Chiswick-Auctions-Fine-European-Works-of-Art-&-Clocks-Sept-2018

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Fine European Works of Art & Clocks 12 September 2018

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Fine European Works of Art & Clocks Including the David Redman Collection London 12th September 2018

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Fine European Works of Art & Clocks Including the David Redman Collection

Wednesday 12th September 2018, 14.00

VIEWING AT CHISWICK full sale Friday Saturday Sunday Monday Tuesday Wednesday

7 September 8 September 9 September 10 September 11 September 12 September

12.00 - 18.00 11.00 - 17.00 11.00 - 17.00 10.00 - 18.00 10.00 - 18.00 10.00 - 14.00

PHOTOGRAPHERS GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk 1 Colville Road, London W3 8BL 127 Fulham Road, London SW3 6RT

Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Basak Ulukose Front cover: Lot 157 Back cover: Part of the David Redman Collection

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SPECIALIST

Rachael Osborn-Howard Head of Department Fine European Works of Art & Clocks rachael@chiswickauctions.co.uk

BUYER’S PREMIUM The buyer shall pay Chiswick Auctions Ltd a premium on the hammer price of 25% plus VAT on that commission.

TELEPHONE BIDDING Please note that requests for telephone bids should be submitted no later than 5pm on the day prior to the sale.

LIVE BIDDING

the-saleroom.com Please note there is a 3% +VAT surcharge for using this service.

invaluable.co.uk Please note there is a 5% +VAT surcharge for using this service.

IMPORTANT INFORMATION CITES

Some lots will require Export or Cites Licences in order to leave the UK or the European Union. It is the buyer’s responsibility to ensure that lots have the relevant licences before shipping them. Please contact the department for assistance. Please be aware that all lots marked with the symbol ƀ are subject to CITES regulations.

Please see our Terms & Conditions for more information.

CONDITION OF LOTS

Please note any comments on the clock movements do not constitute a full condition report and are for general guidance only, the absence of any such comments is not an indication that the movement is in poor condition.

Prospective buyers must satisfy themselves as to the condition of all lots.

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The David Redman Collection

A graduate of Staffordshire University with a BA (Hons) in design history, David Redman has enjoyed a remarkable career in designing jewellery and glass for the luxury goods market.

David has established an international reputation within the industry and retail sector and is cited in numerous books on glass design. An innovative designer, particularity in the development of coloured glass, David views design as a collaboration between designer and craftsman, and this profoundly influences his design philosophy.

David started his career at a Bond Street jeweller and silversmith; but left in 1987 to set up his own company, designing gold, silver-gilt and enamel cufflinks for high-end retailers and international brands such as Armani, Bulgari and Tiffany. In 2005, David Redman Limited was launched. The firm designs and develops crystal products for the luxury market, and is sold at only the most exclusive of retailers. The business has built successful collaborative relationships with its clients who include Mappin & Webb, Asprey & Garrard, Linley and Penhaligon’s. David Redman Limited believes in designing and developing iconic pieces for the discerning consumer using both traditional and modern techniques of artisanship. They combine the craft of the silversmith and the skill of the glassmakers to create the David Redman Collection, and it is this approach to mixing superior materials which differentiates their collection. As well as David’s own collection of works of art, three David Redman drinking sets are offered in the sale, all handmade, crafted with mouth-blown glass and hand cut, with sterling silver mounts. David’s highly developed aesthetic taste and appreciation of quality workmanship is evident in the fine antiques and works of art that he chose to furnish his home. With an emphasis on French Louis XV and Louis XVI style pieces, his interiors exuded a sense of refined elegance with a touch of opulence to create a unique modern style.

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part of lot 1

1 A DAVID REDMAN ‘EMERALD GREEN’ CUT CRYSTAL GLASS AND STERLING SILVER MOUNTED COCKTAIL SET in the Art Deco style, the glass and silver mounts hand made, comprising a ‘Tanqueray 10’ cocktail shaker with faceted, tapering body and silver lid, a cocktail jug with silver lid, six Martini glasses and six tumbler glasses, together with an oval silver plated tray with a pair of outswept handles cast with laurel leaves, the tray 65cm wide £600-£800

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2 A PAIR OF LATE 19TH CENTURY SEVRES STYLE PORCELAIN ‘JEWELLED’ DECANTERS / BOTTLES of rectangular form with faceted stoppers, the bleu de roi grounds heightened with gilt borders and jewelled decoration, with white jewelled initials for Marie Antoinette and Louis XVI beneath a crown, 16.5cm high (2) £600-£800

The movement is winding, ticking and striking but not fully tested or guaranteed. £700-£1,000

3 A PAIR OF 19TH CENTURY COPELAND PORCELAIN VASES DEPICTING HARBOUR AND LAKE SCENES both of ovoid form with gilt satyr mask handles and narrow necks over spreading cylindrical socles and square plinth bases, signed ‘COPELAND’ to the undersides, the turquoise bodies decorated with borders of gilt anthemions, the bodies with a continuous band depicting Mount Vesuvius emitting smoke, another mountain, a lake, trees and various figures, the other depicting a harbour scene with workers on the docks and boats, 24cm high (2) £300-£500 4 A FINE PAIR OF LATE 18TH / 19TH CENTURY FRENCH LOUIS XVI STYLE WHITE MARBLE AND GILT BRONZE CANDELABRA each in the form of a baluster vase, the handles in the form of cockerel heads, each holding a pear shaped drop in its beak, supporting fruiting swags, each issuing three branches modelled as roses, on lappet cast socles over square bases with beaded and entwined foliage mounts, over toupie feet, 52cm high (2) For a near identical pair of candelabra, raised on slightly different bases, see Sotheby’s, London, 21st March 2007, lot 281, £26,400. £1,500-£2,000 5 AN EARLY 20TH CENTURY FRENCH LOUIS XVI STYLE WHITE MARBLE AND GILT BRONZE MOUNTED MANTEL CLOCK RETAILED BY CHARLES FRODSHAM, LONDON of architectural form, the plinth case surmounted by a twin handled urn and flanked by a pair of fluted pilasters, the white enamelled dial with Roman numerals and Arabic five minute markers, signed ‘Chas.

Frodsham 115 New Bond Street London W1 No. 20697’, the twin train movement stamped ‘Samuel Marti MEDAILLE D’OR 1900’, striking on a bell, with pendulum, 37.5cm high 6

6 A FINE LATE 19TH CENTURY FRENCH KINGWOOD, MAHOGANY AND FRUITWOOD MARQUETY AND GILT BRONZE MOUNTED BONHEUR DU JOUR the superstructure with pierced gallery top, enclosing two small cupboards each with a shelf centred by two drawers, the top with outswept angles and Greek Key border ormolu mount, over a guilloche pierced border, the four canted corners with rams mask mounts over acanthus wrapped, hoof feet, the legs centred by a shaped shelf, the whole (including the back) inlaid with decorative marquetry depicting classical style vases, urns, baskets of flowers and piles of books, 96cm high x 86cm wide x 53cm deep £3,000-£5,000 7 A SET OF SIX 19TH CENTURY FRENCH WALNUT AND PURPLE UPHOLSTERED CHAIRS all on cabriole legs, comprising four dining chairs and a pair of armchairs / bergeres, carved with shell and foliage cresting, with recent purple velvet upholstery, the armchairs with stylised foliage upholstery, (6) £800-£1,200 8 A DAVID REDMAN ‘AMETHYST’ CUT CRYSTAL GLASS AND STERLING SILVER MOUNTED COCKTAIL SET in the Art Deco style, the glass and silver mounts hand made, comprising a cocktail shaker with ringed, tapering body, a matching decanter with faceted stopper and silver collar, six cocktail (Martini) glasses and a pair of tumblers, together with a silver plated tray by Elkington & Co., of shaped, scallop-edged form with gadrooned border, raised on four scrolling and anthemion cast feet, the underside stamped ‘17391 E&Co. ELKINGTON PLATE’, and marked ‘Z’, the tray 41cm wide, the cocktail shaker 21cm high (11) £600-£800

*See page 3 for information regarding fees

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*See page 3 for information regarding fees

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9 A PAIR OF EARLY 20TH CENTURY BRASS, CUT AND MOULDED GLASS LUSTRE CANDELABRA raised on stepped, shaped bases with rings stems issuing four scrolling branches with petal shaped drip pans and urn shaped nozzles, below four tiers of branches issuing faceted pear shaped pendants and flower head drops, with glass knopped and faceted stems, 57cm high (2) £600-£800

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10 A FINE LATE 19TH / EARLY 20TH CENTURY FRENCH KINGWOOD, SATINWOOD STRUNG, GILT BRONZE MOUNTED AND MARBLE TOPPED FULLY OPENING DRINKS CABINET with re-entrant cut outswept corners and canted, fluted angles, over four tapering legs, with floral and foliate ormolu mounts, the front and back with faux drawer fronts, the front, back and both sides with hinged fall fronts opening to reveal the mirrored glass interior, with a Breche d’Alep marble top, 82cm high x 77cm wide x 48cm deep £1,000-£1,500 11 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD MAHOGANY AND GILT BRONZE MOUNTED SECRETAIRE A ABBATANT of inverted breakfront form, with a pair of free-standing columns to the front centred by a gilt bronze mount of a trophy within a laurel wreath flanked by roses, the fall front over three long drawers, enclosing a fitted interior with pigeon-holes and four drawers, 123cm high x 102cm wide x 59cm deep £500-£800

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12 A THIRD QUARTER 19TH CENTURY FRENCH EBONISED AND CUT BRASS MOUNTED DISPLAY CABINET IN THE BOULLE STYLE with a pair of arched, glazed cupboard doors enclosing two velvet covered shelves, flanked by shell and trellis work mounts, 110cm high x 120cm wide x 31cm deep £500-£800 13 A LATE 19TH CENTURY FRENCH EBONISED, MARQUETRY INLAID AND GILT BRONZE MOUNTED SERPENTINE SIDE CABINET fitted with a shallow drawer over the door with floral marquetry inlay, opening to reveal a single shelf, with egg and dart borders and black marble top, 118cm high x 97cm wide x 52cm deep £200-£300

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14 MAISON MILLET: A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN FLORAL CANDELABRA in the Louis XVI style, the maroon glazed baluster urn bodies with satyr mask handles hung with ribbon-tied, floral garlands, each issuing five candle branches modelled as rose stems with rose buds, raised on stiff-leaf cast socles with leaf and berry borders over reentrant cut, white marble bases, each signed to the circular foot ‘MILLET’, 51cm high (2) For footnote please see www.chiswickauctions.co.uk £3,000-£5,000 15 A SET OF FOUR LOUIS XVI STYLE BRONZE AND CUT GLASS LUSTRE CANDELABRA LAMP BASES each with a fluted baluster glass stem supporting the central spire cut glass finial and issuing two tiers of faceted, shaped drops hung from short chains of prismatic drops, over the six bronze branches with petal shaped drip pans and urns shaped nozzles, raised on lappet cast, circular feet, fitted for electricity, 68cm high (2) £1,200-£1,800 16 A LATE 19TH CENTURY FRENCH GILTWOOD AND GESSO WALL MIRROR the ribbon-tied rose and foliate cresting over the shaped bevelled rectangular plate, the frame with spirally turned bead and acanthus leaf border, 165cm high x 100cm wide £1,000-£1,500 17 ATTRIBUTED TO PAUL SORMANI (1817-1877): A FINE LOUIS XVI STYLE GILT BRONZE MOUNTED MARBLE URN AFTER THE MODEL BY PIERRE GOUTHIERE in the form of a cassolette, the squat body with domed fixed cover and mounted with a pair of figures of mermaids holding garlands, raised on a spreading cylindrical socle with foliate and ribbon mount, over a re-entrant cut, square plinth base, later drilled for electricity, 34cm high (excluding later fitment) 10

This ornate urn is a direct copy of an urn cassolette made by Pierre Gouthiere for the Duc d’Aumont in 1775. Gouthiere’s urn grew in fame throughout the late 18th century after it was purchased by King Louis XVI in 1782, and by 1793 the piece was placed in the Louvre. During the first quarter of the 19th century it was in the Tuilleries Palace before being moved to the State Apartments in 1826.

Paul Sormani is known to have produced a number of copies of this 18th century urn, and although unsigned, the quality of the gilt bronze mounts of the present example, with their fine chasing indicate that this urn was produced by a Parisian bronzier of the highest calibre. Sormani’s exhibit at the Paris Exposition Universelle of 1867 was described in the catalogue as ‘toute sa production révèle une qualité d’exécution de tout premier ordre’ (all of his production reveals a quality of execution all of the first order’). Sormani exhibited at most of the International Exhibitions, including the London 1862 exhibition and the Exposition Universelle in Paris in 1849, 1855, 1867, 1878, 1900. £2,000-£3,000 18 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE CANDELABRA IN THE MANNER OF MEISSONIER the baluster stems cast with cartouches and issuine three scrolling, foliate branches terminating in leafy collars and asymmetric nozzles, each centred by a sprig of lilies, raised on circular bases decorated with rocailles, C scrolls and butterflies and bees, 45cm high (2) £500-£800 19 AN EARLY 19TH CENTURY FRENCH ROSEWOOD, TULIPWOOD, GILT BRONZE MOUNTED AND MARBLE TOPPED SERPENTINE CHEST OF DRAWERS with two short and three long drawers, with Rococo style scrolling handles decorated with C scrolls and rocailles, with pierced escutcheons, the front legs with cartouche and acanthus cast mounts, 87cm high x 123.5cm wide x 57cm deep £2,000-£3,000

*See page 3 for information regarding fees

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21 20 FERDINAND BARBEDIENNE: A FINE PAIR OF MID 19TH CENTURY NEO-GREC GILT AND PATINATED BRONZE AND ROUGE GRIOTTE MARBLE CANDELABRA AFTER THE MODEL BY HENRY CAHIEUX the bodies modelled as fluted urns with a border of scrolling gilt vines, with a pair of handles modelled with Bacchic masks, issuing six foliate branches terminating in urn shaped nozzles centred by a gilt bronze model of a stork, the circular feet signed ‘F. BARBEDIENNE’, over stepped, square marble bases and gilt paw feet, 78cm high (2)

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These fine candelabra are of very similar form to a pair offered at Christie’s, London, 20 March 2003 lot 25. The design for the Christie’s pair is illustrated in the 1855 Paris Great Exhibition Catalogue, p.40, together with another vase, where it is stated that ‘The two vases (...) selected from many exquisite and beautiful decorative works in bronze from the atelier of Messrs. Barbedienne & Cie, of Paris; they are formed, and ornamented, on the best models of the ancient Greeks’.

The present pair of vase candelabra have different handles but are otherwise directly comparable. £3,500-£4,500 21 A PAIR OF LATE 19TH CENTURY FRENCH WHITE MARBLE AND GILT BRONZE CANDELABRA in the Louis XVI style, the urn shaped bodies decorated with lambrequin borders, floral garlands and geometric handles, each issuing four spirally turned branches centred by a fifth, raised on spreading socles over faceted bases and toupie feet, 58cm high (2) £600-£800 22 A LARGE PAIR OF LOUIS XVI STYLE PORCELAIN AND ORMOLU MOUNTED VASES of baluster form, the green glazed ceramic bodies mounted with geometric handles hung with garlands, raised on circular bases cast with laurel leaves, 70cm high (2) £800-£1,200

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23 A PAIR OF AMBOYNA, FRUITWOOD MARQUETRY, EBONISED AND SATINWOOD STRUNG GUERIDONS WITH EDWARDS & ROBERTS LABEL of circular form with a pierced brass gallery and lambrequin cast border, inlaid with marquetry to one of the tops depicting a musical trophy, the other with later ebonised top, both with a shelf below decorated with a floral swag, each on three scrolling legs, with paper label to underside inscribed ‘EDWARDS & ROBERTS WARDOUR ST LONDON’, 76cm high x 42cm diameter (2) £400-£600 *See page 3 for information regarding fees

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24 25 24 A LATE 19TH CENTURY FRENCH MAHOGANY AND BRASS MOUNTED BOOKCASE the glazed panelled door enclosing shelves, with fluted mouldings on tapering feet, 196cm high x 98cm wide x 35cm deep £700-£1,000 25 A LARGE FRENCH EMPIRE PERIOD MAHOGANY AND GILT BRONZE MOUNTED PIER GLASS / WALL MIRROR the inverted breakfront pediment with central gilt bronze mount depicting winged maidens holding floral garlands centred by anthemion, flanked by a pair of Orientalist sitar players, 185cm high x 106cm wide £800-£1,200 26 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE, CHAMPLEVE ENAMEL AND MALACHITE URNS modelled as pavillions with domed tops raised on four knopped free standing columns over the square bases, 34cm high (2)

27 A 19TH CENTURY FRENCH LOUIS XVI STYLE MAHOGANY AND GILT BRONZE MOUNTED CYLINDER BUREAU with Griotte marble top and pierced gallery, the superstructure with three drawers and three pigeonholes, over the cylinder top enclosing a red velvet covered sliding writing surface, over three fluted, tapering legs, 110cm high x 80cm wide x 49cm deep £800-£1,200 28 A DAVID REDMAN ‘JET’ CUT CRYSTAL GLASS AND STERLING SILVER MOUNTED COCKTAIL SET in the Art Deco style, the glass and silver mounts hand made, comprising a cocktail shaker with ribbed tapering body, a matching decanter, six cocktail (Martini) glasses and a pair of tumblers, together with a silver plated tray by Walker & Hall, of rounded rectangular form with gadrooned border and a pair of conforming handles to each end, stamped ‘WALKER & HALL SHEFFIELD’ to the underside, the tray 71cm wide (11) £600-£800

Provenance: Purchased from Christie’s, London, 10 September 2013, lot 53, £6,250. £3,000-£5,000 14

*See page 3 for information regarding fees

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29 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE CANDELABRA IN THE ROCOCO STYLE the ornate stems cast with fruit and foliage, C scrolls and rocailles, each issuing three scrolling, acanthus wrapped branches terminating in urn shaped nozzles and centred by a sprig of lilies, raised on asymmetric bases, 39cm high (2) £500-£800

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30 A PAIR OF MID 19TH CENTURY FRENCH LOUIS XVI STYLE GILT BRONZE CANDLESTICKS with acanthus wrapped baluster stems supporting the reeded urn shaped nozzles, over lapped and guilloche cast circular bases, 24cm high (2) £300-£500 31 A PAIR OF LATE 19TH CENTURY FRENCH LOUIS XVI STYLE GILT BRONZE CHENETS modelled as swagged urns surmounted by fruiting finials, on shaped bases with ribbon-tied portraits of a classical couple, the andiron supports with laurel and berry border, 33cm high x 32cm deep (2) £500-£800 32 A LARGE 19TH CENTURY FRENCH GILTWOOD AND GESSO WALL MIRROR of rectangular form with scallop shell cresting and shaped rectangular plate, decorated with floral garlands, 220cm high x 130cm wide £1,200-£1,800

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33 A FINE 19TH CENTURY FRENCH ‘GRAND ANTIQUE NOIR DES PYRENEES’ MARBLE AND GILT BRONZE MOUNTED URN in the Rococo style, the fixed cover surmounted by a leafy and berry finial, flanked by a pair of scrolling, acanthus wrapped handles, the vase raised on four foliate scroll feet over a shaped cruciform base, 48cm high £3,000-£5,000 34 TWO FRENCH LOUIS XVI STYLE GILT BRASS AND TOLE PEINTRE BOUILLOTTE LAMPS the first with oval, foliate pierced dish base, with a pair of circular scrollling branches and adjustable green and gilt decorated shade, the second with pierced circular basket base and three acanthus wrapped branches, with similar adjustable shade, both fitted for electricity, 69cm and 66cm high respectively (2) £300-£500

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*See page 3 for information regarding fees

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35 A PAIR OF PORTA ROMANA GLASS LAMP BASES of stylised scrolling form, the bases of clear glass with bubbles supporting the purple glass bodies with swagged line decoration, with matching shades, fitted for electricity, 65cm high including shades (2) £400-£600 36 ATTRIBUTED TO FRANCOIS LINKE: A NEAR PAIR OF LATE 19TH / EARLY 20TH CENTURY GILT BRONZE MOUNTED ROSEWOOD AND PARQUETRY ENVELOPE CARD TABLES, INDEX NO. 449 in the Louis XVI style, with cube parquetry inlay to the hinged tops enclosing gilt tooled baize lined playing surfaces, each with a single frieze drawer with ormolu mounts, over stop-fluted tapering legs terminating in toupie feet, unextended 83cm wide x 83cm deep x 74.5cm high (2) A similar table a jeux version of the present lot, index number 449, Circa 1897, sold Sotheby's, New York, "A Private Collection, Volume I", October 26, 2006, lot 224.

Provenance: One of the tables was the property of Sir John Jackson (1851-1919) thence by descent, until sold at Bonhams, London in 2013.

