EUROPEAN WORKS OF ART, OBJECTS & SILVER
Wednesday 13th May 2026
Starting at 11am
1
A MEISSEN PORCELAIN CUP AND SAUCER, CIRCA 1745
painted with figures in harbour scenes, within a brown-edged gilt scrollwork and foliate cartouche, blue crossed swords mark and gilder’s T.
£400 - 600
2 A MEISSEN PORCELAIN TWO-HANDLED CUP AND SAUCER, THE CUP PROBABLY MID 18TH CENTURY AND THE SAUCER 19TH CENTURY
painted in underglaze-blue, polychrome enamels and gilding with the ‘Tischchen-Muster’ pattern of a table flanked by fences, issuing flowering branches, blue crossed swords marks
£100 - 200
3
A CHINESE BLUE AND WHITE TEA BOWL, KANGXI PERIOD (1662-1722) AND AN ARITA BEAKER, CIRCA 1700, BOTH WITH ‘JOHANNEUM’ INVENTORY NUMBERS
the tea bowl and saucer with landscapes and trellis and foliate borders, scratched and blackened number ‘N=647’, the Japanese beaker of gilt, iron-red and blue trailing flowers in buckets with scratched number ‘N=Z1-/ ‘
Augustus the Strong’s enormous collections of Chinese and Japanese porcelain from the Japanese Palace were subject to three monumental inventories undertaken in 1721, 1770, and 1779, the inventory numbers known as Johanneum numbers following their re-display in 1875 in the old royal picture gallery, the Johanneum.
£300 - 500
4
A MEISSEN PORCELAIN TURQUOISE GROUND CUP AND SAUCER, MID 18TH CENTURY
painted with figures in European landscapes within gilt scrollwork cartouches, blue crossed swords mark
£400 - 600
5
A MEISSEN WHITE PORCELAIN FLOWER-ENCRUSTED VASE, CIRCA 1735-38
probably modelled by J.J. Kändler and J.F. Eberlein, of flask form, applied with a flower garland pendent from ribbon bows, gilt upper rim, interior and foot, blue crossed swords mark, impressed asterisk dreher’s mark to footrim for Gottfried Bergmann, 12cm high, restored chip and some regilding to footrim, lacking cover
This type of white porcelain with distinctive flower swag decoration has been associated with a group of Meissen given to Queen Sophie Dorothea of Prussia in 1735, and to Maria Josepha, Electress of Saxony and Queen of Poland in 1738. J.J. Kändler’s work records for 1735, 1738 and 1739 record pieces with ribbon tied flower decoration (see S. Wittwer, ‘Liaisons Fragile: Exchanges of Gifts between Saxony and Prussia in the Early Eighteenth Century’, Fragile Diplomacy, 2007, p.101). Known pieces with this type of applied flower decoration are also distinguished by areas of gold ground, as seen on the interior of this bottle, gilt bands to the rims and in some cases purple camaieu landscape scenes. It is not known if this type of decoration was used exclusively for the royal gifts or whether further small services or pieces in this style were produced around the same time.
An ecuelle and cover with comparable decoration was sold Bonhams London, 2 July 2019, lot 43 and a bowl and cover sold Christie’s New York, 20 May 2008, lot 99. Other comparable pieces include a circular tureen and cover, a teapot, a coffee pot, a milk jug, two covered two-handled cups with stands and a circular bowl, cover and stand, in the collection of the Kunstgewerbemuseum, Berlin (illustrated by M. Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain, 2008, fig. 256.1; and by U. Pietsch / C. Banz, Triumph der blauen Schwerter, 2010, no. 168). Related pieces were sold by the executors of the late Prince S.A. Radziwill, Christie’s London, 4 July 1977, lot 170, and from the Kramarsky Collection, Christie’s New York, 30 October 1993, lot 31, of which a small two-handled bowl and cover is now in the Arnhold Collection, New York (Cassidy-Geiger, op. cit., no. 256). A pair of small ecuelles, covers and stands are in the Louvre Museum, Paris (TH582 and TH583). A coffee pot and cover, of which the spout, handle and applied flowers are covered in oxidised silver, is in the Grassi Museum, Leipzig (Dieter Gielke, Meissener Porzellan des 18. und 19. Jahrhunderts, 2003, no. 274). A small two-handled bowl and cover is in the Museo Giuseppe Gianetti, Saronno (L. Brambilla Bruni, Porcellane di Meissen, 1994, no. 109).
£600 - 800
6
A PAIR OF MEISSEN PORCELAIN
SAUCE
TUREENS AND COVERS, CIRCA 1765-75
of lobed oval form, painted with flower sprays, with entwined branch handle, blue crossed swords mark to both, dot mark to one star mark to the other, 17cm long
£200 - 300
7
A MEISSEN PORCELAIN PURPLE AND GOLD GROUND SHAPED LOBED DISH, THE PORCELAIN 18TH CENTURY, SOME OF THE DECORATION PROBABLY LATER
painted with figures in a river landscape within a quatrefoil cartouche, the border with floral swags reserved against a gold ground, blue crossed swords mark and gilder’s S., 17.5cm wide, broken with associated small losses; together with a Meissen porcelain two-handled shaped dish, 19th century, blue crossed swords mark and impressed and incised numerals, 29.6cm wide across handles; and a Vienna porcelain two-handled shaped rectangular tray, circa 1770, blue shield mark, 25.3cm wide across handles, minor chipping and restorations (3)
£200 - 300
8
part
A SEVRES PORCELAIN BLEU NOUVEAU-GROUND MINIATURE SAUCER, CIRCA 1770 of the 4th size, painted with a Commedia dell’Arte figure of Pulcinella seated in a landscape, holding a long pipe, within a gilt-line border, 10cm diameter
A Sèvres bleu nouveau-ground cup and saucer also of the 4th size, painted in the same manner with Commedia dell’Arte figures was sold ‘Property from a New England Collection’ at Christie’s, London, 22 October 2010, lot 543.
£200 - 300
A MEISSEN PORCELAIN FIGURE OF A COALMAN, SECOND HALF OF THE 18TH CENTURY
modelled with a sack of coal over one shoulder, another behind his legs, wearing a puce jacket, apricot breeches and a red and white striped hat, blue crossed swords mark with blurred dot to back of base, 10.3cm high, small patches of misfiring, right toes broken and lacking, left hand restored
For another example of this model see Len and Yvonne Adams, ‘Meissen Portrait Figures’, London 1987, p. 137.
£200 - 300
10
A PAIR OF MEISSEN PORCELAIN FIGURES OF A BOY AND A GIRL EACH FEEDING FOWL, LATE 19TH / EARLY 20TH CENTURY
after models by Johann Joachim Kändler (1706-1775) of the early 1760s, the boy in a yellow coat feeding ducks and ducklings, incised model number C.41, the girl with spotted headscarf feeding chickens and chicks, incised model number 2814, underglaze blue crossed swords marks, pressnummern and painted numbers, 12cm high
£300 - 400
11
TWO MEISSEN PORCELAIN FIGURES, CUPID IN DISGUISE AND A MAN SMOKING A PIPE, 18TH CENTURY
the Cupid modelled standing wearing a yellow ermine-lined robe and feathered headdress, a small gold snuff-box in her left hand, 8.5cm high, the man standing wearing an orange jacket and black hat, a pipe raised to his mouth, indistinct blue crossed swords marks to back of bases; together with a Meissen figure of a soldier, 19th century, modelled standing and wearing a white coat, blue shirt and black hat, holding a halberd, blue crossed swords to underside and incised 1098. to back of base, 11.8cm high, his left hand a detached plaster replacement, further chipping and restorations; and a German porcelain figure of a girl, probably Höchst, 19th century, after the model by J.P. Melchior, standing with her right arm outstretched, on a grassy rocky base, crowned blue wheel mark, 13.4cm high (4)
£250 - 350
12 (illustrated online)
A PAIR OF CONTINENTAL PORCELAIN FIGURAL CANDELABRA, PROBABLY SAMSON, LATE 19TH CENTURY
modelled after Derby prototypes as opposing musicians seated before bocage and flanked by angled candle sconces, she playing the lute listened to by a lamb, he with bagpipe and a dog, 26.5cm high, minor chips and restoration
£100 - 200
13
TWO ENGLISH PORCELAIN ‘STILL LIFE’ PLAQUES, FIRST QUARTER 19TH CENTURY
rectangular, each painted with a large loose flower bouquet on a ledge, one with a basket, insects and fruit including pears, plums and strawberries, 25.5 x 27.7cm including frame (the example with insects and fruits), 25.7 x 30.5cm including frame (the other example)
£300 - 500
14
A ROBERT WALLACE MARTIN (1843-1923) FOR MARTIN BROTHERS STONEWARE PLANTER, 1875
circular tapering towards base, salt-glazed in blues and browns, applied with four lion masks alternating with shaped panels of incised bowls of flowers between a variety of moulded geometric foliate borders, incised to underside GI/R W Martin/London/1-1875’, 14cm high
£400 - 600
ANDRE DUBREUIL (1951-2022): COUPE ‘LACRIMA’, DAUM, NANCY, CIRCA 1991
the shaped oval bowl of turquoise blue leaded glass moulded with teardrop-shaped cabochons protruding through the hammer-finished gold overlay, on a patinated bronze knopped pedestal and waved base on four tapered feet, etched to glass with the artist’s oak leaf mark, ‘’Daum France’ and numbered 3/100, 39cm long
Designed by Dubreuil in 1991 for an edition by Daum limited to a hundred examples, the Lacrima coupe was apparently produced in clear, plum or blue glass.
£2,000 - 3,000
16
A SET OF BACCARAT ‘MASSENA’ DRINIKING GLASSES, CIRCA 2000
designed in 1980, each cut to the bases and waisted stems with ribs rising to splay around the bases of the bowls, complete for eight of each of the following: four sizes of wine glass, and liqueur, flute, and coupe glasses, each with etched BACCARAT FRANCE roundel mark (56)
£2,000 - 3,000
17
A LALIQUE ‘NEMOURS’ BOWL AND AN ‘ANEMONE’ CANDLE HOLDER, LATER 20TH CENTURY
the circular bowl with a black dot to each poppy head, 25.5cm diameter, the candle holder formed as three joined flowerheads, 7.5cm high, both with etched mark ‘Lalique ® France’
£200 - 300
STUDIO OF JOSSE-FRANCOIS-JOSEPH LERICHE (1738-1812): CHINOISERIE TOILETTE
a French terracotta group, perhaps produced in the Sèvres Manufactory sculpture studio late 18th / early 19th century, depicting a recumbent woman looking in a mirror at the man dressing her hair with flowers whilst a child proffers her a bunch of flowers, rectangular base, inscribed to rear ‘J. Leriche fect. / 1785’, 51cm long, 37cm high, with a moulded giltwood stand 5.5cm high
Provenance: Private Collection; Christie’s, London, 7 June 2005, lot 298; Christie’s, London, 6 April 1991, lot 81. Leriche (sometimes Le Riche) born in Mons, Belgium, trained under Etienne Falconet (1716-1791) and Simon Boizot (1743-1809), joining the Sèvres porcelain factory as a sculptor in 1757 when nineteen, becoming a ‘modeller’ in 1768. In 1780 he was appointed ‘chef d’atelier’, a position he held for the rest of his career, until retirement in 1801. Leriche modelled a number of figures showing a woman at her ‘toilette’, both in fashionable Chinoiserie and European styles, as well as other similar Chinoiserie groups: see Sotheby’s, Paris, 20 October 2005, lot 171, for a similarly sized Chinoiserie group and a smaller Chinoiserie Toilette group sold Sotheby’s, New York, 21 October 2020, lot 287. Also see another of the present group at the Davids Samling, Copenhagen, Inv.No.B468.
