Olympia EWoA 18 Nov complete PDF by Olympia Auctions

EUROPEAN WORKS OF ART, OBJECTS & SILVER WEDNESDAY 18TH NOVEMBER 2026

Lots to be sold in the Olympia Timed: European Works of Art, Objects & Silver Sale closing from 4pm on 18th November 2026 Viewing on Sunday 15th November from 12pm to 4pm, Monday 16th November from 10am to 8pm, and Tuesday 17th November from 10am to 5pm

Front Cover: Lot 63 Back Cover: Lot 48

EUROPEAN WORKS OF ART, OBJECTS & SILVER TO INCLUDE: PROPERTY FROM A PRIVATE COLLECTION, ST JOHN’S WOOD, LONDON AND PROPERTY FROM THE COLLECTION OF JEREMY MASON ESQ., REMOVED FROM HOYLES HOUSE, WANDSWORTH

TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD AUCTION: Wednesday 18th November 2026, 11am, precisely PUBLIC EXHIBITION: Sunday 15th November, 12pm to 4pm Monday 16th November, 10am to 8pm Tuesday 17th November, 10am to 5pm SALE NUMBER OA0190 ENQUIRIES: Matthew Barton, Head of Sale Lara Defries, Administrator FREE LIVE ONLINE BIDDING

CONSULTANTS: Matilda Burn (Ceramics), Phillip Howell (Ceramics) Peter Arney (Ceramics), Jonathan Hills (Clocks) John Culme (Silver & Vertu), Suzanne Zack (Portrait Miniatures) +44 (0)20 7806 5541 decorativearts@olympiaauctions.com ONLINE CATALOGUE AND LIVE INTERNET BIDDING AVAILABLE THROUGH: www.olympiaauctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com

This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

EUROPEAN WORKS OF ART, OBJECTS & SILVER Wednesday 18th November 2026 Starting at 11am 1 A DUTCH DELFT CHARGER, 17TH / 18TH CENTURY blue and white ‘Kraak’ style, the medallion with planter and surrounding compartmented foliate and geometric border, scalloped rim, underside with alternate asterisk and roundel motifs, 39.5cm diameter £300 - 500

2 A PAIR OF DUTCH DELFT (MAKKUM TICHELAAR) WALL PLAQUES, 19TH / 20TH CENTURY shaped oval, each polychrome painted with figures and buildings by a canal within a moulded border, one marked Makkum Ti and monogrammed LB, 38cm high £300 - 400

3 A DUTCH DELFT TEA KETTLE ON STAND, PROBABLY 19TH CENTURY in Rococo style, blue and white, the spherical body painted with a courting scene to one side and a flower spray and butterfly to the other, each within a rocaille and foliate cartouche, cover with gourd finial, with silver plated hinged handle mounts and spout cover, the shaped trefoil stand on scroll feet and with two trellis and one vacant panel, conjoined AP or HP marks to undersides, 43cm high See another tea kettle on stand, apparently the same pattern, sold Lempertz, Cologne, 19 May 2023, lot 954, where reference is made to the illustration in ‘Delft, Niederlandische Fayence’ by Daniel F. Lunsingh Scheurleer, Munich, 1984, p.219, No.105 of a very similar kettle and stand apparently from the “De Twee Scheepjes” factory of the mid 18th century.

£400 - 600 3

4 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. For further details see online catalogue.

£400 - 600

5 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. £250 - 350

6 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 £250 - 350

7 A GERMAN PORCELAIN PIPE BOWL COMMEMORATING THE BATTLE OF WATERLOO, PROBABLY KPM, CIRCA 1815-30 in the white with relief busts in biscuit of Wellington and Blücher flanking a gilt ‘sun in splendour’ and above ribbon-tied laurel sprays and the motto ‘La belle Alliance’, with gilt-metal mounts, the wind-cap with a cliché to the top of the Brandenburg Gate Quadriga dated 1814, 11cm long See another example of this rare pipe at the Amsterdam Pipe Museum, No.APM 30.002. In German the erstwhile name for the famous battle was La Belle Alliance, the name of an inn near where Blücher and Wellington met the night of their victory over Napoleon. The roundel to the wind-cap celebrates the return to Berlin’s Brandenburg Gate of the Quadriga, taken by the French to Paris and repatriated following Napoleon’s first defeat in 1814.

£700 - 1,000

8 A CHELSEA BODKIN CASE, CIRCA 1765 / 70 cylindrical, the top modelled as a bust of a lady with green and red sprigged head covering and a turquoise and puce shawl, the body with gilt linear scalework surrounding a Rococo cartouche with a basket of flowers and the motto above ‘JE MATTACHE A / LA PLUS BELLE’, with gold cased foliate rim mounts and gilt-metal interior lining, 13.5cm long Provenance: Property from a Private Collection, St John’s Wood, London; Sotheby’s, London, 14 December 1972, lot 47, where noted as ‘From the Wallace Collection’. See another of the same pattern at the Musée Cognacq-Jay, Paris, Inv.No.J598, although described there as German hard paste porcelain.

£700 - 1,000 5

9 A ROYAL COPENHAGEN PORCELAIN PART TABLE SERVICE, 20TH CENTURY Blue Fluted Plain pattern, moulded with flutes and painted with blue flowers and sprigs, comprising: a shaped-oval serving bowl, a circular muffin dish and cover, seven dinner plates, eighteen luncheon plates, eight starter plates, seven side plates, four breakfast bowls, seven shallow breakfast bowls, four egg-cups on fixed stands, a coffee pot and cover, a teapot and cover, another smaller and a cover, two teapot stands, a hot chocolate pot and cover, a milk jug, a two handled sugar bowl and cover, another smaller and a cover, a small conserve pot and cover, a small oval pot, two small oval pots similar, two small circular bowls, ten teacups and ten saucers, blue triple wave and green printed factory marks, the shaped oval serving-bowl 28.2cm long; together with a Villeroy & Boch similarly patterned circular pottery serving bowl and a Furnivals Limited oval pottery serving platter (102) £1,200 - 1,800

10 A COLLECTION OF HEREND PORCELAIN, MODERN Rothschild Bird (RO) pattern, decorated with birds perched in branches and insects, comprising: a two-handled bottle cooler, a two handled baluster vase with flared neck, a two-handled campana vase, a flattened flared footed vase, a short flared beaker vase on four paw-feet, a shell-shaped dish, a spherical footed box and cover, an octagonal flared footed bowl, an oval serving-platter, a dinner plate, a crescent-shaped salad plate, a coffee pot and cover, a teapot and cover, a circular sugar bowl and cover, a two-handled oval sugar bowl and cover, a milk jug, a cream jug, a small sugar bowl, a teacup and saucer, two coffee cups and one saucer, anther similar coffee cup, a cup and trembleuse saucer, a small lobed dish, an ashtray, a small two-handled basket, a small heart-shaped box and cover, blue printed and impressed factory marks and various numerals, bottle cooler 15.2cm high (36) £700 - 1,000

11 A PARIS PORCELAIN ‘TURQUERIE’ FIGURAL MANTEL CLOCK, PROBABLY JACOB PETIT, MID 19TH CENTURY the detachable surmount modelled as an Ottoman seated on a rock clutching his sword in his left hand, in gilt and polychrome with striped tunic, orange waistcoat and cream trousers with repeat leaf motifs, a pair of pistols tucked in his waistband, the Rococo Revival clock case with gilt scrollwork, the raspberry ground with an exotic bird reserve and floral reserves to sides, with replacement white composition Arabic dial and gilt-metal beaded bezel, the French two train eight day movement with silk suspension, exterior countwheel and striking on a bell, with pendulum and key, 43cm high See Haydn Williams, ‘Turquerie: an 18th Century European Fantasy’, London, 2014, pp.210-11 for illustrations and discussion of similar models.

£800 - 1,200

12 A PAIR OF JACOB PETIT PORCELAIN VASES ON STANDS, MID 19TH CENTURY Rococo Revival, the vases of flattened oval section with waved shell moulded rims, richly scrolled handles and feet including dolphins, fixed to canted rectangular plinths on scroll bases, green ground with gilt detailing, the vases each with a cartouche painted with three rustic figures to the obverse and a cartouche of flowers to the reverse, the stands with flowered ovals to front and back, 44cm high, blue j.p. marks to undersides £500 - 800 8

13 A PAIR OF ROCKINGHAM PORCELAIN TOPOGRAPHICAL PLATES, 1826-30 with gilt edged roundels painted with views of the Rievaulx Terraces within pink borders and gadroon moulded shaped rims in the white with gilt details, one titled to reverse ‘South Temple’, the other ‘Rievaulx Terrace’, red Griffin mark, 24cm diameter £200 - 300 14 A MOSER ENAMELLED GLASS JUG AND TWO MATCHED CUPS, ALL LATE 19TH CENTURY the jug of pinched quatrefoil form, enamelled all-over with trailing oak boughs with applied silvered acorns, an insect enamelled below the lip, gilt pattern number 479 to underside, 16.5cm high, tapered cylindrical cups, each enamelled with vine-leaves and an insect above applied beads as a bunch of grapes, applied with gilt reeded C-shaped handles £300 - 500

15 A PAIR OF ALPHONSE CYTERE (RAMBERVILLIERS) LUSTRE BOOKENDS, EARLY 20TH CENTURY formed as an opposing pair of silvery green ‘grès flammés’ seals posed on rocks, each with impressed ‘A.Cytère/Rambervilliers’ and ‘UNIS FRANCE’ marks, 20cm high £200 - 300

LOTS 16-23 PROPERTY FROM A PRIVATE COLLECTION, ST JOHN’S WOOD, LONDON

16 A RENÉ LALIQUE OPALESCENT GLASS ‘GUI’ VASE, CIRCA 1930 No. 948 designed 1920, with some pale blue staining, bulbous and moulded with mistletoe, carved ‘R. Lalique France No.948’ to footrim, 17cm high £400 - 600

17 SIDDY LANGLEY (B.1955): TWO SMALL STUDIO GLASS VASES, LONDON GLASSWORKS, ROTHERHITHE, 1982 AND CIRCA bulbous, one marbled in iridescent silver, bronze and blues, the other smaller and swagged in silver and blues, each etched with signature and L.G.W., larger pot dated ‘82, 9.5cm and 7cm high £80 - 120 10

18 MARY RICH (1940-2022): PORCELAIN FOOTED BOWL circular, with gilt, purple and turquoise geometric banding to both interior and exterior, impressed potter’s seal, 24.5cm diameter Provenance: Bonham’s, London, 19 June 1991, lot 85 ⊕ £150 - 250

19 DAVID LEACH (1911-2005): STONEWARE FOOTED BOWL the circular deep bowl with irregular flutes of tenmoku and grey-green and a mottled interior, impressed potter’s seal, 16.5cm high Provenance: Bonham’s, London, 14 November 1990, lot 27 ⊕ £200 - 300

20 GABRIELE KOCH (B. 1948): FOOTED BOWL burnished earthenware in cream to dark brown/black patterning, incised signature to underside, 11.5cm high Provenance: Bonhams, London, 19 June 1991, lot 170 ⊕ £200 - 300

21 DAME LUCIE RIE (1902-1995): STONEWARE FLARED LIP BOTTLE VASE with circular base rising to an oval shoulder and neck and lightly dished everted circular rim, the mixed clays producing subtle spirals of pale blues and browns, impressed LR seal, 17.5cm high Provenance: Bonham’s, London, 26 March 1992, lot 222 ⊕ £3,000 - 4,000

22 DAME LUCIE RIE (1902-1995): STONEWARE ‘POTATO’ POT mixed clays creating an integral blue and pink pitted spiral, squeezed to an oval turned-in lip, raised LR mark, 10cm high ⊕ £1,000 - 2,000

23 DAME LUCIE RIE (1902-1995): STONEWARE POT WITH OVAL LIP with irregular bands in greys and beiges and white highlights, impressed LR seal, 12.3cm high ⊕ £1,000 - 2,000

OTHER PROPERTIES

24 A LARGE RUSSIAN ENGRAVED GLASS BEAKER, PROBABLY IMPERIAL GLASS FACTORY, ST PETERSBURG, LATER 18TH CENTURY decorated with a frieze with a church and a kneeling huntsman firing at a bird amidst Rococo foliage, 15cm high £300 - 500

25 A LARGE RUSSIAN ‘GOLDEN RUBY’ GLASS TAZZA, PROBABLY IMPERIAL GLASS FACTORY, ST PETERSBURG, CIRCA 1830 the deep red laid over clear glass, the bowl with overturned shaped rim and secured to the bulged stem and faceted foot with a gilt-bronze rosette, with gilt borders and bands of scrolling foliage, 29cm high Making ‘Golden Ruby’ glass at this period was an expensive and difficult process, requiring the precipitation of gold and other salts in the glass to produce the gem-like colour. An appraisal of the tazza carried out for the vendor’s parents at the Tsaritsyno Museum by T.D. Karyakina in 1998 proposes that: ‘It is highly probable that the vase was made at the Imperial Glass Factory, as the manufacture of large-scale glass objects was only possible for a very advanced production facility.’ ‡ £2,000 - 3,000

