Important antique jewellery and silver at Masterpiece London 2017

27 juin 2017

Important antique jewellery and silver at Masterpiece London 2017

LONDON - Two leading London dealers, Koopman Rare Art and S.J. Phillips Ltd, are both exhibiting at Masterpiece London 2017, the prestigious art and antiques fair, which opens next week June 29 (press day Wednesday June 28).

A set of four exceptionally illustrious candlesticks made by the silversmith Paul Crespin after a design by William Kent (1685-1748) is just one of the many highlights on display on Koopman Rare Art’s stand (C29) at the forthcoming prestigious Masterpiece London 2017 Fair.

Considered to be the earliest known candlesticks of this form, the candlesticks, which are dated 1745, were originally in the collection of the Duke of Newcastle. Lewis Smith, Director of Koopman Rare Art considers them to be “artistically and historically in a league of their own”. The asking price is £350,000.

A Highly Important Set of Four George II silver-gilt Candlesticks, London 1745. Maker's mark of Paul Crespin and designed by William Kent. Originally in the collection of the Duke of Newcastle. Asking price in the region of £350,000. © Koopman Rare Art

The crests are those of Clinton, for Henry Fiennes Pelham-Clinton (1720-1794), 9th Earl of Lincoln K.G., later 2nd Duke of Newcastle-under-Lyne. Numbered 1-4 and with scratch weights 43=11, 44=12, 43= 5 ½ and 43=12. Height: 29.8cm, 11.75in Weight: 5,190.5g, 166oz 16dwt

On square bases with cut corners cast and chased with borders of acanthus leaf-tips below furled double-shells linked by scrolls. The lower stems with bellflower swags rising to leaf-capped octagonal knops. The fluted squared baluster stems rising from acanthus spaced by berried bud pendants. The tapered cylindrical capitals similarly decorated and topped by bands of Vitruvian scrolls and gadrooned rims. The tops of the bases each engraved with the crest, Garter, motto and Earl's coronet. The candlesticks marked under base rims.

Equally noteworthy is an incredibly rare 16^th century silver-gilt Elizabeth I tankard. Made in London in 1578 and stamped with the maker’s mark of a slipped rose, the tankard is of classic form with a hinged lid and has attractive decorative detailing, as well as an incised coat of arms possibly that of the Everard or Roberts families (asking price: £95,000).

An incredibly rare 16^th century silver-gilt Elizabeth I tankard. Made in London in 1578 and stamped with the maker’s mark of a slipped rose. Silver-gilt London, 1578 Maker's mark a slipped rose Height: 6.75in, 17.2cm Weight: 14oz, 435g. Marked on base and with traces of marks on cover The arms are possibly those of Everard or Roberts. Asking price: £95,000. © Koopman Rare Art

Likewise a pair of magnificent silver wine coolers, dating from 1714 and made by the 18th century Huguenot silversmith Lewis Mettayer, are among the earliest of this particular style made in England. The form, designed to hold a single bottle of wine, was introduced from France after local glass blowers had started to produce longer, thinner, cylindrical wine bottles, which could be stored on their side. The benefits of this means of storage were quickly recognised and this, combined with more attention being paid to different winemakers, grape varieties, and vineyards saw a growth in production of wine related silver all designed to enhance the presentation, drinking and general enjoyment of wine. The wine coolers also have an esteemed provenance and bear the arms of Sir Paul Methuen (1672–1757), the son of John Methuen (1650–1706), English envoy to Portugal and negotiator of the Methuen Treaty. They remained in the Methuen family until 1920 (asking price: £450,000).

A pair of magnificent silver wine coolers, dating from 1714. Maker's mark of Lewis Mettayer. Height: 23 cm (9 1/4 in). Diameter: 22.5 cm. Length over handles: 29 cm (11 1/2 in). Weight: 7,160 g (230 oz). Asking price: £450,000. © Koopman Rare Art

These are an extremely important and rare pair of wine coolers by the famous silversmith, Lewis Mettayer. They are amongst the earliest known pair of this form in English silver with only a handful of examples that predate them such as a pair by David Willaume made for the Duke of Devonshire in 1698, a pair for the Duke of Malborough made in 1700 and an identical pair made also by Williaume in 1711.

This pair were a Royal gift and appear in the Jewel House Records as being gifted to Paul Methuen.