£2,000 - 3,000
CIRCLE OF CLAUDE MICHEL, CALLED CLODION (1738-1814): SATYRESS AND INFANT SATYRS
a French terracotta group, late 18th/ early 19th century, modelled as a satyress (or ‘faunesse’) seated on a rock tending to one infant on her knee playing the tambourine, the other to her side blowing on panpipes, signed in the terracotta to reverse ‘CLODIOИ’, on a giltwood fluted circular plinth, with velvet and wood stand, terracotta 30.5cm high, plinth 6.5cm high, stand 3cm high
The liveliness and quality of the modelling suggest that this terracotta may well date to the artist’s lifetime and is not just a copy. This impression is reinforced by the reversed ‘И’ of the signature, a regular feature on terracottas taken to be autograph but apparently often overlooked by imitators (A.L. Poulet and G. Scherf, ‘Clodion, 1738-1814’, Exhibition Catalogue, Louvre, Paris, 1992, p.461). There is also an intriguing catalogue entry from an anonymous sale held in Paris, 9 November 1812, lot 129: “Bacchante accompagnée de deux enfants dont un sur ses genoux frappe sur un tambour de basque” (Bacchante accompanied by two children, one in her lap playing a tambourine). Given that Bacchantes and Faunesses were often confused in sale catalogues of the period, this appears to be a very close description of the present group.
Clodion returned to Paris in 1771 after nine years in Rome, apparently establishing a workshop in what is now the Place de la Concorde. It is believed he was joined there by his brothers, Sigisbert-Martial (born 1727), Sigisbert-François (born 1728) and Pierre-Joseph (born 1737) who benefited from his success in imitating his style, so firm attributions are notoriously difficult. Fauns and Faunesses were favoured subjects for his studio: see the related models held by the Musée du Louvre (on loan from the Musée national de la Renaissance, Château d’Ecouen, Nos.CL12534A/B) which are both signed ‘Clodion’ and dated 1783 which have been described variously, sometimes as ‘after’, sometimes attributed to the sculptor.
£2,000 - 3,000
20
AFTER BERTEL THORVALDSEN (1770-1844): NAPOLEON I APOTHEOSIS BUST
a Royal Copenhagen biscuit porcelain bust of Napoleon, mid 19th century, modelled with laurel wreath and shield to shoulder, resting on an orb and the outstretched wings of an imperial eagle and to reverse as a palm tree in relief, on square base (chipped) stamped to rear ‘ENERET / EN’ (Patent), three blue line mark to underside, 24cm high
Originally commissioned in marble by the collector and politician Alexander Murray of Broughton (1789-1845) from the sculptor in Rome in 1829, the studio producing five copies, one now in the Thorvaldsen Museum in Copenhagen. Royal Copenhagen started producing from the 1840s a number of biscuit models after Thorvaldsen, particularly the perennially popular Night and Day roundels.
£150 - 250
21
JEAN-BERTRAND ANDRIEU (1761-1822): NAPOLEON I
a French bronzed lead uniface cliché medallion, Paris, early 19th century, bust in profile to dexter, inscribed ‘ANDRIEU F.’ to truncation, 14cm diameter, mounted in a deeply dished and turned wood frame of 27.5cm diameter
The famous medallist Andrieu is known to have had a shop in Paris, which sold clichés from his dies. Produced in a machine apparently called a ‘clichoir’, usually in bronzed lead, these clichés, given their size and material, were presumably always intended for mounting.
£80 - 120
22
EMILE-LOUIS PICAULT (1833-1915): FRENCH REVOLUTIONARY FIGURE
a French patinated bronze figure, late 19th century, modelled as a striding figure, his sash with a badge inscribed ‘LA / LOI’ (The Law), circular base signed to terrace E. PICAULT, fixed to a rouge griotte turned marble stand, 35.5cm high
£200 - 300
23
JEAN VERSCHNEIDER (1872-1943): VIVE L’EMPEREUR
a patinated bronze figure, French, early 20th century, modelled as a drummer-boy holding aloft his shako, signed in the bronze to side of base, on a mottled marble rectangular plinth, 51.5cm high overall
£200 - 300
24
PETER CHRISTIAN BREUER (1856-1930):
KAISER WILHELM II
a bronzed electrotype portrait bust of the Emperor, Gladenbeck & Sohn, Berlin, 1890s, modelled wearing uniform, medals, sash and open fur-trimmed coat, on a Baroque socle, inscribed to reverse ‘Aktien-Gesellschaft vorm. H. Gladenbeck u. Sohn’, 34.5cm high
£300 - 400
25
A PAIR OF BRONZE LIBRARY BUSTS OF THE DRAMATISTS RACINE AND CORNEILLE, FRENCH, 19TH CENTURY
Racine depicted with long curled hair, Corneille with his under a cap, each on a waisted square socle and square black marble plinth, 18cm & 17cm high
£250 - 350
A BRONZE FIGURE OF ‘CROUCHING VENUS’, AFTER THE ANTIQUE, PROBABLY ITALIAN, 19TH CENTURY
with mid to dark brown patination, the nude figure with armbands and perched on a shell, naturalistic ground to the rectangular plinth base with cut corners, 31cm high
After the marble Crouching Venus in the Uffizi, Florence, identifiable from the large number of antique variants by the two armbands and being seated on a shell. The statue was first recorded in 1704 at the Villa Medici in Rome and was taken to Florence in 1787.
£500 - 800
MAURICE GUIRAUD-RIVIERE (1881-1947): ‘LE CASSE CROUTE’
a Sèvres biscuit (porcelaine dur nouvelle) figure, 1915, modelled as a moustachioed First World War French infantryman, seated on a mound enjoying a snack-break, his rifle leaning against his shoulder, titled to front of elongated octagonal base, signed and dated to terrace, initialled GR to reverse, reverse of base stamped SEVRES and with seal ‘S / 1915 / DN’, 15cm high, chip to gun and repair to snack
Maurice Guiraud-Rivière, well known for his Art Deco figures, as well as car mascots and humourist illustrations, produced models for Sèvres between 1911-23. The French state acquired a bronze cast of ‘Le Casse-Croute’ direct from the artist in 1915 (Inv.FNAC 2766). It seems Sèvres re-issued the biscuit model in 1919, see versions preserved by the Musée des Arts Décoratifs, Paris, Inv.195-9 and another at the Musée National de Céramique, Sèvres, Inv.17242.
£150 - 250
28
CHARLOTTE MONGINOT (1872-1962): FRENCH FIRST WORLD WAR INFANTRYMAN
a French patinated bronze figure, cast by Charles Louchet, Paris, circa 1915, modelled standing about to load his rifle, inscribed to shaped oval base ‘CH MONGINOT’ and in smaller letters ‘CH. LOUCHET’, 13.5cm high
See the previous lot for another infantryman by Maurice Guiraud-Rivière, both figures strongly evocative of the prevailing preoccupations of the French in war-time. Charlotte Monginot, daughter of the painter Charles Monginot (1825-1900), trained under Denys Puech (see following lot), exhibiting at the Salon from 1895. Whilst also a painter, she is primarily remembered for her sculpture in the Art Nouveau style. Charles Savinien Louchet (1858-1918) was brother to another artist and bronze founder, Paul Louchet (1854-1936), the Louchet family closely associated with the production many Art Nouveau bronzes.
£200 - 300
DENYS PUECH (1854-1942): FEMALE HALF-LENGTH NUDE
a silvered bronze, probably Italian, Rome, circa 1938, modelled as a young woman leaning forwards emerging from water, on a stepped square base, signed to buttock ‘D.PUECH / Rome 1938’, similarly signed less clearly to front terrace, 17cm high
The French sculptor Denys Puech, of humble Aveyronnais farming origins, trained in the Paris workshops of François Jouffroy, Alexandre Falguière and Henri Chapu, at the same time following an evening course at the Beaux-Arts. Winning the Prix de Rome in 1884, in the following years he received several official commissions from the Third Republic. He founded a museum of fine art in Rodez, Aveyron, in 1903 (now the Musée Denys-Puech), inaugurated in 1910, designed by him in conjunction with the architect Boyer. Elected a member of the Académie des Beaux-Arts in 1905, and made a knight of the Légion d’honneur in 1908, in the same year he married the painter Princess Anina Gagarine Sturdza (1865-1918). Spending much time in Rome, executing a bust of Mussolini in 1925, he served at the Villa Medici as Director of the French Academy in the city from 1921 to 1933.
£200 - 300
30
FERDINAND PARPAN (1902-2004): TROMPETTISTE
a French dark brown patinated bronze figure, Fonderie d’Art Brière & Cie, Longjumeau, 1999, second Artist’s Proof from an edition of four Artist’s Proofs, first conceived circa 1935, the jazz trumpeter inscribed to his coat-tails with ‘FP / F. PARPAN’, the circular base inscribed to rear ‘EA II/IV, Fd d’ART BRIERE 1999’, 44.5cm high
£1,800 - 2,200
31
ANNETTE YARROW (B.1932): REARING STALLION
a dark patinated bronze figure of a horse, Morris Singer Founders, London, circa 1982, number one of an edition of nine, modelled fully standing on rear legs on a shaped naturalistic base signed ‘Annette 82’, numbered 1/9 and with foundry seal, 81.5cm high excluding peach marble rectangular stand
£800 - 1,200
A POLYCHROME WALNUT FRAGMENTARY CORPUS CHRISTI, PROBABLY VALLADOLID SCHOOL, 17TH CENTURY
arms lacking, with pale blue perizonium and single nail through both feet, 121cm high
Provenance: Sotheby’s, London, 8 July 2011, lot 92, from a Continental Private Collection.
£2,500 - 3,500
A FLEMISH HISTORICAL TAPESTRY OF CYRUS THE GREAT AND QUEEN TOMYRIS, 17TH CENTURY
worked in wools and silks to depict events of the war between Cyrus and Tomyris, Queen of the Massagetae, taken from Herodotus, Histories, 1.205-211, including to our right foreground the Queen and her son Spargapises before a kneeling emissary proposing marriage between the rulers and to the left with Cyrus in his tent dreaming of Darius the Great whose wings overshadow Europe and Asia, the wooded hilly background falling to the winding river Araxes which Cyrus’s troops cross with towers mounted on boats, 247.5 x 360cm
Cyrus the Great and Queen Tomyris were popular subjects in Renaissance art, Cyrus seen as a model prince balancing military prowess with virtuous leadership, whilst Queen Tomyris personified ‘Weibermacht’ (Power of Women). The Queen rejects Cyrus’s marriage proposal, seeing it as a ploy to gain her lands, leading to their battles and eventually to the deaths of Spargapises and Cyrus. Cyrus’s dream foretells the great empire of Darius, who seized power following the death of his cousin and son of Cyrus, Cambyses.