Sir John Jackson was trained as an engineer and was responsible for several important constructions including the docks of Middlesbrough and Hartlepool, the Manchester Ship Canal and the

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foundations of Tower Bridge. He received a knighthood in 1895 for these and other achievements and became a M.P. for Devonport in 1910. He owned a property in Belgrave Square, London, and this table may we have been purchased for this grand house. £7,000-£10,000 37 A LATE 19TH CENTURY FRENCH ENGRAVED ORMOLU MUSIC BOX BY BOISSIER A PARIS in the mid 18th century style, the shaped box set with an oval panel to the lid decorated with a floral spray, the sides with velvet lined, glazed oval apertures, on four ball feet, with a music box movement fitted to the inside, covered with a later red velvet lining, the inside edge of the box signed ‘Boissier a Paris’, 10cm high x 14cm wide The music box is working but may require some attention. £400-£600 38 A MARIE THERESE STYLE GILT BRASS, CLEAR AND AMETHYST GLASS SIX LIGHT CHANDELIER the birdcage frame with scrolling branches terminating in petal shaped drip pans, the glass ringed and knopped stem with two tiers of chains above, hung and strung with pear shaped drops, spheres and chains of beaded drops, with a faceted ball boss below, fitted for electricity, 58cm drop £300-£500

*See page 3 for information regarding fees

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39 A FINE LATE 19TH CENTURY KINGWOOD, CUBE PARQUETRY AND GILT BRONZE MOUNTED TABLE DE MILIEU IN THE MANNER OF FRANCOIS LINKE the centre table on sabre legs headed by foliate chutes, the front and back frieze with cube parquetry decoration centred by an ormolu mount of Bacchic putto flanked by urns of flowers, the ends with ribbon-tied cartouche mounts, fitted with two short frieze drawers, 73cm high x 114cm wide x 62cm deep The distinctive mount featured on this table which depicts a pair of Bacchic putti, one facing each way and supporting a third between them, can be found on numerous pieces of furniture signed by and attributed to Linke. For example see lot 36, Bonhams, London 25 April 2018. £1,500-£2,000 40 MAISON KRIEGER, PARIS: A LATE 19TH CENTURY ROSEWOOD, EBONISED AND MARQUETRY DRESSING MIRROR the scrolling mirror frame with foliate and floral cresting flanked by shaped shelves with mirrored backs to either side of a pair of drawers, the reverse signed ‘Mson KRIEGER MEUBLES & TAPISSERIES PARIS’, 102cm high x 122cm wide x 30cm deep

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Maison Krieger were a Parisian firm whose name was associated with excellence in the design and manufacture of furniture and mirrors, particularly in the 18th century style. Antoine Krieger founded the firm with his brother Nicolas in 1826, and by the late 19th century they were exhibiting regularly at the international exhibitions including the 1900 Paris Exposition Universelle. £400-£600 41 A LATE 19TH CENTURY FRENCH MAHOGANY, CUBE PARQUETRY, GILT BRONZE MOUNTED AND MARBLE TOPPED BEDSIDE CABINET with canted front angles and acanthus leaf mounts, fitted with a frieze drawer, with a second drawer to the base, with a grey veined, white marble top, 81cm high x 41cm wide x 39.5cm deep £200-£300

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42 A PAIR OF LATE 19TH CENTURY FRENCH BRONZE CANDELABRA IN THE NEO-GREC STYLE the bodies modelled as twin handled urns cast with waterlilies issuing five branches with floral nozzles centred by a short straight fifth, raised on black and Verde Antico marble waisted cylindrical plinths, 60cm high (2) £400-£600 43 A CANADIAN TWELVE SKIN COYOTE FUR RUG / THROW £200-£300

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44 A LATE 19TH CENTURY FRENCH LOUIS XVI STYLE GILTWOOD AND GESSO OCCASIONAL TABLE on tapering fluted and acanthus wrapped legs with an X frame stretcher surmounted by a basket with a pair of doves, with a pink upholstered inset top with glass over, 75cm high x 72cm wide x 48cm deep £600-£800

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45 A LATE 19TH CENTURY FRENCH ROSEWOOD, MARQUETRY INLAID AND SATINWOOD STRUNG SERPENTINE CARD TABLE the top inlaid with a floral spray flanked by acanthus leaves and shell motifs opening to reveal the swivelling, gilt tooled leather and baize lined gaming surface, on cabriole legs, 78cm high, 88cm wide, 43cm deep, 87cm deep when opened £300-£500 46 A MID 19TH CENTURY FRENCH EBONISED, GILT BRONZE MOUNTED AND CUT BRASS INLAID CENTRE TABLE in the late 17th century style, the top inlaid with a cut brass design of a flaming torch, quiver of arrows and a dove, with a single drawer over a shaped X frame stretcher surmounted by a swagged urn, 76cm high x 115cm wide x 64cm deep £300-£500

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47 A PAIR OF LATE 19TH CENTURY GILT AND PATINATED BRONZE AND BLACK MARBLE CANDELABRA in the Neo-Grec style, the cluster column shafts over the triform bases cast with three scrolling feet over a gilt shaped triangular plinth decorated with cartouches, each issuing three foliate scrolling branches terminating in urn shaped nozzles and centred by a short fourth branch, 58cm high (2) £800-£1,200 48 AN EARLY 20TH CENTURY FRENCH LOUIS XVI STYLE GILT BRONZE AND WHITE MARBLE PORTICO CLOCK SIGNED ‘TOSCAN BOURGOIN’ the drum case surmounted by a flaming urn hung with chains and raised on a demi-lune portico with four free standing columns hung with chains and tassels, the white enamelled dial with floral garland decoration, with Arabic numerals, the twin train movement stamped ‘SAMUEL MARTI MEDAILLE D’OR 1900’, 42.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £400-£600

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49 A PAIR OF LATE 19TH CENTURY FRENCH WALNUT ARMCHAIRS WITH RECENT PURPLE SILK UPHOLSTERY the arms terminating in carved shells, with X frame stretches below and cabriole legs, 70cm wide (2) £700-£1,000

*See page 3 for information regarding fees

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50 50 A LATE 19TH CENTURY FRENCH SEVRES STYLE AND BISQUE PORCELAIN FIGURAL MANTEL CLOCK surmounted by a bisque porcelain figure after Falconet depicting Cupid seated on a rock, raised on the bleu de roi and gilt heightened porcelain case modelled as a fluted column, the porcelain dial with gilt numerals, the twin train movement stamped ‘CHLES MT’ striking on a bell, with pendulum, 43cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £400-£600 51 A FRENCH LOUIS PHILIPPE PERIOD ROSEWOOD AND FRUITWOOD MARQUETRY AND GILT BRONZE MOUNTED PORTICO CLOCK of architectural form, the four free standing columns with finely tooled gilt capitals decorated with anthemions, on a plinth base, the white enamelled dial with Roman numerals and decorative Rococo style bezel, the twin train movement stamped ‘Japy Freres Medaille d’or’, with outside countwheel striking on a bell and bi-metallic, gridiron pendulum with ornate gilt bob, 45.5cm high

51

52 52 A FRENCH LOUIS PHILIPPE PERIOD GILT BRONZE PORTICO CLOCK SIGNED ‘BOUBON PALAIS ROYAL’ of architectural form, with four freestanding columns over a plinth base, the gilt, stiff-leaf cast bezel enclosing the signed white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, with bi-metallic grid iron pendulum, 46cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £700-£1,000 53 A 19TH CENTURY FRENCH GILT BRONZE CARTEL CLOCK in the Louis XVI style, the case modelled as a lyre hanging from a swagged ring and with laurel mounts and a floral boss, the white enamelled dial with Roman numerals and Arabic five minute markers, the movement replaced with a Smith’s battery operated movement, 76cm high £300-£500

The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500

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54 54 A LATE 19TH CENTURY FRENCH BRONZE FIGURE OF A CLASSICAL MAIDEN IN THE MANNER OF CARRIER BELLEUSE the standing figure with her left arm raised, holding a scroll which may once have supported a swinging pendulum, mystery clock, holding an urn in the other hand, raised on a circular naturalistic base, 56cm high £500-£800 55 A PAIR OF LATE 19TH CENTURY GILT AND PATINATED BRONZE AND BLACK MARBLE CANDELABRA in the Neo-Grec style, the cluster column shafts over the triform bases cast with three scrolling feet over shaped triangular plinths, issuing three foliate scrolling branches centred by a short fourth, 60cm high (2) £600-£800 56 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE, GLASS AND WHITE MARBLE FLORAL CANDELABRA in the Louis XVI style, the tapering rectangular stems with glazed panels and trailing, ribbon-tied vines, each issuing a pair of scrolling branches terminating in rose shaped nozzles, over square bases and toupie feet, 28.5cm high (2) £200-£300

55 57 A LATE 19TH CENTURY FRENCH GILT BRONZE CANDELABRA LATER ADAPTED AS A LAMP BASE the Rococo style, candlestick base with inverted baluster stem and urn shaped nozzle cast with trellis-work and C scrolls, issuing three acanthus cast branches centred by a central rod with finial above for the silk shade, later fitted for electricity, 60cm high overall £300-£500 58 A LARGE LOUIS XVI STYLE PAINTED TOLEWARE (TOLE PEINTRE) AND GILT METAL MOUNTED LAMP BASE of slender baluster form, with a pair of scrolling handles terminating in floral sprigs, raised on a spreading cylindrical foot, fitted for electricity and with a silk shade, 76cm high excluding shade £300-£500 59 A LATE 19TH CENTURY FRENCH BRONZE TAZZA IN THE NEO-GREC STYLE BY BARBEDIENNE of shallow form, the centre with a relief cast portrait bust of a classical head, flanked by scrolling handles, on a circular base, signed to the base, 9cm high x 40.5cm high £300-£500

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60 A 19TH CENTURY FRENCH SEVRES PORCELAIN AND GILT BRONZE MOUNTED VASE AFTER THE ‘SERVICE ORDINAIRE DE FONTAINBLEAU’ of twin handled urn form, the everted lip with laurel and berry ormolu rim, over the long neck and baluster body, with a pair of geometric handles over a square base, the vase decorated in gilt with geometric borders, scrolling foliage and painted with a deer and fox amongst oak leaves and acorns, the underside inscribed ‘SEVRES 1846’ ‘CHATEAU DE F.BLEAU’ ‘SV46’, 25.5cm high This elegant vase is designed after the ‘Service Ordinaire de Fontainebleau’ which was ordered by King Louis Philippe in 1836 and delivered in 1847 for Chateau of Fontainbleau. £300-£500 61 A 19TH CENTURY MINTON PORCELAIN ‘NEW VASE’, CIRCA 1838-40 of Rococo form with scrolling acanthus handles, the scrolling lip with gilt decoration over the long neck and urn shaped body, raised on a spreading faceted foot with acanthus corners, the pink ground with gilt decoration enclosing panels depicting exotic pheasants to one side and a floral spray to the other, with a cartouche below with further floral arrangements, 33.5cm high

62 A LATE 19TH CENTURY FRENCH SEVRES STYLE ENAMELLED AND JEWELLED PLATE of circular form, with a gilt border and red, blue, green and white ‘jewelled’ decoration, with a central stylised motif, 23cm diameter £400-£600 63 AFTER LEONARD MOREL-LADEUIL (FRENCH, 1820-1888): A BRONZED COPPER ELECTROTYPE RELIEF DEPICTING THE TOILETTE DE VENUS, CAST BY ELKINGTON & CO. 1876 of circular form, the outer border decorated with anthemions and scrollwork, enclosing the relief scene of Venus reclining on a chaise attended by three maidens beneath a portico, signed to the right side ‘Elkington’ and to the left ‘Morel Ladeuil Inv & Fecit 1876’, mid brown patination, 51cm high Morel-Ladeuil is perhaps more famous for his design of the Milton Shield which was also cast by Elkington. The Milton Shield depicted scenes from ‘Paradise Lost’ by John Milton and was exhibited by Elkington & Conpany at the Paris Exposition Universelle in 1867 to great acclaim and was purchased by the British government. It is now in the Victoria and Albert Museum, London. £300-£500

For a vase of the same shape, see Geoffrey Godden, Minton Porcelain of the First Period, pl. 122 £300-£500

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64 64 A FINE PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE AND SEVRES STYLE PORCELAIN URNS AND COVERS IN THE STYLE OF PIERRE GOUTHIERE in the form of cassolettes,the domed removable covers surmounted by acanthus leaf and pineapple finials, the porcelain with a Sevres mark to the underside of the cover, the bleu de roi porcelain bodies each supported on three rams mask monopediae hung with floral garlands, raised on shaped, triform bases, 41cm high £1,500-£2,000 65 A PAIR OF THIRD QUARTER 19TH CENTURY FRENCH GILT AND PATINATED BRONZE AND ROUGE GRIOTTE MARBLE URNS IN THE MANNER OF BARBEDIENNE the squat, twin handled urns with removable covers with reeded finials, cast in relief with foliage and raised on spreading socles over circular bases and toupie feet, 24cm high (2) £400-£600

65

66 A 19TH CENTURY FRENCH KINGWOOD, GILT BRONZE MOUNTED AND MARBLE TOPPED BOMBE COMMODE in the Louis XV style, the front angles with stylised foliate mounts, the scrolling handles with C scroll and cartouches on cabriole legs with conforming mounts, the chest with two long drawers and shaped Breccia marble top over, 90cm high x 142cm wide x 56cm deep £1,200-£1,800 67 A LATE 19TH CENTURY FRENCH BRONZE ROCOCO STYLE JARDINIERE of scrolling oval shape, with acanthus cast handles on four scrolling feet, the body cast in relief with a cartouche flanked by rocailles and shellwork, with metal liner, 51cm wide £200-£300

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Other Properties

69 68

68 A FRENCH NAPOLEON III GILT BRONZE AND ETCHED AND FROSTED GLASS DECANTER SET, POSSIBLY BACCARAT CIRCA 1860 the case with hinged, rising lid opening to the removable glass fitted tray enclosing four decanter bottles with spherical stoppers and sixteen glasses, all decorated with a Greek Key continuous band, 27cm high x 32cm wide £1,000-£1,500 69 A PAIR OF MID 19TH CENTURY FRENCH GILT BRONZE CANDLESTICKS IN THE MANNER OF MEISSONIER of Rococo style, the nozzles cast with shellwork, the triform stems with C scrolls and rocailles, raised on asymmetric, circular bases with foliate decoration, 21.5cm high (2) Please see Bonhams, London, 21 October 2014, lot 473 for a comparable pair. £400-£600

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70 A THIRD QUARTER 19TH CENTURY FRENCH AMBOYNA, BRASS MOUNTED AND ABALONE INLAID DECANTER / LIQUOR BOX COMPLETE WITH DECANTERS AND GLASSES of serpentine form, the hinged rising lid inlaid with a brass cartouche with abalone inlay, opening to reveal the fitted interior with a removable gilt bronze mounted stand enclosing four decanters with stoppers and sixteen matching cut and etched clear and lustre glasses, 33cm wide x 28cm high £500-£800

*See page 3 for information regarding fees

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71 λ A FINE PAIR OF FRENCH NAPOLEON III GILT BROUNZE MOUNTED TORTOISESHELL, EBONISED AND BRASS INLAID ‘BOULLE’ ENCOIGNURES CIRCA 1860 each cabinet of serpentine form, the front angles with ormolu mounts of female caryatids terminating in foliage, and with egg and dart and guilloche cast borders, each with a Carrara marble top above a cupboard door enclosing two adjustable brass-strung mahogany shelves, 110cm high x 85cm wide x 52cm deep (2) £4,000-£6,000

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73

72 A PAIR OF EARLY 20TH CENTURY FRENCH GILT METAL AND CLOISONNE ENAMEL LAMP BASES of baluster form with panther scrolling handles, with oil lamp fitments signed ‘L & F MANUFACTURE FRANCAISE DE BRULEURS & PETROLE’, with clear glass chimney shades, raised on on decorative bases each cast with four elephant heads, 64cm high overall (2) £800-£1,200 73 A PAIR OF LOUIS XVI STYLE GILT BRONZE AND BRECHE MARBLE URNS the bodies of baluster form, surmounted by fixed covers with fruiting finials, with swan neck handles holding ribbon-tied, floral garlands, raised on spreading cylindrical socles over square bases, 50cm high (2) £1,000-£1,500 74 A LARGE PAIR OF LOUIS XVI STYLE ORMOLU AND BLUE DE ROI PORCELAIN CANDELABRAS the porcelain baluster bodies raised on faceted bases with flower head mounts to each side and raised on toupie feet, each vase issuing four downward scrolling, acanthus wrapped branches centred by a fifth central branch, all with urn shaped nozzles, fitted for electricity, 81cm high excluding faux candles (2) £3,000-£5,000

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75 A PAIR OF 19TH CENTURY GILT BRONZE AND MIRRORED GLASS STANDS in the Rococo style, the scrolling bases with guilloche border and four foliate feet, the tops 21cm x 16cm, 6cm high (2) £200-£300

*See page 3 for information regarding fees

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76 A PAIR OF LOUIS XVI STYLE GILT BRONZE AND MALACHITE URNS AND COVERS of squat form, the domed covers surmounted by fruiting finials, the acanthus wrapped handles also with fruiting finials, raised on foliate stems over rectangular, stepped base with laurel cast feet, 45cm high (2) £8,000-£12,000

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78

77 A 19TH CENTURY ITALIAN (SORRENTO) ROSEWOOD, MARQUETRY AND GILT BRONZE MOUNTED FOLDING CARD / GAMES TABLE the shaped top inlaid with an oval panel of marquetry depicting a maiden and a dove, flanked by scrolling strapwork enclosing roses, with baize lined interior, raised on cabriole legs with Rococo style, scrolling foliate mounts, 87cm wide x 44cm deep x 77cm high £300-£500 78 MANNER OF FRANÇOIS LINKE (1855-1946): AN EARLY 20TH CENTURY FRENCH MAHOGANY, GILT BRONZE AND MARBLE OCCASIONAL TABLE / GUERIDON of oval form on four cabriole legs with single frieze drawer, decorated with gilt bronze mounts depicting satyr putti carrying a drunken putti eating grapes, with ribbon-tied floral garlands, the top of the legs with shell, floral and laurel mounts, with a grey veined marble top, 77cm high x 59cm wide x 43cm deep The distinctive Bacchic putto mounts also appear on other gueridons

by Francois Linke. £400-£600

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79 A 19TH CENTURY SHERATON STYLE SATINWOOD AND MARQUETRY DEMI-LUNE SIDE TABLE / CONSOLE the top inlaid with an urn hung with trailing husks, the shaped shelf below also inlaid with a twin handled urn, with a single frieze drawer, 57cm wide x 30cm deep x 72cm high £200-£300

*See page 3 for information regarding fees

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80 AFTER FRANCOIS BRIOT (FRENCH, 16TH CENTURY): A FINE MID 19TH CENTURY FRENCH GILT BRONZE AND GILT ELECTROTYPE EWER AND BASIN ON STAND in the Renaissance style, the gilt bronze ewer decorated in relief with female allegorical figures representing the Cardinal Virtues amongst scrolling strapwork and mythical beasts, with a scrolling handle over a circular foot, raised on a circular dish forming part of a tripod stand, the dish centred by a roundel depicting a figure of Temperance inscribed ‘TEMPERANTIA’, flanked by two borders of allegorical maidens within strapwork, depicting AER (Air), AQUA (Water), TERRA (Earth), and IGNIS (Fire), the second border depicting the Seven Liberal Arts and their patron Minerva: GRAMMATIC (Grammar), DIALECTICA (Dialect), RHETORICA (Rhetoric), MUSICA (Music), ARITHMETIQUA (Arithmetic), GEOMETRIA (Geometry) and ASTROLOGIA (Astrology), the dish

raised on a triform stand, terminating in feet wearing sandals, with a stretcher surmounted by a bird with outstretched wings, 109cm high overall A ewer, basin and stand of identical form but with silvered rather than gilt surface was sold at Christie’s, London, 11 March 2015, lot 19, £6,875. The ewer and basin of both examples are direct copies of Francois Briot’s famous pewter ‘Temperantia’ dish and ewer, an example of which is in the V&A, London (Inv. no. 2063-1855). The tripod stand is a mid 19th century design, incorporating fashionable features of the day including the bronze bird which reflects the enthusiasm for Animalier sculpture, the scrolling foliate mounts which are in the Neo-Grec style and the unusual, naturalistic feet which are of neo-classical form. £2,000-£3,000 31

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81 A NEO-CLASSICAL STYLE BRECCIA MARBLE TAZZA the wide bowl with everted lip raised on a ringed spreading cylindrical socle, 35cm diameter x 17.5cm high £400-£600

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82 A 19TH CENTURY ITALIAN CARVED SERPENTINE WARWICK VASE of typical form, with scrolling entwined handles, the body carved with various Bacchic heads, on a ringed socle, 24cm high, 40cm wide £400-£600

82

83 A LARGE PAIR OF EARLY 20TH CENTURY ITALIAN CARVED STONE AND INLAID MARBLE CAMPANA URNS the everted rims with a lappet design inlaid with Rouge and black marble, over gadrooned bodies and raised on ringed socles over circular feet and square bases, 62cm high x 50cm diameter £800-£1,200

83 32

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84

84 A COLLECTION OF TWENTY TWO VARIOUS HARDSTONE EGGS AND SPHERES including two large malachite eggs, four of the largest raised on tapering cylindrical glazed ceramic stands inscribed ‘RICHMOND CLUB’, others on wooden stands, the largest egg 14cm high, the largest sphere 11.5cm diameter (22) £500-£800

85 A 19TH CENTURY FRENCH ROUGE GRIOTTE AND VERDE ANTICO MARBLE URN WITH GILT BRONZE MOUNTS the urn of ovoid form with inswept neck and everted lip, raised on a Verde Antico cylindrical socle, with later ormolu acanthus cast handles and square base, 38cm high £1,000-£1,500

85 33

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87

86

86 A LARGE LATE 19TH / EARLY 20TH CENTURY GLAZED EARTHENWARE AND CAST IRON URN ON STAND in the Gothic style, the urn with fluted neck and a pair of grotesque beasts chained to the body of the vase, raised on a cast iron tripod stand modelled as three bird legs, 137cm high £1,500-£2,000 87 TWO WEDGWOOD JASPERWARE PORTLAND VASES both applied in white relief with the myth of Peleus and Thetis, the basal disc to the underside of each vase decorated with a portrait of Paris, son of King Priam of Troy, the blue example stamped ‘WEDGWOOD’ to the underside, the ‘Barberini Black’ jasper example stamped ‘WEDGWOOD MADE IN ENGLAND’ and numbered ‘NO 36 KD 91’, 25cm high (2) £600-£800 88 A PAIR OF 19TH CENTURY CARVED OAK CARYATID FIGURES LATER ADAPTED AS LAMP BASES in the 17th century Flemish style, depicting a male and female figure, their nude torsos terminating in a foliate scroll hung with floral garlands, with flat backs, raised on later stepped rectangular ebonised bases and fitted with brass electric nozzles, 97cm high overall including fitment (2) £600-£800

88

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89 AN EARLY 19TH CENTURY FLEMISH BOXWOOD RELIEF CARVED PANEL of rectangular form, depicting putti fishing flanked by reeds, in a walnut frame carved in the Renaissance style with scrolls and leaves, the panel 14.5cm x 4.5cm, the frame 34cm wide £150-£200

*See page 3 for information regarding fees

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90

91

90 A LATE 19TH CENTURY CARVED AND STAINED WOOD RENAISSANCE REVIVAL CENTRE TABLE WITH MARBLE TOP fitted with a frieze drawer, on lappet cast, baluster end supports terminating in stylised dolphin feet, with later marble top, 75cm high x 98cm wide x 60cm deep £500-£800 91 ATTRIBUTED TO ANTHONY REDMILE: A FALLOW DEER ANTLER CHAIR with carved wood seat covered in a black and white cow hide, 111cm high £600-£800 92 A LARGE PAIR OF LOUIS XVI STYLE GILT AND PATINATED BRONZE WALL APPLIQUES the backplates modelled with winged putti, their bodies terminating in tapering shafts with acanthus decoration, each holding aloft three scrolling branches terminating in gadrooned drip pans and urn shaped nozzles, the lights fitted for electricity, 70cm high excluding faux candles (2) £800-£1,200 93 A SMALL 19TH CENTURY FRENCH BRONZE MANTEL CLOCK surmounted by a figure of a child holding a candle nozzle, raised on a plinth base with canted angles, the white enamelled dial with Roman numerals, the single train timepiece movement with vertically mounted lever platform escapement, 26cm high The movement is ticking but not fully tested or guaranteed. £200-£300

92

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94

94 A LARGE 19TH CENTURY SPANISH PAINTED AND GILDED LEATHER SCREEN DECORATED IN THE ORIENTAL STYLE painted with various birds including finches, storks and a cockerel amongst flowers and foliage, on a trellis background, the reverse with black lacquered and gilt decoration, with six folding panels, 223cm high x 318cm extended, each panel 53cm wide £2,000-£3,000

