fanciful leaf motif while Lot 75 is both refined and playful with the use of onyx and coral. These pieces, which are from the 1960s and 1980s, are a wonderful example of the work of Kutchinsky from this time. They reflect the zeitgeist, as jewellery historian Alba Cappellieri explains, “This was indubitably the decade of art jewellery and experimental jewellery … making it instead a form of research of experimentation unlinked to manufacturing logics and marketing demands.”Condition Report: Diamonds: bright and livelyPartial London hallmarks, unable to read letter for dateNormal signs of wear, overall in good conditionTotal gross weight approx. 12.6g
A LADY'S 18K GOLD AND GEM-SET COCKTAIL WATCH, BY KUTCHINSKY & DELANEAU, CIRCA 1974Of manual wind movement, the oval dial pavé-set with single-cut diamonds throughout and sword hands, case with polished applied bombé onyx and coral with reeded gold connectors, with snap on back, to a mesh-link bracelet and black cabochon crown, with maker's mark for Kutchinsky, English import mark for 1974, movement signed Delaneau, mounted in 18K gold, case no. 1645*, with Delaneau case and copy of insurance valuation from Kutchinsky jewellers in London dating from 2005, case 4cm, length 18.3cmKutchinsky is an admired, collectable, and highly respected brand whose 20th century pieces have been said to represent the interesting intersection of war and beauty.According to historian Mary Ann Wingfield, Hirsch Kutchinsky, having fled Poland with his son Morris and their family, founded the business on Commercial Road, London in 1893, girded with the experience of serving as jeweller to the court of Ludwig of Bavaria. By 1930 the business was well-respected and multigenerational with Morris’ son Joseph working his way up, learning the importance of craftsmanship and customer service. Joseph quickly rose to head the firm’s production of platinum and diamond watches. His natural salesmanship, charisma, and seemingly endless energy ensured the company’s continuing success.Joseph Kutchinsky married in 1940, just before he was called to serve in the Second World War. After his service, he returned to lead the family firm.Jewellery created by Kutchinsky during the late 1940s and the 1950s were striking and ostentatious, celebrating the end of wartime restrictions and the ability to once again have access to luxury items. Marquise and baguette diamonds adorned rings, bangles, brooches and earrings, many pieces also used beautiful gemstones and natural materials like coral and turquoise. Kutchinsky was especially known at this time for their stone-cutting technique and for their oftentimes whimsical designs including animal and floral pieces.From 1960 to 1991 Sannit & Stein was the main workshop for Kutchinsky. This workshop, along with Joseph’s sons Paul and Roger Kutchinsky (who took over leadership in 1989), shared an obsession with Fabergé. This interest can clearly be seen in Kutchinsky’s employment of flashy designs and a mission to use only the highest quality materials. This obsession has become a cornerstone of the Kutchinsky story, inspiring Paul’s daughter Serena, a journalist, to write many articles about this era of the House’s history.London’s high society, as well as customers from as far afield as the Middle East, sought out the designs created by the House of Kutchinsky. The Middle East proved particularly lucrative, until the invasion of Kuwait and the war that followed.Kutchinsky jewellery at auction now distinguishes itself from a backdrop of mass-produced items. Its uniqueness is a leading factor in the brand’s timeless and iconic status and has contributed significantly to the demand for and value of the jewellery.Lot 72 and Lot 73 certainly capture the lustre and magnificence expected from Kutchinsky. The repeating floral patterns in both diamonds and gold in Lot 72 exudes a celebration of nature and of the beautiful, glistening gems and gold that make up the piece. Similarly, Lot 73 centres the dynamism of diamonds and gold with a delicate and fanciful leaf motif while Lot 75 is both refined and playful with the use of onyx and coral. These pieces, which are from the 1960s and 1980s, are a wonderful example of the work of Kutchinsky from this time. They reflect the zeitgeist, as jewellery historian Alba Cappellieri explains, “This was indubitably the decade of art jewellery and experimental jewellery … making it instead a form of research of experimentation unlinked to manufacturing logics and marketing demands.”Condition Report: Glass: no scratches observedBracelet: some dents due to wear - the bracelet can be replaced, screws inCase no. 1645HIn running condition at the time of inspectionTotal gross weight approx. 77.1gCopy of insurance valuation from Kutchinsky jewellers in London dating from 2005 - insurance value: £15,750.-An external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...The movement is running at the time of cataloguing, however, it was not tested for the accuracy of time or duration of the power reserve and may need service at the buyer's discretion. Please note that Adam's does not guarantee the future working of the movement. For any additional assistance, please refer to the department.