The arms are those of Paul Meuthen (1672 – 1757), a family of German origin. Sir Paul Meuthen was the son of John Meuthen (1650-1706), an English diplomat and envoy to Portugal who negotiated an important trade treaty, the Methuen Treaty, between England and Portugal in 1703.

A pair of identical silver wine coolers, hallmarked London 1711 by David Willaume I, from the collection of Diethelm Höner, were sold at Sotheby’s New York, 18 October 2001, lot 123. They were made for Thomas Wentworth, 1st Count of Strafford.

Other important wine coolers featured on Koopman Rare Art’s stand at Masterpiece London include a remarkable silver-gilt pair in the Egyptian style. Commissioned by Thomas 3rd Baron Foley (1780-1833), they bear the maker's mark of Digby Scott & Benjamin Smith and are hallmarked London1805. The design is based on an original drawing by Jean-Jacques Boileau (asking price of £550,000). In addition another pair of silver-gilt Royal Ducal George III wine coolers dated London 1816 by Robert Garrard has an asking price of £75,000.

A Pair of George III Silver-Gilt Wine-Coolers, Collars & Liners in the Egyptian Style London, 1805 Maker's mark of Digby Scott & Benjamin Smith. Retailed By Rundell, Bridge And Rundell after a design By Jean-Jacques Boileau. The crest is that of Foley for Thomas Foley, 3rd Baron Foley of Kidderminster, (1780-1833). Height: 11½ in. (29.2 cm.) Weight: 866 oz. (26,938 gr.). Asking price of £550,000. © Koopman Rare Art

Each vase shaped and supported on four winged sphinxes resting on shaped square base with egg-and-dart border, on four lion's paw feet, the body with displayed swans below cast and chased parallel bands of shells, foliage, shells and swags and egg-and-dart, the handles formed as two serpents encircling a female mask, with collar and plain liner, the liner and collar each engraved with a crest beneath baron's coronet, each marked under base, near handle, on feet, sphinxes, collars and liners, the base of each further stamped 'RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPIS WALLIAE LONDINI FECERUNT'

A Pair of Royal Ducal George III Wine Coolers. Silver-gilt London, 1816 Maker's mark of Robert Garrard I. Height 10 1/2 in.,(26.7 cm). Weight 194 oz 15 dwt (6058 g). Asking price of £75,000. © Koopman Rare Art

Each wine cooler engraved with a Royal Ducal coat-of-arms above applied acanthus and flowers and below grapevine, the reeded acanthus-capped handles terminating in Bacchic masks, with gilt metal liner and collar marked on body , numbered inside rim 5 and 7.

The arms are those of H.R.H. William Frederick, 2nd Duke of Gloucester and Edinburgh, and 1st Earl of Connaught. He was the only son of the 1st Duke of Gloucester, himself the 3rd son of Frederick, Prince of Wales and so younger brother to George III, and his wife Maria Walpole.
In 1816 he married his first cousin Princess Mary, fourth daughter of George III. The set of eight coolers by Garrard were delivered the same year. The form is based on the Medici krater, illustrated in Piranesi's Vasi, and a related drawing is in the Rundell's album at the Victoria & Albert Museum. Coolers from the set were sold Christie's, London, October 17, 1962, lot 102, and from the Davis Collection, Toronto, Christie's, New York, October 19, 2001, lot 231.
The Duke and Duchess of Gloucester lived at Bagshott Park, near Windsor, and devoted themselves to charitable and philanthropic causes; both bride and groom were over 40 and there were no children. The coolers were inherited by their relative H.R.H. George, 2nd Duke of Cambridge, Commander in Chief of the Army and Field Marshall, and were included in the sale of plate after his death.

Lewis Smith said: “One great advantage about 21^st century living is we are no longer dictated to by the rules of formal dining. Outstanding antique silver pieces, such as wine coolers take on new meaning. Yes we can still use them traditionally or we can be more creative and make them work for us while still showing off their incredible intrinsic beauty. Many of our customers also use their wine coolers as vases or, when not in use, they are great decorative works of art in their own right.”

Sport, in particular horse racing always provided silversmiths with employment as can be seen from a number of fine racing trophies. A superior example is an elaborate William IV silver tankard made by Paul Storr in 1833. Cast in sections and ornately decorated with scenes from a Bacchic celebration and festooned with grape and vine motifs, the cover is engraved “Bangalore 1843 Won by Captain Knox’s gray Arab horse The Adopted Son” (asking price: £125,000).