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95

95 A 20TH CENTURY FAUX MARBLE BUST OF A MOOR IN THE STYLE OF PIETRO CALVI (ITALIAN, 1833-1884) the polychrome decorated bust depicting an African man in a turban and toga in the classical taste, on a cylindrical socle over a faux Verdi Antico marble column, over an octagonal stained wood base, the bust 82cm high, 184cm high overall £600-£800

*See page 3 for information regarding fees

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97

96

96 A PAIR OF 18TH CENTURY ITALIAN GILT WOOD URN RELIEFS the ribbon-tied urns with gadrooned tops and surmounted by gilt brass foliate finials, with flat backs, 80cm high (2) £300-£500 97 A PAIR OF LATE 19TH / EARLY 20TH CENTURY FRENCH GILT BRONZE CHENET MODELLED AS ACANTHUS LEAVES with scrolling ends, supported on an iron bracket, 27cm high £500-£800

98

98 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE CHENET the andirons of Rococo style, modelled with scrolling foliage, acorns and oak leaves, on a plain scrolling support, 41.5cm high (2) £700-£1,000 99 A PAIR OF 19TH CENTURY GILTWOOD AND GESSO FIGURAL WALL BRACKETS the shaped shelf tops with egg and dart and beaded borders over the fern leaf backplates, each with a Bacchic putto emerging from the foliage, 40cm high x 31cm deep x 41cm wide (2) £600-£800

99

100 THREE 18TH CENTURY ITALIAN GILTWOOD SHELL CRESTINGS the largest with gadrooned centre and flanked by C scrolls, the other two a pair and with ripple moulded centres, all with flat backs and hooks for hanging, 28cm and 24cm high respectively (3) £250-£350 100 37

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101 A FINE PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE WALL LIGHTS in the Louis XVI style, the backplates cast as Bacchic masks flanked by C scrolls and foliage, each issuing a pair of acanthus wrapped branches terminating in urn shaped nozzles, 31cm high (2) £300-£500

101

102 A PAIR OF BACCARAT LOUIS XVI STYLE GILT BRONZE AND CUT GLASS WALL LIGHTS the backplates modelled with volute scrolls, acanthus leaves and fruiting finials, each issuing four long scrolling arms centred by a shorter fifth, with faceted glass drip pans and urn shaped nozzles, the branches hung with chains of beaded drops and pear shaped faceted pendants, the drip pans signed ‘BACCARAT’, the backplates 36.5cm high (2) £600-£800

102

103 A PAIR OF 19TH CENTURY BRONZE ANDIRONS each modelled with a mask of a female queen with long flowing hair and a crown, with an urn above with fruiting finial, raised on a pair of paw feet, 59cm high (2) £1,000-£1,500 104 A 19TH CENTURY BRONZE FIGURE OF THE MADONNA the standing figure raised on a crescent moon and an orb supported by an ox and a lion, over a rectangular plinth decorated in relief with saints, 35.5cm high £200-£300 103

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104

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105 A PAIR OF LATE 19TH CENTURY FRENCH BRONZE CHENETS / ANDIRONS in the Rococo style, modelled as putti astride a foliate scrolling base, with iron rails behind surmounted by foliate finials, 31cm high x 56cm deep (2) £1,000-£1,500

105

106 A PAIR OF LOUIS XV STYLE BRONZE AND CUT GLASS WALL APPLIQUES the backplates modelled with acanthus and laurel leaves with fruiting bosses, each issuing two tiers of acanthus wrapped branches, with foliate collars and urn shaped nozzles, hung with strings of beaded drops and prismatic pendants, each with a single amethyst glass hanging sphere, the lights later fitted for electricity, 37cm high excluding faux candles, (2) £400-£600

106

107 A 19TH CENTURY GILT BRONZE FIGURE SALT IN THE STYLE OF CELLINI modelled as a Triton holding aloft a conch shell, raised on a rectangular marble base, 18cm high overall £150-£200 108 A PAIR OF EARLY 20TH CENTURY FRENCH GILT BRONZE WALL LIGHTS the appliques with flaming torch backplates, each issuing a pair of acanthus wrapped branches terminating in fluted trumpet shaped nozzles, fitted for electricity, 40cm high (2) £600-£800

107

108

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109 109 λ A FINE 19TH CENTURY IVORY BOX MODELLED AS A CRAB the naturalistically carved crab with stained eyes, the upper carapace opening to reveal a recessed interior, with white metal clasp and hinges, 19.5cm wide x 8.5cm high £2,000-£3,000

109A 109A λ A FINE 19TH CENTURY IVORY BOX MODELLED AS A CRAB the naturalistically carved crab with eyes set with paste jewels, the upper carapace hinged to reveal a recessed interior, with key, 30cm wide x 11cm high £3,500-£4,500

110 110 TWO 19TH CENTURY RUSSIAN ARCHANGEL CARVED WALRUS BONE CASKETS KHOLMOGORY, ARCHANGELSK PROVINCE the larger needlework box with raised caddy top with velvet covering, both with pierced foliate and trellis carved panels and green and red painted stylised motifs, 17cm high and 10cm high respectively (2) £800-£1,200

111 111 λ AN EARLY 19TH CENTURY ANGLO INDIAN SANDALWOOD, IVORY AND HORN GAMES BOARD, VIZAGAPATAM the hinged board with greek key border, the interior opening to reveal a backgammon board, together with a sandalwood box containing fifteen red stained ivory counters and fifteen plain ivory counters, four dice and two horn shakers, the board 49cm x 49.5cm when open For a very similar gaming board please see Christie’s, London, November 23, 2010 lot 252. £1,200-£1,800 40

*See page 3 for information regarding fees

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112 A RARE MID 18TH CENTURY DUTCH COLONIAL SILVER AND AGATE TEA CADDY with stylised silver filigree decoration of C scrolls and flowerheads, raised on four bun feet, the front and back with geode panels, the hinged lid opening to wood lined interior, part of the clasp detached but present, with later Dutch tax mark of an axe, 11.5cm high x 11.5cm wide £800-£1,200

112

113 AN 18TH CENTURY OTTOMAN (GREEK) SILVER MOUNTED WOODEN CASKET of rectangular form, the openwork, pierced silver mounts decorated with a continuous pattern of flowers in a basket, flanked by rose garlands, with other decorative floral and foliate designs, on a red velvet ground, the swing handles also of floral and foliate design, the interior with purple silk and braided lining, the silver with marks, 42cm wide x 26.5cm deep x 17cm high For a comparable casket see Bonhams, London, 25 April 2017, lot 145. £1,200-£1,800

113

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115 114 A 17TH CENTURY GILT BRONZE CORPUS CHRISTI AFTER THE MODEL BY GIAMBOLOGNA (1529-1608) the solid cast depicting Christ with head to his right, a simple tied perizonium, his feet crossed and wearing an intertwined crown, 18cm high £300-£500 115 A 16TH / 17TH CENTURY NORTH EUROPEAN GILT BRONZE CORPUS CHRISTI the figure of Christ with head turn to his left, his feet crossed, wearing a perizonium, a solid cast, from a crucifix, 18cm high £300-£500 116 λ A 19TH CENTURY NORTH EUROPEAN IVORY CRUCIFIX the figure of Christo Vivo with mouth and eyes open, wearing a cross of thorns and a rope tied perizonium, his legs crossed at the feet, raised on a amboyna and brass mounted cross with ivory ‘INRI’ panel applied, the Christ 27cm high, overall 50cm high £800-£1,200 117 AN 18TH CENTURY SPANISH / PORTUGUESE CARVED WOOD AND POLYCHROME DECORATED CORPUS CHRISTI wearing a white perizonium, his legs crossed at the feet, from a crucifix, 32cm high £250-£350

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118 AN EARLY 18TH CENTURY SOUTH GERMAN CARVED AND POLYCHROME DECORATED WOOD FIGURE OF A NUDE MAIDEN, POSSIBLY CERES the figure holding an urn of flowers and looking to sinister, the base carved with a stylised tree stump with scrolling foliage, raised on a later rectangular base, the figure 33cm high £300-£500 119 A 18TH CENTURY CARVED WOOD AND POLYCHROME DECORATED FIGURE OF THE VIRGIN the standing figure looking to dexter, with centrally parted hair and a shell diadem, holding a figure of the Christ Child, now lost, on an integral base, with gilt decoration, paintwork refreshed, 67cm high £700-£1,000 120 A 17TH CENTURY SOUTH NETHERLANDISH OR NORTHERN FRENCH CARVED OAK FIGURAL GROUP OF JOSEPH AND THE INFANT CHRIST the infant Christ holding an orb in his left hand, on an integral rectangular base, 123cm high £2,000-£3,000 121 PIERRE ADRIEN GRAILLON (FRENCH, 1807-1872): A CARVED RED STONE RELIEF DEPICTING A FAMILY ESCAPING THE ERUPTION OF MOUNT VESUVIUS the four adults and three children in a chariot pulled by a pair of horses, the volcano in the background, signed to the reverse ‘P.A. GRAILLON’, 17cm wide x 14cm high £300-£500

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122 A 17TH CENTURY ITALIAN TERRACOTTA HEAD OF THE VIRGIN with serene expression and heavily lidded eyes, her hair covered with a veil, cast with a hole to the back and to the underside, with a wooden dowel to the inside, 22cm high £700-£1,000 123 AN 18TH CENTURY CARVED LIMESTONE FIGURE OF THE WEARY HERCULES OF LYSIPPOS, AFTER THE ANTIQUE the standing figure leaning against his club and a tree stump draped with the skin of the Nemean lion, on an integral rectangular base, 70cm high The Greek sculptor Lysippos created the original bronze, life-size or larger statue of the Weary Hercules leaning on his club after supporting the heavens on his shoulders. The bronze statue was made around the time that Alexander the Great died, and early in the Hellenistic period a version was made for Athens. A Roman copy of the Greek original was found in the 16th century and subsequently moved to the Palazzo Pitti, Florence. £4,000-£6,000

123

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124 A FRENCH GOTHIC CARVED LIMESTONE CORBEL, POSSIBLY 12TH CENTURY carved with stylised fruit and foliage, 35cm deep x 22cm high x 30cm wide £300-£500

*See page 3 for information regarding fees

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125 A FRENCH GOTHIC STYLE CARVED LIMESTONE CORBEL DEPICTING AN ANGEL POSSIBLY 16TH CENTURY the figure with curling hair and outswept wings supporting the shaped shelf above, issuing from a roughly carved square block, 33cm high x 36cm wide x 50cm deep £1,500-£2,000 126 A 15TH CENTURY FRENCH GOTHIC CARVED LIMESTONE FIGURE OF A MAGI KING the kneeling figure holding an orb shaped vessel, his crown at his feet, the bearded figure with furrowed forehead and lips slightly parted, finely carved hair falling in stylised curls, the back of the figure also carved with folds of drapery revealing the sole of his foot, traces of polychrome, 85cm high £5,000-£8,000 127 A FRENCH GOTHIC STYLE COMPOSITION HEAD OF AN APOSTLE, PROBABLY 19TH CENTURY the hair and beard modelled with tightly curled tendrils, 44cm high £300-£500

126

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129 128 FRANCIS JOHN WILLIAMSON (BRITISH, 1833-1920): A MARBLE PORTRAIT BUST OF MONEY WIGRAM DATED 1881 depicted ‘all’ antica’ wearing a toga, looking slightly to sinister, with large curly sideburns, the reverse signed ‘F.J. WILLIAMSON SC. ESHER, 1881’ and ‘MONEY WIGRAM ESQE’, on a cylindrical socle, 77cm high Francis John Williamson was at one point thought of as Queen Victoria's favourite sculptor. A pupil of John Henry Foley, he worked in his studio for fourteen years and was exhibiting at the Royal Academy from the age of twenty. His talent attracted the attention of Queen Victoria and she commissioned him to produce a memorial to Princess Charlotte and Prince Leopold at Claremont in 1870, so pleased was she with the work that numerous commissions to produce portraits of the royal family followed. in 1877 he produced the famous jubilee bust of Queen Victoria which was widely reproduced.

For a further footnote please see www.chiswickauctions.co.uk £1,000-£1,500 129 A TERRACOTTA BUST OF A SOLDIER, PROBABLY SOUTH NETHERLANDISH 17TH CENTURY the hand modelled bust depicting the bearded figure looking slightly to dexter, his veins delineated to his neck, wearing a tunic with collar beneath a cuirass, depicted in the Antique style in the manner of Mars or a soldier, 48cm high

130

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This finely modelled bust may represent an actual person, a leading citizen or nobleman who commissioned the work, and was pleased to be depicted in this classical manner. The style of the bust, which is truncated just below the chest rather than at the shoulders, was used in the Netherlands in the 17th and 18th century by sculptors such as Lucas Faydherbe (1617-1697) who produced terracotta busts of his patrons in the ancient style.

A comparable terracotta bust of a bearded man was at Sotheby’s, London, 6 July 2017, lot 136. A further comparable terracotta bust, also in Roman armour but catalogued as Italian 17th century was sold at Christie’s, London, 2 December 2014, lot 11. £1,200-£1,800

*See page 3 for information regarding fees

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130 A 19TH CENTURY ITALIAN CARVED CARRARA MARBLE BUST OF A MAIDEN possibly the Virgin Mary, her eyes downcast and almost closed, her hair centrally parted, raised on a cylindrical socle, 48cm high £500-£800 131 A WHITE MARBLE FIGURE OF A DANCING GIRL the nude maiden with long flowing hair, leaning on a tree stump with trailing flowers over a rectangular base, 84cm high £600-£800 132 MANNER OF HIRAM POWERS (AMERICAN, 1805-1873): A 19TH CENTURY MARBLE BUST OF PROSERPINE the classical maiden with hair centrally parted and arranged in an elaborate coiffure, her bust issuing from leaves, raised on a waisted socle over a separately carved cylindrical pedestal, 54cm high overall £400-£600 133 PIETRO BAZZANTI (ITALIAN, 1842-1881): A CARVED ALABASTER BUST OF A MAIDEN ENTITLED ‘PENSIERO’ the girl wearing a winged crown, inscribed to the front ‘PENSIERO’ and signed to the reverse ‘P. Bazzanti Firenze’, on an integral base, 48cm high £400-£600

133

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134 134 PROFESSOR PASQUALE ROMANELLI, ITALIAN (1812-1887): A MARBLE FIGURE OF AN ODALISQUE the standing maiden wearing a headdress with her hair arranged in a pair of plaits, her eyes downcast and looking to her left wrist as she adjusts her serpent style bracelet, her drapery falling to reveal her decolletage, an upturned urn of water at her feet, on a circular base signed ‘P. Romanelli 1887 Florence’, 105cm high £5,000-£8,000

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135 135 AN 18TH CENTURY ITALIAN CARVED CARRARA MARBLE FIGURE OF A WEEPING PUTTO holding his drapery to his face to catch his tears, on an integral rectangular base, probably from a tomb, 80cm high £2,000-£3,000

*See page 3 for information regarding fees

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136 AFTER LUCA DELLA ROBBIA (ITALIAN, 1400-1482): A LARGE MARBLE RELIEF OF THE CANTORIA ‘SINGING GALLERY’ depicting seven youthful, classically attired choir singers holding hands in a circle and singing, some of the figures carved in the round others in high relief, raised on a purpose-made black metal stand with four legs which supports the panel, the panel 100cm high x 96cm wide, when on the stand 123cm high The present relief is after the original panel from Della Robbia’s earliest documented work, the Cantoria or singing gallery of Florence cathedral. In 1431 Della Robbia was commissioned to produce ten carved marble panels to fit around the singing gallery or organ loft of Florence cathedral. These were mounted in an architectural setting, with the upper part enclosing four panels and resembling a Roman sarcophagus, with a further panel on each end and four further reliefs in the console below. Originally situated above the door of the North Sacristy, the panels were dismantled in 1688 and are now in the Museo dell’Opera del Duomo of Florence Cathedral.

Related Literature: Italian Renaissance Sculpture, J.M. Olsen, Thames and Hudson, London 1992, p75. £12,000-£18,000 49

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137 AFTER ANTONIO CANOVA (ITALIAN, 1757-1822): A PAIR OF LATE 19TH CENTURY ITALIAN CARVED ALABASTER FIGURES OF MAIDENS both in diaphanous dresses, their hair arranged in chignons and with floral headdresses, raised on integral bases with tree stumps, 32cm high (2) £400-£600

137

138 A PAIR OF LATE 19TH CENTURY ITALIAN NEO-CLASSICAL STYLE CARVED ALABASTER VASES AND COVERS each of baluster urn form with a pair of upward scrolling handles, with pierced domed covers and with long necks and everted rims hung with laurel garlands, raised on ringed socles over square bases, 50cm high (2) £1,200-£1,800

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*See page 3 for information regarding fees

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139 A FINE 19TH CENTURY ITALIAN CARRARA MARBLE WALL FOUNTAIN DECORATED WITH PUTTI the rectangular back panel carved in relief with a symmetrical design of scrolling acanthus leaves, with a pair of cherubs carved in high relief supporting the semi-circular basin with gadrooned body and undulating lip, with metal liner to the inside, 95cm high x 74cm wide x 23cm deep £3,500-£4,500

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140 A 19TH CENTURY ENGLISH GLAZED POTTERY FOUNTAIN DEPICTING A NYMPH, POSSIBLY MINTON the standing nude figure with foliate headdress tipping up an urn into the shell basin below, on a foliate circular base, raised on a separate shell basin, restored throughout, 100cm high This pottery figure of a nymph is unmarked but seemingly identical to a fountain figure supplied by Minton for the Royal Dairy at Windsor Home Park. The new dairy was designed by the chief sculptor of the Houses of Parliament, John Thomas, and Minton supplied all of the tiles and the fountain for the interior. A watercolour by John Thomas in the Royal Collection shows the interior of the dairy and the nymph fountain which issued clean water, see RCIN919774. £400-£600 140

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141 AFTER THE ANTIQUE: A GREY-VEINED BLACK MARBLE BUST OF A MOOR, PROBABLY 19TH CENTURY depicted in the classical style, the rusticated back roughly hewn, raised on a fleur de peche cylindrical socle, 52cm high £700-£1,000

*See page 3 for information regarding fees

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142 EDGAR GEORGE PAPWORTH (ENGLISH, 1832-1927): A CARVED MARBLE FIGURE OF A YOUNG BOY WITH A SHELL ON A SERPENTINE MARBLE PLINTH the nude boy with drapery in his lap, seated on a rocky plinth and holding the conch shell to his left ear, signed to the reverse ‘E.G. PAPWORTH 1870’, raised on a 19th century Italian serpentine marble plinth with shaped demi-lune top with carved foliate decoration over the fluted column and octagonal base, the marble figure 56cm high x 52cm wide, the column 85cm wide x 124cm high, 180cm high overall E.G. Papworth was the son of a sculptor also known as E.G. Papworth, who had studied under the leading sculptor, E.H. Baily at a young age, and at the age of seventeen, in 1826, joined the Royal Academy. Papworth the elder married Caroline Baily, the daughter of his master E.H. Baily and E.G. Papworth the younger was born in 1832. Papworth the younger joined the Royal Academy in 1848 and exhibited there from 1852 to 1882. His ‘Startled Nymph’ which was commissioned by J. Neeld M.P. was lent to the Exhibition of Art Treasures held in Manchester in 1857, and exhibited at The International Exhibition, London, 1862. His work was well received and in 1862 several of his statues were reproduced in Parian ware, including ‘The Young Emigrant’, ‘The Young Shrimper’, ‘Maidenhood’ and ‘Beatrice’.

Related Literature: R. Gunnis, ‘Dictionary of British Sculptors 1600-1851’, p.289. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. £4,000-£6,000 53

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143 AFTER THE ANTIQUE: A 19TH CENTURY FRENCH BRONZE FIGURE OF DIANA THE HUNTRESS ATTRIBUTED TO BARBEDIENNE the standing figure with a plumed helmet at her feet, her right arm raised and clad in a short draped robe, on an integral rectangular base, with the ‘A.COLLAS BREVETE REDUCTION MECANIQUE’ stamp to the reverse (usually used by Barbedienne), dark brown patination, 39.5cm high £500-£800 144 AFTER THE ANTIQUE: AN EARLY 19TH CENTURY BRONZE FIGURE OF THE MATTEI CERES the standing figure holding ears of corn in her left hand, on a spreading oval plinth, dark brown patination, 34cm high The Mattei Ceres was produced by an unknown Roman sculpture circa 300 BC-200 BC. The original marble figure was found on the Roman estates of the Mattei family and was purchased by Pope Clementine in 1770. £500-£800 145 AFTER THE ANTIQUE: A 19TH CENTURY BRONZE FIGURE OF DIANA THE HUNTRESS the running figure holding her bow in her left hand and taking an arrow from her quiver with her right, a stag beside her, on a circular base with beaded border, mid to dark brown patination, 33cm high £300-£500 145 54

*See page 3 for information regarding fees

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146 A PAIR OF BRONZE PUTTI IN THE MANNER OF FERDINANDO TACCA (ITALIAN, 1619-1686), PROBABLY 19TH CENTURY the pair of putti each with one arm raised and holding a scroll of sheet music, both with long flowing hair and clearly delineated eyes, dark brown / blackish patination, raised on later wooden stepped plinths, 50cm high overall (2) These interesting putti are stylistically similar to Tacca’s bronze putto holding a shield, which was commissioned by Girolamo Bartolommei, for the former high altar of Santo Stephano al Ponte Vecchio, Florence, in 1650. The softly curling hair flowing in tendrils around the face and the low, plump cheeks are comparable to the present pair of putti which are in the Baroque style.

Tacca’s bronze putto is now in the Getty Museum, but was once owned by the renowned bronzier and cabinet maker Louis-AugusteAlfred Beurdeley, (1808-1882) who may well have purchased the bronze to inspire his own sculptural designs. £2,000-£3,000

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147 HIPPOLYTE MOREAU (FRENCH, 1832-1927): A PAIR OF BRONZED SPELTER FIGURAL VASES EMBLEMATIC OF DAY AND NIGHT a male nude representing the sun, his figure resting on the shoulder of the baluster urn shaped body, holding a flaming torch in his right hand emitting rays of sunlight, signed ‘H MOREAU’, the other vase with a nude maiden unveiling herself and a crescent moon, dark brown patination, both with metal liners to the necks, 46cm high (2) £1,500-£2,000

147

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148 EMILE LOUIS PICAULT (FRENCH, 1833-1915): A GILT BRONZE FIGURE OF HEBE AND THE EAGLE CAST BY EMILE COLIN & CIE the semi-clad goddess with flowing, diaphanous drapery, raised on the back of the outstretched wings of the eagle (representing her father Zeus), over a cloud base terminating in a square plinth, inscribed ‘DES MYSTERIEUSES PRODONDEURS ELLE APPORTE A L’HOMME L’ETINCELLE DIVINE’, signed ‘E. PICAULT’, with foundry stamp ‘E. COLIN & CIE PARIS’, 60cm high Emile Colin’s foundry worked for many of the most famous sculptors of the late 19th century including Carrier-Belleuse, Feuchere, Fratin, Pradier and Charpentier. Hebe was goddess of Youth and cup bearer to the gods, serving them nectar and ambrosia. Her parents were Zeus; who appears here in the form of an eagle, and Hera. £3,000-£5,000

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149 JEAN-LOUIS GREGOIRE (FRENCH, 1840-1890): A FINE SILVERED BRONZE FIGURAL GROUP OF BACCHANTES ENTITLED ‘L’ALLEGRO’ CAST BY BERNOUX, PARIS depicting two Bacchante maidens dancing, one holding a thrysus, the other a tambourine, their hair adorned with vines, a putto at their feet, on a naturalistic base, signed to the base ‘L. GREGOIRE’ and ‘Bernoux E=tr 2467’, on a Rouge Griotte marble circular plinth, 65cm high overall Jean-Louis Grégoire was born and died in Paris. Training under Salmson at the Ecole des Beaux-Arts, he exhibited at the Salon from 1867 and became one of the first Associates of the Artistes Français.