£8,000 - 12,000
A WALL MIRROR, PROBABLY FRENCH THIRD QUARTER 19TH CENTURY
in Franco-Flemish 17th century style, the rectangular bevelled glass plate within a tortoiseshell veneered cushion between reeded ebonised borders and foliate chased gilt-metal bands and embellishments including a triangular surmount centred by a mask, 160cm x 99cm
£1,200 - 1,800 35
A PAIR OF GILTWOOD SUNBURST CONVEX MIRRORS, 20TH CENTURY
each circular glass within a fluted border raised above two bands of rays, 73cm diameter
£600 - 900
A LOUIS VUITTON STEAMER TRUNK, 1920s
hard body canvas coated and covered with stencilled monogram, with leather trim and brass hardware, two wood reinforcing bars across front, top and back, wood reinforced base on four rollers, initialled to sides in red paint ‘E.L’, ecru lined interior with two trays, the top tray with lidded side compartment, with interior label and printed number 730633, lockplate numbered 044218, its key correspondingly numbered, signed to all nails, clasps, roller mounts and key, 51 x 101 x 55cm
£3,000 - 5,000
37
A BRASS LANTERN CLOCK, WILLIAM RAYMENT, STOWMARKET, 1ST HALF 18TH CENTURY
with a 7 inch silvered chapter ring applied over the scroll foliate engraved dial plate signed ‘W Rayment / Stow Markett’, the conventional movement with anchor escapement and external locking plate striking on the top-mounted bell, the typical posted case (lacking doors and backplate), on ball feet, with dolphin frets between the urn finials, the rear with suspension hoop and wall spurs, with cords to weights, with pendulum, case 38cm high
William Rayment worked in Stowmarket from about 1706, when he married, till his death about 1760; it seems likely he was related to the more widely known Suffolk lantern clock maker, Richard Rayment of Bury St Edmunds.
£400 - 600
38 ◉
A VICTORIAN ROSEWOOD COMBINED WHEEL BAROMETER, CLOCK AND THERMOMETER, D. FAGLIOLI & SON, LONDON, 1840s
the swan neck pediment with urn finial above a circular hygrometer, a bow fronted thermometer and a white enamel Roman numeral clock dial with timepiece movement, the 12 inch silvered barometer dial (glass lacking) signed ‘D. FAGIOLI & SON / 3 Gt. Warner St. / Clerkenwell’, a setting knob and sprit level below, 132cm high
£300 - 500
A VICTORIAN MAHOGANY PERPETUAL CALENDAR BRACKET CLOCK, GEORGE TAYLOR, WOLVERHAMPTON, CIRCA 1850
eight day twin fusee movement with anchor escapement and striking the hours on a bell, the movement linked to the ‘self correcting’ calendar mechanism stamped ‘PATENT 6483’, the white painted arched dial signed within the Roman chapter ring ‘GEGe. TAYLOR. / WOLVERHAMPTON.’, with gilt-edged shaped apertures for day, month and date below, the flat topped case with fluted Ionic pilasters to the glazed door, the moulded bracket with scroll support, clock 39cm high, 67cm overall with case key and calendar adjuster but no winder.
Innovative clocks of this type were apparently displayed for this clockmaker at the 1851 Great Exhibition: ‘George Taylor, of Wolverhampton, exhibited his perpetual self-correcting date-clocks, in which the day of the month, the month, and the day of the week were all shown in recessed openings under the dial.’ (Edward J. Wood, ‘Curiosities of Clocks and Watches from the Earliest Times’, London, 1866, p.193). Although a patent may have been submitted under reference No.6483, there is no record under this number of a patent having been issued. It seems likely Taylor intended to patent his design, but sales of the clock were disappointing and didn’t justify the large cost of proceeding with it, making this clock a rare survivor.
£600 - 900
40
A VICTORIAN MAHOGANY LIBRARY CLOCK, SIR JOHN BENNETT LTD., LONDON, LATE 19TH CENTURY
fusee timepiece movement with anchor escapement and maintaining power, square silvered dial with Roman chapter ring surrounded by engraved scrolling foliage and flowerheads, signed to base of chapter ring ‘Sir J. Bennett Ltd / 65 Cheapside,/London’, rectangular four-glass architectural case with rippled cornice and flat glazed top, the glazing bevelled except to rear, on brass bun feet, with pendulum, with case and winding keys, 22.5cm high
Sir John Bennett (1814-1897) was a prominent Victorian London watchmaker, retailer and jeweller. The British Museum records him at 65 & 64 Cheapside, describes him as a retail watchmaker and jeweller, notes that he was a Fellow of the Royal Astronomical Society, and records that he served as sheriff in 1871 and was knighted in 1872. A British Museum catalogue note adds that Bennett came from a Greenwich watchmaking family, that after his father’s death in 1830 the family business continued under his mother, and that Bennett later sold the Greenwich and City businesses and opened new premises at 65 Cheapside in 1846. The same source records that he was secretary of the horological section of the Great Exhibition in 1851, a Liveryman of the Worshipful Company of Clockmakers, and Master of the Loriners’ Company in 1877-78.
£2,000 - 3,000
41
A FRENCH ORMOLU ‘ORIENTALIST’ MANTEL CLOCK, PARIS, SECOND QUARTER 19TH CENTURY
bell striking movement with outside count wheel and silk suspension, white enamel Roman dial signed ‘Fcois Cochonot / A PARIS’, housed in a rock applied with oversize foliage below a dark patinated trotting stallion ridden by a head-scarved and sabre-toting warrior, the stepped rectangular stand with a band of trellis interrupted by foliage, with pendulum and key, 46.5cm high
£800 - 1,200
42
A FRENCH FOUR-GLASS ORMOLU
MANTEL CLOCK, SAMUEL MARTI ET CIE, MONTBELLIARD, CIRCA 1870
the eight day circular movement striking on a bell, the back plate stamped with a Marti Medaille de Bronze roundel, the pendulum with twin mercury capsules, the leaf bordered dial with white enamelled Roman chapter ring and recessed centre with visible Brocot type escapement, the case with bevelled rectangular glazing and foliate embellished framing on leafy feet, the top set with a globe, geometry implements and ribbon tied leafy sprays, 36cm high
£500 - 800
43
A FRENCH THREE-PIECE BLACK MARBLE AND PARCEL-GILT BRONZE FIGURAL CLOCK GARNITURE, PARIS, MID 19TH CENTURY
the clock with an eight-day movement striking on a bell, backplate stamped in an oval ‘BROCOT A PARIS’ and numbered 258, pendulum correspondingly numbered, white enamel dial with blue Roman hours and Arabic five minutes, signed ‘J.B. MARCHAND / R. RICHELIEU 59’, with bayonet fitting beaded and glazed cover, the case with rich Louis XVI style ormolu mounts and a patinated bronze surmount of two small children looking through a book, the matching candelabra each with a patinated bronze putto holding up the three branches with urn sconces and detachable nozzles centred by a pinecone finial, with key, clock 42cm long, candelabra 48cm high
£600 - 900
44
JAEGER LECOULTRE, ATMOS VII
‘EMBASSY’: A SWISS GILT AND RED LACQUERED BRASS CLOCK, CIRCA 1978
‘perpetual motion’ temperature change driven annular torsion pendulum calibre 528/1 movement, the signed dial face lacquered to simulate red marble, with black Roman numerals and fleurs-de-lys to the gilt chapter ring, the rectangular burnished and matte case with fluted uprights, glazed door and further red lacquered side panels, underside with label of handwritten probable serial number ‘482321’, 21.8cm high, in its brown leatherette box
£500 - 800
45
A FRENCH GILT-BRASS CARRIAGE CLOCK, HENRI JACOT, CIRCA 1900
timepiece eight day movement with silvered platform lever escapement, backplate with HJ Parrot trademark and serial number 15417, white Roman dial and spade hands, plain Corniche case with bevelled glazing, with its original key with corresponding serial number, 18cm high with handle raised
£80 - 120
A CRETAN SCHOOL CROSS, CIRCLE OF EMMANUEL LOMBARDOS (OR LAMPARDOS, 1567-1631), LATE 16TH CENTURY
painted in tempera and gold on wood for the Levantine Melkite Christian market, centred by The Crucifixtion flanked by angels collecting the Blood of Christ, the Evangelists in the shaped terminals, each titled in Greek to top John, Mark, Luke and Matthew holding open their Gospels in Arabic script, all in a corded border, shaped foliate rim and ball terminals, 127.5 x 98.5cm
This imposing liturgical cross belongs to the late Cretan School, the dominant centre of Orthodox icon production in the eastern Mediterranean during the 16th century. The restrained treatment of the Crucifixion reflects the conservative Byzantine aesthetic (the maniera greca) cultivated in Venetian Candia (Crete), where workshops produced icons on a large scale for export throughout the Mediterranean world, peaking in the sixteenth century. The elongated figure of Christ, rendered with schematised musculature, almond-shaped eyes and the use of white highlights in the face, demonstrates close familiarity with the style of Emmanuel Lombardos (also found as Lambardos or Lampardos), one of the leading painters of the late Cretan School. While not necessarily attributable to the master himself, the present work certainly aligns with his practice. The absence of Baroque anatomical exaggeration or theatrical agony supports a date in the final decades of the 16th century, prior to the increasing Western influence visible in Cretan painting of the early 17th century.
Cretan icons circulated widely across the eastern Mediterranean, including the Levant, where they were readily adopted by Arabic-speaking Orthodox communities, known as Melkite Christians. In some cases painters themselves travelled east: Ieremias Palladas, a Cretan monk and icon painter associated with Saint Catherine’s Monastery at Mount Sinai, is documented as producing works for Sinai, the Holy Sepulchre in Jerusalem, and a church in Bethlehem. Large crosses of this scale were intended for prominent ecclesiastical settings, most likely as altar crosses within a major Orthodox church or monastic foundation.
