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Click here to subscribeSilber. 3-tlg.; Zwei kleine, quadratische und ein großer, hochrechteckiger Rahmen. Breite, schlicht elegante und glatte Rahmung. Rückseitig aufstellbar. Gest. 925, Beschauzeichen. H. 11,5 cm - 20,5 cm. Three Italian silver picture frames. Standard mark 925, assay mark.Italien. Padua. 2. Hälfte 20. Jh.
(1933 London - 2016 Paris)Stehender Mädchenakt mit zwei Kissen in einem InterieurSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)90. Darstellung 24,2 cm x 17,8 cm; Blatt 26,2 cm x 19,6 cm.Gelatin silver print on photographic paper. Signed and dated (19)90 on the reverse.
Silber. Länglich ovale, flache Form. Die Schauseiten mit elegant wellenförmigem und schraffiertem Dekor verziert. Ausklappbare Schneidevorrichtung mit Metallklinge. Modell-Nr. 339. Gest. Sterling, Herstellerzeichen. Gew. ca. 35 g. 6 cm x 2 cm.A very rare Danish Art Deco Sterling silver cigar cutter with metal blade. Standard mark 925, maker´s mark.Dänemark. Kopenhagen. Georg Jensen. Um 1935.
(1933 London - 2016 Paris)Stehender MädchenaktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 23,8 cm x 15,2 cm; Blatt 30,2 cm x 23,8 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.
Silber. Durchbrochen gearbeiteter Fuß mit volutierten C-Schwüngen, Weinranken und Trauben. Navettförmiger ausgezogener bauchiger Korpus. Gest. 925, Herstellerzeichen, Juwelierstempel Wiehmeyer. Gew. 1377 g. H. 14 cm. 34,7 cm x 21,7 cm.Vgl. Handwerk und Maschinenkraft, Firma Koch & Bergfeld, Bremen, S.111.A German silver bowl. Standard mark 925, maker´s mark.Bremen. Koch & Bergfeld. 2. Hälfte 20. Jh.
Silber. Ovale, elegante Form, rückseitig aufstellbar. Gest. 925, Herstellerzeichen "FS". 6 cm x 4,5 cm. Bildausschnitt ca. 5 cm x 3,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland.A pair of small German Sterling silver table picture frames. With box. Standard mark 925, maker´s mark "FS".Deutsch. 20. Jh.
im Stil von Karl Fabergé. Silber, vergoldet und emailliert. Rechteckiger Korpus mit gekanteten Ecken. Scharnierter Deckel, zentral besetzt mit kleinem, appliziertem Salamander, ausgefasst mit Diamantrosen über royalblau emailliertem und guillochiertem Grund. Umlaufend ein marineblau emaillierter Rahmen mit goldener Profillinie. Gest. 88. Gew. ca. 35 g. H. 1,2 cm. 3,8 cm x 2,2 cm. A Russian gilt silver and enamelled pill box with salamander in the style of Karl Fabergé. Standard mark 88.Russland. 20. Jh.
Malachit und Silber, vergoldet. Runder, zylindrischer Korpus, gegliedert durch mehrere eingelassene Zierbänder. Die Wandung verziert mit reliefierten Ornamenten. Auf flachem Deckel reliefplastisch applizierter und gekrönter russischer Doppeladler. Wandungsinnenseite mit grünem Filz ausgekleidet. Gest. 84. H. 6,5 cm. D. 11,5 cm. A Russian malachite and gilt silver box. Standard mark 84.Russland. 20. Jh.
Silber. Über flachem Stand sich konisch erweiternde, floral und stabförmig durchbrochen gearbeitete Wandung. Die Schmalseiten als Handhaben hoch nach außen ausschwingend und verziert durch durchbrochen gearbeitete Lorbeerkränze. Über umlaufend geprägter, reliefierter Blattranke mit großen Blüten schmaler, von Eierstabfries umzogener Lippenrand. Gest. 13 Lot, Tremolierstrich, Beschauzeichen, Meister Johann Conrad Lauck (gest. 1826). Gew. ca. 530 g. H. 9 cm. 36,5 cm x 22 cm. A German Biedermeier silver bread basket by Johann Conrad Lauck (died 1826). Test, assay and master´s mark.Vgl. Scheffler, Hessen, Nr. 392 a, 426.Hanau. Um 1820.