His bronzes are renowned for their exceptional quality and workmanship, as well as for their elegant compositions and the present bronze is reminiscent of Clodion’s work. The Bernoux foundry cast this model in two sizes, this example being the smaller; the larger is 92cm high. An example at 92cm, in patinated rather than silvered bronze, was sold at Christie’s, London, 27th September 2007 lot 191 (£23,000). A silvered bronze bust of a girl by Gregoire was sold at Chiswick Auctions on 6th June 2018, lot 75, £5000. £2,500-£3,500

*See page 3 for information regarding fees

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150 JEAN ANTONIN MERCIÉ (FRENCH, 1845-1916): A LARGE BRONZE FIGURE OF DAVID APRES LE COMBAT the semi-clad figure of David standing and sheathing his sword, his right foot resting on the head of Goliath, raised on a circular base signed ‘A. MERCIE’, raised on a circular wooden plinth with brass plaque inscribed ‘OFFERT PAR LES CONSEILLERS MUNICIPAUX ET LE SECRETAIRE DE MAIRIE A MONSIEUR PETIT CHEVALIER DE LA LEGION D’HONNEUR MAIRE DE PONTS YONNE 1er JANVIER 1905’, the bronze 69cm high, 74cm high overall

Mercié was born in Toulouse. He worked in Jouffroy’s studio and made his debut at the Salon in 1868. He won the Grand Prix de Rome that same year for his work ‘Theseuse vainqueur du Minotaur’e and this enabled him to study in Rome where he stayed for four years. It was during this time that he produced two of his most famous works Gloria Victus and David with the Head of Goliath, the latter work was very much influenced by Donatello’s David as well as Cellini’s Perseus with the Head of Medusa. He won a first class medal for the work when it was exhibited at the Salon of 1872. £3,500-£4,500

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151 A LATE 19TH CENTURY NEAPOLITAN BRONZE FIGURE OF A MAN BY GEORGIO SOMMER, NAPOLI RAISED ON AN EBONISED PEDESTAL the figure in classical attire seated on a tree stump, a circular shield applied to the tree stump cast with a open mouthed mask and signed ‘G. Sommer Napoli’, dark brown patination, raised on a late 19th century ebonised and brass mounted triform pedestal with circular, beaded top, the bronze 52cm high, the stand 90cm high £800-£1,200 152 A 19TH CENTURY FRENCH / ITALIAN BRONZE FIGURE OF VENUS ARRANGING HER HAIR AFTER THE CIECHANOWIECKI MASTER the standing semi-nude figure holding sections of her long hair, her drapery tied below her waist and falling to the floor revealing her toes, mid brown patination, 27cm high The so-called Ciechanowiecki Master was a 17th century sculptor, probably working in Rome and strongly influenced by classical sculpture and the masters of the previous generation. £500-£800

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153 A LATE 17TH / EARLY 18TH CENTURY ITALIAN BRONZE CARYATID FIGURE OF MERCURY wearing his winged hat and holding a purse in his left hand, his drapery secured by a sash tied across his body, terminating in a tapering support with trailing bell flowers and acanthus leaves to the base, the back hollow and with initials ‘HPR’, probably a mount from a piece of furniture, 24.5cm high £400-£600 *See page 3 for information regarding fees

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154 ARTHUR WAAGEN (GERMAN, 1833-1898): A LARGE PATINATED, COLD PAINTED AND PARCEL GILT EXOTIC DANCER WITH REMOVABLE DRAPERY the Odalisque standing on tip toes and holding a tambourine in her right hand, wearing a tasselled and striped shawl and a headdress, both detaching to reveal her nude below except for a necklace, raised on a base naturalistically cast as a lion pelt, signed to the base ‘Waagen’, 71cm high

Arthur Waagen was born in Germany but settled in Paris, opening his own studio at Cours-de-Vincennes. Records show that he exhibited regularly at the Paris Salon between 1861 and 1887 and is probably most famous for his dramatic Orientalist group ‘Kabyle au Retour de la Chasse’.

Related Literature: P. Kjellberg, ‘Bronzes of the Nineteenth Century; Dictionary of Sculptors’, Atglen, 1994, p. 647 £2,000-£3,000

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155 EMILE LAPORTE (FRENCH, 1858 - 1907): A LARGE BRONZE FIGURE OF ACTEON CAST BY SIOT DECAUVILLE, PARIS the semi-nude figure striding over a naturalistic base cast with a quiver of arrows, signed ‘E. LAPORTE’ and with foundry stamp, inscribed to the front ‘ACTEON’, mid brown patination, 80.5cm high Born in Paris Laporte studied under Dumont and made his debut at the Salon in 1881 and exhibited there regularly until 1906. £3,000-£5,000 60

*See page 3 for information regarding fees

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156 EMILIO FIASCHI (ITALIAN, 1858 - 1941): A GILT DECORATED AND CARVED ALABASTER AND PATINATED BRONZE FIGURAL GROUP OF A COUPLE RIDING A CAMEL in the Orientalist style, the male camel driver wearing a headdress, both wearing gilt sandals, the draped camel saddle carved in alabaster and painted and gilded, raised on a rectangular base, signed ‘P C E Fiaschi’ to the reverse of the marble plinth, 48cm high £4,000-£6,000

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157 MEDARDO ROSSO (ITALIAN, 1858-1928): ‘BAMBINA RIDENTE’ (BAMBINA CHE RIDE) A wax over plaster head of a laughing girl Subject conceived in 1890, probably cast by the sculptor’s son, Francesco Rosso, from the original plaster model the head 26.5cm high excluding base, the base 33.5cm x 27cm x 5cm £50,000-£80,000 Provenance: Clotilde Longoni Rosso, Milan (the artist's daughter-in-law) Louis Pollock, owner of the Peridot Gallery, New York. Acquired directly from Clotilde Longoni Rosso in 1959. The original invoice is included in the sale.

Thence by descent to the present owner.

Exhibited: New York, Peridot Gallery, The First Exhibition in America of Sculpture by Medardo Rosso, 1959-60, no. 6, illustrated in the catalogue (a copy is included in the sale).

Literature: Margaret Scolari Barr, ‘Medardo Rosso’, New York, 1963, illustrates this cast on page 33.

Paola Mola & Fabio Vittucci, ‘Medardo Rosso Catalogo ragionato della scultura’, Museo Medardo Rosso, Skira, 2009.

Dr Sharon Hecker, ‘A Moment’s Monument, Medardo Rosso and the International Origins of Modern Sculpture’, University of California Press, 2017, p.131 illustrates a photograph by Medardo Rosso of this model of a cast of the same subject.

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Other Known Casts Of ‘Bambina Ridente’: The following known examples cast in wax are listed in the Catalogue Raisonnée by P. Mola & F. Vittucci: Lifetime casts: 1. Galleria Nazionale d’Arte Moderna Rome, inv. 2026.

2. Centro de arte Reina Sofia, Madrid.

Casts without documented lifetime provenance and those cast legally from the original plaster model by Francesco Rosso: 1. Museo Medardo Rosso, Barzio.

2. Pinacoteca Nazionale di Brera, Milan.

3. Civica Galleria d’Arte Moderna, Milan, inv. 7356, gifted

by Francesco Rosso in 1953.

4. Nationalmuseum, Stockholm, inv. NM SK 2122 (1972).

We are grateful to Dr Sharon Hecker and the Museo Medardo Rosso for assistance with researching and cataloguing this work.

This important sculpture belongs to the above rarefied group of casts that are in major museums throughout Europe. It was sold by Medardo’s Rosso’s daughter-in-law Clotilde Longoni Rosso in 1959 to the American art dealer Louis Pollock, owner of the Peridot Gallery, New York. At the same time she also sold two other Medardo Rosso works which are on the same invoice, ‘L'Eta d'oro’ (Golden Age) and ‘Bookmaker’ which also both appeared in the Peridot Gallery exhibition. ‘L’Eta d’oro’ was subsequently sold at Sotheby’s London, on 9th February 2005 as lot 439 for £254,400.

Interestingly it was mounted on an almost identical plinth to the present head, on what looks to be the same wood, with rounded corners and a recessed border about 1cm from the outer edge. The other work on the original invoice is ‘Bookmaker’, which the Museum of Modern Art in New York purchased direct from the Peridot Gallery. (Inv. No. 673.1959). They currently describe the provenance as follows: 1894 - 1928, Medardo Rosso. ? - 1959, Clothilde Longoni Rosso, Milan (the artist's daughterin-law), probably inherited from the artist or the artist's son Francesco Rosso.

October 1959, The Museum of Modern Art, New York, purchased through the Peridot Gallery, New York.

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The three works featured in The First Exhibition in America of Sculpture by Medardo Rosso at the Peridot Gallery and are all in the exhibition catalogue, a copy is included in the sale along with the original invoice and a letter from Clotilde Longoni Rosso authenticating the work. The present wax head is illustrated in Margaret Scolari Barr’s seminal work ‘Medardo Rosso’, (Metropolitan Museum of Art) on page 33, and a photograph of the ‘Bookmaker’ featured on the front cover. Barr describes the head thus: “Certainly the ‘Little Girl Laughing’ is a work that “everyone can understand”. The way versions are so shiny they suggest a child’s face well scrubbed. The principle of the single point of view, so obvious in the Rouart, is abandoned. The head stands free and can be seen from three sides. Even the back, though summarily treated, does not deny the volume of the skull.”

It is only in relatively recent years that scholarly research has shown that some of the sculptures thought to have been lifetime casts made by the artist were in fact authorised casts made legally after his death by his son Francesco, from the sculptor’s original plaster models. Dr Sharon Hecker’s fascinating article ‘The afterlife of sculptures: posthumous casts and the case of Medardo Rosso’ (Journal of Art Historiography Number 16 June 2017) discusses this in some depth, and uses the wax sculpture ‘Grande Riseuse’ in the Tate Gallery (inv. No. T04846) as her main example. ‘Grande Riseuse’ was thought to be a lifetime cast and had provenance going back to the Rosso family in the 1960’s, but following examination

by Luciano Caramel, an Italian expert on Rosso and by the then-Chief Conservator of Sculpture, Derek Pullen in 1989; it is now considered to be a posthumous cast. In recent years, Paola Mola and Fabio Vittucci’s scholarly work on the sculptor’s oeuvre has validated these concerns, and in their 2007 catalogue raisonnée they divided the known works into those that had lifetime provenance and those that were undocumented or thought to have been cast by Francesco Rosso, as listed at the start of this footnote. Dr Hecker states in her article “Rosso’s materials, casting processes, and his ideas about his legacy are not fully understood. Whereas the art market and the law demand from experts a clear answer to the question of authenticity and attribution, I believe that Rosso’s case cannot be limited to a binary question, ‘whether a work is genuine or fake, either by the artist in question or not by him’. A more nuanced approach is necessary.” (p2. Opp. Cit.) 1959 Exhibition Catalogue

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Other posthumous casts of Rosso’s works feature in museums throughout the world, for example the wax head ‘Ecce Puer’ (Behold the Boy) now in the Hirschhorn, Washington (inv. No. 66.4411), and the other ‘Bambina Ridente’ casts that are in the Civica Galleria d’Arte Moderna, Milan, and the Nationalmuseum, Stockholm.

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The story of ‘Bambina Ridente’ begins in the Parisian Hôpital Lariboisière in 1889. The sculptor Medardo Rosso, having recently arrived from Milan and exhibited at the Exposition Universelle, is admitted to hospital, with a high fever; and upon his discharge, produces a portrait of the daughter of the hospital bursar, Marie-Jacques Enjolras. We know that it was an important sculpture for Rosso, he cast it in wax, bronze and even donated a cast to the Galleria Nazionale d’Arte Moderna in Rome in 1913, but like much of Rosso’s oeuvre, the work functions on many different levels, and poses as many questions about his original meaning and motivations as it answers.

This enigmatic work expresses a range of oppositional absolutes simultaneously, in a number of complex ways, and forms an important part of Rosso’s experimental artistic project to create a new aesthetic language which represented modern themes and cut the ties that bound sculpture to the Italian Renaissance and classical antiquity of the past. His motivation for making the work is still not fully understood, we do not know if he produced the portrait in order to pay his hospital fees, and as a commission, had to present the girl in a particular manner, or if he simply produced it as a gift, or whether he used the girl as a source of inspiration to transmit his own ideas. Some scholars have interpreted ‘Bambina Ridente’ as a conventional portrait, as a return to more lifelike representation by the sculptor, rejecting his earlier increasingly abstract style, and as a reinterpretation of the Renaissance heads of children made by Desiderio da Settignano and Leonardo da Vinci. Other scholars such as Dr Sharon Hecker believe the sculpture must be read in a more nuanced way, and that the artist’s choice of wax, his impressionist modelling of the head and treatment of the surface are an attempt to express other, more complicated themes. The most obvious of these themes is those of life and death. The head on one level depicts a young girl laughing and reminds us of the joy of youth, of un-inhibited expression, of the innocence of childhood and yet these ideas are subverted by the connotations of death that are also presented. The use of wax is important in this respect, as it is a reminder of death masks, in use widely in the 19th century and earlier (for example the mask known as ‘L'Inconnue de la Seine’ which was made by a morgue worker of an unidentified young woman who had drowned in the late 1880’s in Paris, and was widely copied and admired). Wax had been used in the funeral effigies of king and queens, for example those now on display in Westminster Abbey, and of course in the life-less figures displayed in Madame Tussaud’s, opened in 1835. Let us not forget that Rosso modelled the work after his stay in hospital, surrounded by sickness and death, and some scholars have viewed his interest in the depiction of children as a condition of ‘marginality, alienation and illness’. (Dr. Hecker, ‘A Moment’s Monument’, p.134, opp. cit.).

The head therefore conveys the opposing emotions of joy and anxiety, and this, Dr Hecker argues, disrupts the emotional connection between the viewer and the work, evoking confusion and ambiguity. The eyes are an important feature in this process of disruption, as the viewer we automatically seek to meet the sitter’s gaze, and yet are met by blank, blind eyes that are ghostly and haunting. This helps to create a kind of melting vision, a fleeting moment rather than of a lifelike depiction.

The use of wax in some casts also gives the sculpture a feeling of fragility, wax is much more likely to decay and decompose, to melt like a candle or shatter than the typical materials used by other sculptors that suggest permanence and longevity such as bronze or marble. Rosso again rejects the artistic tradition of the Renaissance and Antiquity by employing a material thought of as unsuitable for finished sculptures. Wax was commonly used by sculptors but mostly in the casting process (or as a material for modelling), the wax model is destroyed during the lost wax casting process to produce the final, finished bronze. Rosso subverts these rules about the proper way to make important sculpture by producing wax sculptures to be appreciated in their own right. He often used wax as it allowed the visualizations of process that were part of his modern artistic expression. In some casts, he left casting flaws such as seams and air bubbles on the wax surface to act as ‘authorial signs’, these markings thus become part of the finished work.

This emotive and small-scale wax sculpture, an anti-heroic depiction of an innocent child, manages to express some of the most monumental themes of the human condition, joy, anxiety, death, the creation of life and the creation of art.

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158 158 LOJZE DOLINAR (1893-1970): A LARGE BRONZE BUST OF JOSIP BROZ, GENERAL TITO DATED 1948 signed to one side ‘DOLINAR 1948’ and inscribed to the other in Serbian cyrillic ‘PLASTICA BEOGRAD’, 80cm wide x 60cm high Provenance: By repute, at the Yugoslav Embassy until the disintegration of Yugoslavia. The Embassy donated the bust to the Yugoslav Club in London, the present owners acquired the bust upon it’s closure.

Lojze Dolinar is now widely considered to be one of the most important Slovenian sculptors of the 20th century. He studied at the Viennese academy under Professor Mullner and then furthered his studies in 1912 in Munich. By 1920 he was studying in New York under Hoffman and upon his return to Europe he built a reputation for designing and producing public monumental sculpture. For example the memorial to Dr. Janez Evangelist Krek, two Calvary monuments in Ljubljana, and the monument of fallen student-soldiers in Skopje. In 1946 he joined the Belgrade Fine Arts Academy, and produced this bust the year after, before gaining a professorship in 1949. This bronze is typical of his style which unites the realistic depiction of the sitter with a modernist treatment of the surface. £800-£1,200 159 AN EARLY 20TH CENTURY BRONZE HEAD OF A MAN IN THE CLASSICAL TASTE the mask type bronze with curling hair, the back recessed, raised on a rectangular marble plinth, unsigned, 34.5cm high overall £200-£300 159

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160 A. NEIVILLER: A 20TH CENTURY BRONZE HEAD OF AN AFRICAN WOMAN wearing large hoop earrings and a necklace, signed to the reverse ‘A. Neiviller’ raised on a rectangular marble plinth, 46cm high £300-£500

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161 YELINASI: ‘THE EMBRACE’, A BRONZE DEPICTING A MALE AND FEMALE NUDE the nude figures embracing on a square base signed ‘YELINASI’, with foundry stamp ‘Fn. Balsells y Cia’, 30 x 31 x 31cm £500-£800 162 AN EARLY 20TH CENTURY BRONZE HEAD OF A TRIBESMAN WEARING A HEADDRESS the African man with a headdress modelled with a pair of horns, feathers and fruit, dark brown patination, raised on a calamander wood cylindrical plinth over a square base, the bronze 16cm high, 26cm high overall £300-£500 163 ATTRIBUTED TO ISHIBASHI WAKUN (1876-1928): A BRONZE FIGURE OF A MAIDEN “LA DANSE” wearing a diaphanous dress and shawl, greenish patination, signed ‘WAKUN’, 30cm high

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Ishibashi Wakun studied under the influential painter Kodama Katei, and later worked in the European style. He travelled to London in 1903, entered the RA school before becoming a Royal Academy member years later. He returned to Japan in 1918 and became active in government exhibitions and was elected a member of the prestigious hanging committee of the imperial art show, the Teiten. £300-£500

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164 ATTRIBUTED TO MATTHEW BOULTON (ENGLISH, 1728-1809) A GEORGE III GILT BRONZE DOOR ESCUTCHEON the circular handle cast with stiff leaf decoration and a beaded edge over a baluster stem, the pierced lockplate with scrolling acanthus leaves, with swivelling keyhole covers cast was husks, with an anthemion terminal, 16cm wide x 13cm high Related Literature: Please see N. Goodison ‘Matthew Boulton: Ormolu’ which illustrates a near identical design for a door escutcheon, circa 1776 - 80.

A similar escutcheon was supplied by Boulton to Osterley Park, Isleworth. £300-£500

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165 ALEXIS DECAIX (BRITISH, ACTIVE 1778-1811): A FINE BRONZE INKSTAND MODELLED WITH A SLEEPING PUTTO IN THE MANNER OF THOMAS HOPE of sarcophagus form, in the Neo-Classical style, the cover cast with a sleeping nude putto in the manner of Francois Duquesnoy (Flemish, 1594-1643), the corners with seated griffin mounts, the front with a relief of a fountain, on a plinth base, the interior with a removable stand with ring handle, enclosing the pair of glass ink bottles with gilt hinged lids (apparently original), the underside gilded (the whole possibly once gilded), the underside of the cover stamped twice ‘DECAIX’, 11.5cm high x 15cm wide Alexis Decaix was arguably the most talented bronze and ormolu manufacturer working in Britain during the Regency period. His business was established at Rupert St, Piccadilly by 1794, and soon attracted important patrons and designers. In April 1803 George, Prince of Wales (later George IV) was invoiced for ‘bronze manufacturers’, and in 1810 the Prince acquired an exceptionally fine, burr yew inkstand from Decaix, with Egyptian style bronze mounts. (RCIN 3237, Royal Collection Trust, Her Majesty Queen Elizabeth II 2017). It was illustrated in the ‘Jutsham’ pictorial Inventory of Carlton House, 1827-33 (RCIN 934831) and noted as being supplied by ‘Dupasquier’ (see H. Clifford Smith, Buckingham Palace, London, 1931, p. 203 and pl. 236). A very similar inkstand to the burr yew example, with mounts attributed to Alexis Decaix, sold Christie’s, London ‘The Humphrey Whitbread Collection’, 5 April 2001, lot 384, £52,875.

A further example, unsigned, is in the Boston Museum of Fine Arts, Inv. no. 2010.1039.