26 A RUSSIAN PORCELAIN ‘GENERAL VON DRIESEN’ PORTRAIT CUP AND SAUCER, PROBABLY POPOV FACTORY, GORBUNOVO, CIRCA 1830 the footed vase-shaped cup with bands of gilding and an oval painted en grisaille with the bust of the General, Friedrich Wilhelm von Driesen (or Fyodor Vasilyevich Drizen, 1781-1851), rosette headed handle, with gilt bands to saucer, 12cm high overall ‡ £1,500 - 2,500

27 A RUSSIAN PORCELAIN ‘FIELD MARSHAL PRINCE KUTUZOV’ PORTAIT CUP AND SAUCER, POPOV FACTORY, GORBUNOVO, CIRCA 1830 the cylindrical cup gilded against the rectangular reserve painted en grisaille with the profile bust after a print by Salvatore Cardelli (1773-1840), saucer gilded, A1 underglaze blue mark to saucer, 7cm high overall Provenance: Sotheby’s, New York, 16 April 2007, lot 131 ‡ £1,500 - 2,500

28 A RUSSIAN PORCELAIN TEAPOT AND COVER, GARDNER FACTORY, VERBILIKI, LATE 18TH CENTURY pedestal urn shaped, the white body with sprigs of wildflowers, the spout with laurel swags, the spiral fluted cover with knop formed as an overturned vessel spilling water, with angular handle, unmarked, 21.5cm high See another teapot of the same pattern, marked underglaze G factory mark and impressed circle and stick twice, offered Bonhams, London, 28 November 2012, lot 163, and a similar example apparently originally in the Hermitage and listed in ‘Porcelain in Russia, 18th-19th century’, State Russian Museum, Palace ed., 2003, cat 93. The shape appears to be after the teapot attributed to designs by G.I. Kozlov for the Orlov service at the Imperial Porcelain Factory. ‡ £600 - 900

29 A RUSSIAN PORCELAIN FRUIT BASKET, IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF NICHOLAS I (1825-55) the Rococo Revival shaped oval trellis openworked basket applied with flower trails and naturalistic branch feet and handles, the cartouches painted with a stag and a figure in landscapes, gilt detailing, blue cipher, 35cm long £1,500 - 2,500 17

30 TWO RUSSIAN PORCELAIN PLATES WITH LATER ‘MILITARY’ DECORATION, 19TH / 20TH CENTURY one painted with two soldiers of the Semyonovsky Regiment in a landscape, red border with gilt details and rims, underside with apocryphal Cyrillic inscription reading in translation ‘Privates / of the Life Guards Semyonovsky Regiment’, underglaze blue A1 Popov factory mark, 23.5cm diameter; the other with two soldiers from His Majesty’s Hussar Life Guards Regiment, grey border with gilt detailing, underside with Imperial Porcelain Factory Nicholas I period printed blue cipher, 24cm, crack through ‡ £300 - 500

31 A RUSSIAN PORCELAIN VASE, IMPERIAL PORCELAIN FACTORY, PERIOD OF NICHOLAS I (1825-55) AND LATER DECORATED ovoid, decorated circa 1900 in gilt, silver and bronze with flowers and foliage between reserved white bands, with a gilt-metal stylised leaf rim applied at the same time, underglaze blue cipher, 23cm high ‡ £800 - 1,200

32 A RUSSIAN ICON OF THE MOTHER OF GOD OF THE SIGN (ZNAMENIE), MOSCOW OR PALEKH SCHOOL, EARLY 20TH CENTURY painted in egg tempera and gilt on gesso and wood, 108 x 80cm ‡ £1,200 - 1,800

33 A RUSSIAN ICON OF SAINT ALEXANDER NEVSKI, MOSCOW SCHOOL, CIRCA 1900 painted in egg tempera and gold on gesso on wood, 71 x 57cm ‡ £1,500 - 2,500

34 A SET OF TWELVE MENALOGICAL RUSSIAN ICONS, MOSCOW SCHOOL, LATE 19TH CENTURY egg tempera on gesso and wood, each gilt ground panel titled for the month above four registers of painted figures for the relevant saints and titles of the feast days of the liturgical calendar of the Orthodox church, with red, green and blue geometric borders, January panel 35 x 27cm It is rare to find full sets of twelve panels of icons representing the liturgical year: for another similarly sized set mounted in a three-part steel frame see Sotheby’s, Amsterdam, 22 February 2006, lot 557; for a set of smaller panels see Hargesheimer, Düsseldorf, 7 April 2017, lot 302. ‡ £6,000 - 8,000

34 21

36 35 A RUSSIAN ICON OF THE VIRGIN ELEUSA, 19TH CENTURY egg tempera on gesso and wood, the Virgin & Child surrounded by gesso borders impressed with scrolls and diaperwork and showing traces of gilding, 32 x 26.5cm Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£180 - 220 36 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 £200 - 300 37

A RUSSIAN ICON OF ST JOHN THE FORERUNNER, 19TH CENTURY

A RUSSIAN ICON OF ST THEODORE TYRO, 19TH CENTURY

egg tempera on gesso and wood, 38.5 x 29cm £300 - 400

after the Stroganov School master Nikifor Istomin Savin, egg tempera on gesso and wood, kovcheg with camel ground titled border, 30.5 x 26.5cm £250 - 350

38 22

39 A RUSSIAN ICON OF THEODORE MOTHER OF GOD (FEODOROVSKAYA), MOSCOW OR KOSTROMA SCHOOL, 19TH CENTURY, IN ASSOCIATED OKLAD painted in egg tempera and gesso on wood, the apparently lacquered silver oklad chased with scroll foliage, pilasters and with applied crowned halo, unmarked, 66 x 52cm ‡ £2,000 - 3,000

40 A RUSSIAN ICON OF VARIOUS SAINTS IN A SILVER-GILT OKLAD, MAKER’S MARK APPARENTLY BS (IN CYRILLIC), MOSCOW, 1864 painted in egg tempera and gold on gesso and wood with scenes of the Synaxis of the Archangels and St Tryphon above, below with St Catherine and the Holy Fools with faceted paste set haloes, each scene with enamel title in gilt, with foliate strapwork border, 31 x 26.5cm ‡ £800 - 1,200

41 AN ‘OLD BELIEVER’ RUSSIAN ICON OF THE THREE HOLY HIERARCHS IN A SILVER OKLAD, MAKER’S MARK FS (IN CYRILLIC), YAROSLAVL, 1857 painted in egg tempera on gesso and wood, the oklad chased with the vestments and titled for St Basil, St Gregory the Theologian and St John Chrysostom below clouds and applied haloes, the border with scrolls and foliage, assay master Alexander Kudrin, 43 x 45cm ‡ £800 - 1,200

42 A SET OF THREE RUSSIAN ICONS FORMING AN EXTENDED DEISIS, EARLY 19TH CENTURY painted in egg tempera on gesso and wood in 16th century revival style, the central panel with Christ Enthroned, the flanking panels with the Virgin, John the Baptist and Archangels, approximately 44 x 34.5cm ‡ £4,000 - 6,000

43 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

£200 - 300

44 A RUSSIAN ICON OF THE VIRGIN OF VLADIMIR, CIRCA 1800 egg tempera on gesso and wood, with four saints to the border, 44 x 35cm. £200 - 300

45 A RUSSIAN ICON OF THE ANNUNCIATION WITH SILVER BASMA, ST PETERSBURG, 1775 icon in egg tempera on gesso and wood, with applied silver haloes and a silver frame chased with shell motifs to the corners and scrolls and foliage between, frame with city mark and I.B in a shaped punch and cyrillic P:E in a rectangular punch, one halo with city mark and indecipherable mark, the other with indecipherable mark, 31.5 x 26.5cm £300 - 500

46 A RUSSIAN ICON OF THE PRESENTATION OF THE VIRGIN IN THE TEMPLE, PERHAPS ST PETERSBURG, 18TH CENTURY egg tempera and gesso on wood, 70 x 46.5cm ‡ £1,200 - 1,800

47 A RUSSIAN ICON OF THE ADORATION OF THE VIRGIN OF MERCY BY SELECTED SAINTS, MOSCOW SCHOOL, 18TH CENTURY painted in egg tempera and gesso on wood to the top half with a panel of the ‘Joy of All Who Sorrow’ Virgin Mary and four flanking busts of saints, below with six full-length saints, with blue ground title cartouches, 92 x 71cm ‡ £1,500 - 2,500

48 A RUSSIAN ICON OF ST PARASKEVA PYATNITSA, CIRCA 1700, WITH SILVER-GILT OKLAD, EMELIAN KUZNETSOV, MOSCOW, CIRCA 1911 egg tempera on wood, the chased oklad with foliate scroll border and applied with a halo of cloisonné enamel on a matted ground and a champlevé enamel title plaque, the reverse applied with a silver-gilt dedication panel, maker’s and kokoshnik marks to oklad, halo, plaque and panel, 32.5 x 26.5cm The dedication panel to the reverse reads in translation: In the Year of Our Lord Jesus Christ 1911 in the month of October / this silver riza was laid in the Kuzherchy Church / on the icon of Saint Paraskeva Pyatnitsa (Friday) / by the servant of God Nikolai /let the Reverend Priest pray for his sinful soul after his death.

£2,000 - 3,000 29

49 A RUSSIAN ICON OF ST JOHN THE THEOLOGIAN WITH ST COSMAS AND ST DAMIAN, 17TH CENTURY egg tempera on gesso and wood, the titled saints in a flowering meadow and flanked by smaller depictions of the Archangel Raphael and St Hilarion, 38.5 x 32cm, with exhibition catalogue and letters regarding the exhibition Exhibited: Hove Museum of Art, ‘Russian Art and Life’, 17 June to 16 July 1961, No.12, described in the catalogue as ‘School of Nicholas Savin of Moscow, 17th century.’ Provenance: Mrs Edwards, Hove, since at least 1948, thence by descent to the vendor.

£300 - 500 49 50 A RUSSIAN ICON OF ST NICHOLAS, 16TH CENTURY WITH 20TH CENTURY RESTORATION egg tempera on gesso and wood, 28.5 x 23cm £400 - 600 51 AN ICON OF THE DEESIS, NORTHERN GREECE, 18TH CENTURY

egg tempera on gesso and wood, 23 x 17cm £200 - 300

52 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 £1,500 - 2,500 52

53 AN ICON FRAGMENT WITH SAINTS PETER AND PAUL, GREEK, CIRCA 1700 the break arch panel painted on a gilt ground, formerly the central panel of a triptych, 16.5 x 13.5cm, within a peach velvet mount and giltwood frame 31.5 x 29cm £200 - 300

54 AN ICON OF PRESENTATION OF CHRIST IN THE TEMPLE, CRETAN SCHOOL, CIRCA 1600 egg tempera on gesso and wood, applied borders, 29 x 23cm £500 - 800

55 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 Provenance: Nikki Constable-Maxwell (1920-2016) by whom bequeathed to the vendor. American born Militza (known as Nikki) Kerkes married Andrew Constable-Maxwell OBE MC (1906-1990) in the Blessed Sacrament Chapel of the Vatican Basilica on 26 February 1949. Originally a London merchant banker, Andrew Constable-Maxwell moved to the Vaud canton near Geneva after the war. The couple were great collectors, amassing among other things the ‘Constable-Maxwell Collection of Ancient Glass: The Property of Mr. and Mrs. Andrew Constable-Maxwell’, sold by Sotheby’s, London, 4/5 June 1979, which included a famously twice record-breaking diatretum (Roman lamp or cage cup). 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

56 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.

£1,500 - 2,500

57 A NOTTINGHAM ALABASTER FRAGMENTARY FIGURE OF ST PETER, 14TH CENTURY carved in high relief and holding key and bible, his robes retaining red paint to the folds and partially covering his bare feet above a canted base retaining green paint with red and white dotting, head lacking, 34cm long Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£800 - 1,200

58 A HEAD OF AN APOSTLE, FRENCH 14TH CENTURY STYLE the three-quarters carved walnut with boldly undercut curled hair and beard, fixed to a bronze patinated metal square base, base 6cm high, head 30cm high ‡ £300 - 500

59 A SWISS ‘BLACK FOREST’ FIGURE OF A WILD BOAR, PETER BURI, BERNESE OBERLAND, LATE 19TH CENTURY carved in walnut in aggressive pose on a rocky outcrop inscribed to front ‘PETER BURI’, with canted rectangular base, underside inscribed in ink ‘27H’, 20cm long Peter Buri appears to have specialised in the carving of wild animals: see another wild boar figure acquired in 1909 by the The University of Nebraska State Museum of Natural History: Morrill Hall (https://x.com/MorrillHallUNL/status/1646589074965241857 accessed 10.08.2026) and one sold Gorringe’s, Lewes, 12 September 2022, lot 251; also records of a deer in walnut exhibited at the Swiss ‘Landesausstellung’ in Zurich in 1883 (https://museum-holzbildhauerei.ch/ brienzer-international/ - accessed 10.08.2026). Another Peter Buri wild boar may be found online stamped to the reverse of the base ‘J. HUGGLER. LAUTERBRUNNEN’, almost certainly for retail in the wood carving shop of J. Huggler in Lauterbrunnen (https://www.danielsantiques.com/all/p/ black-forest-wild-boar-c-1900 - accessed 10.08.2026). Understandably this Johann Huggler (1861-1913) of Lauterbrunnen and Mürren, also a wood carver as well as a retailer, may be easily confused with the famous carver Johann Huggler (1834-1912) of Brienz, but records reveal they were two different people.

