European & Asian Works of Art

Matthew Barton Ltd European and Asian Works of Art Wednesday 24th & Thursday 25th November 2021

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

025 KRESS

Enquiries:

Matthew Barton Henrietta Grant

Consultants:

Arthur Millner (Islamic, Indian, Himalayan & South East Asian) Brijeshwari Gohil (Indian Inscriptions) Peter Arney (Ceramics) Phillip Howell (Ceramics) John Culme (Silver & Vertu) Anabel Yorke (Jewellery) Jeremy Warren (Plaquettes) Online Catalogue: www.OlympiaAuctions.com www.the-saleroom.com www.invaluable.com Live internet bidding available through:

www.the-saleroom.com www.drouotonline.com www.OlympiaAuctions.com

www.invaluable.com

Matthew Barton Ltd Olympia Auctions 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Fax:+44 (0) 20 7806 5546 Email: enquiries@matthewbartonltd.com Photography: Rolant Dafis & Lee Turner Front Cover: Lots 199 and 365 Back Cover: Lot 685

Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART

INCLUDING: THE BERNARD KELLY COLLECTION OF PLAQUETTES WORKS FROM THE SEAWOLF COLLECTION

TO BE SOLD BY AUCTION AT

25 Blythe Road London W14 0PD PUBLIC EXHIBITION Sunday 21st November 12.00 noon to 4.00pm Monday 22nd November 10.00am to 7.30pm Tuesday 23rd November 10.00am to 5.00pm DAYS OF SALE Wednesday 24th November at 11am, precisely (Lots 1-308) Thursday 25th November at 11am, precisely (Lots 309-694) This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue.

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FUNDRAISING INITIATIVE The 2021 auctions include property for our fundraising initiative for the Wallace Collection, Westminster Abbey and The Grange Festival. In each case a portion of the vendor’s proceeds and our seller’s commission will be given to that charity. Relevant lots have been marked with a logo, reproduced below

THE WALLACE COLLECTION

WESTMINSTER ABBEY

THE GRANGE FESTIVAL

This initiative would not have been possible without the extremely generous support of our vendors, many of whom are listed below. Please note that these vendors may be involved in any of our 2021 auctions and that they are not identified with specific lots.

Lady Ashburton Mr & Mrs Caukill Alessandro Cesati Mr J Coke Mr Luca D’Avanzo Peter Dekker Mrs Sue Elton Mrs Rosemary Ferguson Michael German Mr and Mrs Charles Grace Mr Scott Greenhalgh Mrs Rachael Hannyngton Hatford Antiques Jools Holland, OBE The Estate of David Jeffcoat

Mr Bernard Kelly Hew Kennedy Koopman Rare Art Mrs Teresa Love Andrew Lumley Magazin Royal The Hon. David McAlpine Patrick and Ondine Mestdagh Moore-Gwyn Fine Art Mr Arthur Byng Nelson Nonesuch Gallery Mrs C Palmer Peter Finer Ltd A Private European Collector

Tony and Etta Pullinger Rafael Valls Ltd Sir Paul Ruddock Runjeet Singh Sam Fogg Ltd Chris Seidler Konrad Sherlock Dominic Strickland Mr Peter Tilley Davinder Toor The descendent family of Henk Visser Richard Whittaker George & Angela Yannaghas

Please see our website (www.OlympiaAuctions.com) for further information on this initiative and the charities involved, including details on how to give directly. iii

IMPORTANT INFORMATION FOR BUYERS

Definition “Auctioneers” Matthew Barton Ltd. All lots are offered subject to the Conditions of Business reproduced on the website www.OlympiaAuctions.com, and printed at the end of the auction catalogue.

A Buyer’s Premium of 25% is applicable to all lots. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all Buyers.

Unless otherwise stated all lots are subject to a reserve set at the low estimate or below. Estimates are published as a guide only and are subject to review. The actual Hammer Price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”.

The Auctioneers will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge. Olympia Auctions are pleased to offer free online bidding directly through their website at www.OlympiaAuctions.com. Other online bidding platforms making an additional surcharge are available for this auction, please see the relevant platforms for further details. The Auctioneers may supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and where possible will endeavour to assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Olympia Auctions are not responsible for delays in delivery which might be caused by shippers or local customs.

Symbols Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertake to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of the Bidder and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accept no liability for any lots which may be subject to CITES but have not been identified as such. Please note that it is not possible to post or ship ivory of any kind (including marine ivory) to the United States of America.

Artist Resale Right ‘•’ For lots marked with the symbol ‘•’ that are sold for a Hammer Price of €1,000 or greater (converted into GBP using the European Central Bank Reference rate prevailing on the Auction End date) an additional premium will be payable by the Buyer to cover the payment of royalties under the Artist Resale Right Regulations 2006. The additional premium will be a percentage of the amount of the Hammer Price calculated in accordance with the table below, and shall not exceed the equivalent of €12,500. The Artist Resale Right applies to paintings sold for €1,000 or greater if they are sold 3 years or more after their original sale by the artist. Paintings sold for €10,000 or greater are liable for Artist Resale Right regardless of when the initial sale took place.

Cataloguing Practice PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE AND THAT ILLUSTRATIONS ARE NOT TO SCALE. 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.

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.

Condition is not normally recorded and all lots are sold as viewed. Condition reports can be requested prior to sale. Whilst the Auctioneers are pleased to provide a general report of condition, the Auctioneers are not professional conservators or restorers and any statements made are merely subjective, qualified opinion. Prospective Buyers should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them.

Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept UK debit cards. Cash and UK registered debit card payments above £6,000 and "card holder not present" payments above £2,000 cannot be accepted.

Electronic transfers may be sent directly to our bank account: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG VAT Registration Number: 972118224

IBAN Number: GB90HBUK40190491814001 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 91814001 Account Name: Matthew Barton Ltd

Collection and Storage On receipt of cleared funds, lots can be collected from the premises at 25 Blythe Road, London, W14 0PD. The Buyer or Buyer’s agent must bring photographic ID for collection. We require written confirmation from the Buyer if collection is made by a third party. Please note that collection may be made during working hours only, usually Monday to Friday 9.30 to 17.00. All lots should be cleared within 10 working days of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £25 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

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Sale Day 1: Wednesday 24th November 2021 Lots 1-308 Starting at 11am

Asian Works of Art

1 A PAIR OF JAPANESE PORCELAIN SMALL BOWLS, EDO PERIOD, LATE 18TH / EARLY 19TH CENTURY of rounded square form, each painted on the exterior in underglaze blue and enamels with flower filled shrubs, the interior painted with a panel of pomegranate and leafy branches 10cm wide £150-250

2 TWO JAPANESE SATSUMA BOWLS, MEIJI PERIOD (18681912) caramel ground with raised white and gilt cloud scrolls between differing borders, both signed, one with impressed mark, 10cm diameter; on a pair of gilt-bronze stands, modern, in the form of oriental openwork wood stands, each on six pad feet (4)

4 A PAIR OF JAPANESE WOODBLOCK PRINTS, ANDO HIROSHIGE (1797-1858) ‘chu-ban’ (medium size), ‘Ishibe Mekawa no sato’ (Mekawa village) 51 and ‘Totsuka’, 6, from the series ‘Tokaido Gojusan tsugi no uchi’ (The fiftythree stations of the Tokaido highway), each signed ‘Hiroshige’, published by Tsutaya, mounted together in glazed frame each image 16 x 22cm £300-500

£300-400 3 A JAPANESE WOODBLOCK PRINT, KEISEI EISEN (1791-1848) ‘oban-yoko-e, Narai shuku Meisanten no zu, 35’ (Shop for the famous local products in Narai) from the series ‘Kiso Kaido Rokujyukyu tsugi no uchi’ (The sixty-nine stations of the Kiso highway), unsigned, published by Hoedo, glazed frame image 23 x 36cm £200-300 1

5 A JAPANESE WOODBLOCK PRINT, OCHIAI YOSHIIKU (18331904) ‘chuban’ (medium size), ‘chirimen’ type, a scene of cherry blossoms viewing with a pleasure boat, signed ‘Yoshiiku’, glazed frame, image 22 x 16cm; together with two ‘chirimen’ type prints, Utagawa Kunisada (1786-1865) and Utagawa Kunimasa, 4th (18481920), signed Kochoro Kunisada hitsu and Baido Kunimasa, probably from a book, each in a glazed frame, image 26 x 18cm (3) £100-200 6 (illustrated online) A JAPANESE WOODBLOCK PRINT, UTAGAWA KUNISADA (1786-1864) ‘otan-tate-e’, depicting a kabuki actor ‘Iwai Shijaku’, signed ‘Gototei Kunisada’, image 26 x 38cm; together with a ‘Kachoga’ print, after Ando Hiroshige, 20th century, of a cockerel, glazed frame, image 24 x 11cm (3) £80-120 7 (illustrated online) A JAPANESE WOODBLOCK PRINT, OCHIAI YOSHIIKU (18331904) depicting two courtesans at a teahouse, signed ‘Ikkeisai Yoshiiku’, glazed frame image 34 x 13cm £80-120

8 A JAPANESE ROOTWOOD AND BAMBOO SUIBAN (IKEBANA BASKET), PROBABLY EARLY 20TH CENTURY bamboo strands basket-woven as a boat framed by rootwood pieces 60cm long £200-300 2

9 A CHINESE LONGQUAN CELADON ‘YENYEN’ VASE, 16TH CENTURY typical form, the body carved with large lotus blooms amidst foliage, with horizontal ribbing on the shoulder and upper neck 55cm high Provenance: English Private Collection; Sotheby’s, London, 8 November 2006, lot 227. £1500-2500

10 A SET OF FOUR CHINESE BLUE AND WHITE DISHES, WANLI PERIOD (1573-1619) each with rounded sides moulded with two rows of lobes surrounding a medallion boldly painted with an angered bull in a fenced landscape 20cm diameter Provenance: Private Spanish Collection £1000-2000

11 THREE CHINESE BLUE AND WHITE ‘THREE FRIENDS OF WINTER’ DISHES, 17TH CENTURY quatrefoil, sturdily potted and painted in rich cobalt-blue with sprays of prunus, pine and bamboo, underglaze blue ‘zhi’ seal mark 16cm wide Provenance: Spanish Private Collection £1000-2000

12 A CHINESE BLUE AND WHITE CIRCULAR BOX AND COVER, 18TH CENTURY the cover painted with flowering plants issuing from rock work, the border and box painted with further plants, 13.5cm diameter; together with a small Chinese blue and white jar painted with lotus flowers and tendrils, 7cm diameter and a Vietnamese blue and white squat vase, 15th/16th century, painted with birds amongst trees, 8.5 cm diameter (3) £200-300

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13 A CHINESE FAMILLE ROSE BLUE-SGRAFFIATO-GROUND ‘MEDALLION’ BOWL, DAOGUANG MARK AND PERIOD (18211850) painted to the exterior with four gilt lined medallions, one of a boy on a buffalo surrounded by clouds and magpies, one of Zhi Nu similarly surrounded, one of figures in a garden pavilion, the last of figures beside an outdoor altar, the blue ground incised with feathery scrolls around multi-coloured clouds, the interior painted in underglaze blue with a double lined medallion of the weaver girl and cowherd standing on a bridge of magpies, the well with scattered clouds and birds, underglaze blue seal mark, with box 14.8cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong For similar bowls see: Bonham’s, London, 16 May 2019, lot 132; one from the Ohlmer Collection at the Roemerund Pelizaeus-Museum, Hildesheim, illustrated in the Ohmer collection catalogue, No.139; and one illustrated in ‘Encompassing Precious Beauty: The Songzhutang Collection of Imperial Chinese Ceramics’, Hong Kong, 2016, pp.216217, no.84. £4000-6000

14 A CHINESE ‘DRAGON’ SAUCER DISH, TONGZHI MARK AND PERIOD (1861-1875) mustard yellow ground, incised with a pale green and a deep aubergine dragon encircling the ‘flaming pearl’, underside incised with four green flying cranes alternating with clouds, dark brown six character mark, with fitted box 14cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong See a similar dish in the Sir Percival David Foundation of Chinese Art, British Museum, No. PDF,B.710, Room 95 and another in the National Gallery of Victoria, Melbourne, illustrated by Myrtle Hepburn in the exhibition catalogue ‘Late Chinese Imperial Porcelain’, 1980, no.43, p.31. £1200-1800

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16 A CHINESE BLUE AND WHITE ‘DRAGON’ BOWL, 19TH CENTURY the exterior painted with three dragons pursuing flaming pearls amidst clouds and over a turbulent sea, the interior with similar dragons surrounding a dragon medallion, four character ‘Liben Tang zhi’ mark within a double lined square, with box 15.5cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong For a bowl of this pattern and with the same marks see Sotheby’s, London, 9 June 1987, lot 265 £300-500

15 A CHINESE ‘MILLEFLEURS’ BOTTLE VASE, 19TH / 20TH CENTURY enamelled with a multitude of flowers including chrysanthemum, lotus, peony and narcissus covering a gilt ground, underside with drilled iron red apocryphal Qianlong seal mark, with wood stand 40cm high £700-1000

17 A CHINESE BLUE AND WHITE ‘DRAGON’ BOWL, GUANGXU MARK AND PERIOD (1875-1908) the exterior painted with two dragons pacing through clouds, the interior with a double lined dragon medallion, underglaze blue six character mark, 14.3cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong See a similar bowl from the collection of Simon Kwan, included in the exhibition ‘Imperial Porcelain of Late Qing’, Chinese University of Hong Kong, 1983, Catalogue No.106 £800-1200

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18 A CHINESE ‘PHOENIX MEDALLION’ BOWL, GUANGXU MARK AND PERIOD (1875-1908) pale celadon glaze, white to rim, painted in iron red with four pheonix medallions and another to the inside centre, underglaze blue six character mark, with fitted box 14.2cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong See a similar bowl donated by Simon Kwan to the Hong Kong Museum of Art, included in the museums’ exhibition ‘The Wonders of the Potter’s Palette’, 1984, Catalogue No.126. £800-1200

19 A CHINESE ‘CRANE MEDALLION’ JARDINIERE, GUNGXU MARK AND PERIOD (1875-1908) quatrefoil outline, on four panel feet, unusually decorated in iron-red, the sides painted with eight crane medallions, each bird with a turquoise and black eye, key-fret to the flat rim within a gilt line, iron red six character mark, with fitted box 21.5cm long Provenance: The K.A. Johnson-Hill Collection, Hong Kong £1200-1800

20 A PAIR OF CHINESE CAFE-AU-LAIT GLAZED BOWL, GUANGXU MARK AND PERIOD (18751908) inside and out with a pale coffee-brown glaze flecked with small dark spots, white to rim and base, underglaze blue six character mark, with fitted box 12.2cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong A similar pair of Guangxu bowls, donated

by Hugh Moss to the Hong Kong Museum of Art, were featured in the museum’s exhibition ‘The Wonders of the Potter’s Palette’, 1984, catalogue No.113. It has been noted that this colour is also known in China as ‘fine gold’. £1200-1800 6

21 A CHINESE FAMILLE ROSE JARDINIERE, GUANGXU MARK AND PERIOD (1875-1908) low cylindrical, the exterior painted with two gilt detailed iron-red dragons chasing a flaming pearl through coloured clouds above a band of waves and below a key-fret border, the in-turned flat rim with four foliate scroll motifs, iron red six character mark, with wood stand and fitted box 20.5cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong £1200-1800 22 A CHINESE DOUCAI WINE CUP, GUANGXU MARK AND PERIOD (1875-1908) slightly flared rim, the exterior painted to each side with sprouting narcissi flanking a rock; together with another pair of wine cups, Guangxu mark and period (1875-1908), similarly decorated in blue and white; all in fitted box with Johnson-Hill collection labels 4.5cm high (3) Provenance: The K.A. Johnson-Hill Collection, Hong Kong £1000-1500 23 A CHINESE GREEN AND AUBERGINE ‘DRAGON’ BOWL, GUANGXU MARK AND PERIOD (1875-1908) incised with a pair of five-clawed dragons each striding through clouds and flames after a flaming pearl above sea and rocks, underglaze blue six character mark, with fitted box 15cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong £700-1000 7

24 A CHINESE SANCAI GLAZED POTTERY HORSE AND A GROOM, MING STYLE the horse standing four-square on a plinth, with green and ochre glazed saddle, rug, reins and plinth border and black painted mane and tail, the groom with detachable head, with sea-blue glazed robe and border to his hexagonal plinth horse 34cm long, groom 40cm high (2)

26 A CHINESE CANTON ENAMEL SALT CELLAR, 19TH CENTURY cauldron form on three pad feet, painted with two barbed panels of figures at leisure outdoors, against a yellow ground filled with peonies and tendrils, underside with apocryphal four character Qianlong mark 7.5cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong £120-180

£150-250

27 TWO CHINESE CARVED JADE FROGS, 19TH / 20TH CENTURY each in crouching pose, the stone of pale celadon tone, 4cm and 5cm long; together with a smaller carved jade frog on a lotus leaf, 3cm long (3) £200-300

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25 A CHINESE CELADON GLAZED DISH, 19TH CENTURY carved with a flower medallion within a lotus border 40.5cm diameter

28 A GROUP OF FIVE CHINESE HARDSTONE FROGS, 20TH CENTURY in diminishing sizes and of various colours, one example with its young on its back forming a cover; together with a spelter frog, 20th century, green patinated 12cm to 4.5cm long, four wood stands (6)

£200-300

£200-300

29 A CHINESE JADE DRAGON, 19TH / 20TH CENTURY the scaly beast openwork carved, probably originally part of a larger piece, very pale greenish grey tone 23cm high £600-800

30 ~ A GROUP OF FIVE CHINESE CORAL FIGURES, 20TH CENTURY three carved as immortals, one as a young woman strumming a lute and one of a child clutching a lotus leaf, all mounted on perspex square plinths plinths 4cm high, largest figure 8cm high £400-600

31 ~ A CHINESE CORAL FIGURE OF A MAIDEN, 20TH CENTURY the elongated draped figure openwork carved holding up a vase of flowering prunus, a branch of the same blossom to her side, on an inlaid and carved wood stand figure 18cm, 20.5 high overall £1000-1500

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34 ~ A CHINESE CORAL FIGURE OF SHOU LAO, 20TH CENTURY carved holding the peach in one hand and his long staff with dragon head and pennant in the other, with wood stand figure 17cm, 19.5cm high overall £400-600 32 ~ A CHINESE CORAL GROUP OF TWO MAIDENS ON A PHOENIX, 20TH CENTURY carved with robed women balanced atop the bird flying through clouds, with wood stand coral 14.5cm high, 18cm overall £700-900

35 ~ A CHINESE SMALL CORAL GROUP, 20TH CENTURY carved as Lan Caihe holding up a basket of flowers, a young boy to her side, on wood stand 13cm high overall £100-200

33 ~ A CHINESE CORAL GROUP OF A MAIDEN AND YOUNG BOY, 20TH CENTURY carved as a young woman in flowing robes holding up a vase of flowers, a boy by her legs holding a pennant, with wood stand figure 14cm high, 16cm overall £500-700

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36 ~ A CHINESE OPIUM PIPE, A PIPE CLEANER AND AN OPIUM CONTAINER, 19TH CENTURY the pipe with jade endpiece, bamboo stem and wood terminal carved as a fist supporting the redware bowl cover, 41cm long, on a rosewood stand; the metal pipe cleaner with slender rod and ivory handle, its sheath simulating bamboo, hung with chained motifs, with perspex stand, 56cm long; the cylindrical paktong container with screw cover with drop loop handle, 6cm high (5) £250-350

37 A LARGE IZNIK BLUE AND DISH, OTTOMAN ANATOLIA, FIRST HALF 17TH CENTURY underglaze painted blue and white fritware, the well painted with a circling pattern of stylised leaves and blossoms, the lip with undulating flower and leaf motifs, the underside with further flower motifs 8cm high; 35cm diam.

Provenance: From the collection of the late ceramics dealer, Kate Foster (19382020) £4000-6000

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38 A SAFAVID CUERDA SECA BORDER TILE, IRAN, 17TH CENTURY opaque glazed buff earthenware, with a design of scrolling foliage and a Chinese cloud, yellow, blue and green bands above and below, mounted 21 x 23cm £500-700 39 TWO KASHAN LUSTREWARE VESSELS, PERSIA, CIRCA 13TH CENTURY comprising a bowl with sides painted with peacocks and a lobed cup with panel design in relief painted with foliate motifs, a face at either end, cobalt blue interior and small handle on one side Bowl: 9cm high, 12.5cm diam.; cup: 5cm high, 12cm max. diam.

Provenance: with Spink and Son, 1980s. £150-200 40 A PANEL OF OTTOMAN CALLIGRAPHY (LEVHA), SIGNED MUHAMMAD RASIM, 19TH CENTURY gold thulth script on royal blue ground, painted on card, signature in the lower left corner, the rectangular panel bordered with scrolling floral garlands, framed 36.5 x 73cm (inside frame) Provenance: Private collection, England. Acquired Christie’s London, 10 October 2013, lot 160.

The inscription has been read: ‘al-tawfiq ‘aziz wa la ya’nis illa bi’l-’aziz’ (success is dear and it is not a companion of anyone but The Mighty. £1200-1500

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41 (illustrated online) A SAFAVID ALBUM FRAGMENT, PERSIA, 17TH CENTURY gouache with ink and gold on paper, depicting a youth drinking in verdant landscape, bands of nastaliq script and part of a floral border 19 x 16.5cm £200-300 42 A PERSIAN COTTON KALAMKARI, 19TH CENTURY the two-sided design comprising a white ground central field filled with repeated small floral bouquets, an elaborate scrolling boteh in each corner, surrounded by a triple band of foliate borders, a further panel of elaborate composite botehs at either end, fringed with tassels, name tag and inventory numbers stitched in one corner, 210 x 128cm Provenance: Formerly in the collection of Carlotta Mabury, donated to the Fine Arts Museums of San Francisco (54715[?].467 £120-150 43 A NURATA SUSANI, CENTRAL ASIA, CIRCA 1900 of rectangular form, with central polychrome embroidered floral medallion on mustard ground, surrounded by an arrangement of floral sprigs, border with a wide band of floral motifs and scrolling leaves, lined 214 x 134cm £700-900 44 (detail) A SILK IKAT LENGTH OF CLOTH, YAZD, PERSIA, EARLY 20TH CENTURY of long double rectangular form, divided by tassels, with polychrome stylised tree and medallion design 350 x 120cm £400-600

detail

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47 A NEWARI PRIEST’S HAT, PROBABLY PATAN, NEPAL, 19TH/20TH CENTURY of domed form, the red felt with applique copper gilt and silver decoration, including the flaming jewels, a stupa, and apsaras, with bud finial 15.5cm high approx.

For illustrations of similar hats worn by priests in Patan, see Ars Orientalis, vol.47: http://dx.doi.org/10.3998/ ars.13441566.0047.012 £300-400 45 A SAFAVID BROCADE PANEL, PERSIA, 17TH CENTURY woven silk, with design of repeated stylised carnations, cypresses and irises, in gold and silver coloured thread on black ground, framed and mounted 44 x 34cm £500-800

46 A BONE PLAQUE FROM A RITUAL COSTUME, TIBET, CIRCA 15TH / 16TH CENTURY of crescent-shaped form, depicting a celestial deity kneeling on a lotus with scrolling stem below, modern wood stand 12cm high; 3.7cm max width Provenance: European private collection from the 1940s; acquired London art market by the vendor. £200-300

48 A TIBETAN WOOD RELIEF PANEL DEPICTING A DAKINI, 16TH/17TH CENTURY the nude female tantric deity, stepping on prostrate corpses, holding karttrka and kapala, traces of lacquer and pigment 18.5cm high £400-600

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49 A SILVER MOUNTED RITUAL HORN, TIBET, 20TH CENTURY made from a conch shell, with repousse silver mounts, inlaid with turquoise and coral, the middle section with a series of medallions containing the eight auspicious symbols of Buddhism, the ends with scrolling vegetation and animal motifs, mounted 23.5cm long £200-300

51 A THANG-KA DEPICTING A WRATHFUL DEITY, EASTERN TIBET, 19TH CENTURY pigment on cloth, the red coloured figure with three eyes, seated in padmasana on a lotus growing out of a lake in a hilly landscape, holding a staff in one hand and a skull cup in the other, Atisha and Padmasambhava seated on floating clouds in the upper corners, mantras in Tibetan script on the reverse, brocaded silk mount 29cm x 21cm (painting) 50 A BRONZE FIGURE OF BUDDHA, NEPAL, 19TH CENTURY seated on a lotus throne, his hands in bhumisparsa and dhyana mudra, his face gilded, a few prayer scrolls inside 13cm high

Provenance: Acquired by Oliver Robert Coales in Eastern Tibet in 1916-1917 £400-600

Provenance: Property of a deceased London collector, thence by descent. £400-600

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52 A THANG-KA DEPICTING GREEN TARA, EASTERN TIBET, 19TH CENTURY pigment on cloth, the Buddhist goddess Tara, seated in lalitasana on a lotus growing from a lake a pond, a padma in each hand, brocaded silk mount 37cm x 26cm (painting) Provenance: Acquired by Oliver Robert Coales in Eastern Tibet in 1916-1917 £700-900

53 A PAIR OF PAINTED WOOD BOOKCOVERS, TIBET, 15TH/16TH CENTURY each of long rectangular form, the slightly convex exteriors with plain panelling, the inner sides painted with various Buddhist deities, one with central figure of Buddha flanked by Padmapani and Manjusri and two of the five tantric tathagatas, the remaining three tathagatas on the other cover 11.2 x 51cm approx. each £2000-3000

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54 A FOLIO FROM A BUDDHIST MANUSCRIPT, TIBET, 13TH / 14TH CENTURY gouache and gold on paper, of long horizontal rectangular form, five lines of alternating gold and umber Tibetan script on each side, three illuminations on one side depicting Samantabhadra with his consort, Maitreya Buddha and Heruka in yab-yum 11 x 32cm This folio is the introductory page of a work probably devoted to a mandala or mandalas. £1200-1500 55 AN ILLUMINATED MANUSCRIPT FOLIO, NEPAL, 18TH CENTURY gouache with gold on paper, depicting a king with his son and consorts making offerings to Vajradharma, each figure labled in devanagari script, six lines of newari script on the reverse 11 x 27.5cm £700-900

56 A SMALL MANDALA THANG-KA, TIBET, 19TH CENTURY pigment with gold on cloth, the central roundel containing a six pointed star, each point containing another dakini figure, surrounded by further dakinis within flaming aureoles, an Indian devotee kneeling on a rug, hands clasped in anjali mudra in the foreground, indistinct inscribed mantras on the reverse 34 x 29cm

57 A THANG-KA DEPICTING A DHARMAPALA, TIBET, 18TH / 19TH CENTURY pigment with gold on cloth, the fiercesome plump tantric deity with blue body, holding a ritual chopper and skull in his raised hands, riding on a bear within a flaming aureole, a figure of Tsong ka pa floating in the clouds above, a mountainous landscape in the foreground 36 x 26cm (image)

£1200-1500

£2000-3000 17

58 A PALA BRONZE FIGURE OF GANESHA, BENGAL OR BIHAR, 11TH/12TH CENTURY the elephant headed deity seated with legs loosely crossed on a lotus, on raised plinth with diminutive figure of his rat vahana on the front, holding his broken tusk and sweets in his primary hands, a lotus and trident in his upper hands, flanked by segmented columns topped by hamsas 12cm high £1200-1500 59 (illustrated opposite) A VIJAYANAGAR BRONZE FIGURE OF SAMBANDAR, TAMIL NADU, SOUTH INDIA, 14TH/15TH CENTURY dancing on a circular platform supported by a lotus base, his right hand raised in vitarka mudra, his left outstretched, with tall domed coiffure, long earrings and jewelled necklace and belt, a cakra halo behind his head 21cm high Provenance: Private collection, England. Acquired in New York, circa November 2005.

Sambandar, the Tamil Saivite saint is often confused with Krishna when depicted as here in dancing pose. As Pratapadiya Pal points out, the only difference iconographically is the right hand; while Krishna is either carrying a butter ball or gesturing abhaya mudra, Sambandar makes a pointing gesture. The mood of the two similarly depicted deities is aligned and as Pal suggests, this was perhaps an attempt on the part of followers of the Saiva cult to have an equivalent figure which could enjoy some of the great popularity enjoyed by the young Krishna. See Pratapaditya Pal, ‘Asian Art at the Norton Simon Museum, Volume 1: Art from the Indian Subcontinent’, New Haven 2003, no.191, for a discussion of the subject matter and a larger and slightly earlier example in the Norton Simon Museum, Pasadena. £8000-12000 18

19

60 A GANDHARA STUCCO RELIEF FIGURE OF A DEVOTEE, NORTH-WEST FRONTIER REGION, INDIA (NOW PAKISTAN), 4TH/5TH CENTURY his left knee raised, turning to his right, with long hair, his hands clasped in anjali mudra, mounted 17.5cm high £300-400

62 A SMALL GREY SCHIST PLAQUE DEPICTING VISHNU, KASHMIR, 8TH/9TH CENTURY the four-armed Hindu god wearing an elaborate crown, earrings and beaded necklace, holding padma and sankha in his upper hands, dimunitive figures of Lakshmi and his vehicle Garuda at his feet 20cm high £600-800

61 A GANDHARA STUCCO HEAD OF BUDDHA, NORTH-WEST FRONTIER REGION, INDIA (NOW PAKISTAN), 4TH/5TH CENTURY his waving hair gathered in a topknot, traces of red pigment around the eyes 17.5cm high Provenance: Private collection, Northern England. Acquired at Sotheby’s in the 1980s. £400-600 20

63 A GREY SCHIST FRAGMENT DEPICTING A CHAURI BEARER, KASHMIR, 8TH/9TH CENTURY with body flexed, her flywhisk in her right hand, her left under her chin, wearing crown, large earrings and beaded necklace 16cm £350-450

64 A SMALL PINKISH BUFF SANDSTONE HEAD OF A DEITY, CENTRAL INDIA, 11TH/12TH CENTURY with pronounced eyebrows, almond-shaped eyes and ridged plaited hair gathered at the back, mounted 10cm £250-350 65 A SMALL BUFF SANDSTONE HEAD OF A DEITY, PROBABLY SIVA, CENTRAL INDIA, 11TH/12TH CENTURY his long hair gathered in a vertical peak, mounted 10cm high £150-250 66 A RED SANDSTONE RELIEF FRAGMENT, CENTRAL INDIA, CIRCA 10TH CENTURY depicting a bearded attendant holding a mirror, with musicians playing a bow harp and veena in front, a chauri-bearer (?) behind and a further figure seated on a tree above, mounted 87cm high Provenance: Private collection, England. Acquired Wilkinsons Auctioneers, Doncaster, 23 February 2002.

Previously at Sotheby’s London, 13 June 1988, lot 259 (illustrated on the front cover).

A possible indication of dating is the depiction of a bow harp which, according to the vendor’s conversation with Dr. John Marr (formerly of SOAS, University of London), was seen in early India but had all but disappeared by the 10th century. £6000-8000

21

67 A NEAR LIFESIZE UPPER PART OF A CHOLA FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, 12TH/13TH CENTURY carved granite, the four-armed deity with upper hands holding cakra and sankha, his lower left originally resting on his gada (now missing), wearing tall tapering cylindrical headdress with bud finial, mounted, 101.6cm high Provenance: Private collection, UK. Acquired Sotheby’s New York, 19 March 2008, lot 279. The Sotheby’s catalogue states that the consignor acquired this piece at Makler Gallery, Philadelphia, in June 1965.

For a closely related, but smaller scale, full figure of Vishnu in the Norton Simon Museum, Pasadena, see Pratapaditya Pal, ‘Asian Art at the Norton Simon Museum, Volume 1: Art from the Indian Subcontinent’, New Haven 2003, no.166D, p.219. Also in the Norton Simon Museum is a similarly styled figure, (F.1975.16.4.) £50000-70000

22

23

68 A GUPTA RED SANDSTONE BUST OF A BODHISATTVA, CENTRAL INDIA, CIRCA 5TH CENTURY his head turned slightly to his left, wearing necklace, bazuband, crown with floral medallion and hair arranged in tiered floral ringlets, a srivatsa emblem on his chest, mounted 29cm high Provenance: Private collection, Northern England. Acquired Jeremy Knowles Ltd. London, 27th May 2009.

For a closely related, larger bust of a male deity formerly in the Pan Asian Collection, see Pratapaditya Pal, The Sensuous Immortals: A Selection of Sculptures from the Pan Asian Collection, Los Angeles 1977, p.43, no.19. £3000-5000

24

69 A GUPTA TERRACOTTA RELIEF DEPICTING A BULL, PROBABLY NANDI, NORTHERN INDIA, CIRCA 5TH CENTURY of rectangular form, the animal with pronounced hump, depicted crouching within an incised frame, a kirtimukha gushing water into a kalasa on the right, fixing behind for wall mounting 22 x 35 x 9cm Provenance: Private collection, England. Acquired Christie’s New York, 21 September 2007, lot 232. Formerly in the Alsdorf Collection, Chicago.

Published: Pratapaditya Pal, ‘A Collecting Odyssey’, Chicago 1997, cat. no. 350, p. 260 and 350.

