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  • 1 janv. 1990— 4 déc. 2018

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A MAGNIFICENT LOUIS XIV GILT-BRONZE AND PIETRA DURA-MOUNTED BROWN TORTOISESHELL, ASH, EBONISED AND PARCEL-GILT CABINET-ON-STAND

A MAGNIFICENT LOUIS XIV GILT-BRONZE AND PIETRA DURA-MOUNTED BROWN TORTOISESHELL, ASH, EBONISED AND PARCEL-GILT CABINET-ON-STAND ATTRIBUTED TO DOMENICO CUCCI AND THE GOBELINS WORKSHOP, CIRCA 1665-1675 The canted, panelled balustrade mounted with repoussé acanthus scrolls and cabochons, the breakfront plinths surmounted by drapery-swagged putti, the central architectural niche with a classically draped male, the whole surmounted by Minerva enthroned amongst a trophy of arms, the canted rectangular cabinet section with volute-supported breakfront frieze support by six campan melangé marble columns with composite capitals joined by swagged garlands, the columns flanking twelve drawers each with elaborate grotesque mask and foliate arabesque trails dividing laurel-framed pietra dura plaques depicting, respectively, a wolf, a sheep, a cat, a dog, a rhinoceros, a camel, a leopard, a rearing horse, a stag, a goat, a unicorn and a boar, all flanking a central architectural door with a plaque of Orpheus playing his violin, and an arched panel with playful monkeys, framed to each side by helmeted herms and surmounted by a satyr bracket supporting an eagle holding a late 18th century silver and lapis lazuli oval medallion in its beak inscribed 'Detta Shap Har Warit Konung Carl den Xdes Ar Shänkt af des Gemal Drotning Hedvig Eleonora Til R.R. Gref Carl Gyllenstierna Genom arf Filfallit R. R. /och Fältmarskalken Axel Fersen' [This cabinet belonged to King Charles X Gustav of Sweden, was given by his wife Queen Hedvig Eleonora to R.R. (knight) Count Carl Gyllenstierna, and by descent to R.R. (knight) and field marshal Axel Fersen], the lapis lazuli medallion to the reverse etched with Mercury's caduceus, cornucopiae and laurel, the plinth section of the cabinet with five further pietra dura panels depicting an elephant, a lion, tupping rams, a bear and an ox, opening as two drawers; the door opening to reveal a fitted architectural and mirrored interior, the reverse of the door inlaid in pewter, green-stained ivory, palisander and ebony with Orpheus and his lyre, the arcaded columns opening to reveal three Hungarian ash oak-lined secret drawers, flanked by two secret document wells, the sides with recessed tortoiseshell rectangular panels applied with raised shaped foliate arabesque and ash cartouche panels with central panel of veined liver marble; the stand with tortoiseshell and ebony frieze mounted with further oval marble specimen panels in verde antico, breccia and veined liver marble, flanked by repoussé berried fruiting garlands, supported upon six male and female carved giltwood and bronzed caryatid figures, the outer caryatids in imbricated suits of armour, and supporting capitals of plumed feathers, the central caryatids classically draped and emblematic of the Four Seasons, supporting baskets with fruiting vines for Autumn, wheat for Summer, flowers for Spring and flames for Winter, on a pierced and shaped stretcher with repoussé foliate border, on six lion feet, raised on replaced ebonised blocks, the back supports of the stand with traces of previous additional supporting pilasters and drilled for fixing to wall, inscribed in chalk to underside '10/1277 2', one drawer (with 'boar' plaque) signed and dated in ink 'Reparerat 1787 af Joh. Christ.n Linning Kong Hof Schatull= makaren ok Hof-Snickaren' [Repaired in 1787 by Joh. Christn. Linning, Royal court cabinet-maker] 17½ in. (248 cm.) high; 60½ in (154 cm.) wide; 26 in. (66 cm.) deep [the cabinet], 30½ in. (78 cm.) deep [the stand with lion-carved feet]

  • GBRGrande Bretagne
  • 2009-12-10
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AN EXCEPTIONAL IMPERIAL CHINESE ORMOLU, ENAMEL AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'JARDINIERE' CLOCK

AN EXCEPTIONAL IMPERIAL CHINESE ORMOLU, ENAMEL AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'JARDINIERE' CLOCK GUANGZHOU WORKSHOPS. QIANLONG PERIOD (1736-1795), LATE 18TH CENTURY CASE: modelled in three tiers; The base section of rectangular form banded with red and white paste gems and raised on four foliate scroll cast ormolu feet with floral swags between, decorated to all sides with red and green floral enamels and gold foils on a translucent blue basse-taille enamelled ground, the front and two sides with automaton scenes (see below) and the rear with silk-backed pierced ormolu rectangular panel, also with paper inventory label 8, the front panel with recessed automaton scene (see below) flanked by paste-set stars framed within an oval cartouche; The middle section with platform framed by an openwork ormolu gallery, each corner mounted with an ormolu vase (formerly with automaton floral bouquets), this section with cast ormolu base with raised scroll decoration and with further openwork gallery above, the canted angles each with green paste gem-set double Corinthian pilasters with plain blue enamel panels between, each of the sides decorated with red, gold and green floral enamels on a translucent blue basse-taille enamelled ground, centred by floral enamelled oval cartouches within red and white paste-set borders, the rear decorated with conforming enamels and centred by silk-backed pierced repoussé ormolu circular panel decorated with flowerheads and leafy sprigs, the front also with matching enamels and set with the clock dial; The upper section formed as an octagonal jardiniere supported on four elaborate foliate ormolu feet and raised on a leaf-engraved platform, with panels of basse-taille enamels between red and white paste-set borders, issuing sprays of gilt and silvered foil leaves mounted with multi-coloured paste-set flowerheads, three of them 'trembling' naturalistically and two of them automata (see below) DIAL: with red and white paste-set bezel and convex glass to white enamel dial with crossed minute track, Roman hour and Arabic quarter chapters, the pierced ormolu hands set via knob to the front of the tier below AUTOMATA: hourly, or at will by pulling a knob to the right front angle of the case, to the front of the base tier a recessed scene framed with foliage and with backdrop painted with buildings has two lines of painted metal European figures parading with gardening tools and attributes; to the sides, painted and pierced panels show tropical birds amidst foliage, backed by spiral-twist glass rods to simulate waterfalls (automata connections lacking); the floral bouquet in the jardiniere has a revolving flowerhead to the front and is centred by a later ormolu pineapple finial intended to rise and fall as the paste-set leaves around it open and then close (automaton connections lacking); all while music plays CLOCK AND MUSICAL AUTOMATA MOVEMENT: (probably English, adapted and finished in China) with triple chain and fusees wound from the rear and knife-edge verge escapement, the back plate engraved with leafy sprigs, with hour strike on bell and hourly music playing one tune via a pinned cylinder on eight bells with eight hammers, with drive to the automaton flowerhead above and to the parading figures at the front 30¾ in. (78 cm.) high x 13¼ in. (33.7 cm.) wide x 10¼ in. (26 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A FINE ENGLISH ORMOLU AND GUILLOCHÉ ENAMEL QUARTER-CHIMING, MUSICAL AND AUTOMATON 'SAILING SHIPS' CLOCK FOR THE CHINESE MARKET

A FINE ENGLISH ORMOLU AND GUILLOCHÉ ENAMEL QUARTER-CHIMING, MUSICAL AND AUTOMATON 'SAILING SHIPS' CLOCK FOR THE CHINESE MARKET HENRY BORRELL, LONDON. GEORGE III PERIOD (1760-1820), LATE 18TH CENTURY CASE: decorated overall with panels of royal blue guilloché enamel embellished with delicate metal foils of gold and green to depict peacock feathers, and with golden fronds interlaced with multi-coloured garlands of flowers, the domed top surmounted by a later cresting with green and red paste-set automaton catherine wheel revolving against a mirrored plate and within an ormolu sunburst frame, the sides of the cresting applied with paste-set vine leaf mounts, the rear also with a mirror plate, this set with a foliate cast boss, the case angles with beaded and engraved projecting volute and foliate scroll mounts, the side panels with trellis mounts cast as trailing husks dividing panels of peacock feathers, with floral swag mounts to the four cornices and engraved swags to the panels of the platform above them, each corner mounted with a stiff-leaf clasped neo-classical vase, the rear door with a silk-backed openwork cast panel modelled with cornucopiae, mythical phoenixes and foliage, the front with conforming decorative panels and with paste-set music selection and hand-set knobs flanking the dial, further paste-set border to the automaton scene concealed by a sliding panel decorated in polychrome enamels with geometric patterns, on a plinth cast with a heavy berried laurel border, the rear applied with paper inventory label 2 and supported on four ormolu and enamel out-swept leaf cast feet with lion's head terminals DIAL: with paste-set bezel and convex glass to white enamel Roman and Arabic chapter ring with crossed minute track, delicate gilt-metal spade hour minute and seconds hands, adjusted by the left knob above AUTOMATA: hourly, or by depression of a button to the side of the case, the catherine-wheel at the top revolves and the shutter at the front rises, revealing a scene of two rows of painted metal sailing ships moving in two directions between two spiral-twist glass rods simulating the sea, a cam causing them also to rock naturalistically, with a glass panel behind them reverse painted with trees and a bridge, this laid before a series of spiral-twist glass rods revolving to simulate water falls; all while music plays MOVEMENT: the movement with rectangular plates secured by six pillars, rear-wound triple chain and fusees, pinwheel escapement mounted on the back plate, with good quality steel-suspended pendulum signed Borrell's Pendulum on a calibrated rating disc, secured with a holdfast, the music playing two tunes on seven bells (formerly eight) via fourteen hammers (formerly sixteen) and 2½ in. (6 cm.) diameter pinned barrel, the quarters and hours struck on two further bells positioned on the back plate, with button for repeating the hours to the right side of the case, the border-engraved backplate signed Henry Borrell/LONDON within a central cartouche; the music selected by the right knob above the dial and with strike/silent lever above XII 29¼ in. (74 cm.) high x 14¾ in. (37.8 cm.) wide x 12 in. (30.5 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A CHINESE ORMOLU, ENAMEL AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'TROPICAL LANDSCAPE' CLOCK