£200 - 300 36

60 AN ITALIAN WALNUT CAPPELLIERA (HAT RACK), PROBABLY LOMBARD, 16TH / 17TH CENTURY with leaf carved cornice, apron and borders to the four panels each centred by a probably later turned peg, with dentil border above and scroll carved ends, 86cm long For a similar cappelliera see Licia Bertani, ‘The Horne Museum, A Florentine House of the Renaissance’, Florence, 2001, p.26, Inv.6507; also see another sold Sotheby’s, London, 29 October 2008, lot 102 and one sold Heritage Auctions, Dallas, 17 April 2025, lot 61031.

£500 - 700

61 A PAIR OF BRASS ALTAR PRICKET CANDLESTICKS, PROBABLY SOUTHERN NETHERLANDS 17TH CENTURY typical form, the triform bases with leaf-headed ball and claw feet with seraph heads between, the stems knopped below spiral twists and drip-pans, 53cm high ‡ £200 - 300

62 TWO GERMAN BRASS ALMS DISHES, PROBABLY NUREMBURG 16TH / 17TH CENTURY each with a gadrooned boss within a band of encircling Gothic script, the rims punched with flowerhead and leaf motifs, 36 and 38.5cm diameter ‡ £300 - 400

63 ◉

A SOUTH GERMAN TABLE CABINET, PROBABLY NUREMBERG 1590s rectangular, the twin doors opening to variously sized drawers with reeded moulding arranged around a cupboard, veneered in ebony, freshwater mother-of-pearl, ivory and probably staghorn with geometric patterned panels surrounding seven figures from the series ‘Officers and Soldiers’ after Hendrick Goltzius, with softwood carcass and pearwood drawers lined with contemporary red marbled paper, the sprung door catch and carrying handles to sides in gilt-metal, with apparently later iron lock, escutcheons and key, 37 x 54 x 28cm Provenance: General Baron Karl von Preuschen (1862-1925) and his wife Hedwig (née Koehler, 1879-1955) of Darmstadt, Germany; thence by family descent to the vendor. In 1587 Hendrick Goltzius (1558-1617) published in Haarlem a series of twelve prints ‘Officers and Soldiers of the Bodyguard of Emperor Rudolph II’, the original Goltzius designs engraved by his pupil Jacques de Gheyn II (1565-1629). The figures on this cabinet, obviously inspired by these prints, depict to exterior left side: ‘Sergeant’; front: ‘Soldier with Arquebus’ and ‘Musketeer’, right side: ‘Provost’; and to the interior from left to right: ‘Lieutenant Colonel’, ‘Standard Bearer’ and ‘Treasurer’. A number of Nuremberg produced firearms are known featuring similar geometric inlays of freshwater mother-of-pearl, the stocks commonly attributed to the so-called ‘Master of the Castles’ (for further details see a wheel-lock holster pistol sold in this room, 28 June 2006, lot 433); also compare a cabinet, similarly patterned but without nacre inlays, sold Bonham’s, London, 10 July 2007, lot 11, where described as Milanese. Whilst comparable cabinets may be found, the closely combined use of ivory or staghorn and freshwater mother-of-pearl inlays seen in this cabinet, particularly on the ‘Standard Bearer’ figure to the cupboard door, is quite remarkable. Ivory Declaration Submission Reference: E6W21JJU

£3,000 - 5,000

64 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.

£1,200 - 1,800 40

65 AFTER THE ANTIQUE: APOLLO BELVEDERE a patinated French bronze figure, probably Paris later 19th century, on oval self-base with A. Collas reduction roundel, 45cm high £700 - 1,000

66 AFTER FRANCOIS-MARIE SUZANNE (CIRCA 1750-AFTER 1802): BUST OF VOLTAIRE (FRANCOIS-MARIE AROUET, 1694-1778) a French patinated bronze bust, probably second quarter 19th century, finely detailed in full curled wig, frilled shirt and frogged coat, on slender socle and a fluted column resting on a gilt laurel wreath and square rouge griotte marble base, 26cm high overall Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth The bust is taken from a full length plaster figure, executed with its companion, a figure of Rousseau, by the little known French sculptor François-Marie Suzanne, the pair presented in 1792 to the French revolutionary parliament. Bronze versions were cast as both figures and busts, which are commonly misattributed to Rosset or Caffieri: see a pair figures sold in this room, 24 May 2023, lot 69; a bust held by the Fitzwilliam Museum, Cambridge, Inv.No.M.121-1961, and a pair figures held by the Louvre, Paris, Inv.No.OA 5297/8.

£500 - 700 41

67 FRANCOIS-THEODORE DEVAULX (1808-1870): THE SIGNING OF THE MAGNA CARTA a French patinated bronze group, Paris, second half 19th century, depicting the event in June 1215 as a seated King John with the scroll over his lap flanked by the Archbishop of Canterbury (Stephen Langton) and the Earl of Albemarle, dais inscribed to side ‘DEVAULX’, oblong base numbered 1649, base 50.5cm long Associated literature: Pierre Kjellberg, ‘Bronzes of the 19th Century: Dictionary of Sculptors’, London, 1994, p.287

£2,000 - 3,000

68 CHARLES LEONARD HARTWELL (1873-1951): THE RISING TIDE a patinated bronze figure, circa 1905, modelled as a young woman apparently recoiling from the water, nude except for a scarf to her hair, with wave-like base signed in the bronze to side C.L. Hartwell, affixed to a spreading square short plinth, 83cm high overall Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth Hartwell exhibited at the Royal Academy from 1900, becoming an ARA in 1915 and RA in 1924, having trained at the Royal Academy Schools from 1896 as well as receiving private tuition from the sculptors Edward Onslow Ford and Hamo Thornycroft. ‘The Rising Tide’ was exhibited at the Royal Academy in 1905 and then at the Glasgow Institute of Fine Arts in 1908 and 1919 and also at the Leeds City Art Gallery in 1909 and the Bristol Academy in 1910. See another sold Sotheby’s, London, 20 April 2005, lot 104.

£2,000 - 3,000

69 ◉

PETER TERESZCUK (1875-1963): PIERROT a patinated bronze and ivory figure, Vienna, early 20th century, retailed by Nissel & Sikora, in typical costume with carved ivory face under a bronze cap, modelled as if holding and blowing a pipe (pipe lacking), hexagonal base with AT monogram, to a square onyx stand applied to side with a Nissel & Sikora bronze plaque, 16cm high overall Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth Ivory Declaration Submission Reference: J68QNUMF

£150 - 250

70 CONSTANTINOS DIMITRIADIS (1879-1943): PROFILE OF STACIA NAPIERKOWSKA a plaster relief profile bust, Paris, circa 1918, titled ‘STASIA / NAPIER- / KOWSKA’ and inscribed lower right ‘C.D. / PARIS / 1918’, 17.5 x 15.5cm excluding oak frame Stacia (in Polish commonly spelt Stasia) Napierkowska (1891-1945) was a celebrated dancer and star of the silent screen in early 20th century Paris. The National Gallery (Alexandros Soutsos Museum) in Athens holds a version in bronze of this relief (Inv.No.889) as apparently do the heirs of the artist’s wife. Dimitriadis also used Napierkowska as the model for his marble ‘Dancer’ (National Gallery, Alexandros Soutsos Museum, Athens, Inv. No.Π.1888) of 1920.

£200 - 300 44

71 A TOLEWARE ‘PULAT’ TRAY, PROBABLY GERMAN, LATE 19TH CENTURY oval, red ground set with a large shaped panel of an overpainted print of the Inner Alster at Hamburg, surrounding gilt border interrupted by four floral panels with floral sprays above, typical riveted brass loop handles, 60cm long Such ornamented trays, often termed ‘Pulat’ trays, were an essential item for any self-respecting household of the emerging bourgoisie in the later 19th century Ottoman and Greek world. Produced in large numbers in Germany and probably also in France, primarily for export to the Eastern Mediterranean, it is rare to find such a ‘local’ view depicted.

£150 - 250

72 A PAIR OF GILTWOOD SUNBURST CONVEX MIRRORS, 20TH CENTURY each circular glass within a fluted border raised above two bands of rays, 73cm diameter £500 - 700

73 A PAIR OF GILT AND PATINATED BRONZE CHINOISERIE FIGURAL CANDLESTICKS, PROBABLY BALTIC, EARLY 19TH CENTURY the opposing stems modelled as a man and a woman each steadying with one hand the filigree panier and milled sconce balanced on their head, with milled detachable nozzles, on Belgian black marble and gilt-bronze plinths, 25.5cm high Provenance: Property from a Private Collection, St John’s Wood, London

£300 - 500

74 A PAIR OF ITALIAN ‘GRAND TOUR’ BRONZE POMPEIAN CANTHARI (PEDESTAL CUPS), GIUSEPPE POLLICE FOUNDRY, NAPLES, LATER 19TH CENTURY after the Antique, the bowls cast in high relief with centaurs and amorini, each with twin loop handles and short pedestal foot with border of heart shaped motifs, each inscribed to underside of foot ‘G. Pollice Nap.’ and affixed with a long screw to a square wood pedestal painted to simulate Siena marble, with brass liners, bronze 14cm high, 24cm high overall Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth Modelled after a pair of 1st century CE silver Canthari (Kantharoi in Greek), part of a horde of silver discovered by William Zahn (1800-1871) in 1835, during excavations at a villa on the Via Mercurio in Pompeii. The original cups are at the National Archaeological Museum in Naples (Inv.Nos.25376/7). Giuseppe Pollice (b.1833) operated a workshop known for Grand Tour souvenir bronzes, many of them inspired by artefacts at Naples’ Archaeological Museum.

£250 - 350 46

75 A PAIR OF DERBYSHIRE BLUE JOHN PEDESTAL URNS, 19TH CENTURY campana form with reeded girdle, on square Ashford black marble bases, 15cm high £800 - 1,200

76 A DERBYSHIRE BLUE JOHN BOTTLE VASE, 19TH CENTURY of sectional construction with a band to the neck and three section bulbous body, 11.5cm high £300 - 500

77 A GEORGE III PAPER SCROLL SET TEA CADDY, DATED 1798 elongated hexagonal, set with glazed panels of flowers in coloured paper and tinsel work on quartz like grounds, the fruitwood veneered framework with ebonised banding, inscribed around the key escutcheon ‘S W / 17 98’, void interior, 18cm long Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£500 - 700

78 ◉

A CARD BOX, ENGLISH, EARLY 20TH CENTURY in the form of a Georgian knife box, the sides and back mahogany veneered, the shaped front and sloping top in tortoiseshell, decorated with silver piqué placé foliate swags and a vacant oval, applied with silver scroll and flowerhead borders, blond wood compartmented interior containing cards and Bridge book, 13.5cm high £100 - 150

79 THREE SCRIMSHAW GAMING BOXES, PROBABLY AMERICAN, 19TH / 20TH CENTURY each of bone with black incised decoration, comprising: a rectangular card box, the cover polychromed with a Joker in a lozenge flanked by cards for the King and Queen of Spades on a simulated fishskin ground, containing a full deck of polychromed playing card tiles including two Jokers, box 10.5cm long; a cylindrical dice box and cover en suite, the sides polychromed with the same playing cards between dice and the card suites, containing six dice, box 4.2cm high; and a set of twenty-eight domino tiles in a rectangular box with sliding cover, box 7.3cm long £500 - 700 48

80 A FRENCH FROSTED GILT-BRASS REPEATING CARRIAGE CLOCK, HENRI JACOT OF PARIS, CIRCA 1885 eight day twin barrel movement, platform lever escapement, striking the hour, half hour and hour repeating on a gong, backplate with HJ parrot trademark, numbered to backplate and case 4748, white enamel dial with Roman chapter ring and outer minute track with Arabic five minutes, bevelled rectangular case with fluting to the canted corners, bevelled glazing, 16.5cm high with fluted handle raised £400 - 600

81 A FRENCH GILT-BRASS MINIATURE CARRIAGE CLOCK, HENRI JACOT OF PARIS, CIRCA 1890 timepiece movement with platform lever escapement, backplate with HJ parrot trademark and serial number 8187, white enamel Roman dial and spade hands, Corniche case with bevelled glazing and corresponding serial number to base, with key and leather case complete with slide and glass, 9.5cm high with handle raised Provenance: Property from a Private Collection, St John’s Wood, London

£200 - 300

82 A FRENCH GILT-BRASS REPEATING CARRIAGE CLOCK, LATER 19TH CENTURY movement with platform lever escapement and striking the hours and a half hour strike on a gong, with hour repeat, circular white enamel dial with blue Roman numerals and gilt outer Arabic five minutes behind an engine-turned mask, Gorge case, with key and associated leather carrying case, 13.8cm high with handle raised Provenance: Property from a Private Collection, St John’s Wood, London