For a strikingly similar panel in the Los Angeles County Museum of Art, see inv. no. 1988.52. For a charming depiction of a buffalo scratching its ear, from Mainamati, East Bengal, see O. C. Gangoly et al., ‘Indian Terracotta Art, London 1959, p. l4 £3000-5000

25

70 A GREY STONE STELE DEPICTING ARDHANISVARA, NEPAL, 16TH / 17TH CENTURY the four-armed composite deity wearing five-leaf crown and tall chignon, holding mala and trisula in Siva’s right hands, and padma and pustaka(?) in the left hands of Parvati, the prabha with sivalingam at the top, supported by apsaras, diminutive figures including Brahma, Ganesha and Skanda below, mounted 37cm high Provenance: Private Collection, London. Acquired by the vendor’s father in London about 40 years ago. £800-1200

71 A PINK SANDSTONE CORBEL, CENTRAL INDIA, CIRCA 12TH CENTURY in the form of a four-armed apsara, wearing necklaces and flared crown, mounted 30cm Provenance: Property of a deceased London collector, thence by descent. £400-600

72 A GANDHARA STUCCO HEAD OF BUDDHA, NORTH-WEST FRONTIER REGION, INDIA (NOW PAKISTAN), 4TH / 5TH CENTURY with thick waving hair, his face coloured with pink pigment 13cm high Provenance: Private Collection, London £200-300

26

73 A SMALL BRONZE FIGURE OF DURGA, WESTERN DECCAN, INDIA, 18TH CENTURY the four-armed goddess seated in lalitasana on a lotus throne, her diminutive lion vahana at her feet 8cm high £250-350 74 A BRASS SIVA MASK (MOHRA), HIMACHAL PRADESH, 15TH CENTURY OR LATER in the form of a stylised bust, the head with third eye, crown, and earrings, the chest with twin necklaces and an undulating snake 20.5cm £350-450 75 A BRASS SIVA MASK (MOHRA), HIMACHAL PRADESH, 15TH CENTURY OR LATER in the form of a stylised bust, the crowned head with third eye, and beaded hoop earrings, the chest with twin snake heads 21cm high £500-700

76 A BRASS FIGURE OF NANDI BULL, DECCAN, SOUTHERN INDIA, CIRCA 17TH CENTURY reclining on a raised rectangular platform, wearing necklace and bell around his neck, a diminutive lingam at his front, vestiges of engraved decoration 11.5cm high £400-600

27

77 A SMALL BRASS IMAGE DEPICTING GARUDA AND HANUMAN UNDER A SEVEN HEADDED COBRA, INDIA, 18TH/19TH CENTURY the winged beaked figure of Garuda standing next to the kneeling figure of the monkey headed Hanuman, whose tail scrolls above to his side 8.5cm high £120-150

79 A BRONZE VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, 17TH/18TH CENTURY depicting the four-armed deity in relief openwork, holding various weapons, standing within a lobed arch under a kirtimukha, flanked by diminutive figures of Daksha and Sati 21.7 x 14 x 2.5cm £250-350

78 A BRONZE LINGAM COVER, WESTERN DECCAN, 18TH/19TH CENTURY of tapered cylindrical form, with moustachioed face of Siva, his headdress with cobra finial 17cm high Provenance: Collection of the late Peter Cochrane, acquired in 1968. Inv. no. JPC 68/95 £300-400

80 A BRASS VIRABHADRA PLAQUE, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY the four armed deity depicted in relief, standing under a lobed arch, with emblems of the moon and the sun and in the spandrels, flanked by Daksha and Sati, a cobra head at the top 18 x 11.5cm £200-300

28

81 A BRONZE FIGURE OF SIVA AND PARVATI RIDING ON NANDI BULL, WESTERN DECCAN, 19TH CENTURY the four-armed god seated with his consort on their bull vahana, Siva’s primary hands in abhaya mudra and holding Parvati, a trident and drum in his upper hands 21.5cm high £850-950

82 A BRONZE FIGURE OF BHADRAKALI, WESTERN DECCAN, CIRCA 18TH CENTURY the four-armed Hindu goddess seated with legs loosely crossed on a raised stool, carrying a sword, bowl of fruit(?), trident and discus, with long waving hair and tall headdress 14.4cm high Bhadrakali (‘Auspicious Kali’) despite being one of the awesome forms of Devi, often has a relatively benign appearance, with her fierce attributes in this case only gently hinted at with her almost decorative flaming hair and flower-like trident. For a Chola period bronze Bhadrakali from South India in the Los Angeles County Museum of Art, see Inv. No. M.83.48 £700-900

29

83 A LARGE BRASS SIVALINGAM, WESTERN DECCAN, 18TH/19TH CENTURY in two sections, the lingam with a moustachioed head of Siva on the coils of a cobra, with ridged plaited hair, the upper section fitting behind, forming a flared cobra canopy 27.5cm high £700-900 84 A LARGE BRONZE FIGURE OF RAMA, SOUTH INDIA, 16TH/17TH CENTURY standing in tribhanga on a circular base, his left hand raised, his right at his side, originally carrying his bow (now missing), his quiver hanging from his right shoulder, on separate associated octagonal stand 39cm high There is a smaller and slightly earlier depiction of the same subject in the Ashmolean Museum, Oxford (EA2013.98.a) £2500-3500

30

87 A SMALL BRASS YONI-LINGAM, PROBABLY WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY with projecting spout, topped with domed lingam 4.5cm high £120-150

85 A BRONZE FIGURE OF PARSVANATHA, WESTERN DECCAN, INDIA, 18TH CENTURY seated in padmasana on a round cushion, his hands in dhyana mudra, a seven-headed cobra canopy over his head 12.5cm high £600-800

88 A SMALL BRONZE FIGURE OF DURGA MAHISASURAMARDINI, DECCAN, 18TH CENTURY the four-armed goddess wielding trident, dagger, sword and shield, the demon emerging from the neck of the decapitated buffalo 8.7cm £500-700

86 A BRONZE FIGURE OF DURGA, DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY seated in lalitasana, holding citron(?), bowl, trident and axe in her four hands, wearing tall headdress with five-headed cobra canopy above 11cm high

89 A BRONZE FIGURE OF VITHOBA, BENGAL CIRCA 18TH CENTURY standing on square base, his hands on his hips, holding a conch in his left hand, wearing long pendant earrings and tiered conical headdress 11.8cm high £400-600

£700-900 31

90 A BRONZE FIGURE OF A NAYANMAR (SAIVITE SAINT), TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY seated in sattvasana, his hands in anjali mudra, his long hair tied tightly at the back of his head 8.2cm high £600-800

91 A BRONZE FIGURE OF GANESHA, TAMIL NADU, SOUTH INDIA, 18TH/19TH CENTURY the four-armed, pot-bellied, elephant headed deity seated on a lotus base, his diminutive vahana, the rat, at his side, holding his broken tusk in his lower right hand, and a bowl of sweets in his left, his upper hands holding a noose and goad 9cm high £700-900

32

92 A BRONZE FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the four-armed Hindu god standing erect on a lotus base, his primary right hand in varada mudra, his left at his waist resting on a gada (now missing), a cakra and sankha respectively in his upper hands, wearing tall, tiered headdress 14.5cm high £850-950

93 A BRONZE FIGURE OF GARUDA, TAMIL NADU, SOUTH INDIA, 17TH/18TH CENTURY the winged, beak-nosed deity standing on a lotus base, his hands in anjali mudra, wearing large earrings and tall conical headdress 11.3cm high £500-700 94 A BRONZE FIGURE OF GANESHA, SOUTH INDIA, 18TH CENTURY the pot-bellied elephant headed deity with primary hands in abhaya and varada mudra, seated on a lotus with legs loosely crossed, within an associated raised brass shrine with flaming aureole and kirtimukha at the apex 16cm high Provenance: Private collection, London £400-600 95 A BRONZE FIGURE OF DIPALAKSHMI, SOUTH INDIA, 19TH CENTURY standing erect holding a yoni bowl with outstretched hands, her long hair gathered in a plaited pony tail 20.5cm high Provenance: Private collection, London £250-350

33

96 A BRONZE FIGURE OF BALAKRISHNA, BENGAL, 19TH CENTURY the infant deity crawling while holding up a butter ball, his hair gathered in a bun, traces of silvering on the surface 9.5cm high Provenance: Private collection, London £120-180

97 AN UNUSUAL STANDING FIGURE OF GANESHA, EASTERN INDIA, CIRCA 18TH CENTURY the elephant headed deity standing on circular base, his right hand in abhaya mudra, his left on his hip, with stylised flaring ears and large eyes, his conical headdress with ball-shaped finial, his diminutive rat-vahana at his feet 8cm high Provenance: Private collection, London £200-300

98 A BRONZE FIGURE OF VITHOBA, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY standing erect on a rectangular base, his hands on his hips, a conch in his left hand, with tall, conical headdress 12.5cm high Provenance: Private collection, London £250-350

99 A BRONZE FIGURE OF GARUDA, NORTHERN INDIA, 18TH/19TH CENTURY the bird vahana of Vishnu kneeling on a circular base, with beaked nose and winged arms, his hands in anjali mudra 9.2cm Provenance: Private collection, London £150-250

34

100 A BRASS FIGURE OF KHANDOBA ON HIS HORSE, WESTERN DECCAN, INDIA, 18TH CENTURY cast in two parts, the moustachioed and crowned form of Siva wielding a sword, his horse with plaited mane, harness and pointed ears 24cm high Provenance: Private collection, England. Acquired from Au Lion des Neiges, Sydney, Australia, 2 April 2005. £1000-1500

35

101 A BRONZE FIGURE OF NANDI BULL, SOUTH INDIA, 16TH/17TH CENTURY the vahana of Siva reclining on a rectangular base, wearing blanket and trappings, a pronounced hump on his back 9.5cm high; 10cm long Provenance: Private collection, England. Acquired Millner Manolatos, London 16th October 2007 £600-800

103 A COPPER GILT FINIAL IN THE FORM OF MAKARA HEAD, PROBABLY DECCAN, INDIA, CIRCA 1700 with bulbous eyes, the gaping mouth with protruding teeth and scrolling snout, mounted 6cm long approx.

Provenance: Private collection, England. Acquired Millner Manolatos, London, 16th October 2007, previously found in an antique shop in Helsinki.

102 A BRASS FIGURE OF NANDI BULL, SOUTH INDIA, 16TH/17TH CENTURY the vahana of Siva reclining on a rectangular base, wearing a blanket held with a strap, a Sivalingam in front 4.3cm high Provenance: Private collection, England. Acquired Millner Manolatos, London, 9 December 2004 £200-300

36

The makara is one of the most enduring motifs in Indian art, which first appears during the Kushan era. It is a mythical aquatic monster like a crocodile but with a long snout, often similar to an elephant’s trunk. The body is usually that of a fish or crocodile, symbolising water, the source of all existence. This finely-made object is probably from a palanquin or item of furniture. £1200-1500

104 A SMALL BRONZE FIGURE OF DANCING KRISHNA, TAMIL NADU, SOUTH INDIA, 17TH/18TH CENTURY on raised circular base, his right foot raised, holding a butter ball in his right hand, his left outstretched, wearing earrings and hair gathered in a bun 8cm high Provenance: Private collection, England. Acquired Millner Manolatos, 9 December 2004 £250-350

106 A BRASS FIGURE OF A HORSE, PROBABLY THE MOUNT OF KHANDOBA, WESTERN DECCAN, 18TH CENTURY wearing saddle and trappings 18cm high Provenance: Private collection, England. Acquired Millner Manolatos, London, 19 December 2004 £400-600

105 A BRONZE FIGURE OF A DEITY, PROBABLY SIVA DAKSHINAMURTI, TAMIL NADU, SOUTH INDIA, CIRCA 17TH CENTURY seated in lalitsana on a lotus throne on raised plinth, his hands in varada and bhumisparsa mudra, the tall headdress with bud finial, his long hair cascading down his shoulders 10cm high

107 A BRASS FIGURE OF ANNAPURNA, DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY standing on a lotus base, a diminutive lion at her feet, holding a ladle of rice in her hands, wearing tall headdress and large hoop earrings 10cm high Provenance: Private collection, England

Provenance: Private collection, England. Acquired Millner Manolatos, London, 9 December 2004

Annapurna is a form of Parvati, consort of Siva. She feeds the starving by ladling out rice from her bowl.

£500-800

£250-350 37

108 A GANGAJUMNA FIGURE OF HANUMAN, TAMIL NADU, SOUTH INDIA, 19TH CENTURY brass and bronze, the monkey-headed deity standing on a lotus throne, his hands in anjali mudra, wearing crown, elaborate dhoti and billowing robes, his long tail coiled behind his head 11.5cm high Provenance: Private collection, Northern England.

Acquired Millner Manolatos, London, 7th April 2004 The term Gangajumna, referring to the two great rivers of Northern India, the Ganges (Ganga) and the Jumna (Yamuna), which were traditionally held to be of distinct colours, was used to describe the combination of brass and copper in mostly South India metalwork and religious images. For a fine Gangajumna figure of Krishna from Tanjore in the Victoria and Albert Museum, London, see inv. no.

IM.72 1930. £500-700 38

109 A BRONZE FIGURE OF SUBRAHMANYA, RIDING ON HIS PEACOCK, TAMIL NADU, SOUTH INDIA, CIRCA 15TH CENTURY on a lotus base raised on a plinth, the twelve armed, multi-headed son of Siva holding various attributes, seated on his vahana in lalitasana 9cm high Provenance: Private collection, England. Acquired Jeremy Knowles Ltd., London, 2 April 2006.

Subrahmanya (also known as Murugan, Skanda or Karttikeya) is one of the most popular Hindu deities in the south of India, where there are six temples devoted to his worship, each located in a place connected with an important moment in the god’s life. Like may other Hindu deities, a local cult (Murugan) gradually became assimilated with the more pan-Indian figure of Karttikeya, son of Siva and Parvati and god of war. His vahana, the peacock, is associated with immortality. £700-900

110 A BRONZE FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, CIRCA 1600 the four-armed deity standing on a lotus on raised plinth, holding a cakra and sankha, his primary had in varada mudra, the tall tapering headdress with bud finial, his belt with kirtimukha clasp 28.5cm high Provenance: Private collection, England. Acquired Millner Manolatos, London, 14 May 2005.

Previously, private collection, Scotland £2000-3000

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111 A BRONZE DANCING FIGURE OF KRISHNA, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the plump young god dancing on a lotus base, holding a butter ball in his right hand, his hair gathered in a bun, 8.7cm high Provenance: Private collection, England. Acquired Millner Manolatos, London, 25th November 2004 £500-800 112 A LARGE BRONZE FIGURE OF SARASWATI, SOUTH INDIA, 20TH CENTURY the four-armed goddess depicted seated on a lotus on raised plinth, playing a veena, holding rosary and book in her upper hands 29cm £800-1200 113 A BRASS SIVALINGAM COVER, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY on flared cylindrical base, with moustachioed face of the Hindu god, with prominent ears and ridged plaited hair 12.5cm high £150-250 114 A SMALL BRONZE SHRINE DEPICTING TWO WARRIORS, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY each holding sword and shield, standing erect on either side of an arch, 7.4cm high Provenance: Private collection, Northern England. Acquired by the vendor’s mother in the 1950s. £200-300

40

115 A SILVER REPOUSSE VIRABHADRA PLAQUE, DECCAN, INDIA, 19TH CENTURY of rectangular form, the four-armed form of Siva depicted in relief flanked by diminutive figures of Daksha and Sati, holding sword, shield, drum and trident respectively in each hand, within a stylised arch with kirtimukha at the apex 18.2 x 13.2cm

117 A BRONZE INKPOT IN THE FORM OF AN ELEPHANT, DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY with richly ornamented blanket and trappings, a hinged opening for a lid (now missing) on its back, ridden by a female figure wearing pointed lotus headdress 11.5cm high Provenance: Property of a late London collector, thence by descent. £200-300

£300-400

116 THREE FOLK BRONZES, EASTERN INDIA, PROBABLY ORISSA, 19TH CENTURY comprising a camel and rider, an elephant on wheels and an incense burner in the form of a bird, two with stands 16cm and smaller Provenance: Property of a deceased London collector, thence by descent. £120-150

118 A BRONZE FIGURE OF DANCING KRISHNA, TAMIL NADU, SOUTH INDIA, 18TH/19TH CENTURY the plump youthful deity holding a butter ball in his right hand, his left hand raised, his flowing hair gathered in a bun 9cm high Provenance: Property of a late London collector, thence by descent. £150-250 41

119 A MUGHAL MARBLE BALUSTRADE SECTION, NORTHERN INDIA, CIRCA 18TH CENTURY of rectangular form, with pierced quatrefoil trellis design, surrounded by cavetto moulding, the top edge vaulted, mounted on its side 28 x 88.5cm Provenance: Private collection, England. Acquired Jeremy Knowles Ltd., London, 2nd April 2005 This design first appears in Mughal architecture of the 17th century, but is commonly seen in palace balustrades from the following century. £2000-3000 42

120 A CARVED WOOD PANEL FROM A PROCESSIONAL CHARIOT (RATHA), TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the central figure dancing with body flexed holding a sword in his raised right hand and a horn in his left, wearing crown, dhoti and elaborate necklaces and jewellery, flanked by a winged androgynous figure, also holding a horn and a female figure carrying a waterpot, a mythical bird on the upper corner, mounted 59 x 70cm Provenance: Jeremy Knowles Ltd., London, 2nd April 2006. £2000-3000

43

121 A PAINTED AND CARVED WOOD RITUAL MASK DEPICTING HANUMAN, SOUTH INDIA, 19TH/20TH CENTURY with prominent ears and tiered crown 37cm high £250-350 122 A PAINTED RITUAL MASK, ORISSA, EARLY 20TH CENTURY polychrome painted papier mache, the face with moustache, flared nostrils and crown 30cm high £150-200 123 A RITUAL MASK DEPICTING HANUMAN, NEPAL, 19TH CENTURY painted and carved wood, with stylised protruding nose and mouth, and large staring eyes 33cm high £120-180 124 A WOOD FIGURE OF A HORSE, NORTH-WESTERN DECCAN, 19TH/20TH CENTURY carved and painted with four hind legs, on lotus base with drillings for wheels, mounted 37cm high

125 DURGA ON HORSEBACK, WESTERN DECCAN, 20TH CENTURY carved and painted wood, the six-armed goddess wearing a crown inlaid with mirror glass, her horse rearing up, mounted 63cm high Although the Hindu goddess Durga is usually depicted riding on a lion or tiger, she is sometimes seen on a horse, often seen as indicating an imminent battle and associated with the festival of Navaratri. £250-350 126 A FIGURE OF A CELESTIAL MUSICIAN, GOA, 19TH CENTURY carved and painted wood, holding a veena standing on a lotus base, with long hair gathered in ringlets, mounted 59cm high £200-300

£80-120

127 A CARVED AND PAINTED WOOD FIGURE OF THE VIRGIN MARY, GOA, 18TH CENTURY seated on a rocky hill, her hands clasped in prayer, wearing voluminous robes with head cover 24.5cm high £120-180

44

128 A SMALL CARVED WOOD PANEL, PROBABLY BOMBAY, INDIA, CIRCA 1880 from a casket or box, depicting the coronation of Rama in relief, the central scene with the hero seated in lalitasana, surrounded by profusely scrolling vines interspersed with mythical elephants, mounted 12.5 x 20cm

130 A PAIR OF CARVED WOOD ARCHITECTURAL BRACKETS, WESTERN INDIA, 19TH CENTURY in the form of rearing horses 23 x 28 x 11.5cm Provenance: Property of a deceased London collector, thence by descent. £100-150

£120-150

129 TWO WOOD OBJECTS, RAJASTHAN, INDIA, 19TH CENTURY comprising a lid in the form of a peacock and a stopper in the form of a chhatri, both mounted 22.5, 20cm high The stopper is from a powder flask. For a group of closely related examples from Jodhpur, see Subhashini Aryan, ‘Unknown Masterpieces of Indian Folk and Tribal Art’, Gurgaon 2005, no.449, p.228. £150-200

131 TWO CARVED WOOD ARCHITECTURAL STRUTS, GUJARAT, WESTERN INDIA, 19TH CENTURY depicting musicians, one with a pair of cymbals, the other playing a trumpet, each wearing crowns and standing on lotus bases, traces of polychrome 41cm approx. each Provenance: Property of a deceased London collector, thence by descent. £300-400 45

132 A CARVED WOOD RELIEF FRIEZE, TAMIL NADU, SOUTH INDIA, 19TH CENTURY depicting a row of deities and other figures, including musicians, holy men and attendants 18 x 130 x 5cm Provenance: Property of a deceased London collector, thence by descent £250-350 133 A SMALL WOOD RELIEF PANEL, TAMIL NADU, SOUTH INDIA, CIRCA 1900 depicting Parvati, seated in lalitasana under a leafy arch, the four armed consort of Siva with primary hands in abhaya and varada mudra, an elephant goad and deer in her upper hands 27 x 17cm

135 A COLLECTION OF ELEVEN BRONZE OPIUM WEIGHTS, INDIA, CIRCA 18TH/19TH CENTURY each in the form of an amalaka (Indian gooseberry) 4 x 8cm and smaller The Indian gooseberry (emblica officinalis) is an important element in Ayurvedic medicine and a common architectural motif in mediaeval Hindu architecture. Some of these weights have extra pieces of metal added later, to correct lost weight through wear and damage. £400-600

Provenance: Property of a deceased London collector, thence by descent. £100-150 134 A BIDRI HUQQA BOTTLE, DECCAN, SOUTHERN INDIA, MID-19TH CENTURY alloy inlaid with silver, with wide base and tapered ridged neck, the sides with boteh and chevron designs 24cm high Provenance: Collection of the late Peter Cochrane, acquired in 1971. Inv. no.

JPC 71/84. £250-350

136 A REPOUSSE SILVER TRAY, NORTHERN INDIA, CIRCA 1900 of octagonal form, with central figure of Hanuman amidst scrolling foliage and wild animals, surrounded by a raised leafy border 33cm max. diam. 523gr £200-300

46

137 A COLLECTION OF PORTABLE SILVER SCENT BOTTLES, INDIA, LATE 19TH/EARLY 20TH CENTURY each of inverted skittle form, with slender handle some with pointed pierced stopper and bulbous finial 5cm long and smaller (12)

139 A BIDRI PAN BOX (PAN DAN), DECCAN, SOUTHERN INDIA, CIRCA 1800 alloy inlaid with silver, of elongated octagonal form, with convex lid, the sides decorated with a leafy trellis containing repeated lotus motifs 8.5 x 15 x 11cm £300-400

£200-300

138 A COLLECTION OF PUJA SPOONS, INDIA, 17TH-19TH CENTURIES made variously of brass, copper or bronze, each with hemispherical bowl and long slender handle with bud or bulb finial 13.5-16.8cm.

(20)

140 A SINHALESE SILVER BOX, SRI LANKA, EARLY 20TH CENTURY of bun shaped form, the convex lid with central figure of a lion in relief, surrounded by a register of animals amidst scrolling foliage, the sides with similar foliate spirals, a stylised peacock design on the reverse 6cm high; 11.5cm diam. £100-150

£200-300

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141 A BRONZE HANGING LAMP, DECCAN, SOUTHERN INDIA, 19TH CENTURY the circular oil reservoir with seven wick holders, hanging from a chain with links in the form of an elephant, a figure of Parvati and a peacock, a hook at the upper end 51cm long Provenance: Private collection, Northern England, acquired by the vendor’s mother in the 1950s £200-300 142 A BRONZE ESCUTCHEON, SOUTH INDIA, 18TH/19TH CENTURY of openwork drop shape, with adorsed winged horses at the top, mounted 17 x 13cm £120-150

144 A BRONZE IDLI PAN, SOUTH INDIA, 19TH CENTURY with twin handles, the inside with fourteen moulds for shaping the cakes, separate lid 36cm diam.

Idlis are savoury rice cakes, popular in Southern India, where they are eaten for breakfast. £120-150 145 (illustrated online) A SILVER ARTICULATED FISH, INDIA, 20TH CENTURY forming a powder compact, the head with hinged opening to reveal a compartment 17.4cm long £70-100 146 TWO SILVER OBJECTS, INDIA AND TIBET, CIRCA 1900 comprising an Anglo-Indian spirit measure, and a Tibetan butter lamp, the latter with repousse panels depicting the eight auspicious symbols of Buddhism 9, 11cm

143 TWO BRONZE OBJECTS, BASTAR, CENTRAL INDIA, EARLY 20TH CENTURY comprising part of a pipe(?) of horizontal cylindrical form with bird head finials, and a ladle, with diagonally protruding shaft, mounted 9.5, 19cm long

£250-300

The ladle (orkha) is used by the tribes in the region for pouring rice beer. For a closely related example, see Jyotindra Jain and Aarti Aggarwala, ‘National Handicrafts and Handlooms Museum’, Ahmedabad 1989, p.48 (bottom). £100-150 part 48

147 A PAIR OF SILVER FLYWHISKS (CHAURI), WESTERN INDIA, 19TH CENTURY each in the form of a torch, with tapered spiral fluted handle, with a mass of camel hair issuing from a terminal decorated with repousse leafy scrolls 32.5cm long (silver handles) £1000-£1500 148 A DIAMOND-SET SILVER BROOCH, SURAKARTA, JAVA, 19TH CENTURY in the form of an openwork buckle, with scrolling leaf design 7.5 x 4.3cm £350-450 49

149 A JAIN TANTRIC PAINTING, RAJASTHAN, INDIA, FIRST HALF 20TH CENTURY gouache with gold on paper, with central figure of a Jina, surrounded by further figures, lotuses and cobras, framed 48 x 30cm (image) Provenance: Galerie Leandro, Geneva, label on the reverse (circa 1960-70)

part 151 FOUR INDIAN MINIATURE PAINTINGS, RAJASTHAN, 19TH CENTURY gouache with ink and gold on paper, two depicting Sri Nath Ji, one a sivalingam, the other a jina flanked by devotees 15 x 11.7cm and smaller

£150-250

£200-300

150 A PORTRAIT OF A MUGHAL NOBLEMAN, JAIPUR, INDIA, CIRCA 1850 gouache with gold on paper, inscription in devanagari at the top, old framer’s label and catalogue entry attached on the back of the frame 21 x 14.5cm (inside mount) Provenance: Christie’s London, 5 April 1967, lot 148.

The inscriptions reads: ‘Maharaja Barmal Ji’, probably referring to Barmal Singh of Amber (1548-1574), whose daughter married the emperor Akbar. £250-350

part 152 A MISCELLANEOUS GROUP OF ELEVEN MANUSCRIPT FOLIOS, NORTHERN INDIA, 19TH CENTURY black and red ink with touches of watercolour on paper, each with various charts and diagrams, inscribed in devanagari 16 x 25cm and smaller £150-200 153 (illustrated online) A MISCELLANEOUS COLLECTION OF MANUSCRIPT FOLIOS, NORTHERN INDIA, 19TH CENTURY black and red ink with touches of watercolour on paper, each with various charts and diagrams, inscribed in devanagari 32 X 26cm and smaller (20) £180-220

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154 FIVE MISCELLANEOUS HINDU AND JAIN PAINTINGS, INDIA, 19TH CENTURY ink and water-based pigment on paper 27 x 13cm and smaller £200-300

part 155 SIX LOOSE PAGES FROM A HINDU BOOK, NORTHERN INDIA, CIRCA 19TH CENTURY ink and gouache on paper, each comprising a single column of devanagari script on one side, interrupted by a painted illustration 19 x 12cm approx. each (folio) £120-180 part 156 A NARRATIVE SCROLL PAINTING DEPICTING SCENES FROM THE RAMAYANA, BENGAL, EARLY 20TH CENTURY gouache on paper, of long rectangular form, with a series of scenes vertically arranged, including Rama, Lakshmana Sita, Ravana (King of Lanka) and the monster, Surasa, various inscriptions in Bengali and English 172 x 36cm approx. £120-180 157 A NARRATIVE SCROLL PAINTING DEPICTING VARIOUS FORMS OF DURGA, BENGAL, 20TH CENTURY gouache on paper, of long rectangular form, with a series of scenes vertically arranged, with the goddess in various guises, including, at the top, Mahisasuramardini 222 x 46cm approx. £120-180

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part 158 FOUR SCENES OF TRADESMEN, TRICHINOPOLY (TIRUCHIRAPALLI), SOUTH INDIA, 19TH CENTURY gouache on mica, each depicting a canopied shop front on a village street, comprising a metalworker, a baker, a milk seller and a shoe maker, each framed 11.5 x 16.5cm (inside frame) £200-300

160 GANESHA WITH FEMALE ATTTENDANTS, RAJASTHAN, POSSIBLY AJMER, C.1800 gouache and ink on paper, the crowned elephant-headed deity depicted holding a bowl of sweets, his diminutive vahana, the rat at his side, framed, Kasmin gallery label on the reverse, 14 x 19cm Provenance: Private collection; Kasmin Ltd., London, c.1970 £200-300

159 A PORTRAIT OF A MERCHANT AND HIS TWO SONS, RAJASTHAN, LATE 19TH CENTURY gouache with gold on paper, seated on a European style sofa on floral carpet, framed 31 x 22.5cm £250-350 52

161 (detail) A PRINCE AND PRINCESS LISTENING TO A MUSICAL PERFORMANCE IN A PALACE, JAIPUR, RAJASTHAN, MID19TH CENTURY gouache with gold on paper, the image within multiple ruled borders, a panel with six lines of devanagari script in the upper margin, framed 33 x 23.5cm (inside mount) £400-600

162 A FOLK PAINTING DEPICTING INDRA ON AIRAVATA, PUNJAB HILLS, INDIA, EARLY 20TH CENTURY ink and watercolour on paper, mounted 25 x 34.5cm Provenance: From the collection of the artist Balraj Khanna £300-400

163 TWO FOLK PAINTINGS, PUNJAB HILLS, EARLY 20TH CENTURY watercolour and ink on paper, depicting Matsya battling with a demon and Durga wielding an array of weaponry against an asura, framed 24 x 33.5cm, 24 x 31cm (inside mounts) Provenance: from the collection of the artist, Balraj Khanna £800-1200

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164 A COMPOSITE DEITY, PURI, ORISSA (ODISHA), FIRST HALF 20TH CENTURY gouache on gessoed cloth, the six armed figure comprising Balarama, Krishna and Subhadra, a cow from Krishna’s herd behind, surrounded by a double border of scrolling foliage 48 x 32cm Provenance: From the collection of the artist Balraj Khanna £250-350 165 VALMIKI VISITED BY RAMA, SITA AND LAKSHMANA, PURI, ORISSA (ODISHA), FIRST HALF 20TH CENTURY gouache on gessoed cloth, the scene surrounded by a double border of scrolling foliage 40.5 x 45.5cm Provenance: From the collection of the artist, Balraj Khanna Valmiki is a mythical figure said to have been author of the Ramayana. After an early life of crime, he became a poet and lived in a hermitage in the forest. He was often visited by the heroes of the epic. £350-450 166 THREE PAINTINGS OF INDIAN COUPLES, TANJORE (THANJAVUR), TAMIL NADU, SOUTH INDIA, EARLY 19TH CENTURY watercolour with ink on paper, depicting a potter and his wife, a muslim cleric and his wife and a brahmin priest and his wife, framed separately 19.5 x 16.5cm and smaller (inside mount) Provenance: from the collection of the artist Balraj Khanna £2000-3000 54

part

167 A BARAMASA PAINTING, JAIPUR, MID-19TH CENTURY gouache with gold on paper, depicting a mother and child with a peacock on a terrace, black and red borders, mounted 15 x 10.2cm (image) Provenance: Christie’s South Kensington, 4 October 2012, lot 172 (part of lot) £1000-1500 168 TWO PAGES FROM A DISPERSED COPY OF FIRDAUSI’S SHAHNAMA, KASHMIR, CIRCA 1850 gouache with ink and gold on paper, each with four columns of nastaliq script on either side, each with illustration on one side, one depicting a maiden resting by a pond watched by a mounted soldier, the other with a royal couple on a throne flanked by female attendants, mounted together 28 x 13cm; 26 x 13cm (painted and inscribed area) £500-700 169 A PAINTING OF A JAIN PILGRIMAGE SITE, RAJASTHAN, LATE 19TH CENTURY gouache with ink and gold on paper, depicting a mountain dotted with numerous shrines and devotees gathered around a fire, surrounded by a lake teeming with fish below, two lines of devanagari script in a panel above, mounted and framed 22.5 x 18.8cm (main image) The inscription has been translated: ‘The state of Nirvana of Sri Rishabhdevji on Mount Kailas…’ £800-1200 55

170 A MEWAR PORTRAIT OF A HORSE WITH ITS GROOM, RAJASTHAN, INDIA, CIRCA 1800 gouache with gold on paper, the red margin with a single line of devanagari script, framed 23 x 25cm inside mount Provenance: Sotheby’s Colonnade Sale, London, lot 760 (part), 28 April 1994. The inscription has been translated ‘horse [named] Sanjabraj. £800-1200

171 A MEWAR PAINTING OF A HORSE AND RIDER, RAJASTHAN, CIRCA 1800 gouache with gold on paper, the red margin lined in black, framed 23 x 25cm Provenance: Sotheby’s Colonnade Sale, London, 28.4.94, lot 760 (part) £600-800

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172 RADHA AND KRISHNA IN A PALACE, PROBABLY JAIPUR, INDIA, EARLY 19TH CENTURY gouache with gold on paper, the couple flanked by female chauri bearers, framed and mounted 24 x 19.5cm £2500-3500

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173 RADHA AND KRISHNA LISTENING TO A MUSIC RECITAL, PROVINCIAL MUGHAL, 18TH CENTURY gouache with gold on paper, the couple seated together on a terrace, with a river and hilly landscape in the distance, accompanied by female attendants holding chauris, four female musicians performing in front of them 23.5 x 16.5cm Provenance: Acquired by the previous owner at Christie’s South Kensington before 2010. £1500-2000 58

174 A REVERSE GLASS PAINTING OF A COUPLE, SOUTH INDIA, PROBABLY THANJAVUR (TANJORE), CIRCA 1900 seated together in a European influenced interior, framed 60 x 45cm Provenance: Property of a deceased London collector, thence by descent.

This is an example of a popular theme in South Indian painting at the time. Apart from religious subject matter, numerous secular scenes of fashionable characters were painted. The pill box hats and braid trouser stripes show the influence of military uniforms. The commonly-seen erotic atmosphere is relatively subtle here; the woman’s fingers reach out towards the man’s pan-pipes, while his foot presses against her skirt. See Anna Dallapiccola, ‘Reverse Glass Painting in India’, Delhi 2017, p.133ff. £400-600 175 TWO REVERSE GLASS PAINTINGS, SOUTH INDIA, PROBABLY THANJAVUR (TANJORE), CIRCA 1900 depicting the youthful Krishna, eating butter, with female attendant, and Rama, decapitating King Ravana of Lanka, both framed 29 x 25cm approx. each Provenance: Property of a deceased London collector, thence by descent. £200-300 176 A RULER HUNTING OUTSIDE HIS CITY, PROBABLY JAIPUR, RAJASTHAN, 19TH CENTURY gouache with gold on paper, a river, bridge and city behind, with a mountain range in the distance, framed 22 x 34cm Provenance: Property of a deceased London collector, thence by descent. £250-350

part 59

177 A COMPANY SCHOOL PAINTING DEPICTING THE EXTRACTION OF SUGAR, NORTHERN INDIA, EARLY 19TH CENTURY gouache on paper, inscribed in English on the reverse, framed 11.5 x 18cm Provenance: Private collection, London, acquired from Arthur Millner Ltd., London, 2002 The inscription reads ‘The process of extracting the Sugar from the Cane. The same mode is not, however, adopted throughout India. This is used in the district of Benares but not in Bengal’. £500-800

178 A WOMAN WORSHIPPING AT A SIVA SHRINE, ATTRIBUTED TO USTAD MURAD, BIKANER, RAJASTHAN, INDIA, EARLY 18TH CENTURY gouache with gold on paper, various notes and Bikaner inventory stamp on the reverse, mounted, with copy of 1997 Spink invoice 14.2 x 8cm Provenance: Private Collection, London, acquired from Spink and Son, London, 3rd November 1997; the Private Collection of the Maharaja of Bikaner (before 1964). £1000-1500

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179 A MAHARAJA ON HORSEBACK, JODHPUR, RAJASTHAN, INDIA, LATE 18TH CENTURY gouache with silver and gold on paper, riding by a river in a hilly landscape, holding a spear, wearing orange robes and tall turban, accompanied by three attendants, framed, with copy of 1997 Spink invoice 29.5 x 21cm (inside mount) Provenance: Private Collection, London, acquired from Spink & Son, 3 November 1997 £700-900

180 A BLOCK PRINTED COTTON HANGING, WESTERN INDIA, 19TH CENTURY of long horizontal rectangular form, the main frieze depicting a register of turbanned soldiers, wild animals and horsemen, above a series of cusped Mughal arches, each containing a flowering plant, an elaborate merlon border along the top, a chevron band at the bottom 96 x 340cm £400-600

detail

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181 A MONUMENTAL PICHHAVAI, NATHDWARA, RAJASTHAN, WESTERN INDIA, 19TH CENTURY gouache on cotton, with gold applique, the stylised deity dancing and flanked by four figures of gopis on either side, with the forest and moon flanked by celestial chariots behind, a further youthful figure of Krishna with his herd flanked by female musicians below, the river filled with lotuses in the foreground 310 x 316cm approx.

Provenance: Private collection, England. Acquired Millner Manolatos, London, 12 June 2005. Acquired by the former vendor at H.M. Luther, London, in the 1970s.

The scene on this exceptionally large pichhavai is Sharada Purnima. Krishna summons the gopis (female cowherds) to a night time autumn festival on the banks of the Yamuna (depicted in the foreground). They celebrate the end of the wet season and the bounty it has brought. such is their eagerness to join the festivities that the women leave their husbands’ dinners to burn. Each vies with the other to join hands with Krishna (seen here in his characteristic form of Sri Nath Ji). The other gods watch from their celestial chariots near the moon, while below, by the river bank, a herd of cows looks up at the celebrations beyond the shrines of Mount Govardhan. For a related scene in the Calico Museum of Textiles, Ahmedabad, see Kay Talwar and Kalyan Krishna, ‘Indian Pigment Paintings on Cloth’, Ahmedabad 1979, pl.26. There is also a smaller version of this scene in the Virginia Museum of Fine Arts, see Joseph M. Dye, ‘The Arts of India’, Richmond 2001, no.104 £20000-30000

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182 A PUNJAB PHULKARI, NORTHERN INDIA, 20TH CENTURY floss silk embroidered woven cotton, of rectangular form, with bold repeated chequerboard design in vermilion, lime-green, orange and white 252 x 124cm £150-250

183 TWO WOOL SHAWLS IN THE KASHMIR STYLE, FRANCE, 19TH CENTURY each of rectangular form, woven with design of profusely scrolling botehs and palmettes surrounding a quatrefoil medallion in black and white respectively 333 x 160; 340 x 164cm

part

For a discussion of French shawls produced on the innovative Jacquard loom in the 19th century, made to compete with the hugely popular originals from Kashmir, see Frank Ames, ‘The Kashmir Shawl and its Indo-French Influence’, Woodbridge 1997, chapter 6, p.135ff. A group of similar shawls are illustrated on pp.214-215. £500-700

184 A PUNJAB PHULKARI, NORTHERN INDIA, 20TH CENTURY floss silk, embroidered woven cotton, of rectangular form, with bold repeated chevron design in vermilion, lime green, mustard, orange, and white 213 x 121cm £150-200

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185 FIVE INDIAN TEXTILES, 19TH/20TH CENTURIES comprising a woven silk skirt, a Kutch silk-embroidered cotton bag, a cotton-embroidered bag with geometric design, probably Central India, a Kutch floss-silk embroidered rumal, and a brocade fragment 80 x 103cm (skirt, and smaller) £250-350 186 A COTTON LACE PICHHAVAI, GERMANY FOR THE INDIAN MARKET, EARLY 20TH CENTURY of rectangular form, depicting a pavilion surrounded by trees with two gopis inside, the undulating lotus filled river in the foreground 225 x 230cm For another German lace shawl in the Calico Museum, Ahmedabad, see Kay Talwar and Kalyan Krishna, ‘Indian Pigment Paintings on Cloth’, Ahmedabad 1979, no.81, pl.71. The scene is described as ‘Nava ki Pichhavai’, a scene associated with summer in which Krishna appears disguised as a gopi. The same may be the case here, as Krishna is absent, and the gopi on lower left is haloed. £400-600 part

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187 FIVE JAIN CLOTH MANUSCRIPT COVERS, GUJARAT, 19TH CENTURY each of rectangular form with smaller folding back flap, two with embroidered floral and figural designs, the other three with silver thread and applique decoration 17 x 29cm approx. each For two similar Jain bookcovers, see Subashini Aryan, ‘Unknown Masterpieces of Indian Folk and Tribal Art’, Gurgaon 2005, p.141. £300-400

188 A PABUJI PHADA, RAJASTHAN, EARLY 20TH CENTURY pigment with ink on cotton, of long, horizontal rectangular form, devanagari inscription next to the main image 445 x 142cm For a related phada in the Calico Museum, Ahmedabad, see Kay Talwar and Kalyan Krishna, ‘Indian Pigment Paintings on Cloth’, Ahmedabad 1979, p.101ff, no.120.

Pabuji is a folk hero in Rajasthan who lived in the fourteenth century and has since gained semi-divine status. In this large scale composition, the hero is depicted holding a sword and lotus, and accompanied by his four generals. Other scenes include episodes from his life, along with others shown as comparisons with his deeds. Below is the beautiful black mare presented to him

by Charani Deval, a form of Shakti. The story is told that the goddess gave the horse in exchange for an unconditional promise to defend her herd of cattle. On the day of Pabuji’s wedding, the cattle were stolen, and in the battle to retrieve them, the hero was killed. £500-800 66

detail

detail, part 189 TWO TIE-DYED COTTON VEILS, KUTCH, GUJARAT, EARLY 20TH CENTURY each of rectangular form, made in two sections stitched together, the central roundel depicting a register of dancing women, surrounded by scrolling stylised foliage 340 x 174; 200 x 190cm

191 AN EMBROIDERED BAYTON KANTHA, BENGAL, INDIA, 20TH CENTURY of square form, the polychrome design on cream ground, the central floral roundel surrounded by animals, plants and human figures, mounted on stretcher 84 x 82cm £200-300

For a similar veil, but made of silk, see Jyotindra Jain and Aarti Aggarwala, ‘National Handicrafts and Handlooms Museum, New Delhi’, Ahmedabad 1989, p.144 £300-400 190 TWO EMBROIDERED AND APPLIQUE COVERS, GUJARAT, EARLY 20TH CENTURY each of rectangular form, the polychrome design arranged around a central floral medallion, comprising figures, floral motifs and animals, embellished with mirror-glass applique 217 x 118cm; 171 x 107cm

part 192 A CHAMBA RUMAL, HIMACHAL PRADESH, NORTHERN INDIA, 19TH CENTURY of square form, cream cotton embroidered with polychrome silk, with figural and foliate designs; together with an embroidered and mirror glass applique cotton Rumal, Rajasthan, early 20th century 59, 41cm square (2)

For a bed valance from Saurashtra with similar decoration, see Rosemary Crill, ‘Indian Embroidery’, London 1999, no.91, p.96.