Silber. Hoher, birnförmiger Korpus über flachem Stand. Wandung und Deckel umlaufend gegliedert durch geschweifte Züge. Tief angesetzter Konsolausguss mit reliefierter Rocaille. Deckel bekrönt von großem Knospenknauf über fein punzierter Rocaille. Volutenhenkel aus ebonisiertem Holz. Gest. 13 Lot, bisher unidentifizierte Meistermarke "T S". Gew. ca. 1480 g. H. 38,5 cm.Provenienz: Sammlung Ernst, Wiesbaden. Ausgestellt in: Städtisches Museum Wiesbaden, Gold- und Silberschmiedearbeiten vom 15.-19. Jh., 1969, Kat.-Nr. 250.An exceptional large German Rococo silver coffee pot. Standard mark 13 lot, unidentified master´s mark.Deutsch. Um 1760/1770.
6-tlg.; Silber. Ovoide, gering gekantete Laffe, übergehend in sich konisch erweiternden Griff in stilisiertem Knospenrelief mit Pinienkern endend. Dekor "Pinje/Pinie". Entwurf Gundorph Albertus. Gest. Sterling, Herstellerzeichen. Gew. zus. ca. 145 g. L. 12 cm - 13,5 cm. A Danish set of four Sterling silver coffee- and two teaspoons. Standard mark 925, maker's mark.Kopenhagen. Georg Jensen. 1940.
in der Art von Karl Fabergé. Bergkristall und Silber, vergoldet, teilw. emailliert. Trompetenförmig aufgewölbter Stand, umzogen von flächendeckend wellenförmig guillochiertem und weiß emailliertem Fond. Der Rand von schwarzem Email umzogen. Obenauf halbrunde Kuppa aus geschliffenem Bergkristall. Gest. 84. H. 17 cm. D 16 cm.A Russian rock crystal silver gilt footed bowl in the style of Karl Fabergé. Standard mark 84.Russland. 20. Jh.
Silber. Über vier stilisierten Blattfüßen ovoid bombierter Korpus mit stark eingezogener Schulter, übergehend in ausgestellten, reliefplastisch volutierten Rand. Wandung mit zwei von Voluten und Blüten gerahmten Kartuschen, umgeben von vertikalen Zügen. Model "Hampton Court". Gest., Sterling, Herstellerzeichen. Gew. ca. 340 g. H. 9,5 cm. 14,5 cm x 11 cm.An American silver sugar bowl. Standard mark Sterling, maker´s mark.USA. Taunton. Reed & Barton. 20. Jh.
(1933 London - 2016 Paris)Liegender weiblicher AktSchwarzweißfotografie. Gelatinesilberabzug/Fotopapier. Verso sign. u. dat. (19)94. Mit dem Blindstempel des Künstlers: "DAVID HAMILTON RAMATUELLE FRANCE". Darstellung 19,2 cm x 28,2 cm; Blatt 23,8 cm x 30,2 cm.Gelatin silver print on photographic paper. Signed and dated (19)94 on the reverse. Blind stamp by the artist.
im Stil von Karl Fabergé. Silber, vergoldet und emailliert. Rechteckiger Korpus mit gekanteten Ecken. Scharnierter Deckel, zentral besetzt mit kleinem, appliziertem und stilisiertem Kussmund, ausgefasst mit kleinen Diamantrosen über brombeerfarbenem, emailliertem und guillochiertem Grund. Minim. best.; Gest. 88. Gew. ca. 35 g. H. 1,2 cm. 3,8 cm x 2,2 cm. A Russian gilt silver and enamelled pill box with lips in the style of Karl Fabergé. Minor chipped. Standard mark 88.Russland. 20. Jh.
Silber. Ovaler, gering ausgestellter Stand, übergehend in zehnfach gefächerte, weit ausschwingende und passig geschweifte Wandung. Im Inneren mit zartem Hammerschlagdekor. Gest. 800, Herstellerzeichen. Gew. ca. 450 g. H. 9 cm. 22,5 x 18 cm.A German Art Déco silver bowl. Standard mark 800, maker's mark.Dresden. Hermann Behrend. Um 1930.
