Chiswick-Auctions-WorksofArt&Clocks-12-June-2019

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Fine European Works of Art & Clocks 12th June 2019

1 Colville Road, London W38BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Fine European Works of Art & Clocks Wednesday 12th June 2019

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SPECIALIST

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

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Fine European Works of Art & Clocks Wednesday 12th June 2019, 2pm

VIEWING AT SOUTH KENSINGTON Selected highlights of the Private Collection of Early & Fine Clocks (excluding lots 10, 11, and 12) Friday Monday Tuesday Wednesday Thursday

31st May 3rd June 4th June 5th June 6th June

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VIEWING AT CHISWICK Full sale Friday Saturday Sunday Monday Tuesday Wednesday

GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk SOUTH KENSINGTON 127 Fulham Road, London SW3 6RT CHISWICK 1 Colville Road, London W8 3BL EDINBURGH 93 George Street, Edinburgh EH2 3ES

7th June 8th June 9th June 10th June 11th June 12th June

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PHOTOGRAPHERS Steven McCauley Jordan Salzmann Darrell Russell Basak Ulukose Front cover: Lot 79 Inside front cover: 2 (detail) Back cover: Lot 19

A Private English Collection of Fine and Early Clocks

1 A RARE LATE 17TH CENTURY WALNUT LONGCASE CLOCK WITH TEN INCH DIAL AND BOLT AND SHUTTER MAINTAINING POWER, SIGNED THOMAS WHEELER, LONDON the flat topped hood with blind fret carved frieze over barley twist columns, the sides with carved pierced frets, with convex throat moulding over moulded trunk door with circular lenticle, on a plinth base and squat bun feet, the ten inch square brass dial with gilt putto mask and floral spandrels, with silvered Roman chapter ring signed ‘Thomas Wheeler Londini Fecit’, with gilt matted centre and date aperture, and with silvered subsidiary seconds, the movement united by five knopped and finned pillars with anchor escapement striking on a bell, with pendulum, two weights, winder and case key, 200cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: According to Baillie, Thomas Wheeler was apprenticed in 1647 to Nicholas Coxeter, was free of the Clockmakers Company in 1655, a Warden from 1680 and was appointed Master in 1684. His last record of attendance was in 1694 and is thought to have died between 1695 and 1701, when his widow received charity from the Company. £3,500-£4,500

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*See page 2 for information regarding fees

2 A RARE LATE 17TH CENTURY WALNUT FLORAL MARQUETRY LONGCASE CLOCK WITH TEN INCH DIAL AND BOLT AND SHUTTER MAINTAINING POWER, SIGNED JOHN MARTIN LONDINI FECIT the hood with stepped pediment over blind fret carved frieze and with glazed side apertures, with barley twist columns, over the convex throat and moulded rectangular trunk with brass mounted lenticle, on a plinth base and squat bun feet, the 10 inch square brass dial with plain winged putto spandrels and signed at the base ‘Jn Martin Londini Fecit’, with Roman numerals, with gilt matted centre, chamfered and engraved date aperture and silvered subsidiary seconds, the eight day weight driven movement united by five knopped and finned pillars with anchor escapement striking on a bell, with bolt and shutter maintaining power, with pendulum, two weights, winder and case key, 210cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Auction Comparable: See Bonhams, 14 June 2005, lot 115, for a marquetry longcase by John Martin also with bolt and shutter and ten inch dial, sold £15,600. £7,000-£10,000 3 A LATE 17TH CENTURY WALNUT AND FLORAL MARQUETRY LONGCASE CLOCK SIGNED THOMAS BARRETT OF LEWES the floral inlaid caddy top over the blind fret carving and three quarter doric columns with gilt capitals, with convex throat moulding over the trunk door with lenticle and panels of bird and flower marquetry, on a plinth base and four bun feet, the 12 inch square brass dial with wheat-ear engraved border and gilt putto mask and scroll spandrels, the silvered Roman chapter ring signed ‘Tho Barett of Lewis’, the gilt matted centre with engraved and chamfered date aperture and ringed winding holes, with silvered subsidiary seconds dial, the weight driven movement with six knopped and finned pillars, anchor escapement and inside countwheel, striking on a bell, with pendulum, two weights, winder and case key, 226cm high, 212cm high if separate caddy top is removed Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: Thomas Barrett of Lewes was known to be working in 1690, admitted to the Clockmakers Company in 1702 and also known as one of the early lantern clock makers (F.J. Britten, ‘Old clocks and watches and their makers’). He took on many apprentices one being John Mercer on the 15th May 1713. Mercer was apprenticed for five years to Thomas Barrett for a premium of £20.00, a relatively high premium. He was described as being the son of Thomas Mercer. £6,000-£8,000 2

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4 A LATE 17TH CENTURY WILLIAM III PERIOD WALNUT LONGCASE CLOCK SIGNED THOMAS WHEELER, LONDINI FECIT, CIRCA 1685-90 the flat topped case with blind fret carved frieze over glazed apertures to the sides and barley twist columns, the convex throat moulding over the moulded trunk door with brass mounted lenticle, on a plinth base and squat bun feet, the 11 inch square brass dial with gilt winged putto mask spandrels flanked by engraving, the silvered Roman chapter ring signed ‘Thos Wheeler Londini Fecit’, with gilt matted centre and chamfered date aperture with engraving of three crowns, with ringed winding squares and silvered subsidiary seconds dial, the eight day weight driven movement united by five knopped and finned pillars, with anchor escapement striking on a bell, with pendulum, two weights, winder and case key, 206cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: According to Baillie, Thomas Wheeler was apprenticed in 1647 to Nicholas Coxeter, was free of the Clockmakers Company in 1655, a Warden from 1680 and was appointed Master in 1684. His last record of attendance was in 1694 and is thought to have died between 1695 and 1701, when his widow received charity from the Company. £3,500-£4,500

5 A LATE 17TH CENTURY WILLIAM III EBONISED LONGCASE CLOCK SIGNED JOSEPH GILBURT, LONDON the flat topped hood with blind fret frieze over three quarter barley twist columns with gilt capitals, with glazed side apertures, convex throat moulding, moulded door with oval lenticle, on a plinth base with squat bun feet, the square brass dial with gilt putto mask and scrolling spandrels, the lower part signed ‘Joseph Gilburt London’, the silvered Roman chapter ring with Arabic five minute markers, the gilt matted centre with engraved and chamfered date aperture and silvered subsidiary seconds, the eight day, weight driven movement united by five knopped and finned pillars, with anchor escapement, pendulum and two weights, with winder and case key, 200cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: Baillie listed Joseph Gilburt as apprenticed in 1682. £2,500-£3,500

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*See page 2 for information regarding fees

6 A RARE AND FINE EARLY 18TH CENTURY WALNUT ARABESQUE SEAWEED MARQUETRY MONTH GOING LONGCASE CLOCK WITH TING TANG STRIKE, SIGNED MARKWICK, LONDON, CIRCA 1705 the hood with three quarter doric columns with brass capitals and a brass guilloche frieze above, with glazed sides panels, over the concave throat moulding and rectangular moulded door with brass mounted lenticle over a plinth base and squat bun feet, the sides with fruitwood strung panels, the twelve inch square brass dial with gilt floral and acanthus leaf spandrels, silvered Roman chapter ring signed ‘Markwick London’, with Arabic five minute markers, gilt matted centre and engraved and chamfered date aperture, with ringed winding squares and silvered subsidiary seconds dial, the weight driven movement with six knopped and finned pillars, with anchor escapement, with two hammers striking ting tang on a bell, with outside countwheel, with pendulum, two weights, winder and case key, 222cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: Presumably by James (Jacobus) Markwick, who was apprenticed to Edward Gilpin in 1656 and made free in 1666. In 1673 he succeeded Mr. Samuel Betts as Steward of the Clockmakers’ Company. £14,000-£16,000