Paar Ohrclips "Faberge 1763"Jeweils Gelbgold 18kt. altroséfarben emailliert, goldbemalt und besetzt mit jeweils einem Mondsteincabouchon von ~1.40 ct. (0.90 x 0.56 x 0.40 cm) und zehn kleinen Diamanten, rückseitig jeweils Feingehaltsmarke "585" und Werkstattmarke "VM", jeweils 2.0 x 1.51 cm, Gewicht gesamt 16,7 gr., sehr guter Zustand, Collection Fabergé / Victor Mayer Pforzheim 2007, Nr. 34 aus einer limitierten Auflage von 300 Exemplaren, im originalen Holzkasten mit Eindruck "FABERGÈ", dabei originales Foto-Zertifikat und Kaufbeleg von 2007
A Continental Silver Jardiniere, Possibly German, Early 20th Century, Bearing Spurious Marks for Fabergé With Imperial Warrant, With Spurious Russian Import Mark for Assay Master Kliment Zagayevsky shaped oval and on spreading conforming foot, the sides chased with lily pads and bull rushes, with foliage cast handles46cm wide over handles, 48oz 8dwt, 1,505grProvenance:Tennants, 21 March 2020, lot 1262.Marked near rim and underneath with spurious marks for Faberge and spurious Russian control marks. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points.
Militärorden "Für Tapferkeit", Kreuz 3. Klasse, 1. Modell (1880-86) Silber, vergoldet, emailliert, an altem pentagonalen Band, im Bandring punziert mit 84 Zolotniki für Silber, der Stadtmarke von St. Petersburg für die Jahre 1865 bis 1896 und der Meistermarke "NP" der Juweliersfirma Charles Nicholls & William Plinke in St. Petersburg. Gewicht 19,8 g, Maße 58,5 x 38,6 mm. Das erste Modell wurde am 1. Januar 1880 von Fürst Alexander von Bulgarien in vier Klassen für militärische Tapferkeit gestiftet. Die Klassen teilten sich in eine 1. bis 4. Klasse des Ordens und ein affiliertes, zunächst dreistufiges Soldatenkreuz. Am 1. Dezember 1885 erfolgte die Stiftung des Soldatenkreuzes der 4. Klasse, am 1. März 1886 des Großkreuzes mit und ohne Totenköpfen. Das Großkreuz mit Totenköpfe wurde nur vom Souverän selbst als Großmeister des Ordens getragen.In dieser ersten Ausführung wurde der Orden von 1880 bis 1886 verliehen. Siehe Todor Petrov, "Bulgarian Orders and Medals", S. 314, wonach die 3. Klasse insgesamt 24 Verleihungen erfuhr, davon 12 an Ausländer.Die Engländer William Plinke und Charles Nicholls betrieben ein Juweliersgeschäft in St. Petersburg. 1815 übernahmen sie das Geschäft von John Pickersgill. 1844 erhielten Nicholls und Plinke die erbliche Ehrenbürgerschaft. Ihr Status als Lieferanten des kaiserlichen Hofs und der russischen Aristokratie machte sie zu einem der exklusivsten Schmuck- und Silbergeschäfte in Russland. Die unschlagbare Konkurrenz durch Fabergé trieb Nicholls & Plinke schlußendlich in den Ruin.Provenienz: Es handelt sich hierbei um das Exemplar aus der Künker-Auktion 173 vom 25. Juni 2010, Los 8176. Military Order "For Bravery", a Cross 3rd Class, 1st pattern (1880-86) Military Order "For Bravery", a Cross 3rd Class, 1st pattern (1880-86)Silver, gilt and enamelled, on an old pentagonal ribbon, the inside of the suspension ring punched with 84 zolotniki for silver, St. Petersburg city mark for the years 1865 until 1896 and master’s mark "NP" of the jeweller company Charles Nicholls & William Plinke of St. Petersburg. Weight 19.8 g, dimensions 