£400 - 600

83 A VICTORIAN GILT-BRASS CARRIAGE CLOCK, PERHAPS THOMAS AND JAMES COLE, LONDON, 1840s English fusee timepiece movement, silvered circular dial with engraved scroll foliage, black Roman numerals and subsidiary seconds dial at XII, the gilt-brass mask finely engraved on a linear ground with Rococo scrolls and foliage and a bird of prey attacking a snake, the case with fluted pillars below ball and bun finials, with square tapered pad feet, the recessed side panels finely engraved on the same linear ground with a pair of Rococo herms holding aloft foliage and an urn, the top panel with a weasel chasing a mouse through scroll foliage, with later carrying case and key, 12cm high with handle raised Provenance: Property from a Private Collection, St John’s Wood, London

£1,500 - 2,500

84 A FRENCH BRASS CARRIAGE CLOCK WITH TWENTY-FOUR HOUR ALARM, DELEPINE-LEVALLOIS-BARROIS, ST NICHOLAS D’ALLIERMONT, CIRCA 1900 timepiece movement with platform cylinder escapement and alarm function ringing a bell mounted to underside, backplate with DLP four-leaf clover stamp, small white alarm dial with twelve daytime hours in red and night-time hours in black and ‘Silence / Alarm’ lever, plain white enamel Roman dial, Corniche case, with associated carrying case and key Provenance: Property from a Private Collection, St John’s Wood, London

£150 - 250

85 A FRENCH GILT-BRASS SMALL CARRIAGE CLOCK WITH ALARM, LATE 19TH CENTURY timepiece movement with platform lever escapement and alarm function on a bell, blue enamel chapter ring and subsidiary alarm dial with Arabic numerals behind a frosted gilt mask, Anglaise Riche frosted gilt case with Corinthian three-quarter column corners, angular handle, bevelled glass, with associated case and key, 14cm high with handle raised Provenance: Property from a Private Collection, St John’s Wood, London

£300 - 400

86 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, with case key and calendar adjuster but no winder, clock 39cm high, 67cm overall 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.

£400 - 600

87 A FRENCH GILT-METAL FIGURAL MANTEL CLOCK, PARIS, MID 18TH CENTURY two train movement with silk suspension and exterior count wheel, the white enamel Roman dial signed for the retailer ‘GIACOMO TORRE / A FIRENZE’, the Rococo Revival scrolled case surmounted by a figure of Diana the Huntress standing beside her hound and before bocage, with key and pendulum, 36cm high £200 - 300

88 A FRENCH ORMOLU-MOUNTED MARBLE MANTEL CLOCK, RAINGO FRERES, PARIS, THIRD QUARTER 19TH CENTURY after a design by Robert Osmond of about 1775, the twin train eight day movement with exterior count wheel and striking the hours on a bell, backplate stamped with Raingo Freres roundel and numbered 1502, white enamel dial with blue Roman numerals and black outer five minutes in Arabic numerals, signed ‘RAINGO FRES / A PARIS’, the Louis XVI style rouge griotte marble domed rectangular case on shaped plinth surmounted by a victory trophy and applied with Neo-classical foliate motifs and flanking cornucopiae, on six lobed feet, with pendulum and key, 44.5cm high The original design by Robert Osmond (1711-1789) may be found at the Bibliothèque Doucet in Paris, No.111 in his ‘Livre des Desseins’ of 1775, described as ‘…Architecture Colonne Vase’ (H. Ottomeyer, P. Pröschel et. al., ‘Vergoldete Bronzen’, Munich, 1986, Vol I, p.228, fig 4.1.7) Raingo Frères became one of the best established bronziers and clockmakers of Second Empire Paris, supplying to Napoleon III as well as Empress Eugenie and exhibiting at the 1862 International Exhibition in London and the Paris World Fairs of 1867 and 1878, winning a gold medal the 1889 Exposition Universelle. See another Raingo clock of the same pattern but in ormolu with white marble plinth, sold Sotheby’s, New York, 13 April 2016, lot 516.

£600 - 800 53

89 A BURMESE SILVER BOWL, RANGOON OR MANDALAY, CIRCA 1900 of ‘Thabeik’ form, richly chased with a frieze of scenes from Burmese legends including royal figures and kinnaris below foliate arcading and a corded border and above a stylised leaf border, the underside flat-chased with a peacock on a matted ground roundel with punched scroll border, 20cm diameter, 813g Wynyard Wilkinson states ‘There are a number of variations of ‘peacock’ signatures, probably referring to different makers, all of whom are indirectly claiming past royal patronage. Pieces signed by the ‘peacock’ makers are always of very good quality workmanship’ (‘Indian Silver 1858-1947’, London, 1999, p.41). The peacock medallion was the emblem of the Konbaung dynasty.

£1,000 - 1,500

90 AN IRAQI SILVER TRAY, UNMARKED, FIRST HALF 20TH CENTURY shaped oval, wriggleworked with an elongated vacant medallion, the everted rim with pierced panels and integral handles, 54cm long, 1364g £800 - 1,200

91 A CONTINENTAL SILVER CUP, MAKER’S MARK TL ONLY, PERHAPS DUTCH 17TH CENTURY the hexafoil bowl chased with tulips alternating with matted panels, the spreading hexagonal stem chased with further tulips alternating with applied caryatid scroll brackets, circular foot with further matted and floral chased panels, 9.5cm high See another intriguing cup of similar size, tulip chased and with hexagonal stem, but applied with wyvern brackets, described as probably Dutch, 17th century, sold Sotheby’s, London, ‘The Gustav Leonhardt Collection, Property from the Bartolotti House, Amsterdam’, 29 April 2014, lot 403

£500 - 700

92 A GERMAN SILVER BOWL, L. NERESHEIMER & CO., HANAU, CIRCA 1911 the hexafoil lobate bowl on three cast Renaissance dolphin feet, with pseudo marks and import marked for Berthold Muller, London, 1911, 19.5cm widest, 486g Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£500 - 700

93 A WINE COOLER, GREEK, SECOND HALF 20TH CENTURY urn form, the body with curved lobes and applied with two cast griffen head handles with drop rings, applied to the rim with a cast grape-laden vine border, piedouche with further lobing, stamped ‘925’, 25cm high, 1063g £1,000 - 1,500

94 A BOWL ON FOOT, GREEK, SECOND HALF 20TH CENTURY circular, chased with a matted-ground band of grape-laden vine interrupted by four vacant cartouches below an openwork cast leaf rim and applied scrolling foliate handles, piedouche base similarly chased, on four openwork scroll panel feet, stamped ‘925’, 32cm long, 1156g £1,000 - 1,500

95 TWO TRAYS, GREEK, SECOND HALF 20TH CENTURY one shaped oblong, one shaped oval, both with foliate chased borders and applied cast scroll foliate end handles, both stamped ‘925’, 40cm and 34cm long respectively, 987g £1,000 - 1,500

96 A SET OF FOUR DISHES, GREEK, SECOND HALF 20TH CENTURY plain circular, with applied entrelac rims, stamped workshop number ‘E.72’ and ‘925’, 17.5cm, 785g £700 - 1,000

97 A DANISH ‘SKØNVIRKE’ SILVER FOUR-PIECE TEA AND COFFEE SET, GRANN & LAGLYE FOR RETAIL BY LAURITS BERTH, COPENHAGEN, 1913 with beaded borders, hammer-finishing and abstract chased panels and borders, 826 standard, also with Christian F. Heise assay master’s and ‘Dansk Arbejde’ marks, 1361g including ebonised handles The ‘Dansk Arbejde’ mark (Danish Work) is for a promotional association and quality standard established in 1908 to support national Danish craftsmanship and manufacturing.

£1,000 - 1,500

98 A DANISH SILVER TRAY, GRANN & LAGLYE FOR RETAIL BY LAURITS BERTH, COPENHAGEN, 1931 oval, applied to the rim with oblong beads, 826 standard, also with Christian F. Heise assay master’s and ‘Dansk Arbejde’ marks, 28.8cm long, 476g £400 - 600 60

99 A SET OF FOURTEEN DANISH GILT ‘YEAR’ SPOONS, GEORG JENSEN, COPENHAGEN, 1972-1985 CONSECUTIVELY with rounded bowls and terminals, each terminal differently enamelled with a stylised floral motif after the annual designs by Rigmor Andersen (1903-1995) and Annelise Bjørner (b. 1932), each stamped to reverse with the year in sequence and ‘RA/AB’, ‘STERLING DENMARK’ and Jensen trademarks, 15cm long, 631g, with two ‘Georg Jensen’ blue boxes each fitted for six spoons and two single boxes £600 - 900

100 A SET OF DANISH TABLE SILVER, CARL M. COHR, FREDERICIA, 1924-34 the hammer-finished stems single struck with a beaded panel, comprising: seven dessert forks initialled KD, nine cake forks, two two-prong forks, a tablespoon, a dessert spoon, a strainer spoon and a butter knife with stainless steel blade, 826 standard; together with an electroplate two-prong fork, of matching pattern; weighable silver 571g (23 pieces) £450 - 550 61

101 A SET OF DANISH TABLE SILVER, A. MICHELSEN, COPENHAGEN, MID 20TH CENTURY Classic pattern, comprising: ten tablespoons, seven table forks, seven table knives with stainless steel blades, eight dessert spoons, three dessert knives with stainless steel blades, six cake forks, seven teaspoons, six coffee spoons, a pair of consommé spoons, three two-prong forks, a butter knife and a serving spoon, all stamped ‘A.MICHELSEN/COPENHAGEN’ and ‘STERLING/DENMARK’; together with a Danish modernist tablespoon, with simple flattened stem, maker’s and ‘STERLING’ stamps, Hans Hansen, Kolding, mid 20th century; excluding a wood canteen with retractable tray and steel bladed knives 1729g (62 pieces) £1,500 - 2,500

102 A SET OF AUSTRIAN SILVER SPOONS, VIENNA, EARLY 20TH CENTURY the chamfered stems with plain flared terminals, comprising: nine teaspoons, a tablespoon and a serving fork, 800 standard, 430g (11) £350 - 450

103 A SET OF AMERICAN TABLE SILVER, WHITING MANUFACTORING CO., NEW YORK, FIRST HALF 20TH CENTURY Lady Baltimore pattern, engraved initial R, comprising: seven tablespoons, four dessert spoons, three dessert forks, four fish knives, four fish forks, six picks, six teaspoons, twelve coffee spoons, a cake knife, a pickle fork, and a soup ladle, and the following with loaded silver handles: five tea knives with steel blades, a pair of wood salad servers, and a steel, all stamped ‘STERLING’, weighable silver 1403g; (59 pieces) £1,200 - 1,800 63

104 A PAIR OF VICTORIAN SILVER GRAPE SCISSORS, FRANCIS HIGGINS, LONDON, 1842 Vine pattern; together with another pair of Victorian silver grape scissors, with spiral twist stems, William Hutton & Sons Ltd. London, 1899; 252g (2) Provenance: Property from a Private Collection, St John’s Wood, London

£250 - 350

105 A GEORGE IV ENGLISH PROVINCIAL SILVER SOUP LADLE, SIMON LEVY, EXETER, 1823 Fiddle pattern, engraved with a crest above the initial B, 34cm long, 230g £200 - 300

106 A VICTORIAN SILVER SOUP LADLE, CHAWNER & CO., LONDON, 1862 Bead pattern, 34cm long, 239g £200 - 300

107 A CASED SET OF TWELVE GEORGE V SILVER TEASPOONS, THE GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1925 Old English pattern, initialled H, in original red buckram case with interior printed label for the manufacturer; silver 159g £150 - 250

108 A CASED SET OF TWELVE VICTORIAN SILVER TEASPOONS AND A PAIR SUGAR TONGS, ATKIN BROTHERS, SHEFFIELD, 1891 with shell bowls and annular pierced tapering stems, in original black leather shaped case with red velvet and silk fitted interior and an applied roundel for the retailer Lowe & Sons of Chester; silver 186g £200 - 300

109 A SET GEORGE V TABLE SILVER, FRANCIS HIGGINS & SON LTD., LONDON, 1933 Old English pattern, all engraved with a lymphad (sailing ship) crest for Roy of Nenthorne, Berwickshire, comprising: two tablespoons, two table forks, two dessert spoons and two dessert forks; together with a cased set of six coffee spoons, Apostle pattern, Henry Williamson Ltd., Sheffield, 1927; and the following miscellaneous English table silver, circa 1750-1910, Old English and Fiddle patterns, predominantly crested or initialled, comprising: a table spoon, eight assorted teaspoons, two small forks, five assorted condiment spoons and a pair of lobster picks; 902g (32 pieces) £800 - 1,200 110 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 65

111 ASSORTED GEORGIAN OR VICTORIAN OLD ENGLISH PATTERN TABLE SILVER, VARIOUS MAKERS, PREDOMINANTLY LONDON, 1798-1895 a few crested or initialled, comprising: four tablespoons, a dessert spoon, two dessert forks, nine teaspoons, a set of four soup spoons, a sauce ladle and a condiment spoon, 834g (22) £800 - 1,200