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7 A FINE EARLY 18TH CENTURY QUEEN ANNE PERIOD FLORAL AND SEAWEED MARQUETRY LONGCASE CLOCK SIGNED CORNELIUS HERBERT, LONDON CIRCA 1705 the flat topped hood with three quarter doric columns and glazed side apertures, the concave throat moulding over the moulded rectangular trunk door with circular lenticle, on a plinth base, with bird and flower decoration flanked by arabesque seaweed marquetry, the 12 inch square brass dial with gilt spandrels each modelled as a pair of putti holding aloft crowns, within an engraved border, the silvered Roman chapter ring with Arabic five minute markers, signed ‘Corn Herbert London’, with Roman numerals interspersed with engraved fleur de lys, with engraved and chamfered calendar aperture and subsidiary seconds, the eight day weight driven movement united by five knopped and finned pillars, with anchor escapement striking on a bell, with pendulum, two weights, winder and case key, 213cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: Cornelius Herbert is described by Baillie as ‘A fine maker’. He was apprenticed in 1690, free of the Clockmakers Company in 1700 and Master in 1727. He died in 1751. His father, also named Cornelius Herbert was a watchmaker, and his son, also named Cornelius was free of the Clockmakers Company from 1735-34. £5,000-£8,000

8 A RARE EARLY 18TH CENTURY WILLIAM III WALNUT AND FLORAL MARQUETRY MONTH GOING LONGCASE CLOCK BY JOHN WILLIAMSON, LEEDS the flat topped hood with barley twist columns and glazed side apertures, over the conex throat moulding and moulded trunk door with oval moulded lenticle, on a plinth base and bun feet, decorated with fruitwood stringing to the sides and inlaid with floral marquetry, the 11 inch square brass dial with gilt winged putto mask spandrels, signed ‘Jn Williamson in Leeds Fecit’, the silvered Roman chapter ring with Arabic five minute markers, with ringed winding squares and ringed date aperture, the centre engraved with a Tudor rose, with silvered subsidiary seconds dial, the weight driven month duration movement united by five knopped and finned pillars, with anchor escapement striking on a bell, with pendulum, two weights, winder and case key, 202cm high

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Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: John Williamson was a clockmaker of the very highest repute. Although from Leeds he was admitted as a free Brother in the Clockmakers’ Company in London in 1682, and his workmanship and the quality of his clocks are very much on a par with the main London makers of the time. He returned to Leeds in 1683 where he married and had ten children. Following the death of his first wife he married twice more and produced more children, eventually dying in the poor house in 1748 aged in his eighties. £5,000-£7,000

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*See page 2 for information regarding fees

9 A FINE EARLY 18TH CENTURY CHINOISERIE DECORATED LONGCASE CLOCK SIGNED WILLIAM KIPLING, LONDON the hood with removable caddy top, each section of the hood decorated with a frieze of painted leather above glazed sides and three quarter doric columns to the corners, the trunk with concave moulded throat over plain trunk door with glass lenticle and plinth base, with gilt embossed Chinoiserie decoration on a painted faux red tortoiseshell ground throughout, ornamented with pagodas, birds and foliage, the 12 inch brass square dial with gilt bearded mask scrolling spandrels, Roman chapter ring with Arabic five minute markers, with gilt matted centre, chamfered and engraved date aperture and ringed winding squares, with subsidiary seconds above the engraved signature ‘WM KIPLING LONDON’, the eight day weight driven movement united by five knopped and ringed pillars and with anchor escapement striking on a bell, with two weights, pendulum, winder and case key, 243cm high overall, 216cm high when upper caddy section of hood removed Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: William Kipling is listed at Broad Street, near Ratcliff Cross, and in C.H. Baillie as working from 1705 to 1737.

Baillie describes him as a ‘fine maker of longcase clocks and bracket clocks’.

There is a bracket clock by Kipling in the Virginia Museum. £2,500-£3,500 10 A GEORGE III MAHOGANY LONGCASE CLOCK WITH MOONPHASE SIGNED RICHARD TAYLOR, LONDON, CIRCA 1780 of unusual small original size, the breakarch hood with scrolling pediment and three brass finials, with free standing fluted columns with brass mounts to the front angles, and glazed side apertures, the trunk with break-arch moulded door over a plinth base, the 12 inch breakarch brass dial with gilt pierced spandrels and silvered Roman chapter ring with Arabic five minute markers, the gilt matted centre with silvered name plate signed ‘Richard Taylor London’, with chamfered date aperture and silvered subsidiary seconds dial, the eight day weight driven movement united by five knopped pillars, with anchor escapement striking on a bell, with pendulum, two weights, winder and case key, 231cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed. £1,800-£2,200 9

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11 A FINE MID 19TH CENTURY ROSEWOOD GRANDE SONNERIE STRIKING VIENNA REGULATOR BY HELBIG & KREUTZ, WEIN the case surmounted by a carved C scroll cresting flanked by a pair of finials, over a scrolling cornice and pilasters flanking the arched, moulded door, the 6.25” enamelled dial with signed, recessed centre, with Roman numerals, within a gilt floral cast bezel, the triple train weight driven movement with deadbeat escapement striking on two blued steel coiled gongs, the pendulum with ebonsied wood rod and large brass bob, with three weights, winder and case key, 136cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed. £1,000-£1,500

12 A LATE 18TH CENTURY GEORGE III MAHOGANY DOMESTIC REGULATOR WITH CENTRE SWEEP CALENDAR, SIGNED BENJAMIN DICKER the break arch hood with carved fret cornice and surmounted by three brass finials over glazed side apertures and free standing fluted doric columns, the trunk with moulded break-arch door over a plinth base, the 12 inch break-arch dial with pierced Rococo style gilt spandrels, silvered Roman chapter ring with Arabic five minute markers and calendar inner track for date of the month, with subsidiary centre sweep hand, the signed centre engraved with a ho ho bird and a basket of flowers, centred by a silvered subsidiary seconds dial, with silvered strike / silent to the arch, the weight driven movement with five knopped pillars and deadbeat escapement, striking on a bell, with pendulum, two weights, winder and case key, 237cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed. £5,000-£7,000

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*See page 2 for information regarding fees

13 A FINE EARLY 18TH CENTURY EBONISED AND GILT BRASS MOUNTED TABLE / BRACKET CLOCK WITH PULL REPEAT SIGNED CORNELIUS HERBERT, LONDON the case with inverted bell top with scrolling gilt brass handle above and pierced gilt balustrade, the sides with pierced gilt brass sound frets, on a plinth base raised on four claw and ball feet, the break arch brass dial with gilt female mask and foliate scroll spandrels, silvered Roman chapter ring with Arabic five minute markers, the gilt matted centre with mock pendulum aperture (now covered), with oval signature plate ‘Corn Herbert London’, above the chamfered date aperture, the twin fusee movement striking on a bell, the backplate profusely engraved with scrolling acanthus leaves, strapwork and birds and butterflies, the pendulum with pear shaped bob, with winder and case key, 50cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed.

Notes: Cornelius Herbert is described by Baillie as ‘A fine maker’. He was apprenticed in 1690, free of the Clockmakers Company in 1700 and Master in 1727. He died in 1751. His father, also named Cornelius Herbert was a watchmaker, and his son, also named Cornelius was free of the Clockmakers Company from 1735-34. £3,000-£5,000

14 A FINE MID 19TH CENTURY FRENCH MAHOGANY FOUR GLASS MONTH GOING MANTEL CLOCK SIGNED IMBERT, PARIS the case with pilasters, glazed sides and back door, raised on a plinth base, the gilt foliate bezel enclosing the white enamelled dial with Roman numerals and Arabic quarter hour markers, signed ‘Imbert a Paris’, with Brequet style hands, the movement of month duration with outside countwheel striking on a bell, with bi-metallic compensating pendulum with large brass bob, with winder, 40cm high Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed. £2,500-£3,500