im Original-Koffer mit Schutzhülle. Silber, Glas, Leder mit Messingbeschlägen. Innen Halterung mit 30-tlg. Toilettengarnitur u.a. bestehend aus 13 Glasflakons, drei facettierten Kristallglasdosen, einem Flachmann, einer Bürste, einem Schuhanzieher, Messingtopf und zusammenklappbarem Brenner, einem Rechaud, einem aufstellbaren Spiegel, einem großen Lederetui mit Necessaireteilen, einer kleinen Reiseuhr, Etui für Nähutensilien etc.; Dosen und Flakons mit Silbermontur. Darauf teilw. reliefplastisch appliziertes Wappen der Familie Bär zu Basel sowie monogr. mit "R.S." und "M.M.". Teilw. innen vergoldet. Schlüssel fehlt. Eine Glasdose besch.; Altersbedingte Gebrauchsspuren. Gest. 800, Beschauzeichen, Herstellerzeichen. H. 23,5 cm. 61 cm x 39 cm.A 30-piece mixed lot of parcel-gilt silver mounted cut glass men's travel toilet set with original leather case. Partly with the coat of arms of the family Bär zu Basel or monogrammed. One glass damaged. Age-related signs of use. Different assay and maker´s marks.Frankreich. Paris. Gustave Keller Frères (1881-1992)/Deutsch. Berlin. Hoflieferant J. Demuth. Um 1900.
Silber, getrieben. Zylindrisch, als Seitenabschlüsse gewölbte, scharnierte, durch mehrere Profillinien gegliederte Deckel. Die Wandung mit der Darstellung eines Eichhörnchens vor architektonischer Landschaft, umgeben von naturalistischen Blatt- und Blütenranken sowie Bandelwerk. Auf den Deckeln je ein gravierter Putto. Innenfach geteilt durch Zwischenboden. Oberer Deckelrand mit Resten einer gravierten Inschrift. Gew. ca. 50 g. H. 6 cm. D. 3 cm.Talerdosen sind insbesondere in Schleswig-Holstein in den Regionen Dithmarschen und Wilstermarsch im Gebrauch gewesen und dienten als Verlobungsgaben des Bräutigams an seine Braut.A rare North German Baroque silver thaler box.Norddeutsch. 1. Hälfte 18. Jh.
A Mercedes-Benz S class S500L (W220 Series) 4,966 cc V8 petrol-engined luxury four-door saloon motor Car with automatic transmission, finished in metallic silver grey with black leather trim. Registration No. DDZ 780, first registered on the 8th April 1999. Currently showing 150,000 miles approx. At present untaxed and the M.O.T. expired on 25th January 2022. The V5C document is present. An extremely safe and luxurious, top of the range, long wheel base motor car from this renowned manufacturer and with a low annual mileage. Inspection of the M.O.T. history reveals a remarkable lack of advisories. A brand new and correct battery has been fitted, some cosmetic attention would be beneficial and the vehicle is sold as seen, being likely to require some work in readiness for an M.O.T. test. A "Rocket Ship" reputedly capable of "interstellar mileages", 302 b.h.p., 339 foot pounds of torque, 0-60 m.p.h. circa 6 (5.9) seconds, standing quarter mile 14.3 seconds (97 mph) and a top speed electronically limited to 155 m.p.h. but apparently capable of 25 m.p.g. per U.K. gallon on a run, what a machine. The "S" in S class stands for Special, these are the cars that Mercedes used for pioneering/cutting edge technology, how about LED brake lights - in 1999, 23 years ago? The memory facility on the driver's seat alone causes all sorts of motorised action including adjusting the seat distance, the cushion height front and rear, the rake, the lumbar support, the height of the headrest, the rake and distance of the steering wheel and even the adjustment of the rear view mirrors. The seats can also be heated or cooled. Look at the dashboard warning on one of the images "Tail Light R (right) Substitute Lamp On" - amazing. It goes on - HID/Xenon dipped beams, two spark plugs and three valves per cylinder, automatic cylinder shut-off - the V8 runs on only four cylinders when greater power is not required, apparently saving 13% in fuel, yet it is turbine smooth with no discernible vibration. Over £60,000 when new but being pre - 1/3/2001 the road tax is £295 rather than £630. These cars must be the investment tip for the future and what a superb place to be on a journey, you should try it! N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (Total premium 12% but plus any specific on-line bidding fees).