£100-150

£300-400 part

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193 (illustrated online) TWO INDIAN TEXTILE PANELS, 19TH CENTURY comprising a woven gilt metal brocade with repeated boteh design and a panel of zardozi silver foil applique floral piecework on black satin ground, both mounted 30 x 26cm; 38 x 60cm £80-120

195 A PAINTED AND PRINTED COTTON ALTAR COVER, INDIA FOR THE HIMALAYAN MARKET, 19TH CENTURY in several sections stitched together, the main panel depicting a trio of cusped arches each containing a stylised flower tree, three plain bands of cloth above, a register of vertically oriented pomegranate bands at the top, overlaid with a pair of plain square pieces of cloth 130 x 140cm £500-700

194 A BLOCK PRINTED COTTON HANGING, PROBABLY LAHORE, INDIA (NOW PAKISTAN), 19TH CENTURY of rectangular form, composed of two vertical lengths, stitched together, with central mihrab arch containing a stylised flowering tree, surrounded by concentric geometric and floral bands, further registers of nilgai and floral bouquets below and a floral star border above 236 x 126cm £300-400 68

196 A WOMAN’S SILK WEDDING SHAWL (ODHNI), KUTCH, WESTERN INDIA, 19TH CENTURY of rectangular form, the crimson ground with central polychrome embroidered floral star, embellished with mirror glass applique, similarly decorated roundels above and below, surrounded by repeated embroidered floral sprigs, separately stitched plain smoky blue borders along each edge 155 x 202cm £400-600

198 A SMALL ASHAVALI BROCADE PANEL, AHMEDABAD, GUJARAT, 19TH CENTURY silver thread on gold coloured silk ground, with a trellis design of turtles and fish, framed and mounted 24 x 25cm £300-400

197 A KALAMKARI PANEL, PROBABLY MASULIPATAM, SOUTH-EASTERN INDIA, 19TH CENTURY printed and resist dyed cotton, the central mihrab filled with floral botehs on crimson ground, surrounded by multiple scrolling floral borders and registers, lined 134 x 88cm £200-300

199 A KASHMIR WOVEN WOOL PANEL, CIRCA 1900 with a polychrome design of repeated lotus and other floral motifs on pale blue ground, plain blue borders stitched onto each end, framed 85 x 185cm Provenance: Property of a late London collector, thence by descent. £800-1200

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200 AN EMBROIDERED KASHMIR RUMAL, 1860-1870 of square form, the complex polychrome design of interlocking floral botehs arranged in a circle around a floral star with central crimson medallion, further roundels in each corner, surrounded by scrolling foliate border, a band of arcade motifs at each end, fringed with tassels, 175 x 166cm Provenance: Property of a late London collector, thence by descent. £800-1200

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201 A MUGHAL-STYLE PIETRA DURA INLAID MARBLE FOOTSTOOL, AGRA, NORTH INDIA, 2006 of square form resting on four short bun feet, the stylised foliate decoration in the style of Shah Jahan’s reign, the inlay including carnelian, lapis lazuli, agate and jade 7 x 40.5 x 40.5cm Provenance: Private collection, England. Commissioned by the vendor at Oswal Emporium in Agra. £4000-6000 202 ~ (illustrated online) AN ANGLO-INDIAN TEA-CADDY, BOMBAY, INDIA, CIRCA 1880 decorated with carved wood figural and foliate panels with sadeli work borders, the hinged lid opening to reveal two lidded compartments lined with zinc 14 x 24 x 13cm Provenance: Private Collection, Northern England £60-80

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203 A BRASS MOUNTED WOOD DOWRY CHEST, NORTHERN INDIA, 19TH CENTURY with hinged lid and three lower front drawers, decorated with sheet brass applique star-shaped bosses 27 x 50 x 33cm £150-200 204 AN UNUSUAL MULTAN HUQQA BOTTLE, PUNJAB, INDIA (NOW PAKISTAN), LATE 19TH CENTURY glazed earthenware, the near-spherical base topped with flared and ridged neck, the sides decorated with a mass of flowering plants in reserved white, ochre and green on blue ground, with stylised leafy bands above and below 28.5cm high Although the form is that of a huqqa bottle, it is more likely to have been made simply as a decorative vase, for sale to the European market during the colonial period. £300-400 205 A VIZAGAPATAM WORK BOX, SOUTH INDIA, MID-19TH CENTURY of sarcophagus form, sandalwood, overlaid with fluted buffalo horn, the hinged lid opening to reveal a removable tray with compartments, four with lids, and two pin cushions 16 x 34 x 25cm Vizagapatam is best known for its ivory veneered objects, but in the mid-19th century a number of other materials began to be used, such as porcupine quill, buffalo horn and antler. See Amin Jaffer, ‘Furniture from British India and Ceylon’, London 2001, p.172ff. £600-800

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206 ~ A VIZAGAPATAM MINIATURE CHESS SET, SOUTHERN INDIA, CIRCA 1880 sandalwood, overlaid with ivory veneer and fretwork, buffalo horn and bone, with horn and bone elements, the shaft of turned horn with ivory beadwork, the gaming board of octagonal form, four engraved shield medallions, depicting deities amidst scrolling arabesques around the sides, the pieces turned and carved, 23cm high, 27cm max. diameter £1500-2000

207 A MODEL GANGES RIVER BOAT, NORTHERN INDIA, CIRCA 1950 wood with brass mounts, of elongated form, with scrolling prow and pointed stern, dedication inscription in brass on the deck, twin wood stands 123cm long Provenance: Property of a late London collector, presented by a friend as a wedding present, thence by descent. £200-300

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208 ~ A VIZAGAPATAM WORKBOX, SOUTHERN INDIA, 1810-20 sandalwood, veneered with ivory, decorated with engraved and lac-filled leafy bands, of sarcophagus form, the hinged lid with radiating flutes, opening to reveal a removable tray with various compartments, a further compartment inside the lid itself, a drawer at the front, old letter dated 1839 discussing household management inside 15 x 26 x 19cm

210 TWO BRASS ORNAMENTS, V. VALLIPURAM AND SONS, NEGOMBO, CEYLON (NOW SRI LANKA), CIRCA 1900 comprising a Kandyan nobleman, wearing wide cap and inlaid rings, and a figure of a bull with inlaid eyes, each stamped with maker’s name nobleman: 16.5cm high, bull: 15cm long £120-150

For a closely related workbox in the Victoria and Albert Museum, see Amin Jaffer, ‘Furniture from British India and Ceylon’, London 2001, p.208, no.52 £500-700 209 ~ A TURNED EBONY FAN HANDLE, KANDY, SRI LANKA, 19TH CENTURY the ridged tapered shaft with alternating yellow and red painted decoration, the fan attachment with carved scrollwork 41.5cm long This type of fan-handle is more commonly seen in ivory, and the fan attachment, missing here, was made of palm leaf.

For a complete example in ivory in the Asian Civilisations Museum in Singapore, see inv. no.

2016-00222. See also the Metropolitan Museum of Art, New York, inv. no.

2010.475.9a, b. £250-350

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211 (illustrated opposite) A LARGE BRONZE FIGURE OF A KANDYAN CHIEF, POSSIBLY KING VIKRAMA RAJASINHA (1798-1815), SRI LANKA, 19TH CENTURY the elongated figure standing on circular base, with right hand raised, his left holding his sword, his face with beard and moustache, wearing domed crown 73cm For a related bronze figure in the Norton Simon Museum, Pasadena, see inv. no. P.2002.05.2.

Vikrama Rajasinha was the last in the line of Kandyan Kings, deposed by the British who had exploited divisions within the court. He was imprisoned in South India, where he died fifteen years later. £2000-3000

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212 (illustrated online) TWO TERRACOTTA VOTIVE PLAQUES, PAGAN, BURMA, (NOW BAGAN, MYANMAR), CIRCA 12TH CENTURY one of arched form, the impressed relief depicting Buddha within a shrine, flanked by figures of Moggolana and Sariputta, a group of small stupas above, the other of oval form with central figure of Buddha, his hands in dharmacakra mudra, flanked by pagodas 15, 9.5cm high Provenance: Private Collection, London £180-220

215 A MAJAPAHIT PUMICE FIGURE OF A BOY, POSSIBLY KRISHNA, JAVA, 14TH/15TH CENTURY the plump figure with long hair, wearing a necklace, holding a head of grain in his left hand, traces of green and black pigment, mounted 14cm high Provenance: Collection of a late diplomat, thence by descent For two related figures of boys in bronze, see A. J. Bernet-Kempers, ‘Ancient Indonesian Art’, Harvard 1959, pls.292-293.

Bernet-Kempers suggests that these figures were to fulfill the wish for a child, but others have suggested that they are simply representations of the Hindu god Krishna.

213 A MAJAPAHIT FRAGMENTARY TERRACOTTA RELIEF PANEL, JAVA, INDONESIA, CIRCA 14TH CENTURY depicting a tiger stalking a gazelle in a hilly wooded landscape 15 x 20 x 2.5cm Provenance: Collection of a late diplomat, thence by descent £150-200 214 A MAJAPAHIT PUMICE HEAD OF A MAIDEN, JAVA, CIRCA 14TH CENTURY her hair gathered to the side in a sweeping arc, a floral garland over each ear, mounted 8cm high Provenance: Collection of a late diplomat, thence by descent £200-300 76

£400-600

216 A BUFF SANDSTONE HEAD OF BUDDHA, PAGAN, BURMA (NOW MYANMAR), CIRCA 12TH CENTURY with downcast expression, his head with domed usnisa, mounted 10.5cm high Provenance: Collection of a late diplomat, thence by descent £200-300

217 A MAJAPAHIT PUMICE HEAD OF A NOBLEMAN, JAVA, 14TH CENTURY wearing elaborate turban with tiered folds, with moustache and frowning expression, mounted 15cm Provenance: Collection of a late diplomat, thence by descent £400-600

219 A MAJAPAHIT TERRACOTTA HEAD OF A DVARAPALA, JAVA, INDONESIA, CIRCA 14TH CENTURY with smiling face, moustache and furrowed brow, his wavy hair gathered in a topknot 12.5cm Provenance: Collection of a late diplomat, thence by descent £250-350

218 A MAJAPAHIT HEAD OF A BOY, EASTERN JAVA, CIRCA 14TH CENTURY terracotta, with plump features, his hair gathered in a topknot, mounted on stand 10cm high Provenance: Collection of a late diplomat, thence by descent £250-350

220 THREE SMALL PUMICE FIGURES OF DEITIES, MAJAPAHIT, JAVA, 14TH/15TH CENTURY comprising a four-armed goddess, standing erect, flanked by a pair of flower vases, a mother holding a baby and a figure of Tara(?) seated with hands in dharmacakra mudra, a lotus flower at her left shoulder 7.5, 5.5, 5.5cm Provenance: Collection of a late diplomat, thence by descent £400-600 77

221 A MAJAPAHIT FRAGMENTARY TERRACOTTA BUST OF A WOMAN, JAVA, CIRCA 14TH CENTURY depicted holding a fold of her robe in her left hand, her forehead with twin ringlets of hair, mounted 18.5cm high Provenance: Collection of a late diplomat, thence by descent £400-600

223 A VOLCANIC STONE PANEL DEPICTING THE HEAD OF BUDDHA, JAVA, 9TH/10TH CENTURY of pinkish orange colour, probably from a larger bas-relief composition, the sides with insets to fit with neighbouring sections 24cm square approx.

Provenance: Property of a late diplomat, thence by descent. £250-350

222 A MAJAPAHIT PUMICE HEAD OF HANUMAN, JAVA, INDONESIA, 14TH CENTURY the gaping mouth with prominent fangs, with bulging spiralled eyes and vigorously curled hair gathered at the back, mounted 13cm high Provenance: Collection of a late diplomat, thence by descent £400-600

224 A MAJAPAHIT TERRACOTTA COLUMN SECTION, JAVA, CIRCA 14TH CENTURY of domed cylindrical form, a modelled figure of Garuda in relief on the side with wings outstretched 46cm high Provenance: Collection of a late diplomat, acquired in the 1980s, thence by descent Terracotta sculptures of this type were made hollow, so that a wooden pole could be passed through, forming a column. There is a similar piece figure in the Metropolitan Museum of Art, New York (1992.151) depicting a woman on the side.

In addition see Pratapaditya Pal, Icons of Piety, Images of Whimsy: Asian Terracottas from the Walter-Grounds Collection, Los Angeles 1987, no. 82. £800-1200

78

226 A MAJAPAHIT TERRACOTTA FIGURE OF A KNEELING MAIDEN, JAVA, CIRCA 14TH CENTURY her hands resting on her knees, her long hair flowing down her back, her robe with traces of red pigment 12cm high Provenance: Collection of a late diplomat, thence by descent. £300-500

225 A MAJAPAHIT TERRACOTTA FIGURE OF NANDI, JAVA, INDONESIA, CIRCA 14TH CENTURY the bull headed deity seated in padmasana on a flat cushion, wearing elaborate modelled jewellery, with long flowing hair and kris tucked into the back of his belt 40cm high Provenance: Collection of a late diplomat, acquired in the 1960s, thence by descent This unusual form of Nandi, shows the bull deity as a human with bull head, rather than having a complete bull’s body as generally seen in India. For a similar depiction of Nandi, from Surabaya, in the National Museum, Jakarta, see inv. no. 208c (https://commons.wikimedia. org/wiki/File:085_Nandi,_Surabaya,_East_Java,_13th_c_ (23463769306).jpg) £800-1200

227 A MAJAPAHIT TERRACOTTA PIGGY BANK, JAVA, CIRCA 14TH CENTURY of stocky form, with upturned ears and pronounced eyebrows, a coin slit in his back 21cm high; 35cm long Provenance: Property of a late diplomat, probably acquired in the 1980s.

For a smaller piggy bank in the Walter-Grounds Collection, USA, see Pratapaditya Pal, Icons of Piety, Images of Whimsy, Los Angeles 1987, p.97, no.62. There is an example in bronze in the Metropolitan Museum of Art, New York, see inv. no. 1987.142.259. £600-800 79

228 A COLLECTION OF SEVEN EARLY SOUTH-EAST ASIAN TERRACOTTAS, 12TH CENTURY AND LATER comprising four Burmese and Thai Buddhist votive plaques, a small pot with lid depicting pair of mating frogs, a Majapahit seated figure with tall headdress and part of a Javanese model shrine 10cm high, and smaller Provenance: Collection of a late diplomat, thence by descent £200-300

230 A COLLECTION OF NINE MAJAPAHIT TERRACOTTA HEADS, JAVA, INDONESIA, CIRCA 14TH CENTURY including one of Hanuman, another of a boy, the remainder mostly of maidens 5cm (average size) Provenance: Collection of a late diplomat, thence by descent £200-300

Provenance: Collection of a late diplomat, thence by descent

231 A MAJAPAHIT PUMICE HEAD OF A MONK, JAVA, INDONESIA, CIRCA 14TH CENTURY with shaven head and small facial features, mounted 8cm

For another terracotta cockerel in the Los Angeles County Museum of Art, see Pratapaditya Pal, ‘Icons of Piety, Images of Whimsy’, Los Angeles 1987, pp.95-96, no.60.

Provenance: Collection of a late diplomat, thence by descent

£200-300

£150-250

229 TWO MAJAPAHIT TERRACOTTA ROOF FINIALS, JAVA, CIRCA 14TH CENTURY one in the form of a cockerel, the other a pigeon, each with raised head and incised details 31, 22cm long

80

232 A SMALL PUMICE HEAD OF A MAIDEN, MAJAPAHIT, JAVA, CIRCA 14TH CENTURY finely carved with her hair gathered in a bun at the back, wearing disc earrings, mounted 4.5cm high Provenance: Collection of a late diplomat, acquired in the 1960s, thence by descent £150-250

233 A GROUP OF A PAIR OF INFANTS, MAJAPAHIT, JAVA, CIRCA 14TH CENTURY carved pumice, the two adorsed figures each crouching with hands on knees on a single oval base, their hair joined in a single bun 7.8cm high Provenance: Collection of a late diplomat, acquired in the 1960s, thence by descent £150-250

234 FIVE SMALL MAJAPAHIT TERRACOTTA HEADS, JAVA, 14TH CENTURY depicting Garuda, an elderly sage, two maidens and a baby, each mounted on stand 8cm and smaller Provenance: Collection of a late diplomat, acquired in the 1960s, thence by descent £400-600

81

235 A JAVANESE VOLCANIC STONE FRAGMENTARY FIGURE POSSIBLY DEPICTING SIVA, INDONESIA, CIRCA 9TH CENTURY seated in sattvasana on a lotus throne, his hands resting on his knees, a lotus flower(?) in his left hand 49cm high Provenance: Collection of a late diplomat, thence by descent, thought to have been acquired in the 1960s.

Although at first sight this appears to be a figure of Buddha, the positioning of the hands makes this unlikely, and even more telling are indications of two further arms, now missing, and the long hair which still falls onto his shoulders.

A plausible comparison is the 9th century figure of Siva found in the Dieng plateau ( A. J. Bernet-Kempers, ‘Ancient Indonesian Art’, Harvard 1959, pl.28). £8000-12000 82

236 A JAVANESE TERRACOTTA MODEL TEMPLE (CANDI), INDONESIA, CIRCA 14TH CENTURY in two sections, comprising the ground storey with entrances in each cardinal direction, surmounted by kirtimukhas, and tapering tiered tower above 110cm high Provenance: Collection of a late diplomat, thence by descent, thought to have been acquired in the 1960s.

The architectural style of this object is closely modelled on Candi Panataran, Eastern Java, dated 1369 AD. For a very similar example in the Los Angeles County Museum of Art, (M.86.346.2), see Pratapaditya Pal, ‘Icons of Piety, Images of Whimsy’, Los Angeles 1987, p. 72f., no.37. Pal suggests that these terracotta miniature temples had either a votive or funerary function, or perhaps were simply subsidiary shrines. £3000-4000

83

237 A JAVANESE VOLCANIC STONE RELIEF DEPICTING BRAHMA AND SARASWATI, INDONESIA, 8TH/9TH CENTURY each standing on a lotus, wearing tall headdresses, the god with four heads and four arms, his consort with four arms, his vahana, the goose, just visible at his feet 75 x 43 x 19cm Provenance: Collection of a late diplomat, thence by descent, thought to have been acquired in the 1960s.

Brahma is generally depicted bearded, but there are exceptions. For an Indian example without beard in the British Museum, see inv. no. 1963,0217.1. Also notable here is the relative equality of scale between the male and female figures.

For a more typical bearded figure of Brahma, from Singasari, Eastern Java, see A. J. Bernet-Kempers, ‘Ancient Indonesian Art’, Harvard 1959, pl.242. £6000-9000 84

238 A MAJAPAHIT SCULPTURAL COMPOSITION DEPICTING FIGURES IN A MOUNTAINOUS LANDSCAPE, JAVA, INDONESIA, CIRCA 14TH CENTURY terracotta, modelled in the round, with a seated figure at the top flanked by female attendants sitting outside kiosks, a flight of steps below with a young couple at the bottom, a dog and further figures amidst foliage at the back 50cm high Provenance: Collection of a late diplomat, thence by descent, It is not clear what the function of this sculpture was. The hollow structure and hole at the top is reminiscent of figural objects which are though to have supported wood columns. There is an interesting parallel with a Nepalese terracotta lamp in the Walter Grounds collection (Pratapaditya Pal, ‘Icons of Piety, Images of Whimsy’, Los Angeles 1987, p. 78f., no.42). As with the Nepalese piece, it is likely that the figure at the top with his long hair gathered in a bun or turban represents Siva on Mount Kailas. £2500-3500 85

241 A SRIVIJAYA BRONZE FIGURE OF AVALOKITESVARA, SUMATRA OR MALAY PENINSULA, CIRCA 9TH CENTURY the eight-armed Buddhist deity standing erect, draped in a lionskin, wearing tall headdress 14cm high Provenance: Private Collection, London

239 A FRAGMENTARY RELIEF DEPICTING BUDDHA, BURMA (NOW MYANMAR), CIRCA 13TH / 14TH CENTURY stucco, with crowned head and elongated earlobes with pendent earrings, mounted 16cm high £300-400

The empire of Srivijaya which flourished between the 8th-12th centuries in peninsular Malaysia, Sumatra and Java, disappeared almost without trace after losing out to rival powers in the 13th century. Its existence was only rediscovered by French archaeologists in the 1920s. It played a major role in establishing Buddhism in the region. For a similar but larger bronze figure in the Metropolitan Museum of Art, New York, see inv. no. 65.146. Two larger Avalokitesvara figures are published in Piriya Krairiksh, The Roots of Thai Art, Bangkok 2012, p.248. £200-300 242 A SMALL MON-DVARAVATI BRONZE FIGURE OF BUDDHA, THAILAND, CIRCA 8TH CENTURY seated in sattvasana on a waisted throne, his hands in bhumisparsa and dhyana mudra, with thick lips, tightly curled hair and domed usnisa 9.7cm high Provenance: Private Collection, London

240 A LACQUERED AND GILDED BRONZE FIGURE OF BUDDHA, THAILAND, 19TH CENTURY seated in sattvasana, his hands in bhumisparsa and dhyana mudra, on raised lotus throne, wearing rich brocades, his usnisa with flame finial 36cm high £600-900 86

The term Mon-Dvaravati is used to characterise a predominantly Buddhist artistic style in Central Thailand which flourished between 7th-9th centuries. The physical characteristics of the Mon ethnic group are thought to be reflected in the rounded faces and full lips, although some of this is no doubt an artistic influence from Gupta India. The Dvaravati kingdom was best know of several competing kingdoms in the region at this time. £300-400

245 A SRIVIJAYA LEAD ALLOY FIGURE OF A BODHISATTVA, SUMATRA, INDONESIA, 7TH/8TH CENTURY standing on a raised circular base, his hands in abhaya and varada mudra, the slender figure with his hair gathered in a tall bun 8.5cm high Provenance: Collection of a late diplomat, thence by descent 243 A JAVANESE BRONZE RICE SHOVEL, INDONESIA, 9TH/10TH CENTURY with scrolling faceted handle and tapered rectangular tray 24cm long

For a larger, bronze version of the same subject and period, formerly in the Samuel Eilenberg collection, see inv. no. 1987.218.15 £400-600

Provenance: Collection of a late diplomat, thence by descent For a closely related shovel from the Samuel Eilenberg Collection, now in the Metropolitan Museum of Art, New York, see inv. no. 1987.142.179 £200-300

246 SIX EARLY BRONZE OPIUM WEIGHTS, BURMA (NOW MYANMAR), CIRCA 12TH CENTURY of graduating sizes, each in the form of a winged bird standing on a bun-shaped cushion 2.2-4.3cm high Provenance: Collection of a late diplomat, thence by descent £500-700

244 FIVE SMALL SHEET SILVER HEADS OF BUDDHA, THAILAND, CIRCA 18TH CENTURY each with wood core, the hair with embossed curls 3cm high each approx.

Provenance: Collection of a late diplomat, thence by descent £120-180

247 A KHMER BRONZE FIGURE OF PRAJNAPARAMITA, CAMBODIA, CIRCA 12TH CENTURY standing erect on a square base, the female deity wearing sampot, earrings and conical headdress, holding a book in her right hand 12cm Provenance: Collection of a late diplomat, thence by descent £300-400

87

248 A SMALL KHMER BRONZE HEAD OF A DEITY, CAMBODIA, 12TH CENTURY wearing flared crown and conical headdress, one of the pierced ears with later gold pendent earring, traces of silver 4.8cm high Provenance: Collection of a late diplomat, thence by descent £120-180 249 A BRONZE FIGURE OF MANJUSRI, JAVA, INDONESIA, CIRCA 10TH CENTURY seated in sattvasana on a double lotus raised on a rectangular plinth, his right hand in varada mudra, his left holding the stem of a lotus with a book resting on the flower, wearing elaborate coiffure with a crescent behind his head, surrounded by a flaming aureole 10cm high Provenance: Collection of a late diplomat, acquired in the 1960s, thence by descent For a closely related Javanese image of Manjusri in the Victoria and Albert Museum, see inv. no. IM 345-1924 (420 IS). £1200-1800 250 A JAVANESE BRONZE FIGURE OF BUDDHA, INDONESIA, 9TH/10TH CENTURY seated in padmasana on a double lotus throne, on raised plinth, his hands in vitarka and dyana mudra, with smiling expression, his head with tightly curled hair and conical usnisa 13.5cm high Provenance: Collection of a late diplomat, thence by descent. Said to have been discovered just after the second world war near Borobudur and for several years was in the collection of the Sultan of Solo. £2000-3000

88

251 A PYU BRONZE FIGURE OF BUDDHA, BURMA (NOW MYANMAR), CIRCA 9TH CENTURY seated in padmasana on a convex cushion, his hands in bhumisparsa and dhyana mudra, his head with tightly curled hair and elongated earlobes, his domed usnisa with bud finial 11cm high

253 THREE JAVANESE BRONZE OBJECTS, INDONESIA, 10TH/11TH CENTURY comprising a mirror, the handle with relief figure of a deity, a ritual ladle, with engraved shallow bowl and scrolling handle, and a knife, with animal head handle 19.5cm long approx. each Provenance: Collection of a late diplomat, thence by descent £300-500

Provenance: Collection of a late diplomat, thence by descent £700-900

252 A BRONZE MOULD FOR A BUDDHIST CLAY VOTIVE PLAQUE, CAMBODIA, 12TH/13TH CENTURY of flamed shaped form, with central figure of a deity in a roundel, tiers of figures of bodhisattvas above and below, scrolling handle on the reverse 18cm high Provenance: Collection of a late diplomat, thence by descent £200-300

254 A KHMER SPOUT FROM A EWER, CAMBODIA, CIRCA 12TH CENTURY forming a faceted arc issuing from the mouth of a makara with flared foliation at the terminal, mounted 16.5cm long approx.

Provenance: Collection of a late diplomat, thence by descent £250-350 89

256 A JAVANESE BRONZE HANGING INCENSE BURNER, INDONESIA, CIRCA 10TH CENTURY of bun-shaped form, the domed lid with repousse relief flame motifs, twin chain attachments and associated hanging hook 18cm high; 22cm diam. excluding chain Provenance: Property of a late diplomat, thence by descent.

For a similar incense burner previously sold in these rooms, see 26 May 2021, lot 131 £500-700 255 A JAVANESE BRONZE FIGURE OF A KINNARA, INDONESIA, 8TH/9TH CENTURY with winged legs, a further wing emerging from his back, with outstretched arms, wearing earrings, necklace and tall headdress, mounted 14cm high Provenance: Collection of a late diplomat, thence by descent Kinnaras are celestial deities, part human, part bird, particularly popular in Buddhist South-East Asian art.

Along with their female equivalents, kinnaris, they are particularly associated with music. This figure was probably part of a hanging lamp. For a bronze lamp with kinnari figure, see A. J. Bernet-Kempers, ‘Ancient Indonesian Art’, Harvard 1959, pl.115. For a similarly contorted flying Garuda figure from Blora, Central Java, also probably from a lamp, see Jan Fontein, ‘The Sculpture of Indonesia’, Washington 1990, p.249, no.81. £700-900

90

257 A BRONZE HANGING OIL LAMP, JAVA, CIRCA 14TH CENTURY the oil reservoir of lozenge shape, with twin wick holders at each end, the flared holder and finial with trefoil profile 15cm high Provenance: Collection of a late diplomat, thence by descent For a related bronze lamp, see A. J. BernetKempers, ‘Ancient Indonesian Art’, Harvard 1959, pl.268 £120-180

258 A BRONZE FIGURE OF BUDDHA, PAGAN, BURMA (NOW MYANMAR), 11TH/12TH CENTURY seated in padmasana on a double lotus throne, his hands in bhumisparsa and dhyana mudra, the domed usnisa with pointed finial 9.5cm Provenance: Collection of a late diplomat, acquired in the 1980s.

For a larger figure of Buddha in closely related style, see Metropolitan Museum of Art, New York, inv. no. 2003.295 £1000-1500

259 A PYU GILT BRONZE HEAD OF BUDDHA, BURMA (NOW MYANMAR), 8TH/9TH CENTURY with elongated earlobes, the tightly curled hair with domed usnisa, mounted 9cm high Provenance: Collection of a late diplomat, thence by descent For a more complete, but ungilded, closely related Pyu figure of Buddha in the Metropolitan Museum of Art, New York, see inv. no. 2006.53. The Pyu kingdoms flourished in Northern and Central Burma for about 1000 years until their primary capital, Halin, was sacked by the Chinese in 832. £2000-3000

91

260 TWO SMALL SILVERY BRONZE FIGURES OF BUDDHA, JAVA, 8TH/9TH CENTURY each seated on a double lotus throne, one in sattvasana, his hands in vitarka and varada mudra, the other in padmasana, his hands in abhaya and dhyana mudra, each with elongated earlobes and tall usnisa 4.5cm high Provenance: Collection of a late diplomat, thence by descent. £700-900 261 A MAJAPAHIT BRONZE BELL, JAVA, INDONESIA, 14TH/15TH CENTURY the body containing a bud-shaped clapper, the handle in the form of a male figure with crossed legs and arms outstretched, 12.5cm high Provenance: Collection of a late diplomat, thence by descent £150-200 262 FIVE BRONZE BELLS, JAVA, CIRCA 14TH/15TH CENTURY each with suspension ring, including two crotal bells and one in the form of a human head 7cm and smaller Provenance: Collection of a late diplomat, thence by descent £120-180

263 A JAVANESE COPPER EWER, INDONESIA, CIRCA 19TH CENTURY of wide shouldered form, with short, scrolling spout, convex lid and overhanging rim with arched loop handle 30cm high Provenance: Private Collection, London £200-300 264 THREE ANCIENT SOUTHEAST ASIAN BRONZE BRACELETS, CAMBODIA OR THAILAND, CIRCA 12TH CENTURY AND EARLIER the largest with engraved herringbone decoration, the other two with ropework and radiating serrations 8.8cm diam. and smaller Provenance: Private Collection, London £80-120 265 TWO KHMER BRONZE VESSELS, CAMBODIA, CIRCA 12TH CENTURY comprising a goblet on flared rim foot, and a box with engraved foliate decoration 10.5cm (height of goblet); 7.5cm (diam. of box) Provenance: Private Collection, London £100-150

92

268 A KHMER BRONZE RELIQUARY CASKET, CAMBODIA, CIRCA 12TH CENTURY on flared foot, with projecting ridge and engraved lotus decoration, the overhanging lid with domed central finial 21cm high; 20.5cm diam.

266 FIVE SOUTH-EAST ASIAN BRONZE BELLS, MOSTLY 10TH-12TH CENTURIES one with faceted sides, another with later handle 21cm high and smaller Provenance: Private Collection, London £300-400

Provenance: Collection of a late diplomat, acquired in the 1960s, thence by descent £400-600 269 A KHMER BRONZE OFFERING BOWL, CAMBODIA, 12TH/13TH CENTURY in the form of a tazza, on flared turned foot, the bowl with concentric flutes and grooves, the overhanging rim with serrated edges 22cm high; 31cm diam.

Provenance: Collection of a late diplomat, thence by descent. £600-800

267 A KHMER OVER-SIZE SILVER RING, CAMBODIA, CIRCA 10TH CENTURY the bezel set with an oval rock crystal, the faceted shank with loop attachment, the shoulders with scrolling relief decoration 6.5 x 6 x 4.5cm

The unusually large size suggests that this ring was used on a statue of a deity.

270 TWO ANCIENT SOUTH-EAST ASIAN BRONZE MIRRORS, CIRCA 9TH12TH CENTURIES both of disc shape, one of bell metal with central conical boss, the other with handle in the form of a scrolling leafy tendril 13.1, 20cm diameter

£700-900

Provenance: Collection of a late diplomat, thence by descent

Provenance: Collection of a late diplomat, thence by descent

£250-300 93

273 A JAVANESE GOLD REPOUSSE PENDANT, CIRCA 19TH CENTURY in the form of a bat’s head, with stylised face and prominent ears, twin attachments above and a trio of leaf-shaped drops below 12 x 12cm approx. (18g)

271 A SUMBA GOLD KANTAR (ROYAL CHAIN), INDONESIA, 19TH/20TH CENTURY the braided wire chain with fan-shaped pendant at either end, fringed with filigree 212cm full length approx.

Provenance: Collection of a late diplomat, thence by descent The kantar or kanatar was a badge of office worn by senior royal officials in Eastern Sumba Island. For a near identical example, see Christie’s Amsterdam, 26 September 2006, lot 48 £2500-3500 272 A PAIR OF GOLD EAR ORNAMENTS, PROBABLY JAVA, 19TH/ EARLY 20TH CENTURY in the form of a dragon surrounded by leafy fronts, inlaid with corundum stones, with projecting attachment at the top 6cm high approx. each (2) Provenance: Collection of a late diplomat, thence by descent £800-1200 94

Provenance: Collection of a late diplomat, thence by descent £1000-1500

274 A GILT-BRONZE SEAL RING, JAVA, INDONESIA, CIRCA 10TH CENTURY the engraved oval bezel with staff symbol 2.5cm diam. approx.

Provenance: Collection of a late diplomat, thence by descent £300-500 275 A PAIR OF JAVANESE EARRINGS, INDONESIA, 20TH CENTURY gilt metal, each with rosette set with crystals and garnets, hinged clips 2.7cm long approx.

Provenance: Collection of a late diplomat, thence by descent £250-350 276 A KHMER BROWN GLAZED RITUAL POT, ANGKOR PERIOD, EARLY 12TH CENTURY modelled as a grotesque figure drinking from a large jar 11cm high Provenance: Collection of a late diplomat, thence by descent A number of glazed pots with human and animal features have survived from Angkor.

Dawn Rooney suggests that the rarer examples with human features have a ritual function. (Dawn F. Rooney, ‘Khmer Ceramics, Beauty and Meaning’, Bangkok 2010, p.64ff. £120-150

278 A KHMER BROWN GLAZED BOTTLE, CAMBODIA, 12TH CENTURY on flared solid foot, the shoulder and lid with abstract sgraffito decoration 23cm high Provenance: Collection of a late diplomat, thence by descent For a very similar, but larger vessel, see Dawn Rooney, ‘Khmer Ceramics: Beauty and Meaning’, no.109, p.109.

