George Richards Elkington British Sterling Trompe L'Oeil Covered Box 1854
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George Richards Elkington British Sterling Trompe L’Oeil Covered Box 1854
George Richards Elkington (1801-1865)
Trompe L’Oeil Box 1854
Sterling silver shallow box with a hinged lid of a life-size trompe l’oeil damask napkin neatly folded on a gilt-sterling Georgian dinner plate
Weight: 45 troy ounces
Marks: GRE makers mark, London hallmarks for 1854
Bernhard Amster Austrian Silver “Winged Heart” Covered Box c.1910
BERNHARD AMSTER (active Vienna early 20th century) Austria JEWELER, GOLDSMITH AND SILVERSMITH
“Winged Heart” Covered Box c. 1910
Handwrought and hand-hammered silver in a half oval form on four cylindrical feet with heart-shaped finial inset with bone and stylized silver feathers
Marked: BA (in a rectangle 2x), Austrian touchmark for 800 silver (in a pentagon 2x)
For more information see: Blühender Jugendstil – Österreich (Art Nouveau in Blossom – Austria), Firmen und Marken (Companies and Marks), Waltraud Neuwirth, II (Vienna: Selbstverlag Neuwirth, 1991)
Cloisonne enamel in a fantasy archaic Chinese motif in red, yellow, black and white abstract designs on a bronze body with a blue enameled underside and a wood lined interior.
Jan de Swart hand carved Zebra wood Mystery box c. 1970
JAN DE SWART (1908-1987) Netherlands / USA
Mystery box c. 1970
Hand carved and assembled box form with a curiosity element of a large turquoise cabochon with raw hide wraps underneath the lid.
For more information see: Jan de Swart: A Day That Becomes a Lifetime, exhibition catalogue (California: Fine Arts Gallery at the San Fernando Valley State College, February 1972); Jan de Swart, Mike McGee and William G. Otton (Laguna Beach, California: Laguna Art Museum, 1986).
W: 16 1/2″ x H: 4 1/2″ x D: 5″
Price: $4,700
Constantly seeking and inventing new materials Jan de Swart was a true modernist. He was influenced by artists such as Isamu Noguchi, Harry Bertoia, Charles Eames, and later Sam Maloof and Wendell Castle. Although he had been creating small sculptures since his arrival in California from Holland in 1929, he had not been widely recognized until being introduced to John Entenza, publisher of Arts & Architecture magazine in 1947. Soon thereafter, he was able to create larger works and began collaborating with architects such as Whitney Smith and Victor Gruen on special commissions. His work is in the permanent collection of Los Angeles County Museum of Art, The Smithsonian, and the Ford Foundation. He was honored with the American Institute of Architects Gold Medal for Sculpture in 1965.
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