112 ASSORTED GEORGIAN OR VICTORIAN FIDDLE PATTERN TABLE SILVER, VARIOUS MAKERS, LONDON, 1812-1856 a few items engraved with initials, comprising: a tablespoon, five table forks, six dessert spoons, four dessert forks, thirteen teaspoons, a condiment spoon, a sauce ladle and a gravy spoon, 1375g (32) £1,200 - 1,800

113 A SET OF GEORGE IV TABLE SILVER, WILLIAM BATEMAN, LONDON, 1823-26 Old English pattern, all engraved with a lymphad (sailing ship) crest for Roy of Nenthorne, Berwickshire, comprising: fourteen tablespoons, eighteen table forks (two Francis Higgins & Son Ltd., London, 1933), nineteen dessert spoons, twenty-three dessert forks (two Francis Higgins & Son Ltd., London, 1933), four sauce ladles, three condiment spoons in sizes (one associated), a butter knife and a gravy spoon, 4807g (83) £5,000 - 7,000

114 A SET OF VICTORIAN SILVER SPOONS, CHAWNER & CO., LONDON, 1855 / 61 / 66 Old English pattern, engraved with a crest, comprising four tablespoons and six dessert spoons; together with the following Old English pattern spoons: a tablespoon, three teaspoons and a two condiment spoons; 704g (16) £700 - 1,000

115 A SET OF SIX VICTORIAN SILVER TABLE FORKS AND SIX DESSERT FORKS, JOSIAH WILLIAMS & CO. OF BRISTOL, LONDON, 1898 Fiddle pattern, plain, 778g (12) £700 - 1,000

116 A SET OF EIGHTEEN GEORGE V SILVER CAKE FORKS, THOMAS BRADBURY & SONS OF SHEFFIELD, EDINBURGH AND GLASGOW, 1938 / 39 in Arts & Crafts style, the flat terminals with interlace pierced terminal panels, 14cm long, 378g, in three perhaps associated fitted cases £350 - 450

117 A CANTEEN OF TABLE SILVER, VINERS LTD., SHEFFIELD, 1955 / 56 Sandringham pattern, engraved with the initial M, comprising: three tablespoons, twelve table forks, twelve table knives with stainless steel blades, twelve dessert spoons, eleven dessert forks, twelve dessert knives with stainless steel blades, twelve fish forks, twelve fish knives, twelve soup spoons, seven teaspoons, twelve coffee spoons, a three-piece carving set, a pair of sauce ladles, and a soup ladle; all in a George III style mahogany bowfront side table with three frieze drawers; weighable silver 5280g (123 pieces) Provenance: Property from a Private Collection, St John’s Wood, London

£5,000 - 7,000

118 A CANTEEN OF TABLE SILVER, GARRARD & CO. LTD., LONDON, 1973 Marie pattern, complete for twelve of each of the following: table forks, table knives with stainless steel blades, dessert spoons, dessert forks, dessert knives, fish forks, fish knives, fruit forks, fruit knives, soup spoons, teaspoons, and coffee spoons, also with six tablespoons, six egg spoons, a pair of sauce ladles, a soup ladle, a sugar tongs, a pair of fish servers and a three-piece carving set, all contained within its rectangular mahogany canteen, each of the three drawers fitted in green baize and labelled, silver 7523g excluding the stainless steel knives and the carving set (165 pieces) £7,000 - 10,000

LOTS 119-132 A COLLECTION OF ARTS & CRAFTS SILVER AND ENAMEL, PROPERTY OF JEREMY MASON ESQ., REMOVED FROM HOYLES HOUSE, WANDSWORTH 119 KATE HARRIS (1878-1949): AN EDWARDIAN ‘ART’ SILVER BELT BUCKLE, WILLIAM HUTTON & SONS LTD., LONDON, 1904 designed by Harris with each half applied with two shaped panels of abalone shell between stylised slender flowers, 9cm long £300 - 400

120 KATE HARRIS (1878-1949): AN EDWARDIAN ‘ART’ SILVER BELT BUCKLE, WILLIAM HUTTON & SONS LTD., LONDON, 1902 designed by Harris with each half as openwork shaped panels applied with stylised scroll motifs flanking an oval blue paste cabochon, 8cm long £400 - 600

121 KATE HARRIS (1878-1949): A VICTORIAN ‘ART’ SILVER BELT BUCKLE, WILLIAM HUTTON & SONS LTD., LONDON, 1900 designed by Harris with each shaped half with a panel with a swirl of stylised blooms flanked by pierced slits, inscribed to retaining clip for the retailer ‘W.C. CONNELL / 83, CHEAPSIDE, LONDON’, 11.3cm long £150 - 250

122 KATE HARRIS (1878-1949): A VICTORIAN ‘ART’ SILVER BELT BUCKLE, WILLIAM HUTTON & SONS LTD., LONDON, 1899 designed by Harris with each shaped half of openwork interlaced leafy tendrils, 11cm long £150 - 250

123 OLIVER BAKER (1856-1939): A ‘CYMRIC’ SILVER BELT BUCKLE, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1903 designed by Barker as a single shaped oblong panel pierced and applied with naturalistic tendrils centred on an oval turquoise cabochon, also stamped ‘CYMRIC’, 7.5cm long £400 - 600

124 A ‘CYMRIC’ SILVER AND ENAMEL BELT BUCKLE, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1908 each half with a shaped panel of lustrous blue green enamel surrounded by a hammer-finished border with bosses at intervals, 7.2cm long £300 - 400

125 ARCHIBALD KNOX (1864-1933): A ‘CYMRIC’ SILVER BELT BUCKLE, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1902 model 190, designed by Knox with each side with openwork interlaced scroll motifs, lion passant and date letter only, 8.3cm long Literature: Stephen A. Martin, ‘Archibald Knox’, London, 2001, p.270

£100 - 200

126 ARCHIBALD KNOX (1864-1933): A ‘CYMRIC’ SILVER AND ENAMEL BELT BUCKLE, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1906 model 184, designed by Knox with each side with a shaped slender panel of blue and green enamelling flanked by openwork tendril and sail motifs, 7.8cm long Literature: Stephen A. Martin, ‘Archibald Knox’, London, 2001, p.268 See the following lot for a plain example of this pattern of buckle.

£500 - 700

127 ARCHIBALD KNOX (1864-1933): A ‘CYMRIC’ SILVER BELT BUCKLE, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1902 model 184, designed by Knox with each side with openwork tendril and sail-like motifs, also with ‘CYMRIC’ stamp, 7.8cm long Literature: Stephen A. Martin, ‘Archibald Knox’, London, 2001, p.268 See the previous lot for an enamelled example of this pattern of buckle.

£300 - 500

128 ARCHIBALD KNOX (1864-1933): A SET OF SIX ‘CYMRIC’ SILVER NAPKIN RINGS, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1901 each cylindrical ring after Knox’s design of three blue and green enamelled applied ‘Celtic’ motifs, each engraved with consecutive numbers 1-6, each with ‘CYMRIC’ stamp, 4.5cm Associated Literature: Stephen A. Martin, ‘Archibald Knox’, London, 2001, pp.213, 272 for similar examples; Masayuki Okabe, Akio Seki and Atsuyuki Nakahara, ‘The Liberty Style’’, Exhibition Catalogue, Tokyo, 1999, p.133 See a pair of the same design, with Liberty box, sold Bonham’s, London, 7 December 2021, lot 59.

£1,200 - 1,800

129 ARCHIBALD KNOX (1864-1933): A PAIR OF SILVER AND ENAMEL CUFFLINKS, UNMARKED, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, CIRCA 1900-1905 designed by Archibald Knox with knot motifs, enamelled in pale and darker blue to elongated oblong and shield shaped terminals, with figure of eight wirework links, longest terminal 2.3cm; together with a pair of Edwardian ‘Art’ silver and enamel buttons (adapted as cufflinks), the shaped circular buttons stamped with stylised blooms against turquoise and green enamelling, William Hutton & Sons Ltd., Birmingham, 1902, adapted for use as cufflinks with link and bar terminals, 2.8cm diameter (4) Cufflinks, along with much other jewellery, did not apparently require hallmarking, but for a pair stamped ‘LIBERTY / STERLING’ see Gorringe’s, Lewes, 10 December 2015, lot 1182; also see A.J. Tilbrook, ‘The Designs of Archibald Knox for Liberty & Co’, London, 2000, p.183 and related gold examples held by the Manx National Heritage (No.1965-0207).

£300 - 400

130 TWO ENGLISH ‘ART NOUVEAU’ SILVER BELT BUCKLES, BOTH WILLIAM COMYNS & SONS, LONDON, 1900 / 01 the earlier openworked as two shaped rectangular panels with blooming scrolled tendrils, P.O.D.R. No.370707 for 1901, 9.5cm long; the second with shaped panels openworked with stylised flowers, P.O.D.R. No.362587 for 1900, 12cm long; together with a probably German ‘Jugendstil’ silver buckle, circa 1902, shaped circular, of openwork interlacing, import marked for Murrle, Bennett & Co., London, 1902, 4.3cm long; 140g of silver (3) £150 - 250

131 THREE EDWARDIAN SILVER BELT BUCKLES one in Arts & Crafts taste, formed as shaped hammer-finished panels applied with openwork surrounding tendrils, Deakin & Francis, Birmingham, 1905, 8.2cm long; one naturalistically openwork cast with berries on a spumy ground, Sydney & Co., Birmingham, 1902, 8.5cm long; and one pierced with wrigglework embellished foliate scrolls, Thomas Able of Birmingham, Chester, 1901, 10.7cm long; 133g £150 - 250 75

132 AN EDWARDIAN ‘ART’ SILVER AND ENAMEL SMALL QUAICH, GEORGE LAWRENCE CONNELL, LONDON, 1904 with circular hammered bowl, the everted flat handles with enamelling around raised flowerheads, 13.5cm long; together with an Edwardian ‘Art’ silver spoon, with hammer-finished fig-shaped bowl, square section stem and an openwork ball and strap terminal, A.E. Jones, Birmingham, 1908; 103g all in (2) G.L. Connell is credited with introducing ‘modern, artistic silverware’ to the company’s retail line-up from the late 1890s. His sister (sometime referred to as his wife), the designer Christine Connell, may have had a hand in this quaich. For another quaich by Connell of 83 Cheapside sold in this room, see 25 May 2016, lot 410.

£120 - 180

OTHER PROPERTIES

133 A GEORGE VI SILVER BOWL, WAKELEY & WHEELER, LONDON, 1937 the shallow circular bowl plain excepting an engraved presentation inscription and everted lug-type handles hammer-finished and applied with tree motifs, on a spreading rim foot, 32cm across handles, 886g The inscription reads: Presented to Sir George Etherton. O.B.E., D.L. by the Lancashire Non-County Borough’s Association… 1944. Wakeley and Wheeler at this period produced a range of fashionable Art Deco or ‘Moderne’ style pieces, some designed by Harold Stabler. Given the distinctive lug handles but absence of a designer’s signature, this bowl may have been designed in-house, perhaps by Kenneth Mosley and/or A.E. Pittman.

£800 - 1,200 76

134 A SILVER CASTER, ASPREY & CO. LTD., LONDON, 1964 in George III baluster style, underside stamped ‘ASPREY / LONDON’, 18cm high, 193g Provenance: Property from a Private Collection, St John’s Wood, London

£180 - 220

135 A BRITANNIA STANDARD SILVER MUG, GARRARD & CO. LTD., LONDON, 1953 in George II style, plain baluster body with beaded leaf-capped scroll handle, with Elizabeth II Coronation mark, 11cm high, 477g £500 - 700

136 A GEORGE V SILVER EASEL MIRROR, MAPPIN & WEBB LTD., BIRMINGHAM, 1912 the bevelled oval glass in a shaped frame plain excepting the applied husk swags pendent from the three rosettes to top, blue velvet backed, 31.5cm long £150 - 250

137 A SILVER TWO-LIGHT CANDELABRUM, MAPPIN & WEBB LTD., LONDON, 2009 the octagonal base rising to a double knopped stem below a pinecone finial and flanking curved arms ending in drip pans and sconces, 20cm high, loaded £300 - 500

138 A GEORGE V SILVER TEA CADDY, WILSON & SHARP LTD., LONDON, 1922 in Regency style, bulbous oblong, with gadroon rim, oval bun finial and four ball feet, 12cm long, 271g £250 - 350

139 THREE GEORGE V SILVER SAUCEBOATS, ALL BIRMINGHAM, 1913 / 25 comprising: a single sauceboat in Georgian style, oval on three shell-headed pad feet, with waved rim and double scroll handle, Elkington & Co. Ltd., 1913, 19cm long; and a pair similar, Adie Brothers Ltd., 1925, 15.5cm long; 465g £400 - 600

140 A GEORGE V SILVER TOAST RACK, THOMAS BRADBURY & SONS LTD., SHEFFIELD, 1925 oblong with seven arched bars and central ring handle, on ball feet, 11.5cm long, 204g £200 - 300 78

141 A GEORGE VI SILVER SALVER, VINERS LTD., SHEFFIELD, 1938 shaped circular, plain excepting the moulded rim within a gadroon border, on three foliate volute feet, 31.5cm diameter, 882g £800 - 1,200

