Coupe couverte Historismus et présentoir en vermeil et émail par Johann Karl Bossard, Lucerne, vers 1900

de forme cylindrique élancée, reposant sur des lions, décoré et ajouré de feuillage gothique autour de symboles héraldiques (gerbes de blé et aigle), gravé d'une frise de fleurs d'églantiers et de roses des Tudor dans des soleils rayonnants, sous une inscription latine ('NE METEN(N)TQ(UE) SEMINA(N)T IN LACRYMIS (ET) I(N) EXULTAT(IS)', des têtes des lion retenant des blasons émaillés, le couvercle détachable surmonté d'une gerbe de blé et d'un aigle, l'intérieur en vermeil, poinçon de maître 'I:BOSSARD', le présentoir  'BOSSARD & SOHN'

tapering cylindrical, on lion supports, cast and pierced gothic foliage enclosing heraldic wheatsheaves and hawks, engraved with a thicket of briar roses and Tudor roses in splendour below Latin inscription ('NE METEN(N)TQ(UE) SEMINA(N)T IN LACRYMIS (ET) I(N) EXULTAT(IS)',  enamelled pendant shields with coats of arms, detachable cover with heraldic wheatsheaf and hawk finial, gilt interior, maker's mark 'I:BOSSARD,' circular capstand-shaped stand, maker's mark 'BOSSARD & SOHN'

One foot slightly dented, light wear to the gilding, General conditon and colour excellent
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The coats of arms and the heraldic wheatsheaves and hawks are those of  Charles Eamer Kempe (1837-1907) of Old Place, Lindfield, West Sussex, and 28 Nottingham Place, Marylebone, London. One of the other coats of arms is that of Stonestreet of Lewes, East Sussex, which refers to Mr Kempe's paternal great grandmother, Grace Kemp (née Stonestreet), who was married in 1710. The remaining two coats of arms are those of Eamer and (Richardson ?), which represent the quarterings of the arms Mr Kempe's maternal grandfather, Sir John Eamer (1750-1823), who was Lord Mayor of London in 1801/02.
Kempe was an important manufacturer of stained glass, currently much sought after and admired.  He studied under the architect George Frederik Bodley one of  whose pupils was C.R Ashbee, and worked within the movement stemming from a 19th century Gothic revival which included such figures as John Ruskin, William Morris and Pugin. The Latin inscription (lest they reap and sow in tears and excessive rejoicing)  is a play on the family arms

John Eamer Kempe was one of the 7 children of Nathaniel Kemp (1761?-1843) of Preston House, Preston, near Brighton, Sussex, and his second wife, Augusta, daughter of John Eamer, Lord Mayor of London. Kempe (who assumed an antique spelling of the family name) was educated at Rugby School and Pembroke College, Cambridge. He was intended for the priesthood but suffering from a stammer and being of a diffident nature he decided instead to study architecture under George Frederick Bodley (1827-1907). Having assisted Bodley with two major commissions (All Saints, Cambridge and St. John’s, Cambridge), Kempe was approached in 1866 by the stained glass makers, Clayton & Bell to design a memorial window to be installed in Gloucester Cathedral. This prompted Kempe to establish his own business supplying stained glass and church furnishings, the logo for which he chose one of the elements in his coat of arms: a wheatsheaf. The business was eventually styled C.E. Kempe & Co and closed in 1934.

Kempe’s private life was centred around the 16^th Century house (called Old Place) he acquired at Lindfield near Haywards Heath, Sussex. His friend Sir Herbert Warren (Country Life, London, 21 September 1907), expressed the opinion that it demonstrated Kempe’s skill , not only as a creator of stained glass, but as ‘a decorator in the widest sense.’ ‘It was absolutely characteristic of its creator,’ wrote Sir Herbert. ‘It grew around him year by year and cell by cell, like the pearly and iridescent shell of the chambered nautilus. . . . Gradually he added room to room, porch and passage to porch and passage and wing to wing, a drawing-room, a library, and overhead an oratory, and chamber after chamber, lit with windows filled with his own art and device.’