Egyptian Revival neckwear. From different points in the 20th century but all fun. Egyptian Revival is one of the ones that never really goes away.

Scarab motif pendant necklace modeled as a pair of mirrored stylized lotus leaves, their stems intertwining underneath, sandwiching a scarab enameled in shades of blue, ochre, and green. Suspended on two short lengths of chain from a pair of side attachments embellished with plique-à-jour enamel. Early 1900s. Possibly German. Jugendstil with an Egyptian Revival flavor. Clearly marked on the back with a dragonfly. Image © 2016 Nouveau Deco Arts. Fair use license. via
Egyptian Revival pendant modeled as a seated pharaoh. 1960s. American. Kenneth J. Lane, maker. Maker’s marks: © mark for Kenneth Lane on the reverse. © 2020 Poshmark, Inc. Fair use license. via
Pendant modeled as the god Horus with a figure in the center. ca. 1920. Art déco. Enamel. Maker not known. Image © 2020 – WorthPoint Corporation. Fair use license. via

Decorative boxes in gold. 18th century, made in Sweden. Two of these by Stockholm goldworker Frantz Bergs who was born in around 1697 and died in 1787.

Gold box with a decorated cover. A gift from Swedish King Karl XIV Johan (1763-1844) to cavalry captain Johan Gustaf Wertmüller. 1761 Gold. Frantz Bergs, goldsmith. Maker’s marks: Mark of Frantz Bergs, Stockholm 1761. Image  © 2008-2020 Bukowski Auktioner AB. Fair use license. via

Gold and enamel rectangular snuff-box, with the cover, sides and base each centered with an oval cartouche decorated en plein. Cover decorated with putti riding in a shell being drawn by dolphins. Sides and base with rural and riverside scenes surrounded by scrolls and foliage in translucent green basse taille enamel with borders chased with flowers and foliage with a slightly raised floral thumbpiece. ca. 1780. Swedish, probably made in Stockholm. Later struck with two French import marks. Image © CHRISTIE’S 2020. Fair use license. via
Vinaigrette. 1756. Gold and enamel. Frantz Bergs, designer and maker. Image  © National Museum, Stockholm. Fair use license. via;jsessionid=711AE9C77C501D5041DB6F0F93C0A17D.node1?service=direct/1/ResultDetailView/result.inline.list.t1.collection_list.$

Silver aquamanile, ewers modeled as animals or humans. Various countries and makers. All fun.

Aquamanile in the motif of a duck with engraved feathers and a thin belt and a handle modeled as a dragon with two intertwined serpents grasping the back of the duck’s head. Yellow glass eyes and crest. ca. 1800. Austro-Hungarian. Silver with yellow glass. Image © 2020 Sothebys. Fair use license. via
Pair of silver aquamaniles modeled as standing lions wearing crowns with spots formed as protuding tongues. 19th c. Silver. Spanish Colonial, probably made in Peru. Apparently unmarked. Image © CHRISTIE’S 2020. Fair use license. via
1600 Silver-gilt war elephant aquamanile with a removable plate on the head, two sinks at the trunk and the tail serving as a handle. The design based on the story of Hannibal who crossed the Alps with elephants. 1600. Made in Nuremburg, Germany. Silver-gilt. Christoph Jamnitzer gold worker (1563-1618). Photo © Karen Bartsch, Kunstgewerbemuseum Berlin. Fair use license. via

Sealing wax cases or etui so pretty you will be glad you have to write another thank you note. French. Various goldworkers, all amazingly talented. Most of these by Nicolas Durier who flourished between 1758 and 1788.