A CHINESE ORMOLU, ENAMEL AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'TROPICAL LANDSCAPE' CLOCK QING DYNASTY, LATE 19TH CENTURY, INCORPORATING EARLIER ELEMENTS CASE: modelled in three tiers; The base section of rectangular outline with canted angles, raised on an acanthus cast plinth moulding above elaborately cast foliate feet, the front and angles with panels of blue baisse-taille enamels, embellished with gilt, green and red enamels forming a floral-diaper ground, the front also with a glazed automaton scene within a paste-set border, the glass panel reverse-painted at the edges and also framed below by a cut out painted metal scene, depicting foliage and animals, with central mirror-backed automaton waterfall feature, the sides with florally-decorated blue enamel panels, the rear applied with stylised acorn and flowerhead mounts beside a painted metal panel depicting European figures in a landscape beside the sea, with paper inventory label above 12; The middle section bordered by an openwork gallery with two elongated knop finials to each angle, with lanceolate leaf-wrapped baluster vases to all four corners, each topped by a paste-set automaton whirligig, this section housing the clock above an automaton feature with four circular apertures and behind them four sets of automaton characters, reading auspicious phrases, also decorated with further panels of basse-taille enamel, the upper side panels glazed over painted metal panels depicting stylised European figures in harbour landscapes, with small urn finials to all angle and with plain glass door to the rear; The upper section also bordered by an openwork gallery and the four corners with vases and paste-set whirligigs matching those below, flanking a further drum-shaped section on spreading foot, decorated with panels of basse-taille enamel, the rear with a silk-backed panel of pierced ormolu leaves and flowerheads and the front with a mirror-backed two-tiered paste set automaton catherine-wheel, a further urn mount above topped by naturalistically-modelled and paste-set automaton flowerheads feature (see below); The case late 19th Century and incorporating probably late 18th Century enamels DIAL: with red and white paste gem set hinged bezel to convex glass, white enamel dial with Roman and Arabic chapters, centred by a pierced circlet mount, pierced ormolu hands with ormolu decorative seconds hand between them AUTOMATA: hourly, or at will by turning a paste-set knob to the left side base panel, the whirligigs all turn and the medallions at the front of the case revolve to reveal a line of four different auspicious phrases (see footnotes); above the catherine-wheel spins and at the top the mount turns whilst the flowerheads also revolve (formerly also with further automaton flowerhead to the top, now cased with a later gilt-metal sheath); all while music plays CLOCK MOVEMENT: English, late 18th Century and stamped for A & I THWAITES, numbered 534 with rectangular plates, the back plate with Chinese engraved border, rear-wound twin chain and fusees with knife-edge verge escapement, hour strike on bell, with hourly trip to; MUSICAL AUTOMATA MOVEMENT: probably Chinese, late 18th Century, housed in the base section, playing a selection of six tunes changed by a paste-set knob to the right side, via pin barrel with eight bells and ten hammers 35½ in. (90 cm.) high x 16¼ in. (41 cm.) wide x 12¼ in. (31 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A SUPERB IMPERIAL CHINESE ORMOLU, ENAMEL AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON 'SINGING BIRD' CLOCK

A SUPERB IMPERIAL CHINESE ORMOLU, ENAMEL AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON 'SINGING BIRD' CLOCK GUANGZHOU WORKSHOPS. QIANLONG PERIOD (1736-1795), LATE 18TH CENTURY CASE: modelled in three tiers; The base section of rectangular outline and embellished with panels of gilded copper repoussé decorated with trailing floral designs, within beaded frames and bordered by red paste gems, the front centred by a clock flanked by two arched glazed panels for the automaton figure scenes and the sides with further glazed automaton fish scenes (see below), the rear with a silk-backed pierced and engraved ormolu panel, raised on an acanthus-cast gallery and on elaborate ormolu feet cast as openwork acanthus leaves, with aprons of trailing foliage between them; The middle section with florally-engraved platform bordered by an openwork gallery with knop finials at its angles, the four corners mounted with part foliate cast baluster vases issuing yellow, green and red paste-set automaton whirligigs in four cascading tiers, the panels decorated as for the base below and with a glazed automaton scene to the front (see below), the rear with paper inventory label 5; The upper section with a conforming gallery above a further paste-set border and around a florally-engraved platform, this mounted to the four corners with baluster vases matching those below and issuing automaton plants mounted with paste-set flowers, centred by a octagonal jardiniere decorated with panels of translucent blue basse-taille enamel embellished with green and gold floral enamels, the edges and angles of the jardiniere defined with lines of red paste gems, with a florally-engraved ormolu upper border framing a painted metal panel decorated with small flowerhead designs, from which arises a painted metal tree mounted with naturalistically 'trembling' paste gem-set flowers and topped by three automaton paste-set flowers, with two wooden automaton birds decorated with kingfisher feathers to the front (see below) DIAL: with red, yellow and green paste-set bezel to a convex glass, white enamel dial with Roman chapter ring and crossed minute track, gilt-metal spade hands and blued steel seconds hand AUTOMATA: hourly, or at will by pressing a knob to the right rear corner of the case, numerous automata perform; the red curtains behind the arched glazed panels at the front of the clock slowly rise, each revealing two painted wood figures in Chinese costume revolving on a platform within a niche painted with flowers and balustrades, between them they hold a blue painted baluster vase decorated with gold stars and issuing gilt-metal flowers which slowly rises and falls as the figures turn, as if it is being offered in tribute; meanwhile at the sides the glazed panels are reverse-mounted with cut-out painted metal borders depicting European figures and houses, these framing glass rods which revolve to simulate water and between them small painted metal fish periodically 'leap', all against a mirrored background framed by painted metal foliage; in the middle section a painted metal Qilin mythical beast with yinyang symbol on its back moves its head whilst the 'pearl' within the yinyang symbol revolves, the ground on which the beast rests is silvered and engraved in a pattern to simulate waves and cut with three apertures below which spiral-twist glass rods revolve to simulate moving water, the back of the panel being painted with a coastal landscape and with two trees modelled in relief, one of them gilt-painted and mounted with paste gem flowers; to the sides and above, the four whirligigs and the four floral displays all turn simultaneously and at the top of the tree the three paste-set flowerheads revolve whilst spinning and the leafy plant above them also revolves; all this occurs while music plays and as the music ends the curtains at the front fall down again and then the two birds move on their perches and sing, while opening their beaks and flapping their wings CLOCK MOVEMENT: with circular plates, twin chain and fusees with verge escapement and quarter strike on two bells, wound through the front of the case, hands also set through the front of the case and with pendulum-starting arbor to the lower front of the case, the clock movement with hourly trip to; MUSICAL AUTOMATA MOVEMENT: housed in the base, with single chain and fusee wound through the right side, with pinned barrel and playing one of four tunes (no selection) on ten bells with ten hammers, driving the automata via a system of gears, with trip to; THE AUTOMATON BIRDS: powered by a further movement, with single chain and fusee wound through the rear of the mid section, driving the bellows for the birdsong and levers to make them move 39¼ in. (100 cm.) high x 18¼ in. (46.5 cm.) wide x 15¼ in. (39 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A SUPERB IMPERIAL CHINESE ORMOLU AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'TRIBUTE BEARERS' CLOCK