An Important William IV Tankard. Silver London, 1833 Maker's mark of Paul Storr. Height: 38cm, 14.9in. Weight: 3,225g, 103oz 12dwt. Engraved 'No.2. Published as the Act Directs Mark 2nd 1834by Storr & Mortimer156 New Bond Street London'. Asking price: £125,000. © Koopman Rare Art

The tankard cast in sections and applied with a Bacchic celebration including Bacchus, satyrs, goats and putti. The figural handle formed as Ariadne the whole tankard covered with festoons of grape and vines. The finial formed as a baby Bacchus. The cover engraved ‘Bangalore 1843 Won By Captain Knox's Gray Arab Horse The Adopted Son'.

Also worth drawing attention to is an extremely large and impressive, solid silver trophy in the shape of a Pilgrim’s flask. Standing some 35 ¼ inches tall (89.5 cm.) and weighing a substantial 369 ounces the flask is inscribed “Edinburgh Cup 1885. Won by Lord Rosebery’s “Touch and Go”’. Made by famous London silversmith Robert Garrard and marked with the date letter for 1875, this magnificent trophy has an asking price of £110,000.

The Edinburgh Cup. A monumental Victorian pilgrim flask, London 1875, makers mark of Robert Garrard. Height 35 ¼ in. (89.5 cm.) Weight 369 oz. 12 dwt. (11,496 gr.). Asking price: £110,000. © Koopman Rare Art

Part fluted pear-shape and on spreading oval foot, applied with foliage and bacchic mask terminals hung with detachable chains connecting to the detachable baluster cover, the cover part-fluted and applied with strapwork, the body later engraved with an inscription, marked near rim, on cover bezel and under foot, the base further stamped 'R & S Garrard Panton St. London'. The inscription reads 'EDINBURGH CUP 1885. WON BY LORD ROSEBERY'S "TOUCH AND GO"'

A fabulous collection of precious, decorative objects, which beg to be admired, can also be seen on the Koopman Rare Art stand. Each piece would have been found in a traditional Renaissance Kunstkammer – or cabinet of curiosities. The perfect example is a French gem-set parcel gilt lapis lazuli tazza dating from circa 1860 and made by Jules Wiese. The tazza stands a mere 3 ½ in (8.8 cm.) high and is reminiscent of a typical tazza from the Renaissance period, its stem cast as a putto raising aloft a lapis lazuli shell-carved bowl (asking price: £9,500). Putti also feature in a pair of charming ormolu and patinated bronze candlesticks, designed by Juste Aurèle Meissonier Paris circa 1730 (asking price: £65,000).

A French Gem-Set Parcel-Gilt Lapis Lazuli Tazza. Paris, Circa 1860 Maker's Mark Of Jules Wiese, Height; 3 1/2 in. (8.8 cm.). Asking price: £9,500. © Koopman Rare Art

A pair of French ormolu and patinated bronze candlesticks, Paris circa 1730, designed by Juste Aurèle Meissonier. Height 9in (23cm). Asking price: £65,000. © Koopman Rare Art

Juste Aurèle Meissonier was appointed by Louis XV Dessinateur de la chambre et du cabinet du Roi; the post of designer pour les pompes funèbres et galantes was also held along with that of Orfèvre du Roi.

Interesting pieces of continental silver include a fine late 17th century Italian ewer from Messina, decorated with a mask, scrolls and leaves and the handle cast with a leopard’s head (asking price: £33,000), as well as an interesting 17th century Spanish brazier made in the town of Palma de Majorca in around 1680 (asking price: £260,000). In addition there is a suite of royal 19th century German serving dishes, the centre of each of the 16 dishes engraved with a crown and cypher E.A.R, for Ernest Augustus Rex, King of Hannover (asking price: £32,500).

A large silver-gilt Spanish brazier, Palma, Majorca, circa 1660. Height: 6in (15.5 cm) Width:16 ¼in (41 cm). Weight: 135oz (4200g). Asking price: £260,000. © Koopman Rare Art

Semi spherical bowl, with a dotted outer border and two oval-shaped handles on the sides. The base which it is fixed has a hexagonal shape. It is made up of two overlying structures which have their own platforms decorated with embossed foliage motifs, oval mirrors, pyramids topped with ball and fantastic beings.