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16 15 A THIRD QUARTER 19TH CENTURY CLOISONNE ENAMEL AND GILT BRONZE STRUT CLOCK IN THE MANNER OF THOMAS COLE, SIGNED ‘GOLDSMITHS & SILVERSMITHS CO. 112 REGENT ST. LONDON’ the case modelled as a lyre, raised on a pair of foliate scroll feet, with easel support behind, the signed, silvered dial with Roman numerals and Arabic five minute markers, the single train timepiece movement with vertically mounted jewelled balance wheel escapement, numbered 9161, 25cm high The clock is ticking but not fully tested or guaranteed. £600-£800 16 A LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK WITH REPEAT BY RICHARD & CIE, PARIS the case with ringed geometric handle over bevelled glass sides, on a plinth base, the white enamelled dial with Roman numerals and Arabic five minute markers, the twin barrel movement striking on a coiled steel gong, with lever platform escapement, the backplate stamped ‘R C’ with a caduceus for Richard & Cie, also stamped ‘BREVETE SGDG’, 19cm high The movement it ticking but the strike needs attention, not fully tested or guaranteed. £600-£800 17 A SECOND QUARTER 19TH CENTURY FRENCH LOUIS PHILIPPE PERIOD GILT AND PATINATED BRONZE MANTEL CLOCK in the Neo-Gothic style, of architectural form with pierced arches, trefoils and other gothic ornaments, raised on six cluster columns over a plinth base, with sides with ormolu mounts of knights, the gilt dial with Roman numerals, the twin train movement with outside countwheel numbered 1825 and striking on a bell, with bimetallic compensating pendulum with ornate cast bob, raised on an ebonised plinth with glass dome over, with winder, the clock 46cm high, 57cm high overall

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Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed. £800-£1,200

*See page 2 for information regarding fees

18 A RARE EARLY JAEGER LECOULTRE LACQUERED BRASS BREVETS REUTTER ATMOS II CLOCK CIRCA 1939, NO. 7447 the case with canted angles, the glazed top secured to the base with two screws and lifting off to access the movement, the base signed ‘ATMOS BREVETE REUTTER JAEGER-LE-COULTRE FABRIQUE EN SUISSE - SWISS MADE’, the top of the movement numbered 7447, the dial with applied Arabic numerals and skeletonised centre revealing the movement within, powered by changes to the air pressure, 23.5cm high Provenance: From a private collection.

Condition: Seen running in owner’s home and recently serviced, in original condition, but not fully tested or guaranteed.

Notes: On 1 June 1929, Compagnie Générale de Radio (CGR) in France began manufacturing the first commercial model, Atmos 1, which used a mercury and ammonia bellows power source. On 27 July 1935, Jaeger-LeCoultre took over production of Atmos 1 while it developed a second design which used the present ethyl chloride power source. This model later named the Atmos 2, was announced on 15 January 1936, but problems delayed full production until mid1939. Subsequent models were based on this design. £1,800-£2,200

19 A VERY RARE 1930’S CHROME ‘PENDULE PERPETUELLE’ ATMOS CLOCK BY J.L. REUTTER, NO. 3317 the case with bevelled glass panels and front and back door, on a shaped plinth base with pendulum lock switch, the plinth engraved ‘1921-1934 A NOTRE CHER PRESIDENT EN TEMOIGNAGE DE RECONNAISSANCE ET D’AMITIE’, the back with applied plaquette signed ‘BREVETS J.L. REUTTER SGDG MADE IN FRANCE’, and numbered 3317, the dial with applied Arabic numerals, the centre signed ‘ATMOS PENDULE PERPETUELLE / BREVETE J L REUTTER’, the movement powered by changes in the air pressure, with chromed torsion pendulum, 23cm high Provenance: From a private collection.

Condition: Seen running in owner’s home and recently serviced, in fine original condition but not fully tested or guaranteed.

Notes: J.L. Reutter invented the Atmos clock, known as Atmos 1, powered by changes in the air pressure, and later sold the patent to Jaeger LeCoultre who produced variations on the theme from the 1940’s and throughout the 20th century. £8,000-£12,000 20 A SMALL LATE 19TH CENTURY FRENCH LACQUERED BRASS CARRIAGE CLOCK WITH REPEAT the corniche case with bevelled glass panels and swing handle over, the white enamelled dial with Roman numerals, the twin barrel movement striking on a coiled steel gong, with lever platform escapement, 15cm high £150-£200

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21 A FINE MID 19TH CENTURY ENGLISH BRASS DOUBLE FUSEE MUSICAL SKELETON CLOCK IN THE STYLE & QUALITY OF JOHN PACE OF BURY ST EDMUNDS raised on an oval mahogany plinth fitted with a music box, activated by a switch to the front and with pull cord, another pull cord repeats the last strike on the hammer of the clock, the clock with scrolling frames raised on domed circular feet, with a silvered Roman, skeletonised dial, with twin chain fusee movement striking the hours on a bell and upon the pull repeat, with deadbeat escapement, fine spokework and adjustable brass pendulum, with a glass dome over, 43cm high including dome x 33cm wide Provenance: From a private collection.

Condition: Seen running in owner’s home, but not fully tested or guaranteed. £2,000-£3,000

22 AN EARLY 20TH CENTURY ENGLISH TWO DAY SHIP’S CHRONOMETER BY J.W. RAY & CO., MAKERS OF THE TITANIC CHRONOMETER, No. 242 the mahogany case with glazed top and brass handles to the sides, the interior with gimbals supporting the ring turned bowl with moulded lip and plain bezel, the base with sprung dust cover to the winding hole, the 4 inch silvered dial with Roman numerals signed ‘J.W. RAY & CO. Liverpool, No. 242’, with subsidiary dials for up / down and seconds, the chain fusee movement with maintaining power, spring detent escapement, split bimetallic balance, helical balance spring, together with the original mahogany outer travelling case, with leather securing strap, the chronometer case 17cm high x 18cm wide, the outer case 23cm high x 32cm wide The movement is running but not fully tested or guaranteed.

Notes: During an expedition to the wreck of the Titanic in 1996, a chronometer was recovered and brought ashore.

This chronometer from the Titanic was also made by J.W. Ray & Co., Liverpool and was numbered 204; it later went on display at the Science Museum in London in 2003. The Titanic chronometer was presumably made just a couple of years before the present chronometer which is numbered 242. The design of the two chronometers is almost identical, the style of text inscribed on the dial varies slightly, in that the Titanic chronometer is signed ‘J.W. RAY & CO., 17 South Castle St. Liverpool 204’. Even the remnants of the outer travelling case of the Titanic chronometer look identical to the present outer case.

Related Literature: ‘Time and Again, Titanic’s Final Hours’, Ed. C. Akers-Jordan, published online. £2,000-£3,000

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*See page 2 for information regarding fees

Other Properties

23 A FINE GEORGE III MAHOGANY AND GILT BRASS MOUNTED BRACKET / TABLE CLOCK WITH PULL REPEAT BY EARDLEY NORTON, LONDON, CIRCA 1760 the case with brass handle surmounting bell top and flanked by four fruiting finials, the sides with glazed panels below roundels, both with gilt pierced floral sounds frets, on a plinth base and four scrolling foliate feet, the break-arch, brass 7.75 inch dial with gilt Rococo style spandrels and silvered Roman chapter ring with Arabic five minute markers, the gilt matted centre with chamfered date aperture and mock pendulum aperture, with silvered name plate signed ‘Norton London’, with strike / silent subsidiary dial to the arch, the twin fusee movement with verge escapement striking on a bell, with pull cord repeat, the backplate finely engraved with a basket of flowers flanked by scrolling foliage, the brackets similarly engraved, the pendulum with pear shaped bob, with winder, 54cm high Provenance: A private London collection.