A SUPERB IMPERIAL CHINESE ORMOLU AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'TRIBUTE BEARERS' CLOCK GUANGZHOU WORKSHOPS. QIANLONG PERIOD (1736-1795), LATE 18TH CENTURY CASE: modelled in three tiers; The base section of rectangular outline and raised on stiff leaf cast plinth above openwork foliate cast feet with foliate scroll cast aprons between, the angles applied with mounts modelled as stylised overlapping stiff leaves, with further beaded mounts framing the plain ormolu surfaces of the four sides, the front with glazed panel framed by red and clear paste gems, revealing an automaton 'tribute bearers' scene against a mirrored background and with painted scenes of European architecture to the sides (see below), the case sides embellished with a circular reverse-glass painting of European-style figures in landscape, each within an ormolu frame and a tied leafy branch mount, the rear with silk-backed brass foliate-pierced brass panel and with rubbed paper inventory label 17; The middle section bordered by an openwork gallery, the four corners of the platform each with an urn mount topped by an automaton whirligig, the case with canted angles and housing the clock, the front applied with paste-set floral sprays with red, clear, blue and green glass stones, the sides each adorned with a stylised neo-classical urn appliqué within an oval flowerhead cartouche, with stiff leaf cast base and cornice mouldings, the rear door with silk-backed foliate pierced brass panel; The upper section also bordered with an openwork gallery, the platform mounted to all four corners with a lanceolate leaf cast urn, each topped by a pair of automaton catherine-wheels set with clear, red and green paste gems, these flanking four large acanthus-cast scrolls, supporting a drum case housing ingenious automata (see below), its rear with silk-backed foliate pierced brass panel matching those below, a further foliate cast ormolu mount above supporting a painted metal and paste-gem set automaton bouquet also mounted with 'trembling' flowers DIAL: with red and white paste-set bezel and deep convex glass to white enamel dial with Roman hours and Arabic quarter chapters, with gilt spade hands and seconds hand AUTOMATA: hourly, or by depression of a button to the left mid section of the case, to the front two rows of cut-metal painted European figures, elephants and horses parade on chains in a circle around a stationary row of trees; the whirligigs revolve and the double catherine-wheels spin, while the floral bouquet at the top turns; the upper automaton with paste-set bezel and deep convex glass over, comprising paste eight gem set flowerheads and with eight cones painted with gilt designs against a bright blue enamelled ground, with eight further inner florets, all turning and revolving simultaneously in sophisticated pattern; all while music plays CLOCK MOVEMENT: with rectangular plates joined by plain pillars, twin chain and fusees with knife edge verge escapement, hour strike on bell, plain gilded back plate with rear wind and hand set, with hourly trip to; MUSICAL AUTOMATA MOVEMENT: housed in the base, with chain and fusee wound from the rear, playing a selection of three tunes changed by a knob to the rear, via pinned barrel on eight bells with nine hammers, with gearing to the various automata 33¼ in. (84 cm.) high x 14¼ in. (36.5 cm.) wide x 11½ in. (28.5 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A MAGNIFICENT IMPERIAL CHINESE ORMOLU, ENAMEL, IVORY-MOUNTED AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'DAOIST IMMORTAL' CLOCK

A MAGNIFICENT IMPERIAL CHINESE ORMOLU, ENAMEL, IVORY-MOUNTED AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'DAOIST IMMORTAL' CLOCK GUANGZHOU WORKSHOPS. QIANLONG PERIOD (1736-1795), LATE 18TH CENTURY CASE: modelled in three tiers; The base section of rectangular outline with canted angles, on a plinth raised on elaborate ormolu feet cast as openwork acanthus leaves and with pierced ormolu floral apron mounts between them, the front with automaton scene behind glass of painted figures, representing the concept of the 'Four Noble Professions': the scholar reading his book in a pavilion, the wood cutter holding an axe to a tree, the farmer ploughing the field with his hoe and the fisherman with his fishing net, all set in a gilt-metal repoussé landscape also mounted with naturalistically painted trees (see below), framed by red and green paste-set borders, flanked by panels of translucent blue baisse-taille enamel further detailed with gilt and mauve flowers growing delicate green-enamelled leaves, within ormolu beaded frames and further bordered by red paste gems, the sides similarly decorated but also with pale blue flowers and each inset with a glazed rectangular panel within ormolu frame, painted with European pastoral figures, the rear with a silk-backed pierced enamel panel in an interlaced design decorated with green stars; The middle section bordered by a pierced gallery and mounted to the four corners with ormolu baluster vases issuing automaton paste-set floral blooms, the section itself of conforming outline and decoration to the base below, the front enamel panel with gilt flowers and leaves and those to the sides with polychrome decoration; The upper section also with a pierced gallery, this surrounding a platform naturalistically modelled with rockwork, mounted with three carved wood figures with carved ivory heads, to the front an automaton model of Shoulao, dressed in a red painted and gilt-heightened flowing robe, holding an album in both hands, flanked on either side by attendants in similar robes, each tipping a gilt-metal double-gourd with tip attached to a funnel, emptying into spiralling chute which twists towards Shoulao's feet (see below), painted metal trees with gilt leaves behind them, the figures positioned around a naturalistically modelled mountain boulder modelled in repoussé sections, this inset with an automaton waterfall feature of spiral-twist glass rods and supporting the drum-shaped clock-case with silk-backed pierced blue enamel panel in an interlaced design, the drum in turn supporting an automaton painted metal and paste-set automaton floral bouquet topped by a single paste-set pineapple DIAL: with detachable bezel set with red, green and clear pastes in a scrolling flame design, convex glass to the white enamel dial with Roman hour chapters and Arabic quarters, crossed minute track, with gilt-metal spade hands and blued steel seconds hand AUTOMATA: hourly, or by depression of a knob to the right side of the mid section, numerous automata perform; in the base scene the scholar fans himself, the fisherman raises and lowers his basket into running water formed from revolving spiral-twist glass rods with swimming fish between them, the woodcutter chops with an axe and the farmer ploughs with his hoe; above, the four floral bouquets to the corners and the top bouquet, which is further mounted with 'trembling' flowerheads, all revolve; Shoulao opens his scroll to reveal a leaf inscribed with the characters Wanshou Wujian ('Longevity without an End'), whilst from the gourds of the figures beside him small balls issue and run down the chutes, disappearing and reappearing at intervals; the spiral-glass rods in the mountain revolve to simulate a waterfall; all this while music plays and then at the end Shoulao closes his album CLOCK MOVEMENT: with circular plates, twin chain and fusees wound from the rear, hand-set also from the back plate, with knife edge verge escapement and hour strike on bell, with hourly trip to; MUSICAL AUTOMATA MOVEMENT: housed in the base and wound from the rear, single chain and fusee, with pinned barrel playing on seven bells (formerly eight) with eight hammers, the selection of four tunes changed from the right side of the base, also driving the automata through a system of gears and two Archimedes screws which raise the automaton balls 32¾ in. (83 cm.) high x 13¾ in. (35 cm.) wide x 11 in. (28 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A CHINESE GILT-METAL AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'TIANGONG CIFU' CLOCK

A CHINESE GILT-METAL AND PASTE-SET STRIKING, MUSICAL AND AUTOMATON 'TIANGONG CIFU' CLOCK QING DYNASTY, LATE 19TH CENTURY, INCORPORATING EARLIER ELEMENTS CASE: modelled as a three-tier tower; The base section raised on foliate cast feet with foliate apron mounts between, the front modelled with rockwork and bamboo above a balustraded gallery, framing an aperture with painted metal doors opening to an automaton scene of carved and painted wood figures, of Eight Daoist Immortals and Shoulao holding a peach and in turn flanked by two attendants, above a glass rod automaton waterfall and paste-set automaton flower (see below), the sides with silk-backed floral trellis sound frets and the rear panel cast with Pan pipes and horns, the four angles mounted with caryatids trailing flowers above rampant lions; The middle section housing the clock, the sides applied with mounts cast as Pan pipes and horns and the canted angles with composite floral sprays; The upper section with a balustraded platform mounted with urn finials, these framing a domed hexagonal pavilion elaborately embellished with a dense design of flowers and leaves, an aperture revealing a carved and painted wood automaton figure of a scroll-bearing official, the domed roof supporting rotating stars, clusters of thin green leaves and an automaton 'pineapple' finial, all encrusted with brightly coloured paste gems (see below) DIAL: with gilded dial plate and gilded spandrels to white enamel chapter disc with Roman numerals, gilt-metal hour, minute and seconds hands, the arch with harbour scene painted on silk and applied to the dial plate AUTOMATA: hourly, the doors open and the Eight Immortals revolve around Shoulao and his attendants in the aperture; below them the spiral-twist glass rods revolve to simulate a waterfall and the flowerhead spins; in the pavilion above the official unravels a scroll inscribed with the characters Tianguan Cifu ('Prosperity Bestowed by the Official of Heaven'); at the top the foliate finial turns; all this while music plays, then the doors close again and the performance ends CLOCK MOVEMENT: probably English, late 18th Century, with rectangular plates joined by five pillars, rear-wound twin chain and fusees with knife-edge verge escapement, hour strike on bell, with hourly trip to; MUSICAL AUTOMATA MOVEMENT: probably French/Swiss, late 18th Century, housed in the base section, with chain and fusee wound from the left side of the case, playing eight tunes with automatic change, via pin barrel with twenty-two hammers on twelve bells, with gearing to automata above 37 in. (94 cm.) high x 14¼ in. (36 cm.) wide x 12¼ in. (31 cm.)

