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Lot 22
Petrus van Schendel (Belgian 1806-1870)The Noordermarkt by Night, Amsterdam signed and dated 'P.vanSchendel/1840' (lower right)oil on panel96.3 x 79.3cm (38 x 31 1/4in).Footnotes:ProvenanceAverilla van Ryswick Lambert (1848-1918), Maryland, USA.Wilton Lambert (1871-1935) and Elizabeth Gorman Lambert (1876-1959) (by descent from the above).Private Collection, UK (by descent from the above).Anon. sale, Sotheby's, London, 16 November 2005, lot 259.With MacConnal-Mason Ltd., London .Anon. sale, Sotheby's, London, 9 July 2019, lot 52.Acquired from the above sale by the present owner.Painted in 1840, during the artist's Hague period (1839-1845) when he really showed what he was capable of, this large panel is a spectacular example of the masterful chiaroscuro technique of Petrus van Schendel. Widely known for night time market scenes illuminated by candlelight, the artist has presented the viewer with a scene of the Noordermarkt in Amsterdam. Situated on the Prinsengracht, the Noordermarkt had been a flourishing market for food, textiles and other commodities since the early 17th century. The tower of the Noorderkirk completed in 1623 can be seen in the background. In a slight departure from his usual subject matter van Schendel has chosen to portray a street vendor offering cutlery, trinkets and other household objects. A woman is shown bargaining over a jewellery box while a young man examines other objects on offer. Throughout the composition various light sources illuminate the mass of people gathered at the market as the moon rises in the distance. A cheese stall can be seen on the right, the relaxed vendor enjoying his pipe as a bonneted woman considers the cheese laid out on the table. Here the direct light source is hidden from the viewer but still illuminates this part of the narrative.We are grateful to Jan de Meere for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 101
Romanesque pyx. Limoges, France, 13th century.Champlevé enamelled copper.The enamel is faded. The hinge is a later addition.Measurements: 12 cm (height) x 6.2 cm (diameter).Pyx consisting of a cylindrical box with a conical cover, surmounted by a Latin cross. It is decorated with angels framed in circular cartouches on the container and on the lid. These cartouches alternate with interlacing motifs on a cobalt-blue background, elements of Islamic influence typical of Limoges. The lid is hinged at the back with a hinge, and the front has a pin clasp. The host was decorated using champlevé, an enamelling technique used in Romanesque art to decorate jewellery boxes, plaques and vessels. Its name comes from 'raised field', although the process consists of sinking the bottom and then filling it with enamel, which is then polished to produce a smooth, harmonious surface.The pyx or hostiarium is the vessel used to hold the Sacred Form. It is a typological novelty that emerged at the end of the Romanesque period in Limoges, a producer of enamelled silverware. It has its origins in the Greek pyx, a small lidded box that was often used to store jewellery or beauty products. The first hostiariums took the form of a cylindrical box with a conical lid, hinged or linked by a chain. Even in these early examples from Limoges, it was common for them to have a cross-shaped top, although this has rarely been preserved. During the Gothic period, the same structure was maintained, although it could appear with or without a clasp and hinge. Likewise, in the Gothic period, the size of the host was reduced, which indicates a change in its function. It is no longer used during mass, as this function is covered by the ciborium, but is used to give communion to the sick in their homes. The finishing cross, now essential for all Eucharistic pieces, was retained.The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels for religious, but also for secular use, began to take off. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow background dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels are applied according to the client's taste, filling only the background, only the figures, or both, and the enamels are applied according to the client's taste. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they did not only produce plaques, but also complete pieces.
Lot 133
A single row graduated coral bead necklace,the coral beads, approximately 4.5 to 9.1mm in size, strung knotted to a silver gilt coral set box clasp, with metal end fittings, 525mm long,together with a small collection of silver coral set jewellery,to include a silver gilt filigree brooch, a pair of bouton coral cabochon clip earrings, etc. (qty.)Condition report: Surface inclusions to a few of the coral beads. Stringing a little loose. Base metal ends. Beads well matched.Silver gilt filigree brooch: gilding wearing in places, brooch bent.
Lot 163
Three pieces of emerald and diamond jewellery, to include a white gold emerald and diamond cluster pendant, with pear mixed cut emerald to surround of brilliant cut diamonds, all claw set, to split articulated cobra link chain with box clasp and figure of eight safety catch, marked 750, 420mm long, 22.18g, an emerald and diamond cluster ring, with an emerald cut emerald rub set at the centre, to surround of eight cut and baguette cut diamonds, all claw set, to a tapered flat section shank, 4.74g, and a white gold emerald and diamond cluster ring, with an emerald cut emerald, approximately 9.5 x 10.0mm, rub set, to surround of eight cut and baguette cut diamonds, one deficient, all claw set to a wire basket, to two row shank, tested as approximately 9ct gold, 11.46g (3)Finger size O, JCondition report: Pendant:Surface reaching inclusions to the emerald.Surface reaching inclusions to some of the diamonds.Minor surface marks/scratches to gold.Some wear to chain.Ring:Some surface reaching inclusions to the emerald.The collet to the emerald tests as base metal. The rest of the ring tested as approximately low grade gold, possibly 6-8ct. Surface marks/scratches/tarnish to metal.Ring:Surface reaching inclusions to the emerald.One diamond missing.One wire to the basket not soldered at the base.Surface marks/scratches to metal.Solder join visible at base of shank.