£10,000 - 15,000
47
A TRIPTYCH ICON OF THE DEISIS AND SAINTS, NORTHERN GREECE, 18TH CENTURY
tempera and gold on wood, the central ogee arched and recessed panel with The Deisis, Jesus Christ enthroned and flanked by the Virgin Mary and John the Baptist, the shaped panels with Archangels above two registers of saints, the reverses with further angels above St Constantine and St Helen and other saints, 20.5cm high
£2,000 - 3,000
48
AN RUSSIAN ICON OF THE VIRGIN OF VLADIMIR, NORTHERN SCHOOL, CIRCA 1700
tempera and gesso on wood panel, 31.5 x 26cm
£400 - 600
49
A RUSSIAN ICON OF FOUR VIRGINS WITH THREE BORDER SAINTS, 18TH CENTURY
egg tempera and gesso on wood, depicting Mary as Queen of Heaven, Virgin Hodegetria, Mother of God, Seven Arrows / Softener of Evil Hearts and a devotional grouping consisting of the Guardian Angel, St Nicholas the Wonderworker, and a third saint –likely St George, 31.5 x 28cm
£250 - 350
51
A RUSSIAN ICON OF THE NATIVITY OF THE VIRGIN, VILLAGE SCHOOL, LATE 18TH CENTURY
egg tempera and gesso on wood, inscription in Slavonic:
, Nativity of the Most Holy Theotokos, 31.5 x 28cm
£250 - 350 50
A RUSSIAN ICON OF THE VIRGIN OF VLADIMIR WITH THE GUARDIAN ANGEL AND SAINT XENIA, LATE 18TH CENTURY
tempera and gesso on wood panel, 42.5 x 36.5cm
£200 - 300
52
A RUSSIAN ICON OF THE VIRGIN OF THE SIGN ZNAMENIE, VILLAGE SCHOOL, CIRCA 1800
egg tempera and gesso on wood panel, inscription in Slavonic: ЗНАМЕНИЕ ПР(ЕСВЯТЫЯ) Б(ОГОРОДИ) ЦЫ ZNAMENIE PRESVYATUIYA BOGORODITSUI The ‘Sign’ Most Holy Mother of God, 31 x 26.5cm
Feast Day: 27th of November
£400 - 600
53
A RUSSIAN ICON OF OUR LADY OF KAZAN KAZANSKAYA, 19TH CENTURY
egg tempera and gesso on wood panel, border with a guardian angel and Saint Kilina (Aqualina), 44 x 38cm
Feast Day: Kazanskaya Mother of God, 21st July and 4th November, Saint Aquilina, 13th of June
£150 - 250
54
A RUSSIAN ICON OF NINE TYPES OF THE THEOTOKOS, 19TH CENTURY
egg tempera and gesso on wood, inscription in Slavonic: Virgin of Kazan, Virgin Znamenie ‘of the Sign’, Virgin Oumelenie ‘Loving Kindness’, Virgin Hodegetria, Virgin ‘Joy to all who Sorrow’, Variation on the Oumelenie, Vladimirskaya, Deesis Virgin, 53.5 x 46cm
£100 - 200
55
A RUSSIAN ICON OF MONUMENTAL
CHRIST PANTOKRATOR, 19TH CENTURY
egg tempera and gesso on wood, inscription in Slavonic identifying Christ: Gospod’ Vserderzhitel –‘Lord of All Life’, the Gospel in Christ’s hand: Matthew 11:28-30 ‘Come unto Me, all Ye that labour and are heavy laden, and I will give you rest. Take My yoke upon you and learn of Me; for I am meek and lowly in heart, 53 x 40cm
£400 - 600
56
A RUSSIAN ICON
OF CHRIST
SAVIOUR (SPAS), 19TH CENTURY
tempera and gesso on wood, inscription in Slavonic: Matthew 11:28, 31 x 26cm
£200 - 300
57
A RUSSIAN ICON OF THE VIRGIN OF KAZAN WITH FOUR BORDER SAINTS, MID 19TH CENTURY
egg tempera and gesso on wood, depicting the Guardian Angel, Saint Anna, Saint Xenie and Saint Ephrem the Syrian, 52 x 44cm
£250 - 350
58
A RUSSIAN ICON OF SAINT JOHN AS ANGEL OF THE DESERT, MSTERA OR PALEKH SCHOOL, 19TH CENTURY
egg tempera and gesso on wood panel, 44.5 x 38cm
£250 - 350
59
A RUSSIAN ICON OF THE DORMITION OF THE MOTHER OF GOD WITH PARCEL-GILT SILVER OKLAD, DIMITRY ORLOV, MOSCOW, 1860
egg tempera and gesso on wood, the chased and engraved silver oklad applied with silver-gilt figures, haloes and bed cover, blue enamel plaque to base, fully marked including assay marks of I. Andreyev, 36 x 30.5cm
£500 - 700
60
A RUSSIAN ICON OF SAINT JOHN AS THE ANGEL OF THE DESERT WITH GUARDIAN ANGEL AND FEMALE SAINT, VILLAGE SCHOOL, 19TH CENTURY
egg tempera and gesso on wood, 35.5 x 30.5cm
£150 - 250
61
A RUSSIAN ICON OF THE CRUCIFIXION AND FOUR SAINTS, LATE 19TH CENTURY
egg tempera and gesso on wood, inscription in Slavonic: Cкорбящих Радость Б(ОГОРОДИ)ЦЫ
(The Theotokos, Joy of All Who Sorrow), 31 x 26.5cm
Feast day: 6th November; Святой Николай Чудотворец
(Saint Nicholas the Wonderworker) Feast day: 6th
December; Свят. Преп. Симеон Столпник (Saint Simeon Stylites) Feast day: 1st September; Святая Препод Ксения (Holy and Venerable Xenia) Feast day: 24th January
£250 - 350
62
A RUSSIAN ICON OF THE RESURRECTION AND GREAT FEASTS, VILLAGE SCHOOL, LATE 19TH CENTURY
tempera on board, 36 x 31.5cm
£100 - 200
63
A RUSSIAN ICON OF THE THREE MARTYR OF EDESSA, MSTERA OR MOSCOW WORKSHOP, 1910s
painted in Stroganoff Revivalist style with Saints Simon, Gurij and Aviv, 22.5 x 17.5cm
£300 - 500
64
AN IRANI WHITE METAL BOWL, APPARENTLY UNMARKED, PROBABLY ISFAHAN, MID 20TH CENTURY
circular, scalloped sides with panels worked with a variety of carved and engraved birds and foliate motifs below an applied foliate rim, on piedouche, underside pricked with an inscription in Persian, 24cm diameter; together with an Irani white metal dish, probably Isfahan, mid 20th century, shaped circular, foliate decorated within a corded rim, 17.5cm diameter (2)
£300 - 400
65
A SET OF THREE SILVER ROSEWATER SPRINKLERS, OTTOMAN EMPIRE OR SUCCESSOR STATES, EARLY 20TH CENTURY
comprising a pair and one smaller, the gourd shaped bodies with panels of matted ground scrollwork, on leafy cast feet, each spout with bird finial and applied around the screw-in base with three cast openwork leaf sprays with further birds, Tughra and ‘sah’ marks; together with another silver rosewater sprinkler, Alexandria, mid 20th century, similar to the preceding but with bulbous body chased with a band of leaves against a matted ground, 19cm high; 631g (4)
£800 - 1,200
66
EIGHT THAI SILVER PLACECARD (OR MENU) HOLDERS, CIRCA 1930
each with domed and loaded circular base topped by a cast openwork deity or a dragon boat, six stamped ‘SIAM / STERLING’, two stamped ‘925’, 3.4cm diameter
£150 - 250
A JAPANESE SILVER COCKTAIL SET, RETAILED BY ARTHUR & BOND, YOKOHAMA, EARLY 20TH CENTURY
the ‘tsuchime’ (hammer-finished) shaker and circular tray chased with dragons with applied ‘whiskers’, the five plain beakers applied with the beasts and with gilt interiors, the beakers and tray stamped ‘ARTHUR BOND. / YOKOHAMA’, the beakers additionally stamped ‘STERLING’, tray 26cm diameter, 907g (7)
£1,000 - 1,500
A JAPANESE SILVER THREE-PIECE TEA SET ON SILVER-MOUNTED WOOD TRAY, MIYAMOTO SHOKO, TOKYO, CIRCA 1925
the circular tea set with bark-like texturing to the octagonally faceted sides, the teapot inscribed to underside, the oblong tray with rim mounts to the gallery including handles, tea set with ‘Jungin’ and four character ‘Miyamoto Shoko’ seal marks, tray 38.5cm long, tea set 809g including ivory insulators to teapot
The inscription reads: Presented by H.M. Ambassador and Staff of the Embassy and Colleagues at H.M. Consulate-General Yokohama and H.M. Consulate Tokyo, 10th February 1926.
Provenance: given as a wedding present to Mr and Mrs Bernard Flynn by fellow members of the British Diplomatic corps in Japan in 1926; thence by family descent to the vendor.
Miyamoto-Shoko Co. Ltd. was founded by Masaru Miyamoto in Tokyo in 1880, becoming a purveyor to the Imperial Household in 1899, and still with premises in the city’s Ginza district to this day.
Ivory Declaration Submission Reference: NRVF43DB
£1,500 - 2,500
69
AN AUSTRO-HUNGARIAN SILVER INKSTAND, MAKER’S MARK AB, PROBABLY VIENNA, CIRCA 1870
in Historismus style set with red and turquoise pastes, the central candlestick flanked by holders for the cranberry glass inkwells with silver covers with figural finials, mounted to rear with scrolling pen rests, 800 standard, 19cm long, 219g all in excluding glass
£150 - 250
70
A GERMAN SILVER TEA CADDY, PROBABLY FRIEDRICH REUSSWIG, HANAU, CIRCA 1900
oval, soft cast with four Rococo scroll panels of putti at play, beaded rims, with similarly decorated cover with cone finial, imported marked for S. Blanckensee & Sons Ltd., London, 1900, 10.5cm high, 158g
£150 - 250
71
A SILVER BOWL, CYPRIOT, MID 20TH CENTURY
circular, chased below the corded rim with a band of vine leaves on a matted ground interrupted by roundels of the Byzantine Imperial Eagle for the Orthodox Church, the Pillars at Salamis, the Lion of St Mark and Kolossi Castle, on four stepped and ball feet, stamped ‘S830’, 24cm diameter, 732g
£400 - 600
72
A
FRENCH PROVINCIAL SILVER TASTEVIN (TASSE A VIN BORDELAISE), JOSEPH ROGÉ, LIBOURNE, CIRCA 1760 / 70
typical dished circular form with a central boss, on a short piedouche, inscribed to underside *G*MANIERES*, maker’s mark only, 10.5cm diameter
£120 - 180
73
A DUTCH SILVER BRANDEWIJNKOM (BRANDY BOWL), PROBABLY FRISIAN, 17TH CENTURY STYLE
typical oval form, chased with bands of foliage to body and piedouche and applied with openwork cast everted handles of a feathered mask flanked by putti, underside with possibly pseudo marks, 26cm long, 268g
£300 - 500
74
A DUTCH SILVER MINIATURE TABLE BELL, MAKER’S MARK INDECIPHERABLE, PROBABLY JAN BORDUUR, AMSTERDAM, 1750
the bell applied with a reeded girdle, baluster handle with bun knop, 5.4cm high
£400 - 600
A PAIR OF DUTCH SILVER WALL SCONCES, A.J.H. DE RUIJTER, AMSTERDAM, 1876
in late 18th century style with applied beaded rims throughout, the lightly domed oval wall plates each engraved above the socket for the branch with a coat of arms and a scroll foliate border, with suspension hook to rear, the detachable looped tubular branches each with a laurel swag and ending in a circular drip-pan and a fluted sconce, 833 standard, 19.5cm long, 582g
£800 - 1,200
A PAIR OF SPANISH SILVER CANDLESTICKS,
18TH CENTURY
the shaped square bases stepped to wells and knopped faceted stems and sconces, footrims engraved with initials A.C.J., maker’s, assay master’s and town marks, 17.5cm high, 484g
£600 - 900
MAKER’S MARK F.P/ARS, BARCELONA, MID
A GERMAN SILVER WINE COOLER, M.T. WETZLAR, MUNICH, CIRCA 1930
plain octagonal body with twin angular handles and a reeded rim, gilt interior, stamped Reichsmark, ‘800’ and ‘M.T.WETZLAR’, 18.5cm high, 1037g
£1,000 - 1,500
A SET OF FRENCH TABLE SILVER, TETARD FRERES, PARIS, CIRCA 1930
designed by Valéry Bizouard (1874-1945) in circa 1930, plain slightly flared handles with stepped sides, engraved with monogrammed initials EMB, with circular bowls and angular tines, comprising twelve of each of the following: soup spoons, table forks, ivory handled table knives with steel blades, dessert spoons, dessert forks, teaspoons, coffee spoons, an ivory handled butter knife with steel blade, a pair salad servers, a fish slice, a serving fork, a serving spoon, a serving trowel, a soup ladle and a pair of sugar tongs, steel etched ‘TÉTARD Fres / PARIS’, silver with maker’s and 950 standard marks, 5376g of silver (93 pcs)
Provenance: Sotheby’s, London, 25 November 2004, lot 44
See the monthly magazine ‘Mobilier et décoration: revue française des arts décoratifs appliqués’, Sèvres, 1 January 1930, p.203 for illustrations of similar Bizouard designed ‘couverts’ for Tétard Frères. These modern angular designs by Bizouard for flatware along with his and Jean Tétard’s designs of Art Deco holloware for the table were newly exhibited at the ‘Décor de la table’ show in 1930 at Musée Galliera. Henri Clouzot praised the various silver manufacturers represented: ‘The pieces derive their beauty from frankness of execution, concise form and plain polished surfaces which reflect as in a mirror the light of day or the brilliance of electricity’ (‘The Studio’, October 1930, p.288). It is rewarding to note how Bizouard’s design for the present lot is carried through to include the edged ivory handles of the knives, perfectly reflecting the edging on the silver.