  • HKGHong Kong
  • 2008-05-27
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A MAGNIFICENT IMPERIAL CHINESE ORMOLU, SILVER-PLATED, ENAMEL, PASTE-SET AND CARVED SOAPSTONE STRIKING, MUSICAL AND AUTOMATON 'ELEPHANT' CLOCK

A MAGNIFICENT IMPERIAL CHINESE ORMOLU, SILVER-PLATED, ENAMEL, PASTE-SET AND CARVED SOAPSTONE STRIKING, MUSICAL AND AUTOMATON 'ELEPHANT' CLOCK GUANGZHOU WORKSHOPS. QIANLONG PERIOD (1736-1795), LATE 18TH CENTURY CASE: modelled in three tiers: The base section with a foliate cast plinth raised on scroll feet and set with multi-coloured paste gems, with a gadroon moulding above, decorated to all sides with red and green floral enamels and gold foils on a translucent blue basse-taille enamelled ground, the front set with the dial and flanked by multi-coloured paste-set and mirror-backed automaton catherine-wheels, the sides with pierced automaton panels painted with trees and flowers against a backdrop of automaton waterfalls (see below), the rear with three silk-backed pierced and engraved ormolu circular panels and applied with a paper inventory label 10; The middle section with a paste-set balustraded gallery with eight small vases to the angles, with panels of foil-backed green glass mounted with foliate appliqués set with further paste gems, its upper level with a further paste-set balustrade and naturalistically modelled repoussé silver platform, the four corners mounted with paste-set whirligigs; The upper section formed by a caparisoned soapstone elephant embellished with a paste inset foliate and floral-chased saddle, bridle and body-straps, supporting in turn a blue enamel baluster vase decorated with cloisonné enamel bands around the neck and base, the vase surmounted by a paste-set whirligig and fronted by a mirror-backed automaton paste-set flowerhead, its rear with a silk-backed pierced and engraved circular panel DIAL: with red paste-set hinged bezel and convex glass to replacement paper dial with Roman and Arabic chapters and ormolu arrow hands AUTOMATA: hourly, or by pulling a later cord to the underside of the case, the two catherine-wheels revolve, spiral-twist glass rods to the side panels turn to simulate falling water, the five whirligigs spin and the flowerhead to the front of the vase revolves; all while music plays CLOCK AND MUSICAL AUTOMATA MOVEMENT: with rectangular plates, triple chain fusees with knife-edge suspended verge escapement, hour strike on one bell and hourly music via pinned barrel on a nest of eight bells with twelve hammers, with four tunes selected by an arbor to the rear and with gearing to the automata above 29 in. (73.5 cm.) high x 14¼ in. (36 cm.) wide x 10¼ in. (26 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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Digital Rangefinder Camera

Custom-made by Jony Ive and Marc Newson for the (RED) Auction 2013. Edition 01/01. Inscribed: Designed by Jony Ive & Marc Newson for (RED) 2013 edition 01/01. Donated by Leica Camera AG. The Leica camera may hold the distinction of having been responsible for more famous images than any other tool of creation: think of "V. J. Day at Times Square" by Alfred Eisenstaedt, the iconic portrait of Che Guevara by Alberto Korda, and any number of definitive photographs by Man Ray, Henri Cartier-Bresson, Helmut Newton, Diane Arbus, Garry Winogrand and a myriad of other photojournalists and artists. And so it comes as no surprise that Jony and Marc would include a Leica in this auction, which is devoted in equal measure to icons and to innovation. But in this case, the pair did far more than select and customise an existing object: they partnered with the legendary manufacturer to design a singular new example, based on the Leica M, from the ground up. Jony and Marc observe that Leica products are built entirely around function and so the designers' first task was to immerse themselves in the astonishingly complex mechanics behind Leica's cameras. Then the task was to make it all look as simple as possible, with the caveat that achieving "simplicity" is often one of the most complex tasks for a designer. "Simplicity," they say, is not about the absense of clutter, but comes from a deep understanding of every element's purpose: as a result, a simple design will reveal the true personality of an object, with all its quirkiness.

  • USAUSA
  • 2013-11-23
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A RARE IMPERIAL CHINESE ORMOLU, WHITE MARBLE AND PASTE-SET QUARTER-STRIKING 'DOUBLE-GOURD' CLOCK WITH SWINGING DIAL

A RARE IMPERIAL CHINESE ORMOLU, WHITE MARBLE AND PASTE-SET QUARTER-STRIKING 'DOUBLE-GOURD' CLOCK WITH SWINGING DIAL GUANGZHOU WORKSHOPS. QIANLONG PERIOD (1736-1795), LATE 18TH CENTURY CASE: the clock swinging within an ormolu double-gourd framework embellished with brilliant turquoise glass square-cut paste gems within an inner beaded border and an outer leafy border, the rear with matted decoration, the lower circular section accommodating the clock, suspended from above with a vertical bar, decorated with blue, red and white oval-cut paste gems, centred by a circular medallion, delicately enamelled with fine metal foils of gold, green and red to depict a basket of flowers on a royal blue guilloché enamel ground, encircled by a border of circular red paste gems, the neck of the double-gourd surmounted by a gilt-metal mount representing an upside-down bat, its intricate stylised wings outstretched below a pineapple finial, the whole structure raised on an elliptic-form ormolu mount of overlapping acanthus leaves, supported on a stepped oval-section marble base, its polished spreading waist neatly fitted with an openwork chased ormolu floral-scroll mount extending all around, above a stepped foot with beadwork gallery, set onto lappeted oval plinth on a stepped rectangular later zitan stand DIAL: with bezel of red, white, turquoise blue and yellow faceted paste gems and with ormolu beaded inner ring, the white enamel dial with crossed minute track, Roman hour chapters and Arabic quarters, pierced ormolu hour and minute hands and blued steel seconds hand MOVEMENT: with knife-edge suspension to the top of the frame, gilded circular plates joined by five gilded cylindrical pillars, twin going barrels with rear wind, the anchor escapement with steel escape wheel positioned on the back plate, quarter-striking on single bell with two hammers, the back plate with engraved border and inscribed with a 'nonsense' signature Lululi between floral sprigs; the rear of the case with two adjustable screws and a steel cross-bar made as if to secure the movement 26¾ in. (68.5 cm.) high x 14 in. (35.5 cm.) wide x 9½ in. (24 cm.) deep, overall; 22¾ in. (57.5 cm.) high x 6½ in. (16.5 cm.) wide x 4 1/3 in. (11 cm.) deep, the clock

  • HKGHong Kong
  • 2008-05-27
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A FINE SWISS ORMOLU, ENAMEL-MOUNTED AND PASTE-SET, STRIKING AND MUSICAL 'DRESSING TABLE' PORTICO CLOCK FOR THE CHINESE MARKET

A FINE SWISS ORMOLU, ENAMEL-MOUNTED AND PASTE-SET, STRIKING AND MUSICAL 'DRESSING TABLE' PORTICO CLOCK FOR THE CHINESE MARKET GEORGE III PERIOD (1760-1820), LATE 18th CENTURY CASE: of portico design, with eight toupee feet supporting a breakfront base centred by a guilloché enamel panel, delicately decorated with metal foils of gold, green, blue and red on a Royal blue ground to depict an urn of flowers within an oval medallion framed by floral swags on either side, flanked on either side by two smaller rectangular panels forming the fronts to drawers, each set with a red and white paste-set knob, with three further guilloché enamel panels below, a tilting toilet mirror rising (manually) from the case behind the large central panel, the sides applied with musical trophy mounts and with conforming mount to the rear, flanked by flowerhead bosses, the sides and rear with later Vitruvian scroll mounts in place of the lower enamel panels on the front, all the panels and both drawers within beaded frames, the platform of the base with matted decoration and with silk-backed piercings for releasing the sound, the borders with eight evenly spaced neo-classical vases with chain-links between them, the centre with replaced mount in the form of an eagle with displayed wings standing on rockwork modelled with a bear's head (see footnote), the columns resting on D-ended plinths, with volute lower sections and embellished with panels of guilloché enamel in red and blue and further decorated with red and gold foils and white enamel jewels, their reverses plain except for flowerhead bosses, each column adorned with paste gems in the form of leaves and joined by paste-set floral swags, each also surmounted by an ormolu vase clasped with enamel lanceolate leaves and issuing paste-set silver floral sprays, the drum-shaped clock-case crowned with a two-handled urn accommodating three paste-set silver floral sprays, its rear door pierced and with silk backing DIAL: with red and white paste-set bezel to deep convex glass, over white enamel dial with dot minute track, Roman hours and Arabic quarters, the circlet-pierced ormolu hands with diamond-shaped tips MOVEMENT: with circular plates joined by four cylindrical pillars, rear wind for twin chain and fusees, anchor escapement with spring-suspended pendulum, hour rack strike on replaced bell MUSIC WORK: housed in the centre of the base section, with replaced Swiss pinned barrel pull-wound via a cord issuing to the rear of the case, set off by a release button to the front of the case, playing a single tune; formerly with hourly trip from the movement 24¼ in. (61.5 cm.) high x 13 in. (33 cm.) wide x 6 in. (15.2 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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AN EXCEPTIONAL IMPERIAL CHINESE ORMOLU AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON 'ACROBAT' CLOCK