Condition: Seen running and striking in owner’s home but not fully tested or guaranteed. £4,000-£6,000

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24 A LATE 18TH CENTURY CHINESE EXPORT MAHOGANY AND BRASS MOUNTED FUSEE BRACKET / TABLE CLOCK the pagoda top surmounted by a brass finial and flanked by four further finials over the arched door and plinth base, with acanthus scrolling feet, the arched dial with painted mask depicting various European gentlemen beside buildings and a lake with boats, the white enamelled dial with Roman numerals, the movement previously with twin chain fusees striking on a bell, strike-work now removed, the backplate with mock signature in Chinese characters, with verge escapement and pendulum, 71cm high Auction Comparable: Bonhams, 12 May 2008 lot 153. £300-£500 25 A SMALL EARLY 19TH CENTURY REGENCY PERIOD MAHOGANY FUSEE TABLE CLOCK the case with gadrooned pagoda top surmounted by a fruiting finial, the front angle with tapering ridged mouldings over a plinth base, with gilt brass mounts, the white enamelled dial with Roman numerals, the associated twin fusee movement of small proportions, previously with verge escapement (now anchorised), striking on a bell, with pendulum, the movement circa 1790, 35cm high £300-£500

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26 A SECOND QUARTER 19TH CENTURY GEORGE IV PERIOD MAHOGANY AND BRASS MOUNTED FUSEE TABLE / BRACKET CLOCK WITH PULL REPEAT SIGNED J.T. DE LA SALLE, LONDON the case of arched form and surmounted by a brass handle, the sides with arched panels of reticulated sound frets, the white enamelled dial with Roman numerals signed ‘F.T. De La Salle Cannon Street London’, the twin fusee movement with shouldered plates and engraved backplate with lambrequin border and signature ‘De La Salle London’, the pendulum similarly engraved, striking on a bell, 44cm high The movement is winding, ticking and striking and has recently been serviced but not fully tested or guaranteed.

Related Literature: B. Loomes ‘Clockmakers and Watchmakers of the World’ vol 2, lists De La Salle as working in London between 1828 and 1844. £1,000-£1,500

*See page 2 for information regarding fees

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27 A REGENCY MAHOGANY GOTHIC REVIVAL FUSEE TABLE / BRACKET CLOCK SIGNED W. STRANGE, LONDON the architectural case with a shaped arch with foliate carved moulding over cluster columns to the front angles and a plinth base, the sides with brass Gothic style pierced frets, the painted dial with Roman numerals, the twin fusee movement striking on a bell, with large brass bob pendulum, 50cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £700-£1,000 28 A MID 19TH CENTURY ENGLISH MAHOGANY FUSEE MANTEL TIMEPIECE the case with gadrooned pad top surmounted by a finial, with arched, gilt brass mounted glazed panels to the sides, on a dentil carved plinth, the scrolling arched glazed door opening to the brass dial with Roman numerals, the single fusee timepiece movement with rectangular, shouldered plates, with pendulum, 31cm high The clock is winding and ticking but not fully tested or guaranteed. £1,200-£1,800 29 A MID 19TH CENTURY ENGLISH MAHOGANY FUSEE MANTEL CLOCK the case with triple pad top, raised on a scrolling base over a rectangular plinth and four brass bun feet, the silvered dial with Roman numerals, with blued steel Breguet style hands, the single fusee movement with anchor escapement, with pendulum, 35cm high The movement is ticking but not fully tested or guaranteed. £400-£600

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30 A FINE GEORGE III MAHOGANY LONGCASE CLOCK WITH MOONPHASE SIGNED ‘TRYALL RIDER MANCHESTER’ CIRCA 1760 the hood with swan neck pediment centred by a finial, with free- standing columns to the front angles, the trunk with shaped door over the plinth base with canted angles and scrolling apron, the arched brass dial with gilt putto mask spandrels, silvered Roman chapter ring and subsidiary seconds, with painted centre depicting two men fishing within an idyllic landscape, with chamfered date aperture, the arch with painted moonphase and age of the moon, signed ‘TRYALL RIDER MANCHESTER’, the twin train eight day weight driven movement with four knopped pillars, striking on a bell, with pendulum (bob detached) and two weights, 252cm high Literature: B. Loomes ‘Watchmakers and Clockmakers of the World Vol. 2’, lists Tryall Rider as active circa 1750-60. £700-£1,000 31 AN EARLY 18TH CENTURY LONGCASE CLOCK MOVEMENT AND DIAL BY JACOB MASSEY, LONDON, CIRCA 1720, IN A 19TH CENTURY CASE the 19th century carved and ebonised case in the Jacobean style, the hood with three quarter, gilt brass mounted columns and blind fret carving, the door of the trunk carved with a battle scene featuring knights in armour, over a plinth base carved with vines, the early 18th century, 12 inch square brass dial with pierced gilt bearded mask spandrels, silvered Roman chapter ring and Arabic five minute markers, signed ‘Jacob Massy / Licaster Fealds / London, with gilt matted centre, silvered subsidiary seconds dial, ringed winding squares and chamfered date aperture (date function now removed and covered), the movement with five knopped and finned pillars, anchor escapement, previously striking on a bell, now striking on a coiled gong applied to the back of the case, with pendulum and two weights, 224cm high

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Literature: Jacob Massy / Massey is first recorded in C.H. Baillie ‘Watchmakers and Clockmakers of the World’ in 1689. He worked at at Cranbourn Street, London and Leicester Fields (later Leicester Square), and was free of the Clockmakers Company from 1715-25. Jacob Massey was descended from a family of renowned clock makers, his father was Nicholas Massey, also recorded at Cranbourn Street and free of the Clockmaker’s in 1682, he came to London from Blois, France, where his father was also a clockmaker ‘of repute’. Nicholas Massey died in 1698 and mentions his son Jacob in his will.

Auction Comparable: A fine late 17th century ebonised table clock by Jacob Massey was sold in these rooms on 27th March 2019 for £21,000. £800-£1,200

31 *See page 2 for information regarding fees

32 A VERY RARE AND IMPORTANT GEORGE III MAHOGANY AND MARQUETRY MUSICAL QUARTER CHIMING LONGCASE CLOCK, THE MOVEMENT BY BENSON, WHITEHAVEN, THE CASE ATTRIBUTED TO GILLOWS OF LANCASTER, CIRCA 1760 the case with typical carving and inlay by Gillows, the hood with swan-neck pediment decorated with dentil moulding and floral paterae, the corners with free-standing, fluted columns, the trunk with blind fret carving over the shaped door with distinctive inlay, possibly relating to an armorial crest, flanked by fluted pilasters, the plinth base with blind fret carved front angles and inlaid with a stylised motif, the substantial 14 inch brass arched dial with gilt pierced spandrels, the silvered chapter ring with Roman numerals interspersed with engraved foliage, with an outer five minute track with Arabic numerals, and an inner track for the date, with centre sweep calendar hand, the centre engraved with Rococo motifs, scrolls and foliage, and signed ‘Benson Whitehaven’, with subsidiary dials for strike / silent and country / gavet, the arch centred by a painted rolling moonphase with the moon’s age engraved to the outer edge, the narrow outer silvered dial engraved for Day Break / Decliniation and Twilight Place, numbered 0 / 10 / 20 and I to V to one side and VI - X the other, flanked by painted sunrise / sunset shutters rising and falling and with steel hands pointing to the outer track inscribed ‘Amplitud Ortive / Meridies / Amplitud Occidua’ indicating length of day, the inner ring for the sun’s declination, the calendrical and moonphase wheel work and levers now removed, the weight driven movement with anchor escapement striking the hours on a single bell and playing a choice of two tunes on the quarters with fifteen hammers on a nest of eight graduated bells, with pendulum and three weights, 240cm high This very rare clock of exceptional quality may have been a specific commission from an important patron who wanted every fashionable and expensive feature that could be combined into one clock. Not only does the dial arch have complicated calendrical features relating to the declination of the the sun, moon and length of day etc. it also has a musical function with a choice of tunes played on the quarters, all fitted in an ornate and finely carved case of the highest quality, in the Lancashire style and typical of the work of the important cabinet maker, Gillows of Lancaster.

Museum Comparable: There is a similar clock in the Victoria and Albert Museum, London by Benson of Whitehaven. This clock features the finely carved Lancashire style case and the complicated dial that are featured in the present example (but not the fifteen hammers and eight bells) and has been dated to 1760. (Inv. no. W.22: 1 to 3-1932). The catalogue entry is as follows: “An interesting example of a sophisticated clock by a regional maker. Little is known of Benson, although he was still working in Whitehaven in 1782 when he advertised white painted dials. The case is a restrained example of the Lancashire Chippendale style, inspired by Plate CLXIH from Thomas Chippendale’s Director. The dial arch has the major portion of a twenty-four hour chapter ring which is traversed daily by a gilt effigy of the sun, and shows sunrise, sunset and the sun’s amplitude. The inner dial shows the phases of the moon. The brass and steel weight-driven movement has a rack striking on a bell.”