58.5 x 38.6 mm.The first model was donated in four classes for military bravery by Duke Alexander of Bulgaria on 1 January 1880. The order was awarded in classes 1 to 4 and an affiliated soldier’s cross initially divided into three classes. On 1 December 1885, the Soldier’s Cross 4rd Class was donated, followed by the donation of the Grand Cross with and without death’s heads on 1 March 1886. The Grand Cross with death’s heads was only worn by the sovereign as Grand Master of the Order.The first version of this order was awarded between 1880 and 1886. Cf. Todor Petrov, "Bulgarian Orders and Medals", p. 315, which lists a total of 24 awards of the 3rd-class cross, 12 of them to foreigners.The English jewellers William Plinke and Charles Nicholls maintained a shop in St. Petersburg. In 1815, they took over the business from John Pickersgill. In 1844, Nicholls and Plinke were awarded the hereditary honorary citizenship. Owing to their status as purveyors to the imperial court and the Russian aristocracy, their business became one of the most exclusive jewellery and silver shops in Russia. Fabergé eventually outshone Nicholls & Plinke, forcing them to close due to financial issues.Provenance: This object was offered by the company Künker at its auction no. 173 on 25 June 2010 under lot no. 8176.Condition: II
FABERGÉ by VICTOR MAYER Anhänger "Ei", GG 18K, tlw. orangefarben emailliert, 6 gr, L: ca. 2,8 cm, um 2000, minimale Tragespuren, nummeriert 235/1000.| FABERGÉ by VICTOR MAYER pendant "Egg", 18K YG, partly with orange enamel, 6 gr, L: ca. 2.8 cm, around 2000, minimal signs of wear, numbered 235/1000.
im Stil von Karl Fabergé. Rechteckige Form mit gerader Wandung. Auf flachem Deckel mit abgerundeten Kanten die naturalistisch gearbeitete Darstellung eines Hundes, einen Hut im Maul haltend. Die Augen besetzt mit zwei Granatcabochons. Gest. 84. H. 5,3 cm. 5,2 cm x 4,3 cm. A Russian malachite box with a silver sculpture of a dog holding a hat in its mouth. Standard mark 84.Russland. 20. Jh.
in der Art von Karl Fabergé. Stand in Form einer konischen Vase aus geschliffenem Bergkristall mit herausnehmbarem Blütenzweig aus vergoldetem Silberdraht und naturalistisch gestalteten Karneol-Blüten sowie Nephrit-Blatt. Gest. 88. H. 12,5 cm.A Russian rock crystal vase with a silver gilt, nephrite and carnelian flower in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.
in der Art von Karl Fabergé. Stand in Form einer konischen, von Godronen gegliederten Vase aus geschnittenem und mattiertem Bergkristall. Darin ein herausnehmbarer Blütenzweig aus vergoldetem Silberdraht mit naturalistisch gestalteten Rhodonit-Blüten sowie Nephrit-Blättern. Gest. 88. H. 19 cm.A Russian rock crystal vase with a silver gilt, nephrite and rhodonite flower in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.
im Stil von Karl Fabergé. Mit Originaletui. Grau, türkis und dunkel blau-grau melierter und changierender Smaragd. Naturalistisch geschnittene und geschliffene, vollplastische Darstellung eines Nilpferdes, die Augen besetzt mit zwei Granatcabochons. H. 3,6 cm. L. 7,8 cm.A Russian grey and blue-green emerald hippo in the style of Karl Fabergé with original case.Russland. 20. Jh.