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As well as enjoying royal patronage, Decaix was employed by the leading designer of the day, Thomas Hope. In his seminal book ‘Household Furniture and Interior Decoration’, 1807, Thomas Hope writes: £400-£600 166 A LATE 19TH CENTURY COLD PAINTED METAL AND MARBLE MODEL OF A COACH AND HORSES DRIVING IN SNOW probably Viennese, the marble base carved to resemble snowy ground, the carriage pulled by a pair of bay horses, 11cm high x 21cm wide £300-£500 167 A MID 18TH CENTURY GILT BRONZE RELIEF DEPICTING A BUST OF CHRIST of circular form, with a border of acanthus leaves and c scrolls, Christ depicted with finely tooled, long flowing hair and a halo, later mounted in an alabaster and giltwood frame, the relief 9cm diameter, 20cm diameter overall £300-£500

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168 AUGUSTE CAIN (FRENCH, 1822-1894): A BRONZE MODEL OF A PHEASANT depicted walking on a naturalistic, oval base, signed ‘CAIN’, 8cm high x 16cm wide £200-£300 169 ISIDORE JULES BONHEUR (FRENCH, 1827-1901): A BRONZE MODEL OF A COCKEREL AND A HEN the chicken peering into a bucket, on a naturalistic base, signed ‘I BONHEUR’, 15cm high x 16.5cm wide £200-£300

170 A FIRST HALF 20TH CENTURY BRONZE FIGURE OF A GIRL WITH HER DOG, SIGNED ‘J. FAES’ the standing girl embracing the seated hound, mid brown patination, raised on a verde antico marble rectangular plinth, 28cm high £400-£600 171 JULES MOIGNIEZ (FRENCH, 1835-1894): A BRONZE MODEL OF A PAIR OF PHEASANTS WITH CHICKS depicting on a naturalistic, oval base, signed ‘J. MOIGNIEZ’, raised on a black marble plinth, 19cm high overall, 25cm wide £300-£500

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172 A PAIR OF 19TH CENTURY CARVED OAK FIGURAL RELIEF PANELS the first depicting a semi-nude male and female figure on a rock, with a further figure in the background building a structure with rocks, with trees either side, the other panel of similar form but depicting a nude maiden on a rearing horse, being restrained by two male figures, within a carved integral frame, 40cm x 35cm and 42cm x 34cm (2) £800-£1,200 173 λ A 19TH CENTURY CARVED IVORY RELIEF AFTER THE ANTIQUE OF THE LAOCOON, MOUNTED IN A CARVED WALNUT FRAME the ivory relief of oval form, depicting Laocoon and his sons wrestling the serpent, signed indistinctly ‘NOREST’, mounted in a Renaissance Revival carved walnut frame, within a later gilt and glazed frame, the ivory relief 8cm high, the walnut frame 31cm high, the gilt frame 46.5cm high £500-£800 174 A LARGE STAINED AND LEADED GLASS WINDOW DEPICTING THE RESURRECTION OF CHRIST, POSSIBLY 16TH CENTURY Christ with hands in prayer, with two figures at his feet sleeping, later mounted in a rectangular light box frame, the panel 92cm high x 52cm wide £1,200-£1,800 174 70

*See page 3 for information regarding fees

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175 ARTHUR WAAGEN (GERMAN, 1833-1898): A PAIR OF COLD PAINTED AND PATINATED SPELTER ORIENTALIST RELIEFS OF AN ARAB MAN AND WOMAN each bust depicted in relief, both wearing headdresses and jewellery, on a trellis pattern background within an arched panel, signed ‘Waagen’, and mounted on rectangular oak frames, 74cm high x 49cm wide (2) £1,200-£1,800 176 A BELLE EPOQUE PERIOD SILVER PLATED DRESSING MIRROR IN THE MANNER OF WMF the shaped scrolling and pierced frame decorated with a maiden in diaphanous dress holding a sprig of flowers, with hinged easel / strut support, 61cm high £1,500-£2,000 177 A LATE 18TH / EARLY 19TH CENTURY NORTH EUROPEAN RELIEF PANEL OF BACCHIC THEME of rectangular form, with numerous putti picking grapes and frolicking in vines, 31cm wide x 16cm high £200-£300

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178 A LATE 19TH / EARLY 20TH CENTURY KPM PORCELAIN PLAQUE DEPICTING A FEMALE PORTRAIT the oval panel depicting the head of a maiden with brown eyes and pearl set headdress, earrings and necklace, incised to the reverse ‘KPM F 8 5’, mounted in a Rococo style, pierced giltwood frame, the panel 29cm high, 46cm high overall £1,000-£1,500 179 A LATE 19TH / EARLY 20TH CENTURY FRENCH NOVELTY PORCELAIN AND GILT METAL CLOCK MODELLED AS AN ARTIST’S PALETTE the palette decorated with an 18th century lady playing the harpsichord and a gentleman holding a tricorn hat, the dial with gilt numerals, raised on a gilt metal artist’s easel, the single train movement fitted to the back of the porcelain palette, 48cm high The movement is winding and ticking but not fully tested or guaranteed. £800-£1,200 180 A FINE AND LARGE BERLIN PORCELAIN PLAQUE BY KPM DEPICTING A MAID WITH A TRAY AFTER JEAN-ETIENNE LIOTARD ‘LA BELLE CHOCOLATIERE’ the serving girl wearing a pink bonnet and holding a tray with a glass of water and cup of chocolate, signed indistinctly ‘A. Kisler’, the reverse with the impressed sceptre mark and stamped ‘KPM’, incised with the size ‘12” x 9 3/4’, and signed indistinctly to the reverse, mounted in a gilt frame with foliate scrolls to the corners, the panel 30.5cm high x 25cm wide, the frame 46cm x 40cm The original painting is now in the Staatliche Kunstsammlungen, Dresden. A further KPM porcelain plaque depicting the same scene was sold at Sotheby’s, London, 5 June 2007, lot 64.

Provenance: From the private collection of Dr Fischer, Vienna. £1,800-£2,200

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181 DIONISIO GLEZ (SPANISH): A BLACK LACQUERED WOOD ART DECO STYLE HEAD OF A HORSE raised on a rectangular wooden plinth, the plinth signed ‘DIONISIO GLEZ’, 46cm high, 56cm long £300-£500 *See page 3 for information regarding fees

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182 A LARGE EARLY 20TH CENTURY MICROMOSAIC IN THE CLASSICAL STYLE of rectangular form, depicting a Bacchic Goddess riding a leopard and holding a thrysus, inscribed ‘IATATH RUNAIKI’, 80cm high x 84cm wide £1,500-£2,000 183 AN IMPERIAL AMPHORA (AUSTRIA) GLAZED CERAMIC MODEL OF AN OTTOMAN HUNTER ON HORSEBACK carrying a rifle and a dagger, his white steed rearing over a naturalistic base, marked to the underside ‘IMPERIAL AMPHORA AUSTRIA 8. 224 32 G’, 46.5cm high £300-£500 184 A MID 19TH CENTURY FRENCH ORIENTALIST PORCELAIN CLOCK BY CHARLES A PARIS the case modelled as a Chinese lady reclining on the Rococo style clock case, her feet resting on a cushion, raised on a plinth base decorated with a floral spray and acanthus leaves, the white enamelled dial with Roman numerals signed ‘CHARLES A PARIS’, the twin train movement with silk suspension striking on a bell, also signed ‘J. CHARLES A PARIS’, 41cm high £500-£800 185 CIRCLE OF ADOLFO WIDLT (ITALIAN, 1868-1931): A CARRARA FIGURE OF A SEA NYMPH her hair carved with a sea shell, her eyes void, raised on a coloured marble base, unsigned, 28cm high £100-£150

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186 186 A FINE AND RARE LATE 19TH CENTURY SWISS INTERCHANGABLE MUSIC BOX PLAYING THIRTY TWO AIRS ON FOUR CYLINDERS BY B.A. BREMOND, GENEVA, NO. 20482 the large amboyna, boxwood and ebonised strung case with rounded corners and moulded base, fitted with a drawer to the base containing the three further interchangeable cylinders, the single section comb with lyre shaped selection lever to the interior under a glazed dust lid, with a plaquette signed ‘B.A. BREMOND MANUFACTURER GENEVA SWITZERLAND’, the four cylinders each playing eight tunes, listed on the original maker’s card also numbered 20482, 111cm wide Currently in working order but not fully tested or guaranteed.

Provenance: The music box was given to the present owner’s great grandmother, Lady Cornwallis of Linton Park, Kent by her husband and was inherited through the family. £3,000-£5,000

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187 AN EARLY 20TH CENTURY SWISS BAKELITE, GILT METAL AND MOTHER OF PEARL INLAID SINGING BIRD BOX the case of rectangular form, the top inlaid with mother of pearl five pointed stars, the gilt hinged lid cast with a musical trophy and rising to reveal the singing bird with coloured plumage and flapping wings, 11cm wide In working order but not guaranteed. £1,200-£1,800

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188 188 A SET OF TWELVE LATE 19TH / EARLY 20TH CENTURY WAX PORTRAIT PROFILES OF SWEDISH KINGS each depicted in red wax in profile on a black ground, within a gilt bronze circular frame, glazed, on an ebonised mount, each inscribed with the name of the King, Oscar II being the latest king depicted, 15cm x 15cm (12) £800-£1,200 189 A LATE 19TH CENTURY FRENCH BISQUE PORCELAIN FIGURAL MANTEL CLOCK BY SUSSE FRERES AND NIDERVILLER, NO. 154 depicting Aphrodite and Anchises on a breakfront plinth base decorated with Bacchic putti tormenting a goat, with classical mask reliefs to each side, the back of the case signed ‘NIDERVILLER No. 154’, the enamelled dial with Roman numerals signed ‘SUSSE FRERES A PARIS’, the twin train movement also signed ‘SUSSE FRES A PARIS’, striking on a bell, 46cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,500-£2,000 189A E. HAMBURGER (GERMAN, ACTIVE C. 1920): A BRONZE FIGURE OF AN ARCHER the classical style semi-nude male figure wearing a helmet and in the act of shooting an arrow, dark brown patination, on a naturalistic base, signed ‘E. Hamburger’, raised on a rusticated marble plinth carved to resemble rock, 28.5cm high overall £200-£300

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190 A LATE 19TH CENTURY FRENCH EMPIRE STYLE MAHOGANY AND GILT BRONZE MOUNTED CLOCK ON STAND the pediment surmounted by an ormolu mount of a putto driving a chariot driven by a pair of horses, with sphinx masks flanking the white enamelled dial with Roman numerals, with mounts depicting classical style maidens, the stand with similar mounts and a pair of classical term supports, the twin train movement with outside countwheel striking on a coiled gong, 220cm high, 57cm wide x 39cm deep £1,000-£1,500

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191 A GOOD LATE 18TH CENTURY MAHOGANY AND SATINWOOD STICK BAROMETER BY EDWARD NAIRNE, LONDON (1726-1806) the arched case enclosing the signed, silvered register plate, the trunk with separate hinged door enclosing the silvered mercury thermometer, terminating in a moulded cistern cover, 97cm high Edward Nairne’s trade card (a copy is in the Science Museum, London) listed him as an ‘Optical, Philosophical and Mathematical Instrument-Maker at the Gold Spectacles, Reflecting Telescope and Hadley’s Quadrant in Cornhill, opposite the Royal Exchange, London’. It lists some of the instruments that the company produced, such as reflecting telescopes, magnifying glasses, camera obscuras, air fountains, Hadley’s quadrants, and of course, barometers for which they were most well known. Edward Nairne was elected a member of the Royal Society in 1776. £600-£800 *See page 3 for information regarding fees

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192 A DIRECTOIRE STYLE ‘AU BON SAVAGE’ GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK the standing African figure with feathered skirt and headdress, with a baby in a crib hung from her neck, supporting the clock case in a bundle of sticks on her head, raised on a shaped plinth base, the white enamelled dial with Roman numerals, the early 19th century twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 40cm high

193 AN EARLY 20TH CENTURY FRENCH GILT AND PATINATED METAL NOVELTY CLOCK MODELLED AS THE EIFFEL TOWER the barrel case set to the first tier of the tapering tower, raised on a square marble base with a silvered plaquette indistinctly inscribed ‘PRESENTED TO.... FEBRUARY 7TH 1926’, the white enamelled dial with Roman numerals, the single train timepiece movement with pendulum, 65cm high

The movement is winding, ticking and striking but not fully tested or guaranteed. £1,500-£2,000

The movement is winding and ticking but not fully tested or guaranteed. £3,500-£4,500

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194 194 A LATE 18TH CENTURY GEORGE III EBONISED AND BRASS MOUNTED FUSEE BRACKET / TABLE CLOCK SIGNED BROCKBANKS, LONDON the case of break-arch form, surmounted by a swing handle and a pair of acorn finials, the sides with pierced brass sound frets, on four bracket feet, the painted dial signed ‘BROCKBANK Cornhill’ with Roman numerals, the twin fusee movement with anchor escapement striking on a bell, with pendulum, 39cm high with handle down The movement is winding, ticking and striking but not fully tested or guaranteed. £1,000-£1,500

195 195 A FINE AND LARGE MID 19TH CENTURY ENGLISH MAHOGANY QUARTER CHIMING MUSICAL BRACKET / TABLE CLOCK BY THOMAS ROSKELL the case with fluted and foliate carved pagoda top surmounted by an urn finial, the front angles with protruding Corinthian columns, the sides with hinged rectangular doors with pierced trellis frets, raised on a stepped plinth base over scrolling foliate feet, the pointed arch, gilt brass dial mask finely engraved with scrolling foliage in the manner of Thomas Cole, the white enamelled dial with Roman numerals, signed ‘THOMAS ROSKELL’, the substantial triple chain fusee movement chiming the quarters on a nest of eight bells and the hours on a coiled steel gong applied to the back door, with anchor escapement and pendulum, with conforming bracket, the clock 80cm high, the bracket 34.5cm wide, 114cm high overall

196 196 A REGENCY MAHOGANY FUSEE BRACKET / TABLE CLOCK WITH PULL REPEAT, SIGNED RAW, WHITBY the case with shallow sarcophagus top surmounted by a brass pineapple finial, the sides with arched glazed panels in the Gothic style, raised on a plinth base over four brass ball feet, the silvered 7.75” dial signed ‘Raw Whitby’, with Roman numerals, the twin fusee movement striking on a coiled steel gong, with anchor escapement and pull cord repeat, with heavy brass bob pendulum and winder, 50cm high The movement is ticking but not striking at present. Provenance: A private London collection. £600-£800

The clock is winding, ticking and striking but not fully tested or guaranteed. £2,000-£3,000

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197 A GEORGE III MAHOGANY AND GILT BRASS MOUNTED FUSEE TABLE / BRACKET CLOCK BY EDWARD SHEPLEY, MANCHSTER the case with bell top surmounted by a brass swing handle and flanked by four fruiting finials, the sides with brass fish scale frets, the front angles with beaded ribbon mounts, over bracket feet, the breakarch painted dial with floral and fruit painted corners and strike / silent subsidiary to the arch, signed ‘EDWD SHEPLEY Manchester’, the twin fusee movement with anchor escapement striking on a bell, the backplate engraved with a scrolling floral border, signed ‘Edwd.

Shepley Manchester’ within an oval and sunburst border, with adjustable brass bob pendulum, 51cm high

198 λ A LATE 17TH CENTURY FRENCH EBONISED AND TORTOISESHELL ‘BOULLE’ STYLE PENDULE RELIGIEUSE BY JEAN VERDIER, PARIS the straight sided case surmounted by the semi-circular pediment with three brass ball finials, over the glazed arched door and shallow plinth base with shaped apron, enriched with contra-partie brass, pewter and tortoiseshell foliate fronds, the sides with pewter stringing and arched glazed panels, the 8.25 inch brass Roman and Arabic chapter ring over the applied signature plate on a green velvet ground, the iron dial plate supporting the two train spring barrel movement, with verge escapement, silk suspension, baluster pillars and outside countwheel striking on a bell fitted to the top of the case behind the pediment, the backplate signed ‘Jean Verdier A Paris’, with pendulum, 51cm high

199 A MID 18TH CENTURY MAHOGANY FUSEE BRACKET / TABLE CLOCK WITH PULL REPEAT BY WILLIAM WEBSTER, LONDON the bell top with brass handle over circular and shaped glazed apertures to the sides, the breakarch door with quadrant pierced gilt brass sound frets, the signed 5.75” brass dial with silvered Roman chapter ring with Arabic five minute markers, with matted centre and mock pendulum aperture, with chamfered date aperture below and silvered name plate inscribed ‘Willm Webster LONDON’, with strike / silent to the arch, the twin fusee movement with verge escapement striking on a bell, with pull repeat, the backplate finely engraved in the Rococo style with pedestals topped with urns and rocialles, signed ‘Webster London’ within a cartouche, the pendulum with pear shaped bob, 47cm high

The movement is winding, ticking and striking but not fully tested or guaranteed.

The movement is winding, ticking and striking but not fully tested or guaranteed.

Jean Verdier is recorded in Tardy’s ‘Dictionnaire des Hologers Francais’ in Paris in 1686. £1,800-£2,200

B. Loomes ‘Watchmakers and Clockmakers of the World” (NAG Press, 1988, page 823) records William Webster as being apprenticed in London in 1727 and made free of the Clockmakers Company in 1734.

His father, also called William, was apprentice to, and journeyman with, Thomas Tompion. He worked in Exchange Alley and was made free of the Clockmakers Company in 1710. He died in 1734. £1,500-£2,000

The movement is winding, ticking and striking and has recently been serviced, but not fully tested or guaranteed. £2,000-£3,000

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200 AN IMPRESSIVE LATE 19TH CENTURY FRENCH GILT BRONZE AND POLYCHROME DECORATED CLOCK GARNITURE IN THE MANNER OF FERDINAND BARBEDIENNE the clock case of architectural form, the domed top surmounted by a ball and spire finial and flanked by four seated winged panthers, with eight free-standing columns centred by panther monopediae, the front and back with relief panels of Christ enthroned, heightened with paint to resemble champleve enamel in the Gothic taste, the dial cast in relief with the signs of the zodiac and with Roman numerals, the twin barrel movement signed ‘RAINGO FRERES PARIS’, with outside countwheel striking on a bell, with pendulum, the garniture candelabra of conforming design, each with six branches issuing as pairs from a central stem, the clock 55cm high, the candelabra 66cm high (3) The movement is winding, ticking and striking, (the pendulum crutch is damaged), not fully tested or guaranteed. £2,000-£3,000

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201 A LATE 19TH CENTURY FRENCH MARBLE EGYPTIAN REVIVAL MANTEL CLOCK of plinth form, on a rectangular base, with a pair of demi columns to the front, inlaid with red marble and decorated with Egyptian figures, the base inlaid with scarab wings, the dial with incised gilt numerals and visible Brocot escapement, the twin train movement stamped ‘A.D. MOUGINS DEUX MEDAILLES’, 31cm high £300-£500

*See page 3 for information regarding fees

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202 GEORGES EMILE HENRI SERVANT & EMILE HEBERT: A THIRD QUARTER 19TH CENTURY FRENCH ROUGE MARBLE AND GILT AND PATINATED BRONZE FIGURAL CLOCK GARNITURE the Neo-Grec style case modelled as a rectangular plinth with canted angles set with ormolu pilaster mounts with bearded classical masks, the sides with ribbon tied laurel mounts, raised on an ornate base with volute scrolls and outswept feet, surmounted by a bronze figure of Thetis putting on her armour, a shield at her feet, signed ‘EMILE HEBERT’, the reverse of the bronze stamped ‘G&S MEDAILLE D’OR 1867’, the gilt dial with Roman numerals, the twin train movement stamped ‘VINCENTI & CIE MEDAILLE D’ARGENT 1855’, and ‘G&S MEDAILLE D’OR 1867’, striking on a bell, with pendulum, the garniture urns with female mask mounts and raised on square bases over four paw feet, the clock 63cm high (3) The movement is winding, ticking and striking but not fully tested or guaranteed.

Pierre-Eugene-Emile Hebert studied under his father Pierre Hebert and later under the important Romantic sculptor Feuchère. He exhibited regularly at the Salon from 1846 to 1893. Georges Emile Henri Servant was also apprenticed to his own father, and took over his Paris foundry on the Rue Vielle-du-Temple. He exhibited at many of the important exhibitions including the Paris Exhibition of 1855, the London Exhibition of 1862 and again in 1867 when he won the gold medal. The present clock movement and bronze case are both signed ‘MEDAILLE D’OR 1867’, referring to this accomplishment.

An Egyptian style clock garniture by Servant and Hebert was sold Christie’s, London, 7 February 2001, lot 123 (£22,325). £2,000-£3,000

203 203 GEORGES EMILE HENRI SERVANT: A THIRD QUARTER 19TH CENTURY FRENCH MARBLE AND GILT AND PATINATED BRONZE EGYPTIAN REVIVAL MANTEL CLOCK the case modelled as a pyramid base with arched top and raised on a breakfront plinth, decorated with a pair of Egyptian figures, the dial with applied gilt Roman numerals, the twin train movement stamped ‘G&S MEDAILLE D’OR 1867’, striking on a bell, with pendulum, 26.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £400-£600 81

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205 204 A MID 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK BY RAINGO FRERES, PARIS the pierced, ornate case decorated with trellis work, C scrolls and rocailles, the dial with similar decoration and enamelled Roman numerals, signed ‘RAINGO FRES A PARIS’, the twin train movement with outside countwheel striking on a bell, also signed ‘RAINGO FRERES Paris’, numbered 3396, the back of the case and the pendulum also numbered 3396, together with an ebonised plinth and glass dome, the clock 33cm high, 44cm high including dome The movement is ticking and striking but not fully tested or guaranteed. £300-£500 205 A MID 19TH CENTURY FRENCH GILT BRONZE ROCOCO STYLE DESK TIMEPIECE the relief cast case ornamented with trellis-work, C scrolls and vines, on a shaped base with four shell feet, the white enamelled dial with Roman numerals and subsidiary seconds dial, with gold hands, the watch type movement with balance wheel escapement, signed ‘Rob Morris Shrewsbury No. 800’, 16.5cm high The movement is currently ticking but not fully tested or guaranteed. £150-£200 206 A MID 19TH CENTURY FRENCH GILT METAL AND PORCELAIN MOUNTED MANTEL CLOCK WITH GLASS DOME in the Louis XV style, the case with repousse decoration of shells, C scrolls and foliage, with vines and porcelain flowers, the white enamelled dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, the pendulum with repousse butterfly mount, raised on a gilt decorated wooden base, with an ebonised plinth with glass dome over, 45.5cm high, the dome 51cm high

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207 A SMALL EARLY 19TH CENTURY EMPIRE PERIOD GILT BRONZE MANTEL CLOCK DEPICTING A YOUTH the classically attired young boy holding a cornucopia, stood beside an arched plinth surmounted by a lyre, on a stepped base over acanthus cast feet, the dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 37cm high x 25.5cm wide

T g C th R fo w cr o m n fo T

The movement is ticking and striking when hands are turned but not fully tested or guaranteed. £500-£800 208 CLAUDE GALLE (FRENCH, 1759-1815): AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL CLOCK DEPICTING ASTRONOMY the standing, classically attired muse Urania beside the clock case modelled as a bookcase, surmounted by a globe with three signs of the zodiac, and a scroll, with a telescope to the other side, raised on a plinth base decorated in relief with laurel garlands, on four toupie feet, the white enamelled dial with Roman numerals signed ‘Galle Rue Vivienne No. 9’, the twin train movement with silk suspension and outside countwheel striking the half hour and hour on a bell, 41cm high £1,000-£1,500 209 AN EARLY 19TH CENTURY FRENCH GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK OF CLASSICAL THEME surmounted by a classical maiden, her left arm outstretched to the male figure, his head in his right hand, semi-clad and wearing a pelt, both raised on a rectangular base with a gilt relief depicting Chronos and two putti, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, 43cm high

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211 210 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT AND PATINATED BRONZE MANTEL CLOCK SIGNED ‘LEROY A PARIS’ the case of pedestal form surmounted by a twin handled urn, decorated with ormolu mounts of a classical mask flanked by scrolling leaves, the signed gilt dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, signed ‘Pons’ and ‘CLERET 4294’, with original pendulum also number 4292, 40cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800 211 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD PATINATED BRONZE MANTEL CLOCK SIGNED ‘LEROY & FILS, HGERS DU ROI A PARIS’ the case of narrow pedestal form surmounted by a twin handled urn, the front cast in relief with a figure of Chronos, with a gilt foliate bezel enclosing the silvered dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, signed ‘Pons Medaille d’argent 1823’ and ‘AG’ with pendulum, 34cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500

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212 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT AND PATINATED BRONZE MANTEL CLOCK of arched form and decorated with an egg and dart and acanthus leaf border, on a plinth base, decorated with a gilt bronze relief depicting Chronos in a serpent frame, the gilt dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 38cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800

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213 (front)

213 (back)

213 JEAN EUGENE ROBERT HOUDIN (FRENCH, 1805-1871): AN EXCEPTIONAL MID 19TH CENTURY GILT BRONZE AND GLASS MYSTERY CLOCK the gilt bronze case designed in the Renaissance Revival style, of architectural form with an arch enclosing a relief with two Bacchic putti flanked by a pair of solomonic columns over volute scroll feet, the centre with a figure of a winged putto holding a torch, supporting a knopped column issuing a pair of griffin mounts below the gilt bezel, the 4.75” glass dial with Roman numerals, signed ‘ROBERT-HOUDIN PARIS’, with gilt arrow hand, the movement with silk suspension and outside countwheel striking on a bell, signed ‘HOUDIN’, with pendulum, 50cm high

In 1839 Houdin exhibited some of his mystery clocks at the Exhibition of French Industry, and won a bronze medal. By the 1840’s he was also producing automaton, one of which won him the silver medal at a National Industrial Exhibition in 1844. This resulted in specific commissions for such pieces from conjurers and other showmen such as Phineas Barnum, who toured the world with Houdin’s machine for twenty years. This success helped to introduce him to the world of magic and conjuring, and by 1845 he had fulfilled a childhood dream and opened his own theatre show at the Palais Royal ‘Les Soirees Fantastiques Robert - Houdin’. His show was unique in that it incorporated traditional conjuring tricks with his own automatons to create magical effect. It proved to be immensely popular, so much so that by the 1850’s he was performing private shows for Queen Victoria at Buckingham Palace. His clocks, automatons and other inventions became world famous, and he is now widely considered to be not only the inventor of the first mystery clocks but also perhaps more importantly, the father of modern magic and conjuring.