Auction Comparables: For another George III mahogany longcase clock with astronomical dial but without musical function, see Sotheby’s, Amsterdam, 11 April 2005, lot 47 (27,000 euros) Christie’s, London, 7 December 2005, lot 70, again with astronomical dial but without music, sold £27,000. This clock had a Gillows style case like the present example. £8,000-£12,000 19

33 AN EDWARDIAN MAHOGANY AND SATINWOOD INLAID QUARTER CHIMING LONGCASE CLOCK the hood with swan neck pediment and a pair of free-standing columns over the trunk with arched, glazed door on a plinth base inlaid with an urn, the arched silvered dial with gilt spandrels and gilt pierced mount centred by a mask, with Arabic numerals, the triple train movement chiming the hours on a four gongs and playing Westminster chimes on four separate gongs, with pendulum and three weights, 244cm high £400-£600

34 A LATE 19TH CENTURY CARVED OAK TRIPLE TRAIN QUARTER CHIMING LONGCASE CLOCK the case carved throughout with ribbon-tied garlands of fruit and stylised foliage, the plinth base carved with a green man mask, the 12 inch brass break-arch dial with pierced gilt spandrels and gilt matted centre, with Roman silvered chapter ring and silvered subsidiary chime / silent dial to the arch, the substantial triple train, weight driven movement with anchor escapement chiming on a nest of eight graduating bells and a coiled gong fitted to the back of the case, with three weights and pendulum, 223cm high £300-£500

35 A GEORGE III STYLE MAHOGANY AND BRASS MOUNTED TABLE / BRACKET CLOCK WITH MOONPHASE the case surmounted by a brass handle, the sides with carved pierced frets, the break-arch dial with silvered Roman chapter ring, engraved centre with an image of Tower Bridge and moonphase to the arch, the twin barrel movement with anchor escapement striking the half hour and hour on two bells, with pendulum, 36cm high £120-£180

36 A LATE 19TH CENTURY WALNUT MANTEL CLOCK the case with dome and gadrooned top with brass finial over, with canted front angles with ionic pilasters over a scrolling apron and feet, the sides with silk lined, brass reticulated sound frets, the silvered dial engraved throughout with scrolling foliage and with Roman numerals, the twin barrel movement inscribed ‘LENZKIRCH 1 Million’ striking on two coiled steel gongs, with pendulum, 41cm high

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The movement is ticking and striking but not fully tested or guaranteed. £150-£200 *See page 2 for information regarding fees

37 A LARGE EARLY 19TH CENTURY ENGLISH TAVERN OR ‘ACT OF PARLIAMENT’ CLOCK BY RICHARD FRANCIS, ATTLEBURGH, CIRCA 1810 with unusual square dial, painted black with gold Roman numerals, and bearing the marking “Tempus Fugit 1844”, and the original painter’s signature “NIARR” below, with very large gold-painted hands, the minute hand with couterweight for proper functioning and minimum power requirement, the straight painted case with door and lock for access to the pendulum and weight, signed on the dial and stamped on both movement plates ‘Richd Francis ATTLEBURGH’, with numerous markings of make and painters on the reverse of the dial, the substantial single train timepiece movement with four turned pillars, recoil anchor escapement and steel suspension with large count pinions for accuracy, gutline holding the original weight for an eight day duration, the pendulum beating the second, 152cm high x 96cm wide x 21cm deep The movement is ticking but not fully tested or guaranteed.

Related Literature: G.H. Baillie, ‘Watchmakers and Clockmakers of the World’, Ronald E. Rose, ‘English Dial Clocks’, Antique Collector’s Club, 1978.

Tavern Clock History: As a result of an Act passed by the English Parliament in 1797 tavern clocks were hung in many pubs and taverns throughout the country. The act declared that a tax would be collected on every clock in the realm, and as a result, many private clock owners either hid their clocks or got rid of them, and so had to visit the tavern to obtain the correct time. These clocks were usually of plain functional design, with large faces that were easy to read. £1,200-£1,800

38 A GEORGE III MAHOGANY LONGCASE CLOCK SIGNED GEORGE CLARKE, LEADEN HALL STREET, LONDON the case with caddy top with pierced fretwork to three quarter columns to the front angles, with concave moulding over the plain trunk with plinth base, the 12” brass break-arch dial with pierced gilt spandrels with putti masks, matted centre with chamfered date aperture and subsidiary seconds, with a silvered boss to the arch signed ‘Geo. Clarke, Leaden Hall Street, London’ flanked by gilt dolphin mounts, with strike / silent lever, the eight day weight driven movement with anchor escapement striking on a bell, with pendulum and two weights, 242cm high £1,200-£1,800

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40 39 A MID 19TH CENTURY MAHOGANY AND BRASS MOUNTED FUSEE TABLE CLOCK the case of arched form, with glazed side panels below brass swing handles, raised on four bun feet, the silvered dial with Roman numerals, the substantial double chain fusee movement with anchor escapement striking on a coiled steel gong, with pendulum, 43cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800 40 A LATE 19TH CENTURY EBONISED AND GILT BRASS MOUNTED QUARTER STRIKING FUSEE TABLE / MANTEL CLOCK the case of break-arch form with canted front angles set with floral caryatid mounts over a plinth base, the sides with pierced Rococo style gilt brass frets, the 6.5” brass break-arch dial with silvered Roman chapter ring with 60 minute markers to the outer track, with slow / fast regulation dial above and gilt matted centre, the twin fusee movement with rectangular plates, the backplate stamped ‘A.B. PATENT W&H Sch’ for Winterhalder and Hofmeier, striking the quarters on two coiled steel gongs, with pendulum, 42cm high The movement is winding, ticking and striking but looks to require a clean and service and is not in sync at the moment, not fully tested or guaranteed. £300-£500

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41 A LATE 19TH CENTURY ENGLISH MAHOGANY FUSEE MANTEL CLOCK SIGNED ‘GOLDSMITHS & CO. 112 REGENT STREET, LONDON’ the case with carved caddy top over fluted canted angles and a foliate carved plinth base, the sides with glazed panels, the silvered dial finely engraved with scrolling acanthus leaves, with Roman numerals and strike / silent subsidiary dial above, the twin chain fusee movement striking on a coiled steel gong, 36cm high The movement is winding, ticking and striking but lacking pendulum, not fully tested or guaranteed. £800-£1,200

*See page 2 for information regarding fees

42 42 λ A LATE 19TH CENTURY FRENCH TORTOISESHELL AND GILT BRONZE MOUNTED PENDULE D’OFFICIER SIGNED ‘J.C. VICKERY TO THEIR MAJESTIES’ of typical form, the pagoda top surmounted by an ormolu swing handle formed as a serpent, with a laurel wreath mount below, on four toupie feet, the white enamelled dial signed ‘J.C. VICKERY TO THEIR MAJESTIES 179, 181, 183 REGENT STREET W’, the single train timepiece movement winding from the back and with platform escapement, with winder, 22cm high The movement is ticking but not fully tested or guaranteed. £450-£550

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43 λ A THIRD QUARTER 19TH CENTURY FRENCH ‘BOULLE’ STYLE TORTOISESHELL, CUT BRASS AND GILT BRONZE MOUNTED MANTEL CLOCK SIGNED ‘AZUR A PARIS’ the case of arched form with volute scrolls mounts to the top and raised on a spreading, rectangular plinth base over toupie feet, finely inlaid with trellis-work and scrolling foliage, the gilt repousse dial with enamel Roman numerals, the VI signed ‘AZUR A PARIS’, the twin train movement with outside countwheel striking on a bell, also signed ‘AZUR A PARIS’ 28cm high The movement is winding, ticking and striking when the hands are turned but not fully tested or guaranteed. £300-£500 44 λ A RARE MID 19TH CENTURY ENGLISH ‘BOULLE’ STYLE TORTOISESHELL, CUT BRASS AND GILT BRONZE MOUNTED FUSEE MANTEL CLOCK BY PAYNE, LONDON the case in typical Rococo style, surmounted by a foliate and floral pierced ormolu mount, with scrolling sides and balloon shaped front door, raised on a conforming shaped base also with cut brass decoration, the gilt dial with an enamel centre signed ‘Payne 163 NEW BOND STREET LONDON’, with twelve enamelled Roman numerals and twelve Arabic five minute markers, the single fusee timepiece movement with circular plates, the backplate signed ‘Payne 163 New Bond St’, with pendulum, 51cm high The movement is ticking but not fully tested or guaranteed.