im Stil von Karl Fabergé. Silber, teilw. vergoldet. Spitz zulaufende Klinge mit palmenblattähnlicher Montierung. Zylindrischer Griff mit durchbrochen gearbeitetem Netzgitterwerk über eisgrau changierendem, emailliertem Grund. Als Abschluss vollplastisch gestalteter Elefant, die Augen besetzt mit zwei kleinen Granatcabochons. Gest. 88. Gew. ca. 125 g. L. 20,5 cm. A Russian parcel-gilt silver and enamelled letter opener in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.
im Stil von Karl Fabergé. Silber, teilw. vergoldet. Zylindrische Form mit Stulpdeckel. Umlaufend weinrot emailliert über feinem, wellenförmig guillochiertem Grund. Reliefierte Ränder aus stilisiertem Lorbeerkranzdekor und Perlrand. Mittig, unterhalb des Deckelansatzes, ein abgesetztes, perlmutter farbenes, emailliertes Band über korrespondierend guillochiertem Grund. Darauf drei applizierte Lorbeerzweige. Schauseitig auf dem Deckel ein großer reliefplastischer Doppeladler besetzt mit Rubincabochons. Die Deckeloberseite mit radförmiger Applikation aus Diamantrosen. Gest. 88. Gew. ca. 165 g. L. 17,5 cm.A splendid Russian enamelled and parcel-gilt silver cigar-case in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.
Gelbgold, 14 ct., teilw. mit Rotgold rodiniert; Flache, hochrechteckige Form mit gerundeten Ecken und Kanten. Seitlicher Drücker besetzt mit feinem Saphircabochon. Auf Bodeninnenseite gravierte russisch-ukrainische Inschrift und dat.; Best.; Gest. 56, Beschauzeichen, Meister Gabriel Sakarinoika Niukkanen (ist tätig nach 1898). Gew. ca. 60 g. 4,5 cm x 8 cm.Der Goldschmied und Emailleur Gabriel Niukkanen/Nykänen leitete in den Jahren 1898-1912 eine eigene Werkstatt in St. Petersburg und fertigte gelegentlich vorrangig goldene Zigarettenetuis für Fabergé an, wobei diese selten das Herstellerzeichen Fabergés trugen. Später wurde er Leiter der Fabergé Werkstätten in Odessa.Vgl. Géza von Habsburg, Fabergé, Hofjuwelier des Zaren, München 1986, S. 330, sowie Abb. 139 und 159 (weitere Zigarettenetuis des Meisters); Snowman, The Art of Carl Fabergé, S. 129.An elegante small Russian Art Deco gold and partly red gold rodinated cigarette case with saphir cabochon. With Russian-Ukrainian inscription. Dented. Standard mark 56, assay mark and master's mark.Russland. St. Petersburg. Um 1924.
im Stil von Karl Fabergé. Mit Holzetui. Silber, vergoldet und emailliert. Sechsfach gekanteter Korpus mit gerader Wandung und gering ausgestelltem, mehrfach gestuftem Stand und Deckelrand. Wandung und scharnierter Deckel grün emailliert über fein guillochiertem, strahlenförmigem Grund. Auf dem Deckel appliziertes Rundmedaillon mit Porträtminiatur von Zarin Katharina II in polychromer Emailmalerei, gerahmt von Diamantrosen. Ober- und unterhalb umzogen von durchbrochen reliefplastisch gearbeiteten Blatt- und Blütenornamenten, besetzt mit kleinen Granatcabochons und Diamantrosen. Gest. 88. Gew. ca. 365 g. H. 3,5 cm. 10 cm x 8,9 cm.A decorative Russian gilt and enamelled silver box in the style of Karl Fabergé with a portrait of Catherine the Great. With wooden case. Standard mark 88.Russland. 20. Jh.
im Stil von Karl Fabergé. Silber, teilw. vergoldet und emailliert. Rechteckige Form mit bombierter Wandung. Die Kanten und Ecken umzogen von ornamentierten Zierbändern. Schauseitig passig geschweifter Drücker. Nahezu flächendeckend blutrot emailliert über wellenförmig guillochiertem Grund. Der scharnierte, flache Deckel verziert mit appliziertem, reliefplastischem Doppeladler, besetzt mit Diamantrosen und Granatcabochon. Gest. 88. Gew. ca. 260 g. H. 2 cm. 11 cm x 6,5 cmA Russian red enamelled box in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.