Sixteen 19th Century German serving dishes engraved with the crown and cypher E.A.R, for Ernest Augustus Rex, King of Hannover, silver Hanover, circa 1840. Matthias family and William Conrad Joseph Lameyer. Length: 28cm, 11in; 30cm, 11.8in; 31cm, 12.2in and 33cm, 12.9in Total weight: 19,036.5gr, 611oz 18dwt. Asking price: £32,500. © Koopman Rare Art

The dishes in four differing shapes and having four of each shape. All with cast grape vine and shell borders. The centres of each dish engraved with the crown and cypher E.A.R, for Ernest Augustus Rex, King of Hannover

A separate section of Koopman Rare Art’s stand at Masterpiece will be dedicated to the art of dining in the Regency period featuring several of the silver pieces mentioned above.

Other highlights on the Koopman Rare Art stand include:

A magnificent pair of Victorian marine silver table centre dessert bowls, 1838-1848, Maker's mark of Paul Storr and John Samuel Hunt for Storr & Mortimer, Width: 35.5cm., 14in. Each engraved with the crest of Tollemarche for John Jervis Tollemache, 1st Baron Tollemache. Asking price: £245,000. © Koopman Rare Art

The shaped oval marine bases cast and chased with shells, rockwork and spume and each supporting a crested clam pulled by a conch-blowing triton, the clams, John Samuel Hunt, London, 1848, the arm of one of the merman engraved 'No. 831 Published as the Act Directs by Storr & Mortimer, 156, New Bond Street, London, October 17th, 1838', one numbered 2, the other numbered 4, the wood undersides each with four ivory ball and cartouche rollers

Peckforton Castle was built between 1844 and 1850 for John Tollemache, the largest landowner in Cheshire at the time, who was described by William Ewart Gladstone as "the greatest estate manager of his day".Tollemache's first choice of architect was George Latham of Nantwich, but he was not appointed, and was paid £2,000 (£180 thousand today) in compensation. Instead Tollemache appointed Anthony Salvin, who had a greater reputation and more experience, and who had already carried out work on the Tollemache manor house, Helmingham Hall in Suffolk. The castle was built by Dean and Son of Leftwich, with Joseph Cookson of Tarporley acting as clerk of works. Stone was obtained from a quarry about 1 mile (2 km) to the west of the site, and a railway was built to carry the stone. The castle cost £60,000 (about £5.8 million as of 2016).

Although it was built as a family home its design was that of a medieval castle. It has a gatehouse, a portcullis, a dry moat, external windows that are little more than arrow slots, and large towers. In 1851 The Illustrated London News said that it "seems to exhibit the peculiar beauties of Carnarvon Castle without its inconveniences" and in 1858 Sir George Gilbert Scott called it "the largest and most carefully and learnedly executed Gothic mansion of the present" and that it was "the very height of masquerading". It is regarded as "the last serious fortified home built in England" and "it was executed to the highest standards and is one of the great buildings of its age".

John Jervis Tollemache, 1st Baron Tollemache (5th December 1805 – 9th December 1890), was a British Conservative Member of Parliament and a major landowner and estate manager in Cheshire, becoming Baron Tollemache of Helmingham Hall in Suffolk. Born John Jervis Halliday, he was the son of Admiral John Richard Delap Halliday (who in 1821 assumed by Royal licence the surname and arms of Tollemache in lieu of Halliday), eldest son of Lady Jane Halliday, youngest daughter and co-heir of Lionel Tollemache, 4th Earl of Dysart. His mother was Lady Elizabeth Stratford, daughter of John Stratford, 3rd Earl of Aldborough.

Little is known of his education and it is thought that he received a private education which did not lead to university. He inherited considerable wealth, including Helmingham Hall in Suffolk and estates in Northamptonshire, Cheshire and Ireland. Tollemache served as High Sheriff of Cheshire for 1840 and was then elected to the House of Commons as MP for Cheshire South from 1841 to 1868, and Cheshire West from 1868 to 1872. In 1876 he was raised to the peerage as Baron Tollemache, of Helmingham Hall in the county of Suffolk. Lord Tollemache married Georgina Louisa Best, daughter of Thomas Best, in 1826; they had five children together. After her death in 1846, he married Eliza Georgiana Duff, daughter of Sir James Duff, in 1850; they had nine children together.

Lord Tollemache died in December 1890, aged 85, and was succeeded in the barony by his eldest son from his first marriage, Wilbraham Frederic Tollemache. The eldest son from his second marriage, the Hon. John. R. D. Tollemache, married Eleanor Starnes, the daughter of Hon. Henry Starnes and his wife, Eleanor Stuart.
Lady Tollemache, who was 24 years younger than her husband, died in 1918.