AN EXCEPTIONAL IMPERIAL CHINESE ORMOLU AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON 'ACROBAT' CLOCK GUANGZHOU WORKSHOPS. QIANLONG PERIOD (1736-1795), LATE 18TH CENTURY CASE: modelled in a three-tiered pagoda-form; The base section of rectangular outline and raised on a foliate cast plinth supported by four acanthus cast scroll feet with pierced floral apron mounts between, with an openwork paste-bordered oval to the front inset with automaton spiral-twisted green glass rods radiating from a paste-set circular medallion, flanked by gilt-metal openwork stylised floral appliqués, the sides similarly decorated with appliqués, the rear with a pierced silk-backed trellis work panel, the upper borders mounted with red, green and clear glass paste gems, with pierced gallery mounts above, the upper platform further embellished at each of its four corners with a neo-classical covered urn; The middle section applied with projecting corner mounts and its sides with appliqués matching those on the base below, fronted by a paste-bordered arch with two sliding silk-backed pierced lattice-work doors also framed by a polychrome-painted sheet metal mount cut in a foliate design, opening to reveal a finely painted wood male acrobat figure, suspending with both hands firmly grasped onto a vertical metal rod, his limbs pinned at the joints with metalwork to facilitate the swinging 'acrobatic' movements (see below), the interior rear wall and base backed by mirrors; The upper section of oval form and housing the clock, raised on four acanthus-cast scroll supports, surmounted by a covered urn finial (formerly with automaton feature) raised on a leafy scroll and flowerhead cast ormolu applique DIAL: with detachable bayonet-fixed convex glass fitted with an integral paste-set bezel, the white enamel dial with Roman hours and Arabic quarter chapters, with gilt-metal 'tear-drop' hour and minute hands and blued steel seconds hand, the hands adjusted by a faceted knob below the dial AUTOMATA: hourly, or at will by depression of a button to the rear platform of the case, the green spiral-twist glass rods and their central paste-set medallion revolve; then the lattice-work doors open and the polychrome-painted acrobat raises and lowers himself on the wire; all this while music plays; then the doors close again and the performance ends CLOCK MOVEMENT: the waisted plates with engraved borders and secured with engraved brackets to the upper back plate, the back cock also with engraved border, rear-wound twin chain and fusees with knife-edge verge escapement, quarter-striking on two nested bells with engraved bell stand, the gilded back plate centred by an engraved 'nonsense' signature, with hourly trip to: MUSICAL AUTOMATA MOVEMENT: housed in the base section, with tandem spring barrels driving a single chain fusee, wound from a single square to the rear, playing two tunes via pinned barrel on five bells with ten hammers 35¼ in. (89.5 cm.) high x 15¾ in. (40 cm.) wide x 12¼ in. (31 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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AN EXTREMELY FINE 1:48 SCALE-GUN NAVY BOARD MODEL OF AN UNRIGGED PARTIALLY-PLANKED ENGLISH TWO-DECK FIFTH RATE OF CIRCA 1710-24 BUILT TO THE ESTABLISH

AN EXTREMELY FINE 1:48 SCALE-GUN NAVY BOARD MODEL OF AN UNRIGGED PARTIALLY-PLANKED ENGLISH TWO-DECK FIFTH RATE OF CIRCA 1710-24 BUILT TO THE ESTABLISHMENT OF 1706 constructed in fruit and box woods with details including carved lion figurehead, head rails, heads, bow-chaser gun-ports, gratings, catheads, belaying rails and bitts, bell with correct stock with belfry, cleats, deck rings, double capstan1, companionways, fo'c'sle, coach and poop deck cabins with doors, ballustrading, finely-carved ten-spoke helm and three glazed stern lanterns. The hull, with scored part-complete deck, is planked above the main wale with frames exposed below, gun deck with single capstan2 and orlop deck beams, has glazed stern and quarter galleries decorated with detailed carved and gilded classical maidens, warriors, putti and acanthus leaves with finely turned ballustrading surmounted with carved 'GR' monogram3, extensive fine paint and gilt chinoiserie decoration to bow, stern and gun-port lids with rigols4 and naval and military giltwork swags along the bulwark screens, is finished in lacquer and black with Venetian red bulwarks, and secured to two turned black painted columns with cast iron side braces placed amidships and secured to original display board within an early 19th century neo-Classical glazed 'temple' case with Ionic columns and carved brick and ballustrade base. Measurements of model -- 11 x 35in. (20 x 89cm.); Measurements of case -- 20 x 40¼in. (51 x 102cm.) Together with three lower masts and fighting-tops (warped) and first stage of bowsprit with provision for gib boom. See illustration and details Christie's would like to thank Simon Stephens and Grant Walker for their invaluable assistance in cataloguing this lot. CONDITION: The model is in very good overall condition and appears to retain most of its original features and finish. There are signs that some of the gilt work has been touched in and some of the decorative paint work is chipped: although not obvious, the areas either side of the main stern cartouche have missing patches about 5mm. wide, the majority however, are in excellent condition; the deck has warped slightly in a few areas and the internal poop deck companionway now lies on the gun deck. There does not appear to be evidence of any worm externally although an internal inspection revealed minor old worm attacks to the main mast step and some deck head beams, but this remained very localised. The wheel has been reversed, re-attached and possibly stregthened with fore and aft bracing. Some of the planking above the main wale is now dry and starting to lift where the original glue has weakened. The stern lanterns5 are considered to be good replacements, possibly employing some of the orignal components. The original twisted metal supports are now assisted by additional wires. The case is in excellent overall condition retaining its original early 19th century glass panels with just one end pane cracked.

  • GBRGrande Bretagne
  • 2003-11-19
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AN IMPERIAL CHINESE ORMOLU AND PASTE-SET QUARTER-STRIKING 'SUNBURST' CLOCK

AN IMPERIAL CHINESE ORMOLU AND PASTE-SET QUARTER-STRIKING 'SUNBURST' CLOCK GUANGZHOU WORKSHOPS. JIAQING PERIOD (1796-1820) CASE: the rectangular ormolu platform base raised on elaborate foliate feet, centred with a panel embellished with gilt-metal mount of a stylised sun-flower, flanked on either side with flowers borne on thin stems growing bladed leaves, the sides each with similar floral bloom mount, the angles with gilded volute mounts, the upper edges lined with an openwork pelmet-form terrace, the four corners joined to pillars, surrounding a mythical three-legged toad with paste-inset eyes and seated on rockwork head, the toad's raised head modelled with twisting ruyi clouds emerging from its wide mouth, surrounded by four evenly spaced splayed leaves forming the elaborate mount supporting the clock, the dial bezel encircled by a paste-set 'sunburst', arranged in radiating rows of rectangular transparent glass, alternating with rows of vibrant green and pomegranate-pink circular-cut paste gems, surmounted by an ormolu phoenix with outstretched wings raised on a bracket stand of acanthus leaves DIAL: white enamel with Roman hours and Arabic quarter chapters, pierced gilt-metal main hands and replaced blued steel seconds hand MOVEMENT: with red silk-backed pierced and engraved ormolu rear cover, substantial circular plates secured to the case with brackets to top and bottom, the gilded back plate engraved elaborately with leafy sprigs and flowerheads, within a line and scroll engraved border, twin fusees wound from the rear, hand-set also to the rear, duplex escapement with blued steel segmental decorative weights positioned on the back plate, quarter-striking on two replaced large steel gongs rising on a steel bar from an ormolu mount at the rear of the case, with two hammers projecting through the movement cover 23½ in. (59.5 cm.) high x 13½ in. (34.5 cm.) wide x 8¼ in. (21.5 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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AN ENGLISH SMALL CHASED ORMOLU AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON TABLE CLOCK

AN ENGLISH SMALL CHASED ORMOLU AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON TABLE CLOCK HENRY BORRELL, LONDON. GEORGE III PERIOD (1760-1820), LATE 18TH CENTURY CASE: on a stepped square platform base raised on four splayed feet terminating in balls, finely decorated with a geometric floral designs, with openwork mounts to each side of the plinth and silk-backed lattice-work sound frets centred by flowerhead bosses to the sides, all angles with projecting scroll and foliate mounts, the rear door with a silk-backed pierced ormolu panel, the faceted dome top flanked by elongated vase finials and surmounted by a painted and paste-set automaton feature DIAL: with red paste-set bezel and convex glass to white enamel dial with Roman and Arabic chapters, ormolu pierced spade hands and ormolu seconds, adjusted by the paste-set knob to the left of the dial AUTOMATON: hourly, or at will by depression of a lever to the right side of the case, the painted and part paste-set (formerly fully paste-set) flowering vase finial revolves; while music plays MOVEMENT: the rectangular plates with cut upper corners, triple chain and fusees with dead beat escapement, quarter-striking with two hammers on two bells, one to the back plate and one to the rear of a nest of seven bells, the music via pinned barrel using the same seven bells with thirteen (formerly fourteen) hammers, playing one of two tunes selected by a paste-set knob to the front right of the case, with strike repeat lever to the left side of the dial and strike/silent lever above the dial at XII, the back plate with engraved border and with holdfast for steel rod pendulum and conforming engraving to the bob, signed H.y Borrell/LONDON 17 in. (43 cm.) high x 7½ in. (19 cm.) wide x 7½ in. (19 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A FINE ENGLISH ORMOLU, VERRE EGLOMISÉ MOUNTED AND PASTE-SET MUSICAL AND AUTOMATON 'TROPICAL LANDSCAPES' CABINET CLOCK