Große Fabergé-Glasvase mit Silbermontierung, Russland, Moskau, 1896 - 1908 Farbloses, schliffverziertes Glas. Wandung mit gekerbtem Dekor. Umseitig Rocaillen- und Blütendekor. Silbermontierung mit reliefierter Rocaillenzier. Punziert mit Beschauzeichen mit Feingehalt "84" sowie Meistermarke "K.FABERGE" in Kyrillisch mit Hoflieferantenzeichen. Schnitt später. Höhe 32 cm. A large silver-mounted Fabergé glass vase, Moscow, 1896 - 1908 A large silver-mounted Fabergé glass vase, Moscow, 1896 - 1908Colourless cut glass. Of cylindrical form decorated with rocailles and flowers. Silver-mounting decorated with embossed rocailles. Stamped with assayer's mark with 84-standard and master's mark "K.FABERGE" with imperial warrant. Cut later. Height 32 cm.Condition: II
A gold plated full hunter pocket watch, with white enamelled dial (lacking glass and seconds hand), a Kay's 'Triumph' hallmarked silver cased key wind pocket watch, the white enamelled dial set with Roman numerals and smaller subsidiary seconds dial, and a 1950s novelty table clock in the style of a Fabergé egg, revealing a small crown wound clock face on a raised pedestal, on an onyx and silver plated base, height 12cm (3).
VARIOUS BOOKS ON LALIQUE AND SCENT BOTTLES Invitation to an exhibition 17/8/28Catalogue des Verreries de René Lalique, Paris, March 1932Noel 1934 catalogueMorrison McClinton, K., Lalique for Collectors, New York, 1975Lalique par Lalique, Paris, 1977Morrison McClinton, K., Introduction Lalique Glass, Iowa, 1978Arwas, V., Lalique, London, 1980Garner, P. Glass 1900 Gallé, Tiffany and Lalique, London, 1984Martin, H., A Collection of Figural Perfume & Scent Bottles, Lancaster, 1982Jones-North, J., Perfume, Cologne and Scent Bottles, West Chester, 1986Opalescence Le Verre Moulé des Annes 1920-1930, Banque Bruxelles-Lambert, Brussels, 15 October-29 November 1986Jones-North, J., Commercial Perfume Bottles, West Chester, 1987René Lalique, maître-verrier, Tokyo Metroplitan Teien Art Museum, 5 April – 29 May 1988Barten, S., René Lalique Schmuck und Objets D’art 1890-1910, Bonn, 1989Lalique, Beaux Arts, Paris, 1991René Lalique, Musée des Art décoratifs, Paris, 1991Exhibition of René Lalique, Odakyu Museum, 28 July – 15 August 1993Mayer Lefkowith, C, The Art of Perfume Discovering and Collecting Perfume Bottles, London, 1994Barille, E., Coty Parfumeur and Visionary, Paris, 1996René Lalique Flacons 1910-1935, Museum Bellerive, Zurich, 22 May 1996 – 2 March 1997Brunhammer, Y., The Jewels of Lalique, Paris, 1998Collection of the René Lalique Museum, René Lalique Museum, Suwa, Japan, 2000Zolomij, J. J., Lalique Automobile Mascots, The Ele Chesney Collection, Philadelphia, 2002Warmus, W., The Essential René Lalique, New York, 2003Marcilhac, F., R. Lalique 1860-1945 maître-verrier analyse de l’œuvre et catalogue raisonné, Paris, 2004Mortimer, T., Lalique Jewellery and Glassware, London, 2005Thiébaut, P., René Lalique Correspondance d’un Bijoutier Art Nouveau 1890-1908, Lausanne, 2007Hatch, C., Déco Lalique, Creator to Consumer, Toronto, 2007Passos Leite, M. F., René Lalique at the Calouste Gulbenkian Museum, Lisbon, 2008Harrison, S., Ducamp, E., Falino, J., Artistic Luxury Fabergé, Tiffany, Lalique, Cleveland Museum of Art, Yale, 2008 TWO COPIESMaritch-Haviland, N. and de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Paris, 2009René Lalique: A Retrospective, The National Art Centre Tokyo, 24 June -7 September 2009Stamelman, R., Perfume, Joy, Obsession, Scandal, Sin, A Cultural History of Fragrance from 1750 to the Present, New York, 2009Lalique Vases, The New Zealand Collection of Dr Jack C. Richards, Auckland, 2011Booji, L., Lalique in Nederland, The Hague, 2013