Japanese Namban desk. 17th century. Edo Period (1603 - 1868) Writing desk in black lacquered wood (urushi) with gold dust decoration (makie), representing oriental landscapes. 55 x 71 x 40 cm. With regard to the technique used on this piece, it is very interesting to read the explanations by Professor Yayoi Kawamura, especially her index cards for the different Namban objects kept in the Museo de Artes Decorativas in Madrid: "this is a piece of furniture in which very small-sized decoration of a horror vacui character based on vegetation and floral motifs is developed on a base of black lacquer (urushi). The decoration is made with the technique of drawing with gold and silver powders (maki-e) and mother of pearl incrustations (raden). The furniture belongs to what is known as Namban style, which encompasses a series of furniture made from 1580-1630 in Japan with Japanese urushi lacquer destined to be exported to the European world, mainly Spain and Portugal." The Japanese made this type of furniture exclusively for exportation, to the taste of Spanish and Portuguese merchants who arrived there and traded through the routes of the galleons that travelled mostly between Japan and Manila and from there to New Mexico, before arriving in Europe. Between 1545 and 1649 lacquer-worked chests arrived in the West and began to form part of the collections of royalty and the nobility, although on occasions they were donated to convents and churches, where they were used as reliquaries or eucharist chests for Maundy Thursday. In Spain, apart from the namban pieces kept in the Museo de Artes Decorativas in Madrid and others, such as the marvellous lectern which is kept in Salamanca, in the Dominican Museum of the Convent of San Esteban, Navarra is the province that has the greatest number of pieces of Namban art, possibly thanks to the relationship between Saint Francis Xavier and the Jesuits with Japan. Bibliographic reference: - Kawamura, Yayoi. "La laca japonesa de exportación en España. Del estilo Namban al pictórico." Archivo Español de Arte LXXXII, 325 (209): 87-93. - Kawamura, Yayoi (dir) AA.VV, "Lacas Namban. Huellas de Japón en España: IV centenario de la embajada Keicho", Ministerio de Educación y Cultura, Madrid, 2013, pages.378-381, number. 19 and pages. 388-389, number. 21.
Pair of turkey-shaped incense burners in silver filigree, and fretworked and chased cast silver. Colonial School. Ayacucho. Peru. 18th century. 25 x 23 x 20 cm and 23 x 23 x 21 cm. These examples, as is typical with this type of piece, depict a two-legged animal lying on a tray. The head is made of cast silver and the body is made of silver filigree, with threads that form floral compositions based on radial petals. They open to half a body, to hide in its interior which is used for burning the fragrant substances which are dispersed through the perforation on the body, as the incense burner was a domestic item that was used to perfume rooms. As Cristina Esteras Martín notes in "Platería del Perú Virreinal 1535 - 1825" (Viceroyalty Peruvian silversmithing 1535 - 1825) "These incense burners "are very significant because, although they were not exclusive to this Viceroyalty, this classification of structure and shape is. They were made of cast silver and filigree and they took very varied forms, from spherical recipients to pomegranates, pumpkins, pineapples, lions, roosters, deer, turkeys, doves and llamas. In most cases the recipient rests on a tray or plate known as a mancerina which the ash from the embers drops onto." Incense burners that are comparable to this one are, for example, those which are kept in the Museo de América in Madrid, in the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, the one in the collection at the Museo Pedro de Osma in Lima, and the one that is in the shape of a llama rather than a deer which is in the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires. Bibliographic references: - "Tornaviaje Arte Iberoamericano en España". Museo Nacional del Prado, 2021 - 2022. Page 249 - "Platería del Perú Virreinal 1535 - 1825". Cristina Esteras Martín. Catalogue of the Exhibition in the Museo Nacional of Lima, 1997. Pages 290 - 295.