A FINE ENGLISH ORMOLU, VERRE EGLOMISÉ MOUNTED AND PASTE-SET MUSICAL AND AUTOMATON 'TROPICAL LANDSCAPES' CABINET CLOCK THOMAS BARNARD, LONDON. GEORGE III PERIOD (1760-1820), LATE 18TH CENTURY CASE: modelled in four tiers; The base section with acanthus-cast gallery supported on four foliate cast scroll and shell feet, with ormolu beaded mounts to all sides, framing the black, crimson and gilt verre eglomisé panels which border the automata scenes also mounted to each side (see below); The cabinet section supported on the backs of standing lions which flank silk-backed pierced ormolu sound frets to all sides, above them to the front two verre eglomisé doors open to reveal mirror backs and an interior of four replaced glass-fronted copper drawers, to the sides further panels of verre eglomisé depict birds and to the rear another shows a dog attacking a swan; The clock section with small foliate cast finials to the four corners, with further stepped plinth up to four engine-turned ormolu columns with Corinthian capitals, these flanking the clock dial to the front and further verre eglomisé panels to the sides and rear, the latter depicting a cottage amidst woods, with paper inventory label 11 also to the rear; The cupola section above a pierced later gallery with columns matching those below and supporting a domed roof applied with crescent moon and star mounts, above a cluster of spiral-twist glass rods simulating a waterfall, surmounted by a post of three conjoined balls which supports the automaton crescent moon finial DIAL: with red, white and green paste-set hinged bezel to convex glass, white enamel Roman and Arabic dial, blued steel hour and minute hands and gilt-brass seconds hand AUTOMATA: at will only, by pulling a button to the left base panel; to the front a glazed panel reveals tropical animals parading in a circle against a background painted with a European house in a wooded landscape, framed at the front by a cut out of painted foliage; to the right side a glazed panel is laid on a cut and painted metal scene decorated with tropical foliage and exotic animals, and behind it two tiers of spiral-twist glass rods forming automaton waterfalls; to the left side a glazed panel is laid on cut and painted metal foliage and trees and reveals a painted backdrop with an aperture showing spiral-twist glass rods forming an automaton waterfall, a further aperture showing a single glass rod depicting water flowing to the waterfall, whilst to the fore a waterwheel revolves and swans swim past between glass rods simulating water; to the rear a glazed panel is laid on a cut and painted scene depicting a house to one side and foliage to the other, framing a background painted with ships in a small harbour (formerly with automaton ships moving between glass rods simulating water); to the top a cluster of spiral-twist glass rods simulate a waterfall and above this the crescent finial revolves; all this while music plays WATCH MOVEMENT: of pocket watch type and with circular glass plates, hinged to open through the front of the case, with single chain and fusee and verge escapement, pierced and engraved cock, silvered regulation disc, signed Barnard/LONDON MUSICAL AUTOMATA MOVEMENT: housed in the base and wound through the rear, single chain and fusee, playing two tunes via pin barrel with eight bells and eight hammers, the tunes changed with a button to the rear, the unusual system moving the bells and hammers rather than the barrel, with gearing to the various automata (lacking connection to rear automata) 33½ in. (85 cm.) high x 17 in. (43.5 cm.) wide x 15¼ in. (38.5 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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Giroux 'Daguerréotype'

The "Giroux Daguerréotype" is the first commercially-produced camera in the world and represents the initial spark that started the worldwide spread of photography. From 1839 it was manufactured in Paris in limited numbers by Alphones Giroux. The design was taken from original blueprints drawn up by Giroux's brother-in-law, the inventor Louis Jacques Mandé Daguerre. It is a wooden sliding box Daguerreotype camera for 167x216 mm ("full-plate" 6.5x8.5 inch) exposures. The body is made of cedar wood, but the middle part holding the lens is made of walnut wood. On the right side the printed label with a golden border strip bears Daguerre's authentic signature and the seal of Giroux. The label is inscribed: 'LE DAGUERRÉOTYPE EXÉCUTÉ sous la Direction des son Auteur, á Paris chez Alph. Giroux et Cie., Rue du Coq St. Honoré, No 7. Aucun Appareil n'est garanti s'il ne porte la Signature DE Mr. DAGUERRE et le Cachet de Mr. Giroux.' (LE DAGUERRÉOTYPE, produced under the supervision of it's inventor in Paris by Alph. Giroux and Company, Rue du Coq St. Honoré, No7. No apparatus is warranted if it does not bear the signature of Mr. Daguerre or the seal of Mr. Giroux). The seal shows minor age related chipping, is intact and reads: 'DAGUERRÉOTYPE 1839 ALPH. GIROUX.' Instead of a serial number the label is marked in handwriting 'uv.' According to Michel Auer's expertise the meaning of this caption is unknown. The original doublet lens is produced by Charles Chevalier and has a focal length of 38cm and an opening equal to f/4. At the front of the lens is a cylindrical brass mount that functions as an aperture as well as a swivelling brass plate that serves as a shutter. On the lens cap is an inscription: 'LE DAGUERRÉOTYPE, Chez Alph. Giroux et Comp.e A PARIS'. To make the camera lightproof the interior of the front box is lined with black velvet - the cloth is original and in very good condition. The rear sliding box is designed to house a frame that holds the frosted-glass screen. In order to look at the projected image in the correct alignment, it is viewed through a hinged mirror on the rear of the camera. The mirror is mounted on a wooden flap which is held in a 45° angle in relation to the focussing screen by a pair of metal chains and serves as a protection for the screen when closed. The overall, original condition of the Daguerréotype Giroux is exceptionally good. Only minor professional restoration work has been conducted. Until now it was completely unknown and has never been documented before. The camera has been in private ownership in northern Germany for generations. The present owner's father gave it to him in the 1970s as a present for finishing his apprenticeship to become a certified optician. Michel Auer, the internationally renowned expert on historic cameras and author of numerous books, has written the expertise and confirmed the authenticity of the camera. Worldwide, only a few of these cameras are known to exist and all of them are in public museums. A camera like this has never been offered for sale in an auction before.Giroux 'Daguerréotype'Der 'Daguerréotype Giroux' ist die erste kommerziell hergestellte Kamera der Welt und damit die Initialzündung für den weltweiten Siegeszug der Fotografie. Sie wurde 1839 nach den Originalplänen ihres Erfinders Louis-Jacques-Mandé Daguerre bei dessen Schwager Alphones Giroux in Paris in kleiner Stückzahl hergestellt. Hölzerne Schiebekamera für Aufnahmen im Format 167 x 216 mm (ganze Platte), der Korpus aus gewachstem Zedernholz, der mittlere Teil der Frontseite, auf der auch das Objektiv montiert ist, aus Nussholz, an der rechten Seite gedrucktes und goldgerahmtes ovales Herstellerschild mit der eigenhändigen Unterschrift von Daguerre und dem roten Siegel von Grioux. Die Plakette ist beschriftet: 'LE DAGUERRÉOTYPE EXÉCUTÉ sous la Direction des son Auteur, á Paris chez Alph. Giroux et Cie., Rue du Coq St. Honoré, No 7. Aucun Appareil n'est garanti s'il ne porte la Signature DE Mr. DAGUERRE et le Cachet de Mr. Giroux.' (LE DAGUERRÉOTYPE, hergestellt unter der Aufsicht seines Erfinders in Paris bei Alph. Giroux u. Co. Rue du Coq St. Honoré, No 7. Kein Apparat ist verbürgt, wenn er nicht die Unterschrift von Daguerre oder das Siegel von Hr. Giroux trägt. Das Siegel zeigt kleine altersbedingte Absplitterungen, ist aber intakt und beschriftet: 'DAGUERRÉOTYPE 1839 ALPH. GIROUX.' Statt einer Seriennummer handschriftlich am Herstellerschild vermerkt: 'uv.' Laut Expertise von Michel Auer, ist die Bedeutung dieses Vermerks nicht bekannt. Das Originalobjektiv ist die vom Pariser Optiker Charles Chevalier hergestellte achromatische Linse mit einer Brennweite von ca. 38cm mit einer Öffnung von f/14. Vor dem Objektiv ist eine zylindrische Messingeinfassung angebracht, die als Blende funktioniert, sowie einen einschwenkbares Messingblättchen, das als Verschluss dient. Die Objektivabdeckung ist graviert: 'LE DAGUERRÉOTYPE, Chez Alph. Giroux et Comp.e A PARIS'. Um das Eindringen von Licht zu verhindern und Streulicht zu absorbieren ist das Innere des vorderen Schubkasten mit dem originalen schwarzen Samt ausgelegt. Am hintere Schubkasten ist der Mattscheibenrahmen befestigt, dessen mit einem Spiegel versehene Abdeckung im 45° Winkel weggeklappt werden kann um das projizierte Bild aufrecht betrachten. Der Deckel ist durch eine Kette fixiert. Der angebotene Daguerréotype Giroux befindet sich in hervorragendem originalen Gesamtzustand. Kleine altersbedingte Restaurierungen wurden fachgerecht durchgeführt. Die Kamera war bisher völlig unbekannt und wurde niemals publiziert. Sie war über lange Zeit in norddeutschem Privatbesitz. Der heutige Eigentümer hat sie in den 1970er Jahren anläßlich seiner bestandenen Gesellenprüfung als Optiker von seinem Vater als Geschenk bekommen. Michel Auer, der international renommierteste Fachmann für historische Kameras und Autor zahlreicher Bücher, hat eine Expertise erstellt und die Echtheit der Kamera bestätigt. Weltweit sind nur einige wenige dieser Kameras in öffentlichen Museen und Sammlungen bekannt, niemals vorher ist eine solche Kamera zum Verkauf in einer Auktion angeboten worden.