Lot 300
A collection of gold jewellery,comprising a 9ct gold filed box link chain with bolt ring clasp, import hallmark London 1978, links worn, a gold bead, bar and trace link chain, tested as approximately 9ct gold, worn, a 9ct gold cornelian and bloodstone spinner fob with curb link mount, Birmingham 1914, a 9ct gold watch bracelet, Birmingham, a garnet stick pin, the cabochon garnet rub set in gold, to later metal pin, lead soldered, together with a metal Albert chain and fob (qty.)9ct gold - 10.23g totalCondition report: Catalogued weight of 9ct gold includes the two chains and the watch bracelet.
Lot 1868
A GROUP OF FOURTEEN ITEMS OF SWAROVSKI CRYSTAL JEWELLERY AND TWO FURTHER RINGS (16)Comprising; five rings of varying designs, a drop shaped colourless gem set pendant with a neckchain with a matching pair of earrings and seven pairs of earrings, in a variety of designs, the two further rings detailed M & S, with a box
Lot 2387
COHEN & CHARLES; a George V hallmarked silver jewellery box with faux tortoiseshell cover, Birmingham 1919 (af), together with a hallmarked silver topped dressing table bottle, a silver mounted nail buffer, etc (8).Additional InformationEach of the pieces with the exception of the button hook with hallmarked silver mounts, the dressing table jewellery box is af, the hinge has been broken, two feet have been broken off, one is bent and with numerous dents, the jar with light scratches and wear.
Lot 24
GIVENCHY; a vintage gold tone heavy link chain with Etruscan style coin logo pendant with monogram coin, width 43cm, and a matching pair of crystal logo monogram coin clip-on earrings, width 25mm, each item stamped with Givenchy, Paris, New York (2). Additional InformationThe chain is in excellent condition and looks unused, one of the earrings is missing one of the small crystals to one end which is barely visible to the naked eye, and the items come in a black jewellery box.
Lot 2875
A large quantity of costume jewellery including a set of vintage Guinness buttons, boxed, and a set of pearlised button covers from Austin Reed of Regent Street, boxed, and a large quantity of beads, brooches and cufflinks, all in a wooden rosewood box (af).Additional InformationAll jewellery is in a good vintage condition.
Lot 72
OSPREY; a unused faux snakeskin leather and black pebbled leather make up bag, with silver tone top zip, 23 x 14cm, a purple leather heart shaped jewellery box with tan leather logoed front, in original box, an unused brown leather card holder with room for six cards and logoed keyring, and a Dickens and Jones, D&J blue pebbled leather make up bag embellished with white and red ducks and with a gold tone D&J logo to front (4).Additional InformationAll three Osprey items are in excellent unused condition, but the D&J make up bag has some small signs of wear to the bottom and the inside.
Lot 13
A MID 19TH CENTURY ROMAN GLASS PARURE, consisting of a necklace, bracelet, single earring and brooch, each piece made from multi-coloured and vari-patterned Roman glass fragments in fine gold collet settings, the necklace designed as a graduated row of collet mounted oval glass panels to the push piece glass panel set clasp, length 490mm, width 10mm to 23mm, the bracelet designed as a double row of collet set oval glass panels, to the push piece double glass panel set clasp, length 170mm, width 30mm, together with an oval brooch, length 23mm, the single earring designed as a pear shape glass panel suspended from an oval glass panel with hinged hook ear fitting, length 34mm, approximate total gross weight 58.4 grams, all in a fitted antique box (condition report: overall good condition for age of piece, there is moderate surface scratches throughout in keeping with general wear to the necklace, there is a jump ring missing between the last link and the clasp, to the bracelet, one jump ring has unhooked, the necklace and bracelet clasps and earring hook and brooch pin are in good working order, the glass panels look to be in generally good condition, some have what looks to be surface blemishes from when the glass was made, and some have minor to moderate scratches and nicks, the antique fitted jewellery box has no hinge, so lid and base are in two separate parts, there are three hook clasps that are all detached, one is with the box so could be re-attached, the red top layer is peeling to one corner and the back, the interior is in good to fair condition for the age)
Lot 116
A collection of silver and objects of vertuvarious maker's and datesComprising: a silver mounted and tortoiseshell letter clip, Gibson & Langman, London 1898, pierced clip, with applied initials and date, a Victorian silver jewellery casket, London 1888, profusely embossed, an 18th century Scandinavian Hovedvandsag / Luktevannshus, unmarked, possibly Norwegian, shaped-oval fluted form, the cover surmounted with two birds, engraved initials and date 1769, height 6cm, a 19th century Italian acquasantiere bowl, third standard mark, three chains dependant from winged angel masks, scroll panels to the sides, diameter 6.5cm, a Dutch silver mounted and mother of pearl shaped box, possibly 18th century, Jan Rooseboom, Amsterdam 1756, length 12.5cm, a Dutch silver mounted tortoiseshell oval box, and a simulated tortoiseshell and brass pique case, a plated circular pot and cover. (Qty)Footnotes:Please note that from 19 January 2022, items containing ivory cannot be imported into the EU. The import of ivory into the USA is already prohibited.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 and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
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74868 item(s)/page