This magnificent pair of dessert centrepieces are illustrated in Penzer's book on Paul Storr, published 1954, p.236-237 (Plate LXXIX).

A pair of important silver-gilt George IV ewers maker’s mark of Edward Farrell. Height: 16 ¾ in (42.6 cm) Weight: 167 oz 25 dwt (5200 g). Asking price: £ 175,000. © Koopman Rare Art

The base of each ewer is modelled as a turtle with three adorsed satyrs seated on its back supporting the body on their arms and shoulders. The ovoid bodies are cast and chased with scenes of Romulus and Remus and the she-wolf, together with putti gambolling amongst the waves with sea monsters. The neck is decorated with shells and grotesque masks and the handle is formed of putti entwined with a dolphin and a faun.

An Exceptional George II silver Epergne Centrepiece, London, 1757, Maker's mark of Thomas Gilpin. Height 16ins, 40.5 cm. Weighable silver 221oz 17dwt (6900 gr). Asking price: £75,000. © Koopman Rare Art

Having an oval cast openwork structure of scrolls, foliage, flowers and other ornamentation, complete with eight branches each ending in a silver-mounted circular cut-glass dish and central detachable basket. Bearing the crest of The Earl of Shrewsbury.

A silver-gilt Regency Presentation Warwick Vase, London, 1814, Maker's mark of Paul Storr. Height: 45 cm, 17.75in. Weight: 6,406.6 g, 206 oz excluding pedestal. Asking price: £75,000. © Koopman Rare Art

The foot engraved with arms in foliate surround, the base rim with presentation inscription, with removable liner and crested collar, all on gilt-metal pedestal engraved with matching arms and applied with ribbon-tied oak wreathes vase marked on body, liner and collar, stamped on base rim RUNDELL, BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPIS WALLIAE REGENTIS BRITANIAS, the pedestal stamped on base rim STORR & MORTIMER.

A magnificent Neo-Classical silver nine-basket Epergne Centrepiece, George III, London, 1788, Maker's mark of Thomas Pitts. Total weight: 7,174.7g, 230 oz 14 dwt. Height: 57.1cm, 22.5in Width 71.1cm, 28in Depth: 52cm, 20.5in. Marked on stand, arms and baskets. Bearing the crest and coats-of-arms of Sir Peter Pole 2nd Baronet of Wolverton. Asking price: £65,000. © Koopman Rare Art

With eight foliate scroll branches issuing flori-form collars supporting four oval and four circular pierced baskets around a larger oval basket, five baskets having glass liners and each engraved with an eagle crest, the stand formed as four bowed supports enclosing a pineapple, all joined to a dished oval base centred with acanthus leaves surrounded by a fluted band, engraved at both sides with a mantled coat of arms and the motto PRUDENS SICUT SERPENS, on foliate feet.

A pair of George IV silver “Triton” Shell Salt Cellars. Makers Mark of Paul Storr for Rundell, Bridge & Rundell, London, 1827. After a design by William Theed. Length: 14cm., (5.5in). Total Weight: 1126.8gr., (36.4oz). Engraved initials for Angela Georgina Burdett-Coutts, 1st Baroness Burdett-Coutts (1814-1906). Asking price: £52,000. © Koopman Rare Art

The attribution of this design to the sculptor and painter William Theed (1764-1817) is based on its close similarity to the artist's bronze group, 'Thetis returning from Vulcan with the Arms of Achilles,' which was exhibited at the Royal Academy in 1812 and is now in the Royal Collection.

A George III silver-gilt Honey Pot, Cover & Stand, London, 1798, Maker's mark of Paul Storr. Height: 12.1cm, 4.75in Weight: 477.1g, 15oz 6dwt. Asking price: £33,000. © Koopman Rare Art

The honey pot of bound reeded skep form. The pot with a detachable cover with ribboned wreath finial, the plain stand with reed and ribbon rim

A superb George II covered beer jug, Charles Hatfield. Silver London, 1729. Maker's mark of Charles Hatfield. Fully hallmarked on base and cover. Height: 11.5in, 29.2 cm Weight: 51 oz, 1586 g. Price on request. © Koopman Rare Art

The beer jug of baluster shape on a pedestal foot, also with scrolling handle and tear-drop mounted spout. The front engraved with contemporary coat-of- arms and motto.