William Payne is first recorded at 62 South Moulton Street London in 1816. By 1825 he has moved to 163 New Bond Street where the company remained until the 20th century. William Payne & Company, watch, clock and pedomater makers are first recorded there in 1852.

Related Literature: B. Loomes, ‘Watchmakers and Clockmakers of the World’, N.A.G. Press. £1,200-£1,800

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45 A RARE MID 18TH CENTURY FRENCH GILT BRONZE CARRIAGE / TRAVELLING CLOCK WITH ALARM BY COUTEREZ A LYON the case with three quarter columns at the corners surmounted by finials, the sides glazed, the front engraved with a wreath and signed ‘COUTEREZ A LYON’, the white enamelled dial with Roman numerals and Arabic five minute markers, with alarm disc to the centre, the single train timepiece movement with ringed pillars, anchor escapement and silk suspension, the alarm wound with a pull cord and striking the bell mounted to the top, with pendulum, 16cm high The movement is ticking but not fully tested or guaranteed.

Coutterez a Lyon is listed in Tardy ‘Dictionnaire des Horlogers Francais’ working in the Louis XV period. £600-£800 46 λ A LATE 19TH CENTURY FRENCH BOULLE STYLE TORTOISESHELL AND GILT BRASS MOUNTED MANTEL CLOCK SIGNED ‘J.W. BENSON’ the case of typical scrolling form, surmounted by a floral finial, the white enamelled dial with Roman numerals and Arabic five minute markers, the twin train movement striking on the half hours and the hours on a coiled steel gong, 31cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £200-£300 47 λ A LATE 19TH CENTURY FRENCH TORTOISESHELL AND GILT BRONZE MOUNTED TRAVELLING CLOCK BY ‘PLANCHON AU PALAIS ROYAL’ the rectangular case with a caddy top surmounted by a scrolling handles, the sides and back door with glass panels, raised on bun feet, the white enamelled dial with Roman numerals and Arabic five minute markers, signed ‘Planchon, AU PALAIS ROYAL’, the twin barrel movement similarly signed to the backplate, striking on a gong and with vertically mounted lever platform escapement, 21cm high The clock is winding, ticking and striking but not fully tested or guaranteed. £400-£600 48 A LATE 19TH CENTURY TORTOISESHELL AND SILVER MOUNTED DESK BAROMETER of strut form, the shaped frame with Baroque style silver mounts hallmarked for Birmingham 1897, decorated with foliage and a ribbon-tied crest, with an aneroid barometer with gilt, pierced centre to the dial, with brass easel stand, 19cm high £300-£500 24

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49 A RARE FRENCH LOUIS XVI PERIOD GILT BRONZE SEDAN CLOCK WITH ALARM AND PULL REPEAT SIGNED LE COEUR L’AINE the ormolu case surmounted by a suspension ring and cast with a ribbon-tied crest, with beaded mount and laurel wreath decoration, the signed white enamelled dial with Arabic numerals and outer five minute track, with gilt pierced hands and separate alarm hand, the single train timepiece movement with silk suspension and pull repeat on a bell (pull cord and bell now lacking) with pendulum, 26cm high including suspension ring The movement is winding and ticking but not fully tested or guaranteed.

Le Coeur L’aine of Paris are listed in Tardy’s Dictoinnaire des Horlogers Francais with a date of 1786. £300-£500 50 A LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK WITH PUSH REPEAT BY HENRI JACOT the corniche case surmounted by a swing handle, the white enamelled dial with Roman numerals, the twin barrel movement striking the half hour and the hours on a coiled steel gong, the backplate with Henri Jacot stamp, with lever platform escapement, with leather covered travelling case, 18cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500

*See page 2 for information regarding fees

51 51 A LATE 19TH / EARLY 20TH CENTURY GILT BRASS QUARTER STRIKING CARRIAGE CLOCK WITH ALARM AND REPEAT SIGNED ‘G. BORNAND’ the corniche case with gilt brass mask enclosing the white enamelled dial with Arabic numerals interspersed with gilt stars, with subsidiary alarm dial below, the twin barrel movement with with two hammers striking on a blue coiled steel gong, a further hammer for the alarm, with lever platform escapement, together with the leather covered travelling case and winder, 16cm high £500-£800

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52 A LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK WITH ALARM AND REPEAT the case of oval stepped form with scrolling handle over, with bevelled glass panels, the engraved gilt mask enclosing the white enamelled dial with Roman numerals and Arabic five minute markers, with subsidiary alarm dial below, the twin barrel movement striking the half hour and hours on a coiled steel gong, with lever platform escapement, with winder, 18cm high The movement is winding, ticking and striking and has recently been serviced but not fully tested or guaranteed. £700-£1,000 53 A FINE LATE 19TH CENTURY FRENCH GILT BRASS QUARTER CHIMING CARRIAGE CLOCK WITH ALARM AND REPEAT BY JOSEPH SOLDANO, PARIS CIRCA 1880 the gorge case with swing handle over, the top of the case with bevelled glass panel and engine turned gilt mask with viewing aperture to inspect the escapement, and push repeat button, with bevelled glass sides and back door, the mask also with engine turned decoration, the enamelled dial with Roman numerals and Arabic five minute markers centred by stylised foliage, the subsidiary alarm dial below, the twin barrel movement striking the quarters on two gongs, ting tang, and the hours on a single gong, with lever platform escapement, the backplate stamped ‘J.S. PARIS’, and numbered 5308, the underneath with a sliding switch for silent / quarters / hours, together with a leather covered travelling case and what appears to be the original winder, 18cm high The movement is winding, ticking and striking and the push repeat is working but not fully tested or guaranteed.

Joseph Soldano was a notable maker, winning bronze medals in the 1855 and 1878 Paris Exhibitions, where his clocks were described as follows: “The Exhibition of this establishment showed substantial progress in the art of case decoration.

On show were a group of carriage clocks ornamented with great taste and originality. The finish of these movements was conventional, but the escapements appeared to us to have been treated with particular care. Several items merited the highest praise.” (Revue Chronométrique, 1880, p.70, report on 1878 Exhib.)

Literature: Charles Allix,’Carriage Clocks–their History & Development’, Antique Collectors’ Club, 1974. £800-£1,200

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54 A FINE MID 19TH CENTURY FRENCH GILT BRASS ‘ONE PIECE’ CARRIAGE CLOCK WITH SUBSIDIARY SECONDS BY PAUL GARNIER the case surmounted by a slender, finned baton handle and raised on squat bun feet, with bevelled glass sides, the silvered ‘watered silk’ style, engine turned dial initialled PG and with Roman numerals, with subsidiary seconds dial, the twin barrel movement united by four finned pillars, with anchor escapement to the balance wheel, striking the half hour and the hours on a bell, with winder, 18cm high In working order but not fully tested or guaranteed.

Related Literature: Paul Garnier is recorded in C. Allix & P. Bonnert, ‘Carriage Clocks’, as born 1801 and receiving Silver Medals in the Paris Exhibitions of 1827, 34, and 39; and gold medals in 1844 and 49. He worked from various addresses at Rue Taitbout, Paris and died in 1869 leaving the business to his son of the same name who was still exhibiting carriage clocks in the Paris Exhibition of 1889.