Rooney suggests that this type of vessel may have been used for water on an altar. £300-400

277 TWO KHMER LIDDED POTS, CAMBODIA, CIRCA 12TH CENTURY one in the form of a bird, with brown glaze and sgraffito decoration, the other in the form of an elephant, on four feet, with brown-green glaze, each with lids in the form of lotus buds 10, 9cm Provenance: Collection of a late diplomat, thence by descent For a similar Khmer bird shaped pot, see John Guy, Ceramic Traditions of South-East Asia, Singapore 1989, p.21, pl.16. For elephant shaped pots, see Dawn Rooney, ‘Khmer Ceramics: Beauty and Meaning’, pp.80-84. £300-400 95

279 TWO KHMER BROWNGLAZED POTTERY ELEPHANTS, CAMBODIA, 11TH-13TH CENTURY the large forming a pot with lid in the centre of its back, the smaller a model elephant with rider 11.5cm, 9cm high Provenance: Collection of a late diplomat, thence by descent £200-300

280 FIVE KHMER GLAZED STONEWARE VESSELS, CAMBODIA, CIRCA 12TH CENTURY comprising a covered bowl, a lidded jar and a bottle, with brown glaze and sgraffito decoration, a twin handled jar and a ewer with zoomorphic handle 10cm high and smaller Provenance: Collection of a late diplomat, thence by descent £250-350 281 A KHMER BROWN GLAZED JAR, CAMBODIA, 12TH/13TH CENTURY of flattened spherical form, with stylised bird-shaped handle, narrow shallow neck and nipple spout, with impressed abstract decoration in rings around the shoulder, 13cm high; 20cm wide Provenance: Collection of a late diplomat, thence by descent. £250-350

282 A KHMER BROWN GLAZED JAR, CAMBODIA, 12TH/13TH CENTURY with small twin loop handles and concentric turned ring design on the shoulder 17cm high;18cm wide Provenance: Collection of a late diplomat, thence by descent For a similarly shaped vessel, but without the handles, see Dawn Rooney, ‘Khmer Ceramics: Beauty and Meaning’, Bangkok 2010, p.118. £250-350 283 A KHMER GLAZED STONEWARE BOTTLE, CAMBODIA, 10TH/11TH CENTURY with high shoulder, narrow neck and overhanging mouth, decorated with impressed stylised leaf designs, with associated conical stopper 18.5cm high Provenance: Collection of a late diplomat, thence by descent For a related bottle with wider profile, see Dawn Rooney, ‘Khmer Ceramics: Beauty and Meaning’, Bangkok 2010, p.45. £100-150

96

284 A GILT-LACQUER MANUSCRIPT (KAMAWA-SA), BURMA, CIRCA 1900 the seven folios with applied brown lacquer in stylised Burmese script on sgraffito decorated gilt ground, each with twin piercings for binding, a pair of lacquered wood covers (kyan) decorated with a series of roundels 8 x 52.5cm (each folio)

286 A BRONZE AND BRASS TATTOO PEN, BURMA (MYANMAR), 19TH CENTURY with long tapered body, the finial in the form of a seated figure, together with a Palm Leaf Astrological Chart, with six concertina’d folios and a pair of lacquered covers Pen: 33.5cm long; Chart 42 x 15.5cm (opened out) £200-300

£200-300

part 285 THREE PALM-LEAF BUDDHIST MANUSCRIPTS, BURMA (NOW MYANMAR), 19TH / 20TH CENTURY of long rectangular form, the multiple folios each inscribed in Burmese script, with twin piercings for binding, each enclosed by a pair of wood covers 5.5 x 50.5, 6 x 49.5, 6 x 49cm (folios); 22, 21.5, 19cm deep (including covers) (3)

287 A JAVANESE CARVED WOOD FIGURE OF A MEDICINE MAN (DUKUN), INDONESIA, EARLY 20TH CENTURY with frowning expression, wearing a bun-shaped headdress, holding a bottle and cup 20cm high

£80-120

£150-200 97

detail 288 A PIDAN HANGING, CAMBODIA, CIRCA 1900 polychrome ikat dyed silk, both sides with horizontally arranged design comprising repeated Buddha images with shrines and paired figures of devotees below 93 x 285cm For an article on pidan cloths, see https://www. cooperhewitt.org/2018/09/17/hol-pidan-anotherworldly-cambodian-experience/ £500-700 289 A COLLECTION OF SEVEN SHADOW PUPPETS, INDONESIA AND THAILAND, 19TH/20TH CENTURY polychrome-painted and cut vellum with wood, comprising five from Java and two from Thailand, each in the form of a mythical figure, together with a Javanese Carved Wood Fertility Figure 75cm long and smaller (including bamboo handles) £250-350 290 A COLLECTION OF SIX JAVANESE SHADOW PUPPETS (WAYANG KLITIK), INDONESIA, 19TH CENTURY polychrome-painted wood, carved in low relief with leather attachments, each in the form of a figure, comprising a European figure wearing a coat, a maiden wearing a cloth skirt, and five others, including animal headed deities, each with grotesque faces 49cm long and smaller £250-350 98

part

291 A LACQUERED WOOD BOX AND SET OF EIGHT LACQUER BOWLS, BURMA (NOW MYANMAR), 20TH CENTURY the box of wood, painted in gold on dark blue ground, the bowls with similar decoration on green ground 8 x 23.5 x 15.5cm (box); 5.5cm high, 12.5cm diam. (bowls) Provenance: Private collection, London £120-180 292 (illustrated online) A SILVER LIME BOX, BURMA, 19TH CENTURY of flattened spherical form, the lid and body with dense chased and repousse decoration composed of concentric bands of acanthus leaves, scrolling foliage, repeated stylised florets and convex medallions, traces of writing in Burmese on underside 9cm high; 10.5cm diameter, 110gr Provenance: Private Collection, London £60-80

294 A JAVANESE GOLD REPOUSSE MASK, INDONESIA, CIRCA 10TH CENTURY the mouth with bared teeth, the cheeks with scroll decoration 13 x 11cm Provenance: Collection of a late diplomat, thence by descent For a similar sheet gold mask in the Museum Sono Budoyo, Yogyakarta, see Jan Fontein, The Sculpture of Indonesia, Washington 1990, p.282, no.106. Fontein suggests that these sheet gold objects had a funerary function, perhaps attached to cloth effigies.

293 A FRAGMENTARY GILT-LACQUER HEAD OF BUDDHA, BURMA, 18TH/19TH CENTURY with elongated earlobes and domed usnisa 28cm high approx.

£1000-1500

Provenance: Collection of a late diplomat, thence by descent £250-300 99

295 296 295 A LACQUER BETEL BOX, BURMA, 19TH/EARLY 20TH CENTURY of cylindrical form with intricate sgraffito decoration mostly in russet lacquer, containing an inner tray 19cm high; 22cm diameter Provenance: Collection of a late diplomat, thence by descent £250-350 296 A LACQUER BETEL BOX, BURMA (NOW MYANMAR), 20TH CENTURY of cylindrical form with intricate sgraffito figural and abstract decoration in green, black and red lacquer, containing two inner trays 14cm high; 16cm diameter

298 A PAINTED WOOD CONTAINER, JAVA, INDONESIA, 19TH CENTURY of cylindrical form, transitioning to square base, with profusely decorated peony and leaf design 30cm high Provenance: Collection of a late diplomat, thence by descent £150-200

Provenance: Collection of a late diplomat, thence by descent £150-250

100

297 TWO LACQUERED BOWLS, BURMA (NOW MYANMAR), 20TH CENTURY one in plain black, the sides with six ridges terminating in short feet, the other with fluted sides and red interior 20cm high; 35cm diam, 8.5cm high; 33cm diameter

299 A LACQUER FOOD CONTAINER, BURMA (NOW MYANMAR), FIRST HALF 20TH CENTURY in six parts, with main fluted lower bowl standing on six short feet, with inset tray, surmounted by four tiers of lids of decreasing size, each, except the topmost, incorporating a further tray, Burmese inscription engraved on the top 38cm high

Provenance: Collection of a late diplomat, thence by descent

Provenance: Collection of a late diplomat, thence by descent

£250-350

£300-400

302 A LACQUERED WOOD CARRYING POLE, BURMA (NOW MYANMAR), CIRCA 1900 of bowed form, a carved figure of a rat at either end nibbling at the basket holder 137cm long Provenance: Collection of a late diplomat, thence by descent £300-400

300 AN ANGLO-BURMESE LACQUERED WOOD SIDE TABLE, LATE 19TH CENTURY the octagonal top resting on folding arcaded legs, the outer surfaces with engraved black lacquer forming a peacock and scroll design, red lacquer on the inside 40cm high; 40.5cm max. diameter Provenance: Collection of a late diplomat, thence by descent £200-300 301 A JAVANESE KRIS IN CARVED WOOD STAND, 19TH CENTURY the silver repousse hilt in the form of a bird-headed deity, with wavy blade and wood and sheet metal scabbard, the stand in the form of Hanuman, with bulging eyes and bared fangs, traces of pigment 50cm high (together)

303 A JAVANESE SHADOW PUPPET, INDONESIA, CIRCA 1900 painted, cut and pierced vellum, with remains of wire holder, depicting a deity standing on a dragon under flowering trees by a river teeming with fish, 37 x 33cm approx.

Provenance: Collection of a late diplomat, thence by descent £300-500

Provenance: Collection of a late diplomat, thence by descent. £600-800 101

304 A PARCEL GILT SHEET SILVER HEAD OF A DEITY, JAVA, CIRCA 18TH CENTURY wearing elaborate twin-peaked headdress, and tiara and earrings, his face gilded with moustache, and raised eyebrows 3.5cm high

307 (illustrated online) A POSTCARD DEPICTING A SADDHU, COLONIAL INDIA, CIRCA 1900 published by Wiele and Klein, Madras £20-30 308 CHARLES CLIFFORD, WELSH, (1820-1863) ‘Cordova, Cathedral or Mosque, Interior, 1862’ albumen print, framed 41 x 30cm inside mount

Provenance: Collection of a late diplomat, thence by descent £300-400

£250-350

305 THREE PAINTED AND CARVED WOOD ARCHITECTURAL ELEMENTS, JAVA, INDONESIA, 18TH/19TH CENTURY each painted in red, with touches of gold, comprising a slender faceted column section, the lower section and base with intricate scrolling lotus carving, a column base, a column base and a column section 76cm high (column with base), 31cm (base), 48cm (column section, including tenon) Provenance: Collection of a late diplomat, thence by descent £120-180 306 A NARRATIVE HANGING (IDERIDER), BALI, INDONESIA, 20TH CENTURY ink and pigment on cloth, of long rectangular form, depicting a story in a sequence of scenes, with repeating characters, possibly from the Hindu epic, the Ramayana 26 x 356cm For similar ider-ider in the Forge Collection at the Australian Museum, Sydney, see Anthony Forge, Balinese Traditional Paintings, Sydney 1978, nos.

35-41. The ider-ider is tied under the eaves of temple or palace pavilions and is long enough to go all the way round. They are composed in the manner of a strip cartoon with a sequence of scenes running either left to right or right to left, which in the latter case enables the viewer to circumambulate clockwise in rituals associated with death.

part

£350-450 detail 102

Sale Day 2: Thursday 25th November 2021 Lots 309-694 Starting at 11am

European Works of Art THE BERNARD KELLY COLLECTION OF PLAQUETTES TO BE SOLD WITHOUT RESERVE, PART PROCEEDS TO BENEFIT WESTMINSTER ABBEY

Lots 309 - 490

Every so often, if increasingly rarely these days, a collection emerges onto the market that takes you back to another age. The interesting and varied collection of Renaissance and later plaquettes being offered here is therefore a major event. Although some have a more recent provenance, notably from Sylvia Phyllis Adams, whose collection was sold at Bonham’s in 1995, the nucleus of the collection on offer represents the private collection formed by the dealer Alfred Spero, mainly between 1911 and 1936. Spero began trading in London around the beginning of the twentieth century and his career, which lasted into the 1960s, bridged the late Victorian art world and the modern post-War market. Although today a largely forgotten figure, a glance at almost any marked-up catalogue of European sculpture and decorative arts sales in London from the 1920s to the 1960s will reveal Alfred Spero as one of the most active and consistent presences at the auction. Spero was able to benefit from the abundance of Renaissance small bronze sculptures, maiolica, glass and, of course, plaquettes and medals, that were then available on the market during what, for collectors and museums, must have been a golden age of opportunity. Alfred Spero’s own collection of plaquettes contained works stated to have come from some of the great collections of the nineteenth and early twentieth century, Adalbert von Lanna, whose vast collections were sold in Prague in 1911, J.E. Taylor, sold at Christie’s in 1912 and the banker Henry Oppenheimer, a series of sales in 1936, again at Christie’s. There are also plaquettes formerly belonging to two supporters of great museums, Thomas Whitcombe Greene, who gave many of his plaquettes to the British Museum in 1915, and Dr W.L. Hildburgh (1876-1955), one of the Victoria & Albert Museum’s greatest benefactors. Alfred Spero also had a close relationship with the V&A, which as a museum must have been close to his heart. He made a number of gifts to the museum and also sold it various bronzes and other works of art. Purchases and gifts from Spero helped the V&A build its preeminent collection of European Baroque ivories, whilst in 1964 the museum bought from him a masterpiece of Renaissance bronze sculpture, the exquisite figure of Venus removing a thorn from her foot of c. 1560-70 by the French sculptor Ponce Jacquiot.

Small-scale, usually single-sided cast metal reliefs, plaquettes began to be made from the mid-fifteenth century and flourished in their purest form only for a limited period of around one hundred years, although they continued to be made into the seventeenth century and beyond. Their subject matter is varied, from designs after the antique to mythological and religious scenes, whilst some plaquettes are important records of designs originally made in precious metal, which have otherwise disappeared. When Alfred Spero began his professional career, plaquettes were eagerly collected and studied, but they have since become a somewhat unjustly neglected art form. At their best, plaquettes are extraordinarily inventive and beautiful works of art, which in their choice and treatment of subject matter are truly emblematic of the Renaissance rebirth of the arts.

Dr Jeremy Warren, FSA Honorary Curator of Sculpture, Ashmolean Museum, Oxford

103

Selected Bibliography

104

Attwood

Philip Attwood, Italian Medals c. 1530-1600 in British Public Collections, 2 vols., London 2003

Bange

E.F. Bange, Staatliche Museen zu Berlin. Die italienischen Bronzen der Renaissance und des Barock. II: Reliefs und Plaketten, Berlin 1922

Belli

Howard Burns, Marco Collareta and Davide Gasparotto, eds., Valerio Belli Vicentino 1468c.-1546, Vicenza 2000

Bernardi 1989

Valentino Donati, Pietre Dure e Medaglie del Rinascimento. Giovanni da Castel Bolognese, Ferrara 1989

Bernardi 2011

Valentino Donato, L’Opera del Giovanni Bernardi da Castel Bolognese nel Rinascimento, Faenza 2011

Bowdoin

Andrea S. Norris and Ingrid Weber, Medals and Plaquettes from the Molinari Collection at Bowdoin College, Brunswick, Maine 1976

Jones

Mark Jones, A Catalogue of the French Medals in the British Museum. II. 1600-1672, London 1988

Kress

John Pope-Hennessy, Renaissance Bronzes from the Samuel H. Kress Collection: Reliefs, Plaquettes, Statuettes, Utensils and Mortars, London 1965

Molinier

Émile Molinier, Les Bronzes de la Renaissance. Les Plaquettes. Catalogue Raisonné, 2 vols., Paris 1886

Norris/Weber

A.S. Norris and I. Weber, Medals and Plaquettes from the Molinari Collection at Bowdoin College, Brunswick, ME 1976

Planiscig

Leo Planiscig, Kunsthistorisches Museum Wien: Die Estensische Kunstsammlung, I: Skulpturen und Plastiken des Mittelalters und der Reanaissance, Vienna 1919

Scaglia

Francesco Rossi, La Collezione Mario Scaglia. Placchette, 3 vols., Bergamo 2011

Toderi Vannel

Giuseppe Toderi and Fiorenza Vannel, Le Medaglie Italiane del XVI secolo, 3 vols., Florence 20004

Warren

Ashmolean Jeremy Warren, Medieval and Renaissance Sculpture: A Catalogue of the Collection in the Ashmolean Museum, 3 vols., Oxford 2014

Warren Wallace

Jeremy Warren, The Wallace Collection. Catalogue of Italian Sculpture, 2 vols., London 2016

Weber

Ingrid Weber, Deutsche, Niederländische und Französische Renaissanceplaketten 1500-1650, 2 vols., Munich 1975

309 A LEAD PLAQUETTE OF CHRIST BEFORE PILATE, VALERIO BELLI (C.1468-1546), 16TH CENTURY trapezoidal, Christ surrounded by soldiers and disciples brought before Pilate sitting on a dais and washing his hands, signed to the side of the platform ‘VALERIVS BELLV VICETINVS FA’, a classical colonnade in the background, pierced 6.5 x 9.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

This scene is one of a series of similarly shaped Belli plaquettes of The Passion of Christ.

Bange 766; Kress 14; Belli 56

311 A BRONZE PLAQUETTE OF THE BAPTISM OF CHRIST, VALERIO BELLI (C.1468-1546), POSSIBLY 16TH CENTURY square, St John holding his hand over Christ flanked by four disciples, God the Father and the Holy Spirit above, moulded border 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Cast from one of Belli’s rock crystal panels in the ‘Medici Chest’ (Pitti Palace, Florence, Uffizi Inv. Gem 1921 no. 505) Bange 749; Kress 5; Belli 33

£300-500

£200-300

310 A BRONZE PLAQUETTE OF THE LION HUNT, VALERIO BELLI (C.1468-1546), POSSIBLY 16TH CENTURY oval, signed VALERIUS VICENTINUS; and another in lead; together with a lead medallion, after Valerio Belli, of two female figures making a sacrifice before an altar 7 x 8cm each oval one, the other 4.5cm diameter (3) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

312 A BRONZE PLAQUE OF CHRIST TEACHING, VALERIO BELLI (C.1468-1546), 15TH CENTURY rectangular, the child Christ stands on an altar, within a colonnade, the Virgin and St. Joseph behind him, other figures crowd round in front, BADA and lot labels to reverse 6 x 10cm Provenance: Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 24; Bonham’s, London, 10 December 1997, lot 125 Cast from one of Belli’s rock crystal panels in the ‘Medici Chest’ (Pitti Palace, Florence, Uffizi Inv. Gem 1921 no. 505)

Bronze: Kress 18; Belli 63; Bange 823

Bange 757; Kress 6; Belli 32

Lead Medallion: Bange 822; Belli 120; Molinier 329

£300-500

£300-500 The Bernard Kelly Collection of Plaquettes, sold without reserve 105

313 A BRONZE PLAQUETTE OF THE ADORATION OF THE MAGI, VALERIO BELLI (C.1468-1546), PROBABLY 16TH CENTURY the Virgin and Child seated to the right, Joseph stands behind whilst the Magi approach and one kneels, attendants hold three camels behind, a tree to the left and a classical arch, pierced 7 x 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 761; Belli 98

315 A BRONZE PLAQUETTE OF THE PRESENTATION IN THE TEMPLE, AFTER VALERIO BELLI (1468-1546), LATE 16TH / EARLY 17TH CENTURY rectangular, with Latin inscription NVNC DIMITTIS SERVVM TVVM DOMINE, sprue patterns on reverse 6.5 x 5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 778; Belli 99 £300-500

£300-500

314 A BRONZE PLAQUETTE OF CHRIST CARRYING THE CROSS, AFTER VALERIO BELLI (1468-1546), 16TH / 17TH CENTURY oval, inscribed in the exergue ‘Valerino. Vicentinus. F.’, above with Christ bowed under the cross dragged by one soldier and pushed by another, St Veronica kneeling behind holding out the sudarium with Christ’s face, with mounted and jostling figures behind, all within a reeded border 9 x 9.5cm Provenance: Sotheby’s, London, 16 December 1971, lot 106 Bange 774; Kress 8; Belli 27; Warren Ashmolean 234 £400-600 106

316 A BRONZE PLAQUE OF MOSES, ATTRIBUTED TO VALERIO BELLI (C.1468-1546), 16TH / 17TH CENTURY oval, depicting Moses with a staff entwined with a snake, moulded rim, pierced 9 x 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Compare Bange 792, showing similar male figure with female, Aesculapius with Hygienia; Belli 82 £200-300

317 A BRONZE PLAQUE OF THE ENTOMBMENT, AFTER VALERIO BELLI (C.1468-1546) cut down rectangular, the body of Christ supported by Joseph of Arimathea at the entrance to the tomb, the kneeling virgin holds the hand of Christ, pierced 6 x 6.5cm Bange 769; Kress 10; Belli 59; Scaglia VIII.12 (variant) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

319 A BRONZE PLAQUETTE OF THE ADORATION OF THE SHEPHERDS, AFTER GIOVANNI GIACOMO CARAGLIO (C.1500/1505-1565) oval, a shepherd followed by two women approach the Holy Family 6.5 x 8.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 924; Warren Ashmolean 264 £100-200

£80-120

318 A BRONZE PLAQUE OF THE ADORATION OF THE SHEPHERDS, AFTER VALERIO BELLI (C.1468-1546), PROBABLY 19TH CENTURY square, the Holy Family to the right, the shepherds arriving from the right, all before classical buildings, moulded border 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Cast from one of Belli’s rock crystal panels in the ‘Medici Chest’ (Pitti Palace, Florence, Uffizi Inv. Gem 1921 no. 505)

320 A BRONZE PLAQUETTE OF WINGED PUTTI, CIRCLE OF CRISTOFORO DI GEREMIA (1410-1476), ROME, MID 15TH CENTURY oblong, with five putti at play, 4.5 x 8cm; together with a bronze medallion of a chariot, Northern Italian, late 15th century apparently Minerva driving her chariot straight towards us, inscribed to exergue BRVC, 5 x 5.5cm; and a fragmentary plaquette, Italian, 15th/16th century, rectangular, a frieze of putti, 2.5 x 7cm (3) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Exhibited (Winged Putti): Detroit November 18, 1958 January 4, 1959, ‘Decorative Arts of the Renaissance 14001600’, catalogue No.324

Belli 29

Winged Putti: Bange 299; Kress 361; Scaglia II.4; Warren Ashmolean 376

£100-200

Chariot: Bange 630-3; Scaglia IV.4; Warren Ashmolean 377 £300-500 The Bernard Kelly Collection of Plaquettes, sold without reserve

107

321 A BRONZE PLAQUETTE OF THE MADONNA AND CHILD, SCHOOL OF JACOPO SANSOVINO (1486-1570), 16TH CENTURY circular, the Madonna supporting the Holy Child seated on her lap, His hand on her shoulder, initial F. on reverse 8cm diameter excluding remains of a suspension loop Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 941 £400-600

323 A BRONZE PLAQUETTE OF HERCULES AND OMPHALE, AFTER POSSIBLY NICCOLO DE’BONIS, (FLOURISHED LATE 16TH CENTURY ROME) rectangular, the figures seated in woodland, the bewitched Hercules leans longingly towards Omphale whilst three putti disport in the branches above them 8.5 x 10.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Planiscig 436; Bowdoin 407; Warren Ashmolean 262 for attribution £200-300

322 A BRONZE PLAQUETTE OF THE LAMENTATION, ROME OR EMILIA ROMAGNA, EARLY 16TH CENTURY rectangular, Christ laid on a winding sheet with Mary, the Magdalen, Joseph of Arimathea, St John, Nicodemus and Holy Women behind against trees, rocks, buildings and Calvary in the distance 10.5 x 7.5cm

108

324 A BRONZE PLAQUETTE OF AN EMPEROR AND CONCORD, CRISTOFORO DI GEREMIA (ACTIVE 1456-1476), PROBABLY 16TH CENTURY a moulded rim and raised base line, shows a laureated emperor in profile, with a caduceus in the left hand, clasping the right hand of a female figure with a cornucopia in her arm, one centre hole in rim 7 x 6.5cm

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 1028; Kress 300; Scaglia VIII.9

Bange 611; Kress 54; Scaglia II.5; Warren Ashmolean 266

£300-500

£300-500

325 A BRONZE PORTRAIT MEDAL OF CARDINAL ALFONSO LITTA OF MILAN, GIOACCHINO FRANCESCO TRAVANI (ACTIVE 1634-1675), CIRCA 1675 set in a shaped circular double sided bronze case with acanthus border, the ovolo rim interrupted by bunches of oak leaves, one bunch with branches forming a suspension loop, the reverse with a medal of a banner ‘SEMPER RECTUS’ above a cube on a ledge, the case hinging open to reveal a dedicatory inscription on two scrolls, dated 1675, obverse signed on truncation 19 x 16.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Alfonso Michele Litta (1608-1679) was an Italian nobleman and Cardinal, Archbishop of Milan from 1652 to 1679, who raised a militia of 900 armed clerics against the 1655 invasion of the Duchy of Milan by Thomas Francis of Savoy and was known for his defence of the church’s rights against lay administrations.

For another in the same elaborate case, see the collection of Applied Arts at the Musei civici del Castello Sforzesco, Milan, Inv. No.0173. For a comparable medal for Pope Alexander VII, see the Victoria and Albert Museum, No. A.28-1977. £2000-3000

The Bernard Kelly Collection of Plaquettes, sold without reserve

109

326 A LARGE BRONZE PLAQUETTE OF THE ECSTACY OF ST. CECILIA, AFTER RAPHAEL, ITALIAN, PROBABLY LATE 16TH CENTURY rectangular, the patron saint of music holding a portative organ and standing before a ‘viola da braccio’, cymbals, tambourine, triangle and recorder on the ground, flanked by SS Augustine, John, Paul and the Magdalen, a choir of angels in the clouds above, labels to front of frame and reverse ‘J.E. Taylor Collection / 47’ 24 x 17cm, 35.5 x 28cm including ebonised frame with giltwood mount Provenance: Collection of John Edward Taylor (1830-1905); sold Christie, Manson & Woods, London, ‘The Renowned Collection of Works of Art, Chiefly of the Mediaeval and Renaissance Times… formed by the Late John Edward Taylor, Esq.’, 1 July 1912, lot 47 (to Ballard for 16’16”); Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

J. E. Taylor was a prolific art collector, as well as the proprietor of the Manchester Guardian, the newspaper his father had founded. He started his collection in around 1849, having returned to England after a couple of years on the continent.

Following the death of his widow, the collection was sold over several days at Christie’s for a total of £358,500. Alongside his passion for early Works of Art, Taylor loved English watercolours. “Among the collection were twenty-four works by J. M. W. Turner, and seven

by Blake. He gave more than sixty watercolours to the Victoria and Albert Museum, and to the British Museum a complete set of Turner’s Liber Studiorum.”

(Dictionary of National Biography, September 2004) Rather than following the widely disseminated print by Marcantonio Raimondi (c. 1470/82 - c.

1534), which differs in several respects, the present composition closely follows Raphael’s altarpiece, commissioned for a chapel dedicated to St. Cecilia in the Augustinian church of San Giovanni in Monte in Bologna, completed around 1516/17. £ 2000-3000

110

327 A LEAD PLAQUETTE OF THE BATTLE OF THE AMAZONS, AFTER GIOVANNI BERNARDI (1496-1553) oval, figures battling before a classical façade, inscribed to exergue IOANNES DE BERNARDI, three holes at top 10 x 11.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 872; Bernardi 1989 p. 116 £200-300

329 A BRONZE PLAQUETTE OF THE TRIUMPH OF GALATEA, AFTER GIOVANNI BERNARDI (1496-1553) oval, the central figure, often described as Amphitrite, flanked by tritons and sirens, moulded rim, pierced, 5.5 x 4.5cm; together with a bronze plaquette of The Drunkeness of Silenus, probably 19th century, oval, after a gem, 4 x 5.5cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Galatea: Bange 874; Kress 39; Bernardi 1989, p. 236; Scaglia VIII.26; Warren Ashmolean 253; British Museum No. 1915,1216.75 ascribed to Belli

328 A DOUBLESIDED BRONZE PLAQUETTE, ATTRIBUTED TO GIOVANNI BERNARDI (14941553) oval, the front with a profile bust to dexter of Ludovico Ariosto flanked by raised initials LA, the reverse with the Fall of Phaeton who with his chariot tumbles from the sky 9 x 6.5cm

£300-500 330 A LARGE BRONZE PLAQUETTE OF THE FALL OF THE GIANTS, AFTER GUGLIELMO DELLA PORTA (ACTIVE MID 16TH CENTURY), 19TH CENTURY oval, Jupiter and the other gods in the clouds above, with the mangled bodies of the giants crushed by rocks below 13 x 24cm Provenance: Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, part lot 104 Planiscig 396; Bange 8 £300-500

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

The portrait is apparently based on the frontispiece of the 1523 edition of Ariosto’s ‘Orlando Furioso’.

Bernardi 2011, p.67; for reverse, Fall of Phaeton: Bange 880; Kress 32 £500-800

The Bernard Kelly Collection of Plaquettes, sold without reserve

111

331 A SMALL DOUBLE SIDED BRONZE MEDALLION, PROBABLY 17TH CENTURY canted rectangular and with suspension loop, cast with Biblical scenes and inscribed ROMA to exergue, moulded rim, 5 x 3cm; together with an arched bronze plaquette cast with a classical female figure, 6 x 3.5cm; and a small silver plaquette, recessed relief roundel of an Evangelist with an angel, 4.5cm diameter (3) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £400-600 332 A BRONZE PLAQUETTE DEPICTING HORATIUS COCLES DEFENDING THE BRIDGE, MASTER IO.F.F., PROBABLY EARLY 16TH CENTURY shield shaped, for insertion in a sword-hilt, moulded rim 6cm

333 A BRONZE PLAQUETTE OF AN ALLEGORY OF FIDELITY, ATTRIBUTED TO MASTER IO.F.F., CIRCA 1500 double sided circular, a reclining naked youth attacked by three lions beneath a celestial sphere with scroll inscribed AM AND 10, margin inscription ET.SI.CORPUS.NON.FIDES. MACULABITUR, the reverse a frieze of tritons and nereids around the monogram MARC (hidden by collector’s label), pierced 6cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress 112 (the only other copy known with both sides on one plaquette); Bange 528; Warren Ashmolean 394 £500-800

Provenance: Collection Baron de Cosson; Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 19671969.

Exhibited: The Detroit Institute of Arts, ‘Decorative Arts of the Italian Renaissance’ (November 1955 to January 1956, Exhibition Catalogue No.336) Jeremy Warren in both the Ashmolean and the Wallace collection catalogues discusses why Master IO.F.F. may be the Bolognese goldsmith Giovanni Francesco Furnio, whose skills were celebrated in an enconium written by the humanist Giovanni Filateo Achillini (see Wallace collection catalogue, pp.168-79).

Bange 660; Kress 100; Scaglia VI.16; Warren Ashmolean 283; Warren Wallace 44 £800-1200

112

334 A BRONZE PLAQUETTE, ATTRIBUTED TO MASTER IO.F.F., PROBABLY LATE 16TH CENTURY circular, a frieze of Tritons and Nereids and equestrian figure roundel, 5.5cm; together with a bronze plaquette of The Crowning of Apollo, 18th century, oblong, in integral rococo cartouche frame, 7 x 8.5cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Master IO.F.F.: Bange 725; Kress 113 (without central rider) £300-500

335 A BRONZE PLAQUETTE OF THE JUDGEMENT OF PARIS, MASTER IO.F.F., PROBABLY SECOND HALF 16TH CENTURY circular, Paris seated to the left facing the three goddesses, moulded rim, not signed to exergue, pierced twice 5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 652; Kress 98-99; Scaglia VI.11; Warren Ashmolean 278-80; Warren Wallace 41-43 £200-300 336 A BRONZE PLAQUETTE OF ARIADNE ON NAXOS, MASTER IO.F.F., PROBABLY SECOND HALF 16TH CENTURY circular, seated Ariadne flanked by Bacchic revellers and a satyr 5cm diameter

338 A SHIELD SHAPED BRONZE PLAQUETTE OF MUCIUS SCAEVOLA, MASTER IO.F.F., PROBABLY EARLY 16TH CENTURY for insertion in a sword-hilt, shield shaped, Mucius Scaevola puts his hands in a brazier before a temple, watched by figures, two carrying standards, plain moulded rim, pierced 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Exhibited at The Detroit Institute of Arts (Nov. 1958 to January 1959) exhibition “Decorative Arts of the Italian Renaissance” Cat No. 336

Provenance: Baron Adalbert von Lanna (1836-1909); Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 658; Kress 101; Scaglia VI.8; Warren Wallace 45 £800-1200

Bange 648; Kress 97; Scaglia VI.7; Warren Ashmolean 277; Warren Wallace 42 £400-600 337 A BRONZE-GILT PLAQUETTE OF THE JUDGEMENT OF PARIS, MASTER IO.F.F., 16TH CENTURY circular, Paris seated to the left facing the three goddesses, moulded rim, inscribed to exergue IO.F.F. 5.5cm diameter

339 A LEAD PLAQUETTE OF MUCIUS SCAEVOLA, AFTER MASTER IO.F.F. shield shaped, Mucius Scaevola puts his hands in a brazier before a temple, watched by figures, two carrying standards, exergue inscribed IO.F.F., plain moulded rim, pierced 6cm

Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 652; Kress 98-99; Scaglia VI.11; Warren Ashmolean 278-80; Warren Wallace 41-43 £600-800

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 658; Kress 101; Scaglia VI.8; Warren Wallace 45 £200-300

The Bernard Kelly Collection of Plaquettes, sold without reserve

113

340 A SMALL BRONZE PLAQUETTE OF THE ALLEGORY OF PRUDENCE, AFTER MASTER IO.F.F., ITALIAN, 16TH / 17TH CENTURY on the right a fully clothed woman is seated on a dragon, behind her is a female figure with a disc on a pole, in the centre a youth holds a palm in his right hand, behind is a youth carrying a decapitated male head 5cm diameter Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 656; Kress 107; Scaglia VI.13; Warren Ashmolean 281; Warren Wallace 43 £100-200

341 A BRONZE SILHOUETTE PLAQUE OF THE VIRGIN AND CHILD, AFTER DONATELLO, FLORENCE OR PADUA, MID 15TH CENTURY half-length Madonna with her head in profile to sinister 7 x 5cm Provenance: Baron Adalbert von Lanna (1836-1909); Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 345; Kress 59; Scaglia II.1; Warren Ashmolean 271 £300-500 114

342 A BRONZE PLAQUETTE OF THE HOLY FAMILY, GIOVANNI ANTONIO MORO (ACTIVE 1610-1624, D. 1625), EARLY 17TH CENTURY rectangular, in high relief, the seated Virgin supporting the Holy Child standing in her lap flanked by St Joseph and SS Anthony of Padua, Francis, George and the infant John holding a lamb to the right, a tree and two winged cherubs above 17.5 x 13.5cm Provenance: Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 166 Although this model in the past was attributed to the Florentine sculptor Francesco Fanelli, two almost identical plaques monogrammed GAM have led to the reattribution to the Milanese medallist Giacomo Antonio Moro, see Christie’s, London, 9 December 1980, lot 170 and 13 April 1980, lot 101 £1500-2500

343 A BRONZE PLAQUETTE OF THE VIRGIN AND CHILD, AFTER DONATELLO (C.1386- 1466), FLORENCE OR PADUA, PROBABLY LATE 15TH CENTURY rectangular, the half-length Madonna, her head in profile, gazing on the Holy Child she holds in relief against a black lacquered ground, with step moulded rim 9 x 7cm Provenance: Sotheby’s, London, 2 December 1969, lot 96 Bange 345; Kress 59; Scaglia II.1; Warren Ashmolean 271 £800-1200 344 A BRONZE PLAQUE, ITALIAN, PROBABLY LATE 15TH CENTURY a young mourner cut from a funeral monument, the youth shown kneeling with bare head and long hair 10 x 6cm Provenance: Collection of Robert von Hirsch (18831977); sold Sotheby Parke Bernet & Co., London, ‘The Robert von Hirsch Collection’ Vol.II 22 June 1978, lot 371, where noted the similar treatment of a marble profile in the Victoria and Albert Museum, No. 7626-1861, attributed to the workshop of Matteo Civitali (14361501); bought at the sale by Cyril Humphris and given by him to Bernard Kelly. £1000-1500

345 AN ITALIAN BRONZE PLAQUETTE OF THE VIRGIN AND CHILD, AFTER DONATELLO (C.1386- 1466), PADUA OR FLORENCE, MID 15TH CENTURY rectangular excepting a palmette and scroll surmount topped by a suspension loop, the Virgin, half-length, her head turned to the right, holding the Child by his back and legs, a parapet to the front and flanked by a triform and putto torchère either side 12.5 x 8.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 345; Kress 59; Scaglia II.1; Warren Ashmolean 270, 271 £800-1200 346 A BRONZE PLAQUETTE OF LIVY, PADUA, 16TH CENTURY circular, profile bust to dextra, in relief, inscribed TITUS LIVIUS PADUA, pierced 4.5cm diameter Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969.

Note the gaunt features, hooked nose and heavy stubble also found on Agostino Zoppo’s bust of Livy in the National Museum in Warsaw.

Toderi Vannel 1022 £200-300

The Bernard Kelly Collection of Plaquettes, sold without reserve

115

347 A BRONZE PLAQUETTE OF THE ENTOMBMENT, ANDREA BRIOSCO CALLED IL RICCIO (CIRCA 1470-1532), PROBABLY EARLY 16TH CENTURY rectangular, the central figures of St. John the Evangelist, Joseph of Arimathea and Nicodemus, lower the body of Christ into the angled sarcophagus, the Magdalen seated to the left, whilst to the right the fainting Virgin is supported, other figures crowd around 12 x 16.5cm Provenance: Collection Sir Thomas Barlow; Collection of Alfred Spero (1886-1973), London, from whom acquired

by Bernard Kelly between 1967-1969.

To compare this plaquette to a version with an inscription on the sarcophagus, see the example held by the Victoria and Albert Museum (No.6979-1860). It has been posited that the inscribed version is an earlier design, its popularity as an object of veneration leading to a second representation. This differs only slightly in detail, still exhibiting the dramatic anguish of the scene. The composition is probably taken from the monumental bronze candlestick Riccio made for the Basilica of St Anthony in Padua.