Ivory Declaration Submission Reference: ZDH4TMYY
£6,000 - 9,000
A SET OF FRENCH TABLE SILVER, MAKER’S MARK NP/P, PARIS, LATE 19TH CENTURY
Kings shape (Régence) with reeded and foliate rims, engraved with scrolled initials DL, comprising: twenty-three tablespoons, thirty-six table forks, twenty-three table knives with stainless steel blades, twenty-three dessert spoons, seventeen dessert forks, eighteen dessert knives with silver blades, seventeen dessert knives with stainless steel blades, fifteen teaspoons, a pair serving spoons, a pair large sifter spoons, two carving knives with stainless steel blades, two carving forks with silver prongs, and a serving trowel with silver blade, 950 standard, many serving pieces and silver blades maker’s mark Baptiste Fuchs; all in five associated fitted trays in an associated dressing table box; weighable silver 8658g (181 pieces)
£8,000 - 12,000
80
A PAIR GEORGE III SILVER ASPARAGUS TONGS, GEORGE SMITH, LONDON, CIRCA 1780
bright-cut engraved, maker’s, duty and standard marks only, 27cm long 137g
£100 - 150
81
A PAIR OF VICTORIAN SILVER BERRY SPOONS, JOHN ROUND & SON, SHEFFIELD, 1896
typical form, the scalloped bowls chased with fruits and gilded to top, with foliate decorated Old English pattern stems engraved with a crest to underside, 22cm long, 145g
£150 - 250
82
A SET OF ELEVEN VICTORIAN SILVER TEASPOONS, CHAWNER & CO., LONDON, 1853
Fiddle pattern; together with another five silver teaspoons and a pair of sugar tongs, all Fiddle pattern, four teaspoons engraved with a crest, tongs with initials, various makers, London, 1818-41; 407g (17)
£400 - 600
83
THREE
CASED SETS OF SILVER TEA OR COFFEE SPOONS
each with six spoons, comprising: one Victorian set of bright-cut teaspoons and a pair sugar tongs, Atkin Brothers, Sheffield, 1893; one Art Deco set of teaspoons with rectangular stems and terminals, Mappin & Webb Ltd., Sheffield, 1920; and one set of coffee spoons with rod stems and composite ‘bean’ terminals, William Suckling Ltd., Birmingham, 1927; 180g all in (19 pieces)
£150 - 250
84
A SET OF SIX VICTORIAN SILVER TEASPOONS, HENRY HOLLAND & SON, LONDON, 1871
Bead pattern; together with another four silver teaspoons, single struck Bead pattern, initialled P, Walker & Hall Ltd., Sheffield, 1897; 264g (10)
£250 - 350
A MATCHED SET OF VICTORIAN TABLE SILVER, VARIOUS MAKERS, LONDON, 1836-1880
Fiddle pattern, many engraved with crests or initials, comprising: eight table forks, eight dessert spoons, and eight dessert forks, 1321g (24)
£1,000 - 1,500
86
ASSORTED
FIDDLE PATTERN TABLE SILVER, VARIOUS MAKERS, LONDON, 1809-1864
engraved with the crest and coronet of the Barons Newborough or with scrolled initials JSM, comprising: eight tablespoons, eleven table forks, two dessert spoons, twenty-one teaspoons, two sugar tongs, and a soup ladle; together with a Hester Bateman silver tablespoon, Old English pattern, crested and initialled N for Baron Newborough, London, 1783: and another silver tablespoon, Kings pattern, Sheffield, 1924; 2283g (47)
£2,500 - 3,500
87
A SET OF EIGHT GEORGE III SILVER TABLESPOONS, RICHARD POULDEN, LONDON, 1819
Fiddle pattern, engraved with the crest and coronet of Baron Newborough, 22cm long, 553g
Provenance: Thomas John Wynn, 2nd Baron Newborough (1802-1832); thence by family descent.
£500 - 700
88
A SET OF SIX GEORGE IV SILVER TABLESPOONS, HENRY DAY, LONDON, 1821
Fiddle pattern, engraved with scrolled initials JSM, 22cm long, 441g
£400 - 600
89
A CASED SILVER COMMEMORATIVE GOBLET, PRESTONS LTD., LONDON, 1968
commemorating the investiture of Charles as Prince of Wales, formed as a Charles II wine cup, the bowl engraved ‘H.R.H PRINCE of WALES / CAERNARVON /1969’ with the Prince of Wales feathers between, 15cm high, 346g, with its original leaflet and gilt stamped blue case
£300 - 500
90
A PAIR OF GEORGE VI SILVER SAUCEBOATS, COOPER BROTHERS & SONS LTD., SHEFFIELD, 1938
plain boat shaped, on rim feet and with loop handles, 15.5cm long; together with another silver sauceboat, in mid 18th century style with three shell-headed pad feet and scroll handle, Manoah Rhodes & Sons Ltd., London, 1938, 15.5cm long; 467g (3)
£400 - 600
91
TWO EDWARDIAN SILVER NOVELTY PIN CUSHIONS, BOTH BIRMINGHAM
one modelled as a pig, Adie & Lovekin Ltd., 1907, 5.3cm long; the other as a canoe, Saunders & Shepherd, 1903, 8cm long
£150 - 250
92
TWO SILVER CHRISTENING MUGS AND A TROPHY CUP, ENGLISH, 20TH CENTURY
one mug plain excepting Celtic pattern rim foot and mythical beast handle, gilt interior, David Lawrence Silverware, Birmingham, 1965; the other mug tapering onto a piedouche, engraved monogram MJP, handle with dog’s head terminal, C.S. Green & Co. Ltd., Birmingham, 1936; the pedestal trophy cup with scroll handles, plain, Viners Ltd., Sheffield, 1937, 13.5cm high; 361g
£300 - 500
93
A GEORGE V SILVER TRAY, WALKER & HALL LTD., SHEFFIELD, 1934
plain oval plate, the everted rim including integral handles within an applied border of Greek key interrupted by anthemion motifs, 43.5cm long, 1203g
£1,200 - 1,800
94
A SILVER FRUIT DISH ON FOOT, VINERS LTD., SHEFFIELD, 1964
shaped circular, pierced and engraved with a broad band of fruiting and scrolling grapevines within a cast and applied border of further grapevine, on short pedestal foot, 27cm diameter, 742g
£700 - 1,000
A GEORGE VI SILVER COFFEE POT, LOWE & SON, CHESTER, 1940 in George II style with gadroon rims, the tapering body presentation inscribed, the domed lid with stepped finial, the spout cast in Rococo style, 22.5cm high, 664g including handle £600 - 800
96
A MATCHED PAIR OF SILVER CAFE-AU-LAIT POTS
plain tapered cylindrical with wood handles and domed lids with ball finials, the hot milk pot Jay, Richard Attenborough Co. Ltd. of London, Chester, 1933, the coffee pot Nayler Brothers, London, 1959, 25cm high, 1503g all in £1,200 - 1,800
A SET OF THREE GEORGE V SILVER MUGS, WILLIAM GREENWOOD & SONS OF LEEDS, BIRMINGHAM, 1925
tapered cylindrical and engraved with ribbon-tied laurel swags, each with a wicker-wrapped C-scroll handle, underside stamped ‘Wm GREENWOOD & SONS / LEEDS & HUDDERSFIELD’, 9.5cm high, 285g all in
£300 - 400
98
A GEORGE V SILVER FOUR-PIECE TEA SET, VINERS LTD., SHEFFIELD, 1930 / 31
each faceted oval body on four curved pad feet, the teapot and hot water jug with composition handles and finials, teapot 27.5cm long, 1792g all in
£1,500 - 2,500
99
A GEORGE V SILVER AND CUT-GLASS BISCUIT BARREL, LEE & WIGFULL LTD., SHEFFIELD, 1925
the cylindrical cross-hatched glass body with star-cut base, with plain silver rim mount and angular handles, the domed lid with engraved presentation inscription, 16cm high
£150 - 250
100
A GEORGE V SILVER GALLERY TRAY, WALKER & HALL LTD., SHEFFIELD, 1928
shaped oval, plain plate, the gallery with integral handles flanked by scroll foliate pierced panels, with an applied gadroon rim, on four bun feet, underside with stamped Walker & Hall trademarks and numbered 53519, 60cm long, 3159g
£3,000 - 5,000
101
A GEORGE V SILVER THREE-PIECE BACHELOR’S TEA SET, VINERS LTD., SHEFFIELD, 1928
cup shaped, with everted shaped rims, the milk jug and sugar bowl on three pad feet, the teapot with four feet and fibre handle and finial, teapot 21cm long; 590g all in
£500 - 700
102
A PAIR OF SILVER WINE COASTERS, A. CHICK & SONS LTD., LONDON, 1975
plain circular with moulded rims and turned wood bases, 13cm diameter
£100 - 150
103
A SET OF SIX SILVER SMALL ARMADA DISHES, WILLIAM COMYNS & SONS LTD., LONDON, 1969
typical form with bossed centre and reeded rim, 9.5cm diameter, 362g
£300 - 500
104
A GEORGE V SILVER TEA STRAINER ON STAND, ADIE BROTHERS LTD., BIRMINGHAM, 1925
the pierced strainer with reeded rims and ‘Onslow’ pattern handle, the bowl shaped stand on three shell-headed pad feet, 13cm long, 102g
£100 - 150
105
THREE GEORGE V SILVER CASTERS
one octagonal with moulded girdle and reeded foot of conforming outline, Mappin & Webb Ltd., Birmingham, 1925, 19.5cm high, one baluster engraved with scrolled initials and on three pad feet, Atkin Brothers, Sheffield, 1912, and one baluster with moulded girdle, Charles Edwards, London, 1913; 373g
£350 - 450
A GEORGE V SILVER FOUR-PIECE TEA SET, THE ALEXANDER CLARK CO. LTD., BIRMINGHAM, 1933 / 34
the bulbous bodies chased with shaped arcading above cast scroll foliate panel feet, the teapot and hot water jug with wood handles and finials, hot water jug 21.5cm high; 1737g all in
£1,000 - 1,500
A GEORGE V SILVER EPERGNE VASE, WILLIAM HUTTON & SONS LTD., SHEFFIELD, 1913
the domed circular base engraved for a silver wedding anniversary below the trumpet-shaped vase, centrally set with three curled supports each suspending a circular sweetmeat basket, applied stylised foliate scroll borders throughout, 31.5cm high, 789g (4)
The inscription reads: J.S.S. / AND / M.C.S. / Oct. 9th. 1888-1913
£800 - 1,200
108
A GEORGE V SILVER CARRIAGE CLOCK, WILLIAM COMYNS & SONS, LONDON, 1926