A Magnificent Pair of George III Four Light Candelabra, Paul Storr. Silver London, 1810. Maker's mark of Paul Storr. Height: 69.8cm, 27.5in Weight:11,480g, 369oz 2dwt. Price on request. © Koopman Rare Art

Each candelabra on circular base with tongue-and-dart border and foliate diaperwork with shells at intervals, the fluted base supporting a tapering square stem with lappet band and shell and acanthus shoulder, the fluted campana-form socket with conforming foliate diaperwork, the detachable three-arm branch with reeded, acanthus-clad stems with paterae, supporting three tongue-and-dart waxpans, leaf-clad sockets and gadrooned nozzles, the central baluster-form standard supporting a conforming socket, with detachable ivy and berry bud finial, each drip pan, sconce and base engraved with the crest of a bee. The bases also stamped with the inscription RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPIS WALLIAE LONDINI FECERUNT, fully marked. The bases and branches with model no. 724

These superb candelabra represent one of Paul Storr's most successful and popular models. The earliest surviving pair of Storr candelabra with bases of this design was made for the 9th Duke of Bedford in 1807, the year that Storr became the director of the workshops of Rundell, Bridge & Rundell (illustrated in N.M. Penzer, Paul Storr, 1954, p. 126, and sold Christie's, London, 14 June 1950, lot 117). Other examples, all dating to 1808, include a silver-gilt pair, sold at Christies 22 May 2008, lot 145, and those in the collections of Morrie Moss, the 1st Earl Beauchamp, Koopman Rare Art, the 5th Earl of Chesterfield, and the Estate of Charles and Yvette Bluhdorn (illustrated, respectively, in The Lillian and Morrie Moss Collection of Paul Storr Silver, 1972, p. 97; Sotheby's, London, 11 February 1971, lot 243; Koopman Rare Art, Silver from a Gilded Age, 2005, p. 35; Sotheby's, London, 15 February 1988, lot 118, with branches by Garrard; and Sotheby's, New York, 13 October 2007, lot 27). Another pair of 1808 was sold anonymously at Christie's, London, 10 December 1958, lot 70.

Masterpiece London 2017: June 29 - July 5 - www.masterpiecefair.com - Stand C29

Internationally esteemed London dealer S.J. Phillips Ltd is once again showing an exceptional array of breathtaking antique jewels, together with a superlative collection of exquisite gold boxes, as well as other unique and rare objets de vertu at the forthcoming prestigious art and antiques fair Masterpiece London.

One of the Fair’s founder members S.J. Phillips has exhibited at every Masterpiece since it first opened its doors in 2010.

This year S.J. Phillips’ stand is as magnificent as ever. Among the recent acquisitions on display is a remarkable, bejewelled 18th century chatelaine, complete with pocket watch and breloques (charms). Attributed to George Michael Moser and made in London in around 1780, the quality of craftsmanship and the lavish use of diamonds and enamel indicate that it would have been commissioned by a person of considerable wealth and standing, most likely a member of the Russian Royal family. Nicolas Norton, Director of S.J. Phillips said: “This chatelaine is an incredibly rare piece and is amazing to have survived in such outstanding condition. Jewels of this nature and stature are extremely hard to come by.” The asking price is in the region of £250,000.

A remarkable, bejewelled 18^th century chatelaine, complete with pocket watch and breloques (charms). Attributed to George Michael Moser and made in London around 1780. Asking price in the region of £250,000. Courtesy S. J. Phillips Ltd

Other notable show-stoppers include an exceedingly important diamond necklace, which was given as a wedding present to the American heiress and socialite Helen Hay on the occasion of her marriage to Payne Whitney, son of politician and financier William C. Whitney in 1902, (asking price in the region of £5,000,000) and a pair of earrings set with impressive natural Burmese rubies (asking price in the region of £1,000,000). Also taking pride of place is S.J. Phillips’ outstanding collection of fabulous 18th century Portuguese jewellery. Portuguese jewellery of this period has its own strong identity and is remarkable for its originality of design and prolific use of stones such as topaz and chrysolberyl. The latter is a clear, hard stone, not dissimilar to diamond, but with a slightly yellow tinge. These exotic, colourful gems were mined in the Portuguese colonies of South America and brought back to Lisbon where they used to great effect in the burgeoning jewellery industry. It was not just affluent women who draped themselves in flamboyant jewels, men too also wore gem-set orders and decorations, or at very least their coats were adorned with precious buttons.