Gold sealing wax case or etui, decorated with garlands of flowers and filleted flutes. 1780-1782. Made in Paris. Nicolas Durier, maker (fl. 1758-1788). Image © 2020 Sothebys. Fair use license. via
Two etui or sealing wax cases. The first in gold and enamel, striped in opaque and translucent orange, white and blue with chased and enameled bead and garland borders and a base inset with blank matrix. 1787. Alexis Profitt. Maker’s marks: charge and discharge marks of Henri Clavel, Paris. 1787. The second in three color gold, scattered with mullets on a reeded ground within corded borders and later converted into a lipstick holder. 18th c before 1788. Made in Paris. Maker’s marks: original maker’s mark of Nicolas Durier (fl. 1758-1788). Charge and discharge marks of Henri Clavel, later French maker’s mark and control marks. Serial number: 01133. French. Image Image © 2020 Sothebys. Fair use license. via

Gold and enamel sealing wax case or etui. Slightly tapering  étui-à-cire of oval section and a cover and base enameled with a design of black-edged red stars on a salmon-beige translucent ground over horizontal reeding and framed by fluted bands. Cap being similarly enameled and topped by a chased and enameled green and white foliage rosette, the borders banded in the same color on a sablé ground with a blank matrix. 1781-1782. Made in Paris, Fran e. Maker’s marks: Marked for Nicolas Durier (fl. 1758-1788). First charge and discharge marks of Henri Clavel for 1780-1782. Later struck with two Parisian post-1838 restricted warranty marks for gold. Image © CHRISTIE’S 2020. Fair use license. via
Gold and enamel needle case/etui, enameled in translucent blue and decorated with paillon fleurs-de-lis, bound by enameled leafy borders. ca. 1786. Louis XVI. Nicolas Durier, maker. Maker’s marks: Charge and export discharge marks for Henri Clavel. Image source: Sothebys. Image © 2020 Sothebys and 1986-2020 Invaluable, LLC. Fair use license. via,-nicolas-276-c-182d45a41c

Lions and firedogs in gilt bronze. Regency, early 19th century. All after designs by Thomas Hope who lived from 1769 to 1831.

Pair of gilt bronze firedogs, used as decoration to enhance the visual aesthetics of the hearth. They were placed one to each side of the fireplace opening so are not andirons. ca. 1803. English, Gilt bronze. Attributed to Thomas Hope. Image ©, Inc. 2020. Fair use license. via
Settee. ca. 1802. English. Bronzed and gilded beech, with restoration, and bronze mounts. After a design by Thomas Hope. The Trustees of the Faringdon Collection, Buscot Park, Oxfordshire and the Bard Graduate Center: Decorative Arts, Design History, Material Culture. Bruce White, photographer. Image © College Art Association. Fair use license. via
Gilt-brass jardiniere with a circular top , the frieze set with four lion mask and ring “handles” interspersed with anthemion motif mounts. (lions head detail). 1800-1825. Regency. Gilt-brass and cast brass. English. Closely based on a design by Thomas Hope taken from “Household Furniture and Interior Decoration,” Plate XIX, Number 1. Image © 1995-2020, Carlton Hobbs LLC,. Fair use license. via

Brûle-parfum, mostly in gilt bronze and looking vaguely Egyptian Revival. Very popular in the early 19th century. Spirit lamps on legs that heat up pastilles and perfume up the room. So much prettier than air fresheners.

Gilt-bronze brûle-parfum, with a pierced neck, flanked by snake-shaped handles and raised on a verde antico marble pedestal. Early 19th c. French. Empire. Image © 2020 Sotheby’s. Fair use license. via

Brûle-parfum in the shape of an Athenian, the base with winged sphinxes framing a central flaming oil lamp, resting on a base decorated with a vestal on each of the three faces. Early 19th c. French. Gilt-bronze and green patinated bronze. Attributed to Andre-Antoine Ravrio (1759-1814). Image © CHRISTIE’S 2020. Fair use license. via

Brûle-parfum vessels with Nike figures, both with relief decorated plinths. One with a footrest with Empire ornamentation on three gilded sphinx’s feet and the shell in chain suspension held by the goddess of victory. The second with a curved plinth on paw feet and a cut crystal bowl, floral pierced lid, as well of chain suspension, of the winged Nike figure. ca. 1800. French. Bronze, gilded bronze, brown patinated bronze and a cut crystal bowl. Image © Very Important Lot and Stahl Auktionshaus, Hamburg. Fair use license. via

Pair of six-light candelabra with Brûle-parfums, decorated with acanthus leaves and swans. Each with an elaborate scrolled acanthus wrapped shaft headed by a fluted and foliate wrapped cornucopia. The porcelain plaques decorated with differing scenes of cherubs amid clouds. ca. 1815-20. French. Gilt bronze and polychrome painted enamel with porcelain plaques. Attributed to Pierre-Philippe Thomire (1751-1843). Image © 2020 RICHARD REDDING ANTIQUES LTD. Fair use license. via

Brooches for when Halley’s Comet comes back to visit. Some of them are paste, others are silver and gold set with precious and semi precious stones. All are terrific. 1830s or later as it came by in 1835. 19th century.