Paul Garnier is widely considered to be the first maker of French carriage clocks in the form that we now recognise them. £1,800-£2,200 55 AN EARLY 20TH CENTURY SILVER TRIANGULAR DESK COMPENDIUM BY JOHN MANGER, LONDON, 1902 the case with hinged sides opening to access the movements within, surmounted by an angular handle, the sides with a white enamelled clock dial, a barometer and a calendar, with a compass to the top, the underside with hallmarks and inscribed ‘REG NO. 206342’, 10cm high with handle up £500-£800 55A A LATE 19TH CENTURY FRENCH GILT BRASS GRANDE SONNERIE CARRIAGE CLOCK WITH ALARM AND REPEAT the gorge case engraved throughout with floral sprigs and C scrolls, the gilt mask engraved with strapwork, with a white enamelled dial with Roman numerals and subsidiary alarm dial below, the twin barrel movement striking the quarters and hours, repeating and sounding the alarm on a single bell, the backplate numbered 2676, together with a leather covered travelling case, the maroon velvet lining with gilt lettering for Henry Capt a Geneve, with winder, 17cm high handle up, Henry Capt of Geneva was a retailer of fine clocks including carriage clocks by the best maker such as Drocourt and Margaine. £1,000-1,500 26

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56 A MID 19TH CENTURY ENGLISH BRASS SKELETON CLOCK the scrolling frame raised on four domed feet over a mahogany stepped plinth with bun feet with glass dome over (cracked), the pierced silvered dial with Roman numerals, the single fusee, timepiece movement with pendulum, 30cm high including the dome The clock is ticking but not fully tested or guaranteed. £250-£350

*See page 2 for information regarding fees

57 A RARE EARLY 20TH CENTURY ART DECO PERIOD GLASS AND KINGFISHER FEATHER DESK CLOCK BY CARTIER, NO. 1679, IN ORIGINAL BOX the glass case of rectangular form with shaped corners, the mother of pearl dial with Roman numerals and centred by kingfisher feathers, with gilt hands, the single train timepiece movement winding from the back, the gilt back engraved ‘1679 Cartier / Paris, Londres, New York / 4123’, together with the original gilt tooled red leather case with velvet and silk lining, the silk lining signed ‘CARTIER’ in gilt lettering, the clock 6cm high x 10.5cm wide The movement is briefly ticking but probably requires and clean and service, not fully tested or guaranteed. £2,000-£3,000

58 AN EARLY 20TH CENTURY SWISS SILVER AND PINK GUILLOCHE ENAMEL MINIATURE TRAVELLING CLOCK BY VALME FOR ASPREY & CO. the rectangular case with silver stringing on bracket feet, the back with hinges at the base opening to reveal the single train timepiece movement winding from the back with vertically mounted, jewelled platform escapement, the underside with import marks for London, 1922, the dial signed ASPREY & CO. LTD. LONDON’, the backplate signed ‘VALME’, together with the original leather covered presentation case, the clock 6.5cm high The movement is winding and ticking but not fully tested or guaranteed. £500-£800

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61 AN EARLY 20TH CENTURY SWISS ART DECO PERIOD CHROME DOUBLE FACED DESK CLOCK the circular dial raised on cylindrical feet over an ebonised plinth, the Arabic dial inscribed ‘SWISS MADE’, winding from the underside, 18cm high £100-£150 62 A US NAVY BULKHEAD CLOCK WITH CENTRE SECONDS BY SETH THOMAS in an ebonised bulkhead case, the moulded and glazed door with chrome screw securing it closed, the ebonised 24 hour dial with Arabic numerals and fast / slow regulation within, with centre seconds hand, 19.5cm diameter £200-£300 63 A LATE 19TH / EARLY 20TH CENTURY GILT BRASS POCKET COMPENSATED BAROMETER IN ORIGINAL CASE the silvered dial signed ‘J. HICKS MAKER LONDON 9866’, in a pear shaped, leather covered case with strut back, the barometer 5.5cm high including handle £100-£150

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59 A LATE 19TH CENTURY PATINATED AND LACQUERED BRASS INDUSTRIAL NOVELTY STEAM HAMMER CLOCK, SIGNED A. R. GUILMET. No..466 realistically modelled with cornice and steam chamber over the shaped supports, on a stepped slate plinth base with brass bracket feet, the 3 inch square silvered dial with brass frame and applied Roman numerals, blued steel hands, the movement stamped for ‘P. LTRE’, numbered 466, with special escapement and pendulum operation to mimic the action of the hammer, striking on a bell, 46cm high The movement is in working order but not fully tested or guaranteed.

Guilmet first produced the steam hammer clock in the 1880’s, and most of his examples are numbered and also bear the mark of the movement supplier, in this case P. LTRE. Auction Comparable: A near identical example, signed Guilmet, sold at Bonhams, London, 16 December 2015, Lot 144, £4,750. £2,500-£3,500 60 AN EARLY 19TH CENTURY FRENCH BRASS MOUNTED SEDAN CLOCK WITH LATER MOVEMENT the case of circular moulded from with a hanging loop above, the white enamelled dial with Arabic numerals, fitted with an early 20th century movement with lever platform escapement, 20cm high £100-£150

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64 AN EARLY 20TH CENTURY GILT BRASS POCKET COMPENSATED BAROMETER IN ORIGINAL CASE the silvered dial signed ‘Army & Navy Stores London’, in leather covered case, 7cm including ring handle, £100-£150 65 AN EARLY 19TH CENTURY GILT BRASS CAPUCINE FRENCH OFFICERS CLOCK IN LATER CASE in a later ebonised case on four brass feet and with brass handle over, with glazed sides, the brass mask with enamel Roman dial within Greek key bezel, the single train timepiece movement with vertically mounted balance wheel escapement, previously with alarm, 22cm high £150-£200 66 A SMALL EARLY 20TH CENTURY FRENCH GILT BRONZE CARRIAGE CLOCK BY HENRI JACOT the corniche case with swing handle over, engraved to the top of the case ‘the hours part us but they bring us together again / 1912 / GMW / HHR’, the white enamelled dial with Roman numerals, the twin barrel movement striking on a blued steel coiled gong, the backplate with Henri Jacot stamp, with winder, 15cm high £150-£200 67 AN EARLY 20TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK WITH TRAVELLING CASE the corniche case surmounted by a swing handle, inscribed to the top ‘FROM R.D. A.N. 1909’, the white enamelled dial with Roman numerals, signed ‘EXAMINED BY HAWLEY & CO. 123 REGENT ST’, the twin train movement striking on a coiled steel gong, with lever platform escapement, with leather covered travelling case and winder, 15cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £150-£200

*See page 2 for information regarding fees

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68 AN 18TH CENTURY ENGRAVED BRASS STRUT CLOCK, PROBABLY AUSTRIAN the shaped, scrolling dial engraved with decoration of flowers and foliage, with Roman chaper ring and engraved centre, the movement encased in a brass cover with engraved back, the single train timepiece movement with verge escapement and pendulum, supported on a shaped brass strut, 20cm high The movement is ticking but not fully tested or guaranteed. £300-£500 69 A 19TH CENTURY DELFT WARE POTTERY MINIATURE LONGCASE CLOCK in the 18th century style, decorated in blue and white, the white enamelled dial with Roman numerals, the timepiece movement with vertically mounted balance wheel escapement, 30cm high £250-£350 70 A LATE 19TH CENTURY FRENCH ONYX AND GILT BRASS MOUNTED FOUR GLASS MANTEL CLOCK the gilt, engine turned bezel enclosing the enamelled dial with Arabic numerals and decorated with floral garlands, the twin train movement striking on a coiled steel gong, with twin tube mercury pendulum, 28cm high The clock is ticking for a short period and the strike is working when the hands are turned but needs a clean and service and not fully tested or guaranteed. £200-£300