An exceedingly important diamond necklace, given as a wedding present to the American heiress and socialite Helen Hay on the occasion of her marriage in 1902. Asking price in the region of £5,000,000. Courtesy S. J. Phillips Ltd

Also taking pride of place is S.J. Phillips’ outstanding collection of fabulous 18th century Portuguese jewellery. Portuguese jewellery of this period has its own strong identity and is remarkable for its originality of design and prolific use of stones such as topaz and chrysolberyl. The latter is a clear, hard stone, not dissimilar to diamond, but with a slightly yellow tinge. These exotic, colourful gems were mined in the Portuguese colonies of South America and brought back to Lisbon where they used to great effect in the burgeoning jewellery industry. It was not just affluent women who draped themselves in flamboyant jewels, men too also wore gem-set orders and decorations, or at very least their coats were adorned with precious buttons.

18th century Portuguese topaz cluster drop brooch, close set in silver, c.1760, 47mm long. Weight: 13g. Asking price £9,000. Courtesy S. J. Phillips Ltd

18th century Portuguese topaz necklace. The centre of girandole design, five curved links of floral design either side, oval cluster claps. Close set in silver throughout, c.1760.Weight: 84g. Asking price in the region of £20,000-£50,000. Courtesy S. J. Phillips Ltd

18th century orange foiled topaz triple drop pendant and pair of earrings en suite, Portuguese c.1760. Asking price in the region of £20,000-£50,000. Courtesy S. J. Phillips Ltd

he pendant and earrings formed by an openwork foliate scroll cartouche centred by a principal lozenge shaped cluster, with graduated pear shaped drops hung below, close set in silver. Width of pendant 6.7cm. Height of pendant 6.3cm. Width of earrings 4.2cm. Height of earrings 5.3cm. Weight: 83.5g.

18th century chrysoberyl triple drop cluster set of pendant and earrings, Portuguese, c.1760. Asking price more than £50,000. Courtesy S. J. Phillips Ltd

the corsage pendant designed as a cartouche of crossed branches with flowerheads and buds and with central cushion shaped cluster, hung with pear shaped clusters, the largest to the middle, the earrings similarly designed with crossed branches, central circular cluster and with an additional cushion cluster to the top, close set in silver. Corsage pendant width 9cm. Pendant length 7.8cm. Earrings length excluding fittings 6cm. Weight: 153.5g.

18th century set of chrysolberyl bow pendant and pair of pendant earrings, Portuguese c.1760, the pendant together with a later fitting for wear as a brooch. Asking price more than £50,000. Courtesy S. J. Phillips Ltd

The pendant designed as a double ribbon bow with two-stone line ribbon strands, edged by lace effect single stone collet lines, centred by an oval cut stone cluster in similar collet border, suspending a single pear shaped drop cluster, close set in silver, the earrings en suite with circular cut cluster tops suspending pear shaped cluster drops with ribbon bow in between, together with a fitted case. Width of pendant 9cm. Length of pendant 7cm. Length of earrings 6.8cm. Weight: 103.5g

Pair of 18th century chrysolite drop cluster pendant earrings, Portuguese, c.1770. Asking price in the region of £20,000-£50,000. Courtesy S. J. Phillips Ltd

the circular pave cluster tops, to ribbon tied bow spacer links, suspending the pear shaped pave cluster drops, all close-set in silver. Length 7cm. Weight: 46g.

18th century chrysolite pendant necklace and earrings set, Portuguese, c.1780. Asking price in the region of £20,000-£50,000. Courtesy S. J. Phillips Ltd

18th century gem set Royal Military Order of St. James' of the Sword cross pendant, a Portuguese Order of Chivalry, c.1740. Length of pendant including hoop 4.4cms. Length of chain 42cms. Weight: 20g including chain. Asking price in the region of £20,000-£50,000. Courtesy S. J. Phillips Ltd

the red enamel cross with quatrelobe to centre, on a mother-of-pearl ground, in an openwork border of alternating cut-down collet set diamonds, rubies and emeralds, with a scallop shell surmount suspension hoop, close set in silver and gold, together with a seed pearl and figure-of-eight gold chain necklace

18th century chrysolite and green paste pendant with cross of the Order of Aviz, Portuguese c.1770. Length 9.5cm. Weight: 71g. Asking price in the region of £20,000-£50,000. Courtesy S. J. Phillips Ltd

the oval pendant centred by the cross motif with trefoil ends set with green paste upon a pale chrysolite ground, within a surround of foiled cushion-shaped and circular-cut chrysolites, suspended from a vari-cut chrysolite set ribbon bow and floral scroll surmount, close-set in silver.