The clock is in working order but not fully tested or guaranteed.

Jean Eugene Robert was born in Blois, near Paris, which had been a centre for clock and watchmaking for centuries; his father was a watchmaker and so naturally he began his career also in this trade. In 1830 he married Eglantine Houdin, the daughter of Jacques Houdin, a prestigious horologist who had studied under arguably the greatest watchmaker of all time, the great Breguet. Jacques Houdin had a shop in Paris which specialised in precision instruments, and the young Jean Eugene Robert was so impressed by his father-inlaw’s work that after the marriage he took his name and became Robert Houdin.

In 1831 Robert Houdin began to develop the first mystery clocks, and between 1831 and 1844 he produced five distinct types, all functioning in slightly different ways and for different effect. When one of these mystery clocks was exhibited in London in 1838, it is said spectators were amazed and could not work out how the hand moved, many speculating that the clock was driven with magnetism.

It has been said that every magician of the 20th century is haunted by Robert Houdin, his techniques and showmanship casting a shadow over all future conjurers. In fact, the famous Harry Houdini was so in awe of Houdin that he changed his name from Ehrich Weiss to Harry Houdini in homage to the great master, for he erroneously believed that adding an ‘I’ to the end of a name meant ‘like’ in French.

Related Literature: Derek Roberts, Mystery, Novelty & Fantasy Clocks, pp 225-226.

A square dial mystery clock by Houdin was sold at Chiswick Auctions, £20,700, 21 March 2017, lot 516. £10,000-£15,000

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214 A RARE EARLY 19TH CENTURY FRENCH GILT BRONZE LOUIS PHILIPPE PERIOD SWINGING PORTICO CLOCK BY HUMBERT A METZ the architectural case of Neo-Classical style, with a pair of columns over a plinth base and four toupie feet, the pediment mounted with a swan and acanthus gilt bronze relief, the Roman dial within a floral cast bezel and mounted at the base of the bi-metallic, grid iron and temperature compensated pendulum, which swings from a knife edge suspension at the top of the case, the pendulum pointer swings within a raised bronze rectangular well fitted to the plinth base, with pin in the rear which engages the crutch movement, the twin train movement striking on a bell, 42.5cm high In working order but not fully tested or guaranteed.

Humbert is listed in Tardy as working in Metz between 1834 and 1840. For a similar clock see Christie’s, Amsterdam, February 14, 2006, lot 726.

Related Literature: Derek Roberts, Mystery, Novelty and Fantasy Clocks, Schiffer, Pennsylvania, 1999, p.140, fig.12-4. Tardy, French Clocks, Part II, Paris, 1981, p.372. £2,500-£3,500

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215 A LATE 19TH CENTURY FRENCH GILT BRONZE FOUR GLASS MANTEL CLOCK WITH MOONPHASE, CALENDAR AND DAYS OF THE WEEK COMPLICATIONS the case with fluted corners and bevelled glass panels to the sides and doors, the white enamelled dial with Roman numerals and recessed centre painted with clouds and stars, with a circular moonphase above subsidiary dials for days of the week and date of the month, made for the English market, the twin barrel movement with Brocot escapement, signed ‘PURVIS & BISHOP 4 NORTH AUDLEY ST’, with twin tube mercury pendulum, 36cm high The movement is winding and ticking and striking when the hands are turned but not fully tested or guaranteed. £1,500-£2,000

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216 A RARE THIRD QUARTER 19TH CENTURY STERLING SILVER CASED EIGHT DAY MANTEL CHRONOMETER SIGNED PARKINSON & FRODSHAM, HALLMARKED FOR ELKINGTON & CO. 1872 the solid silver case of architectural form, with egg and dart cornice and foliate border over a plinth base, the base with hallmarks for sterling silver, Birmingham 1872, Elkington & Co., and inscribed and dated 1872, the case engraved with anthemions to the corners, the silver dial indistinctly signed ‘Parkinson & Frodsham... ‘ now rubbed, with Roman numerals, with subsidiary dial for running seconds, the power reserve sector marked 0-8, the 8 day fusee chain movement with chequered pattern to the plate signed ‘Parkinson & Frodsham Change Alley London’, with spring detent escapement and balance to a helical spring, with original winder stamped ‘’Primavesi Brothers, Bournemouth’, 26cm high x 18.5cm wide Currently in working order but not fully tested or guaranteed.

Provenance: This exceptional chronometer is particularly rare because it features the maker’s signature on the movement and also on the dial. It was almost certainly produced as a specific commission from the King Edward School, Birmingham, as a retirement gift to the headmaster, Reverend Charles Evans, M.A. The commission itself is interesting as it is a particularly fine gift for a Head Master, however the recent history of the school gives us an indication as to why; for the school had employed the renowned architect Charles Barry to re-design the buildings, and none other than Pugin to re-model the interior. (In fact this is where Barry and Pugin first became acquainted). Charles Barry had already designed numerous important buildings by this time, such as the Manchester Art Gallery and the Traveller’s Club, Pall Mall, and later in his career he designed the Houses of Parliament. There was, therefore, a tradition of employing the best designers of the day at the school, and so it is little wonder that the prestigious makers Elkington and Parkinson & Frodsham were selected to produce this important presentation gift. For here is a timepiece of the upmost accuracy, in the finest quality case and by the foremost craftsmen in the country, made in a style that echoed that of the school buildings.

(detail) The solid silver case is inscribed ‘PRESENTED BY THE TEACHERS AND SCHOLARS OF KING EDWARD THE SIXTH’S ELEMENTARY SCHOOLS TO THE REVD. CHARLES EVANS, M.A. ON HIS RETIREMENT FROM THE OFFICE OF HEAD MASTER OF THE FREE GRAMMAR SCHOOL, BIRMINGHAM, JULY 12 1872’. The silver case is also hallmarked for the same year.

The stamp on the purpose made winder relates to Primavesi Brothers, 155 High St, Bournemouth “from Geneva, established 1850”, they advertised themselves as Watch Manufacturers, Jewellers, Gold and Silversmiths, and also notably, as chronometer retailers.

They were also an important retailer of High Victorian Aesthetic and Arts & Craft movement designs.

The famous firm of Parkinson and Frodsham was founded in about 1800 by William Parkinson and W. J. Frodsham, both admitted to the Clockmakers Company in 1802. They traded at 4 Change Alley, London and later from 1891 at 16 Queen Victoria Street, at 35 Royal Exchange in 1893-5, 15B Royal Exchange in 1896-1905 and 5 Budge Row from 1906 to 1947. Their name is synonymous with excellence and accuracy, they produced marine and pocket chronometers of the very highest order, exporting them internationally to shipping companies and selling them to the Admiralty. £8,000-£12,000 87

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217 A FINE MID 19TH CENTURY FRENCH GILT BRONZE AND HARD STONE INLAID MANTEL CLOCK BY BARBEDIENNE, PARIS of pedestal form, surmounted by a twin handled urn and with tapering base cast with trellis work, floral sprigs and acanthus leaves, on an outswept base, the sides with pietre dure panels, the marble dial signed in gilt ‘Barbedienne PARIS’, with Roman numerals, the twin train movement stamped ‘JAPY FRERES PARIS MEDAILLE D’OR 1823 27 34 39 44 49’, striking on a bell, with pendulum, 33cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £2,500-£3,500

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218 A LATE 19TH CENTURY FRENCH GILT METAL AND PINK PORCELAIN MOUNTED MANTEL CLOCK WITH GLASS DOME the plinth case surmounted by a twin handled urn and flanked by a pair of cylindrical, porcelain columns, the front with a panel depicting a courting couple, raised on a giltwood plinth, the porcelain dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, with an ebonised base and glass dome over, the clock 38.5cm high, 51cm high including dome The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500

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219 A LARGE AND IMPRESSIVE NAPOLEON III PERIOD GILT BRONZE FIGURAL MANTEL CLOCK GARNITURE BY HENRI PICARD AND RAINGO FRERES, PARIS the ornate case decorated with a pair of reclining putti, one holding a fish the other a bunch of grapes, the scrolling plinth base set with a relief of Bacchic putti and with foliate mounts, surmounted by volute scrolls and reeds, the white enamelled dial with Roman numerals and Arabic five minute markers, signed ‘RAINGO FRERES A PARIS’, the twin twin movement with outside countwheel striking on a bell, with pendulum, with matching figural lamp bases, each modelled as a putto holding an acanthus wrapped torch and raised on reeded, spreading plinth bases, signed to the reverse ‘PICARD’ the clock 77cm wide x 53cm high, the lamps 53cm high (3) The movement is ticking when wound but not fully tested or guaranteed.

The Parisian fondeur and doreur Henri Picard was recorded at 6 rue Jarente in 1831, and moved to 10 rue de la Perle in 1839. The firm was renowned for the production of decorative items of the highest quality, a reputation confirmed by their commission to supply furniture and works of art for Emperor Napoleon III’s apartments at the Louvre in the 1860’s. Raingo Freres were widely considered to be one of the finest horologist firms during that period and so the combination of these two greats in one clock is a rare find. For another example of a clock by Picard and Raingo Freres see Bonhams, Los Angeles, 10 July 2013 lot 4126. £10,000-£15,000

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220 220 AN 18TH CENTURY FRENCH LOUIS XVI PERIOD GILT BRONZE FIGURAL MANTEL CLOCK BY FRANCOIS AGERON modelled as a Roman soldier with plumed helmet to one side, a bow and quiver of arrows at his feet, and a figure of Cupid to the other, centred by an oval mirror with ribbon tied crest, raised on a white marble plinth base with beaded border and Vitruvian scroll mounts, on four toupie feet, the white enamelled dial signed ‘AGERON A PARIS’, with Roman numerals and Arabic five minute markers, the twin barrel movement with flat bottomed plates, five pointed outside countwheel and silk suspension striking the half hour and the hours on a bell, 50cm high The movement is winding, ticking and striking but not fully tested or guaranteed.

Francois Ageron is listed in Tardy, ‘Dictionnaire des Horlogers Francais’ as active from at least 1741, and located at Place Dauphine from 1772 until 1783. £2,000-£3,000 221 A 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE PORTICO CLOCK IN THE LOUIS XVI STYLE surmounted by a fruiting and swagged urn, the drum case supported on a pair of ringed columns with urn finials, over a plinth base, the white enamelled dial with Roman numerals, the twin train movement stamped ‘Japy Freres’, with outside countwheel striking on a bell, with pendulum, 44cm high

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The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500 *See page 3 for information regarding fees

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222 222 A THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MOUNTED MANTEL CLOCK in the Renaissance Revival taste, the oval case with lion mask and acanthus mounts flanked by cherub caryatids terminating in acanthus leaves, on a plinth base, the blue porcelain dial with gilt numerals and a panel depicting two putti, the twin train movement with outside countwheel striking on a bell, with pendulum, raised on a giltwood plinth base, 52cm high The movement is winding, ticking and striking when the hands are turned but not fully tested or guaranteed. £2,000-£3,000 223 A LATE 19TH CENTURY FRENCH GILT BRONZE AND SEVRES STYLE PORCELAIN MANTEL CLOCK SIGNED ‘LEROY PARIS’, the pink porcelain spherical case with scrolling gilt and jewelled decoration, surmounted by a model of a dove eating grapes, flanked by a pair of female terms and raised on a square tapering, porcelain mounted plinth, over a shaped base with classical mask mount and musical and military trophies, the dial decorated with a pair of putti and with Roman numerals, the twin barrel movement signed ‘LEROY & FILS A PARIS 464’, striking the half hour and the hours on a bell, with pendulum, 50cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £3,500-£4,500 223 91

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225 224 AN EARLY 20TH CENTURY FRENCH GILT BRONZE AND CHAMPLEVE ENAMEL MANTEL CLOCK the case of Rococo style, decorated with foliage and C scrolls, the white enamelled dial with Arabic numerals, the single train timepiece movement signed ‘MAPLE & CO. LTD. MADE IN FRANCE’, with lever platform escapement, 25cm high The movement is winding and ticking but not fully tested or guaranteed. £600-£800 225 A RARE 19TH CENTURY GILT BRONZE AND CHAMPLEVE ENAMEL STRUT CLOCK WITH CENTRE SECONDS IN THE MANNER OF THOMAS COLE the case of typical form with three triangular protrusions and engraved strapwork decoration, with champleve enamel panels, the centre of the Roman dial with similar enamel decoration, the dial with centre seconds hand, the case with scrolling easel support, the timepiece movement winding from the back 16.5cm high The movement is ticking but not fully tested or guaranteed. £800-£1,200 226 A FINE LATE 19TH CENTURY VIENNESE ENAMELLED, SILVER AND GILT FIGURAL BOUDOIR CLOCK IN THE MANNER OF HERMANN BOEHM modelled as a standing figure holding a falcon in his gloved hand, the oval clock case raised on his head, the back of the case decorated with a scene of classical male and female figures, with a perched eagle above the case, raised on a domed foot with decorated with semi-clad gods and goddess in an Arcadian landscape, the hinged and glazed door to the Arabic and Roman dial, the inside of the case also decorated with an enamel depicting of a goddess holding lilies, the timepiece movement with balance wheel escapement, 21.5cm high The movement is ticking but not fully tested or guaranteed. £2,000-£3,000

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227 A LATE 19TH CENTURY PORCELAIN FIGURAL MANTEL CLOCK the Meissen style case in the Rococo style surmounted by a pair of putti, raised on a shaped base with flowers and foliage, the white enamelled dial with Roman numerals, the single train, timepiece movement with vertically mounted platform escapement, 31cm high The movement is ticking but not fully tested or guaranteed. £100-£150

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228 A LATE 19TH CENTURY FRENCH GILT BRONZE PENDULE D’OFFICIER CLOCK the typical case surmounted by a serpent handle over a caddy top with laurel mounts, on four lion paw feet, the white enamelled dial with Arabic numerals, the single train timepiece movement with lever platform escapement, 22.5cm high The movement is winding and ticking but not fully tested or guaranteed. £800-£1,200 229 A 19TH CENTURY FRENCH PAINTED METAL, WOOD AND GILT BRONZE PENDULE D’OFFICIER of rectangular form with domed top surmounted by a C scroll gilt bronze handle, the painted metal case decorated with roses, the sides and hinged back door with glazed panels, on four bun feet, the white enamelled dial with Roman numerals, the twin train movement stamped ‘AR BREVETE A PARIS’, with vertically mounted balance wheel escapement concealed behind the bell, striking the half hour and the hours, 16.5cm high with handle down The movement is winding, ticking and striking when the hands are turned but not fully tested or guaranteed. £700-£1,000

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230 AN EARLY 20TH CENTURY GILT AND SILVERED METAL CARRIAGE CLOCK WITH ALARM AND REPEAT SIGNED ‘TIFFANY & CO. PARIS’ the Anglaise Riche case with stiff-leaf wrapped swing handle and foliate cornice and plinth, with three quarter columns to the corners, the silvered dial with gilt Arabic chapter ring and pierced centre, with subsidiary alarm dial below, the twin barrel movement striking the half hour and the hours on a blue steel, coiled gong, with lever platform escapement, 13.5cm high In full working order but not fully tested or guaranteed. £500-£800 231 AN EARLY 20TH CENTURY GILT BRASS MINIATURE CARRIAGE CLOCK in the Renaissance Revival style, the case with foliate borders and scrolling handle, the corners with caryatids, the silvered dial with Arabic numerals, the single train timepiece movement winding from the back, 12cm high The movement is ticking but not fully tested or guaranteed. £300-£500

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232 A FINE LATE 19TH CENTURY GILT BRASS GRANDE SONNERIE CARRIAGE CLOCK WITH ALARM AND REPEAT BY MAISON GUSTAVE SANDOZ, PALAIS ROYALE, PARIS the gorge case surmounted by a swing handle and with bevelled glass sides, the gilt mask enclosing the Arabic enamelled dial and the subsidiary alarm dial, the twin barrel movement striking on twin blued steel gongs, signed to the side of the backplate ‘Gve. R. SANDOZ, 146-147-148 PALAIS ROYALE, PARIS’, and numbered 1841, with lever platform escapement and selection switch to the underside for Gde. Sonnerie / Pte. Sonnerie / Silence, 18.5cm high Maison Gustave Sandoz was founded in 1861 by Gustave Sandoz (1836-1891), who was descended from a family of clockmakers. He continued this tradition but is now perhaps better known for the jewellery his firm designed and produced. He was chairman of the trade organisation that represented jewellers of the Palais Royale, and was involved with the management of the Expositions Universelles. £800-£1,200 233 A LATE 19TH CENTURY FRENCH BRASS CARRIAGE CLOCK

BY RICHARD & CIE, PARIS, WITH ALARM AND REPEAT the Anglaise Riche case with three quarter Corinthian columns to the corners over a plinth base, the front and sides with bevelled glass panels, the silvered dial with Roman numerals with subsidiary alarm dial below, the twin barrel movement striking the half hour and the hours on a blued steel, coiled gong, with lever platform escapement, the backplate stamped ‘R C’ with a caduceus for Richard & Cie, together with leather covered and purple velvet line travelling case, 19.5cm high

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234 A LACQUERED AND GILT BRASS CARRIAGE CLOCK WITH ALARM AND REPEAT SIGNED ‘CAMERDEN & FORSTER NEW YORK’ the Anglaise Riche case with dentil border, the gilt mask with twelve piece enamel Arabic numerals and gilt pierced centre, with subsidiary alarm dial below, the twin barrel movement striking the quarters and the hours on two coiled steel gongs, 19.5cm high The movement is currently ticking but not fully tested or guaranteed. £350-£450 235 AN EARLY 20TH CENTURY FRENCH MOORISH STYLE BRASS CARRIAGE CLOCK SIGNED BRACHER & SYDENHAM the architectural case surmounted by a dome and flanked by four finials, the corners with three quarter columns, the front and sides with Moorish style arches, the whole decorated with scrolling foliate filigree work, previously gilded and silvered, the silvered dial with Roman numerals, the single train timepiece movement with lever platform escapement, 28cm high The movement is winding and ticking but not fully tested or guaranteed. £250-£350

The movement is winding, ticking and striking but not fully tested or guaranteed. £400-£600

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236 λ A FINE LATE 19TH CENTURY FRENCH GILT AND POLISHED BRASS CARRIAGE CLOCK MOUNTED WITH PORTRAIT MINIATURES, WITH ALARM AND REPEAT the Anglaise Riche case with three quarter, spirally turned Corinthian columns to the corners, with push repeat above, raised on a spreading plinth base, the sides with ivory portrait miniatures of 18th century maidens in the manner of Richard Cosway, within gilt pierced scrolling acanthus mounts, the mask with conforming decoration enclosing the white enamelled dial with Roman numerals, Arabic five minute markers and decorated with floral garlands, with a subsidiary alarm dial below, the twin barrel movement striking the hours and half hours on a blued steel, coiled gong, with lever platform escapement, 20cm high The movement and the alarm is in full working order.

Provenance: Ninian Bannantyne Stewart (1865 - 1929) and thence by descent to the present owner.

Ninian Bannantyne Stewart was a director of his family’s drapery firm, Stewart & McDonald. The firm had a chain of shops in Scotland, England, Ireland, Canada, Australia and New Zealand, and eventually became a subsidiary of the House of Fraser chain. The family owned Dunloe, a Scottish Baronial house on the Clyde, and employed architects John Honeyman and Kepple, for whom Charles Rennie Mackintosh worked, to extend and remodelled the house from 1889-1892. Drawings of its elaborate hall and dining room were exhibited in the British Architect magazine in September 1891.

According to family tradition, the clock was probably purchased during this period. £1,500-£2,000 95

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237

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237 A 1970 / 80’S POLISHED AND LACQUERED BRASS AND PLEXIGLASS ATMOS CLOCK BY JAEGER LECOULTRE, NO. 147404 the case with canted corners, the main glazed part rising to access the movement, the square skeletonised dial with applied gilt batons and Arabic numerals, revealing the movement within, signed ‘JAEGER LECOULTRE ATMOS SWISS MADE’ the movement wound by changes in air pressure, the underside signed ‘LECOULTRE & CIE METAL CALIBRE 528-6 SWISS’, 22.5cm high £500-£800 238 A JAEGER LECOULTRE LACQUERED BRASS ATMOS CLOCK, NO. 509043 of typical form, the canted case enclosing the movement wound by changes in air pressure, the skeletonised dial with Arabic numerals and applied gilt batons, the movement signed ‘JAEGER LECOULTRE ATMOS SWISS MADE’, signed to the underside ‘LECOULTRE & CIE METAL CALIBER 526-5 SWISS’, with a plaquette inscribed ‘PRESENTED TO PA EDWARDS..’

