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Lot 26
Lalique set of three Lalique, Lucite Miniatures Mascots, 'Les Mascottes Miniatures' pour homme eau de parfum 5ml, comprising Lion 1998, Sagittaire 1999 and Pheonix 2000. Issued by Lalique and sold in Harrods, Lalique labels to bases, accompanying Lalique paperwork in the original sales box and outer sleeve. --
Lot 377
LALIQUE. A Lalique opalescent glass bowl in the Poissons pattern. At the centre, moulded naming & etched 'France'. Diameter 30cm. (Some surface scratching) Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 291
RENÉ LALIQUE (1860-1945) 'COQ NAIN' COCKEREL CAR MASCOT in clear and slightly frosted glass with moulded R. LALIQUE FRANCE mark to base rim, 20.5cm high. Condition Report: Has a Christies sticker to base for an auction on 14th May 2003, lot number 150, sale number 5339. Has mould marks and some air bubbles otherwise in good condition.
Lot 125
RENÉ LALIQUE: GOLD AND ENAMEL 'AUTUMN' PENDANT, CIRCA 1898-1900Of elongated triangular form, cast in low relief, depicting the profile of a maiden facing left, her face in pale greyish enamel to symbolise the dying year, amongst cascades of plane tree leaves and fruits, in brown and orange enamel, opalescent pale pink enamel on reverse, signed Lalique, partial maker's mark, French assay mark, enamel loss in several places, length 10.1cmFootnotes:Several versions of this pendant were made and the design is illustrated in numerous volumes including:Barten, Sigrid, 'René Lalique: Schmuck und Objets d'art, 1890-1910', Munich, 1977, page 305, No 599Exhibition catalogue: 'The Jewellery of René Lalique', The Goldsmiths' Company, London, 1987, page 145, No 144Becker, Vivienne, 'Art Nouveaux Jewelry', New York, 1998, page 39, plate 37There is also a version of this pendant in the collection of The Metropolitan Museum of Art, New York.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 125
THREE ART NOUVEAU BROOCHES, one brooch (possibly a former central plaque for choker), of openwork foliate design, decorated with green enamel plique-a-jour, with baroque pearl highlights, mounted in silver, with maker’s mark for Karl Hermann or Levinger & Bissinger, length 4.5cm, width 8.3cmA second brooch of Egyptian revival design, the central carved scarab in greyish-green hardstone highlighted by two blue cabochons, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12.4cmA third brooch of Egyptian revival design, the central faceted purple stones (possibly glass) highlighted with two similar stones, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12cmThe designs of Art Nouveau jewellery first began to appeal to the masses during the period known as the Belle Époque (1890-1910), yet their popularity reached its zenith in the decade leading up to World War I. While the Edwardian sensibility was far more interested in stones than in their settings, an artier crowd during this time began to veer towards a more intricate type of jewellery with an increased focus on detailed craftsmanship. The work of Art Nouveau artists and jewellers was inspired by the natural world, which was exoticized in their creations to show curling lines and elaborate arabesques.Recurring motifs included dragonflies and peacocks, whose bold colours provided ideal grounds for beautiful enamel work and advanced metalworking techniques. Renowned jewellery designer and silversmith Heinrich Levinger was an early advocate of the Art Nouveau style from the town of Pforzheim in Southern-West Germany. Pforzheim was famous for its jewellery-making traditions from the mid-18th century, ensuring the small town was dubbed the “Golden City”. Levinger worked here during the latter part of the 19th century up and founded his workshop around the year 1881, when he was listed in a Pforzheim address book as a dealer in bijourterie wares. By 1893, Levinger’s workshop had become renowned for the creation of gold and silver wares and novelty items worked in silver and enamel, inspired by the waves of Art Nouveau and Japonisme trends which had spread throughout western Europe at the turn of the 20th century. The talented craftsman followed in the footsteps of emerging artists such as René Lalique, who was hugely influential in pushing the boundaries of acceptable themes and materials in the world of jewellery design towards the end of the Victorian era.Heinrich Levinger died in 1899 and left his workshop to Emil Levinger, who sought to lead the firm in a new direction by producing more modern silver jewellery. Wishing to expand the firm, Emil was joined in 1903 by jewellery designer Karl Bissinger, who worked as artistic partner of alongside Emil. Together, the two became known as Levinger & Bissinger from 1904 onwards. They executed their own designs as well as those of other artists. Collaborations included the creationof Art Nouveau pieces with Austrian designer Otto Ptrutscher (1880-1949) and German designer Goerg Kleemann (1863-1932). Bissinger eventually left the firm in 1909, and Emil decided to return to the name of his predecessor, Heinrich Levinger, under which the workshop had experienced its original success. The first creations by German jeweller Karl Hermann were recorded in 1898, under the mention of his workshop in Pforzheim, Germany, in the same local address book as his contemporary Heinrich Levinger. Here, the firm advertised itself as a factory for jewellery and enamelled silverware. By 1902, the workshop had expanded enough for Hermann to require a business partner and he recruited his former jewellery technician Albert Speck to join him in running the bourgeoning business. From this time onwards the company used the mark ‘HS’, continuing to work under the name of Karl Hermann, even after he left the business to the solecare of Albert Spec in 1906.By 1900, Karl Hermann’s workshop was well known in the area for creating pieces which were heavily influenced by the Art Nouveau stylistic approach which had taken the jewellery industry by storm at the turn of the 20th century.For another design by Karl Hermann from the same year, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 135, no. 222.For a comparable brooch by Levinger & Bissinger, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 134, no. 221.Condition Report: Brooch no1: Normal signs of wear, no damage observed on plique-a-jour, clasp on the reverse loose, total gross weight approx. 31gBrooch no2: some loss of colour/enamel on the wings, mark on the reverse unidentified, clasp loose, total gross weight approx. 18.9gBrooch n3: purple glass, main stone with obvious chips, some signs of repair on the enamel, clasp loose, total gross weight approx. 19.10g
Lot 43
A collection of Lalique tropical fish, in various colours, displayed in a cylindrical perspex case, 20cm diameter, 25cm high, each mounted on various height rods, eight fish in total, each fish 5cm highCondition report: One fish detached from rod, no visible chips or cracks to fish, epoxy resin residue to base
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