fitted with a French timepiece movement with replaced lever platform escapement and white enamel Roman dial behind bullseye glass, the rectangular case plain excepting the engraved insignia of the Royal Artillery below the swing handle, on bun feet, 11cm high with handle raised, in a red cloth twin doored case
£300 - 400
109
A
SWISS SILVER MINIATURE CARRIAGE CLOCK, JACQUES-TURRETTINI & CIE, GENEVA,
CIRCA 1913
eight-day lever timepiece movement with integral hinged key, signed ‘JTC’ in shaped lozenge and numbered 56169, white enamel Roman dial, rectangular case with linear bands of chevron engine-turning, on bun feet, gilt interior, same JTC marks, import marked for Charles William Guignard, London, 1913, 8.5cm high with handle raised, in its domed leather twin-doored case
Provenance: Sotheby’s, London, 28 February 1991, lot 164
£300 - 500
110
A GEORGE V SILVER AND TORTOISESHELL DRESSING TABLE SET, GOLDSMITHS & SILVERSMITHS
CO. LTD., BIRMINGHAM & LONDON, 1923-28
the tortoiseshell with silver piqué ovals engraved ‘Frances’ each surmounted by an Adamesque vase and surrounding swags and foliate scrolls, comprising a tray with moulded silver rim, a hand mirror, a pair hand brushes, a pair oblong brushes, a pair elongated oval fluted glass boxes and covers, a compressed circular fluted glass box and cover, and an oval silver ring box on four feet and with lined interior (latter two not inscribed), tray 31.5cm long; together with a similar silver and tortoiseshell trinket box and cover, circular, the tortoiseshell set cover with differing piqué work, possibly Corke & Apthorp, London, 1923, 5cm diameter (11)
Provenance: Frances Josephine Balfour (née Bingham) Lady Riverdale (1876-1960), wife of Arthur Balfour, 1st Baron Riverdale; thence by family descent to the vendor.
£400 - 600
111
TWO SILVER PHOTOGRAPH FRAMES, BOTH BIRMINGHAM, 1909 / 12
shaped, with ribbon-tied reeded borders, rectangular glazed apertures and oak easel backs, the earlier example engraved to arch ‘W.F.B.BEARDSLEY / FROM / N.W.S.-C. / DEC 1910’, S. Blanckensee & Sons Ltd. (Chester assay), the other Hayes & Co., 30cm long
£300 - 500
112
AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, SYNYER & BEDDOES, BIRMINGHAM, 1904
shaped, the mount stamped in Art Nouveau style with flowering tendrils over a watery ground, the bloom later embellished in green and blue enamel paint, with rectangular glazed aperture, mahogany easel backed, 22cm long
£150 - 250
113
AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, C.S. GREEN & CO., BIRMINGHAM, 1906
tapering to a pointed arch, stamped with a young woman feeding doves in a pear tree watched by a child sat against the tree’s trunk, with off-set rectangular glazed aperture, oak easel backed, 24cm long
£200 - 300
114
AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, HORTON & ALLDAY, BIRMINGHAM, 1902
shaped, the mount openwork stamped in Art Nouveau style with flowering daisies, with shaped and glazed aperture, grey velvet-covered easel backed, 21cm long
£100 - 200
115
AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM HAIR HASELER, BIRMINGHAM, 1905
shaped, the openwork mount moulded with stylised Art Nouveau foliage, with cartouches later embellished with blue and green enamel paint, bevel glazed rectangular aperture, oak easel backed, 21cm long
£150 - 250
116
AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, HORTON & ALLDAY, BIRMINGHAM, 1906
shaped, the openwork mount stamped in Art Nouveau style with a flowering thistle, glazed shaped aperture, oak easel backed, P.O.D.R. No. for 1904, 24.5cm long
£200 - 300
117
AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME
shaped, the mount stamped with Art Nouveau stylised scrolling foliage, the corners later embellished with blue and green enamel paint, glazed circular aperture, probably later mahogany easel backed, 17.5cm long
£150 - 250
118
AN EDWARDIAN SILVER PHOTOGRAPH FRAME, MAKER’S MARK RUBBED, BIRMINGHAM, 1908
shaped with swan-neck pediment, moulded mount with berried laurel bordering the rectangular glazed aperture, with probably later mahogany easel back, 31cm long
£100 - 200 119
120
A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM COMYNS & SONS, LONDON, 1895
rectangular, the openwork mount centred by a ducal coronet flanked by boldly stamped gadroons, scrolls and flowerheads, glazed behind, probably later mahogany easel backed, 27cm long
£300 - 400
AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, PROBABLY WILLIAM HARRISON WALTER, BIRMINGHAM, 1905
shaped, the mount stamped in Art Nouveau style with stylised trailing flowers, the flowers later embellished with blue and green enamel paint, rectangular bevel glazed aperture, oak easel backed, 31cm long
£200 - 300
121
A PAIR OF EDWARDIAN SILVER SWEETMEAT DISHES, CHARLES
STUART HARRIS & SONS LTD., LONDON, 1906
pedestal navette shaped, the pale and pellet pierced sides chased with laurel swags, cast and applied to the shaped rims with laurel interrupted by foliage, on pierced spreading bases, 16cm long, 281g
£250 - 350
122
AN EDWARDIAN SILVER CASTER, MAKER’S MARK J.T, BIRMINGHAM, 1903
baluster, richly decorated with scrolls and foliage, 22cm high; together with another silver caster, plain octagonal baluster, no maker’s mark, Chester, 1916, 18.5cm high; 333g (2)
£300 - 400
123
AN EDWARDIAN SILVER PEDESTAL BOWL, LEE & WIGFULL LTD., SHEFFIELD, 1907
shaped circular, scroll chased rim above panel of scroll piercing, on plain pedestal foot, 25cm diameter, 330g
£300 - 400
124
AN EDWARDIAN SILVER SMALL ROSE BOWL, JAMES JAY LTD. OF LONDON, CHESTER, 1903
the almost hemispherical body chased with flowers and scrolls flanking vacant shields, on piedouche with stamped border, underside stamped ‘JAYs. 142. 144 OXFORD St.W.’, 15.5cm diameter, 231g
£200 - 300
AN EDWARDIAN SILVER ROSE (OR PUNCH) BOWL, NATHAN & HAYES OF BIRMINGHAM, CHESTER, 1901
the almost hemispherical bowl chased with two vacant cartouches flanked by bands of scroll and foliage, on piedouche, rim foot with presentation inscription, 30.5cm diameter, 1407g; together with a silver and wood punch ladle, in 18th century style with shaped silver bowl and flared stem to the turned wood handle, C.J. Vander Ltd., London, 1978, 40cm long (2)
£1,500 - 2,500
126
AN ELECTROPLATE-MOUNTED THREE-BOTTLE OAK TANTALUS, ENGLISH, CIRCA 1900
rectangular frame with corner mounts and vacant cartouche, bar to top springing up via a key to side, with three cut-glass decanter with faceted stoppers, 37.5cm wide; together with a set of three silver bottle tickets, oblong with stamped rims and engraved for BRANDY, GIN and WHISKY, J.B. Chatterley & Sons Ltd., Birmingham, 1963
£150 - 250
127
AN EDWARDIAN SILVER THREE-PIECE TEA SET, JOHN GRIFFITHS & CO., LONDON, 1901
in Queen Anne style, plain baluster octagonal with rim bases, the teapot with faceted domed lid with reeded borders and bell finial, the sugar bowl and milk jug with leaf-capped scroll handles and gilt interiors, teapot 18.5cm high; 1301g including wood handle
£1,000 - 1,500
128
A VICTORIAN SILVER CHRISTENING MUG, GEORGE UNITE, BIRMINGHAM, 1883
the cylindrical mug engraved with sprays of ferns and scrolled initials VLM, on piedouche, with beaded rims and beaded scroll handle, 9cm high, 107g
£100 - 150
129
A SET OF FOUR VICTORIAN SILVER SWEETMEAT DISHES, HENRY BRASTED, LONDON, 1899
oval, each with cast and applied foliate scroll rims above pale and pellet pierced bands, on piedouches, 15cm long, 609g
£600 - 800
130
A VICTORIAN SILVER SUGAR BASIN, MARTIN, HALL & CO., LONDON, 1874
tapered oval, bright-cut engraved with shields, one initialled D, flanked by foliate swags and wrigglework borders, 19cm long, 292g
£250 - 350
A
VICTORIAN SILVER FOUR-PIECE TEA AND COFFEE SET, ROBERTS & SLATER, SHEFFIELD, 1853 / 56
the shaped baluster bodies chased with vacant cartouches and foliate panels, each on four scroll panel feet, the milk jug and sugar bowl with gilt interiors, the pots with cone finials and ivory insulators to the scroll handles, coffee pot 26cm high; 2429g all in Ivory Declaration Submission Reference: K2H9VWLL
£2,500 - 3,500
A
VICTORIAN SILVER EWER, EDWARD BARNARD & SONS, LONDON, 1854
of Neo-classical vase form and flat-chased stylised foliate decoration, with shaped lip and lid, the handle with ivory insulators rising from a cast female mask, stamped work number to underside 472, 32cm high, 744g Ivory Declaration Submission Reference: 3KQWPX37
£800 - 1,200
133
A GEORGE IV SILVER TOAST RACK, BENJAMIN SMITH, LONDON, 1824
oblong, with seven curled wirework bars and central foliate loop handle, the domed base with cast and applied shell and foliate rim, engraved with the double crest below a coronet of Lord & Lady Newborough to each end, on cast paw and scroll headed feet to the corners, 22cm long, 632g
Provenance: Spencer Bulkeley Wynn, 3rd Baron Newborough (1803-1888) and his wife Frances Maria de Winton (c.1813-1857); thence by family descent.