A Russian gold mounted bloodstone circular box, of rounded baluster form, the mounts to the hinged lid engraved with scrolling foliage, and having a red and white gemstone set clasp, marks for Michael Perchin and 72 zolotnik mark, 5cm wideMichael Perchin was head workmaster for Fabergé from 1886 to 1903.The three stone clasp is possibly a later addition. In good condition overall. The red stone is set at an angle, and there is some dark grey discolouration around the clasp area. More photos will shortly be added to the website. Height is 4.2cm.
Rare Imperial Russian silver-gilt shell and thread Pattern dessert service with engraved Russian nobleman's coat of arms circa 1830 by Nichols and Plincke. The twelve place setting with St. Petersburg and 84 standard marks comprising 12 knifes, 12 forks and 12 spoons in later fitted case. 70 ozs all atNichols and Plincke Biography:In the mid-19th century, there existed a relatively large community of English gold- and silversmiths. Two such figures were Charles Nicholls and William Plincke, who together acquired a silver business from John Pickersgill in 1815 and rebranded it first as William Plincke’s English Shop and later, in 1829, under both their names as Nicholls & Plincke. Having already been granted Russian citizenship in 1804, the pair gained further hereditary honorary citizenship forty years later.Early on, Nicholls & Plincke received the royal warrant and a considerable number of imperial commissions, including many Christmas presents from Nicholas I to his family and the silver portion of his daughters’ dowries. In 1852, the Imperial Court requested the creation of an impressive forty coffee services (A. von Solodkoff, Russian Gold and Silver, Trefoil Books, 1981, p. 200). They also co-produced the malachite fireplace in the Winter Palace. Though the firm’s success stemmed from its sourcing of silver in England, it also had a reputation for fine enamel work. Notable workmasters include Samuel Arnd, J. Henrikson and A. Tobinov.Unfortunately, Nicholls & Plincke was unable to withstand the pressure from their ferocious competitor, Fabergé, whose vast workforce could churn out production at a monumentally fast rate. The company fell into decline after suffering severe financial losses and was forced to close in 1880.
Attributed to W.A. Bolin, a princely smoky quartz desk seal, circa 1870s, of baluster form carved from smoky quartz, the base with an elaborate Russian coat of arms for Prince Barclay de Tolly-Weymarn, height 8.3cm, fitted case stamped W.A. BolinThe coat of arms on this imposing desk seal are those of the Princes of Barclay de Tolly-Weymarn. The princely title of Barclay de Tolly was bestowed upon a branch of the Scottish Barclay clan who had fled their home after the 'Glorious Revolution' of 1688, to settle in Swedish Livonia (covering parts of modern day Estonia and Latvia). The family distinguished themselves through military service, and were accepted into Russian nobility, rising to the rank of Prince in 1815. Upon the death of the last Prince of Barclay de Tolly, the princedom was permitted to pass through the female line to the prince's grand nephew, Alexander von Weymarn (1824-1905), himself a distinguished military commander, and the family title became Prince Barclay de Tolly von Weymarn in 1872. The coat of arms on the present seal is that of the Princes Barclay de Tolly-Weymarn, and may have been commissioned from the prominent jeweller Bolin (a close rival of Fabergé) around the time of this bestowal of princely rank in the early 1870s.