22cm high £500-£800 239 A 1970’S MODERNIST GILT METAL TABLE CLOCK BY SCHMID-SCHLENKER the unusual case cast with abstract forms and with glass cabochons, the red enamel dial with applied batons, signed ‘Schmid 8 day’, 30.5cm high

239

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The movement is striking when the hands are turned but not fully tested or guaranteed. £300-£500

*See page 3 for information regarding fees

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240 AN ENGLISH LACQUERED BRASS, HARRISON STYLE GRASSHOPPER CLOCK BY ASPREY, OF RECENT MANUFACTURE the shaped skeletonised frame raised on a veneered burr walnut stepped plinth base with a plaque inscribed ‘ASPREY’, the silvered dial with Roman numerals inscribed ‘MADE IN ENGLAND’, with a subsidiary seconds dial above, the grass hopper escapement with a pair of double spherical bob pendulums engaging the large ‘scape wheel, with single fusee timepiece movement, the backplate signed ‘H1 383 Comitti Made in England No Jewels’, within a glass case with satinwood and ebonised stringing, 46cm high The clock is functioning but has not been fully tested or guaranteed.

Asprey were recently retailing a carbon fibre version of this clock at £20,000. £3,000-£5,000 97

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241

242

243

244

241 A RARE 1960’s / 70’s SWISS JAEGER LECOULTRE GILT METAL AND FAUX LAPIS LAZULI MINIATURE TRAVELLING ALARM CLOCK WITH DATE APERTURE AND CENTRE SECONDS MADE FOR CARTIER the rectangular case with rotating cover that folds back to act as a stand for the clock, the manually wound movement with two crowns set in to the back of the faux lapis lazuli case, the gilt dial signed ‘JAEGER LECOULTRE SWISS MADE’, with centre seconds, date aperture and Roman numerals, with central arrow to set alarm, numbered to the back 1334143, 5.2cm high The clock is ticking but not fully tested or guaranteed. This model was made for and retailed by Cartier. £400-£600 242 A 1960’S SWISS GILT METAL AND FAUX TORTOISESHELL TRAVELLING ALARM CLOCK BY PIAGET, GENEVA the case of rectangular form with glazed front panel, with Roman chapter ring and dial signed ‘PIAGET Geneve’, the timepiece movement winding from the back, inscribed ‘15 JEWELS 598561 SWISS LEVER ESCAPEMENT C.249’, 7.5cm high £300-£500

98

243 A 1960’S SWISS IMHOF POLISHED BRASS AND FAUX TORTOISESHELL TABLE CLOCK the rectangular case surmounted by a scrolling and knopped handle, over four bun feet, the square beaded bezel with bevelled glass panel enclosing the engraved gilt dial with Roman numerals, signed ‘IMHOF STRIKING SWISS’, the movement winding from the back and striking a bell on the hour, 24cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500 244 A 1970’S SWISS JAEGER LECOULTRE POLISHED BRASS AND FAUX TORTOISESHELL MUSICAL ALARM CLOCK the case of rectangular plinth form, the dial signed ‘JAEGER LECOULTRE SWISS MADE 8’, with Roman numerals, enamelled hands and 24 hour alarm aperture, the movement winding from the back, 12cm high The movement is ticking but not fully tested or guaranteed. £200-£300

*See page 3 for information regarding fees

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245

246

247

248

245 A FINE EARLY 20TH CENTURY SWISS SILVER AND ENAMEL MINIATURE TRAVELLING CARRIAGE CLOCK BY THE GENEVA CLOCK CO. (JTC) No. 8584 the case with translucent pink and lilac, guilloche enamelled sides and top, the sides also with enamelled oval panels depicting portraits of 18th century ladies, the mother of pearl dial with Arabic numerals, the underside of the case with stamped ‘ARGENT’ ‘JTC’, and numbered ‘8584’, the hinged back revealing the single train timepiece movement with vertically mounted balance wheel escapement also signed ‘JTC’, 6cm high

247 AN EARLY 20TH CENTURY SWISS ENAMEL AND SILVERED METAL MINIATURE TRAVELLING CLOCK of arched pedestal form, with cream guilloche enamel and green borders, the dial with Arabic numerals, with watch type movement, unmarked, 9cm high

The movement is ticking but not fully tested or guaranteed. £700-£1,000

248 A 19TH CENTURY VIENNESE MOTHER OF PEARL AND GILT BRASS MOUNTED ZAPPLER TYPE CLOCK SIGNED ‘F. FORSTNER A VIENNA’ the case of plinth form with carved, pierced foliate front panel, and signed white enamelled dial with Roman numerals, the brass pendulum swinging in front, the single train timepiece movement winding from the back, 9.5cm high

246 AN EARLY 20TH CENTURY SILVER AND ENAMELLED MINIATURE TRAVELLING CLOCK IN THE ART NOUVEAU STYLE the rectangular case decorated with Gothic arches and quatrefoils, with translucent lilac guilloche enamel and white enamel stringing, on a hard stone plinth, the white enamelled dial with Roman numerals, with London import marks, 4.5cm high

The movement is winding and ticking but not fully tested or guaranteed. £200-£300

The clock is ticking but not fully tested or guaranteed. £400-£600

The movement is ticking but not fully tested or guaranteed. £1,500-£2,000 99

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249 249 A 1960’S SWISS CARTIER GILT METAL AND FAUX LAPIS LAZULI DESK ALARM CLOCK of square form, with beaded bezel and silvered dial signed ‘CARTIER 8 SWISS MADE’, winding from the back and the alarm set from the back, with push off / on button, 7.6cm high The clock is ticking and the alarm is working but not fully tested or guaranteed. £700-£1,000 250 TWO LATE 20TH CENTURY GILT BRASS ALARM CLOCKS BY CARTIER the first with circular, moulded case with strut support, the dial signed ‘CARTIER’ and with Roman numerals, the inscribed ‘MADE IN FRANCE’ ‘Cartier Paris’ numbered ‘0533595’, battery powered, the second of arched frame form with cream enamel decoration, the Roman dial signed ‘CARTIER PARIS MADE IN FRANCE’, the reverse also signed ‘Cartier PARIS’, with strut support cast with two C’s, the movement in working order but not fully tested or guaranteed, 9cm and 8cm high respectively, (2) £250-£350 251 A 1980’S SWISS POLISHED BRASS AND FAUX LAPIS LAZULI DESK ALARM CLOCK BY VAN CLEEF & ARPELS of cylindrical form, the ends with faux lapis veneers, the front glazed and revealing the faux lapis dial with applied gilt batons and date aperture, with alarm hand, signed ‘Van Cleef & Arpels’, winding from the back with alarm button to the back, 7cm high x 9.5cm wide

250 252 A 19TH CENTURY AUSTRIAN GILT BRASS ZAPPLER TYPE CLOCK OF MARITIME THEME modelled as an anchor over an oval base with rope twist mount, the white enamelled dial with Arabic numerals and brass pendulum mounted to the front, with single train timepiece movement winding from the front, 17cm high The movement is ticking but not fully tested or guaranteed. £200-£300 253 A FIRST HALF 20TH CENTURY LACQUERED BRASS AND ONYX NOVELTY CLOCK DEPICTING A CHINESE MAN the standing figure in traditional dress, raised on a chamfered, square onyx base, supporting the clock on his shoulders, the silvered dial with Roman numerals, the single train timepiece movement with vertically mounted lever platform escapement, 18.5cm high The movement is winding and ticking but not fully tested or guaranteed. £200-£300 254 AN EARLY 20TH CENTURY SWISS MOTHER OF PEARL AND SILVERED SUB MINIATURE TRAVELLING CLOCK the mother of pearl case surmounted by an unmarked silvered metal swing handle, raised on four ball feet, the dial with gilt Arabic numerals, the underside inscribed ‘BREVET 33817’ centred by a Swiss cross, winding from the underneath, 5.8cm high £250-£350

The movement is winding and ticking and the alarm is working but not fully tested or guaranteed.

Provenance: The Private Collection of Dr Fischer. £300-£500

100

*See page 3 for information regarding fees

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256

255 A LATE 19TH / EARLY 20TH CENTURY FRENCH LACQUERED AND GILT BRASS CARRIAGE CLOCK WITH ALARM the corniche case with dentil cornice, the ornate pierced gilt mask enclosing the white enamelled Arabic chapter ring, with subsidiary alarm dial below, the timepiece movement with balance wheel escapement, 15cm high The movement is ticking and the alarm is working but not fully tested or guaranteed. £400-£600 256 A FRENCH LOUIS PHILIPPE PERIOD ROSEWOOD, MARQUETRY AND GILT BRONZE MOUNTED PORTICO CLOCK SIGNED ‘SEGOND HR A MARSEILLE’ with four fruitwood strung free-standing columns with foliate capitals over a plinth base, the signed white enamelled dial with Roman numerals, the twin train movement stamped ‘Pons Medaille d’or 1827’, with outside countwheel striking on a bell, with bi-metallic compensated pendulum and with pendulum adjustment, with decorative gilt bob, 46cm high

257 258 A 19TH CENTURY FRENCH GRAND SONNERIE MINIATURE CLOCK WITH PUSH REPEAT comprised of a 19th century pocket watch movement mounted in an engraved brass case, the carriage clock type case with fluted handle over the shaped sides, the whole engraved throughout with shellwork, scrolling foliage and other motifs, with push repeat above the a bevelled glass, hinged front door, the white enamelled dial with Arabic numerals signed ‘GERMAN GYULA BUDAPEST’, the watch movement signed ‘BAILLY A PARIS RUE DE LA LOY’, striking the hours and the quarters at each fifteen minute interval and on repeat, 12cm high The movement is winding, ticking and striking and the push repeat working but not fully tested or guaranteed. £300-£500 259 A LATE 19TH CENTURY FRENCH BRASS CARRIAGE CLOCK OF OVAL FORM the oval case with bevelled glass sides, the white enamelled dial with Roman numerals, the twin barrel movement striking the half hour and the hour on a blued steel gong, with lever platform escapement, 18cm high

The movement is winding, ticking and striking but not fully tested or guaranteed. £200-£300

The movement is winding, ticking and striking but not fully tested or guaranteed. £200-£300

257 AN EARLY 20TH CENTURY AUSTRIAN SILVER AND ENAMELLED DESK CLOCK of arched form, with filigree work depicting flower heads and inscribed ‘GOOD LUCK’ centred by a cabochon, with Austrian silver mark to the underside, 9cm high £250-£350

260 A LATE 18TH CENTURY DUTCH WALNUT AND MARQUETRY MINIATURE LONGCASE CLOCK the case with shell and C scroll cresting, chamfered trunk and bombe plinth base, the later silvered dial with Arabic numerals, with mid 19th century single train timepiece movement, 42cm high The movement is ticking, but not fully tested or guaranteed. £200-£300

101

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261 AN ENGLIGH BURR WALNUT, SATINWOOD STRUNG AND BRASS MOUNTED MUSICAL TABLE / BRACKET CLOCK RETAILED BY ASPREY, CIRCA 2008 ‘THE QUEEN ANNE CLOCK’ the bell top surmounted by a swing handle and flanked by four fruiting finials, the sides with bevelled glass panels, the break-arch door with pierced sound frets, the break-arch dial with silvered boss to the arch signed ‘Asprey LONDON’, with silvered Roman chapter ring, with central subsidiary dial for seconds, with a switch to the right side for musical selection, the triple train movement striking the hours and quarters on eight bells with a pin wheel, the backplate signed ‘Made for Comitti of London by Kieninger’ stamped ‘RWU04’, with a plaque to the inside of the case inscribed ‘THE QUEEN ANNE CLOCK NO. 2 OF 50 Made in England 2008’, 49cm high The movement is winding, ticking and chiming but not fully tested or guaranteed. £300-£500 262 A GEORGE III STYLE WALNUT AND BRASS MOUNTED MOONPHASE TABLE / BRACKET CLOCK the inverted bell top with brass swing handle over, the sides with carved reticulated sound frets over a plinth base and foliate feet, the break-arch brass dial with moonphase to the arch and silvered Roman chapter ring, with gilt matted centre, the twin train movement striking on a bell and stamped ‘JUNGHANS’, with pendulum, 49.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £150-£200 263 A GEORGE III STYLE MARQUETRY INLAID QUARTER CHIMING BRACKET CLOCK RETAILED BY HARRODS, LONDON the case with inverted bell top above an arched door and plinth base, the arched, silvered dial with Roman numerals and strike / silent subsidiary dial above, the triple train movement striking on five chimes, with pendulum, 51cm high £200-£300 102

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264 A LATE 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE FIGURAL MANTEL CLOCK the plinth case surmounted by a figure of a classical maiden holding a scroll, with a figure of Cupid above, holding a flaming torch, the white enamelled dial with Arabic numerals, the twin train movement stamped ‘VINCENTI & CIE, MEDAILLE D’ARGENT’ with outside countwheel striking on a bell, with pendulum, 31cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £250-£350 265 A SMALL 19TH CENTURY ENGLISH BRASS SKELETON CLOCK UNDER GLASS DOME the scrolling frame with four knopped pillars and raised on four domed feet, the silvered Roman chapter ring signed ‘1427 MARK. READ. LEARN.’, the single fusee chain timepiece movement with deadbeat escapement, with brass bob pendulum with regulation nut, raised on a stained wood base with glass dome over, 21cm high overall £400-£600 266 A PAIR OF 19TH CENTURY FRENCH GILT BRONZE AND TOLE PEINTRE CANDLESTICKS the plain tapering painted tole stems raised on fluted bases over circular bases, each with an urn shaped nozzle, 36cm high (2) £200-£300 267 A LATE 19TH CENTURY WHITE MARBLE AND GILT BRONZE PORTICO CLOCK BY MOTTU A PARIS in the Louis XVI style, the drum case raised on a demi-lune colonnade with our freestanding columns, the white enamelled dial signed ‘MOTTU A PARIS’, the twin train movement stamped ‘MOTTU FRES A PARIS’, with outside countwheel striking on a bell and silk suspension, with pendulum, 36cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £200-£300 *See page 3 for information regarding fees

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268 268 A PAIR OF LATE 19TH CENTURY GILT BRONZE AND BISQUE PORCELAIN FIGURAL CANDLESTICKS modelled as a pair of white biscuit porcelain figures of putt climbing the stems modelled as vines, surmounted by an urn shaped nozzle, raised on circular bases cast with bearded male masks, 36cm high (2) £600-£800 269 ANTONIO PANDIANI (ITALIAN, 1838-1928): A BRONZE FIGURE OF KING VITTORIO EMMANUEL II AS A HUNTER depicted standing with his left hand in his pocket and holding a rifle in his right, raised on a canted rectangular base, dark brown patination, signed ‘A. PANDIANI MILANO’ and ‘ESPOSIZIONE IND ITALIANA 1881’, 50cm high

269

Victor Emmanuel II was King of Sardinia from 1849 until 17 March 1861, he then became the first King of Italy since the 6th century upon the reunification of the country, and remained king until his death in 1878. The bronze is inscribed ‘Esposizione Ind Italiana’ refers to the National Exhibition of Milan, which was the first major exhibition held in Italy and established Milan as the industrial centre of Italy. It included a Fine Art Exhibition, which is presumably where the present model was first exhibited. £2,000-£3,000 270 AN EARLY 20TH CENTURY BRONZE FIGURE OF KING UMBERTO I OF ITALY the standing figure with large moustache, holding a sword, raised on a stepped, canted plinth, dark brown patination, 34cm high £400-£600 271 A PAIR OF MID 19TH CENTURY FRENCH BRONZE CHERUB MOUNTS one holding a bunch of flowers, the other a basket of berries, with floral headdresses, the undersides cast to secure them to a surface, 21.5cm high £200-£300 270 103

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272 A LATE 19TH CENTURY FRENCH GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK depicting a musical putto playing a drum, raised on a stylised cloud and draped base, over a white marble and ormolu mounted oval plinth and toupie feet, the clock fitted into the drum, the white enamelled dial with Arabic numerals, the twin train movement signed ‘A.D. MOUGIN DEUX MEDAILLES’, with outside countwheel, 39cm high The movement is winding, ticking and striking (lacking bell) but not fully tested or guaranteed. £1,200-£1,800

272 273

273 A FRENCH LOUIS XVI PERIOD GILT BRONZE AND WHITE MARBLE MANTEL CLOCK CIRCA 1780 the case modelled as an oval column with fluted tapering top surmounted by ormolu sunburst rays, the sides with mounts depicting laurel hung lyres, on four toupie feet, the white enamelled dial with Roman numerals, the twin train movement with a five spoke star shaped outside countwheel and silk suspension, striking on a bell, with pendulum, 33cm high The clock is ticking and striking when the hands are turned but not fully tested or guaranteed. £800-£1,200 274 A LATE 19TH CENTURY FRENCH GILT BRONZE AND TOLE PEINTRE CLOCK GARNITURE IN THE RENAISSANCE REVIVAL STYLE the clock case of rectangular form surmounted by a twin handled urn, decorated throughout with tole ware panels in the manner of enamel, with griffin terms and scrolling foliage, the dial with Roman numerals, the twin train movement striking on a bell, with pendulum, the matching garniture candelabra with three scrolling branches centred by a fourth, the clock 41cm high The movement is ticking but the strike needs attention, not fully tested or guaranteed. £1,000-£1,500

274

275 A LATE 19TH CENTURY FRENCH BRONZE CLOCK GARNITURE in the Renaissance Revival style, the clock case of arched pedestal form surmounted by a twin handled urn and mounted with c scrolls and foliage, with a cartouche to the front of the base, the twelve piece enamelled dial with Roman numerals, the single train, timepiece movement with pendulum, the matching garniture candelabra with four downward scrolling branches centred by a fifth straight branch, on conforming bases, the clock 44cm high (3) The clock is winding and ticking but not fully tested or guaranteed. £1,000-£1,500 276 A LATE 19TH CENTURY FRENCH TORTOISESHELL AND GILT BRONZE MOUNTED DESK CLOCK of Rococo style, the scrolling case with gilt C scroll and foliate mounts, the white enamelled dial with Roman numerals and Arabic five minute markers, the single train timepiece movement winding from the back, with vertically mounted balance wheel escapement, 25.5cm high

275 104

The movement is winding and ticking but not fully tested or guaranteed. £200-£300 *See page 3 for information regarding fees

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277 A LATE 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK DEPICTING A MAN ON HORSEBACK the case surmounted by a tree stump with a leaping horse, a nude male tied to the horse, on a plinth base, the enamel dial with Arabic numerals, the single train timepiece movement with vertically mounted balance wheel escapement, 28cm high The movement is winding and ticking but not fully tested or guaranteed. £200-£300 278 A LATE 19TH CENTURY FRENCH SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED TRAY IN THE MANNER OF L’ESCALIER DE CRISTAL of rhombus form, the Chinese style border with pierced scrolling decoration, with a pair of blossom cast handles enclosing the pink porcelain panel with gilt decoration and centred by a quatrefoil enclosing a painted scene of a Chinese couple enjoying a picnic beside a lake, flanked by landscape scenes, 47cm wide £400-£600

278

279 A FINE 19TH CENTURY ITALIAN MICROMOSAIC OF A LANDSCAPE mounted in a black marble surround within an engraved bronze paperweight frame of rectangular form, the micromosaic 5cm wide, 11.5cm wide overall £800-£1,200 280 A 19TH CENTURY FRENCH GILT AND PATINATED BRONZE BUST OF NAPOLEON the bust raised on a cylindrical socle over a rectangular stepped plinth set with gilt eagle mounts to the sides and laurel wreath to the front, 35.5cm high £250-£350 281 A LATE 19TH CENTURY BRONZE BUST OF CAESAR AUGUSTUS the Roman Emperor looking to dexter and wearing armour, raised on a cylindrical socle, dark brown patination, the reverse signed ‘La Porte’, 35cm high £400-£600

279

282 A SMALL LATE 19TH CENTURY ITALIAN ALABASTER, GILT BRONZE AND VERDE ANTICO MARBLE BUST OF NAPOLEON raised on a stepped plinth base with gilt bronze N mount below a crown, 23cm high £250-£350 283 A PAIR OF LATE 19TH CENTURY FRENCH BRONZE CHENETS MODELLED AS PUTTI the reclining figures each holding a tablet, one leaning on a globe, the other a lyre, raised on plinth bases decorated with laurel leaves, lacking back bars, 24cm high (2) £300-£500

280

284 A PAIR OF LATE 19TH CENTURY ITALIAN BRONZE AND MARBLE RELIEFS OF MONUMENTS the reductions depicting monuments cast with winged cherubs centred by a military trophies with helmets, on oval alabaster plinths over Rosso marble bases, high (2) £200-£300 285 A PAIR OF 1930'S GILT DECORATED MIRRORS DEPICTING LEDA AND THE SWAN AND VENUS of rectangular form, the first depicting Leda and the Swan beside a lake, the second a girl at her toilette, holding a mirror beside a dressing table, both decorated in gilt on glass, with mirrored glass border, 86cm high x 50cm wide (2) £1,200-£1,800

281 105

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1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. ,MĂ&#x2026;VQ\QWV[ For the purposes of the current Terms and Conditions, the Seller shall JM LMĂ&#x2026;VML I[ \PM W_VMZ WN \PM /WWL[ 1\ Q[ QUXTQML \PI\ \PM ;MTTMZ Q[ \PM legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply. +I\ITWO]M LM[KZQX\QWV[ Any representation in any catalogue or otherwise as to the origin, date, age, attribution, genuineness or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description.

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1V[XMK\QWV Prior to auction, prospective purchasers are strongly advised to personally examine personally any property in which they are interested to satisfy themselves in relation to matters which may concern them. +WVLQ\QWV ZMXWZ\ CA Ltd may issue a Condition Report on request prior to the sale. <PQ[ +WVLQ\QWV :MXWZ\ Q[ NWZ QLMV\QĂ&#x2026;KI\QWV X]ZXW[M[ WVTa IVL KIVVW\ JM considered as giving a precise account of the Lotâ&#x20AC;&#x2122;s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report.

As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyerâ&#x20AC;&#x2122;s sole duty to inspect in person the Lot in order be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.

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condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates.

1.8 Reserves 5IVa 4W\[ IZM Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZML []JRMK\ \W I ZM[MZ^M _PQKP Q[ \PM KWVĂ&#x2026;LMV\QIT minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. ! :MOQ[\ZI\QWV \W \PM [ITM 6M_ JQLLMZ[ _QTT VMML \W ZMOQ[\MZ XZQWZ \W \PM [ITM 1\ Q[ [\ZWVOTa advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneerâ&#x20AC;&#x2122;s entire discretion.

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A deposit may be requested prior to each sale.

