Stuart Devlin collection 10 silver gilt Christmas carol boxes,…
click the photo to enlarge
Stuart Devlin collection 10 silver gilt Christmas carol boxes, comprising: good King Wenceslas, London 1971, the matted rectangular cover with applied bow and ribbon lifting to reveal King Wenceslas looking out with a pile of logs at his feet; God rest Ye Merry Gentlemen, London 1972, bark-like textured cylindrical cover with applied holly sprig, lifting to reveal two animated figures under a lamp post, textured ground; Christmas is Coming, London 1973, linear satin finished cylindrical cover with bow and star detail lifting to reveal an oxidised figure holding a top hat with a goose under his arm; Hark! the Herald angels Sing, London 1974, cross-hatched satin finished rectangular cover with applied holly sprig, lifting to reveal a herald angel; the Holly and the Ivy, London 1975, linear satin-finished rectangular cover with applied string tie detail, lifting to reveal a man dressed in a top hat and tails holding a sprig of holly and ivy in each hand; Kings of Orient, London 1976, satin finished cylindrical cover surmounted with enamel holly detail, lifting to reveal three gilded Kings under a green enamelled palm tree, on an oxidised ground; I saw three ships, London 1977, rectangular cover with over-lapping engine-turned circles surmounted with a flower, lifting to reveal two silver-gilt ships flanking a larger silver ship, on a translucent blue enamelled ground; Ding Dong Merrily on high, London 1978, textured cylindrical cover surmounted by a silvered bow, lifting to reveal a scene with carol singers, a fir tree and bell tower with swinging bell, on a cream enamelled ground; While Shepherds Watched, London 1979, machine turned cylindrical cover with polished top and tie rope detail, lifting to reveal the angel Gabriel appearing to four seated shepherds, translucent yellow enamelled ground; Away in a Manger, London 1980, linear-finished cylindrical cover lifting to reveal Mary and Joseph watching over Jesus in the manger, translucent enamelled ground. All 10 with original boxes; 7 with cards. Ed. #153/500 Average H covers 6.5 cm

You must be a subscriber, and be logged in to view price and dealer details.

Subscribe Now to view actual auction price for this item

When you subscribe, you have the option of setting the currency in which to display prices to $Au, $US, $NZ or Stg.

This item has been sold, and the description, image and price are for reference purposes only.
  • Devlin Stuart - Stuart Devlin was born in Geelong, Victoria, Australia and trained as an art teacher, after which he taught for 5 years and then studied gold and silversmithing, firstly in Melbourne and then at the Royal College of Art in London from 1958. He spent two years at Columbia University where he developed a career as a sculptor.

    He returned to his teaching position in Melbourne in 1962 and was appointed Inspector of Art Schools.

    In 1963 a competition was held to design the new Australian decimal coinage that was to be introduced in 1966. The new decimal coins were to replace the pre decimal coinage that had been in circulation since 1910. Six competitors vied for the honour of designing these new coins.

    Devlin was announced the winner of the competition with designs that featured Australian native fauna on the new coins, with the 1c coin featuring the feather-tailed glider, the 2c a frilled neck dragon lizard, 5c a spiny echidna, the 10c a lyrebird, the 20c duck billed platypus and the 50c Australian Coat of Arms. The 1,c and 2c coins are no longer in circulation. A $1 coin also designed by Devlin and featuring the kangaroo, was introduced in 1984

    In 1963 He became involved in the project to design Australia's decimal currency, and during this period he decided to relocate to London and establish himself as a silversmith.

    He adapted his knowledge of sculpture into the designs he created for his showroom in Conduit Street in London's West End, which he occupied from 1979 to 1985. His output included limited editions which appealed to longer term collectors, such as Easter eggs and Christmas boxes.

    His design skills have extended to furniture, jewellery, clocks, centrepieces, goblets, candelabra, bowls, and insignia.

    Following his successful design on Australia's decimal currency, he has designed coins and medals for 36 countries.

    He was Prime Warden of the Goldsmith's Company 1996-97 and in 1982 was appointed as goldsmith and jeweller to Queen Elizabeth II and in 1998 he was appointed a member of the Royal Mint Advisory Committee on the Designs of Coins, Medals, Seals and Decorations.

    In 2000 he designed 25 coins for the Sydney Olympic Games including the Silver Kilo Olympic Masterpiece, the largest Olympic coin ever made, and the first to show all Olympic sports. He was also awarded an honorary doctorate from RMIT in 2000.

    His work is displayed in the Victoria and Albert Museum as well as numerous Australian museums including Powerhouse Museum, Sydney, Museum Victoria and the National Gallery of Victoria.

    He was awarded a Companion of the Order of St Michael and St George in the UK in 1980, and an Order of Australia in 1988.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

This item has been included into following indexes:

Visually similar items

Troy 9 piece weight set, in original wooden box, crown seal authenticating Government weight standard & Troy, 400 & 500 ounce, in original wooden boxes also with Crown seal. 20th century. (3 items)

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

A pair of electroplate candlesticks, twisted column, beaded rim and square beaded pedestal base (weighted).

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

Pair of sterling silver condiments with blue glass liners, London 1901

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.

A slit gong drum with prominent finial, Benin, finial in the form of an ancestral bust, on a fitted metal stand, Benin, Nigeria. Provenance: Xanadu Gallery, San Francisco 1980/90s, South American private collector, height 50 cm

Sold by in for
You can display prices in $Au, $US, $NZ or Stg.