142 A PAIR OF GEORGE V SILVER CAFE-AU-LAIT POTS, HARRISON BROTHERS & HOWSON, SHEFFIELD, 1937 in plain George III bellied style, with scroll cast spouts and domed lids with bell finials, 20cm high, 901g including wood handles £800 - 1,200 79

143 A BRITANNIA STANDARD SILVER SALVER, GARRARD & CO. LTD., LONDON, 1977 plain excepting the moulded rim applied with reeding interrupted by shell and foliate motifs, on four volute feet, 34cm diameter, 1526g £1,500 - 2,500

144 A THREE-PIECE SILVER CONDIMENT SET, GARRARD & CO. LTD., LONDON, 1975 in mid 18th century style each piece with three lion-headed paw feet and waved gadroon rims, comprising a baluster pepperette and cauldron form salt cellar and mustard pot, pepperette 12cm high, silver 310g excluding two blue glass liners £300 - 400 80

145 AN EDWARDIAN SILVER DRESSING TABLE SET, MAPPIN & WEBB LTD., LONDON, 1909 hammer finished around vacant oval reserves and within rocaille and flowerhead borders, comprising an oblong tray, a hand mirror, a pair hand brushes, and a pair long brushes, tray 27.5cm, tray 498g (6) £500 - 700

146 AN EDWARDIAN SILVER SWEETMEAT BASKET, WILLIAM HUTTON & SONS LTD., SHEFFIELD, 1908 pedestal oval with scroll pierced bands, applied with reeded and leaf rims and foliate scroll end handles, 21.5cm long, 325g Provenance: Property from a Private Collection, St John’s Wood, London

£300 - 400

147 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, C.S. GREEN & CO., BIRMINGHAM, 1907 shaped and tapering to a pointed arch, stamped with a young woman feeding doves by a fruiting pear tree watched by a child sat against the tree’s trunk, with off-set rectangular glazed aperture, oak backed with replaced easel strut, 24cm long £200 - 300

148 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, HENRY MATTHEWS, BIRMINGHAM, 1901 stamped with a shaped panel in Art Nouveau taste with a pair of peacocks and flowers flanking the heart-shaped glazed aperture, oak easel backed, 19.5cm long £200 - 300 81

149 A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, C.S. GREEN & CO., BIRMINGHAM, 1905 each stamped with a shaped panel of a rustic maid in clogs knitting whilst tending three geese surrounded by flowers and a farmstead, P.O.D.R. numbers for 1904, bevelled rectangular glazing, oak backed with replacement easel struts, 21cm long £300 - 500

150 A GEORGE V SILVER TEA KETTLE ON STAND, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1925 with gadroon rims, the oblong kettle with moulded shoulder and fixed handle, with chained pins to the stand with leaf-capped supports and paw feet, centred by the holder to the detachable electroplate burner, 33cm high, silver 1341g including ebonised finial and handle mounts £1,200 - 1,800

151 AN EDWARDIAN SILVER SMALL COFFEE OR CAFE-AU-LAIT POT, WILLIAM COMYNS & SONS, LONDON, 1907 of early 18th century tapering octagonal form, engraved with entwined initials WE, the wood handle at right-angles to the faceted spout, 14cm high, 230g all in Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£200 - 300

152 A SET OF SIX VICTORIAN TOT GLASSES IN SILVER HOLDERS AND WITH SILVER TRAY, ATKIN BROTHERS, SHEFFIELD, 1891 each plain cylindrical small glass beaker in a holder stamped and pierced with Rococo rustic scenes, with scroll handles, the oblong tray with stamped shell, scroll and foliate border, tray 23cm over end handles, silver 250g £250 - 350

153 A VICTORIAN SILVER SALVER, MAPPIN & WEBB, SHEFFIELD, 1898 hexafoil, bright-cut engraved with a vacant circular laurel wreath and surrounding formal and foliate borders, the moulded rim applied with beading interrupted by cartouches, on three ball and claw feet, the underside inscribed ‘Stephen Paget Esq. / From a / Grateful Patient’, 26.5cm diameter, 630g £600 - 800 83

154 A VICTORIAN SILVER ROSE (OR PUNCH) BOWL, JOSIAH WILLIAMS & CO. OF BRISTOL, LONDON, 1892 chased with a band of flowerheads above ‘Batswing’ fluting, the piedouche with further fluting, underside stamped for the retailer ‘Z. BARRACLOUGH & SONS / SILVERSMITHS / LEEDS’, 27.5cm diameter, 1500g £1,500 - 2,500

155 A VICTORIAN SILVER TRAY, GOLDSMITHS ALLIANCE LTD., LONDON, 1874 flat oval, bright-cut engraved with a vacant oval within a formal foliate cartouche and outer border, with applied beaded rim, underside stamped ‘GOLDSMITHS ALLIANCE / LIMITED / CORNHILL LONDON’, 32cm long, 600g £500 - 700

156 A VICTORIAN SILVER PRESENTATION GOBLET, JAMES ALDRIDGE, LONDON, 1857 the campana shaped body chased with a bacchanal surrounding a scroll edged cartouche with engraved inscription, further chased with a band of acanthus above the stem and a band of grape-laded vines to the foot, gilt interior, 21.5cm high, 611g The inscription reads: Presented to Captn. Douglas F. Hay by the Officers of Detachments 3rd Dragoon Guards & 86th Regt., November 10th, 1857 Following the outbreak of the Indian Mutiny, the East India Company rushed to charter ships to transfer troops from Britain to the subcontinent. After landing in Bombay on 10 November 1857 with reinforcements for the 86th Regiment (already stationed in the Bombay Presidency) and squadrons of the 3rd Dragoon Guards (who were being redirected to India), officers of these regiments evidently organised for this cup to be presented to the captain of their transport ship, Merchant Navy Shipmaster Douglas F. Hay (born c.1825), in gratitude for their safe passage.

£600 - 800 85

157 ◉

A VICTORIAN SILVER TEAPOT, WRANGHAM & MOULSON, LONDON, 1837 compressed circular, chased with a band of flowers flanking a vacant cartouche and a cartouche engraved with two crests, further floral chasing to the domed lid below the cast rose finial, to the leaf-capped silver handle with ivory insulators and to the spout, on a rim foot, 27cm long, 609g all in Ivory Declaration Submission Reference: GWMGZRBB

£500 - 700

158 A VICTORIAN SILVER WAITER, WILLIAM KER REID, LONDON, 1855 flat-chased with a band of scrolls, foliage and rocaille around a vacant centre, moulded rim applied with cast scrolls and foliate rocaille, on three openwork cast foliate panel feet, 20cm diameter, 265g Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£250 - 350

159 ◉

A GEORGE IV SILVER TEAPOT, WILLIAM HUNTER, LONDON, 1824 compressed oval, part lobed pattern, with ball feet, gadroon rim, leaf-capped handle with ivory insulators and perhaps associated cast gourd and leaf finial, 30cm long, 702g all in Ivory Declaration Submission Reference: ULJ78QAV

£600 - 900 86

160 ◉

A GEORGE IV SILVER TEAPOT, CHARLES & JOHN PLUMLEY, LONDON, 1822 compressed circular, part lobed, gadroon rim, cast foliate headed claw feet, flowerhead finial, leaf-capped silver handle with ivory insulators, 28cm long, 662g all in Ivory Declaration Submission Reference: 945VEJLM

£600 - 900

161 A GEORGE III SILVER WINE COASTER, THOMAS & JOHN SETTLE, SHEFFIELD, 1815 with everted gadroon rim and lobed bulged sides, turned wood base with Sheffield Plate vacant boss, 15.5cm diameter Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£200 - 300

162 A GEORGE III SILVER BASKET, ROBERT HENNELL, LONDON, CIRCA 1790 oval, engraved with a crest and motto, bright-cut embellished and pierced with bands of palework and oval and leaf motifs, beaded borders, reeded swing handle, date letter obliterated, 37cm long, 832g Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£700 - 1,000 87

163 A PAIR OF GEORGE III SILVER COASTERS, WILLIAM PLUMMER, LONDON, 1790 each pierced with arched palework interrupted by three panels of scrolls and flowerheads, wrigglework embellished, between reeded rims, with turned wood bases, 12.5cm diameter Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£600 - 800

164

165

A PAIR OF GEORGE III SILVER CANDLESTICKS, JOHN PARSONS & CO., SHEFFIELD, 1792

AN ENGLISH PROVINCIAL GEORGE III SILVER SMALL COFFEE POT, JOHN LANGLANDS, NEWCASTLE, 1771

circular bases engraved with a lady’s coat of arms in a lozenge, rising to elongated urn-shaped stems and vase-shaped sconces, stamped with borders of lanceolate leaf and lobe motifs, complete with their detachable nozzles, 26.5cm high, loaded

the baluster body engraved with scrolled initials and a crest, with gadroon border to domed lid and piedouche, with scroll cast spout and wrythen knop, 20cm high, 517g including wood handle

£500 - 800

£500 - 700

166 A PAIR OF GEORGE III SILVER-MOUNTED CUT GLASS SWEETMEAT VASES AND COVERS, ROBERT HENNELL, LONDON, 1791 urn shaped, on square bases and octagonally faceted stems, the bodies and covers with domed facets mirrored in the arcaded silver rim mounts with wrigglework decoration below reeded rims, 22cm high Provenance: Property from a Private Collection, St John’s Wood, London

£700 - 1,000

167 A GEORGE III SILVER CASTER, JABEZ DANIELL & JAMES MINCE, LONDON, 1770 girdled baluster, cover with wrythen knop, 14cm high, 99g £100 - 150

168 A GEORGE III SILVER MUG, WILLIAM GRUNDY, LONDON, 1764 plain baluster body with leaf-capped scroll handle, underside with engraved marriage initials ‘W / T.A’, 13cm high, 425g £400 - 600

169 AN IRISH GEORGIAN SILVER EPERGNE STAND, PROBABLY JOHN OR JAMES GRAYHAM, DUBLIN, CIRCA 1760 Rococo, shaped oval, on four scroll pad feet below scroll supports applied between with openwork cast scroll foliate aprons, rising above with chased flowerheads between geometric and further scroll piercing, the top later fitted with a white metal circular support for an associated diaper cut circular glass bowl, 32cm high overall, stand 2301g including metal fitting £2,000 - 3,000

170 A GEORGE I SILVER SNUFF BOX, UNMARKED, CIRCA 1720 cut-cornered rectangular, the flush hinged lid engraved with two leaf and geometric bands, the underside with initials A*Y, 6.5cm long Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£200 - 300

171 A GEORGIAN GILT-COPPER-MOUNTED COWRIE SHELL SNUFF BOX FOR THE SCOTTISH MARKET, THIRD QUARTER 18TH CENTURY the ovate reeded rim mount with foliate thumbpiece, the flat top flush hinged and flat-chased with scrolls and foliage around a cartouche engraved with the motto above the crest for Cumming of Scotland, 9.8cm long Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£200 - 300

172 A GEORGE III SILVER-MOUNTED COWRIE SHELL SNUFF BOX, WILLIAM & AARON LESTOURGEON OF LONDON, CIRCA 1770 the cartouche shaped silver lid engraved with a crest, the mounts with reeded rims and gilded to the interior over the shell body, maker’s mark only to lid, 7.4cm long Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£200 - 300

173 A VICTORIAN SILVER SNUFF BOX, FRANCIS CLARK, BIRMINGHAM, 1845 rectangular, the lid slightly later engraved with the crest and motto of the Paget Baronets of Harewood Place above a presentation inscription of 1864 to James Paget from George Vivian, with an engine-turned border and applied foliate scroll rims, reeded sides, further engine-turning to base and a gilt interior, 9cm long, 154g £150 - 250 91

174 AN AMERICAN SILVER-GILT BOX, DOMINICK & HAFF, NEW YORK, 1883 oblong, hammer finished, gilt interior, stamped ‘STERLING’ ‘925’ and dated trademark, with London Assay Office import marks for 1966, 14cm long, 206g £200 - 300

175 AN ENAMELLED SILVER-GILT CIGARETTE CASE, ALEXANDER TILLANDER, ST PETERSBURG OR HELSINKI, EARLY 20TH CENTURY oblong, covered in aubergine guilloché enamel excepting bead and rail engraved narrow rims and garnet cabochon pushpiece to the sprung hinge, frosted gilt interior, maker’s mark only ‘A.TILLANDER’ in elongated hexagonal punch, 8cm long Provenance: Property from a Private Collection, St John’s Wood, London

£700 - 1,000

176 AN ENAMELLED SILVER-GILT BOX, PROBABLY GERMAN, CIRCA 1925 oblong, with a lightly domed roundel painted with a young courting couple against blue guilloché grounds and white and black opaque borders within incised silver, gilt interior, import marked for British Commercial Transport Co. Ltd., London, 1925, 8.8cm long, 173g all in Provenance: Property from a Private Collection, St John’s Wood, London

£300 - 400

177 AN ITALIAN SARDONYX CAMEO OF BACCHUS, PROBABLY ROME SECOND QUARTER 19TH CENTURY oval, the layered agate carved to show his right profile, with fruiting grapevines in his hair, in a gold brooch frame, 4.5cm x 3.5cm £800 - 1,200