£700 - 1,000
THREE PAIRS OF SILVER SALT CELLARS, GEORGIAN & VICTORIAN, ALL LONDON
comprising: a pair of cauldron form on three pad feet with gilt interiors and blue glass liners, David Mowden, 1764; an oval pair pierced with bands of formal leaves, on ball and claw feet, with blue glass liners, William Abdy, 1786; and a compressed circular pair with vacant roundels between bright-cut foliate swags and beaded rims, H.J. Lias & Son, 1867; silver 255g
£250 - 350
A GEORGE IV SILVER TEAPOT, WILLIAM HEWITT, LONDON, 1828
the compressed circular, chased with flowers on a matted ground, applied gadroon rim, on four cast oak-headed paw feet, domed lid with cast rose finial, leaf capped silver handle, 28cm long, 780g including ivory insulators
Ivory Declaration Submission Reference: DL4HY69U
£300 - 500
136
A GEORGE IV SILVER WINE FUNNEL, EMES & BARNARD, LONDON, 1828
the detachable base with gadroon rim and shell clip, simply pierced and with detachable retaining ring, the body with reeded rim and ribs to the spout, 12cm high; together with a Victorian silver funnel, William Neal, London, 1899, plain typical form, with suspension ring below the moulded rim, 10cm high; 194 (2)
£200 - 300
137
£200 - 300 135
A GEORGE III SILVER MILK JUG, PETER, ANN & WILLIAM BATEMAN, LONDON, 1800
helmet shaped on square base, engraved with scrolled initials MS in an oval and further initials to side MW, probably later bright-cut embellished, 13.5cm high; together with another silver milk jug, slender vase form with beaded rims, Jay, Richard Attenborough Co. Ltd. of London, Chester, 1939, 15cm high; 225g (2)
138
A PAIR OF GEORGE III SILVER WAITERS, SAMUEL & GEORGE WHITFORD, LONDON, 1805 circular, moulded borders, each engraved with a pair of crests and on three tapered panel and bun feet, 17cm diameter, 654g
£800 - 1,200
139
A GEORGE III SILVER SALVER, ROBERT GARRARD, LONDON, 1805
oval, engraved with a crest, with applied gadroon rim, on four tapered and gadroon-edged panel feet, 23cm long, 407g
£500 - 700
140
A GEORGE III SILVER MUG, WALTER BRIND, LONDON, 1790
the baluster body bright-cut engraved with an oval cartouche initialled JE on a linear ground, with reeded spreading foot and leaf-capped scroll handle, 13cm high, 421g
£400 - 600
142
141
A GEORGE III SILVER SUGAR BASKET, ROBERT HENNELL, LONDON, 1788 of pedestal navette form, with reeded rims and swing handle, bright-cut engraved with wrigglework and geometric borders and a pierced band of alternate leaf and oval motifs, 13.5cm long, 160g excluding blue glass liner
£250 - 350
A GEORGE III SILVER SALVER, PROBABLY PHINEAS DANIEL OF BRISTOL, LONDON, 1776
shaped oval, moulded border with applied gadroon rim, engraved with a coat of arms flanked by flowering sprays, on four volute feet, underside with scratch weight ‘12”12’, 22cm long, 360g
The arms are those of Sir John Ingilby, 1st Baronet (1758-1815) of Ripley Castle, Yorkshire
£500 - 800
A GEORGE III SILVER SALVER, PROBABLY EBENEZER COKER, LONDON, 1764
shaped circular, engraved with a coat of arms within a Rococo architectural foliate cartouche, moulded border below an applied rim of shells and scrolls, on four volute feet, scratch weight ‘44=3’, 37cm diameter, 1335g
£1,500 - 2,500
A PAIR OF GEORGE II SILVER CANDLESTICKS, JOHN CAFE, LONDON, 1753
cast shell pattern, each shaped square base engraved to a corner with a crest, with detachable nozzles, 24cm high, 1452g
£1,500 - 2,500
A GEORGE II SILVER COFFEE POT, HUGH ARNETT & EDWARD POCOCK, LONDON, 1728 with tapering cylindrical body on a moulded rim foot and octagonally faceted spout, the waisted lid with reeded border below the knopped finial, underside engraved with small and probably contemporary initials ‘E+B’, 24cm high, 955g including later wood handle
£1,000 - 1,500
A GEORGE I SILVER SAUCEBOAT, JAMES FRAILLON, LONDON, 1725
double lipped oval form, with applied moulding to the waved rim and engraved below each scroll handle with a crest, on ribbed piedouche, Britannia standard, 21cm long, 498g
£1,000 - 1,500
147
A SET OF FOUR GEORGE I SILVER TRENCHER SALTS, EBENEZER ROE, LONDON, 1714/15
decagonal baluster, engraved with a crest, circular wells, Britannia standard, 6.5cm wide, with two later clear glass liners; together with three George III silver salt shovels, Old English/Hanoverian pattern, one crested and one initialled, London, circa 1760/89/97; 251g (7)
£400 - 600
148
A CHARLES II SILVER CHILD’S MUG, MAKER’S MARK BM (TWO PELLETS ABOVE, A MULLET BELOW), LONDON, 1683
bulbous below a reeded neck, with applied ribbed handle, 5.3cm high
£700 - 1,000
A GOLD EDWARD VII CORONATION MEDAL, GEORGE WILLIAM DE SAULLES (1862-1903) FOR THE ROYAL MINT, 1902 with crowned profile busts to right, ‘EDWARD VII CROWNED 9.AUGUST 1902’ and ‘ALEXANDRA QUEEN CONSORT’, in its original red case of issue and Manila envelope, 30.5mm, 17.2g
£1,000 - 1,500
A GOLD COMPACT, KUTCHINSKY, LONDON, 1956
covered in waved engine-turning, opening on a pushpiece, with mirrored interior, 18 carat gold hallmarked, 7.3cm square, 122.8g excluding mirror
£7,000 - 10,000
151
A GOLD LIGHTER, KUTCHINSKY, LONDON, 1956
rectangular, brick patterned, 18 carat gold hallmarked, 5.7cm long excluding button
£2,000 - 3,000
152
A BLACK ENAMELLED AND JEWELLED SILVER CASE, FRENCH, EARLY 20TH CENTURY
rectangular, plain excepting a central green enamelled basket with foliage of rose cut diamonds and garnets, gilt interior, indecipherable maker’s and boar’s head standard marks, 8.1cm long
£200 - 300
VAN CLEEF & ARPELS: A FRENCH ART DECO GOLD, ENAMEL AND DIAMOND COMPACT (OR ‘NECESSAIRE DE BEAUTE’), PARIS, CIRCA 1925
rectangular envelope form, enamelled mottled green ground within gold borders, the top with navy blue edging, the hinged flap tipped with millegrain platinum set rose-cut diamonds, opening to ivory-ground counter enamel fitted with a detachable gold propelling pencil, folding out to a silk purse powder compartment and a fitted mirror, interior top edge inscribed ‘VAN CLEEF, ARPELS. PARIS No.28058’ and atelier number to opposing side ‘7259’, flap with French 18 carat gold assay and maker’s marks for the atelier Strauss, Allard & Meyer and corresponding atelier number, 7.7cm long
The specialist ‘boîtiers’ Strauss, Allard & Meyer supplied exceptional quality boxes and objects of vertu to all the top Paris jewellers of the period. For further information see: https://www.richardjeanjacques.com/ search?q=strauss (accessed 28.01.26).