Kress 207; Bange 358; Scaglia VII. 15 £5000-7000

116

348 A BRONZE PLAQUETTE OF THE HOLY FAMILY, PROBABLY 19TH CENTURY after a 16th century Florentine model, the Virgin holds the Child on her arm, on the left St. Joseph helps to support the Holy Child 10.5 x 9.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 336; Kress 288; Scaglia II.16-17; Warren Ashmolean 408

350 A BRONZE MEDALLION OF ABUNDANCE AND A SATYR, PSEUDO FRA ANTONIO DA BRESCIA, 16TH CENTURY the reclining naked Abundance holding a cornucopia and raising her right hand as an ithyphallic satyr approaches blowing a cornett, buildings and a hill in the background, filled piercing 6cm diameter Provenance: Sotheby’s, London, 17 November 1970, part lot 55 Kress 189; Bange 644; Scaglia III.19; Warren Ashmolean 334 £800-1200

£100-200

349 A BRONZE PLAQUETTE OF CUPID SLEEPING, PSEUDO FRA ANTONIO DA BRESCIA (ACTIVE 1487-1514) circular, pierced and with suspension ring; together with another after Pseudo Fra Antonio da Brescia, circular, of a Bacchante and fawns, pierced to top, with corded rim (2) 7cm and 5.5cm respectively

351 A BRONZE PLAQUETTE OF VULCAN FORGING THE ARMS OF AENEAS, PROBABLY PADUA, EARLY 16TH CENTURY circular relief of winged Venus holding a shield flanked by Aeneas with a trophy on his shoulder and Vulcan at the anvil 6cm diameter

Provenance (cupid): Dr Hildburgh Collection; Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Cupid: Molinier 122; Bange 643 & 645; Kress 188 & 189; Scaglia III.17 & 18; Warren Ashmolean 335 & 336

Bange 315; Kress 329; Scaglia III.12; British Museum No. 1915,1216.284

£400-600

£300-500 The Bernard Kelly Collection of Plaquettes, sold without reserve

117

352 A BRONZE PLAQUETTE OF THE VIRGIN AND CHILD WITH SIXTEEN ANGELS, PROBABLY PADUA, LATE 15TH CENTURY rectangular, the Virgin and Child standing before a garlanded balustrade, a garlanded throne behind, surrounded by the angels, pierced to corners 9.5 x 7.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 568; Kress 303; Scaglia VI.3 Warren Ashmolean 382; Warren Wallace 46 £500-800

118

354 A BRONZE PLAQUETTE OF THE VIRGIN AND CHILD, PROBABLY PADUA, LATE 15TH CENTURY made as a book cover, the Madonna and Child flanked by two standing angels and five seraphim above, surrounded by a scroll foliate border with reeded rims and bosses to the corners, pierced 7.5 x 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 517; Kress 314-15; Warren Ashmolean 380; Warren Wallace 52 £200-300

353 A BRONZE-GILT PLAQUETTE OF JUDITH WITH THE HEAD OF HOLOFERNES, NORTH ITALIAN, 16TH CENTURY circular, deep relief half-length woman looking away from the head she holds in one hand, a sword in her other hand, plain ground 5.5cm diameter

355 A BRONZE PLAQUETTE OF AN ALLEGORICAL SCENE WITH A PUTTO, AFTER ANDREA BRIOSCO CALLED IL RICCIO (CIRCA 1470-1532) circular, a putto with his foot on a prostrate satyr and watering a tree, a large ewer to his side 4.5cm diameter

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress 322; Scaglia X.7

Bange 392, 393; Kress 224,225; Scaglia VII.6

£400-600

£200-300

356 A BRONZE PLAQUETTE, ATTRIBUTED TO PAOLO (15721635) AND FRANCESCO (1573-1610) DE LEVIS, 17TH CENTURY of God the Father holding the cross, in an integral frame cast with scrolls and cherub heads, pierced 9 x 8cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Scaglia IX.15; Charles Avery, ‘Joseph De Levis and Company, Renaissance Bronze Founders in Verona’, London, 2016, No. 62 £200-300 357 A BRONZE-GILT PLAQUETTE OF THE CRUCIFIXION OF CHRIST AND OF THE TWO THIEVES, GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), PROBABLY 16TH CENTURY rectangular, Mary Magdalen clutching the foot of the cross before the swooning Virgin and grieving St John surrounded by armed figures 11 x 7.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 454; Kress 147; Scaglia V.12; Warren Ashmolean 298, 299; Warren Wallace 32

358 A LEAD PLAQUETTE OF THE CRUCIFIXION OF CHRIST AND THE TWO THIEVES, GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), POSSIBLY 16TH CENTURY rectangular, Mary Magdalen clutching the foot of the cross before the swooning Virgin and grieving St John surrounded by armed figures, integral moulded frame, pierced, casting hole to centre 14 x 10.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 454; Kress 147; Scaglia V.12; Warren Ashmolean 298, 299; Warren Wallace 32 £500-800

£700-1000

The Bernard Kelly Collection of Plaquettes, sold without reserve

119

359 A BRONZE PLAQUE OF HERCULES AND ANTAEUS, MASTER OF THE LABOURS OF HERCULES (FOLLOWER OF MODERNO), ITALIAN, EARLY 16TH CENTURY rectangular, Hercules seen from the back lifts Antaeus in a crushing bear hug, the Nemean lion skin and a bow and quiver hang from a tree stump to the side, collector’s stamp B.M. for Baron de Monville, in a later gilt-bronze frame 10.5 x 7.5cm, 12 x 9 frame excluding suspension ring Provenance: Baron Hippolyte Boissel de Monville (1794-1863); his sale ‘la precieuse collection de bronzes italiens de M. B. de M***’, Drouot, Paris, expert Roussel, 24 January 1861, lot 70 (for 62 Francs to ‘van Cuyck’); Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 480; Kress 180; Scaglia IV.21; Warren Ashmolean 328; Victoria & Albert Museum No. A.441-1910 £2000-3000

120

362 A BRONZE PLAQUETTE OF DAVID AND GOLIATH, GALEAZZO MONDELLA, KNOWN AS MODERNO (14671528) cut down in irregular pear-shaped form, the naked hero holding the sling stands leaning on the side of a plinth, the headless giant lying behind him which another figure tries to turn over, the giant’s head at his foot 5.5 x 5cm

360 A BRONZE-GILT PAX OF THE MADONNA AND CHILD WITH ST JOSEPH, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), POSSIBLY 16TH CENTURY shaped, Mary holding the Holy Infant, Joseph behind her left shoulder, integral foliate Renaissance frame with God the Father and a seraph in the pediment, damaged scroll strut to reverse 11.5 x 7cm

Provenance: Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 36 Bange 438; Kress 141; Scaglia V.16-17; Warren Ashmolean 296 £500-800

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 447-48; Scaglia V.34, V.44; Warren Ashmolean 30506; The Metropolitan Museum, New York, No. 08.189.2; Museum of Fine Arts, Budapest, No. 2015.2 £400-600 361 A BRONZE-GILT PLAQUETTE OF THE ENTOMBMENT, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), 16TH CENTURY rectangular, the dead Christ supported by the Virgin and an angel under his arm and St John to the other side 8 x 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 455; Kress 153; Scaglia V.14, V.39; Warren Ashmolean 304; Victoria & Albert Museum No. 7483-1861 £700-900 The Bernard Kelly Collection of Plaquettes, sold without reserve 121

363 A BRONZE PLAQUETTE OF THE VIRGIN AND CHILD, GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), 15TH CENTURY shaped, with SS Anthony the Abbot and Jerome, She seated, the Child on her left knee, within an arched niche, columns to either side, a cherub seated at the base of each and the Saints standing outside, a scene of the Resurrection above, within an arch supported by cherubs, traces of a partial legend impressed on the reverse, S.A. / HOC HOPV[S] MO/ DE[RNI], pierced at top and bottom 11 x 6.5cm, Provenance: Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 38 Bange 443; Kress 133; Scaglia V.13; Warren Wallace 33,34; Toderi Vannel p.155-6 £1500-2500

122

366 A BRONZE PLAQUETTE OF HERCULES AND THE NEMEAN LION, WORKSHOP OF GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), PROBABLY EARLY 16TH CENTURY rectangular, Hercules wrestles the lion off the ground, to the left a rocky cave, to the right a tree, his bow and quiver resting against it, within a double framed border 5.5 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 516; Kress 184; Scaglia V.33; Warren Ashmolean 319 364 A BRONZE PLAQUETTE OF THE ADORATION OF THE MAGI, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), POSSIBLY 16TH CENTURY rectangular, the Virgin seated to right, within a stable, the Child on her right knee, St. Joseph stands behind with a child and small dog, to the left the three Kings, one holding horse, and others, with one kneeling, whilst the retinue of the Magi stretch across the rocky background, pierced 10 x 6.5cm

£300-500

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress 144; Bange 514; Scaglia V.8 £400-600 365 A BRONZE PLAQUETTE OF MARS AND VICTORY, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (14671528), 16TH CENTURY rectangular, female nude winged Victory running beside helmeted Mars holding a banner 7 x 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 465-66; Kress 158-59; Scaglia V.19; Warren Ashmolean 320 £600-900 The Bernard Kelly Collection of Plaquettes, sold without reserve 123

367 A BRONZE PLAQUETTE OF THE PRESENTATION IN THE TEMPLE, GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), PROBABLY EARLY 16TH CENTURY Christ seated on a decorated altar, to the right stands the Virgin with two attendants and to the left is Simeon accompanied by two bearded men 11 x 7.5cm, 21 x 17.5cm including ebonised and gilt wood frame Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 452; Kress 145-46; Scaglia V.9; Warren Ashmolean 300; Warren Wallace 31 £800-1200

124

368 A BRONZE MEDALLION OF DAVID TRIUMPHANT OVER GOLIATH, WORKSHOP OF GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), PROBABLY EARLY 16TH CENTURY the naked hero holding the sling stands leaning on a plinth surmounted by a classical warrior, the headless giant lying behind him which another figure tries to turn over, the giant’s head at his foot, reeded rim, pierced 10.5cm diameter Provenance: Sotheby’s, London, 30 June 1969, lot 7

370 A DOUBLE-SIDED BRONZE PLAQUETTE, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) square, Mars and Victory on obverse, Scipio Africanus on reverse, pierced 7 x 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress 159 & 262. Mars and Victory: Bange 465-66; Kress 158-59; Scaglia V.19; Warren Ashmolean 320. Scipio Africanus: Bange 70; Kress 262 £200-300

This circular plaquette is a rarer variant of the rectangular design by Moderno.

Kress 141; Scaglia V.41; Rectangular design: Bange 438; Scaglia V.16; Warren Ashmolean 296 £1000-1500

369 A BRONZE PLAQUETTE OF ORPHEUS REDEEMING EURYDICE, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) circular, showing Orpheus standing before the gates of Hades holding his viol with Eurydice to the right, being led forwards by a winged demon, pierced 10.5cm diameter This medallion forms one of a series of four reliefs showing the life of Orpheus.

Provenance: Sotheby, 30 June 1969, lot 8 Bange 472; Kress 172; Scaglia V.42 £600-800

The Bernard Kelly Collection of Plaquettes, sold without reserve

125

371 A COPPER ELECTROTYPE PLAQUETTE OF THE FLAGELLATION, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), PROBABLY VIENNA, 19TH CENTURY rectangular, bronzed patinated, lead backed, Christ tied to the central column, inscribed O.P. MODERNI 14 x 10.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 453; Kress 134; Scaglia V.37; Warren Ashmolean 303 £100-200

372 A PAX OF THE ENTOMBMENT, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) rectangular, the dead Christ supported by the Virgin and St John, integral Renaissance frame with surmount and simple scroll strut to reverse 12 x 7.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 455; Kress 153; Scaglia V.14, V.39; Warren Ashmolean 304 £300-500

126

373 A BRONZE PAX OF THE VIRGIN AND CHILD, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) shaped, with SS Anthony the Abbot and Jerome, She seated, the Child on her left knee, within an arched niche, columns to either side, a cherub seated at the base of each and the Saints standing outside, a scene of the Resurrection above, within an arch supported by cherubs 10 x 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 19671969.

Bange 443; Kress 133; Scaglia V.13; Warren Wallace 33,34 £200-300

374 A BRONZE PLAQUETTE OF THE FLAGELLATION, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (14671528), PROBABLY 19TH CENTURY rectangular, Christ dramatically tied to the central column, thin raised rim 13.5 x 10cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 453; Kress 134; Scaglia V.37; Warren Ashmolean 303 £300-500 375 A BRONZE PLAQUETTE OF CACUS STEALING THE OXEN OF HERCULES, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) rectangular, Hercules asleep while behind Cacus pulls the tail of an ox back to the cave-mouth 7 x 5cm

376 A BRONZE PAX OF THE ENTOMBMENT, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) rectangular, Christ supported on the edge of a richly decorated sarcophagus by Mary Magdalen, the Virgin, a holy woman, St John and Joseph of Arimathea, integral Renaissance arched frame, detached scroll strut to reverse 15.5 x 10cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 457; Kress 148,149; Scaglia V.43 £200-300

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 482; Kress 135; Scaglia V.24-25; Warren Ashmolean 308-10 £200-300

The Bernard Kelly Collection of Plaquettes, sold without reserve

127

377 A BRONZE PLAQUETTE OF THE ENTOMBMENT, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) rectangular, the dead Christ supported by the Virgin and an angel under his arm and St John to the other side, integral frame with formal leaf border 9.5 x 8cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 455; Kress 153; Scaglia V.14, V.39; Warren Ashmolean 304 £500-800 378 A BRONZE PLAQUE OF THE RESURRECTION, NORTH ITALIAN, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), 16TH CENTURY rectangular, the Risen Christ with banner above the angled sarcophagus and four soldiers, the cave entrance to the sepulchre to back left 10 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 458; Kress 151; Scaglia V.11; Warren Ashmolean 302 £500-800 379 A BRONZE PLAQUETTE OF THE ENTOMBMENT, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) rectangular, the body of Christ, held by the Virgin and St. John, his feet held

by Nicodemus, lowered into the sarcophagus, decorated with reliefs, other figures including Mary Magdalen wailing being, in the distance the walls of Jerusalem and Golgotha 9.5 x 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 456; Kress 150; Warren Ashmolean 301; Scaglia V.10 £300-500 128

380 A BRONZE PLAQUETTE OF THE MADONNA AND CHILD, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), PROBABLY MID 16TH CENTURY rectangular, figures enthroned with two standing angels on a shallow ledge 6.5 x 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 444-45; Kress 143; Scaglia, V.4-5; Warren Wallace 35 £500-800

381 A BRONZE PLAQUETTE OF A BATTLE SCENE, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (14671528), PROBABLY 19TH CENTURY circular, a horseman and riderless horse above a dead horse between to soldiers below the inscription DUBIA FORTUNA, reeded borders, pierced, 6cm diameter; together with a white metal oval plaquette of the Adoration, after Giovanni Giacomo Caraglio (c.1500/1505-1565), probably 19th century, oval, 7 x 8cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

382 A BRONZE RELIEF PLAQUETTE OF THE ENTOMBMENT, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), 18TH / 19TH CENTURY rectangular, the body of Christ, held by the Virgin and St. John, his feet held by Nicodemus, lowered into the sarcophagus, decorated with reliefs, other figures including Mary Magdalen wailing being, in the distance the walls of Jerusalem and Golgotha, moulded border and scroll surmount with suspension ring 13 x 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 456; Kress 150; Warren Ashmolean 301; Scaglia V.10 £500-800

Battle Scene: Kress 186; Warren Ashmolean 322 Adoration: Bange 924; Warren Ashmolean 264 £300-500 The Bernard Kelly Collection of Plaquettes, sold without reserve 129

383 A BRONZE SILHOUETTE PLAQUE OF GOD THE FATHER, VENICE, CIRCA 1500 from a crucifix, in deep relief, seated, one hand raised in benediction, the other holding a globe, pierced twice to sides 9.5 x 5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired

by Bernard Kelly between 1967-1969.

Scaglia III.8; Warren Ashmolean 9 for its use on a cross £500-700 384 A SMALL BRONZE PLAQUETTE OF THE INCREDULITY OF ST. THOMAS, VENICE, LATE 15TH CENTURY circular, the saint examining Christ’s wound and holding banner of the Resurrection, inscribed ET. CREDIDERM BEATI. Q. NO. VIDER, pierced at top and bottom, remnants of a strap to reverse 4.5 diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired

by Bernard Kelly between 1967-1969.

Bange 583; British Museum No. 1915,1216.232 £200-300 385 A BRONZE PLAQUETTE OF THE VIRGIN AND CHILD, 19TH CENTURY after a 16th century Venetian model, oval, flanked by two angels and two further supporting a crown, pierced 14.5 x 11cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired

by Bernard Kelly between 1967-1969. £200-300

386 A BRONZE PLAQUETTE WITH OVAL INSET OF A MAENAD, AFTER THE MASTER OF THE MARTELLI MIRROR (LATE 15TH CENTURY), 19TH CENTURY rectangular, half-length figure in a moulded frame 12 x 9.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 294; Kress 116; Warren Ashmolean 290, 291 £100-200 387 (illustrated opposite) A BRONZE PAX, ITALIAN, PROBABLY 16TH CENTURY cast with Christ as Salvator Mundi below a seraph within integral arched frame of flanking columns, with three finials, bronze with gold lacquer 16 x 10.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £300-500

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388 A BRONZE PLAQUETTE COMMEMORATING LIPPA ARIOSTI, ITALIAN, POSSIBLY 16TH CENTURY oval, profile bust to sinister of a young woman, with inscription LIPA ARIO STA, reverse (rubbed) of four figures, inscribed in border DIGNIOR DICANDA. 7 x 6cm; together with a bronze plaquette of Macchiavelli, probably 19th century, circular, bust, ‘Nicolaus Macchiavellius’ inscribed on border, the reverse relief of a serpent rising from bushes, 7cm diameter (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Lippa Ariosti: see The Metropolitan Museum, New York, No. 1986.319.66. Lippa (or Filippa) Ariosti (d.1347), a Bolognese noblewoman, was the mistress (and later wife) of Obizzo III d’Este, Marquis of Ferrara. £400-600 389 A BRONZE PLAQUETTE OF THE JUDGEMENT OF SOLOMON, PROBABLY ITALIAN LATE 16TH / EARLY 17TH CENTURY oval, the king throned on a dais pointing to the soldier holding the baby by its leg in one hand, a sabre in the other flanked by various figures in a colonnaded setting, plain moulded rim 8 x 10cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300

390 A BRONZE MEDAL COMMEMORATING THE FOUNDATION OF SANTA MARIA DELLA SALUTE, VENICE, DATED 1631 struck with the Piazetta and the Annunciation framed by the motto ‘UNDE ORIGO INDE SALUS’, the reverse with the bareheaded doge Nicolò Contarini, his ‘corno ducale’ before him, kneeling and pointing to the church behind and inscribed ‘NICOLA CONTAR. PRINC. SENATUS EXVOTO MDCXXXI’, moulded rim, pierced 5cm diameter Provenance: Sotheby’s, London, 16 March 1973, part lot 59 £100-200 387

The Bernard Kelly Collection of Plaquettes, sold without reserve

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391 A BRONZE PLAQUETTE OF THE LAMENTATION, ITALIAN, 16TH CENTURY rectangular, Christ laid on the ground surrounded by the mourners, Calvary above, below two angels supporting a Cardinal’s shield, reeded border, pierced 9 x 8cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 647 £400-600

393 A PAX OF THE LAMENTATION, NORTH ITALIAN, CIRCA 1500 shaped, Mary with Jesus laid across her flanked by Joseph and Mary Magdalen, integral Renaissance frame with shell surmount and a Cardinal’s arms to base, scroll strut to reverse 12 x 8cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 718 392 A GILT BRASS DEVOTIONAL PLAQUE OF ST JOHN THE BAPTIST, ITALIAN SCHOOL, EARLY 16TH CENTURY circular, the saint standing on a plinth beside a cherub proffering a flower, inscribed SAN GIOSAFAT B.S.G., corded border 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300 132

£400-600

395 A BRONZE PLAQUETTE OF CHRIST APPEARING TO THE APOSTLES, ITALIAN, MID 16TH CENTURY arched rectangular, Christ flanked by ten apostles beneath a triumphal arch inscribed “PAX VOBIS” 10.5 x 6.5cm Kress 391, who notes the plaquette was evidently intended for use in a Pax. £300-500

394 A RECTANGULAR BRONZE PLAQUETTE OF THE PERSONIFICATION OF TIME, ITALIAN, LATE 16TH CENTURY rectangular, pierced and adapted to make a door, the winged old man holding scales over a plinth and an hourglass, to the right an arch 18 x 10cm Provenance: Stefano Bardini (1836-1922), Florence (No.929 according to red painted inventory number to reverse); Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 154 £800-1200

396 A NORTH ITALIAN BRONZE PAX OF CHRISTUS DOLENS, PADUA OR VENICE, EARLY 16TH CENTURY shaped, Christ as the Man of Sorrows halflength in his tomb, his crossed hands on its edge, his shroud as a back-cloth, integral foliate arched classical frame, damaged scroll strut to reverse 11.5 x 6.5cm Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 720-22; Scaglia III. 9-10 £200-300

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397 A BRONZE PLAQUETTE OF THE LAST SUPPER, ITALIAN, PROBABLY 16TH CENTURY rectangular, Christ with his left hand on John’s sleeping back flanked by the other apostles, pierced to corners 6 x 12cm

399 A LEAD MEDALLION OF EMPEROR VESPASIAN, ITALIAN, PROBABLY LATE 16TH / EARLY 17TH CENTURY oval, relief profile to dexter, inscribed VESPAS .AVG 9.5 x 7cm

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

£400-600

Planiscig 328-38 (series); Warren Ashmolean 387 £200-300

398 A BRONZE PLAQUETTE OF THREE SEATED FEMALE ALLEGORICAL FIGURES, NORTH ITALIAN, PROBABLY EARLY 16TH CENTURY rectangular, seated on cushions on a curved banquette 4.5 x 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300

400 A BRONZE-GILT MOUNT, ITALIAN, 16TH / 17TH CENTURY quatrefoil, openworked with a bust of St Catherine in a roundel surrounded by the foliate foils with shells between 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300

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403 A BRONZE PLAQUETTE, PROBABLY 16TH CENTURY shield shaped, cast in deep relief with the head of a bearded man wearing a crown 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £100-200

404 A BRONZE-GILT PLAQUETTE OF THE VIRGIN AND CHILD, ITALIAN, 17TH / 18TH CENTURY in deep relief, rectangular, the Virgin supporting the Holy Child standing on a ledge, St John with a lamb to their side, a curtain hung up above 12 x 8cm

401 A BRONZE PAX OF THE MADONNA AND CHILD, ITALIAN, PROBABLY 16TH CENTURY enthroned and crowned by two angels, the moulded rectangular frame with the cresting of a Cardinal’s arms, iron strut to reverse 16.5 x 10.5cm

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £600-800

Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969. £500-800

402 A BRONZE PLAQUETTE, ITALIAN, EARLY 17TH CENTURY oval, with half-length facing profiles of a Brigittine and a visiting monk with the dove of the Holy Spirit between them, on reverse a wreath bordered Latin inscription, translating as: ‘1619 Month May D. Blasius Bagnuascento of the Order of the Holy Saviour, D. Marian Bon Bonon, (visitor), have placed a foundation stone, and dedicated it to the Holy Spirit’ 11 x 13.5cm Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969. £500-800

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405 A SMALL SILVER PLAQUETTE, PROBABLY ITALIAN, 17TH CENTURY oval, of two classical female nude figures flanking a child, 4 x 3cm; together with a small bronze oval plaquette with St. Catherine with an angel ascending into heaven, ERNST MUZEUM AUKCIOI label to reverse (auctions organised by Lajos Ernst, Budapest, 1920s), 4.5 x 3.5cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

407 A BRONZE PLAQUETTE OF A LION ATTACKING A HORSE, ITALIAN, 17TH CENTURY oval, the lion’s mouth tearing at the back of the horse he has brought down 9 x 12cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £400-600

£200-400

406 A BRONZE PLAQUETTE, ITALIAN, PROBABLY 17TH CENTURY rectangular, depicting St. Francis kneeling before the Virgin and Child 9 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300 136

408 A BRONZE PLAQUETTE OF THE ADORATION OF THE CHRIST CHILD, ITALIAN, 17TH CENTURY rectangular, with internal silhouette above a shepherd, the Virgin Mary, oxen and St Joseph gazing on the Holy Infant, flanking farm buildings, an angel with banner announcing the birth above, lacquered gilt surface and protruding pins to reverse 13.5 x 10.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £300-500

409 TWO ITALIAN BRONZE PLAQUETTES OF THE SEASONS, PROBABLY ROME, LATE 17TH CENTURY rectangular, one depicting two draped females as Autumn and Winter, Autumn with cornucopia of fruits, and Winter holding flame, the other plaque of two draped figures depicting Spring and Summer, Spring offering flowers to Summer, who also holds ears of corn both 10 x 9cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress 452-53; Weber 736-37; Warren Ashmolean 423-24 £1000-1500

410 A BRONZE PLAQUETTE OF THE DEPOSITION, AFTER GIOVANNI BATTISTA SCULTORI (1503-1575), 16TH / 17TH CENTURY arched rectangular, figures at the base of the cross, with the ladder leaning on it 11.5 x 7.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 971; Scaglia IX.20; Warren Ashmolean 348 £200-300

The Bernard Kelly Collection of Plaquettes, sold without reserve 137

411 TWO BRONZE PLAQUETTES, ITALIAN, 16TH OR 17TH CENTURY one oval of Scipio Africanus, the other circular of a woman (2) 7 x 6cm, the other 7.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Scipio Africanus: Bange 70; Kress 262 £200-300 412 A SMALL BRONZE PLAQUETTE OF A ROMAN EMPEROR, ITALIAN, 17TH / 18TH CENTURY oval, profile bust to sinister, later inscribed on reverse COTTA REX Subalpin Ligur (mistakenly for Marcus Aurelius) 5 x 3.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £100-200 413 A SET OF SIX PORTRAIT MEDALLIONS OF THE WIVES OF ROMAN EMPERORS, PROBABLY ITALIAN 16TH CENTURY STYLE oval, each with a border inscribed: ‘CAESONIA CAESAR CALIGULAE UXOR’, ‘LEPIDASER GII GALBAE UXOR’, ‘POMPEIA JULII CAES UXOR’, FLAVIA DOMICILLA VESPASIANI UXOR’, ‘ALBIA TERENTIA OTHONIS MATER’, ‘AGRIPPINA TIBERII UXOR’ 11.5 x 9.5cm approximately Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969.

A series with the emperors is confirmed by a near complete set in the Musei Civici in Brescia (Francesco Rossi, ‘Musei Civici di Brescia. Placchette Sec. XV-XIX’, Vicenza, 1974, Nos.166-85, and with a full discussion by Rossi).

Planiscig 413-16 £500-800

138

414 A BRONZE-GILT PLAQUE OF ST JOHN THE BAPTIST IN THE DESERT, PROBABLY 18TH CENTURY oval, seated on a rock beside trees, the lamb, book and reed cross at his feet,10 x 7cm; together with a bronze plaquette of St Peter, probably late 18th century, deep relief profile bust to sinister,13 x 11cm (2) Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-400

416 A GILT-METAL ROUNDEL OF THE VIRGIN ENTHRONED, PROBABLY 19TH CENTURY perhaps a gilt copper electrotype of a 17th century Dutch or German panel, beaded rim, double skinned, 9cm diameter; together with a cast bronze medallion of the Virgin and child inscribed, 6.5cm diameter; and a bronze deep relief portrait medallion of a Bishop Saint, possibly Carlo Borromeo, 6.5 x 5.5cm (3) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £100-200 417 AN ITALIAN BRONZE CASKET PANEL, AFTER A LATE 15TH CENTURY ROME OR MANTUA PANEL rectangular, depicting Medusa’s head, surrounded by a wreath flanked by winged putti, reeded border 8 x 17.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress 491, illustration shows a larger lid with an ornamented band around the central design; Warren Ashmolean 15; Warren Wallace 24 £600-900

415 A BRONZE MOUNT WITH THE JUDGEMENT OF SOLOMON, 16TH CENTURY STYLE, PROBABLY 19TH CENTURY trapezoidal, in high relief 12.5 x 11cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £80-120

The Bernard Kelly Collection of Plaquettes, sold without reserve

139

418 A BRONZE PLAQUETTE OF THE TRIUMPH OF FLORA, PERHAPS NETHERLANDISH 17TH CENTURY oval, the figures celebrating in a flowered glade, within wriggle and ovolo borders; together with a bronze plaquette of Venus with cupids in a landscape, 18th century, oval both 7 x 9cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £300-500

419 A LEAD MEDALLION OF HENRI IV AND MARIE DE MEDICI, AFTER GUILLAUME DUPRE (1597-1647) Henri IV as Mars in Roman armour holding a staff, Marie de Medici as Minerva, the couple holding hands above the Dauphin clasping his father’s helmet, an eagle holding a crown above flanked by the legend ‘PROPAGO / IMPERIUM’ (the Imperial Line) 19cm diameter excluding integral suspension loop Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

For an example cast in bronze and further discussion of Dupré’s 1605 variant medal, see the British Museum No. 1981,1210.1 Mazerolle No. 639; Jones 19 £300-500

140

420 A PAIR OF BRONZE ROUNDELS, FRENCH OR SOUTH GERMAN, 17TH CENTURY of classical figures in wooded landscapes, one of Apollo and the Sibyl, the other of a bearded man about to sacrifice two cows, three women coming towards him, possibly Anacreon sacrificing to the Three Graces 21cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £800-1200 421 A LEAD TONDO OF HENRI IV, 17TH / 18TH CENTURY in deep relief, profile bust to dexter, laurel wreath to hair 16cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £300-500 422 A LEAD PLAQUETTE OF MINERVA, FRENCH, MID 17TH CENTURY oval, profile to sinister, pierced,13 x 10cm; together with a bronze plaquette of Galba VII, circular, inscribed “Galba.VII. L’An. 96 de Jesus C”, 8.5cm diameter (2) Provenance (Galba): Sotheby’s, London, 16 March 1973, part lot 59 Minerva: Warren Ashmolean 537 £300-500

The Bernard Kelly Collection of Plaquettes, sold without reserve

141

423 A BRONZE PORTRAIT MEDAL OF ANTOINE PERRENOT DE GRANVELLE (1517-1586), AFTER LEONE LEONI (C.15091590), PROBABLY SECOND HALF 16TH CENTURY bust to dexter, holding his crozier below the inscription ANTON PERRENOT EPI A TREBATEN, the reverse with The Earthly Paradise, a unicorn at a mountain spring surrounded by wild animals under the inscription CAETERIS·AEQVE·AC·SIBI· (For others as for him) 9.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Cardinal Antoine Perrenot de Granvelle, (1517-1586), according to Hugh Trevor Roper, was ‘the dominating Imperial statesman of the whole century… the greatest private collector of his time, the friend and patron of Titian and Leoni and many other artists’ (‘Princes and Artists, Patronage and Ideology at Four Habsburg Courts 15171633’, London, 1976, p.112).

The illustration on the reverse refers to Granvelle’s ambition to clean the Christian church from “Protestant contamination” (Attwood, p.103).

Attwood 31; Toderi Vannel 61 £300-500

424 A BRONZE PLAQUE OF THE SACRIFICE TO BACCHUS, AFTER CLAUDE MICHEL CALLED CLODION (1738-1814), PROBABLY 18TH CENTURY rectangular relief, centred by Bacchus and attendant struggling with a sheep at the altar beneath a Bacchic herm flanked by cavorting figures 20 x 50.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Another version of this plaque, signed ‘Clodion’ in the bronze, was held by the North Carolina Museum of Art in Raleigh (No.G.58.4.5), until deaccessioned in 1993. £1000-2000

142

425 A PAIR OF BRONZE PLAQUES, FRENCH, EARLY 19TH CENTURY rectangular, depicting classical women bathing and in domestic pursuits 8.5 x 20cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £150-250

426 A WHITE METAL MEDALLION, AFTER GUILLAUME DUPRE (15971647) of Marie de Medici steering the ship of State, inscribed ‘SERVANDO DEA FACTA DEOS’ (the reverse only of a Marie de Medici medal); together with a white metal medallion with Biblical judgement scene within a rococo cartouche border both 6.5cm diameter (2)

427 A BRONZE DISC, AFTER PAUL VAN VIANEN (1570-1614), PROBABLY FRENCH 19TH CENTURY cast with figures in cartouches and Mannerist ornament, from the underside of the bowl of a tazza 15cm diameter Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969.

Taken from the underside of the silver-gilt ‘Coupe Ronde’ acquired by the Louvre in 1832 as by Benvenuto Cellini, but now ascribed to Paul van Vianen (Louvre Inventory No. LP 19). £100-200

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Dupré: Jones 48, 49 £200-400

The Bernard Kelly Collection of Plaquettes, sold without reserve 143

428 A PAIR OF GILT-BRONZE MOUNTS, FRENCH, 19TH CENTURY deep relief, one of putti with a cart, the other infant fawns 12.5 x 18.5cm and 10.5 x 20cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £500-800

429 A PAIR OF BRONZE-GILT PLAQUETTES DEPICTING SAINTS, SPANISH, 16TH / 17TH CENTURY oval, recessed in frames, the full length relief figures titled by their shoulders, one Saint Domingo de Silos, the other Saint Domingo de Lacalzada, the reeded frames each with four nicks and screwed to later green velvet stands 12.5 x 9.5cm, 20cm x 14.5cm overall Provenance: Sotheby’s, London, 2 December 1969, lot 98 £1500-2500

144

430 A PAIR OF SILVER PLAQUES, SPANISH, LATE 17TH CENTURY oval, chased high relief, with half-length figures of St. Leander in Bishop’s vestments holding a pen in one hand and heart in the other; the other of the Virgin weeping 14 x 13cm, 21 x 19.5cm including giltwood frames Provenance: Sotheby’s, London, 16 December 1971, lot 129 £2000-3000

431 A BRONZE PLAQUETTE OF THE CROWNED VIRGIN AND CHILD IN HEAVEN, SPANISH OR ITALIAN, 17TH CENTURY rectangular, the Virgin flanked by seraphim whilst below against a landscape she is worshipped by a kneeling Bishop Saint and a Patron Saint (perhaps St George) holding a town in one hand and his pennant in the other 18.5 x 14cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £600-900

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432 A BRONZE PLAQUETTE OF CHRIST IN THE CARPENTER’S SHOP, PROBABLY NETHERLANDISH, LATE 16TH CENTURY rectangular, Joseph handing a saw to the Christ Child whilst Mary spools wool in the background, integral moulded frame and suspension loop 11 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 1038.2; Scaglia XII.2; See Warren Ashmolean 506 for discussion of the series and attribution. £400-600

433 A BRONZE PLAQUETTE OF THE DEATH OF ST PETER MARTYR, AFTER TITIAN, FLEMISH, MID 17TH CENTURY arched rectangular, Peter, having stumbled in the forest vainly defends himself against the assassin who is about to strike with his sword, his companion flees to the left, two angels in the canopy hold the martyr’s palam 18.5 x 11.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Titian (Tiziano Vecellio c.1488-1576) painted an altarpiece of The Death of St. Peter Martyr around 1528 for the Basilica dei Santi Giovanni e Paolo in Venice. It was immediately acclaimed and prints widely circulated. A number of oil copies remain, but the original was destroyed by fire in 1867.

Weber 1010 £300-400 434 A BRONZE PLAQUETTE OF THE ADORATION OF THE MAGI, CIRCLE OF PAUL VAN VIANEN (1570-1614) circular, the Holy Family to the right, the kings to the left 14cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £400-600

146

435 A BRONZE SILHOUETTE PLAQUETTE OF CHARITY, FLEMISH, 17TH CENTURY Charity suckling one child and two older children at her feet 14 x 8.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired

by Bernard Kelly between 1967-1969. £150-250

438 A BRONZE ROUNDEL OF THE PIETA, PROBABLY GERMAN OR FLEMISH 17TH CENTURY the cloaks of the standing Holy Mother forming a canopy over Jesus on a cushion, pierced 7.5cm diameter Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300

436 A SILVER PLAQUETTE OF THE ADORATION OF THE SHEPHERDS, PROABABLY FLEMISH 17TH / 18TH CENTURY circular, in relief, later French ‘swan’ mark, 10.5cm diameter; together with a silver plaquette of Christ Borne by Angels, French, 18th century, rectangular relief, later French ‘swan’ mark, 11.5 x 8cm (2) Provenance (Adoration): Silver Collection of the Vicomtesse de Vigier, sold Drouot, Paris, 22 / 23 April 1970, lot 44 £600-900 437 A BRONZE PLAQUETTE OF ST PETER REPENTING, PROBABLY NETHERLANDISH, LATE 16TH CENTURY rectangular excepting leafy suspension loop, the half-length figure with clasped hands above his keys flanked by a vine and a cockerel topped classical column 9 x 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 1043; Scaglia XII.6; Warren Ashmolean 506 £200-300 The Bernard Kelly Collection of Plaquettes, sold without reserve

147

439 A BRONZE-GILT PLAQUETTE OF VENUS AND ADONIS, NETHERLANDISH, EARLY 17TH CENTURY Cupid supporting the dying Adonis, Venus mourning behind and the boar escaping to the right of the woods of background 12 x 9.5cm Provenance: Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 218, where noted: “The plaquette appears to make an unpublished pair with one showing ‘Venus taking Leave of Adonis’ in the Museum at Troppau, that Weber ascribes to a follower of Paul van Vianen, probably on the basis of its similarity in subject, treatment and style to a rectangular plaque in Utrecht (Weber 943), with monogrammed signature and dated 1612.”