178 AN ITALIAN SARDONYX CAMEO OF A BACCHANTE, PROBABLY ROME SECOND QUARTER 19TH CENTURY oval, the layered agate carved to show her right profile, with fruiting grapevines in her hair and a leopard pelt round her shoulders, in a gilt-metal brooch frame, 5cm x 4.5cm £800 - 1,200

179 A SARDONYX CAMEO PROFILE, ITALIAN, 16TH CENTURY the asymmetric agate carved with the bust of a woman, the head turned in profile to sinister, set in a later gold ring, size P; together with a hardstone cameo profile, probably depicting Charles II and later 17th century, the head carved in profile to dexter, 1.9cm long (2) £200 - 300

180 A GEORGIAN CITRINE SEAL, ENGLISH, CIRCA 1820 the mount with bold scroll foliage cased in two colour gold, the oval mixed cut citrine in rotating frame, suspended from a gilt split ring, 7.5 x 4.8cm £600 - 800

181 A TWO-COLOUR GOLD ALBERT CHAIN WITH TWO GOLD CIGAR PRICKERS the chain with twisted elongated yellow links and white Belcher links between, terminating in an Albert and sprung clip, the engine-turned prickers each rotating to reveal one spiral and one spear-head pricker, 9 carat gold hallmarks to end links, clips and prickers for Birmingham 1972 and London 1977, chain 36.5cm long, prickers 5cm long, 24g Provenance: Property from a Private Collection, St John’s Wood, London

£700 - 1,000

182 A PAIR OF GOLD LORGNETTES, PROBABLY AMERICAN, EARLY 20TH CENTURY with short stem, the ring terminal below a pair of openwork addorsed griffin supports, with button release to the sprung and folding lenses with berried laurel to the bridge stamped 14K, 7.5cm long folded £500 - 700 94

183 DUNHILL: A GOLD CIGARETTE CASE, ALFRED DUNHILL LTD., LONDON, 1938 bevelled rectangular and engine-turned, slide opening on a sprung hinge, 9 carat gold hallmarked, 9.6cm long, 128.6g including elasticated fabric retainer Provenance: Property from a Private Collection, St John’s Wood, London

£3,500 - 4,500

184

185

AN ITALIAN CLIP, MILAN, LATE 20TH CENTURY

A GOLD CIGARETTE HOLDER, LONDON, 1955

the oval terminal engraved ‘C’ above the lancet shaped clip, Italian assay and ‘750’ marks, 6.5cm long, 7.5g £400 - 600

trumpet shaped with black resin mouthpiece, 9 carat gold hallmarked with unascribed AP incuse maker’s mark, 9cm long, 5.8g all in, with black fabric pouch Provenance: Property from a Private Collection, St John’s Wood, London

£150 - 250 186 A GOLD COMBINED SWIZZLESTICK AND PRICKER, COHEN & CHARLES, BIRMINGHAM, 1954 the hexagonal engine-turned stem with collars to extend the implements from each end, 9 carat gold hallmarked, 9.5cm long, 5.5g Provenance: Property from a Private Collection, St John’s Wood, London

£150 - 250

187 ASPREY: A CASED PAIR OF GOLD COLLAR STIFFENERS, ASPREY & CO. LTD., LONDON, 1970 typical oblong form, stamped ‘ASPREY / LONDON’, 9 carat gold hallmarked, 5cm long, in their gilt branded red leather pouch; together with a white gold ‘GUCCI’ collar stiffener, stamped for the retailer and 9 carat gold hallmarked for Kurt Weiss Ltd., London, 1965, 6cm long; 5.5g (3) Provenance: Property from a Private Collection, St John’s Wood, London

£200 - 300

188 DUNHILL: A GOLD KEYRING, ALFRED DUNHILL LTD., LONDON, 1969 the detachable ring to filed curb links suspending an abstract heavily textured panel, 9 carat gold hallmarked, 10cm long, 24g Provenance: Property from a Private Collection, St John’s Wood, London

£600 - 800

189 A CONTINENTAL PILL BOX, LATE 20TH CENTURY rectangular, basketweave decoration, stamped ‘750’, 3.1cm long, 18g Provenance: Property from a Private Collection, St John’s Wood, London

£1,000 - 1,500

190 MOVADO, CHRONOMETRE ERMETO: TWO SWISS TRAVEL WATCHES, 1930s both with rack winding movements and signed to dial and easel, both oblong with suspension rings to bottom right corners: one with silvered dial with radium Arabic numerals and centre seconds, rhodium plated case numbered 1235 / 880M either side of the hinged strut, sliding shutters covered in brown crocodile leather, the other with rosé dial and Arabic numerals in a square, gilt-metal case numbered 1236 / 570M, shutters covered in black crocodile leather, 47mm long closed; together with an Angelus ‘Lilliput’ travelling alarm clock, Swiss, mid 20th century, fifteen jewel eight day movement, silver dial with gilt baton indicators, gilt-metal square case within swivelling brown crocodile housing, 66mm long (3) Provenance: Property from a Private Collection, St John’s Wood, London

£300 - 500

191 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 £120 - 180 97

192 DUNHILL: A GOLD LIGHTER, ALFRED DUNHILL LTD., LONDON, 1970 of model 70 type but with concave front profile, all-over linear decoration excepting knurled roller, 18 carat gold hallmarks to base, stamped ‘DUNHILL / LONDON’, interior lid inscribed in black with longtail ‘dunhill’ logo, 6.4cm long Provenance: Property from a Private Collection, St John’s Wood, London

£1,000 - 2,000

193 S.T. DUPONT FOR ASPREY: A FRENCH GILT-METAL ‘LIGNE 1’ LIGHTER, FAVERGES, CIRCA 1970 rectangular, ribbed decoration, stamped Dupont trademarks, 20mu and ‘ASPREY LONDON’, with crocodile carrying case applied with a gilt-metal rectangle initialled AM, 4.8cm long: together with a Dunhill ‘Rollagas’ lighter, Swiss, 1970s, elongated rectangular gilt-metal with ‘lapis’ lacquered panels, 6.4cm long, with its case and instruction leaflet, longtail ‘dunhill’ logos throughout (2) Provenance: Property from a Private Collection, St John’s Wood, London

£200 - 300

194 MONTBLANC, MEISTERSTÜCK: A FOUNTAIN, A ROLLERBALL AND TWO BALLPOINT PENS, HAMBURG, CIRCA 1990 all typical form with black resin bodies and gilt-metal hardware etched to clip rings ‘W.-GERMANY’ or ‘GERMANY, the 149 model fountain pen with 18 carat gold nib and etched serial number 101452, the 162 model rollerball pen with screw cap and etched serial number IZ2029525, the two 164 model ballpoint pens with twist mechanism, also with two ‘Montblanc’ boxes with slipcases £300 - 500

195 MONTBLANC, MEISTERSTÜCK SOLITAIRE: A ‘GRAIN D’ORGE’ SILVER ROLLERBALL PEN, HAMBURG, CIRCA 1995 model 163 with engine-turned stem and pull-off cap with gilt-metal clip numbered to ring CM103513, also ‘GERMANY METAL 2’, stamped ‘925’ above Montblanc’s responsability stamp ‘StOD’, with additional Montblanc rollerball medium refill, pen 13.5cm long £200 - 300

196 MONTBLANC, MEISTERSTÜCK: A ‘CLASSIQUE’ TRIPLE SET OF PENS, HAMBURG, CIRCA 1990 of typical form with black resin bodies and gilt-metal hardware, comprising: a 144 fountain pen, with 18 carat gold ‘M’ (medium) nib and pull-off cap, with eight ink cartridges; a 165 mechanical pencil, twist action to extend the lead; and a 163 rollerball, with pull-off cap, with four rollerball refills and a ‘fine-liner’ refill; with a black leather pouch for the pens; together with a Montblanc Meisterstück 146 fountain pen, circa 1990, piston filling, 18 carat gold M (medium) nib and screw-off cap (qty) £300 - 500 99

LOTS 197-208 ENGLISH ENAMELS, FROM A PRIVATE COLLECTION, ST JOHN’S WOOD, LONDON 197 TWO ‘NAPOLEONIC WAR’ PATCH BOXES, SOUTH STAFFORDSHIRE, CIRCA 1802 both oval and with metal hinge mounts and mirrored lids: one supporting the Royal Navy with a painted transfer print of Britannia seated beside an anchor gesturing to a ship, with yellow ground base, 5.5cm long; the other celebrating the Treaty of Amiens with a blue ground oval of a raised trophy of wheat below the gilt legend ‘Peace and Plenty’, 4.6cm long £200 - 300 198 A GROUP OF FOUR BOXES, SOUTH STAFFORDSHIRE, LATE 18TH CENTURY comprising a circular Sheffield Plate box enamelled to the cover with a house by a river surrounded by honeysuckle on a blue ground, the base stamped with a Rococo cartouche, 4.2cm diameter; an oval pale blue patch box transfer printed with a sailing ship below the legend ‘A Trifle from BATH’, bead border, metal mounts hinged to short side, mirror to interior; a moulded circular pink patch box with a memorial urn, beaded border, metal hinge mounts, mirror to interior; and a moulded oval green patch box, ‘A Trifle from SALISBURY’, metal hinge mounts Provenance: the Sheffield Plate box and cover ex Christie’s, London, 25 July 1972, lot 35

£300 - 500 199 TWO BOXES, SOUTH STAFFORDSHIRE, LATER 18TH CENTURY both with metal hinge mounts and white grounds: one circular with fluted sides, the lid with a figure beside a temple ruin, the sides with floral sprays, 4.3cm diameter; the other oblong with raised gilt scrollwork surrounding pastoral scenes, 5.6cm long £250 - 350 100

200 A GROUP OF THREE SMALL RECTANGULAR BOXES, SOUTH STAFFORDSHIRE, CIRCA 1770 one with turquoise ground and raised gilt scrollwork surrounding ‘The Old Couple’ to the lid and floral reserves to the sides with white dot trellising, with reeded gilt-metal hinge mounts, 5.5cm long; one with pink ground and raised gilt scrollwork surrounding a courting couple in parkland to the lid and figures in architectural landscapes to front and back, with ribbed gilt-metal hinge mounts; and one with pink linen ground, moulded with a butterfly on a blue ground to lid and floral sprays to sides, metal hinge mounts £400 - 600

201 A SMALL BOX, SOUTH STAFFORDSHIRE, CIRCA 1760 egg shaped, white ground decorated with flower sprays between raised scrolls, metal rim mounts with screw threads, 4.3cm long; together with an enamel bodkin case, South Staffordshire, late 18th century, deep pink ground with raised flower sprays, 12.3cm long (2) £300 - 500

101

202 A TOBACCO BOX, SOUTH STAFFORDSHIRE, CIRCA 1770 rectangular with domed lid and concave sides, the blue ground with raised white scrollwork and dotted trellising, the lid with an arcadian scene featuring a recumbent bagpiper and attendant shepherdess, the sides with floral reserves, waved metal hinge mounts, 12.5cm long Provenance: The Ionides Collection, Sotheby’s, London, 1 February 1965, lot 270

£800 - 1,200

203 A SNUFF BOX, SOUTH STAFFORDSHIRE, CIRCA 1765 shaped rectangular with raised panels, the pink ground with raised gilt scrollwork, the lid painted with ‘La Bonne Aventure’ (The Fortune Teller) after François Boucher, the sides with townscapes, gilt-metal hinge mounts, 8cm long Provenance: The Ionides Collection, Sotheby’s, London, 1 February 1965, lot 268

£800 - 1,200

102

204 A SNUFF BOX, SOUTH STAFFORDSHIRE, CIRCA 1765 cartouche shaped, the blue ground with raised gilt scrollwork and white detailing, the lid painted with a fashionable lady holding up a mask, the sides and base with floral reserves, interior with Stoner & Evans ‘Guaranteed Genuine’ label, waved gilt-metal hinge mounts, 7.2cm long Provenance: Sotheby’s, London, 10 June 1973, lot 101, designated as ‘The Property of a Lady of Title’; previously apparently with Stoner & Evans of 3 King Street, London, before 1939

£800 - 1,200

205 A SNUFF BOX, SOUTH STAFFORDSHIRE, CIRCA 1765 oval, with raised gilt scrollwork and white diaperwork panels against a green ground, the lid decorated with ‘The Old Couple’ in a parkland setting, the sides with two landscape decorated reserves, with gilt-metal hinge mounts, 8cm long £500 - 700

206 ◉

A ETUI, SOUTH STAFFORDSHIRE, CIRCA 1770 typical tapering oval form, the blue ground with raised white scrollwork and dotted trellising around floral reserves, with gilt-metal milled rim mounts and scrolled and ribbed hinge mounts, the interior almost complete excepting two small implements but including scissors, penknife with damaged blade, bodkin, lead holder and twin ivory leaves, 9.5cm long Provenance: Sotheby’s, London, 10 June 1973, lot 107, designated as ‘The Property of a Lady of Title’ Ivory Declaration Submission Reference: DD9BEPLM