A citrine, chalcedony and enamel desk seal, circa 1910, the faceted citrine handle above a wide band of lime green guilloché enamel, to a gold mount decorated with scroll designs, enclosing a white chalcedony seal engraved with an intaglio of Sir Isaac Newton, length 8.5cm, fitted case imitating Fabergé
Two Russian silver and parcel-gilt serving setsFabergé, St. Petersburg 1908-1917, stamped 84 zolotnik Each original fitted case comprising of a pair of two-tine serving forks, a serving trowel, a cheese knife, an asparagus server, a cake knife, one set with embossed handles decorated with ribbon-tied laurel garlands in the classical taste, the other with scrolling interlaced foliate motifs, length cheese knife 20cm. (12)Footnotes:ProvenanceAcquired by Ennio De Concini (1923 - 2008) in 1960sThence by descentEnnio De Concini (1923-2008) was a famous Italian screenwriter and film director and winner of the Academy Award in 1962 for the 'Best Original Screenplay' for the celebrated classics Divorce Italian Style. He was the co-screenwriter of The Red Tent, a 1969 Soviet-Italian film starring Sean Connery based on the story of the 1928 mission to rescue Umberto Nobile and the other survivors of the crash of the airship Italia. Among the 60 films to De Concini's credit are The Twist (1976), Four of the Apocalypse (1975), War and Peace (1956) etc.For further information on this lot please visit Bonhams.com
By Fabergé, a Russian two-handled silver sugar bowl and cover,Moscow 1908-1917,circular form, with a band of classical swan and garland decoration, on a matted background, angular fluted scroll handles, the hinged cover with a fluted finial, beaded borders, on a circular foot, gilded interior, initialled, length handle to handle 17cm, approx. weight 17.5oz.
Seltenes Russisches Silberemail-Hostien-DeckelgefässHöhe: 21 cm.Trägt auf dem Deckelinnenboden Stempelmarke „Fabergé“ sowie Silberstempel „84“ und Meistermarke „I. P.“ Weitere Stempelung am Lippenrand.Anfang 20. Jahrhundert.Gearbeitet in Form eines großen Eis, als Deckelgefäß, mit eingezogenem Rundfuß. Die Wandungen von Gefäß und Deckel in smaragdgrünem Transluzidemail. Die Montierungen und Applikationen in Silber, vergoldet. An der Gefäßwandung vierfach applizierte Doppeladler in Silber mit Kronen in rotem Email. In der Brust der Adler jeweils Diamanten eingelassen. Auch am Fuß vier Adler mit eingelegten roten Edelsteinen. Die Wandung des hohen Deckels besetzt mit drei ovalen, abgedeckelten Medaillons, in den Rahmungen Smaragde eingelassen. Darin ovale Porzellanbilder mit Büsten-Darstellungen von Gottvater, Jesus und Maria. Ferner rot emailliertes Kreuz mit Corpus Christi und schrägem Querbalken in Vergoldung. Oberer Deckelabschluss mit Emailmedaillon, bekrönt durch einen geschliffenen Granatstein. Am Fußring gravierte Umschrift in Kyrillisch „Imperatorskij Bunon . Klub“, was darauf hinweist, dass das Objekt eine Stiftung des Kaiserlichen Klubs an die Kirche war. Im Inneren ein herausnehmbarer Zwischenboden, darauf Halterungsring für eine runde Hostien-Deckeldose; Deckel und Wandung reich dekoriert mit Blattkränzen, um eine zentrale rot und grün emaillierte Rosette mit zentralem gemugeltem Stein. Im Deckelinneren nochmals applizierter Doppeladler mit Krone.Die Ausführung dem Widmungszweck entsprechend aufwändig. Selbst die inneren Gegenmuttern im Gefäß in Form kleiner emaillierter Rosetten gearbeitet.Bei dem Objekt handelt es sich um ein seltenes Hostiengefäß, eine Schenkung des kaiserlichen Klubs an die orthodoxe Kirche, mit entsprechender Widmungsaufschrift. Besch., Gebrauchssp. A.R. (1352033) (11))
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