  • USAUSA
  • 2010-05-29
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Le Daguerréotype Susse Frères A previously unknown

Le Daguerréotype Susse Frères A previously unknown sliding box Daguerreotype camera for 167x216 mm ("full-plate" 6.5x8.5 inch) exposures, manufactured in 1839 according to instructions by Daguerre. Soft wood, stained black, brass fittings, a manufacturer's label is affixed to one side with the legend: «LE DAGUERRÉOTYPE, D´aprés les Plans officiels déposés par Mr. DAGUERRE au Ministére de l´Interérieur. SUSSE Frères, 31, Place de la Bourse». The doublet lens by Chr. Chevallier (brass mount engraved by hand : No.3) has a focal lenghth of 382mm. At the front of the lens is a cylindrical brass mount that functions as an aperture as well as a swivelling brass plate that serves as a shutter. On the lens cap is an inscription: «DAGUERRÉOTYPE, SUSSE FRÉRES, 31, Place de la Bourse». The rear sliding box has two doors that open to the inside. These can be closed from outside thus making the camera lightproof during the insertion of the plate. The doors and the interior of the camera are lined with black velvet, the door-closing mechanism and the hinges are made of brass. There is also a holder for photographic plates or for a frosted-glass screen on the rear of the camera. The overall, original condition of the camera is exceptionally good and it has never been restored. It was originally owned by Prof. Max Seddig (1877-1963) who was the director of the Institute of Applied Physics in Frankfurt am Main and, among other things, godfather to the founding of the Josef Schneider Optical Works in Kreuznach. Seddig gave the camera to his assistant, Günter Haase, as a present. The latter was later Professor at the Department of Scientific Photography at the University of Frankfurt and, from 1970 on, occupied the Chair for Scientific Photography at the Technical University of Munich. Prof. Günter Haase died on February 20th 2006 at the age of 88 and left the camera to his son, Prof. Wolfgang Haase. Numerous experts attest that it is very likely the oldest commercially-produced camera in the world. The following expertise by the well known specialist for early photography and author of numerous books on the subject, Michel Auer, is included: "I examined the camera very carefully and took all the measurements to compare it with the Daguerre camera sold by Giroux - the dimension are identical. The body is made of lime wood and the black paint is original. The printed paper label, which is attached to the left side is a lithography. I have dismantled and examined the optical system, a doublet, and specified it's focal length, which is, as expected 382mm. The brass mount of the lens is engraved by hand: "No3" and "III". The camera was produced 1839 and is in original condition. It corresponds in every detail with the plans that have been deposited by Mr. Daguerre at the French Ministry of the Interior. To my knowledge this camera produced by Susse Fréres is the only of it's kind in existence." (Authorised English Translation of the original French text) In addition to this unique Daguerreotype camera comes the extremely rare German manual entitled: 'Praktische Beschreibung des Daguerreotyp's', published by Georg Gropius, Berlin 1839, 12x20cm, 24 pages, with 18 illustrations on 5 plates showing the apparatus for the production of daguerreotypes in accordance with Daguerre´s invention. Attached to the rear cover of the booklets are two handwritten notes from the early 1840´s in German concerning details of the process. Condition: B- Year: 1839

  • USAUSA
  • 2007-05-26
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AN ENGLISH SMALL CHASED ORMOLU AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON TABLE CLOCK

AN ENGLISH SMALL CHASED ORMOLU AND PASTE-SET QUARTER-STRIKING, MUSICAL AND AUTOMATON TABLE CLOCK JOHN MOTTRAM, LONDON. GEORGE III PERIOD (1760-1820), LATE 18TH CENTURY CASE: on a stepped square platform raised on four splayed feet terminating in balls, all sides of the plinth applied with foliate scroll and flowerhead mounts flanking flowerhead bosses, an openwork balustrade above intersected at intervals by ball-topped tapering columns, all main panels bordered by beaded galleries, the sides centred by silk-backed openwork foliate cast sound frets, each angle with a projecting feathered scroll mount, the rear door pierced with silk-backed circlets and with oval lattice-work sound frets, the five-stepped top with four further pierced balustrades and surmounted by a twin-handled vase supporting a paste-set whirligig DIAL: with beaded mount (probably later) to the bezel and convex glass to white enamel Roman and Arabic dial, pierced ormolu hands and blued steel seconds hand, adjusted by a replaced paste-set knob below the dial AUTOMATON: hourly, or via button pulled to the right side of the case, the paste-set whirligig above the urn revolves; while music plays MOVEMENT: with rectangular plates, triple chain and fusees with dead beat escapement, quarter-striking with two hammers on two bells to the rear of a nest of eleven bells, the music playing via pinned barrel on the same eleven bells with eighteen hammers, playing one of four tunes selected by a square on the back plate, the back plate with engraved border and with holdfast for the brass-rod pendulum, signed Jn. Mottram/LONDON 26½ in. (66.5 cm.) high x 9¾ in. (24.5 cm.) wide x 9¾ in. (24.5 cm.) deep

  • HKGHong Kong
  • 2008-05-27
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A MAGNIFICENT AND IMPORTANT GERMAN EMERALD, DIAMOND AND ENAMEL-SET SILVER-GILT STRIKING MANTEL CLOCK

A MAGNIFICENT AND IMPORTANT GERMAN EMERALD, DIAMOND AND ENAMEL-SET SILVER-GILT STRIKING MANTEL CLOCK ATTRIBUTED TO THE DRESDEN COURT WORKSHOP, POSSIBLY BY JOHANN MELCHIOR DINGLINGER, DRESDEN, CIRCA 1730, THE DIAL SIGNED MARKWICK, THE MOVEMENT 19TH CENTURY Of architectural form, the front of the shaped rectangular plinth with pendant rose-cut diamond and emerald-set drapery swags, resting on four similarly set bifurcated feet, the one at the front with oval enamel coat-of-arms, that at the reverse set with small enamel plaque painted with a standing chinoiserie figure, the plinth set at the centre with a large lozenge-shaped emerald, each end with applied two-handled enamel urn decorated with a mask and with border enamelled with flowers and green foliage (applied flowers lacking), the dial with Roman and Arabic champlevé chapter ring with raised gilt flowerhead half hour markers, later hands, the centre disc decorated with gilt scrolls around a gilt signature 'MARKWICK', within a bezel of alternating diamonds and emeralds, the outer matted panel applied with scrolling foliage set with numerous further similar gems and four blue enamelled ribbons, incorporating silver male and female portrait busts, monkey in a state of arousal and satyr and two oval enamel plaques each painted with an equestrian warrior, one with raised sword about to strike a four-headed hydra beneath inscription 'Au plus Hardy', the other with horseman about to lance a rampant leopard and with inscription 'Au plus Courageux', flanked by columns each applied at the base with an enamelled scallop shell, the top with enamelled mask with Indian style head-dress and precious stones, with further male and female busts at the angles, the sides each capped by a scroll bracket applied with similar mask and with pendant diamond and emerald-set geometric ornament, the top surmounted by central similarly set portrait bust of the helmeted Minerva flanked by Venus Fortuna holding a diamond-set sail and the winged figure of Chronos (lacking hour-glass and scythe), the rear door set with a pierced and engraved domed cover to the bell, within panel engraved with brick-work and outer columns with emerald and diamond -set plinths and capitals; the movement with arched plates, twin spring barrels wound from the rear, anchor escapement and rack strike, with trip repeat Overall width 7 1/8 in. (18 cm.), 9 in. (23.5 cm.) high The arms are those almost certainly of a non-ruling member of the Wittlesbach family in the Pfalz region.