£300 - 500 103

207 A ‘SPANIEL’ DOUBLE BOX, SOUTH STAFFORDSHIRE, LATE 18TH CENTURY the green ground with raised white scrolls and floral reserves, a screw-on cover moulded with the brown and white recumbent dog, baluster bodied above a hinged base set with a mirror to the interior lower compartment, metal rim mounts, 5cm high Provenance: acquired from Winifred Williams (Rare Porcelain), London, July 1972

£300 - 500

208 A BONBONNIERE, SOUTH STAFFORDSHIRE, CIRCA 1765 bun shaped, embossed and painted with a musical trophy of a mandoline with sheet music above floral garlands on a grey ground, the lid with a figure in a landscape, metal hinge mounts, 6cm diameter Provenance: Sotheby’s, London, 10 June 1973, lot 118

£600 - 800

OTHER PROPERTIES

209 A PAIR OF ENGLISH ENAMEL CANDLESTICKS, SOUTH STAFFORDSHIRE, LATE 18TH CENTURY white ground, the square bases painted with panels of exotic birds in architectural landscapes rising to square knops, fluted columnar stems and shaped square flared scones all with flower sprays and gilt scroll details, 36cm high Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£200 - 300

104

210 ◉

TWO ITALIAN SCHOOL MINIATURES, LATE 19TH CENTURY one after Fra Angelico’s ‘The Annunciation’, watercolour on ivory, 6.5 x 9cm, rectangular gilt-metal frame inscribed on the reverse, ‘Annunciazione, Beato Angelico’; the other miniature after Pietro Perugino’s ‘Portrait of a Young Boy’, watercolour on ivory, 8 x 5.5cm, gilt-metal frame inscribed on the reverse ‘Portrait of Raffaello, Galleria Ufizi, Firenze’; together with an English School portrait miniature, late 18th Century, of a man in profile wearing classical Roman attire, a red cloak fastened with a gold brooch at the shoulder over a white undergarment, watercolour on ivory, 8.2cm oval, gilt-metal mount, rectangular black lacquer frame (3) Ivory Declaration Submission Reference: 4QXE4AX6

£250 - 350

211 ◉

A MINIATURE OF A FASHIONABLE YOUNG LADY, FRENCH SCHOOL, CIRCA 1770 / 80 depicted in an interior seated on a sofa whilst stringing a flower garland, on ivory, 70mm diameter, in a lightly domed frame of flower pressed composition between gilt-metal mounts and below a suspension ring, the reverse more simply pressed and set with a grisaille miniature of blindfolded cupid with a dog on a cloud against a blue ground, on ivory, 60mm diameter, frame 10cm diameter Ivory Declaration Submission Reference: ZU75RK3U

£150 - 250

212 ◉

A PORTRAIT MINIATURE OF A YOUNG GIRL, BY LUIGI GOBBATO, 1881 painted wearing a black hat and coat tied with a red bow, on ivory, signed and dated right edge ‘L Gobbato 1881’ and apparently indistinctly signed again right side, 9.1cm oval excluding gilt-metal mount Very little is known of the miniaturist Luigi Gobbato, although he painted at least two portraits of the Royal Family. One is in the Royal Collections (RCIN 422308) of Queen Victoria painted in 1898, one of her last commissioned portraits, and one of the Queen’s fifth daughter, Princess Beatrice (1857-1944), sold Bonham’s, London, 27 April 2005, lot 186. Ivory Declaration Submission Reference: KKRALFAH

£200 - 300 105

213 A PORTRAIT MINIATURE OF THE HOLY ROMAN EMPEROR CHARLES VI, AFTER JOHANN GOTTFRIED AUERBACH (1697-1753), AUSTRIAN SCHOOL, MID 18TH CENTURY depicted half length in armour and wearing the Order of the Golden Fleece, a red lined and pearl embellished cloak over his left shoulder, with drapery behind drawn back to reveal the Imperial Crown behind his right shoulder, on prepared card, 115 x 86mm, in a later carved and pierced giltwood Baroque frame with bevelled glazing, paper label with German inscription to reverse Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth

£700 - 1,000

106

214 AN ENAMEL PORTRAIT MINIATURE OF A GENTLEMAN (PURPORTED TO BE SIR JOSHUA REYNOLDS), BY GERVASE SPENCER (1715-1763), DATED 1758 with powdered hair en queue and wearing a blue coat with gold lace, the sitter perhaps an officer of the Royal Navy, the counter enamel signed ‘G.S. f / 1758’, 47mm oval, in later giltwood frame, with anotated loose paper backing from an earlier frame The anotation reads: Sir Joshua Reynolds, Born 16 July 1723, Painted 1758 by S.G. To John H.J. Furse, in memory of, Anne Eliz.th Price, 24 Nov 1848 Anne Elizabeth Price (née Palmer, b.1797 - died 24 November 1848), was a great-niece of Sir Joshua Reynolds. Her first cousin once removed, John Henry Furse (1774-1854) of the Halsdon Estate in Devon, had inherited the bulk of Reynolds’s personal papers, letters and studio journals as well as family portraits and drawings. Perhaps the Furse family conflated this provenance and the unknown subject of this miniature, to arrive at the conclusion that it depicted Joshua Reynolds. Gervase Spencer was certainly intimately connected with Reynolds, the latter painting a portrait of Spencer in about 1753; nevertheless the sitter in this miniature seems to bear little resemblance to known depictions of Reynolds.

£700 - 1,000 107

215 ◉

A PORTRAIT MINIATURE OF MRS MARGARET ASHBURNER, ATTRIBUTED TO HORACE HONE ARA (CIRCA 1756-1825), CIRCA 1795 wearing a white dress with pink sleeves, a black lace shawl over one arm, her dark brown hair curled and upswept, watercolour on ivory, 57mm oval, in a later gold brooch-mounted frame with foliate engraved border, the reverse glazed to reveal locks of hair, inscribed to top and bottom of frame ‘Mrs Margaret Ashburner / died 1803. aged 38.’ Margaret Ashburner may well be the Peggy (a common diminutive of Margaret) Wilson (circa 1765-1803) who married Robert Ashburner (1754-1798), a Blackburn solicitor, in 1784, her father a Rev. Wilson of Tockholes near Blackburn. Robert was a member of the prominent Furness-based Ashburner family, his father also Robert, described as a sea captain of Lindall near Dalton-in-Furness, the Ashburners having connections in London and Bombay, as well as in Furness on the edge of the Lake District. His 1798 probate entry describes him as Robert Ashburner, of Blackburn, gentleman, records showing that in his role as a solicitor he had substantial dealings with the town’s rapidly expanding cotton trade. Ivory Declaration Submission Reference: NZCZ2D28

£500 - 700

216 ◉

A PORTRAIT MINIATURE OF A YOUNG GENTLEMAN, ENGLISH SCHOOL, CIRCA 1800-1805 in white shirt and stock under a black coat, on ivory, 63mm oval, with glazed reverse of gilt and seed pearl embellished hair scrolls over a pearly guilloché ground, in gilt-metal frame Provenance: Collection of Jeremy Mason, removed from Hoyles House, Wandsworth Ivory Declaration Submission Reference: D4Q6CQM9

£150 - 200

217 ◉

A PORTRAIT MINIATURE OF A YOUNG MAN, BY ANDREW PLIMER (1763-1837), CIRCA 1805 wearing a brown coat, on ivory, 77mm oval, in a gilt-metal later frame and a red leather case Ivory Declaration Submission Reference: JLJMCKKM

£400 - 600 108

218 ◉

A PORTRAIT MINIATURE OF A YOUNG LADY, BY PATRICK JOHN McMORELAND (1741-c.1809), 1790s painted en grisaille with elaborate hair, initialled lower right ‘P. Mc…’, on ivory, 53mm oval, behind a later gilt card mount and ebonised frame, 15 x 13cm Ivory Declaration Submission Reference: XL6HHLZ1

£150 - 250

219 ◉

A GOLD AND DIAMOND PENDANT WITH BROOCH FITTING, ENGLISH, 1900s set with a contemporary miniature of a young boy, watercolour on ivory, 43mm oval, the platinum collet or claw set single-cut diamonds openworked as surrounding foliate scrolls (one diamond lacking), the gold reverse with a curl of hair under a glazed oval, with a hinged bale and a detachable brooch fitting, in its twin doored leather case Ivory Declaration Submission Reference: CRUKYZ62

£600 - 800

220 ◉

GOLD AND SPLIT PEARL PENDANT, ENGLISH, CIRCA 1900 set with a miniature of a gentleman, English school, third quarter 18th century, watercolour on ivory, 32mm oval, the oval pendant with leaf spray surmount, beaded band and plain glazed reverse, unmarked, 57mm long including bale Ivory Declaration Submission Reference: G7RD6ZP5

£250 - 350 109

IMPORTANT INFORMATION FOR BUYERS SECTION A 1. INTRODUCTION The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand. Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.

2. AGENCY As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your Contract for your purchase of the goods is with the Seller, not with us as Auctioneer.

3. ESTIMATES Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.

4 BUYER’S PREMIUM The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%).

5.VAT The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.

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5.1 Items in our catalogue may be marked in the following ways: (a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer’s Premium.VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us. (b) (‡) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 5% (reduced rate due to nature of the Lot) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer. (c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer. (d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax. 5.2 For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.

6. REFUNDS OF VAT 6.1 For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has: (a) registered to bid with an address outside the UK; and (b) discussed with us the proof of export we require and the timeframes to complete the export. 6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded: (a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium. (b) For Lots marked (‡) and (Ω): the import VAT and, the VAT in lieu in the Buyer’s Premium.

(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium. 6.3 To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our shippers are used for the export of the Lot outside the UK.

7. REINVOICING SALES For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme.VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.

8. INSPECTION OF GOODS BY THE BUYER As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do.You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.

9. GOODS WITH ELECTRICAL COMPONENTS These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

10. ENDANGERED SPECIES If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.

11. EXPORT OF GOODS If you intend to export goods you must find out: 11.1 whether an export licence is needed; and 11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.

12. BIDDING Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding.You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.

13. BIDDING PLATFORMS We offer free online bidding directly through our Website (www.olympiaauctions.com).You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.

14. FINANCIAL CHECKS As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following: (a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document). (b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity. (c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information. 14.1 You may be asked for further information if we deem this necessary. 14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf. 14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.

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15. COMMISSION BIDDING You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.

16.4 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. 16.5 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted. 16.6 Credit Card payments in person: Payments above £6,000 cannot be accepted. 16.7 Debit card payments in person: Payments are without limit.

16. METHODS OF PAYMENT

17. COLLECTION AND STORAGE

Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges.You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.

16.1 Online: www.OlympiaAuctions.com/payments 16.2 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot. HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG IBAN No: GB39HBUK40190422033119 BIC: HBUKGB4B Sort Code: 401904 Account No: 22033119 Account Name: Olympia Auctions Ltd 16.3 Sterling Bankers Draft: Drawn on a recognised UK bank.

18. POTENTIAL CANCELLATION RIGHTS If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot.You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.

CATALOGUING PRACTICE SECTION B 1. Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.

2. CERAMICS Obvious faults may be recorded in italics at the end of a description for ceramics.

3.CLOCKS AND WATCHES All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The

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Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

4. DISPLAY ACCESSORIES Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.

5. FIREARMS Please note that all bore sizes are approximate.

6. JEWELLERY It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a

certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.

7. PHOTOGRAPHS In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description. Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated. All photographs are sold unframed unless stated otherwise in the Lot description.

8. PICTURES A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used: (a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part. (b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision. (c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence. (d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil. (e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date. (f) “After”: means in our opinion a copy (of any date) of a work of the artist. (g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt. (h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.

9. SILVER, GOLD AND PRECIOUS METALS Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.

10. THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES: (a) () indicates a Lot with no Reserve. (b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final. (c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above. (d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.

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(e) ( ) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot. (f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements. (g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID. (h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.

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Autumn / Winter 2026 European Works of Art, Objects & Silver Timed Sale: closing from 4pm Wednesday 18th November Viewing: Sunday 15th, Monday 16th & Tuesday 17th November

Jewellery & Watches Live Sale: Thursday 19th November Viewing: Sunday 15th, Monday 16th & Tuesday 17th November

Indian, Islamic, Himalayan and South-East Asian Art Live Sale: Wednesday 25th November Viewing: Sunday 22nd, Monday 23rd & Tuesday 24th November

Fine Antique Arms, Armour and Militaria Live Sale: Wednesday 2nd December Viewing: Sunday 29th & Monday 30th November and Tuesday 1st December

Antique Arms, Armour and Militaria Timed sale: ends Sunday 6th December Viewing: Sunday 29th & Monday 30th November and Tuesday 1st December

Fine Paintings, Works on Paper and Sculpture Live Sale: Wednesday 9th December Viewing: Sunday 6th, Monday 7th & Tuesday 8th December Please note sale dates are subject to change Please see our website for up-to-date information

enquiries@olympiaauctions.com | www.olympiaauctions.com 25 Blythe Road, London WI4 0PD

25 Blythe Road, London W14 0PD +44 (0)20 7806 5541 | decorativearts@olympiaauctions.com www.olympiaauctions.com