Now a secular military order, the Order of Avis was at the time of this pendant a chivalrous order known as the Order of Saint Benedict of Avis.

Antique Portuguese Order of Christ sash badge set with diamonds and crystal, foiled red, circa 1780, 9cms long x 4.7cms. wide. Weight: 46gms. Asking price in the region of £10,000-£20,000. Courtesy S. J. Phillips Ltd

Set of twelve large and eight small 18th century Portuguese chrysolite cluster buttons, c.1780, round with a circular cut stone to centre, each bordered by one or two rows of fancy tapered cut stones to give a pave effect, close set in silver. Large 24mm diameter. Small 17mm diameter. Weight: 174g. Asking price more than £50,000. Courtesy S. J. Phillips Ltd

Another important feature of S.J. Phillips’ stand at Masterpiece is the eminently distinguished collection of European gold boxes. Tristan Atkins of S.J. Phillips explains: “The gold box market is very niche, extremely exclusive and dominated by some extremely rich international collectors”. The majority was originally made as snuff boxes, but due to their grandeur and the superb quality of craftsmanship they were never used as such. Instead they were prized as objects of great beauty to be displayed and admired.

Among the highlights is a gold and vari-coloured hardstone mounted box by one of the most sought-after box makers Johann-Christian Neuber of Dresden, 1790. This exceptional piece is inlaid with no less than 48 rectangular specimens of semi-translucent and opaque Saxon hardstones, including a variety of agates, cornelian, jasper and amethyst (asking price in the region of £1,000,000).

A gold and vari-coloured hardstone mounted box by one of the most sought-after box makers, Johann-Christian Neuber of Dresden, 1790. Asking price in the region of £1,000,000. Courtesy S. J. Phillips Ltd

Also in this category is a mesmerizingly beautiful George II gold mounted Bristol blue glass nécessaire dating from circa 1750 and charmingly decorated in gilt with classically inspired scenes of rural landscapes dotted with a variety of buildings. A single diamond opens the lid to reveal an interior, which contains four miniature facetted blue glass scent bottles, which neatly fit around a central compartment complete with its original mirror. The compartment would have been used to keep patches, an important 18th century make-up accessory (asking price in the region of £130,000).

Other boxes are set with precious stones or decorated with scenes painstakingly created out of the exacting technique of micro-mosaic. An unusual example takes the shape of a small tortoise complete with its shell, ruby eyes and its enameled feet set with tiny diamonds. The underside of the tortoise opens into a central cavity (asking price in the region of £80,000). “The more ornate and complex, the more highly prized the boxes tend to be” explains Tristan Atkins.

Additional highlights presented by S.J. Phillips at Masterpiece include:

Early 20th century diamond and sapphire pendant, French c.1910, formerly belonging to Cornelia, Countess of Craven. Asking price in the region of £100,000.

Gold and diamond bracelet by Mauboussin, Paris c.1945, Asking price in the region of £20,000.

Antique enamel, ruby and pearl blackamoor jewel with brooch pin fitting, Italian c.1680. Asking price in the region of £70,000.

Pair of antique Etruscan style "Campana" sun-chariot crescent gold earrings by Castellani, Rome c.1860. Asking price in the region of £300,000. Courtesy S. J. Phillips Ltd

Antique gold fringe necklace by Castellani, Italian c.1860 inspired by the "Melos" necklace c. 330-300 BC, now in the British Museum. Asking price in the region of £200,000. Courtesy S. J. Phillips Ltd

19th century pink topaz, diamond and emerald insect brooch, c.1890. Price on request. Price on request. Courtesy S. J. Phillips Ltd

Antique Royal presentation clock by Atherton, London, c.1770. Banded red and white agate panels mounted in 22ct gold cagework, the sides with gold portraits in silhouette of George III, Queen Charlotte and their son George, Prince of Wales. Price on request. Courtesy S. J. Phillips Ltd

Masterpiece London 2017, June 29 - July 5 www.masterpiecefair.com

Posté par Alain Truong à 19:26 - Commentaires […] - Permalien [#]

Tags: 18th century, Diamond Necklace, George II, Portuguese, George IV, George III, Paul Storr, Castellani, Order of Christ, Johann-Christian Neuber, Thomas Pitts, Charles Hatfield, Edward Farrell, Epergne Centrepiece, Honey Pot, Thomas Gilpin, chatelaine, chrysolite, golden topa