Weber 992 £2000-3000

440 A BRONZE-GILT PLAQUETTE OF THE CORONATION OF THE VIRGIN, PROBABLY GERMAN OR FLEMISH, EARLY 17TH CENTURY rectangular, the Virgin kneeling on cherubim inhabited clouds flanked by God the Father and Christ holding up a crown surmounted by the dove of the Holy Spirit 12.5 x 10cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 889 £500-800

148

441 A BRONZE PLAQUETTE OF THE SALE OF INDULGENCES, DUTCH, 17TH CENTURY rectangular, with two groups of standing figures against a background of columns, one group surrounding a priest seated at a table, moulded rim; together with another, the same but later cast 6.5 x 10cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

443 A BRONZE-GILT PLAQUETTE OF ST JOHN THE BAPTIST, NETHERLANDISH, LATE 16TH CENTURY rectangular, with lamb, inscribed NON SUREXIT MAJOR, moulded border and suspension loop 11.5 x 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 107.1

Of a type often described as Spanish, see Warren Ashmolean 506 for discussion and attribution; Weber 1042; Scaglia XII.8

£400-600

£400-600

442 THREE SILVER COINS comprising: a Dutch 28 stuiver siege coin, Leiden, dated 1574, the city arms and legend GODT BEHOEDE LEYDEN, reverse with a crowned lion with liberty cap on pole and the legend HAEC LIBERTATIS ERGO; an osella, Venice, after Piero Pasta for Francesco Loredan, dated 1759, commemorating the presentation of the Golden Rose

by Pope Clement XIII, Religion on pedestal flanked by St Mark and the Doge, reverse with the Golden Rose; and a large scudo, Papal States, Pius VI, dated 1780, seated Religion in clouds with legend AUXILIUM DE SANCTO, reverse with the arms of the Pope and legend PIUS SEXTUS PONT.M.A.VI, applied cresting with suspension loop; together with a brass pilgrim badge, after Francesco Cesarini, Italian, probably 19th century, after a medal of about 1688, profile bust of Pope Innocent XI, reverse with a procession approaching the Church of the Virgin at Loretto (4) 4 to 3.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £500-800 The Bernard Kelly Collection of Plaquettes, sold without reserve

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444 A BRONZE PANEL OF AARON’S FIRST SACRIFICE, NETHERLANDISH, LATE 16TH CENTURY the central rectangular scene of kneeling figures flanking a flaming altar surrounded by a broad band of seraphim, scrolls and garlands, reeded borders between, pierced to corners 11 x 19.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 710 £500-800

445 A BRONZE PLAQUETTE OF ST. SEBASTIAN, NETHERLANDISH, LATE 16TH CENTURY rectangular, the saint tied to a tree, pierced by arrows, his armour at his feet, moulded border 10 x 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Of a type often described as Spanish, see Warren Ashmolean 506 for discussion and attribution; Weber 1041.1; Scaglia XII.11 £400-600

150

446 A BRONZE PLAQUETTE OF THE BAPTISM OF CHRIST, ATTRIBUTED TO ARENT VAN BOLTEN (1573-1633), 16TH / 17TH CENTURY rectangular, Christ standing in the Jordan flanked by angels and St John pouring the water over him while figures crowd to the side, above the dove of the Holy Spirit descends 18 x 13cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 962 £500-800

447 A BRONZE PLAQUE OF THE ASSUMPTION OF THE VIRGIN, PROBABLY FLEMISH, 17TH CENTURY shaped tapered arched outline, in high relief with the Virgin ascending amid clouds and seraphim, pierced 32.5 x 19cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £600-900

The Bernard Kelly Collection of Plaquettes, sold without reserve

151

448 A BRONZE ROUNDEL OF THE OATH OF THE VICTORS FROM THE LIBERATION OF THE ANTWERP CITADEL, AFTER MARTIN DE VOS, PROBABLY 19TH CENTURY after the 1577 original, negotiations between the leaders of the German Mercenaries and Roeck, Bours and Liedekerke 19 x 17.5cm

450 A BRONZE PORTRAIT MEDALLION OF A WOMAN, FLEMISH OR ITALIAN, LATE 17TH CENTURY relief profile to sinister 9cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Charles Avery suggests the maker of the bronze medallions is Jacques Jongheling (1530-1606). For a discussion of the series see Charles Avery, ‘Studies in European Sculpture’ 1981 Weber 709.4; Warren Ashmolean 502 £300-500 449 A BRONZE PLAQUETTE OF A BATTLE SCENE, NETHERLANDISH SCHOOL, PROBABLY 17TH CENTURY oval, a cavalry skirmish within wriggle and ovolo borders, pierced, 7 x 8cm; together with a bronze plaquette of a battle scene, perhaps Netherlandish 17th century, cartouche shaped, classical figures in hand-to-hand combat, 7 x 9.5cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £300-500 152

451 A BRONZE PLAQUETTE OF AN ALLEGORY OF VANITY, PETER FLÖTNER (1485-1523), EARLY 16TH CENTURY rectangular, standing winged female figure, partially draped and looking in a hand mirror, behind her a horse, beyond a landscape with a tower 6.5 x 4.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 56.1 £500-800

452 A PAIR OF BRONZE ‘TRIUMPH’ PLAQUETTES, NORTHERN SCHOOL, 16TH CENTURY rectangular, one depicting the Triumph of Ceres, the other the Triumph of Justice 6 x 12.5mm, 14.5 x 23cm including wood frames with velvet ground Provenance: Christie’s, London, 12 May 1970, lot 45 Weber 678; Warren Ashmolean 507-10 £600-1000

453 A BRONZE PLAQUETTE OF THE LAST SUPPER, PROBABLY GERMAN OR BOHEMIAN, CIRCA 1600-1650 rectangular, Christ, radiate, seated at the table, hand raised in blessing, the disciples around, John, to Christ’s left, slumped forward towards Him 7.5 x 15.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 1050 £400-600

The Bernard Kelly Collection of Plaquettes, sold without reserve 153

454 A BRONZE PLAQUETTE OF THE JUDGEMENT OF SOLOMON, AFTER MONOGRAMMIST H.G. (ACTIVE 15401570) circular, with the two women to the foreground and Solomon on his throne, the soldier holding the baby by its leg and brandishing a knife, with buildings and trees in the background, pierced 16cm diameter

456 A SILVER-GILT RELIGIOUS MEDAL OF ADAM AND EVE, AFTER HANS REINHART (15011581), GERMAN, DATED 1551 initialled K B above the figures flanking the serpent entwined tree, the crucifixion on the reverse, both sides with Latin inscriptions, with applied suspension loop, 5 x 4cm; together with a Dutch silver medal with the arms of the House of Orange Nassau, the reverse with inscription dated 1747 (partly covered by a collector’s label), with filigree border, 5.5cm diameter (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 282; Warren Ashmolean 457 £500-800

457 A BRONZE PLAQUETTE OF THE RAPE OF THE SABINE WOMEN, AFTER GIAMBOLOGNA (1529-1608), PERHAPS GERMAN CIRCA 1600 rectangular, depicting groups of women in the streets struggling with the soldiers 11 x 13cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

154

455 A BRONZE PLAQUETTE OF THE SCOURGING OF CHRIST, SOUTH GERMAN, EARLY 17TH CENTURY rectangular, pierced 14.5 x 10cm

Giambologna designed this panel to clarify the subject of his celebrated marble group in the Loggia dei Lanzi in Florence, which had been unveiled in 1583 to wide acclaim; prints were produced shortly thereafter such as Andrea Andreani’s woodcut of 1585 (see The Metropolitan Museum, New York, No. 22.73.3-73,74,75).

Provenance: Sotheby’s, London, 12 December 1969, lot 109

Weber 1048

£500-800

£500-800

458 A COPPER-GILT RELIEF CARTOUCHE, GERMAN, 16TH CENTURY shield shaped, slightly domed, classical scene of a general on horseback and two soldiers against a tent and landscape 7 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired

by Bernard Kelly between 1967-1969. £200-300 459 A BOHEMIAN SILVER MEDAL, WORKSHOP OF NICKEL MILICZ (ACTIVE 1544-1570), SANKT JOACHIMSTHAL, PROBABLY SECOND HALF 16TH CENTURY The Fall and The Expulsion of Adam & Eve, inscription to obverse DIXIT DOMINVS ECCE ADAM QVASI VNVS EX NOBIS FACTVS EST SCIENS BONVM ET MALVM GEN III (The Lord said, behold Adam has become just like one of us, having knowledge of good and evil, --Genesis 3), dated 1549, Adam and Eve trying to hide their nakedness, God standing left, reverse ET DOMINVS EIECIT ADAM EX PARADISO ET COLLOCAVIT ANTE PARADISVM CHERVBIM ET GE III ( (and the Lord cast out Adam from Paradise and stationed a Cherubim before it, --Genesis 3), Adam and Eve being driven left out from the Garden of Eden by a Cherubim brandishing a sword 6cm excluding suspension loop

461 A BRONZE PLAQUETTE OF THE DESCENT FROM THE CROSS, GERMAN, 16TH CENTURY shaped, relief cast in an integral Italianate ‘altarpiece’ frame including episcopal arms 12 x 7.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 718 £400-600

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £300-500 460 A BRONZE PLAQUETTE OF THE HOLY FAMILY WITH ST. JOHN THE BAPTIST, SOUTH GERMAN, 17TH CENTURY rectangular, St John, a serpent cross at his feet, embracing the Child on the Virgin’s lap under a tree, set within a 19th century gilt-bronze frame with foliate scrolls and rocaille and a mask surmount with scroll suspension loop 14 x 12cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 825 related composition £400-600 The Bernard Kelly Collection of Plaquettes, sold without reserve

155

462 A BRONZE-GILT PORTRAIT MEDALLION OF HENRY VIII, MANNER OF HANS SCHWARZ (C.1492-AFTER 1532) in deep relief, bust almost full-face, wearing broadrimmed hat, collar of office and St George medal on riband, laurel leaf border 10cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

See a similar medal from the Samuel H. Kress Collection, The National Gallery of Art, Washington DC, No. 1957.14.1279 £400-600 463 TWO BRONZE ‘TRIUMPH’ PLAQUETTES, GERMAN, THE FIRST LATE 16TH CENTURY, THE SECOND PROBABLY LATER both rectangular, depicting The Triumph of Humility and the Triumph of the Church respectively (2) both 6 x 12cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress No. 454 & 455; Weber 678.6/11; Warren Ashmolean 507/509 £800-1200 464 TWO BRONZE ‘TRIUMPH’ PLAQUETTES, GERMAN, 16TH CENTURY the Triumph of Opulence represented by a young king riding in a horse-drawn chariot attended by nymphs and youths carrying money bags, the Triumph of Poverty, showing cart drawn by emaciated donkeys and driven

by Humility and Fear with Patience and Servitude in attendance 6 x 12cm and 6.5 x 12cm (2) Provenance: Sotheby, London, 30 June 1969, lots 5 & 6 Poverty: Kress 456; Weber 678.5; Warren Ashmolean 510 Opulence: Weber 678.2 £600-1000 156

465 TWO SILVER RELIGIOUS MEDALS, GERMAN, 16TH CENTURY one with Sarah giving Hagar to Abraham, the reverse with Abraham giving Hagar bread and water, the other with David and Goliath and another scene one 3.5cm, one 4cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

467 A BRONZE PLAQUETTE OF THE ANNUNCIATION, WORKSHOP OF MATTHIAS WALBAUM (1554-1632), 16TH CENTURY rectangular, the angel appearing from the clouds to the left whilst the Virgin turns round from kneeling at her desk 9 x 7cm

£300-500

Provenance: Sotheby’s, London, 16 November 1972, lot 46 Weber 412.1 £400-600

466 A BRONZE PLAQUETTE OF DIDO FOUNDING CARTHAGE, GERMAN, PROBABLY LATE 16TH / EARLY 17TH CENTURY circular, the queen riding side saddle accompanied by the King of Libya before two soldiers drawing up plans, their retinue stretching into the middle distance, trees and buildings behind, foliate border, pierced 15.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

The compositions of this and a companion piece (Coriolanus and the Women, British Museum No. 1937,0210.1 in lead) derive from a woodcut series by Jost Amman (1539-1591), ‘New Figures from Livy’, published in Frankfurt in 1573.

468 A BRONZE PLAQUETTE OF CHRIST IN THE GARDEN OF GETHSEMANE, WORKSHOP OF MATTHIAS WALBAUM (1554-1632), 16TH CENTURY rectangular, Christ kneeling in supplication whilst the disciples Peter, James and John sleep in the foreground 9.5 x 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 561

Weber 412.7

£500-700

£400-600 The Bernard Kelly Collection of Plaquettes, sold without reserve 157

469 A BRONZE PLAQUETTE OF THE LAST SUPPER, WORKSHOP OF MATTHIAS WALBAUM (1554-1632), 16TH CENTURY rectangular, Christ’s hand raised in blessing, the disciples crowded in an oval, including John slumped forward towards Him, in a columned room 9.5 x 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 412.6 £300-400

471 FOUR SMALL SILVER PLAQUETTES OF ‘MUSES’ PUTTI, AFTER PETER FLOETNER (c.1485-1546) AND THE ‘MEISTER DES NUERNBERGER RATHAUSPUTTO’ (1492-1563) rectangular, each titled putto with attribute representing the Muse Clio, Calliope, Euterpe or Polyhymnia 5 x 3.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Bange 19; Weber 71.2/3/4/6 470 A BRONZE PLAQUETTE OF THE FLIGHT INTO EGYPT, WORKSHOP OF MATTHIAS WALBAUM (1554-1632), 16TH CENTURY rectangular, Joseph leading the Madonna and Child on a donkey through trees; together with another, the same but probably later cast both 10cm x 7.5cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 412.4 £300-500 158

£300-500

472 A LARGE BRONZE PLAQUE OF ST. MARK, NORTHERN SCHOOL, PROBABLY 19TH CENTURY rectangular, in deep relief, the evangelist seen from the back at his desk holding open the Gospel 21 x 17.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £300-400 473 A BRONZE PLAQUETTE OF VULCAN’S FORGE, AFTER MONOGRAMMIST H.G. (ACTIVE 1540-1570), 16TH CENTURY STYLE circular, Venus and Cupid at Vulcan’s forge within a landscape of trees, water and buildings 14cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 475; Warren Ashmolean 455 £200-300

The Bernard Kelly Collection of Plaquettes, sold without reserve 159

474 A BRONZE PLAQUETTE OF THE RESURRECTION, GERMAN SCHOOL, 17TH / 18TH CENTURY rectangular, Christ rising from the tomb above four terrified figures, plain moulded rim 8 x 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 19671969. £200-300

476 A BRONZE PLAQUETTE OF PYRAMUS AND THISBE, SOUTH GERMAN, EARLY 17TH CENTURY rectangular, Thisbe, her arms outstretched, falls on a sword, the lifeless body of Pyramus at her feet, to the left a spreading tree and running hare, to right a fountain of Cupid 7 x 12.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 860.10 £200-300

475 A BRONZE PLAQUETTE OF A FEMALE NUDE, GERMAN SCHOOL, 17TH CENTURY a rectangular deep relief of a nude, perhaps Susannah, kneeling against a drapery background 12 x 10cm Provenance: Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 166; later in the collection of Charles Avery

160

477 A BRONZE PLAQUETTE OF THE TRIUMPH OF HUMILITY, GERMAN, PROBABLY 17TH CENTURY rectangular, on heavy casting, Humility seated in the cart flanked by Faith and Charity walking beside it, Hope to the other side at the front 6.5 x 13cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Warren Ashmolean 542; Weber 986 (circular)

Kress, No. 454; Molinier, No. 663 (as Italian, 16th century); Weber 678.6; Warren Ashmolean 507

£1000-1500

£300-500

478 A BRONZE PLAQUE OF THE TRIUMPH OF JUSTICE, GERMAN, EARLY 17TH CENTURY rectangular, Justice, Peace and Abundance riding a cart drawn by two lions, Bonham’s and BADA labels to reverse; together with another, the same, with darker patination and perhaps slightly later 7 x 13cm, (2) Provenance (earlier cast): Sylvia Phyllis Adams (1907-1995); sold Bonhams, London, ‘The Adams Collection’, 23 May 1996, part lot 222 Provenance (second example): Bonham’s, London, 10 December 1997, lot 116 Kress No. 457; Molinier 666; Planiscig 457 £600-900 479 A BRASS PLAQUE OF THE SACRIFICE OF ISAAC, NORTHERN SCHOOL, 17TH CENTURY high relief, a winged angel staying Abraham’s hand holding a sword, his son crouched on the pyre, the ram in the thicket to the right, integral cartouche shaped frame, pierced 18 x 39.5cm Provenance: Collection of Alfred Spero (18861973), London, from whom acquired by Bernard Kelly between 1967-1969. £600-900

The Bernard Kelly Collection of Plaquettes, sold without reserve 161

480 A BRONZE PLAQUE OF THE TRIUMPH OF HUMILITY, GERMAN, 18TH / 19TH CENTURY in 16th century style, rectangular, Humility seated in the cart flanked by Faith and Charity walking beside it, Hope to the other side at the front 6.5 x 12.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Kress 454; Weber 678.6; Warren Ashmolean 507 £200-300

483 A BRONZE PLAQUETTE OF VULCAN’S FORGE, AFTER MONOGRAMMIST H.G. (ACTIVE 1540-1570), PROBABLY GERMAN 19TH CENTURY circular, Venus and Cupid at Vulcan’s forge within a landscape of trees, water and buildings 15.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

Weber 475; Warren Ashmolean 455 £300-500

481 A SILVER PANEL ‘SUFFER THE LITTLE CHILDREN TO COME UNTO ME’, AFTER LUCAS CRANACH (1472-1553), PROBABLY GERMAN, 19TH CENTURY oval, the cast scene surrounded by the Latin inscription 6 x 8cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300 482 A BRONZE PLAQUETTE OF THE DEATH OF LUCRETIA, PROBABLY GERMAN 17TH CENTURY the three-quarter length figure in deep relief, stripped to the waist to stab herself 16 x 13cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £600-900 162

486 A COPPER ELECTROTYPE MEDALLION OF ST GEORGE, ENGLISH, MID 19TH CENTURY depicting St. George and the dragon, the border with Garter inscription: ORDINIS NOBILLISS GARTERII SIGILUM, pierced to formal leaf rim 11cm diameter For 17th century prototypes see the Sir John Soane’s Museum, London, No.MP30 and the Detroit Institute of Arts, No.59.328. £150-250 484 A BRONZE-GILT PLAQUETTE OF APOLLO FLAYING MARSYAS, GERMAN, 17TH CENTURY oval, with Apollo violently attacking Marsyas tied to a tree from which hang panpipes, with after-work, chasing and a matted ground, BADA label to reverse 16 x 12cm Provenance: Sylvia Phyllis Adams (1907-1995); Bonhams, London, ‘The Adams Collection’, 23 May 1996, lot 206.; Bonham’s, London, 10 December 1997, lot 105 £400-600 485 A SMALL MEDAL OF MARIA OF AUSTRIA, AFTER ANTONIO ABONDIO (1538-1591), 18TH / 19TH CENTURY relief profile bust to dexter of the wife of Emperor Maximilian II, reverse inscribed J. MOUSSEAU 6 x 5.5cm

Attwood 1132, 1134,1135; Toderi Vannel 453

487 A SILVER MEDAL OF ST CHRISTOPHER AND THE CHRIST CHILD the reverse with Virgin and child, corded rim, 3.5cm diameter excluding applied suspension loop; together with a bronze cast of a Papal seal in Gothic style, 5cm diameter (2)

£200-300

£200-300

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969.

The Bernard Kelly Collection of Plaquettes, sold without reserve

163

488 A LARGE BRONZE PLAQUE OF GEORGE SLAYING THE DRAGON, ENGLISH, CIRCA 18951900 in relief, the reverse cast with Patent Office Design No.248299 registered in 1895 26 x 36cm, 36.5 x 46.5cm including wooden frame £400-600 489 A BRONZE PLAQUETTE OF HOPE, 19TH CENTURY rectangular, relief perhaps after a French Renaissance model of the personification as a young woman holding a caduceus and leaning against an anchor, applied suspension loop 17 x 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £100-200 490 TWO SILVER SEAL MATRICES, UNMARKED, CRICHTON BROTHERS, LONDON, CIRCA 1904 each a copy of Sir Walter Raleigh’s Seal of Office as Warden of the Stannaries of Devon and Cornwall, numbered 360 or 21 on the reverse 4.5 x 4.5cm

part

See British Museum No.1904,0113.1-3 for three Raleigh seals (including the Stannary seal), the online entry noting that the Museum ‘was given these seals by subscribers who bought copies of the seals made by Crichton’s. Up to 600 of these, in silver but unmarked except with a serial number on the reverse, were apparently made.’ £100-200 164

OTHER PROPERTIES

491 A MEISSEN FIGURE OF A SAXON MUSKETEER, MID 19TH CENTURY titled to underside ‘Regiment Churfürstin’, modelled standing holding the muzzle of his gun before a tree stump, wearing his mid 18th century light blue and white uniform with grey gaiters and black tricorn, gilt edged mound base, blue crossed swords mark, impressed 70 20cm high, some restoration £120-180

493 A MEISSEN GROUP, ‘EUROPA AND THE BULL’, LATE 19TH CENTURY from an E.A. Leuteritz reworking of a Kändler model, Europa lured into sitting on Jupiter disguised as a beautiful white bull with a flower garland around his neck, two maidens on the ground beside them, underglaze blue crossed swords, incised 2697 23cm high, some restoration and chips £200-300

492 A MEISSEN GROUP, ‘SPANISH LOVERS’, CIRCA 1900 after the model by Johann Joachim Kändler (17061775), she with yellow bodice and floral pattern skirt, her companion with peach coloured jacket and gilt-edged blue knee breeches, underglaze blue crossed swords, incised 230 and impressed 91 17.5cm high, minor restoration

494 A MEISSEN FIGURE, ‘TOUCH’, LATE 19TH CENTURY from the set of the senses after the models by J.C. Schönheit (17301805), the seated young woman feeding a bird in a birdcage on a small table, underglaze blue crossed swords, incised triangle and crossed swords, impressed 74 15.5cm high £200-300

£400-600 165

495 A MEISSEN FIGURE, ‘AUGUSTUS III’, 20TH CENTURY after a model by Johann Joachim Kändler (1706-1775), the Saxon Elector King in an iron-red coat with blue sash, one hand extended, the other holding a gilt snuff box, on an oval mound applied with flowers, underglaze blue crossed swords, impressed 550 and 131 22cm high, some restoration

497 A MEISSEN FIGURE OF A FEMALE ‘MALABAR MUSICIAN’, LATE 19TH CENTURY after a mid 18th century model by Friedrich Elias Meyer (circa 1723-1785), shown playing the hurdy-gurdy in a distinctive conical straw hat and fur-lined puce gown, giltedged scrolled mound base, blue crossed swords mark, incised 1576, impressed 85 18cm high £200-300

£150-250 496 A MEISSEN GROUP, ‘CHINESE FAMILY’, LATE 19TH CENTURY the parents standing either side of a table upon which sits a child, another child standing below with a monkey, gilt-edged mound base, underglaze blue crossed swords, incised 926 and impressed 55 17cm high, minor restoration and losses

498 A MEISSEN OUTSIDE DECORATED FIGURE OF A MALE ‘MALABAR MUSICIAN’, 20TH CENTURY after a mid 18th century model by Friedrich Elias Meyer (circa 1723-1785), shown playing a lute in a fur-lined iron-red coat and yellow floral patterned robes below his distinctive hat, on gilt-edged scroll moulded base, cancelled underglaze blue crossed swords mark, incised 67035, impressed 188h 18.5cm high £150-250

The model is one of a series of chinoiserie groups originally modelled by J.J. Kändler and his assistants P. Reinicke and F.E. Meyer, after the prints published in Paris around 1748 ‘Les Délices de l’Enfance’, engraved by Jean-Joseph Balechou from François Boucher designs. £200-300

496 166

497

499 A MEISSEN GROUP OF LOVERS, CIRCA 1900 after the model by Johann Joachim Kändler (1706-1775), showing the couple seated in an embrace before a tree, he in a puce coat, she in a dress scattered with ‘indianische Blumen’, underglaze blue crossed swords, incised 612, impressed 144 18cm high, some restoration £200-300

500 A BOW FIGURE, ‘SPRING’, CIRCA 1765 from a set of seasons, modelled as a young woman seated on a rocky mound with flowers, on a scroll moulded base picked out in gilding 16cm high, some restoration

501 A DERBY FIGURE, ‘JUNO AND THE PEACOCK’, CIRCA 1765 the goddess explaining to the bird after Aesop’s fable why he should be content with his beauty and not hanker after song, her long yellow dress with puce and gilt flowers, on a shell and scroll moulded base 19cm, some restoration £150-250

502 A BOW FIGURE OF A MUSICIAN, CIRCA 1760 modelled as a young man seated cross legged on a rocky mound playing the bagpipes, wearing a pointed hat and puce jacket above floral patterned breeches 13cm high, some restoration £150-250

£100-150

167

505 A BOW FIGURE OF A HUNTER, CIRCA 1760 standing with a dog at his feet, holding a rifle in one hand and a bird in the other, red painted anchor and dagger 18cm high £150-250

503 TWO DERBY FIGURES OF A SHEPHERDESS AND A SHEPHERD, CIRCA 1770 each standing before a flowering tree with a dog or a lamb respectively 14.5cm high, some restoration £200-300

504 A BOW FIGURE, ‘WINTER’, CIRCA 1765 from a set of seasons, the seated man in hooded coat warming his hands over a brazier, on scroll moulded base picked out in gilding, red painted anchor and dagger 17.5cm high £100-150

168

506 A BOW FIGURAL SALT (OR SWEETMEAT) DISH, CIRCA 1760 modelled as a seated woman in ‘Turkish’ dress holding a flowerpainted shellshaped dish which rests on a shell and coral encrusted outcrop, her tall yellow headdress above a white coat, flowered white dress and puce pantaloons 15.5cm high, some restoration For another very similar Bow dish see the Victoria and Albert Museum No. 414:188-1885. The museum’s online entry states: “This Bow model is derived from one made

by Chelsea or from the latter’s Meissen prototype, which was probably modelled by J.F. Eberlein in 1746. Among the invoices submitted to the Bow factory in 1759-60 for enamelling carried out by Richard Dyer ‘at Mr Bolton’s, Enameller near the Church, Lambeth’ are some that mention ‘Turk salts’.” The model, sometimes titled ‘Levantine Lady’, occasionally may be found accompanied by a male ‘Turkish sweetmeat figure’, see The Doris Duke Collection, Christie’s, New York, 3-5 June 2004, lot 368. £150-250

509 A DERBY FIGURE OF A YOUTH, CIRCA 1758-60 modelled seated on a rocky mound with his left leg raised, a bunch of flowers in his right hand, wearing a yellow and puce hat, flower patterned white jacket and green breeches, rocaille moulded oval base picked out in green, yellow and puce and applied with flowers 14cm high, some restoration £150-250

507 A BOW FIGURE, ‘AUTUMN’, CIRCA 1765 from a set of seasons, modelled as a young man seated surrounded by fruiting vine, holding aloft a bunch of grapes in one hand and a goblet in the other, on a scroll moulded base picked out in puce and green 16.5cm high, possibly with some later decoration, some restoration £100-200

510 (illustrated online) A SET OF THREE CAUGHLEY ASPARAGUS SERVERS, 1770s wedge shaped, printed in underglaze blue with the ‘Fisherman and Cormorant’ pattern beneath a scroll and cell pattern border, printed S mark, 7.5cm long; together with a pearlware asparagus server, late 18th century, printed in underglaze blue with flowers, 8cm long (4) £80-120 511 (illustrated online) A STAFFORDSHIRE POTTERY FIGURE, ‘WILL WATCH’, CIRCA 1860 modelled seated on a tree stump holding a pistol, a barrel at his side, 34cm high; together with a pair of Staffordshire pottery figures of ‘Shakespeare’ and ‘Milton’, Milton fired without his right arm; and a Staffordshire figure of ‘Falstaff’ (4) £80-120 512 (illustrated online) A STAFFORDSHIRE PEARLWARE GROUP, ‘THE LOST SHEEP’, CIRCA 1820 modelled as a young shepherd carrying a sheep across his back, 20.5cm high; together with a Staffordshire pottery figure of a hurdy-gurdy player, 21cm high; and a Stafforshire pottery figure of a classical woman, emblematic of Peace, 27cm high, restored (3) £60-80

508 A PAIR OF DERBY ‘VENUS’ AND ‘MARS’ CANDLESTICK FIGURE GROUPS, CIRCA 1770 Venus with Cupid, Mars with a cockerel, each standing before a flowering tree with a candle sconce to the side, on scroll moulded bases picked out in turquoise and gilding 21cm high, some restoration £200-300

513 (illustrated online) A PAIR OF STAFFORDSHIRE FIGURES OF GREYHOUNDS, CIRCA 1900 each standing supported by a tree stump and holding a hare in its mouth, on naturalistic oval bases 20cm high £60-80

169

514 A PARIS PORCELAIN ‘NATURALISTIC’ PART TEA SET, FLAMEN-FLEURY, SECOND QUARTER 19TH CENTURY shell moulded and with red coral handles, realistically painted, with gilt rims, comprising a teapot and cover, a milk jug with pink and gilt bubbled interior, a sugar bowl and three cups all with gilt interiors, and three saucers and a pair of dishes of scallop form, red stencil marks ‘Flamen / Fleury / à Paris’ teapot 22cm long (12) Flamen-Fleury of 169 Rue du Faubourg-Saint-Denis, were well-known for their novel and naturalistic wares. At the 1827 ‘Exposition des produits de l’industrie française’ the firm were praised for displaying a dessert service where the ‘plates, coupes, bowls imitate shells with a perfect illusion’ (Adolphe Blanqui, ‘Historie de l’Exposition des produits de l’industrie française en 1827’, Paris, p.166). £600-900

part 170

515 TWO BLUE JASPER DIPPED PLASTER TABLETS, WEDGWOOD STYLE rectangular, probably originally for chimneypiece panels, each sprigged in white with an altar flanked by bound Psyche and Cupid and further goddesses, with berried laurel and foliate motif border 46cm long (2) £200-300

516 A ‘VIENNA’ STYLE PORCELAIN DESK SET, CIRCA 1900 each piece painted with flower groups on a solid gold ground, comprising a shaped rectangular inkstand with two inkwells, liners and covers, a blotter and a letter rack, blue beehive marks stand 25.5cm wide, letter rack 14cm high, some damage (9) £100-150 517 (illustrated online) A PAIR OF CONTINENTAL PORCELAIN VASES AND COVERS, RUSSIAN STYLE, CIRCA 1900 waisted urn-shaped on short pedestals, square bases, with white and gilt gadroon and formal foliate borders throughout, the green ground with further gilding reserving rectangular panels of peasant figures, covers with bud finials, with apocryphal St Petersburg Imperial Porcelain Manufactory marks 27cm high £100-200 518 (illustrated online) A PAIR OF POTTERY VASES, GERMAN OR AUSTRIAN, CIRCA 1900 simulating Japanese carved ivory tusks with pairs of figures in a mountainous landscape beneath gilt flashed rims, green bases resembling openwork carved wood stands, printed mark of an owl initialled W on a crescent moon 32cm high £120-180 519 A JOSEPH HOLDCROFT MAJOLICA STICK STAND, CIRCA 1880 modelled as a heron with a fish in its beak standing on one leg beside a clump of bulrushes forming the stick or umbrella container, almost circular naturalistic mound base 83cm high, some losses Holdcroft’s, from their Sunderland Pottery works at Longton, produced two patterns of bird stick stands in majolica at this period, the heron seen here and a stork with an eel in its beak. These models were also produced as spill vases. Although the stork stand may be found on occasion, the heron version as a stand (rather than as a spill vase) is very rare. £2000-3000 171

520 A VERDURE TAPESTRY, FLEMISH, LATE 17TH CENTURY woven in wools and silks with a wooded landscape featuring a stream and a chateau in the background and a pair of birds to the foreground, the border with fruiting and flowering foliage 194 x 334cm £6000-8000 521 A LIMESTONE PANEL, PROBABLY 17TH CENTURY carved in relief with an eagle’s wing behind part of a laurel and fruit garland and pendant 34 x 71cm £150-250

172

522 ~ A GROUP OF SIX NORTH GERMAN SMALL PIERCED IVORY RELIEFS, DANZIG (GDANSK), SECOND HALF 17TH CENTURY originally set into amber panels, two mounted in an ebonised and rippled later frame, one of Venus and Cupid, the other of a gentleman, the other four mounted on later green velvet: a rectangular pierced relief of the Good Shepherd, two pierced lozenge-shaped reliefs enclosing richly dressed female busts and an oval scene of two riders in combat largest ivory 8.5cm wide, frame 13cm, velvet mount 26.5cm high The famous workshops of Danzig produced an array of sumptuous household objects. Pierced ivory reliefs, often on a silver foil ground, were inserted under panels of clear amber to further enhance the beauty of the pieces. £400-600 523 ~ A SMALL IVORY SLEEPING FIGURE, PROBABLY GERMAN, SECOND HALF 19TH CENTURY carved as a winged putto asleep on drapery in a mussel shell, on an associated domed rectangular ivory stand shell 7cm long £150-200 524 ~ A GEORGIAN TORTOISESHELL TEA CADDY, EARLY 19TH CENTURY rounded oblong, with ivory banding and silvered key escutcheon, vacant oval cartouche, ball feet and finial and stringing between the veneers, distressed silver foil interior and later blue velvet lining to lid 15.3cm long £150-200

173

525 A FRENCH PORCELAIN AND ORMOLU MOUNTED LARGE POT POURRI BOWL AND COVER, EDME SAMSON & CIE, PARIS, LATE 19TH / EARLY 20TH CENTURY after an 18th century model, circular, the Qianlong style porcelain with leaf moulded pink ground applied with trailing vines, the bronze mounts of a shell and coral cast finial, leaf-capped scroll handles, a rim mount pierced with ovals between flowerheads and openwork base mount of rocaille and foliate scrolls, Samson S mark to base behind cover 36cm across handles Samson may have been inspired to produce this model by a very similar pair of Qianlong bowls and covers, ormolu mounted in Paris in about 1745, now to be found at the Wallace Collection, London (Inv. No.F115).

For a pair of Samson bowls of the same pattern see Christie’s, Paris, ‘Léon Levy Collection’, 2 October 2008, lot 26, and for another Samson bowl also of this pattern excepting a different finial and with green ground porcelain see Altair Auctions, Norwood MA, 15 December 2012, lot 82. £3000-5000

174

526 EDOUARD DROUOT (1859-1945): LOUIS PASTEUR a French patinated bronze figure, late 19th century, the famous scientist modelled as a Classical philosopher seated and partially wrapped in drapery with one arm behind resting on the back of the chair, the other raised to his chin in thought, signed in the bronze to chair back, bow fronted base, on a stepped vert-de-mer marble plinth of conforming outline with giltbronze base rim 30.5cm high overall £600-800 527 EMILE-CORIOLAN-HIPPOLYTE GUILLEMIN (1841-1907): NAPOLEON BONAPARTE a gilt-bronze figure, French, circa 1900, modelled standing in uniform with crossed arms, on a yellow marble square plinth applied with a low relief Imperial eagle above a stepped base 29.5cm high overall £120-180 528 A PAIR OF BRONZE AND BRASS ‘STORK’ CANDELABRA, THOMAS ABBOTT, BIRMINGHAM, SECOND QUARTER 19TH CENTURY the birds with crown collars each holding a leaf in its beak, on rocky mound bases bearing traces of gilding and set to underside with metal weights, the screw-in leafy twin branches (possibly associated) with leafy pans and foliate vase-shaped sconces 48.5cm high Thomas Abbott, listed as a “Lamp Maker and Brass Founder” of Birmingham in his will dated 12 March 1849, is primarily known for two patterns of wading bird candlesticks, the present model and another of herons with fish in their beaks, both on the same mound bases. These are often stamped ‘Abbott’ to the weighting under the bases. £400-600

175

529 A PAIR OF NEO-CLASSICAL GILT-BRONZE FIGURAL CANDELABRA, SWEDISH, CIRCA 1800 each stem modelled as an adolescent Cupid holding his arrow in one hand, the other hand to his brow below a flared sconce supporting a pair of curved tubular arms and central stem ending in drip pans and vase shaped sconces hung with cut-glass lustres, the bases of cylindrical hollow alabaster with simulated porphyry borders and milled gilt-bronze mounts 61cm high £1200-1800 530 (illustrated online) AN ART NOUVEAU ALABASTER BUST OF A YOUNG WOMAN, CONTINENTAL, CIRCA 1900 carved smiling and wearing a headscarf, disc earrings and a necklace hung with two medallions, on rectangular marble base 20cm high overall £80-120 531 A SET OF THREE GILT-METAL ELECTRIC WALL SCONCES, CONTINENTAL, EARLY 20TH CENTURY formed as ribbon-tied flowering rose branches, each applique with two flowerhead lights, a pair with drapery pendants below the bows, the third with bow only longest 48cm £150-250 176

LOTS 532 - 574: WORKS FROM THE SEAWOLF COLLECTION This private European collection was formed in the later years of the last century to exemplify the products, predominantly in silver, of the Arts & Crafts, Art Nouveau and Art Deco movements. The collector’s passion for the period 1880-1940 culminated in the showcasing of the collection at Rotterdam’s famous Museum Boijmans Van Beuningen in an exhibition titled ‘A Personal Touch’. Held from February to April 2003 in Rotterdam, the exhibition then travelled to Ghent, Koldingshus and Munich. All the following lots feature in the exhibition’s catalogue under their ‘Object No.’ Exhibited: Museum Boijmans Van Beuningen, Rotterdam, 28 February - 20 April 2003; Design Museum, Ghent, 15 June - 5 September 2003; Museet PA Koldingshus, Denmark, 21 February - 30 May 2004; Pinakothek der Moderne, Munich, Autumn 2004.

Literature: ‘A Personal Touch: The Seawolf Collection: late 19th- and 20th-century silver’, Veena Duncker and others, Museum Boijmans Van Beuningen, Rotterdam, 2003.

José de Creeft (1884-1982) Lots 532 - 536 Although focused on silver, the collection encompassed a few works in other materials, most importantly the following five lots by the hand of José de Creeft (1884-1982). Born in Spain, de Creeft trained in Barcelona, Madrid and Paris, moving to America in 1932.

A renowned and early exponent of the ‘direct carving’ technique, a method used throughout his career, he was also a master of clay modelling and the techniques for bronze casting, an artist best known to many New Yorkers for his large ‘Alice in Wonderland’ bronze in Central Park.

532 • JOSE DE CREEFT (1884-1982): SELF PORTRAIT oil on canvas, signed lower right 111 x 74 excluding frame Object No.186 op.cit. £800-1200

177

533 • JOSE DE CREEFT (1884-1982): DAVID a white Georgia marble head, carved circa 1968, apparently face later polished and inscribed perhaps by Lorrie Goulet (b.1925) to rear on a polished ‘tongue’: ‘JdC BY LG 1984’ head 38cm high, 57cm high including red marble square plinth Object No.190 op. cit.

Literature: Jules Campos, ‘The Sculpture of José de Creeft’, New York, 1972, No.119, where provenanced ‘Collection of the Artist’.

Goulet, whilst studying at Black Mountain College NC, met José de Creeft when he came as a visiting sculptor and instructor to the school’s Summer Program in 1944. They were married in November of that year. Since the present piece remained part of José de Creeft’s own collection, the later work may represent an ‘homage’ to her husband, who had died two years previously. £1500-2000

178

534 • JOSE DE CREEFT (1884-1982): ‘CORDOVA’ a carved pink hardstone figure, circa 1920, carved to base ‘J. de CREEfT’ figure 30cm high, 41cm including square wood plinth; together with a Commemorative Diploma from the Art Deco exhibition, the ‘EXPOSITION INTERNATIONALE DES ARTS DECORATIFS ET INDUSTRIELS MODERNES / PARIS 1925’ inscribed to Monsieur De Creeft Object No.188 op. cit.

Literature: Jules Campos, ‘The Sculpture of José de Creeft’, New York, 1972, No.237 £2000-3000

535 • JOSE DE CREEFT (1884-1982): ‘CREATIVE FORM’ carved elm, circa 1928, inscribed to base ‘J. de CREEfT’ 62cm high excluding square wood stand Object No.189 op. cit.