  • GBRGrande Bretagne
  • 2009-12-10
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A rare Charles II ebonised pearwood architectural longcase clock

A rare Charles II ebonised pearwood architectural longcase clock Edward East, London. Circa 1665/70 CASE: of small size, typical for the period. Rising hood of architectural form and with fine mouldings to the triangular pediment. The tympanum centred by a relief cast brass mount, showing with figures emblematic of Hunting; Diana and Apollo(?), each with dogs and hawks and flanking a breastplate. The top of the arch centred by a small spike for former finial, with evidence of further finals having been in place to the sides. To the rear sides of the hood there are shadows for previous columns, now removed. The top of the trunk with convex throat mouldings; those to the sides have been replaced, quite possibly in the 18th Century. The top of the hood behind the pediment would probably have been flat originally and has been covered by a later arched section of wood. The rear hood runners are replacements, as is the blued steel lock for holding the raised hood; the latter incorporates original elements. Some replacement of facing veneers to the hood glasses (apertures not altered). The original iron hood lock remains in place. The sides of the trunk with long panels bordered by well modelled mouldings; the trunk door with panel to match these and also two finely raised panels. The brass escutcheon is probably original; the lock replaced. The door with original wrought iron hinges. The facings to front and sides of the plinth, along with the skirting, have been replaced. However, the carcase below is original and evidence remains of where the original bun feet were positioned. The backboard is in two sections and, at the top, unusually extends above the sides of the triangular hood (not beyond its apex). Case key. 73 5/8 in. (187 cm.) high, 12 in. (30.5 cm.) wide, 7½ in. (19 cm.) deep DIAL: of gilded brass, 8 3/16 wide by 8¼ in. high. Corners finely engraved with flowers, pears and ribbons. Signed Edwardus East/Londini in the lower corners. Silvered and engraved chapter ring (7/8 in. wide) with narrow minute track and trident half hour markers. Centre of the dial finely matted. The hands original, being well sculpted blued steel. Their brass collet also probably original. The winding holes are shuttered. MOVEMENT: with rectangular plates and dial feet latched to the front plate. The six movement pillars each with four rings and also latched. The lower two pillars threaded and secured to blocks on the seatboard. The seatboard is a replacement (thinner than the original). The movement of eight day duration and with hourly strike via a countwheel positioned on the back plate. The bell positioned vertically in the style of the period. The escapement is verge; its escape wheel, contrate wheel and pinions are replacements, as are the verge arbor and rod (the latter may well retain its original bob). However, there is no evidence of previous conversion. The backcock original but possibly embellished later. The movement with original bolt and shutter maintaining power. Two brass-cased weights with curved bottoms and flat tops, quite probably original. The pulleys matching and original. The crank key (probably original) has a pear-shaped lignum vitae handle, steel shaft and brass winding section. Further images of this clock can be emailed upon request. Please refer to department.

  • GBRGrande Bretagne
  • 2006-12-06
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Leica MP black paint, 1957, no.MP-99

Black paint MP in almost mint and original, never restored condition, with matching Leivavit MP and black paint Summicron 2/5 cm no.1468952, casting no. 111802, P 99 engraved on chassis, original everready case. With expertise by Ottmar Michaely. It is remarkable that camera and lens were both originally shipped together to New York on November 19, 1957 (shipping number 49851/61932). Provenance: Private collection USA. The Leica MP is actually much more than a mere variation on the Leica M3. It is the only serial model which has an individual number, differing fundamentally from the usual fabrication numbers of all other Leica cameras. With a total number of only 412 units produced, the MP is among the rarest Leica models of all times. The black-paint version was produced only 141 times and acquired mainly by professional photographers. Many of the famous Magnum photographers used MP cameras. Today it is among the most sought-after Leicas of all. The idea which led to the production of the MP model came from several well-known American press photographers, who wanted to make use of the advantages of the Leica IIIf in combination with the rapidwinder "Leicavit" on their Leica M as well. It were mainly the suggestions of Alfred Eisenstaedt and David Douglas Duncan which aroused the interest of Dr. Ludwig Leitz, who was the director of the development and construction department in 1955. At the Cologne "Photokina" fair from September 29 to October 7, 1956, the new Leica MP was first introduced to the public. It was actually a special edition of the M3, but meant to be used with the rapidwinder "Leicavit-MP". The mere fact that the Leica MP was bought and used almost exclusively by photo journalists allows us to conclude that a second, black-paint MP in this pristine, original state would be practically impossible to find.

  • USAUSA
  • 2014-05-23
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A William III miniature brass-mounted and inlaid ebony striking eight day table clock with pull quarter repeat

A William III miniature brass-mounted and inlaid ebony striking eight day table clock with pull quarter repeat Thomas Tompion, London, No.271, in second case. Circa 1696 The case with gilt-brass bound inverted bell top surmounted by a typical Tompion gilt-brass foliate-tied handle and with acanthus leaf and foliate scroll brass marquetry inlay depicting birds and flowering urns, gilt-brass moulding above gilt-brass lined doors with later(?) gilt-brass sound frets to the top rail and foliate scroll brass inlay to the bottom and side rails, with conforming sound frets above brass-lined glazed rectangular side panels flanked by conforming brass inlay, above gilt-brass bound plinth raised on later block feet, the 4½ in. wide brass dial with double-screwed cherub mask and foliate spandrels to silvered Roman and Arabic chapter ring with sword hilt half hour and half quarter hour markers, chamfered mock pendulum aperture and date square to the finely matted centre, silvered subsidiary rings for pendulum regulation and strike/not strike flanking signature Tho. Tompion/LONDINI/Fecit within engraved acanthus leaf cartouche, latches to dial feet, later blued steel hands, the movement plates joined by seven latched and ring-turned pillars, twin chain fusees and restored verge escapement, pull quarter repeat on small bell via Tompion's system of double-cocked interconnecting steel levers on the back plate and restored spring-loaded cantilevered arms on the front plate, internal rack strike for the hours on larger bell, scrolling foliate and bird engraving to the back plate signed Tho. Tompion/LONDINI/Fecit within engraved acanthus leaf cartouche, later chamfered and engraved back cock and suspension cock; some restorations to case; pendulum, case key 11 in. (28 cm.) high, handle down

  • GBRGrande Bretagne
  • 2008-07-01
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Invendu

2000 hp Pusher, triple prop

Approved for all European waterways, moveable wheelhouse, draught 1.7 m Length: 20.78 m. Width 11.4 m. Min. draught 1.32 m Max. draught 1.70 m. Headroom: 6.88 m. Displacement: 309 m³ Shipyard Rheinwerft Walsum (Germany) Propulsion: 2x Cummins (only 2000 motor hours) and 1x Caterpillar Motor type: 2x KTA19M3, 1x CAT3214 Power: 2x 456 kW / 650 hp, 1x 493 kW / 667 hp = total 2000 hp 2x 6 cylinder, 1x V12 turbo diesel engine Both Cummins engines installed in September 2004. Vessel has very little engine hours, due to seizure. All motors are running. Gearbox Reijntjes 2x, 1x unknown. Driven by three shafts with three propellers Navigation: VHF 2xSailor RT2048, GPSGarminGPS 152, Autopilot RadioHolland Sigma600 SwissRadar JFS364 rate-of-turn indicator / Rudder position indicator / Intercom Shore power 380 V/ 32A Generator 1xHatz 3cilinder Silent Pack 25kVA, 1xHatz 4-cylinder 27kVA 230 / 380Volt Anchor system: 2x1500kg Danforth aft anchors, hydraulic oiled anchor windlass Steering machine: VanderVelden hydraulic steering and new (2013) hydraulic system for movable wheelhouse. Bunkers: 2x 18,689 ltr Day tank: 1x 384ltr, 1x 84 ltr (for stove) Lubricant: 1x 550 litres lubricating oil tank 1x 550 litre hydraulic oil tank Drinking water: 2 x 9500 litre (approx) Accommodation: 9 berths. 4 cabins, two with double beds, one with bunk beds, one with three single beds in rear accommodation. 2 toilets, 1 shower. 1 bathroom with double sink, washer and dryer. Galley with four-burner electric cooker, refrigerator/ freezer, dishwasher, cooker hood, microwave, etc. Certificates: Tonnage Certificate valid until 07-2022 Certificate of class valid until 01-2017 Hull measurement report available and approved by the Shipping Inspectorate. Special features: dual push bow, two electric coupling winches, 2 mechanical coupling winches, lifting wheelhouse max. 11 m height. This boat is perfect for the right owner! This boat is sold "as is", meaning in its current condition. We advise you to visit the ship before making a bid, in order to avoid disappointment. Please contact the auctioneer to make an appointment. Seller certifies that the ship comes free of mortgages, embargoes and/or objections. The seller also certifies to possess the freehold of this ship. Any transfer costs are for the buyer.

  • NLDPays-Bas
  • 2015-10-27
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Optique & Objets scientifiques & Marine

Appareils et accessoires de photo, baromètres, octants, sextants, chronomètres de bord sont rassemblés dans cette catégorie. Toutes les enchères d’instruments techniques peuvent être trouvés ici.