£3,000 - 5,000
154
CARTIER: A GOLD AND LUCITE DESK CLOCK, CIRCA 1950
the rectangular Lucite case shaped to underside, the gold bezel engraved with Arabic numerals and secured with pins at 3 and 9 o’clock, the cream dial with minute track, centre seconds and signed ‘Cartier’, the manual wind Swiss 7 jewel movement signed ‘LeCoultre Co.’ with recessed crown to underside, 9.8cm long
For another see Sotheby’s, London, 2021, lot 8
£1,200 - 1,800
155
CARTIER: A GILT-METAL ‘COLISEE’ ALARM CLOCK, 1990s
quartz movement, white signed Roman dial, rounded circular case on a double ribbed support to a shaped openwork and sprung hinged easel stand, case back secured by three screws and with two blue cabochon capped crowns, signed Cartier / Paris and numbered AL1002540, case 7.8cm diameter, with instruction manual and a gilt stamped ‘Cartier’ red suedette pouch
£200 - 300
156
CARTIER: A GOLD CIGARETTE HOLDER, CARTIER LTD., LONDON, 1965
with reeded cylindrical stem and polished flared section, black composite mouthpiece, inscribed ‘Cartier’, numbered 1559, 9 carat gold hallmarked including Jacques Cartier maker’s mark, 14cm long £800 - 1,200
157
MONTBLANC MEISTERSTÜCK: A MODEL
149 FOUNTAIN PEN AND A MODEL 166 DOCUMENT MARKER (HIGHLIGHTER), HAMBURG, CIRCA 2000
both of typical form with black resin bodies and gilt-metal hardware, the pen with 18 carat gold nib, its screw-on cap numbered RCPD3F2X4 to the clip ring and incuse stamped to underside of clip ‘Made in Germany / metal’, 14.7cm long, the highlighter pull-off cap numbered to the clip ring MG1075373, 14.5cm long; together with a Montblanc luminous yellow document marker refill in a card case (3) £180 - 220
158
TWO GOLD CASED AND HARDSTONE FOB SEALS, ENGLISH, 19TH CENTURY
one set with an oval carnelian intaglio carved with the profile of Apollo, foliate scroll mount with suspension bale, 3.3cm high, the other with a revolving citrine mixed-cut to three tables, the openwork foliate mount with suspension bale, 5cm long
£150 - 250
159
A CARNELIAN INTAGLIO OF ERMINIA CARVING TANCRED’S NAME ON A TREE, PROBABLY ITALIAN 18TH CENTURY
the oval stone carved with the Princess as a shepherdess with a lamb at her feet, the episode taken from Torquato Tasso’s ‘Jerusalem Delivered’, mounted in a silver ring with ribbed flared shoulders, stone 2.7cm long, ring size N½; together with an oval carnelian intaglio set giltmetal seal, circa 1800, the matrix carved with the family crest of Boot or Boote (A Greyhound Couchant Between Two Branches Of Laurel In Orle), the mount of six openwork tapered straps meeting on a ring, 3.4cm high (2)
£300 - 400
160
A HARDSTONE CAMEO PROFILE, PROBABLY DEPICTING CHARLES II LATER 17TH CENTURY
the head carved in profile to dexter, 1.9cm long
£100 - 200
161
A SARDONYX CAMEO PORTRAIT OF A GENTLEMAN, ITALIAN, 16TH CENTURY
in the manner of Jacopo da Trezzo (1515-1589), the head and shoulders bust carved with undercutting in profile to sinister with tightly curled hair and wearing decorated armour over a ruff, perhaps depicting a member of the de Medici family, set in a later gold ring, size N
£1,800 - 2,200
162
A SARDONYX CAMEO OF A FEMALE BUST, ITALIAN, 16TH CENTURY
the asymmetric agate carved with the head turned in profile to sinister, set in a later gold ring, size P
£350 - 450
163
A SAPPHIRE AND GOLD BAND RING, EUROPEAN, PROBABLY 15TH / 16TH CENTURY
the oval cabochon closed back set within the slightly tapering band, ring size P½
£400 - 600
165
A PORTRAIT MINIATURE OF HONORE GABRIEL RIQUETI, COMTE DE MIRABEAU (1749-1791), FRENCH SCHOOL, CIRCA 1780
wearing blue coat with yellow waistcoat, white stock and tied cravat, with full powdered wig, watercolour on ivory, oval, 60mm high, gilt-metal frame, the reverse bearing fragment of red wax seal on card and inscribed in a later hand, Comte de Mirabeau
Ivory Declaration Submission Reference: VS5T6464
£150 - 250
164
A PORTRAIT MINIATURE BELIEVED TO BE OF CHARLES I, LATE 17TH CENTURY
wearing gold coloured doublet with lace collar, oil on copper, oval, 42mm high, gilt-metal frame
£80 - 120
166
A PORTRAIT MINIATURE OF A BOY, CONTINENTAL SCHOOL, CIRCA 1780
wearing a blue coat over a white chemise and holding a leather bound folio, enamel, circular, 60mm diameter, circular gilt-metal mount within square carved wood frame with black velvet border
£200 - 300
A
PORTRAIT MINIATURE OF BRIGADIER GENERAL
JEAN
JOSEPH TRIAIRE, BY JEAN-BAPTISTE-DÉSIRÉ TROIVAUX (FRENCH 1788-1860), CIRCA 1830
wearing the uniform of a French Brigadier General, wearing the medals of Commander of the Legion of Honour (France), Knight of the Iron Crown (Italy), Knight of the Order of Civil Merit (Bavaria), Commander of the Order of the Sword (Sweden), Grand Officer of the Imperial Order of the Southern Cross (Brazil), signed and dated, Troivaux 1835, right hand edge, watercolour on ivory, oval, 64mm high, silver easel frame the reverse inscribed Jean Joseph Baron Triaire / G al de brigade (1764-1850) / par Troivaux 1835, oval, 60mm high
Jean Joseph Triaire was born in Mazel (Gard), on March 19, 1764. He became a consular guard, 3rd Chasseurs à Cheval, aide-de-camp to Eugène de Beauharnais, Viceroy of Italy (1805-1824), and later a general. He was wounded at Wissembourg, Germersheim, Borgertho, Castiglione, Belluno, Tarvia, Stockoch, Naefels, Landshut, Delmo, Piave, Raab, and Borgertho (the Moskova River). Jean Joseph died on April 11, 1850, in Paris. He was made Baron of the Empire (January 31, 1810). Officer (June 14, 1804), Commander (July 27, 1809) of the Legion of Honour; Commander of the Sword of Sweden (December 22, 1822); Dignitary of the Cruzeiro de Portugal (September 14, 1829). The present portrait miniature was painted after 1829 as Triaire received the Imperial Order of the Southern Cross of Brazil in September 1829.
We are grateful to Benoit Lorenzini for his assistance with the cataloguing of this lot.
Ivory Declaration Submission Reference: RL46L3MD
£800 - 1,200
168 ◉
A PORTRAIT MINIATURE OF A GENTLEMAN BY WILLIAM MASSEY STROUD DOYLE (AMERICAN 1769-1828), CIRCA 1810
wearing black coat with check waistcoat, white stock and frilled cravat, watercolour on ivory, oval, 60mm high, gilt-metal case with foliate border, the reverse with an empty hair compartment no longer glazed; together with another American School circa 1810 portrait miniature of a gentleman, wearing a black coat, white waistcoat, white stock and frilled chemise adorned with a gold pin, watercolour on ivory, oval, 64mm high, gilt-metal case with a cast foliate border, the reverse with small central glazed compartment containing locks of brown hair (2)
Ivory Declaration Submission Reference: N6NAZ9UT, X2SWGG4P
£200 - 300
169 ◉
PORTRAIT MINIATURE OF A LADY, BY MRS ANNA TREWINNNARD (FL.1797-1806)
profile facing right wearing white dress with frilled collar and gold necklace, watercolour on ivory, oval, 63mm high, fitted red leather case
Ivory Declaration Submission Reference: 755GUTV7
£100 - 200
170 ◉
A PORTRAIT MINIATURE OF A NAVAL OFFICER, ATTRIBUTED TO JOHN BARRY (BRITISH, ACTIVE 1784-1827)
wearing uniform, blue coat with gold buttons stamped with anchors, white waistcoat, frilled chemise and stock, with sky background, watercolour on ivory, oval, 50mm high, gold bracelet clasp frame
Ivory Declaration Submission Reference: D7J22Z6F
£300 - 500
171
A PORTRAIT MINIATURE OF A GENTELMAN, ATTRIBUTED TO THOMAS PEAT (BRITISH ACTIVE 1791-1831)
wearing a black coat with white stock and knotted cravat, his powdered hair worn en queue, watercolour on ivory, oval, 70mm high, gold frame, the reverse with plaited brown hair; together with another portrait miniature of a gentleman, English School circa 1807, wearing blue coat with gold buttons and white stock, watercolour on ivory, oval, 70mm high, gold frame, the reverse with blue glass plaque inscribed Cher in white beads surrounded by a border of hair set against opalescent glass (2)
Ivory Declaration Submission References: QY17J39G, GLG4TM2L
£300 - 500 172 ◉
A PORTRAIT MINIATURE OF A GENTLEMAN, ATTRIBUTED TO THOMAS PEAT
(BRITISH, ACTIVE 1791-1831), CIRCA 1798
wearing blue coat with red and white spotted waistcoat and knotted cravat and powdered hair, watercolour on ivory, oval, 65mm high, in an associated gilt-metal frame
Ivory Declaration Submission Reference: ZN4E1ZEG
£200 - 300
173 ◉
A PORTRAIT MINIATURE OF A LADY, BY ANDREW PLIMER (BRITISH 1763-1837), CIRCA 1800
wearing a white dress, her dark brown hair curled and upswept, cloud and sky background, watercolour on ivory, oval, 75mm high, gold frame, the reverse glazed to reveal hair work tied with seed pearls and gold wire on an opalescent glass background
Ivory Declaration Submission Reference: QVVMDSJN
£250 - 350
174
A PORTRAIT MINIATURE OF A CLERGYMAN, ENGLISH SCHOOL, DATED 1795
wearing a black coat and white bands, inscribed verso in centre, Drawn / R.A./ 1795/ aged 78 / E. A. and further inscribed around the edge, E. A. best treasure / Died Dec. 13 1797 / aged 80, oil on copper, oval, 10.5cm high
£80 - 120
175 ◉
A PORTRAIT MINIATURE OF A GENTLEMAN BY SOPHIA H. M. HOWELL (CIRCA 1781-1788), DATED 1786
wearing dark blue coat, striped waistcoat frilled chemise and cravat, his hair powdered, signed and dated verso, Sophia 1786, watercolour on ivory, oval, 50mm high, gold frame, the reverse with central glazed aperture revealing signature and date
Ivory Declaration Submission Reference: 4CRNWPD7
£180 - 220
176 ◉
PORTRAIT MINIATURE OF LADY CLINTON, BY JOHN DONALDSON FSA (SCOTTISH 1737-1801)
wearing white dress with high collar, black ribbon choker and blue bandeau in her powdered and curled hair, watercolour on ivory, oval 60mm high, in later black lacquer frame with gilt-metal mount
Another version of the present portrait of Lady Clinton by John Donaldson was sold at Bonhams sale of Fine Portrait Miniatures, 25 November 2009, Lot 164
Ivory Declaration Submission Reference: 5MZHWN2B
£400 - 600
177
A SILHOUETTE OF CHARLES DYSON, BY JOHN MIERS (BRITISH
CIRCA 1758-1821)
profile facing right wearing buttoned coat, stock and frilled chemise, painted on plaster, rectangular papier-mâché frame, the reverse with trade label no 11, Miers, Profile Painter & Jeweller, 111 Strand London, opposite Exeter Change inscribed Charles Dyson in pen and ink; together with two further silhouettes on plaster of gentlemen similarly framed with the same trade label (3)
£300 - 500
178
A SILHOUETTE OF GEORGE BUCHANAN, BY THE STUDIO OF JOHN MIERS, CIRCA 1810-1821
profile facing left, wearing buttoned coat, stock and tied cravat, painted on card, oval, 75mm high, rectangular gilt-mounted papier-mâché frame, the reverse with trade label of Miers no. 11 or 12; together with three further silhouettes on plaster of gentlemen by or attributed to Miers & Field (4)
£300 - 500
179
A SILHOUETTE OF THE REVD. JOHN COLERIDGE, BY MIERS & FIELD, 111 STRAND LONDON, CIRCA 1823-1829
profile facing right of the Vicar, Chaplain Priest and Schoolmaster of Ottery St Mary, wearing buttoned coat, stock and frilled chemise, painted on plaster, oval, 80mm high, rectangular gilt-mounted papier-mâché frame, the reverse with trade label of Miers & Field no. 13 of Miers & Field; together with seven further silhouettes of members of the Coleridge family, painted on card or cut by the Studio of John Miers and his son William Miers, including portraits of The Revd. George Coleridge, Chaplain Priest and Schoolmaster of Ottery School, Francis George Coleridge, son of Colonel Coleridge, Frederick William Coleridge, James Coleridge, Bernard Frederic Coleridge, all framed in rectangular papier-mâché frames, some with trade labels on the reverse (8)
£400 - 600
180
A SILHOUETTE OF A LADY, ATTRIBUTED TO MRS ISABELLA BEETHAM (BRITISH C.1753-1825)
profile to the right, wearing dress with fichu, large hat adorned with ribbons and feathers and curled hair, ink and watercolour on card, stained and turned wood frame, oval 90mm high, painted on card; together with six further silhouettes including a pair of reverse glass riders on horseback, two cut silhouettes of children, a cut profile of a gentleman, and a painted profile of Albert Buchanan painted on plaster attributed to the Studio of John Miers & John Field (8)
£300 - 500