Literature: Jules Campos, ‘The Sculpture of José de Creeft’, New York, 1972, No.147

536 • JOSE DE CREEFT (1884-1982): ‘ENIGMA’ a carved Belgian black marble bust, circa 1916, inscribed to rear base ‘J de CREEFT’ 63cm high Object No.187 op. cit.

Literature: Jules Campos, ‘The Sculpture of José de Creeft’, New York, 1972, No.161 £2000-3000

£2000-3000

179

537 ~ SAMUEL LIPCHYTZ (1880-1943): DANCER a French Art Deco ivory and bronze figure, Paris, 1920s, the woman on point with her left leg raised and arms curved at shoulder height, the legs, forearms and bust in ivory, her short bronze robe with silver wash, signed in the bronze ‘Lipchytz’, on a square Portoro marble plinth figure 25.5cm high, 37cm overall Object No.191 op. cit. £800-1200

538 A FRENCH ART DECO IRON AND MARBLE CONSOLE TABLE, ATTRIBUTED TO PAUL KISS, PARIS, CIRCA 1930 bowed outline, mottled orange marble top, the linear openwork apron with leaf and flowerhead capped curved supports 185cm long, 83cm high Object No.185 op. cit. £1000-2000

180

539 A GERMAN ART DECO SILVER SET OF A PAIR OF ENTREE DISHES AND COVERS AND A MEAT DISH, M.H. WILKENS & SOEHNE, BREMEN, CIRCA 1930 the twelve-sided dishes with conforming spreading bases and everted stylised handles, the gently domed covers with similarly faceted ebonised knops, the elongated dodecagonal meat dish with matching handles, dishes numbered 7237, meat dish 7235, all stamped with trademark, ‘925’ and Reichsmark dishes 27cm across handles, meat dish 66cm long, 4003gr (128oz) all in Object No.144 op. cit. £1500-2500

540 A GERMAN SILVER SIX-LIGHT CANDELABRUM, B.W.K.S (BREMER WERKSTAETTEN FUER KUNSTGEWERBLICHE SILBERARBEIT), BREMEN, CIRCA 1930 designed by Wilhelm Schulze, with hammer finished spherical finial above balls between the six curved arms ending in hammer finished drip-pans and sconces, the lightly tapered stem on a domed base all hammer finished, production No. 1294a/40, maker’s, Reichsmark and ‘835’ stamps 39.5cm high, 1660gr (53oz) Object No.139 op. cit.

The silversmith Wilhelm Schulze (1873-1947), following an apprenticeship at Koch & Bergfeld, spent twenty-five years with David-Andersen in Oslo. Returning home in 1920, he set up a workshop, initially in conjunction with his former employer, but fully independent the following year as B.W.K.S. The company’s Scandinavian influenced designs garnered a gold medal at the Paris 1937 International Exhibition. £1000-2000

181

541 ~ A GERMAN SILVER ENTREE DISH AND COVER, ADOLF MOGLER, HEILBRONN, CIRCA 1925 circular, spreading rim foot, stepped cover with a silver banded ivory cylindrical finial, numbered 5611, Reichsmark, ‘800’, maker’s mark and retailer’s mark K.St in a rectangle 20cm diameter, 685gr (22oz) all in Object No.141 op. cit. £300-400

542 ~ A GERMAN SILVER BOX AND COVER, LUTZ & WEISS, PFORZHEIM, CIRCA 1930 circular, on panel feet, with a band of flutes below the shoulder, the cover with concentric flutes and a silver and ivory spherical knop, Reichsmark, ‘835S’ and maker’s mark 13cm diameter, 350gr (11oz) all in Object No.142 op. cit. £200-300 543 A SET OF TWELVE GERMAN SILVER DESSERT DISHES, EMMY ROTH, BERLIN, CIRCA 1925-30 each shallow bowl with a hammered broad rim with simple geometric border, stamped Reichsmarks, ‘E. ROTH’ (three ‘Emmy Roth’) and ‘900’ 19.7cm diameter, 2420 (77oz) (12) Object No.140 op. cit.

The metalworker/designer Emmy Roth (18851942), having trained with a number of gold and silversmiths, ran her own successful business in Berlin, creating Bauhaus influenced pieces in her Charlottenburg workshops during the 1920s. She abandoned operations with the coming of the Nazis in 1933, emigrating ultimately to Palestine, apparently deciding to end her own life in Tel Aviv, following a cancer diagnosis. £2000-3000 182

544 A CANTEEN OF GERMAN TABLE SILVER, PETER BRUCKMANN & SOEHNE, HEILBRONN, 1930s Jubiläum pattern designed by Josef Lock, the plain handles with canted edges, comprising twelve of each of the following: tablespoons table forks table knives with stainless steel blades dessert spoons dessert forks dessert knives with stainless steel blades fish forks fish knives fruit forks fruit knives with stainless steel blades cake forks ice spoons teaspoons and twenty-seven assorted serving implements (183 pieces total); all in their parquetry side cabinet with ebonised details and legs, the double doors concealing five fitted drawers, the frieze drawer fitted with a four-piece silver tea set, Peter Bruckmann & Söhne, Heilbronn, 1930s, plain baluster, on scroll and pad feet; all silver with maker’s, Reichsmark and ‘800’ stamps, the tea set also stamped E. SEILER weighable silver 7813gr (251oz) including handles to tea set (187 pieces) Object No.170 op. cit.

The Jubiläum pattern (model No.655) was designed in 1930 by Josef Michael Lock (1875-1964) in honour of the 125th anniversary of the Bruckmann firm. £3000-5000

183

545 A CANTEEN OF GERMAN TABLE SILVER, PETER BRUCKMANN & SOEHNE, HEILBRONN, CIRCA 1920 Fruchte Rand pattern, probably designed by Helene Lock-Brandt, initialled PZ, comprising twelve of each of the following: tablespoons table forks table knives with stainless steel blades dessert forks dessert knives with stainless steel blades fish forks fish knives fruit forks fruit knives with electrogilt blades ice cream spoons teaspoons and twenty-four assorted serving pieces, makers, Reichsmarks and ‘800’ stamps, all in their oak case with parquetry top above double doors with brass decorative hinges and key plates opening to five fitted drawers, with key weighable silver 6514gr (209oz) (156 pieces excluding case) Object No.169 op. cit.

The sculptor and modeller, Helene Lock-Brandt (1879-1950), worked for Bruckmann’s between 1910-22, creating a table suite with fruit decoration for the Deutsche Werbund exhibition in Cologne in 1914, the suite later extended into a complete line of table wares. £3000-4000

184

546 A FRENCH ART DECO SILVER AND ALABASTER TABLE CENTREPIECE, MAURICE DAURAT, PARIS, CIRCA 1930 in three parts, the central alabaster vase of pedestal urn form, rectangular with canted corners, the stylised scroll handles fitted with electric downlights to the interior, with a further light to the base, affixed to a silver stepped socle, the flanking elongated rectangular silver dish holders with vertical ribs, each with an electroplate liner, 950 standard and maker’s marks 99cm long, 37cm high Object No.151 and pp.173-175 op. cit.

Maurice Daurat (1880-1960) is perhaps best known for his work in pewter. The existence of a drawing of this centrepiece design (Private Collection, illustrated in the Seawolf catalogue, p.175), titled ‘Appareil d’Eclairage / Métal Argenté & Porcelaine Teintée’ suggests the original intention was for a centrepiece of porcelain and electroplate. The electrically lit ensemble must have been designed between 1927-1931, the years Daurat lived at the address hand inscribed on the design (‘32 Av. de Friedland’), although it is not known when the decision was taken to use the more luxurious materials of silver and alabaster. £2000-3000

185

547 A FRENCH ART DECO SILVER HERBAL TEA OR COFFEE POT, PARIS, CIRCA 1930 plain cylindrical canted to base and top, angular wood handle, finial and spout, the cover pierced ‘i’ (for ‘infusion’) and ‘c’ (for ‘café’) and set to the underside with two tongues, each pierced to filter appropriately when covering the spout aperture, indecipherable maker’s mark and 950 standard marks 15cm high, 670gr (21oz) all in

548

549

Object No.149 op. cit.

549 A FRENCH SILVER WINE COASTER, MAISON PUIFORCAT, PARIS, MID 20TH CENTURY probably designed by Jean E. Puiforcat (1897-1945), the sides with bands of reeding, the silver base with concentric rings, stamped PUIFORCAT /PARIS, maker’s and 950 standard marks 10cm diameter, 180gr (5oz)

£400-600

Object No.146 op. cit.

548 A FRENCH SILVER TABLE BELL, MAISON PUIFORCAT, PARIS, 1920s probably designed by Jean E. Puiforcat (1897-1945), the tentlike bell with linear decoration below stylised leaves around the base of the turned mother-of-pearl handle, maker’s and 950 standard marks 14.5cm high

£400-600

Object No.145 op. cit. £500-800

550 A FRENCH ART DECO SILVER TRAY, CH. BOULENGER & CIE, PARIS, 1933-38 ‘service à thé Monique’ pattern, the plain circular plate within a dodecagonal rim applied with angular rosewood set handles, maker’s and 950 standard marks 50cm across handles, 2325gr (74oz) all in Object No.152 op. cit.

Ch. Boulenger & Cie, principal suppliers to the French Navy, were renowned for their silver and plated table wares, winning exhibition awards at International Exhibitions, including: Paris 1925, Cairo 1929 and Antwerp 1930. “In a ‘Supplément à l’Extrait No 4’, dated 1933, their ‘nouveaux modèles’ in ‘style moderne’ are presented.

According to this, the tray is part of the ‘Service à thé Monique (Garnitures palissandre)’ and was apparently designed by M de Thèze.” (The Seawolf Collection op. cit., p.173) £1000-1500

186

551 AN AMERICAN ‘MODERNE’ SILVER-MOUNTED ROSEWOOD TRAY, INTERNATIONAL SILVER CO., MERIDEN CT, CIRCA 1940 the elongated oblong tray with broad silver mounts to the rounded ends set with reeded loop raised handles, trademarks, ‘STERLING’, and ‘774’ stamps 34.5cm across handles Object No.173 op. cit. £300-500 553 A PORTUGUESE SILVER-MOUNTED MIRROR PLATEAU, OPORTO, 1940s the circular bevelled mirror surrounded by a plain silver octafoil rim with loops between, on eight panel feet securing a walnut backing, ‘S’ and post 1938 833 standard marks Object No.162 op. cit. £400-600

552 ~ AN AMERICAN FOUR-PIECE COFFEE SET, HOWARD F. CRISP, BLOOMFIELD HILLS MI, CIRCA 1970 of simple tapered planished forms, the coffee pot with wood handle, the double-lipped milk jug and sugar bowl with gilt interiors and marine ivory handles, the secondary bowl plain, all stamped ‘STERLING’, the coffee initialled to underside ‘HFC’ coffee pot 19.5cm high; 1500gr all in Object No.179 op. cit.

Made by Howard Francis Crisp at the Cranbrook Academy of Art for the Thesis Exhibition. £800-1200

554 A SET OF SIX HUNGARIAN SILVER CUPS, ANTAL BACHRUCH SUCCESSORS, BUDAPEST, CIRCA 1930 each bulbous cup set with a wood handle, trade name and 900 standard marks 8cm across handle, 318gr all in Object No.160 op. cit. £250-350 187

555 A DANISH SILVER LETTER OPENER, GEORG JENSEN, COPENHAGEN, 1933-44 designed by Sigvard Bernadotte, with ribbed cylindrical handle and plain blade, facsimile signature ‘Sigvard’, STERLING / DENMARK and GJ marks 22.5cm long Object No.157 op. cit.

Sigvard Oscar Fredrik Bernadotte, Count of Wisborg (1907-2002) was the second son of King Gustav Adolf VI of Sweden. One of Scandinavia’s pioneering industrial designers, Bernadotte first produced designs for Jensen in 1931 and continued to do so over a 50-year period. £150-250 556 (illustrated online) A PAIR OF DANISH SILVER CUFFLINKS, PROBABLY GEORG JENSEN, COPENHAGEN, EARLY 20TH CENTURY each openwork shaped circular plaque with leaf and flower motif, curved post and swivel fittings, stamped ‘830’ and ‘830S’ and a poorly struck indecipherable mark plaque 2.2cm wide Object No.184 op. cit. £60-80 188

557 AN ARTS AND CRAFTS SILVER FOUR-PIECE TEA SET, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1913 circular, hammer finished, each chased to the rim and spreading foot with a foliate Vitruvian scroll border, the teapot and hot water jug with lightly domed lids embellished by curved lobes within conforming scrolls, each stamped to underside with the pattern No.5827, hot water jug maker’s mark Liberty & Co., other pieces maker’s mark W.H. Haseler Ltd. teapot 27cm long; 1464gr (27oz) including wood handles and finials to teapot and hot water jug Object No.50 op. cit.

A drawing of pattern No.5827 may be found in the Liberty & Co. sketchbooks of silver and pewter, held by the City of Westminster Archives Centre, Acc/932/29 & 30.

Liberty’s range of jewellery and silver, branded ‘Cymric’, was launched in 1899. From 1901 it was manufactured, together with the parallel range of ‘Tudric’ pewter, in association with W.H. Haseler of Birmingham. A subsidiary company, Liberty & Co. (Cymric) Ltd. was registered in May 1901, directed by William Hair Haseler and Frank Haseler, together with J.H. Howe and John Llewellyn of Liberty’s.

This association ended in 1926; nevertheless Haseler (and the successor firm of Haseler & Restall Ltd.) continued to manufacture for Liberty’s, as well as for the general retail trade. £1000-1500

558 AN ARTS AND CRAFTS SILVER VASE AND COVER, RAMSDEN & CARR, LONDON, 1913 hammer finished, the cylindrical swirl ribbed body flaring from a girdle to a hexagonal top section, with corded, ball and foliate borders, flat chased below the openwork rim with a presentation inscription above the arms of Trinity College Cambridge, those of the Diocese of Southwark and those of John Hopgood of London, the spreading base on ten ball and triform punched feet, underside stamped ‘OMAR RAMSDEN ET ALWYN CARR ME FECERUNT’, screwing onto its stained oak base mounted with corded silver borders, the openwork cover of naturalistic trendrils rising to a finial cast as a billowy draped female figure 43cm high overall, 744gr (23oz 18dwt) excluding stand Object No.63 op. cit.

The inscription reads: I WAS WROUGHT FOR HAROLD BURN HOPGOOD BY DESIRE OF SOME FELLOWWORKERS IN THE TRINITY COLLEGE (CAMBRIDGE) MISSION IN THE PARISH OF - / CAMBERWELL AND DIOCESE / OF SOUTHWARK IN THE YEAR / OF OUR LORD MCMXIII Harold Burn Hopgood (1854-1940), was born at Erin House, Clapham Park in London, son of John Hopgood (1828-1903) (ibid). After his studies at Trinity College, Cambridge, he followed his father’s profession of solicitor, dying at Shere in Hampshire, predeceasing one of his children, John Vere Hopgood DFC & Bar (1921-1943). This son, ‘Hoppy’ Hopgood, died on the Dambusters Raid, heroically having continued to pilot his fatally damaged aircraft so that the surviving crew members could bail out. £2000-3000

189

559 A GEORGE V SILVER LARGE CROSS, OMAR RAMSDEN, LONDON, 1932 the presentation inscribed hammered rectangular stepped foot with in-curved corners rising to a conforming stem set with two chrysoprase cabochons between girdles below a bold knop issuing eight amethyst set lozenges, surmounted by the adorned fleury cross with openwork sunburst surrounding both front and back an applied quatreform cartouche charged with the Paschal Lamb (Agnus Dei), the fleur-de-lys terminals with Tudor roses, underside set with a wood panel into which screws the baize lined wood base 81cm high overall Object No.71 op. cit.

The inscription reads: TO THE GLORY OF GOD AND IN MEMORY OF ELLEN BERTHA TUFNELL 18671930 Ellen Bertha Gubbins, daughter of Rev. Richard Shard Gubbins, Rector of Upham in Hampshire, married Lt.-Col. Edward Tufnell in 1891. Edward Tufnell (1848-1909) was from a political family: his Whig MP grandfather developed Tufnell Park in London, his father was a civil servant and educationist. He himself served as a Conservative MP for South East Essex from 1900-06, before dying at the house leased by the family, Crowhurst Park, Battle. One son, Richard, was also a Conservative MP, but another, Carleton, fell at the Somme. Ellen Tufnell died at 46 Eaton Square, London, the 1911 census recording seven servants in the house of twenty-two rooms. Given her nearby residence, she may well have been familiar with Omar Ramsden’s silver Relic of the True Cross at St Mary’s Bourne Street. £2000-3000

190

560 A GEORGE V SILVER-MOUNTED MAPLE WOOD MAZER BOWL, OMAR RAMSDEN, LONDON, 1931 the everted top mount with presentation inscription and foliate arcaded rim, on a waisted short pedestal foot mount, underside stamped ‘OMAR RAMSDEN ME FECIT’ 14.8cm diameter Object No.69 op. cit.

The inscription reads: WEEKEND AERIEN / ARRIVAL RALLYE. 2nd PRIZE. SEPTEMBER 1st 1932. / WON BY ROGER SELIGMAN. Roger Adolphe Léonard Seligman (1894-1989) was a Parisian banker and aeronaut. He married Jeanne, the daughter of the banker/collector David David-Weil, in 1920 and their child was the sculptress Martine Boileau. The family escaped to America in 1940, although Martine returned to France after the war. Seligman won this bowl at the ‘Weekend Aérien’ Air Rally at Hendon organised by the Royal Aero Club, piloting his ‘luxurious’ six seater Farman (F.198, F-ALUZ, for further information see: http:// www.crezan.net/pag_f190/198_02.html, accessed 10.08.2021).

562 A GEORGE V SILVER CHALICE, SIBYL DUNLOP, LONDON, 1927 hammer finished and applied with corded borders throughout, the hemispherical bowl above a spherical stem applied with four openwork roundels each centred by a carnelian cabochon, the trumpet form pedestal foot set with four oval sodalite cabochons, full marks and another mark for a workmaster or supplier 17.5cm high, 258gr (8oz) Object No.94 op. cit. £700-1000

£700-1000 561 A GEORGE V SILVER TEAPOT, DAVID T. DAVIES, LONDON, 1931 planished oval, on short pedestal foot, with bold angular girdle, the lid with an applied cruciform motif 26.5cm long, 706gr (22oz) including composition handle and finial Object No.77 op. cit.

For further examples of studio work from this elusive maker see: Peter Francis, Carmarthen, 18 May 2016, lots 200-202, each lot noted as: ‘Provenance: Consigned by the silversmith’s family.’ £300-400 191

563 A VICTORIAN SILVER CRIBBAGE TRAY, MILLS & CO., BIRMINGHAM, 1891 the tray die-stamped to depict both sides of a Chas. Goodall & Son King of Spades playing card, the everted rim with typical cribbage board peg holes, the underside with four cylindrical peg holders, on ball feet 23cm long, 178gr (5oz) Object No.98 op. cit. £200-300 564 A VICTORIAN SILVER COMMUNION DISH, ALFRED JAMES HOW, LONDON, 1897 chased with the Christogram IHS with flowering tendril serifs on a chequer ground, the hammered sides with plain moulded rim 26.5cm diameter, 581gr (18oz) Object No.99 op. cit. £300-400 565 AN EDWARDIAN SILVER ‘HOLMS CUP’, CRICHTON BROTHERS, LONDON, 1904 the font shaped cup of unusually large size, the bowl flat-chased in Lombardic letters with part of a Benedictine monastic Grace in Latin ‘BENEDICTUS DEUS IM DONA SUIS AME’ above scalework, the stem with a corded border above bold lobes, the footrim with a band of leafage 21cm high, 2129gr (68oz) Object No.113 op. cit.

The original Holms Cup, also known as the Tudor Cup, is of 1521, with a scallop shell maker’s mark. Early 20th century copies of it by the manufacturing silversmiths Nathan & Hayes of Birmingham and Hatton Garden can be found, although not of the scale nor gauge of the present lot. Crichton Brothers were well known for their stock of both antique and reproduction silver.

The progenitor of all these replica Holms Cups appears to have prompted their creation, following the astonishing price it achieved in 1901 of £4100, when sold in Christie’s auction of the DunnGardner collection. It acquired its name since the buyer was John Augustus Holms (1866-1938), a wealthy Paisley solicitor who had made a fortune on the Glasgow Stock Exchange. Later financial difficulties forced the dispersal of Holm’s famous collection, said to rival the Burrell collection. The original cup is now held by the National Museum of Scotland (No.A.1958.301). £1000-1500 192

566 A VICTORIAN SILVER AND SHAGREEN CIGAR BOX, H.W. & L. DEE FOR T. JONES, LONDON, 1877 of square pillar box form, with plain silver mounts surrounding shagreen panels, the cedar lined interior accessed by hinging open the top to reveal a tray of six cigar depressions and opening the door below to a stack of ten similar trays, engraved to rear base: 23 Bd. des Capucines / Paris. / JONES. / 41 St. James’s Street / London.

27.5cm high Object No.97 op. cit.

Thomas Jones (or usually simply T. Jones) traded in a variety of luxury goods including travel bags, stationery, jewellery and perfumery, in both London and Paris, listed at the London address above between 1878-1905, but by the 1920s specialising in perfume in Paris only. In 1877 the company was listed at Golden Square, round the corner from Dee’s in Sherrard Street, Golden Square. H.W. & L. Dee were well known to the luxury retail trade of the time for their high-quality (and often novel) gold, silver and jewellery items. £800-1200 567 ~ A GEORGE VI SILVER PRESERVE POT, MAKER’S MARK M.J, BIRMINGHAM, 1940 the planished pot on spreading rim foot, the lid flat-chased with a scallop and pellet border surrounding the ivorymounted knop, blue glass liner 10cm high, 226gr (7oz) including ivory Object No.124 op. cit. £150-250 193

568 A GEORGE VI SILVER CIGARETTE BOX, E.J. TREVITT & SONS LTD., BIRMINGHAM, 1938 engine-turned stepped rectangular lid with foliate thumbpiece, the cedar-lined navette-shaped plain silver body on rounded pad feet 18.5cm long Object No.123 op. cit. £100-200 569 A GEORGE VI SILVER JAR AND COVER, CENTRAL SCHOOL OF ARTS & CRAFTS, LONDON, 1939 planished, slightly tapering cylindrical body, the cover with concave disc knop 9.5cm high, 166gr (5oz) Object No.121 op. cit. £100-200 570 A PAIR OF GEORGE VI SILVER ENTREE DISHES AND COVERS, CENTRAL SCHOOL OF ARTS & CRAFTS, LONDON, 1944 the planished circular dishes on rim feet and applied with plain loop handles, the flat covers each incised with a leaping goat beneath stylised skies surrounding a shaped square composition knop 27.5cm across handles, 2398gr (77oz) Object No.121 op. cit. £1000-1500

194

574 AN ARTS & CRAFTS SILVER TEA STRAINER ON STAND, ENID KELSEY, LONDON, 1933 the simply pierced and planished strainer with openwork bar and roundel set handles, the stand with planished bowl on a pierced rim foot 12cm across handles, 76gr (2oz) Object No.88 op. cit. £100-150 571 AN EDWARDIAN SILVER BELT, ATKIN BROTHERS, BIRMINGHAM, 1901 openwork, cast as alternate Arts and Crafts foliate and lyrelike panels with cable links between, the buckle as a pair of foliate wing-shaped panels 62cm long, 188gr (6oz)

OTHER PROPERTIES

572 A GEORGE V SILVER CONSERVE SPOON AND A BUTTER KNIFE, OMAR RAMSDEN, LONDON, 1924/25 RESPECTIVELY hammer finished, each oval terminal with a low relief flowering thistle 15.5cm long, 83gr

575 A DANISH SILVER CHILD’S (OR CADDY) SPOON AND A CHILD’S PUSHER, GEORG JENSEN, COPENHAGEN, CIRCA 1930 AND 1954 RESPECTIVELY Acorn pattern (designed by Johan Rohde in 1915), both with Jensen marks, the spoon import marked for Stockwell & Co., London, 1930, the pusher for Georg Jensen Ltd., London, 1954 (2)

Object No.67 op. cit.

£60-80

Object No.180 op. cit. £150-250

£200-300 573 A SET OF SIX GEORGE V SILVER TEASPOONS AND THEIR SUGAR TONGS, SIBYL DUNLOP, LONDON, 1923 hammer finished, with shaped terminals pierced probably by W. Nathanson with foliate motifs, in an associated fitted case Object No.93 op. cit.

“The designer, Sibyl Dunlop, presided in caftan and Russian boots over a workshop in Kensington Church Street, London, in the 1920s and 1930s.

Her principal craftsman, W. Nathanson ... was a master of the piercing saw and firmly believed that some Arts and Crafts metalworkers rejected the saw because they lacked the skill to use it.” (http:// collections.vam.ac.uk/item/O25384/bowl-dunlopsibyl/, accessed 12.08.2021) £250-350 572

573 195

576 A BOXED SET OF TWELVE FRENCH SILVERGILT COFFEE SPOONS, PRUDENT QUITTE, PARIS, CIRCA 1900 the shaped terminals die-stamped with a vacant oval and formal foliage, maker’s and 950 standard marks, in their black leather and blue velvet lined case with gilt retailer’s stamp for ‘TOURON / 24. Rue de la Paix’ spoon 10.4cm long £70-100 577 A SET OF SIX FRENCH SILVER-GILT DESSERT KNIVES, PROVINCIAL, 1819-1838 with silver-gilt blades and mother-of-pearl handles with a vacant pointed oval between foliate shell terminals, maker’s mark PG, 800 standard; together with another six French silver-gilt dessert knives, circa 1850, similar, without vacant pointed oval (12) £120-180 578 A SET OF TABLE SILVER, VINERS LTD., RETAILED BY ASPREY & CO. LTD., SHEFFIELD, 1955-1960 of an Art Deco pattern and initialled GG, complete for six of each of the following: table forks dessert spoons dessert forks soup spoons teaspoons; and six table knives and six dessert knives with ivorine handles and stainless steel blades etched ‘ASPREY / BOND STREET’ 1494gr (48oz) excluding knives (42 pieces) £600-800

196

579 A SET OF TABLE SILVER, ASPREY’S, LONDON, 1974-1993 Onslow pattern, plain, comprising twelve of each of the following: three-prong table forks table knives with stainless steel blades dessert spoons three-prong dessert forks dessert knives with stainless steel blades fish forks fish knives salad forks soup spoons teaspoons coffee spoons butter knives fruit forks fruit knives grapefruit spoons sundae spoons cake forks cocktail forks and six tablespoons, a pair of salad servers, a pair of sauce ladles, a three-piece carving set with steel blades and tines, a cake slice with steel blade, a bread fork, a pair of salt spoons, and a mustard spoon 8976gr (288oz) excluding steel bladed items (234 pieces) £8000-12000

197

580 A SET OF TABLE SILVER, GARRARD & CO. LTD., LONDON, 1969-1979 Elizabethan pattern, plain, comprising: six tablespoons fifteen table forks twelve table knives with stainless steel blades twelve dessert spoons twelve dessert forks twelve dessert knives with stainless steel blades twelve soup spoons twelve fish forks twelve fish knives twelve fruit forks twelve fruit knives twelve teaspoons twelve coffee spoons and a soup ladle (C.J. Vander Ltd. for Garrards), and a pair of sauce ladles 7836gr (251oz) excluding stainless steel knives (156 pieces) £4000-6000

198

581 A CANTEEN OF VICTORIAN TABLE SILVER, PREDOMINANTLY HOLLAND, ALDWINCKLE & SLATER, LONDON, 1899 Fiddle Thread pattern, plain, comprising: twelve tablespoons twelve table forks twelve dessert spoons twelve dessert forks eleven teaspoons and a pair sauce ladles and a soup ladle, all in a fitted oak box, the interior with a lift-out tray and stamped brass panel ‘M. & S. LYON. Silversmiths / 127 High Holborn, London’; together with a set of twelve silver handled table knives and twelve dessert knives, Strickett & Loder, Sheffield, 1988, Thread pattern loaded silver handles and stainless steel blades 3837gr (123oz) excluding knives (86 pieces) £2000-3000

199

582

583 582 A SET OF SIX TABLE KNIVES AND SIX FORKS, PERHAPS SCOTTISH, 18TH / 19TH CENTURY with loaded silver foliate-shell-capped pistol handles, straight steel blades and steel three-prong tines, five blades stamped ‘MACKAY CUNNINGHAM & CO. / EDINBURGH’, one ‘J-T / SHEAR STEEL’, indecipherable maker’s and lion passant marks only, in a fitted red leather case £150-250 583 A SET OF TWELVE GEORGE V SILVER TABLE KNIVES AND TWELVE DESSERT KNIVES, GARRARD & CO. LTD., LONDON, 1914 / 34 Old English pattern loaded silver handles engraved with a crest, steel blades, the table knives 1914, the dessert knives 1934 (24) £150-250 584 A GEORGE IV SILVER GRAVY SPOON, ELEY & FEARN, LONDON, 1823 Fiddle Thread pattern, plain 31cm long, 173gr (5oz) £80-120

200

585 A CHINESE SILVER CIGARETTE BOX, NANKING STORE, SHANGHAI, EARLY 20TH CENTURY rectangular, the lid chased in high relief with a dragon encircling a vacant oval, on a matted ground, the sides with a further dragon on matted ground, underside stamped NANKING STORE and SILVER 17cm long, 447gr (14oz) £300-500 586 A GROUP OF NINE CHINESE SILVER MINIATURE MODELS, EARLY 20TH CENTURY comprising: a lantern hanging from a leafy bamboo stand, a pair of armchairs, a side chair, a rocking chair, a boat on wood stand, a moon guitar (yueqin), a shoe, and a peasant with yoke (baskets lacking), most with chop marks, some retailer marks lantern stand 9cm high £300-500

587 A PAIR OF FRENCH SILVER COMPORT STANDS, MAISON ODIOT, PARIS, CIRCA 1880 in Louis XVI style, richly cast and applied with formal foliage and with matted grounds throughout, each fluted circular base on toupie feet and applied with three monogrammed shields between beaded supports centred by a bud finial, hung with ribbon-tied laurel swags below a laurel embellished dish holder, the glass dishes with cut bead swags alternating with etched vine garlands hung from a Vitruvian wave border, makers’ and 950 standard marks, the dish holders also stamped ‘ODIOT A PARIS’ and numbered 9438 23cm high overall, 3229gr (103oz) excluding glass £4000-6000

201

588 A FRENCH SILVER SAUCEBOAT ON STAND, PARIS, EARLY 20TH CENTURY oval, with milled rims of palmettes on a linear ground, both pieces engraved with a coat of arms, the pedestal saucboat with leafy scroll handle, the detachable stand with central knob to secure the boat, maker’s F.G. and 950 standard marks 26cm long, 726gr (23oz) £300-500 589 A PAIR OF FRENCH SILVER DISHES, HENRI GAUTIER, PARIS, 1902-1920 circular, each shallow bowl with an openwork border of finely detailed chased berried laurel branches alternating with an elongated leaf within a bound reeded rim, each spreading base on three acanthus-headed cloven hoof feet, 950 standard 25cm diameter, 1181gr (37oz 19dwt) £500-800

202

590 A GEORGE V SILVER ‘WHIMBREL’ TABLE ORNAMENT, MAKER’S MARK RHH, SHEFFIELD, 1926 realistically modelled as the smaller species of curlew, with detachable head 17cm long, 239gr (7oz) £300-500 591 A PAIR OF GERMAN SILVER TABLE PHEASANTS, L. NERESHEIMER & CO., HANAU, CIRCA 1933 each realistically modelled as a cock or a hen picking over the ground, pseudo marks, import marked for Israel Segalov, London, 1933 36 and 31cm long, 963gr (30oz)

592 A SET OF FOUR SILVER DOG FIGURAL PEPPERETTES, GERMAN, EARLY 20TH CENTURY each realistically modelled as a German Shorthaired Pointer with one leg raised and simply pierced detachable head, stamped with indecipherable maker’s mark, Reichsmark and ‘800’ 13.5cm long, 280gr (9oz) £500-700

£1200-1800

203

593 A MONTEITH BOWL, PERHAPS ITALIAN FIRST HALF 20TH CENTURY in William and Mary Chinoiserie style, the sides with panels of exotic figures alternating with matted panels and two cast lion mask drop ring handles, the shaped typically detachable rim with applied leaf border, on reeded rim foot, apocryphal P.O.D.R. type lozenge, ‘925’ and ‘STERIING [sic]’ stamps 28cm diameter, 2360gr This bowl is of the same pattern as those marked for D. & J. Wellby in the early 20th century, for an example see Christie’s, London, 22 September 2009, lot 76. £1800-2200 594 A GERMAN SILVER TAZZA, CIRCA 1900 the richly decorated stand with shaped square base on four splay feet and a stem formed as a two-handled vase supporting a Belgian glass dish from Cristallerie Val St. Lambert, incuse maker’s mark M&S., Reichsmark and ‘800’ stamps 17.5cm high £200-300 595 A CASED FIVE-PIECE SILVER CONDIMENT SET, HASELER & BILL OF BIRMINGHAM, CHESTER, 1920/21 oval or cylindrical with geometric piercing, all with blue glass liners, comprising a pair of salt cellars, a pair of pepperettes and a pair of mustard pots; together with their silver mustard spoon and a pair of salt spoons; all in their shaped and fitted case mustard pot 9cm long; 201gr (6oz) (8) £80-120

204

596 (illustrated online) TWO SILVER CASTERS, ENGLISH, 20TH CENTURY both baluster, one with ‘Celtic’ pattern girdle, Adie Brothers Ltd., Birmingham, 1946, 18cm high, the other of George III pattern, William Hutton & Sons Ltd., Sheffield, date letter rubbed, circa 1930, 16.5cm high 291gr (9oz) £150-200 597 (illustrated online) A GEORGE V SILVER FOUR-PIECE CONDIMENT SET, ADIE BROTHERS LTD., BIRMINGHAM, 1931 a paterae border to rims, otherwise plain, comprising a pair of pepperettes, a salt cellar and a mustard pot pepperettes 9cm high; 306gr (9oz) excluding blue glass liners to pot and cellar £100-150 598 AN ELECTROPLATE NOVELTY ‘THIRST EXTINGUISHER’ COCKTAIL SHAKER, ASPREY & CO. LTD., LONDON, MID 20TH CENTURY in the conical form of a period fire extinguisher, in sections and with shield inscribed ‘THE / THIRST / EXTINGUISHER / INSTRUCTIONS FOR FILLING’ and an arrow pointing to the revolving base inscribed with eight cocktail recipes, underside with trademarks, number 3212S and Patent Office Design Registry No. 833773 for the year 1939 40cm high £800-1200 599 A GEORGE V SILVER SALVER, ELKINGTON & CO. LTD., BIRMINGHAM, 1913 plain excepting the moulded and shaped gadroon rim, on three leafy panel feet 31.5cm diameter, 1009gr (32oz) £350-450

205

600 A GEORGE V SILVER SALVER, ATKIN BROTHERS, SHEFFIELD, 1924 plain hexafoil plate surrounded by a moulded and gadroon and shell rim, on three flat pad feet 34.5cm diameter, 1015gr (32oz) £350-450

602 AN EDWARDIAN SILVER PEDESTAL SWEETMEAT DISH, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1906 circular base, girdled waisted stem, dish with a band of pierced lozenges below slender open volute handles 28.5cm across handles, 615gr (19oz) £250-350 603 (illustrated online) AN EDWARDIAN SILVER QUAICH, MARPLES & CO., SHEFFIELD, 1906 typical form, hammer-finished circular bowl, underside numbered 202H and engraved with the retailer ‘MAPPIN & WEBB’ 18cm across lug handles, 172gr (5oz) £70-100 601 A GEORGE V SILVER TWO-LIGHT CANDELABRUM, WALKER & HALL LTD., SHEFFIELD, 1919 shaped oval outline, the loaded stick with flared stem and vase-shaped sconce supporting the detachable branch with urn finial flanked by scroll arms ending in drip-pans, sconces and detachable nozzles 32.5cm high; branch 524gr (16oz) £400-600

206

604 (illustrated online) A GEORGE V SILVER TOAST RACK, JAMES DIXON & SONS LTD., SHEFFIELD, 1910 of seven arched bars and central handle 11.5cm long, 153gr (4oz 18dwt) £70-100

605 AN EDWARDIAN SILVER ROSE BOWL, WALKER & HALL, SHEFFIELD, 1903 the circular bowl chased below the beaded rim with a broad band of shells and acanthus, the short pedestal foot with similarly chased border, underside with stamped trademarks and numbered 52262 30.5cm diameter, 1478gr (47oz) £700-1000 606 A VICTORIAN SILVER PUNCH LADLE, JOHN EVANS, LONDON, 1860 with turned ivory handle, the double lipped bowl bright-cut to the exterior with foliate strapwork panels on a linear ground and intialled LR, with gilt interior 38cm long £70-100 607 AN EDWARDIAN SILVER NOVELTY PEPPER MILL, HILLIARD & THOMASON, BIRMINGHAM, 1901 in the form of a two-handled milk churn, engraved ‘H.H.H. / 1902’, with steel grinder 8.5cm high £80-120 608 A VICTORIAN SILVER SUGAR BOWL, CHARLES STUART HARRIS, LONDON, 1884 chased in Indian style with a band of foliage interrupted by a vacant and an engraved roundel monogrammed AG between geometric borders, gilt interior, 9.5cm diameter; together with a small Tibetan butter lamp, probably early 20th century, the burr wood bowl silver lined and mounted to the base with typically chased silver, 9cm diameter; and an Indian silver sugar bowl, early 20th century, chased with a band of foliage, 10cm diameter sugar bowls 232gr (3) £150-250 207

609 A VICTORIAN SILVER NOVELTY PEPPER MILL, HUKIN & HEATH, BIRMINGHAM, 1895 in the form of a kitchen weight, engraved monogram HTB flanked by the dates 1878 and 1903, with steel grinder, Patent Office Design Registry No. for 1895, 11cm high; together with a pair of silver-mounted salt and pepper mills, M.C. Hersey & Son Ltd., London, 2004, typical capstan form in dark stained wood with a broad silver band to base, Peugeot grinders (3) £150-250

610 A VICTORIAN SILVER CREAM JUG, R. & S. GARRARD & CO., LONDON, 1876 after a George I model, the auricular shell body with an applied mask below the lip and a scaly serpent handle, the short stem cast as a seated dragon on an oval foot with foliate strapwork, gilt interior 10cm high, 132gr (4oz)

208

611 A PAIR OF VICTORIAN SILVER CANDLESTICK OIL LAMPS, HAWKSWORTH, EYRE & CO. LTD., SHEFFIELD, 1897 the loaded silver sticks with square bases rising to decorated columnar stems beneath Corinthian sconces and beaded nozzles, the detachable oil lamps with bulbous hob cut glass reservoirs, electroplated Evered’s wick mechanisms and fireproof glass shades 48cm high £600-800

A number of early Georgian silver jugs of this model (with slight variations) are recorded. Produced in the 1720s, many are unmarked. Most of the marked examples are maker’s mark David Willaume, for example see The Sterling and Francine Clark Art Institute, No.1955.422, or for another in The Alan and Simone Hartman Collection, see Christopher Hartop, ‘The Hugenot Legacy’, London, 1996, No.67.