"Praying Virgin Mary". Polychromed wooden relief. Granada School. First quarter of the 18th century. Measurements: 72 x 57 cm. This is a truly exceptional piece and not only because of the very high quality of its carving and polychrome, but also because of the rarity of seeing a bas-relief from the Spanish school in which the praying Virgin Mary is portrayed. It is probable that originally this relief, which is likely to owe its composition to the imitation of a painting or engraving –disciplines in which it is more common to depict the Virgin Mary in this guise– was conceived of as a pendant together with another relief that showed Christ. This is, however, only a supposition based on other known specimens of this typology, which are, moreover, very rare. The relief is carved in a bas-relief style reminiscent of the Italian technique of schiacciato or flattened relief according to which the illusion of depth and corporeality is achieved through minimal variation. This fact, together with the delicacy of the carving, denotes a very skilled sculptor. The Virgin Mary occupies most of the panel and appears on a completely gold background, a colour that alludes to divinity. She has been conceived as a bust extended to the waist, approximately. The composition is triangular due to the lines drawn by the edge of the cloak that is thrown over her head and which is polychromed with lavish and dense multicoloured plant decoration executed with a brush on the outside and with a bluish color with silver touches on the inside. Underneath, she wears a white garment, of which the ends of the sleeves can be seen, and a red tunic with a round neck and accordion folds. The folds of the cloak are soft, with little projection and a rounded profile, in such a way that they contribute to the compositional balance of the relief. The hands, arranged in prayer, are very elegant and have very elongated fingers with delicately joined fingertips. The right hand is particularly well resolved, in which the torsion of the wrist has been skilfully carved. The face, with a highly polished surface, has symmetrical features and a hairstyle reminiscent of the classical style. The sculptor has managed to individualize the locks that make up the hair with light touches of the gouge. Due to the grace and delicate beauty of her face, with small facial features (curved eyebrows, half-open eyes with heavy eyelids, a sharp nose and small, full lips), details that seem to anticipate the Rococo, it is clear that this is an outstanding sculpture from the Granada workshops of the first quarter of the 18th century, in which José de Mora (1642-1724), José Risueño (1665-1732) and Pedro Duque Cornejo (1679-1757) were the most influential characters. They lived in Granada for varying amounts of time between 1713-1719. This Virgin Mary is definitely not by Mora, but it could well be the work of one of the last two. We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
WALTER LEBLANC (1932-1986)Composition abstraite 1957 signé et daté 57 fil de coton, peinture argentée et sable sur papiersigned and dated 57 cotton thread, silver paint and sand on paper 50 x 40 cm. 19 11/16 x 15 3/4 in.Footnotes:ProvenanceCollection particulière, France Puis par descendance au propriétaire actuel ExpositionOstende, Provinciaal Museum voor Moderne Kunst, Walter Leblanc. Reliëfs op papier, 1957-1962, 1996BibliographieNicole Leblanc, Walter Leblanc catalogue raisonné, Gand 1997, p. 153, n° 90, illustré en noir et blancThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
King George V 1935 Silver Jubilee stamps, including Ascension, Australia, Bahamas, Barbados, Basutoland, Bechuanaland Protectorate, Bermuda, British Guiana, British Honduras, British Solomon Islands, Canada, Cayman Islands, Ceylon, Cyprus, Dominica, Falkland Islands, Fiji, Gambia, Gibraltar etc, used and unused examples and various covers, housed in 'The Simplex Blank Album'
Two Edwardian silver stamp holders modelled in the form of envelopes, the first example detailed 'Stamps', hallmarked Crisford & Norris Ltd, Birmingham 1903, the second of plain form, hallmarked Crisford & Norris Ltd, Birmingham 1902, approximate total weight 0.38 ozt (11.8 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.The first example with a few small indentations.Second example with knocks to suspension ring mounted heart.Hallmarks clear and legible.
Five early 20th century silver stamp holders modelled in the form of envelopes, comprising three foliate engraved examples, and two plain examples, one with applied detail 'Stamps' verso, hallmarked Albert Ernest Jenkins, (makers mark to one example worn and indistinct), Chester 1904, 1906, 1908 and 1912, approximate total weight 0.60 ozt (18.6 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Some small indentations and some compression.Hallmarks with some wear in places, but generally legible.
Late Victorian silver stamp box, of plain rectangular form, the hinged cover engraved 'Stamps', opening to reveal a gilt interior, hallmarked Mappin Brothers, Chester 1900, L7.5cm, approximate weight 1.89 ozt (58.8 grams)Condition Report:General light wear commensurate with age and use, predominantly in the form of some surface scratches and nicks.Slight knock to underside. Some general light wear to gilding of interior.Makers mark with some slight wear to top, but generally hallmarks clear and legible.
Five The Royal Mint United Kingdom silver proof coins, comprising 1994 two pound commemorating the Tercentenary of the Bank of England, 1996 five pounds commemorating Her Majesty the Queen Elizabeth II 70th birthday, 1997 two pound Britannia, 2000 'Millennium' five pound, all cased with certificate, and 1996 one pound, cased without certificate
The Royal Mint United Kingdom 1997 silver proof two-coin fifty pence set, 2001 silver proof piedfort one pound coin and 1999 silver proof five pound coin all cased without certificates, Republic of Malta 1978 nine-coin proof set cased with certificate, Republic of Botswana 1976 six-coin set
The Royal Mint United Kingdom 2019 Gruffalo silver proof fifty pence coin cased with certificate, Queen Elizabeth II Alderney 1993 silver proof one pound, Germany 1934 five and 1937 two reichsmark coins, Great British King George V 1928 and 1929 halfcrown coins
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