Brooch. 19th c. Maker not known. Image © CHRISTIE’S 2020. Fair use license. via
Brooch. 19th c. Maker not known. Image © CHRISTIE’S 2020. Fair use license. via

Brooch. 19th c. Maker not known. Image © CHRISTIE’S 2020. Fair use license. via
Brooch. 19th c. Maker not known. Image © CHRISTIE’S 2020. Fair use license. via

Russian silver. More selections from old auction catalogs from Paris auction house Coutau-Bégarie.

Two teaspoons in vermeil decorated with an open pique motif with partially twisted handles decorated with a polychrome cloisonné enamel tip. Before 1899. Made in Moscow, Russia. Maker’s marks: illegible goldsmith’s mark. Title hallmark: 84, Moscow, before 1899. Image © Étude Coutau-Bégarie. Fair use license. via

Vermeil spoon, decorated with an entirely open plique motif. Before 1899. Russian. Maker’s marks: Goldsmith hallmark not legible. Title hallmark: 84, Moscow, before 1899. Image © Étude Coutau-Bégarie. Fair use license. via

Centerpieces with inserts made from colorful opaline glass. Mostly French and created between 1830 and 1850. Very popular when Louis-Philippe of Orleans ruled France (1830-1848).

Silver plated centerpiece with a triangular base with four “puttini” , castings, placed in a sitting position with the stem, also castings, richly decorated with leaf motifs. Opaline glass bowl with wavy edges in shades of green. 1830-1850. French. Louis-Philippe of Orleans in style. Maker not known. Image © 1stdibs, Inc. 2020. Fair use license. via
Centerpiece with a peach colored opaline glass bowl with an undulating rim, the body enameled with flowers. Mounted with gilded bronze Dore mounts. Probably mid 19th c. French. Maker not known. Image © 1998-2020 Ruby Lane, Inc. Fair use license. via
Green opaline glass with silver plated mounts in the form of two rampant lions holding balls on a triangular base. Antique. Maker not known. Image © 2002-2020 LiveAuctioneers and Prime Auction Gallery Inc, Pasadena. Fair use license. via

A wonderful selection of golf and polo trophies made by Garrard & Company of London. Taken from the on line catalog for Bonham’s “Spectacular Sporting Trophies & Memorabilia” auction which happens next week.

Two thirds scale Ryder Cup golf trophy, the cover with a standing figure of a golfer, the two handled cup with paneled sides, a lion mask knop below on a faceted baluster knop stem and a wood base with a plain silver-gilt band. 1990. English. Silver gilt. Garrard and Company, Ltd. maker. Image © Bonhams 2001-2020. Fair use license. via
Open Championship golf trophy, a silver replica of the Open Championship ever. Profuse chased decoration with an elongated neck and curved shoulders. The slightly tapering cylindrical body has four panels, one depicting a standing golfer in full swing. Knopped pedestal foot on a three tiered wood base each with a plain silver band. 1985. English. Silver. Garrard and Company, Ltd. maker. mage © Bonhams 2001-2020. Fair use license. via
Ranelagh War cup polo trophy. Silver-gilt cup and cover in a medieval form, the cover with a finial modeled as a crest in the form of a pair of upturned, armor-clad legs. The interior of the cup with an applied circular “seal” to the center, bearing the legend “Le Passe ne Meurt Jamais” and a trumpet base with an applied figure of Victory flanked by the colored enamel flags of the Allied powers of Wolrd War I, and Roman numerals for 1919 to the reverse and engraved with the team members Major F B Hurndall Brig. Gen. J. Vaughan Major V. N. Lockett Lt. Col. G. Mort (back). 1918. English. Silver-gilt. Garrard and Company, London, maker. Image © Bonhams 2001-2020. Fair use license. via