612 A VICTORIAN SILVER MUSTARD POT, JANE PINNELL, LONDON, 1852 concave octagonally faceted, each facet to body and lid engraved with a scroll and foliate panel, one including a vacant cartouche, scroll handle, silver base plate, with a blue glass liner (cracked) 7.5cm high

£300-400

£80-120

613 A VICTORIAN SILVER ‘TEMPERANTIA’ BASIN (VENUS ROSEWATER DISH), ELKINGTON & CO., BIRMINGHAM, 1872 electrotyped after a basin following designs by Francois Briot (1545-1620), the central raised medallion with Temperance holding a wine cup surrounded by a band with cartouches of the four classical elements with herms and strapwork between, the outer border with cartouches of the seven Liberal Arts and one of their patron Minerva between further strapwork and masks, with ovolo rim 46.5cm diameter, 2035gr (65oz) The Temperantia Basin (also known as the Temperance Dish) is one of the most copied and adapted pieces from the Renaissance period (Victoria and Albert Museum No.2063-1855). The same Elkington silver electrotype model, commonly known by the misnoma the Venus Rosewater Dish, is especially renowned when held aloft annually by the Wimbledon Ladies Singles champion. £4000-6000 209

614 A PAIR OF VICTORIAN PARCEL-GILT SILVER DESSERT STANDS, ALEXANDER MACRAE FOR HARRY EMANUEL, LONDON, 1859 each openwork basket-weave bowl supported by a playful trio of clambering putti, on ornate pedestals with matted grounds and strapwork bordered oval cabochon panels, the spreading circular base with applied cast swags between four scroll feet, the undersides stamped ‘EMANUEL / HANOVER SQUARE / LONDON’ below a crown 31.5cm high, 2513gr (80oz) excluding associated blue glass liners These stands must have been retailed from the glamorous new showrooms Harry Emanuel had recently created in Hanover Square, described by The London Illustrated News as ‘one of the most unique and commodious buildings for business and domestic purposes at the West End of London’ (for further information on the firm see John Culme, ‘The Directory of Gold and Silversmiths’, Woodbridge, 1996, Vol.II, p.145-148). £2000-3000

210

615 A VICTORIAN SILVER DISH, ROBINSON, EDKINS & ASTON, BIRMINGHAM, 1837 shaped oval, formed as overlapping acanthus, each alternate leaf with a matted ground, with leafy loop handles and four shaped panel feet 36cm long, £500-800 616 A VICTORIAN SILVER SALVER, EDWARD BARNARD & SONS, LONDON, 1857 with a scroll moulded rim interrupted by shells, engraved with the initials JCS and surrounding band of flower-filled scroll foliate panels, on three splayed scroll panel feet, retailer’s stamp to underside ‘A.B.SAVORY&SONS / CORNHILL / LONDON’ 21cm diameter, 329gr (10oz) £150-200 617 AN EARLY VICTORIAN SILVER ENTREE DISH AND COVER, CRESWICK & CO., SHEFFIELD, 1838 shaped circular, the dish with applied shell and leafy scroll rim, the domed and ribbed cover with a cast flower and leaf finial, base and cover each stamped ‘2’ 32cm wide across shell handles, 1493gr (48oz) £1000-1500

211

618 A WILLIAM IV SILVER WINE COOLER, EDWARD BARNARD & SONS, LONDON, 1832 the ribbed campana urn engraved with a coat of arms and a presentation inscription below a cast and applied leaf and flower rim and above panels of chased leaves and applied cast flowers, set between with leafy scroll handles, the short pedestal with an applied cast knop of flowering convolvulus above chased leaves and applied scrolls, the decoration further embellished by matted grounds, on a scalloped rim foot 29cm high, 1901gr (61oz) The presentation inscription reads: Presented to G. Poulett Scrope Esqr. by the electors of the Borough of Stroud in testimony of their admiration of his talents and esteem for his character. May 7th’ 1833.

The arms are those of George Julius Poulett Scrope of Castle Combe, Wiltshire.

George Julius Poulett Scrope (1797-1876), a geologist and political economist, nicknamed Pamphlet Scrope for his many tracts on social reform, was MP for Stroud between 1832-1867. He was born in London, baptized George Julius Thomson, the second son of the Russia merchant, John Thomson of Waverley Abbey, Surrey, adopting the names Poulett from an aristocratic predecessor and Scrope from his wife, the heiress to Castle Combe. For further information on this renowned geologist and keen economic and social reformer see the ‘Oxford Dictionary of National Biography’ (2007 edition). £3500-4500 212

619 A GEORGE IV SILVER BASKET, CHARLES FOX, LONDON, 1825 shaped circular, with applied rim of leaf, shell and buds, ribbed sides, short pedestal on indented rim foot, reeded swing handle centred by a vacant leafy cartouche flanked by flowerheads 32cm diameter, 1066gr (34oz) £800-1200

620 ~ A GEORGE IV SILVER TEA AND COFFEE SET, JOSEPH ANGELL, LONDON, 1823 / 1826 fluted compressed circular, each on four cast shell and acanthus panel feet and with an applied everted rim of cast foliate rocaille, the teapot and coffee pot with leafcapped spouts and handles, the milk jug and sugar bowl with gilt interiors coffee pot 22cm high; 2367gr (76oz) including ivory insulators to pots £1000-1500

213

621 A PAIR OF GEORGE III SILVER AND SHEFFIELD PLATE CANDELABRA, S.C. YOUNGE & CO., SHEFFIELD, 1815 with lobed bands and reeded borders interrupted by scrolling foliage throughout, each loaded silver stick with circular base engraved twice with a crest and tapered stem below a knop and campana shaped sconce, each Sheffield Plate three-light candelabra branch with a pair of reeded scrolled arms, complete with Sheffield Plate nozzles, the central lights with alternative flowerbud finials sticks 27.5cm high, 50cm high overall £1000-1500 622 A GEORGE III SILVER SALT CELLAR, ROBERT HENNELL, LONDON, 1814 cauldron form, chased with buildings, foliage and a vacant cartouche below a shaped gadroon rim, applied with three cast chinoiserie mask headed supports on trefoil pad feet, 9cm long; together with a George III and later decorated silver pepperette, John Delmester, London, 1762, baluster, simply pierced domed cover with acorn finial, later flat-chased with Rococo scroll foliage, 11cm high 200gr (6oz) (2) £80-120

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623 A SET OF FOUR GEORGE III SILVER ENTREE DISHES, COVERS AND HANDLES, ROBERT & SAMUEL HENNELL, LONDON, 1808 oblong, gadroon borders, with flaming tower handles cast as the crest for Hopkins, each piece numbered with up to four dots 26.5cm long, 6820gr (219oz) £4000-6000 624 (illustrated online) A GEORGE III SILVER MILK JUG, STEPHEN ADAMS, LONDON, 1794 pedestal helmet form, square foot, plain excepting the reeded rim and handle, 15cm high; together with a silver cream jug, S. Blanckensee & Son Ltd., Birmingham, 1920, slightly bulbous oval, plain excepting reeded rim and leaf-capped handle, 8cm high 166gr (5oz) (2) £100-150 625 A PAIR OF GEORGE III SILVER SALT STANDS, ONE ROBERT HENNELL, THE OTHER ROBERT & SAMUEL HENNELL, LONDON, 1796 / 1809 dished oval, the everted rims engraved with a crest below a reeded edge, with one glass liner hobnail cut below a shaped rim 11.8cm long, 124gr (3oz 19dwt) (3) £150-250

215

626 A PAIR OF GEORGE III SILVER SAUCE TUREENS AND COVERS, PAUL STORR, LONDON, 1797 pedestal navette shaped, with reeded borders and looped handles, the bodies engraved with a crest, the covers each with cast ‘lion sejant’ crest finial 23cm long, 1370gr (44oz) £3000-5000 627 A GEORGE III AND LATER CHASED SILVER COFFEE POT, WILLIAM GRUNDY, LONDON, 1764 the baluster body chased all over with Rococo foliage and a pair of Bacchanalian putti above a patched cartouche engraved with a pair of crests, wrythen finial 26cm high, 846gr (27oz) including wood handle £400-600

216

628 A PAIR OF GEORGE III SILVER GOBLETS, GEORGE COWLES, LONDON, 1782 circular, the bowls, engraved with contemporary scrolling initials WGM, on pedestal feet, with bright-cut wrigglework borders throughout, gilt interiors, undersides engraved ‘R.M. to W.G.M. 1793’ 16cm high, 461gr (14oz) £800-1200 629 A PAIR OF GEORGE I SILVER WAITERS, JOHN TUITE, LONDON, 1726 shaped square, plain excepting moulded rims, each on four shaped panel feet 14.5cm wide £800-1200 630 ~ A GEORGE III SILVER HOT WATER JUG, MAKER’S MARK IB (GRIMWADE 3618), LONDON, 1769 baluster, gadroon rims, engraved with a vacant contemporary Rococo foliate cartouche, with a later leaf-capped silver handle with additions marks for Robert Hennell II, London, probably 1820s, chased probably at the same later date with flowering foliate sprays, underside inscribed ‘A Token of Affection and Regard.’

26cm high, 778gr (25oz) including ivory insulators £500-800 631 NO LOT

217

635 ~ A SILVER, TORTOISESHELL AND MOTHER-OF-PEARL BOX, PROBABLY DUTCH OR GERMAN, SECOND QUARTER 18TH CENTURY the lid with a geometric arrangement of nacre motifs and silver cagework all set into tortoiseshell within a reeded silver rim mount, with bombé silver sides and tortoiseshell base 5.3cm diameter 632 A VICTORIAN SILVER BOX, WRIGHT & DAVIES FOR WALTER THORNHILL & CO., LONDON, 1875 rectangular, with engine-turned panels and a vacant roundel, gilt interior with retailer’s stamp ‘THORNHILL / 144 BOND ST. / LONDON’ 14.5cm long, 259gr (8oz)

£80-120

£80-120

part 633 A SET OF SIX WINE LABELS, JOHN HARVEY & SONS LTD. OF BRISTOL, LONDON, 1960-62 each chained bottle ticket of bag-like outline with reeded borders and inscribed below the prominent hallmarks for BURGUNDY (x2), BORDEAUX (x2), RHONE and SHERRY 4cm long

636 A COLLECTION OF EIGHT GEORGE III SILVER FOB SEALS, LONDON OR BIRMINGHAM, LATE 18TH / EARLY 19TH CENTURY typical openwork scroll supports, oval matrices engraved with scrolled initials, one additionally with a fox below the legend ‘TALLIO’, variously marked 2.9cm tallest £400-600

£80-120 634 A GROUP OF NINE WINE LABELS (BOTTLE TICKETS) all with chains, comprising: a silver set of five oblong with shell and foliate rims inscribed for WHISKEY, GIN, PORT, BRANDY and SHERRY, EP&Co, Sheffield, 1962; another pair of the same pattern but plated and both for CLARET; a George III silver cut-cornered rectangular example for CLARET, William Ellerby, London, 1819; and a similar but plated example for VIN DE GRAVE £100-150 part 218

637 FOUR SCANDINAVIAN SILVER ‘HOVEDVANDSAEG’ (VINAIGRETTES OR SPICE BOXES), PROBABLY DANISH, 18TH / 19TH CENTURY typical crown surmounted heart-shaped form, gilt interiors, three footed and variously marked, one unmarked, 8cm longest; together with a Dutch silver small spice box, 19th century, cartouche outline, low-relief decorated with scenes of farming figures, 3.2cm high (5)

640 A DIAMOND SET SILVER-GILT LETTER OPENER, UNMARKED, EARLY 20TH CENTURY tapered, the handle formed as a clip mounted with a rose diamond set snake wrapping itself around the top, in a probably later tan morocco case, the fitted interior with gilt stamped retailer’s label for Tessiers Ltd., 26 New Bond Street, London 17.8cm long, 76gr all in £500-700

£250-350 638 A VICTORIAN SILVER YACHT CLUB CIGARETTE CASE, DEAKIN & FRANCIS, BIRMINGHAM, 1891 oblong pocket-fitting form, the lid painted in guilloché and opaque enamels with the burgee of the Norfolk & Suffolk Yacht Club, the gilt interior inscribed ‘A.H. JACKSON. / LOWESTOFT.’ 8.5cm long, 92gr

641 ~ A GEORGE III GOLD-MOUNTED IVORY TOOTHPICK BOX, CIRCA 1790 navette shaped, the lid inset with a glazed hair panel and with reeded banding, off centre pushpiece within the beaded rim, unmarked, in its shagreen case box 9.3cm long

The Royal Norfolk & Suffolk Yacht Club, with its famous Lowestoft clubhouse, was granted a Royal Warrant by Edward VII, back-dated to 1898. This was the year the club started calling itself ‘Royal’, adding a crown to its insignia, following a mistaken understanding from its Patron, the then £200-300 Prince of Wales, that it had the right. £150-250 639 AN AUSTRIAN SILVER AND ENAMEL MATCHBOX HOLDER, VIENNA, CIRCA 1900 rectangular, painted with Venus Disarming Cupid, indecipherable maker’s mark, Latvian and St Petersburg import marks 4.3cm long £200-300

219

642 ~ A CHINESE IVORY ‘MANDARIN’ (OR ‘THOUSAND FACES’) FAN, CANTON, SECOND HALF 19TH CENTURY with guards carved with figures amid pavilions and foliage, the sticks carved to both sides of the gorge in low relief over a pierced linear ground with similar subjects, the double paper leaf painted each side with groups of figures in garden and interior settings, the figures with applied silk clothes, the faces of applied and painted ivory, 21cm high excluding gilt-metal suspension loop and silk tassel, in a black lacquer fitted box, the top gilded with three figures in a garden, box 25cm long (2) £400-600

643 ~ AN ITALIAN TORTOISESHELL FAN, NAPLES, LATE 19TH CENTURY one guard applied with a noble’s coronet above a monogram, gorge of plain shaped sticks below the silk leaf painted with a view of the Bay of Naples from Posillippo including a smoking Vesuvius, the reverse with a spray of flowers, with French silk covered box 27cm high excluding suspension loop £80-120

644 ~ AN IVORY FAN, ENGLISH OR DUTCH, CIRCA 1720 the guards openwork carved over a red foil ground with a young man holding a long scythe above mother-of-pearl inlaid foliage, the gorge painted to the obverse with flower sprays, the gilt edged paper leaf painted with a courting couple and maid carrying a pail of water from the river, flowered rim, the reverse with a vignette of buildings and a bridge under a flowering tendril 27cm high £200-300

220

645 A SILHOUETTE OF A GENTLEMAN, BY JOHN FIELD (1772-1848) FOR THE JOHN MIERS STUDIO, CIRCA 1810 in profile to sinister, painted in black with gilt highlights on plaster, original Miers frame, reverse with trade label (No.12 Double Letter), oval 8cm; and two painted profiles of a lady and gentleman, English School, early 19th century, in watercolour on card, rectangular black lacquer frames (3) £150-250 646 A SILHOUETTE OF SIR FRANCIS BURDETT (BT), BY JOHN FIELD (1772-1848) FOR THE JOHN MIERS STUDIO, CIRCA 1810 in profile to sinister, painted in black with gilt highlights on plaster, original Miers black lacquer frame with gilt-metal mount, label to back lacking oval 8cm Francis Burdett (1770-1844) married in 1793 Sophia Coutts, daughter of the banker Thomas Coutts. Burdett succeeded his grandfather in 1797 to become the 5th Baronet, inheriting lands including the Foremarke estate. Having entered Parliament the previous year, he became known for his reformism, proposing universal male suffrage, equal electoral districts and vote by ballot, his ideals leading to legal proceedings and a short spell in the Tower. The couple’s daughter, Angela Burdett-Coutts, inherited the massive Coutts fortune, becoming renowned for her philanthropy. £200-300 647 ~ A PORTRAIT MINIATURE OF A LADY, ENGLISH SCHOOL, CIRCA 1790 wearing a white dress, on ivory, the glazed reverse with plaited hair border and hair-work wheat-sheaf on opalescent glass, gold frame, 6.8cm oval; together with a memorial miniature to Ann Mace, dated 1796, painted with a grieving maiden by a tomb, on ivory, blue glass reverse with central hair reserve, gilt-metal frame, 6.2cm oval (2) £180-220 221

648 ~ A PORTRAIT MINIATURE OF H.R.H. PRINCE FREDERICK AUGUSTUS, DUKE OF YORK, BY WILLIAM GRIMALDI, 1790 after Sir Joshua Reynolds, depicted half-length with powdered hair and wearing full Garter robes and insignia, drapery background, on ivory, in original gilt-bronze and black lacquer frame, of elongated octagonal form, the oval aperture hung with the badge of the Lesser George, flanked with leafy fronds and surmounted by the Duke’s coat of arms and coronet below a half sun in splendour, the outer frame decorated with bands of fruiting laurel and beading, urn finial and suspension ring, the reverse with a gilt plaque engraved: ‘His Royal Highness, / Frederick Duke of York, / Painted by W. Grimaldi member of the / Academy, at Paris & Miniature Painter to / His Royal Highness. / 1790’ image 10cm, frame 32cm high Provenance: probably The Duke of York from Grimaldi to Princess Frederica Charlotte of Prussia (Grimaldi is recorded as having painted a miniature of the Duke, almost certainly the present lot, which the latter presented to his bride upon their marriage in 1791); acquired by John Campbell, 2nd Marquess of Breadalbane (1796-1862), Taymouth Castle, Perthshire (listed under ‘Miniatures’ as item No.102 in the Taymouth inventory carried out by Christie, Manson & Woods in 1863 following the Marquess’ death); to his niece, Mary Gavin Pringle (1832-1911) who married Major Hon. Robert BaillieHamilton (1828-1891, also a relative of both the Marquess and the Marchioness) of Langton House, near Dunns; on her death to her sister, Magdalen Breadalbane Pringle (Lady Harvey, 1836-1913); to Lady Harvey’s godson, Lieutenant-Colonel Hon. Thomas George Breadalbane Morgan-Grenville (1891-1965); thence by family descent to the present vendor.

William Grimaldi (1751-1830), having served an apprenticeship with his uncle, the painter Thomas Worlidge (1700-1766), started his career as a miniaturist in the 1770s, working in Paris between 1777-1784. On return to London, he came to the attention of Joshua Reynolds, many of whose works he copied in miniature; Reynolds recommended him to some of his distinguished clients. In 1790, when the present miniature was painted, Grimaldi was appointed Miniature Painter to the Duke of York, in 1791 to the Duchess of York, and in 1804 Enamel Painter Extraordinary to the Prince of Wales (later George IV). Most of the twelve Grimaldi miniatures in the Royal Collection are due to the latter, including Grimaldi’s miniature of the Duchess of York (RCIN 404302). Grimaldi came from the noble Genoese family; another branch became Princes of Monaco. They had settled in England following the 1684 bombardment of Genoa, William succeeding his father as 8th Marchese Grimaldi in 1800.

H.R.H. Prince Frederick Augustus, Duke of York and Albany (1763-1827) was the second and apparently favourite son of George III, who pursued a military career, responsible for important reforms to the army, when not occupied at the gaming tables or on the racecourse. His marriage to Princess Frederica was not successful and they separated after a few years.

Frederica, Duchess of York (1767-1820), retired to their house in Surrey, Oatlands Park, living the rest of her life there apparently somewhat eccentrically, childless but surrounded by her beloved dogs, cats and monkeys.

The full-length portrait of the Duke of York by Sir Joshua Reynolds (1723-1792), the basis for this miniature, was commissioned by his brother, George IV, when Prince of Wales; it remains in the Royal Collection (RCIN 405411). The Duke first sat to Reynolds in 1787, the finished portrait exhibited at the Royal Academy in 1788. £6000-8000 222

223

649 ~ A PORTRAIT MINIATURE OF JOHN SLATER OF SHELSWELL, ATTRIBUTED TO ROGER JEAN (CIRCA 1783-1828), CIRCA 1805 wearing a blue coat with black collar, on ivory, glazed hair reverse set with initials JS, gold frame 6.7cm oval £150-250

652 ~ FOUR PORTRAIT MINIATURES, ENGLISH SCHOOL, CIRCA 1815-1840 three of gentlemen in dark coats and one of a lady with hair in ringlets, all on ivory and with reverses decorated with hair, gilt-metal frames oval, largest 5.7cm £180-220 650 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, ENGLISH SCHOOL, CIRCA 1800 with short grey hair, on ivory, glazed reverse with opalescent glass reserve decorated with hair and wirework centred by a blue glass oval initialled JS, gold frame, 6.8cm oval; together with a portrait miniature of a young gentleman, English School, circa 1805, wearing spectacles, on ivory, glazed reverse with opalescent glass reserve decorated with hair and wirework with initials JC, 7.3cm oval (2) £150-250

651 ~ THREE PORTRAIT MINIATURES OF GENTLEMEN, ENGLISH SCHOOL, CIRCA 1800-1810 all wearing dark coats and on ivory, gold frames with glazed reverses and hair decoration oval, largest 6.5cm high £150-250 224

653 ~ A PAIR OF PORTRAIT MINIATURES OF AN OFFICER AND HIS WIFE, BY M.D.C. HONEYMAN, DATED 1849 AND 1850 RESPECTIVELY he in uniform, she in black dress with a lace collar, both signed right, on ivory, in flowering foliate die-stamped giltmetal frames 17cm high, two cracks to officer £300-400

654 (illustrated online) A NICKEL GOLIATH SWISS WATCH IN SILVERMOUNTED LEATHER CASE, CIRCA 1914 keyless wound movement, enamel dial with oversize Roman numerals and subsidiary seconds dial, the canted rectangular case with easel strut fronted by the concave faceted silver mount initialled ERS, hallmarked for SB, Birmingham, 1914 11.3cm high £70-100 655 A GERMAN OAK MANTEL CLOCK, WINTERHALDER & HOFMEIER, BLACK FOREST, EARLY 20TH CENTURY in George III style, eight day movement striking hours and quarters on a gong, the silvered dial with Roman numerals and ‘Slow/Fast’ dial above, signed for the retailer ‘RUSSELLS LTD. / 18 CHURCH STREET / LIVERPOOL’, the case with rounded arch and handle above gilt-brass detailed stop-fluted quarter columns, on brass splay bracket feet, with key (2) £120-180

656 A VICTORIAN GOLD POCKET WATCH, CIRCA 1889 open faced, with English three-quarter plate keyless wind movement, numbered 7290, white enamel dial with Roman numerals, dial and movement signed ‘Kuss & Co. / Newcastle on Tyne’, movement signature including ‘Collingwood St.’, 18 carat gold plain case and cuvette hallmarked for Alfred Bedford for the Waltham Watch Co., Chester, 1889, 4cm diameter; together with a gold Albert chain, maker’s mark JC&S, Birmingham, 1906, of fixed elongated links articulated with jump rings, with Albert and spring ring clasps, 9 carat gold, 35cm long (2)

657 A SILVER OFFICER’S TRENCH WATCH, SWISS, CIRCA 1915 half hunting cased, the top cover with enamel Arabic numerals around the convex glass springing open by a pushpiece between the lower lugs to a frosted silvered dial with luminescent painted Arabic numerals, subsidiary seconds dial and poire squelette hands, case import marked for Stockwell & Co., London, 1915 and numbered three times 8224, with later leather strap 3.5cm diameter

£600-900

£150-250 225

658 CORUM, BUCKINGHAM: A GENTLEMAN’S GOLD WRISTWATCH, SWISS, CIRCA 1975 oblong, manual wind movement, the dial with Roman numerals on a bronze damask ground, engine-turned bezel, snap-on case back inscribed ‘G.G / 10.7.76’, signed to dial, case and movement, 18 carat gold Swiss marks, with its original ‘Corum’ leather strap with its gilt-metal pin buckle, with original case and ‘Asprey’ card box case 3.5 x 3.2cm £800-1200

658

659 659 CARTIER, CEINTURE: A GOLD WRISTWATCH, 1970s manual wind movement, the white enamel (crazed) dial with Roman numerals signed ‘CARTIER’ and ‘PARIS’, canted square case, octagonal crown, with original leather strap with with gold folding buckle, signed to movement, case, strap and buckle, Swiss assay marks case 2.7cm £1200-1800 660 JAEGER LECOULTRE, REVERSO CLASSIC: A GOLD WRISTWATCH, SWISS, 1980s quartz movement, signed champagne dial with applied hour batons and minute dots, plain reverse to classic with reeded rims, JLC crown, signed to movement, dial and case, case numbered Q / 140 105 1 / 1606459, with associated Omega leather strap, with signed leather travelling case and card box case 23cm wide £1200-1800

226

660

661, part

662, part

663 661 GOLD CHARM BRACELET the oval open work textured links suspending charms comprising: a silver Napoleon 111 20 centime piece, dated 1867; a naked baby elf charm; a fish charm (broken) and a watch key with rose diamond decoration, bracelet 185mm approximately, 12.9gr; together with another similarly designed gold bracelet, 195mm approximately, weighing 6.4gr, and a cultured pearl necklace of graduating pearls with broken clasp (3) £250-300 662 GOLD CHAIN BRACELET, FRENCH of articulated curb links, assay marks, length approximately 170mm, 8.5 gr;together with a gilt bracelet of articulated engraved and plain links length approximately 190mm (2) £250-300 663 GOLD CHARM BRACELET, FRENCH, 1930s the bridle link bracelet with assay marks and incomplete makers mark *M suspending eight charms: lighter with an enamelled heart flame; number plate with 13.X111, assay mark; an ace of diamonds playing card with red enamel decoration (damaged), assay mark ; a chick and egg, assay mark, bulldog with black enamel detail, indistinct makers mark; a key and heart padlock; a Sagitarian archer makers mark and a key assay mark length approximately 192mm, 14.8gr

664

664 FIVE GOLD PENDANT CHARMS, 1930s the charms comprising; pelican with 13 enamelled in black and white, assay mark; pram with heart decorated in red enamel, assay mark; bunch of four keys with the numbers 1937 as the key heads, assay mark; dog with ruby eyes and a white gold snail with ruby eyes, assay mark; French horn; together with a diamond and ruby ring, 1920s, of open work plaque design set with two central circular diamonds, size N 1/2 (6) £300-400

£600-800 227

665 TEXTURED WIDE BRACELET, SPANISH, 1960s designed as a flexible mesh ribbon, JPML maker’s mark and Spanish assay mark length approximately 193mm £3000-4000 666 ~ CORAL BROOCH, ITALIAN, MID 19TH CENTURY probably carved in Torre del Greco as a domed cluster of carved fruit and flowers length approximately 470mm £150-250 667 SEED PEARL BROOCH, 1840s of tied ribbon design with graduated tassel ties length 48mm approximately £100-200 668 GOLD CHAIN, EARLY 19TH CENTURY each circular link decorated with scalloped and bead decoration secured by a hand of ‘fides’ clasp wearing a ring set with a square shaped emerald length 425mm approximately, 38.3gr £1000-1500 669 GOLD AND PASTE SERPENT RING, LATE 19TH CENTURY the oval cabochon deep pink paste within an entwined serpent surround shank damaged, size H 1/2 £200-300 670 ~ COLLECTION OF ANTIQUE PASTE comprising: pendant suspending a circular portrait of a baby on ivory within a foliate frame decorated with paste, 1900s, fitted case J A Haskell, Ipswich; paste floral and foliate stomacher, 1880s, with brooch fitting and hook fittings, diameter 65mm approximately (3 stones deficient); pair of paste foliate buttons, 1840s composite, mounted as brooches; pair of foiled paste oval buckles, 1850s; pair of rectangular foliate buckle slides with an associated slide, 1900s, makers mark VBc; pair of pendent earrings; three stone paste ring with millegrain settings, size L; and two stone paste ring with border, size Q 1/2 (13) £350-450 228

671 AGATE AND DIAMOND BAR BROOCH, 1860s designed as three oval hardstone cameos depicting classical profiles, with glazed reverses, set with circular diamonds inbetween, gold setting; together with a gold double bar brooch, 1860s with granulation texturing and pointed bud terminals; and an openwork cultured pearl and rose diamond bar brooch, 1900s lengths approximately 40mm, 50mm and 44mm respectively (3) £300-400 672 LADY’S ENAMELLED GOLD AND DIAMOND FOB WATCH, LATE 19TH CENTURY hunting cased, decorated with enamelled floral, foliate and scroll motifs accented with rose diamonds, opening to reveal a white dial measuring 20mm approximately with black Arabic numerals and scrolled gold hands, French provincial assay marks £400-600 673 DIAMOND RING, EARLY 19TH CENTURY designed as two rows of foiled circular and cushion shaped diamonds in cut down claw and collet settings and a partially reeded shank, associated red leather box with broken hinge and silk lining size N £800-1200

666

667

668

669

673

671, part

670, part

672

229

676 ‘ODEONESQUE’ GOLD DRESS RING, FRENCH, 1940s designed as a stylised bow, French assay marks for 18 carat gold and makers mark LL size U 1/2, 11.6gr £300-400

674

675

677 PAIR OF GOLD CUFFLINKS, CIRCA 1967 each textured square with baton and swivel fittings, London hallmarks for 9 carat gold, 1967, makers mark Kv 13.3 grs, together with a quartz pendant, 1960s, inlaid with a gold matrix £200-300

678

679 674 GARNET AND SMOKY QUARTZ NECKLACE designed as alternating stone beads connected by a chain link length approximately 630mm

678 DIAMOND LINE BRACELET designed as a row of articulated brilliant-cut diamonds length approximately 150mm £200-300

£400-600

230

675 DYED GREEN AGATE AND PEARL NECKLACE designed as alternating stone beads connected by a chain link length approximately 630mm

679 GOLD CHAIN BRACELET, FRENCH designed as a row of articulated rope links (one link repaired) makers mark LL and French 18 carat assay marks length 230mm approximately, 33.2gr

£350-450

£700-1000

680 KNOT EARRINGS, ILIAS LALAOUNIS, 1970s formed as a double strand overhand knot, one strand reeded, the other plain burnished, with clip-on fittings, stamped with Lalaounis monogram, ‘GREECE’, ‘Ã12’ and ‘750’ £600-800

681 DIAMOND RING claw set with a cushion shaped diamond, in associated gilt-tooled blue leather box from Collingwood & Co, London size M 1/2 £800-1200

682 RUBY AND DIAMOND FIVE STONE RING set to the centre with an oval ruby with cushion shaped diamonds and an oval ruby on either side, makers mark SR & SI D size O 1/2 £300-400

683 DIAMOND RING, 1920s the Art Deco ring set with a circular diamond in a pierced scroll and millegrain mount between calibrécut graduated synthetic sapphire shoulders size M £3000-4000

684 DIAMOND RING mounted with a central marquise diamond between shoulders set with baguette diamonds and single cut stones size M £2000-3000

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685 RUBY AND DIAMOND BROOCH, KUTCHINSKY, 1970s designed as a cockatoo perched on a branch, the head pavé-set with brilliant-cut diamonds and a circular ruby eye, the breast similarly set with oval and circular rubies, 18 carat gold London hallmarks for 1970 93mm long £6000-8000

232

686 DIAMOND, TURQUOISE AND BLISTER PEARL PENDANT, 1900s the oval blister pearl measuring 15.9mm x 13.5mm approximately within a border of circular turquoise suspended from an articulated rose and cushion-shaped diamond foliate surmount with pearl accents, in a fitted gilt-tooled leather case gilt stamped for John Byrne & Son Ltd, Diamond Merchants, 10 Bond St Liverpool & 83 Hatton Garden London length 65mm approximately including bale £800-1200

687 PEARL AND DIAMOND RING the central yellow pearl measuring 6.5mmx5.5mm approximately set between cushion shaped diamonds and pearls size L Accompanied by a certificate from The Gem & Pearl Laboratory numbered 20596, stating that the three pearls are of natural saltwater origin £300-500 688 DIAMOND AND PEARL CHOKER the central openwork plaque decorated with a ribbon tied bouquet set with rose diamonds and cultured pearls between foliate slides similarly set mounted on a velvet ribbon £400-600

686

688 233

689 SEED PEARL TORSADE NECKLACE, 19TH CENTURY the seven rows of seed pearls (one missing) on a square gold clasp with faceted garnet and seed pearl decoration, in a probably associated gilt-tooled leather case gilt stamped for Carl Thomass of Munich length 390mm approximately £250-300

690 GARNET RING, LATE 19TH CENTURY the cushion shaped hessonite garnet mounted between engraved buckle motif shoulders size L 1/2 £300-500 691 LONG AMBER NECKLACE the row of thirty one large spherical, oval or bun-shaped beads, measuring from 30.4mm to 5.4mm approximately, knotted between fifty-nine spacer discs length 97cm approximately Purchased from Sac Frères in Old Bond Street, London Accompanied by a certificate from The Gem & Pearl Laboratory numbered 20573, dated 15 October 2021, stating that the beads are natural amber. £1200-1800 234

693

694

692 MULTI COLOURED GEMSTONE LONG CHAIN NECKLACE the silver chain spectacle set with cabochon varieties of quartz, amethyst, moonstone and carnelian length approximately 1880mm £250-350 693 GARNET NECKLACE designed as a graduated length of articulated collet set oval garnets length approximately 440mm £700-900

692

694 SAPPHIRE NECKLACE designed as a row of collet-set oval and pear shaped sapphires length approximately 455mm £500-700

End of Sale Next Sale 25th May 2022 Closing for entries by end of March

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Conditions of Business for Buyers 1. Introduction (a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers; (iii) The Auctioneers Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement. (b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot.

2. Definitions “Bidder” is any person making, attempting or considering making a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent, or executors; “Auctioneers” Thomas Del Mar Ltd, Matthew Barton Ltd and 25 Blythe Road Ltd trading as Olympia Auctions. For other auctioneer’s at 25 Blythe Road, such as Charles Miller Ltd, please see their website for their Conditions of Business “Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3. Examination of Lots (a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion.

4.Exclusions and limitations of liability to Buyers (a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee. (b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for

Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller.

5. Bidding at Auction (a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained). (b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6. Import, Export and Copyright Restrictions (a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES). (b) Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such.

7. Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

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8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction.

Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers.

9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise one or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days' written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings 10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer's expense and risk at the Auctioneers premises or in independent storage (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

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11. Data Protection Privacy Policy (a) What is the legal basis on which the Auctioneers rely to process your data?

On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events).

On other occasions, the Auctioneers processes your data when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction).

The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms. (i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law. (ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11 (a) (i) (b) Who gets to see your personal data?

The Auctioneers and other auctioneer’s at Olympia Auctions, such as Charles Miller Ltd. The Ltd company that initially receives your data will process it. Your data may also be transferred to and processed by other companies within the group of Auctioneers.

The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers.

Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services.

Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct antimoney laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law. (c) How long will the Auctioneers keep your personal data?

The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims.

In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest.

What steps do the Auctioneers take to keep your personal data secure?

The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise.

The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access.

As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data. (d) Third party websites The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us will not be transmitted to other websites, but these other websites

may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites. (e) Your data You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above.

How can I access the information you hold about me?

You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers.

The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect. (f) Complaints If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers.

12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers. (b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

Authenticity Guarantee If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price.

The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in the Auctioneers reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property.

Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating).

Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive

or impractical; or likely to have caused damage to or loss in value to the Property (in the Auctioneers reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this Guarantee, the Buyer must:(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

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Matthew Barton Ltd European & Asian Works of Art Date: 24/11/2021

ABSENTEE BID FORM

Code: KRESS Please mail, fax or scan and email to: Matthew Barton Ltd 25 Blythe Road London W14 0PD Fax +44 (0) 20 7806 5546 Email: enquiries@matthewbartonltd.com

Name Address

Important Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.

I agree to be bound by Matthew Barton Ltd’s Conditions of Business.

If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.

Methods of Payment Matthew Barton Ltd welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG

Debit Card We are pleased to accept UK debit cards. Please note that we do not accept credit cards.

Sterling Bankers Draft Drawn on a recognised UK bank.

Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank.

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Postcode Telephone Alternative Telephone Email

Signed

staff initials

p

Date

Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address.

Lot No

IBAN No: GB90HBUK40190491814001 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 91814001 Account Name: Matthew Barton Ltd

For Office Use Only: date and time received

(pleaseprintor type)

Lot Description

£ Cover Bid

Matthew Barton Ltd Olympia Auctions, 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Email: enquiries@matthewbartonltd.com www.olympiaauctions.com