Failure to register shall result in the impossibility for the bidder to purchase a Lot. 8ZWWN WN QLMV\Q\a Bidders not previously known to CA Ltd will be required to provide: Â&#x152; 7â&#x20AC;ŤŮťâ&#x20AC;ŹKQIT XZWWN WN QLMV\Q\a QV \PM NWZU WN I XI[[XWZ\ WZ XPW\WKIZL LZQ^QVO TQKMVKM 6W W\PMZ NWZU[ WN 1, IZM IKKMX\IJTM Â&#x152; 8ZWWN WN ILLZM[[ WN UIQV ZM[QLMVKM 7VTa Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT LWK]UMV\[ showing name and address will be accepted. â&#x20AC;˘ Both landline and mobile telephone numbers â&#x20AC;˘ A bank reference for foreign bidders may be requested Â&#x152; +WZXWZI\M KTQMV\[ _QTT PI^M \W XZW^QLM I KMZ\QĂ&#x2026;KI\M WN QVKWZXWZI\QWV XZQWZ \W \PM I]K\QWV ITWVO _Q\P \PM ZMXZM[MV\I\Q^MÂź[ 1, QV IKKWZLIVKM with the abovementioned requirements for proof of identity.

Any Bidder that does not match the provided identity for registration may not purchase during the sale.

2. DURING THE SALE )\\MVLIVKM I\ I]K\QWV Attending the auction in person is recommended.

CA Ltd has the right in their absolute discretion to refuse participation QV IVa I]K\QWV \W ZMRMK\ IVa JQL IVL \W ZMN][M ILUQ[[QWV \W \PM XZMUQ[M[ Bidders are not obliged to be present in person at the auction.

Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

8MZ[WVIT JQLLQVO Bidders attending the auction in person shall be required to collect a number plate prior to the sale.

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+WUUQ[[QWV JQL[ +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \W KIZZa W]\ +WUUQ[[QWV JQL[ received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it. +WUUQ[[QWV JQL[ [PITT JM M`MK]\ML I\ \PM TW_M[\ XW[[QJTM XZQKM []JRMK\ to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyerâ&#x20AC;&#x2122;s responsibility to check if they have been successful in purchasing a Lot. 1V \PM M^MV\ WN U]T\QXTM KWUUQ[[QWV[ I\ \PM [IUM XZQKM \PM KWUUQ[[QWV set at the older date shall be taken into account.

<ZIV[NMZ WN ZQ[S[ Purchased Lots shall be at the Buyerâ&#x20AC;&#x2122;s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

<MTMXPWVM JQL[ 1N I JQLLMZ Q[ VW\ IJTM \W I\\MVL QV XMZ[WV IV I]K\QWV +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \W KWV\IK\ XZW[XMK\Q^M *]aMZ[ _PW UISM IZZIVOMUMV\[ prior to commencement of the sale to bid by telephone. +) 4\L KIVVW\ JM PMTL ZM[XWV[QJTM QV \PM M^MV\ WN Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\Q^Q\a resulting in the loss of a chance of purchasing the Lot for the Bidder.

/ZW]VL[ NWZ KIVKMTTI\QWV ]VLMZ \PM XZM[MV\ [MK\QWV [PITT QVKT]LM J]\ VW\ be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences WZ KMZ\QÃ&#x2026;KI\M[ IVa []J[MY]MV\ KPIVOM[ QV LWUM[\QK WZ QV\MZVI\QWVIT legislations restricting the sale of export of goods etc.

1V \PM M^MV\ WN QV\MZVM\ WVTa I]K\QWV[ \PM *]aMZ [PITT PI^M I LIa right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

1V\MZVM\ JQL[ Some sales may be available to internet bidding, as well as personal I\\MVLIVKM 1V \PQ[ M^MV\ +) 4\L [PITT VW\ JM PMTL ZM[XWV[QJTM NWZ Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\QWV *QLLQVO WV JMPITN WN [WUMWVM ) *]aMZ UIa JQL Ja XZW`a 1V \PQ[ M^MV\ XZWWN WN QLMV\Q\a WN JW\P \PM Buyer and the proxy must be communicated to CA Ltd prior to the sale.

A copy of the mandate shall also be required. *QLLQVO WV IV Q\MU Bid incrementing is at the auctioneerâ&#x20AC;&#x2122;s entire discretion. >QLMW \ZIV[UQ[[QWV For the purpose of the sale, Lots may be displayed on video during the I]K\QWV 1V \PM M^MV\ WN \ZIV[UQ[[QWV Q[[]M[ +) 4\L [PITT VW\ JM PMTL responsible for any subsequent outcome. ! 7VTQVM WVTa I]K\QWV[ Some auctions may be available to bidders only through an online XTI\NWZU 1V \PQ[ M^MV\ *]aMZ[ PI^M I LIa XMZQWL I\ ZMKMX\QWV WN \PM Lot to withdraw from the sale, in accordance with EU Consumer Law. ,Q[X]\M ZM[WT]\QWV L]ZQVO \PM I]K\QWV Any dispute shall be settled at the auctioneerâ&#x20AC;&#x2122;s absolute discretion.

Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneerâ&#x20AC;&#x2122;s entire discretion.

3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller.

The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. ?PMV I *]aMZ X]ZKPI[M[ U]T\QXTM 4W\[ MIKP 4W\ Q[ \PM []JRMK\ WN I separate contract of sale. <ZIV[NMZ WN XZWXMZ\a Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyerâ&#x20AC;&#x2122;s premium, relevant taxes, and costs in relation to shipping.

+IVKMTTI\QWV WN \PM [ITM At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter.

Under no circumstances can the Buyer cancel the sale.

CA Ltd may at its entire discretion, during or after the auction, cancel \PM [ITM WN \PM 4W\ WZ ZMWâ&#x20AC;«Ùºâ&#x20AC;¬MZ IVL ZM[MTT \PM 4W\ QN Q\ JMKWUM[ I_IZM WN any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

3.5 Returns and refunds CA Ltd will only issue a refund using the same method of payment originally used by the Buyer to pay for the purchase, or by bank transfer.

The Buyerâ&#x20AC;&#x2122;s refund will be processed without undue delay and in any M^MV\ _Q\PQV VW UWZM \PIV LIa[ WN \PM LIa \PM *]aMZ OI^M +) 4\L notice of cancellation.

1N \PM *]aMZ M`MZKQ[M[ \PMQZ ZQOP\ WN ZM\ZIK\QWV _PMV I]\PWZQ[ML \W LW [W

by Law, CA Ltd shall proceed to issue a complete refund, comprising the hammer price of the Lot, buyerâ&#x20AC;&#x2122;s premium and shipping fees. However return fees shall remain at the expense of the Buyer.

4. AFTER THE SALE 8IaUMV\ All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. +I[P XIaUMV\[ [PITT VW\ JM ZMKMQ^IJTM NWZ IUW]V\[ W^MZ Ã&#x201A; ZMOIZLTM[[ of the payment being for one or multiple Lots.

Payments made by someone other than the registered Buyer shall not be accepted.

Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. *]aMZ¼[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ã&#x2026;Z[\ Â&#x160; IVL XT][ >)< WV \PM JITIVKM \PMZMIN\MZ ) *]aMZ¼[ 8ZMUQ]U WN ! XT][ >)< Q[ charged on Wine & Spirits Lots.

The standard rate of VAT is charged on the premium except on Lots marked â&#x20AC;&#x2DC;â&#x20AC; â&#x20AC;&#x2122; where normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium.

1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show

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[I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

+WTTMK\QWV Purchased Lots can be collected from the auction room after the sale PI[ MVLML WZ JM\_MMV IU IVL XU ]X ]V\QT KTW[M WN J][QVM[[ WV the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyerâ&#x20AC;&#x2122;s premium. The rate applicable shall be the legal rate at the date of the sale. /WWL[ []KP I[ JWWS[ IVL IV\QY]M JWWS[ U][QK UIX[ IVL KPIZ\[ M\K IZM []JRMK\ \W bMZW ZI\ML >)< 1V ILLQ\QWV IVa QUXWZ\ \I`M[ \PI\ UIa JM QVK]ZZML [PITT JM XIQL Ja \PM Buyer above hammer price, VAT and Buyerâ&#x20AC;&#x2122;s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.7 Storage Purchased Lots not collected before 6pm on the day after the sale shall QVK]Z [\WZIOM KPIZOM[ WN Â&#x160; XMZ 4W\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L shall be entitled to retain purchased Lots sold until all sums due have been XIQL \W +) 4\L 1N IVa X]ZKPI[ML TW\ ZMUIQV[ ]VKWTTMK\ML LIa[ IN\MZ \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L [PITT in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding.

Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

)Z\Q[\ :M[ITM :QOP\[ ,ZWQ\ LM ;]Q\M 4W\[ UIZSML _Q\P »)::¼ UIa JM []JRMK\ \W I TM^a Droit de Suite is a royalty payable to a qualifying artist or to the artistâ&#x20AC;&#x2122;s heir each time a work is resold during the artistâ&#x20AC;&#x2122;s lifetime and up to I XMZQWL WN aMIZ[ IN\MZ \PM IZ\Q[\¼[ LMI\P :WaIT\QM[ IZM KITK]TI\ML on a cumulative sliding percentage scale based on the hammer price excluding the buyerâ&#x20AC;&#x2122;s premium. The royalty does not apply to Lots [MTTQVO JMTW_ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; IVL \PM UI`QU]U ZWaIT\a XIaIJTM WV IVa [QVOTM 4W\ Q[ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; Royalties for Droit de Suite are as follows:

;PQXXQVO Any shipping costs that may arise subsequently to the sale shall be at the Buyerâ&#x20AC;&#x2122;s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. +) 4\L LWM[ VW\ Wâ&#x20AC;«Ùºâ&#x20AC;¬MZ QV[]ZIVKM NWZ [PQXXQVO 0W_M^MZ +) 4\L UIa arrange insurance upon the Buyerâ&#x20AC;&#x2122;s request and at the Buyerâ&#x20AC;&#x2122;s expense.

CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

Â&#x152; .ZWU \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; -`KMMLQVO Ã&#x201A; :MUMLQM[ NWZ VWV XIaUMV\ 1N \PM *]aMZ NIQT[ \W UISM N]TT XIaUMV\ QV KTMIZML N]VL[ _Q\PQV \PM \QUM required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: â&#x20AC;¢ To cancel the sale â&#x20AC;¢ To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. â&#x20AC;¢ To resell the Lot on such terms by auction or otherwise entirely at CA Ltdâ&#x20AC;&#x2122;s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. Â&#x152; <W Wâ&#x20AC;«[Ùºâ&#x20AC;¬M\ IOIQV[\ IVa []U[ _PQKP +) 4\L UIa W_M \PM *]aMZ \PM outstanding sums unpaid by the said Buyer Â&#x152; ?PMZM \PM *]aMZ W_M[ []U[ \W +) 4\L QV ZM[XMK\ WN LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. Â&#x152; <W ZMN][M MV\Za \W \PM *]aMZ I\ IVa N]\]ZM I]K\QWV IVL WZ ZMRMK\ IVa N]\]ZM JQL[ Ja \PM *]aMZ IVL WZ [MMS I LMXW[Q\ NZWU \PM *]aMZ entirely in the discretion of CA Ltd. â&#x20AC;¢ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. â&#x20AC;¢ To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. â&#x20AC;¢ To take such other action as is permissible by Law and in the discretion of CA Ltd.

! 4W[[ WZ ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM [ITM +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT /WWL[ QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +]T\]ZIT OWWL[ UIa JM []JRMK\ \W QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ =VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade.

Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to WJ\IQV \PMU ;WUM KW]V\ZQM[ ZM[\ZQK\ \PM QUXWZ\ WN [XMKQÃ&#x2026;K K]T\]ZIT OWWL[ For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural OWWL[ QV XZW^MVIVKM NZWU [WUM KW]V\ZQM[ []JRMK\ \W IZUML KWVÃ&#x2020;QK\[ The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. +1<-; QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +MZ\IQV MVLIVOMZML [XMKQM[ IZM TQ[\ML QV \PM +1<-; +WV^MV\QWV 4Q[\ML [XMKQUMV[ IVL IVa XIZ\[ WZ XZWL]K\[ \PMZMWN IZM []JRMK\ \W Q[[]IVKM WN IV export permit when leaving the European Union. )XXMVLQ` 1 [XMKQM[ IZM IT[W []JRMK\ \W Q[[]IVKM WN I XZQWZ QUXWZ\ XMZUQ\ from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyerâ&#x20AC;&#x2122;s duty to initiate the proceedings with the relevant authority.

The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. ?WZSML Q\MU[ \PI\ IZM LI\ML JMNWZM ! IZM M`MUX\ NZWU QUXWZ\ restrictions for intra-EU trade and shall not require export licences.

Please be aware that all Lots marked with the symbol Æ&#x20AC; IZM []JRMK\ \W +1<-; ZMO]TI\QWV[

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4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them.

CA Ltd cannot be held responsible if the Buyerâ&#x20AC;&#x2122;s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. ?IZZIV\QM[ CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. )]\PMV\QKQ\a _IZZIV\a 1V \PM M^MV\ WN I 4W\ JMQVO [WTL I[ I]\PMV\QK ]VLMZ \PM KI\ITWO]M description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. <PM *]aMZ [PITT OQ^M VW\QKM \W +) 4\L _Q\PQV LIa[ NZWU SVW_TMLOM or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall JM LMÃ&#x2026;VML I[ \PM [\I\M WN I 4W\ \PI\ Q[ OMV]QVM IVL VW\ I NWZOMZa WZ I KWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ IVL ZMO]TI\QWV[ )ZKPIMWTWOQKIT OWWL[ W^MZ aMIZ[ WN IOM ]VTM[[ KW^MZML Ja M`MUX\QWV WN TQUQ\ML [KQMV\QÃ&#x2026;K QV\MZM[\ _QTT ZMY]QZM IV -= 4QKMVKM NWZ M`XWZ\ \W I third country, regardless of their value.

1\ Q[ ZMKWUUMVLML \PI\ \PM *]aMZ KWV\IK\ \PM -`XWZ\ 4QKMV[QVO =VQ\ at Arts Council England in order to be assured the good is or not of TQUQ\ML IZKPIMWTWOQKIT WZ [KQMV\QÃ&#x2026;K QV\MZM[\ Archaeological goods found on United-Kingdom soil or in UK \MZZQ\WZQIT _I\MZ[ W^MZ aMIZ[ WN IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination.

7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M Both European-Union and UK Licences may be required simultaneously NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining Â&#x152; 1ZZILQI\QWV â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone.

1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd

JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only.

-[\QUI\ML _MQOP\[ 1N I [\WVM¼[ M`IK\ _MQOP\ IXXMIZ[ _Q\PQV \PM JWLa WN \PM LM[KZQX\QWV \PM [\WVM PI[ JMMV ]V UW]V\ML IVL _MQOPML Ja +) 4\L 1N \PM _MQOP\ WN a stone is stated to be approximate, the stone has been assessed by CA 4\L _Q\PQV Q\[ [M\\QVO IVL \PM LMÃ&#x2026;VML _MQOP\ Q[ I [\I\MUMV\ WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;) LQIUWVL ZQVO Ja @â&#x20AC;&#x2122;: When the makerâ&#x20AC;&#x2122;s name appears in the title, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion the piece is by that maker. â&#x20AC;&#x2DC;) LQIUWVL ZQVO [QOVML @â&#x20AC;&#x2122;: Has a signature that, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. â&#x20AC;&#x2DC;) LQIUWVL ZQVO UW]V\ML Ja @â&#x20AC;&#x2122;: Has been created by the RM_MTTMZ QV +PQ[_QKS )]K\QWV[¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZ¼[ UIZS NWZ @â&#x20AC;&#x2122;: Has a makerâ&#x20AC;&#x2122;s mark which in Chiswick Auctionsâ&#x20AC;&#x2122; opinion is authentic.

Some items may include parts or products derived from endangered [XMKQM[ []KP I[ Q^WZa WZ KWZIT ;]KP Q\MU[ UIa JM []JRMK\ \W QUXWZ\ WZ M`XWZ\ ZM[\ZQK\QWV[ ;MM [MK\QWV WV +1<-; ZMO]TI\QWV[ NWZ UWZM LM\IQT[ 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and _Q\PW]\ LMNMK\[ WZ PI[ JMMV []JRMK\ \W ZMXIQZ WZ ZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto.

The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for QUXWZ\ WZ M`XWZ\ X]ZXW[M[ QV IKKWZLIVKM _Q\P +1<-; ZMO]TI\QWV[ CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps.

8. FURNITURE =XPWT[\MZML N]ZVQ\]ZM IN\MZ !

According to The Furniture and Furnishings (Fire Safety) Regulations ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes.CA Ltd shall not be ZM[XWV[QJTM NWZ TI\MZ IT\MZI\QWV[ \W \PM N]ZVQ\]ZM UISQVO Q\ ]VÃ&#x2026;\ NWZ [ITM 9. FINE ART .QVM )Z\ XIQV\QVO[ I[ QVKT]LML QV \PM KI\ITWO]M LM[KZQX\QWV »@ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ IV I]\PMV\QK work by the artist.

Chiswck 12th September WOA pages.qxp_Layout 2 20/08/2018 09:31 Page 110

»)\\ZQJ]\ML \W @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ probably a work by the artist. »+QZKTM WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL L]ZQVO \PM period of the artist’s life. ».WTTW_MZ WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM KWV\MUXWZIZa or near contemporary. »;KPWWT WN @ \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with that artist. ».ZMVKP ;KPWWT \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with a particular location. »5IVVMZ WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM J]\ I\ I TI\MZ LI\M IT\PW]OP not of recent execution. »;\aTM WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL WN ZMKMV\ M`MK]\QWV »)N\MZ @ " 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I KWXa Ja IV ]VQLMV\QÅML IZ\Q[\ WN I VIUML _WZS Ja \PM IZ\Q[\ Lots sold ‘as seen’ or ‘as found’ are deemed to be sold in their present condition, with their faults and defects. The Bidder must be aware that purchase of such Lots is at there own risk.

CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ ?PMV LMITQVO _Q\P )[QIV )Z\[ IVL UWZM [XMKQÅKITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must JM I_IZM WN QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ QV IKKWZLIVKM _Q\P +1<-; Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QÅKI\M[ UIa JM ZMY]QZML >MZQÅKI\QWV TM\\MZ[ _QTT JM ZMY]QZML NWZ ZM M`XWZ\ WN _WZSML ZPQVWKMZW[ Q\MU[

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, []KP XZW^Q[QWV Q[ \W \ISM M‫ٺ‬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM I‫ٺ‬MK\ML WZ QUXIQZML I[ I ZM[]T\

13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof.

14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

16. AMENDMENTS .QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM ÅMTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQÅML [\I\MUMV\[ I[ \W \PM I]\PWZ[PQX WZ LI\M WN execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings.

6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I »NWZOMZa¼ Q[ LMÅVML I[ I _WZS KZMI\ML _Q\P \PM QV\MV\ \W LMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[ IVL UIV][KZQX\[ [WTL I[ QVKWUXTM\M IZM VW\ []JRMK\ \W ZM\]ZV[ Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’.

12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM ÅTT TM^MT For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of IV »IKKMX\IJTM¼ ÅTT TM^MT NZWU +) 4\L

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ \PM JMVMÅ\ WN +) 4\L ITT JQLLMZ[ IVL [MTTMZ[ IOZMM \PI\ \PM +W]Z\[ WN -VOTIVL IZM \W PI^M M`KT][Q^M R]ZQ[LQK\QWV \W [M\\TM ITT LQ[X]\M[ IZQ[QVO in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

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SPECIALISTS

20th CENTURY DECORATIVE ARTS & DESIGN James Nurse, Head of Department james@chiswickauctions.co.uk

JEWELLERY Sarah Duncan, Head of Department sarah@chiswickauctions.co.uk

ANTIQUITIES & TRIBAL ART Alice King, Head of Department alice.king@chiswickauctions.co.uk

Charlotte Peel, Specialist charlotte.peel@chiswickauctions.co.uk

ASIAN ART Lazarus Halstead, Head of Department lazarus@chiswickauctions.co.uk

PHOTOGRAPHICA Austin Farahar, Specialist austin.farahar@chiswickauctions.co.uk PRINTED BOOKS & MANUSCRIPTS

Yasuko Kido, Japanese Art Specialist yasuko@chiswickauctions.co.uk

Clive Moss, Head of Department

CERAMICS & GLASS Dr. Jim Peake, Head of Department jim@chiswickauctions.co.uk

Andrew Kerr, Specialist

CONTEMPORARY & URBAN ART Harry Parkinson, Sales Coordinator harry@chiswickauctions.co.uk DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department meg@chiswickauctions.co.uk Winnie McGee, Specialist winnie.mcgee@chiswickauctions.co.uk EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard, Head of Department rachael@chiswickauctions.co.uk FINE ART Suzanne Zack, Head of Department suzanne@chiswickaucions.co.uk Rohan McCulloch, Specialist rohan@chiswickauctions.co.uk Krassi Kuneva, Head of Sales - Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Melissa Van Vliet, Head of Sales - Old Masters melissa.vanvliet@chiswickauctions.co.uk GUITARS & MUSICAL INSTRUMENTS Dr. David MacGregor, Specialist david@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Sales beatrice.campi@chiswickaucions.co.uk

clive.moss@chiswickauctions.co.uk

andrew.kerr@chiswickauctions.co.uk

Dr. Carmen Donia, Specialist carmen.donia@chiswickauctions.co.uk

Nicholas Worskett, Specialist nicholas@chiswickauctions.co.uk

Valentina Borghi, Head of Sales - Autographs & Memorabilia valentina.borghi@chiswickauctions.co.uk RUGS & CARPETS Mark Henry Lampé, Head of Department mark.lampe@chiswickauctions.co.uk Chris Vin, Consultant chris@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers, Head of Department john.rogers@chiswickauctions.co.uk Amicie de Villenfagne, Specialist amicie@chiswickauctions.co.uk WATCHES Matthew Caddick, Head of Department matt@chiswickauctions.co.uk Tomas Aznar watches@chiswickauctions.co.uk WINE & SPIRITS Peter Mansell, Head of Department peter.mansell@chiswickauctions.co.uk

Chiswck 12th September WOA pages.qxp_Layout 2 20/08/2018 09:31 Page 112

SALE CALENDAR

SEPTEMBER

17

MONDAY

Wine & Spirits

18

TUESDAY

Jewellery Watches

19

WEDNESDAY

Designer Handbags & Fashion

22

SATURDAY

Urban Art Contemporary Art

25

TUESDAY

Antiquities & Tribal Art Interiors & Design

26

WEDNESDAY

Printed Books: Travel, Natural History, Sporting & Sciences

OCTOBER

02

TUESDAY

Ceramics & Glass Vintage & Rare Guitars with Fretted Instruments

03

WEDNESDAY

British & European Fine Art to include Portrait Miniatures

Chiswck 12th September WOA covers.qxp_Layout 1 20/08/2018 09:24 Page 2

Chiswck 12th September WOA covers.qxp_Layout 1 20/08/2018 09:24 Page 1

Fine European Works of Art & Clocks 12 September 2018

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Fine European Works of Art & Clocks Including the David Redman Collection London 12th September 2018