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73 71 A SMALL EARLY 20TH CENTURY GILT BRASS AND PORCELAIN TRIPOD CLOCK the faux bamboo supports raised on a circular base set with a porcelain bowl with floral centre, the alabaster dial with Roman numerals, the single train timepiece movement with pendulum, 24cm high The movement is winding and ticking but not fully tested or guaranteed. £250-£350 72 A LATE 19TH CENTURY GILT BRASS AND GLASS NOVELTY CLOCK MODELLED AS A LANTERN the drum case raised on a Corinthian column supporting a lantern with frosted glass receiver and removable cover to house a small candle, raised on a circular base, the white enamelled dial with Roman numerals, the single train timepiece movement with vertically mounted cylinder balance wheel, stamped ‘D 289’, 48cm high £200-£300 73 A LATE 19TH CENTURY ENGLISH MAHOGANY QUARTER CHIMING FUSEE MANTEL CLOCK the case of lancet form with brass inlay on four bun feet, the sides with carved, pierced frets and brass handles, the 6” silvered dial with Roman numerals, the triple chain fusee movement with rectangular, shouldered plates and substantial pendulum, with a pin wheel activating four hammers to the four gongs for the quarters to Westminster chimes and a fifth for the hours, the backplate numbered 1250, 44cm high The movement is winding, ticking and chiming but not fully tested or guaranteed. £400-£600 29

74 A FINE LOUIS XVI PERIOD GILT BRONZE MANTEL CLOCK DEPICTING CUPID WITH A COCKEREL BY LEFEBURE A PARIS, CIRCA 1770 the winged putto standing on a pile of books and reaching for the cockerel which sits atop the clock case, on a rectangular plinth base with beaded mounts and laurel decoration, the white enamelled dial with Roman numerals and Arabic five minute markers signed ‘LEFEBURE A PARIS’, the twin train movement with outside countwheel with five pointed star, with silk suspension striking on a bell, with pendulum and winder, 37cm high The clock is winding, ticking and striking but not fully tested or guaranteed.

The theme represented in this decorative clock is that of study and the necessity of a sharp mind, it depicts a putto knocking over a stack of books and a scroll (knowledge) to grasp a cockerel (alertness). This model was originally designed in 1770, another Louis XVI period example signed ‘Leppens Cie / Bruxelles’ is illustrated in E. Niehuser, ‘French Bronze Clocks’, Schiffer, 1999, p. 88 Auction Comparable: An identical clock by Lefebure was sold at Sotheby’s, London, 25 November 2003, lot 174, £7700. £1,500-£2,000

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75 A FINE AND RARE FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL MANTEL CLOCK DEPICTING THE PUNISHMENT OF CUPID, CIRCA 1810 the clock surmounted by a figure of Venus holding a sprig of roses, about to beat Cupid as he tries to escape, flanked by stylised clouds and raised on a rectangular plinth with lambrequin mount and laurel wreaths, the base with an ormolu mount depicting a pair of swans, on toupie feet, the white enamelled dial with Roman numerals and Arabic quarter hour markers, the twin train movement with outside countwheel and silk suspension striking on the half hour and the hours on a bell, 45.5cm high The movement is winding, ticking and striking when the hands are turned but not fully tested or guaranteed.

The Chastisement of Cupid by Venus was a frequently depicted theme in both painting and sculpture from the 16th century onwards. Giovanni Francesco Susini’s bronze of the same subject, dating to circa 1638; is of similar design to the present bronze, with Venus using a sprig of roses to smack the struggling Cupid on his bottom. (See Metropolitan Museum of Art, New York, Inv. No. 26.260.90.)

The design for this clock is mentioned in: “Die Französische Bronzeuhr” by E. Niehüser page 130. £2,000-£3,000

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77

76 A FINE EARLY 20TH CENTURY FRENCH BELLE EPOQUE PERIOD GILT BRONZE AND WHITE MARBLE FIGURAL MANTEL CLOCK in the Louis XVI style, the arched case surmounted by a ribbon tied crest and raised on a plinth with glazed front revealing the swinging pendulum within, the Carrara marble stepped plinth base surmounted by figures of Venus and Cupid, on four toupie feet, the white enamelled dial with Arabic numerals in black with red numerals to the outer fifteen minute track, with gilt fleur de lys hands, the twin train movement striking on a bell and stamped ‘Samuel Marti MEDAILLE D’OR PARIS 1900’, with pendulum, 39.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,500-£2,000 77 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE LYRE CLOCK the case modelled as a lyre surmounted by the head of a Roman god wearing a laurel crown and flanked by a pair of serpent heads issuing a floral garland, raised on a stepped plinht base over four toupie feet, with enamel Arabic numerals and pierced centre revealing the twin barrel movement within, with silk suspension and pendulum, 53cm high £1,500-£2,000 78 A FINE AND UNUSUAL LATE 19TH CENTURY FRENCH GILT AND LACQUERED BRONZE AND MAHOGANY MOUNTED FOUR GLASS MANTEL CLOCK BY BLANPAIN, PARIS the case of architectural form, with a raised top fitted with mahogany inlaid flanked by floral paterae, over the arched front door with laurel wreath mounts and Ionic columns, the sides with arched, bevelled glass panels surmounted by mounts of angels, raised on a plinth base also inlaid with mahogany, the gilt dial with mahogany centre and Arabic numerals, signed ‘BLANPAIN 58 RUE AMELOT PARIS’, the twin train movement stamped ‘A.D. MOUGIN DEUX MEDAILLES’, striking on a blued steel coiled gong, with pendulum also inlaid with mahogany, 40cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £3,000-£5,000

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31

The Finch-Hatton Vulliamy

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79 BENJAMIN LEWIS VULLIAMY (1780-1854): AN EXCEPTIONALLY RARE GILT BRONZE AND ROUGE GRIOTTE MARBLE STRIKING MANTEL CLOCK, NO. 729 the case with a stepped rectangular plinth in the form of a domestic Pompeian altar (arula) applied with an ormolu mount depicting the heads of Hercules and Bacchus raised on a plinth, the drum case resting on a carved and gilt mounted ionic volute capital, surmounted by a model of a gilt bronze eagle with wings outstretched, with a gilt bezel cast as a serpent, the gilt dial with Roman numerals signed ‘VULLIAMY LONDON’, with gilt centre and blued steel hands, with rise and fall regulation winding square to the top, the fine twin chain fusee movement with circular plates united by five pillars, the backplates numbered 729 and signed 'Vullilamy LONDON’, with anchor escapement and rise and fall regulation, striking the hours on a bell, with pendulum, 31cm high Condition: The clock is currently running and striking but not fully tested or guaranteed.

Provenance: Consigned by a descendant of Henry Stormont FinchHatton, 13th Earl of Winchilsea and 8th Earl of Nottingham. This clock has been in their family for at least three generations, the present owner's grandmother, Lady Gladys Margaret Williams (née Finch-Hatton) (1882-1964) was daughter of Henry Stormont FinchHatton. The Finch-Hatton family resided at Haverholme Priory in the 19th century, having employed H.E Kendal in 1830 to build a new country house on the site of the original 1780's house in the fashionable Gothic style. The Finch-Hatton's sold the house in 1926 when it was sold to an American lady who planned to dismantle the house brick by brick and re-build it in America. However as the first load of cargo was about the leave the docks at Liverpool, the new buyer was killed in a train crash. The stones were reputedly used to build the new docks in Liverpool, leaving the remains of ruins which still stand today at Haverholme Priory. We do not know the exact history of the clock during the 19th century but it is tempting to speculate that Henry Finch-Hatton acquired this elegant clock for his re-modelled home in 1830.

Lady Gladys Margaret Williams (née Finch-Hatton)

This quite exceptional clock was made by the most prestigious horologist of the early 19th century and Clockmaker to the King, Benjamin Lewis Vulliamy. It is of a design which can be seen in other examples in the Royal Collection at Buckingham Palace, however this clock is particularly rare and important because it is one of the few decorative mantel clocks that Vulliamy ever produced that is a striking clock rather than a timepiece that simply tells the time. It features a fine twin fusee movement which strikes the hours on a bell, a feature very rarely seen in this type of marble and ormolu clock that Vulliamy was famous for in the first quarter on the 19th century.

There are numerous examples of his work in the Royal Collection, and the two timepieces of similar form to the present clock are Inv. No. RCIN 2885, a rose marble mantel clock with patinated bronze eagle atop and featuring an ormolu anthemion mount to the marble case, the movement numbered 935. A further example in the Royal Collection which does not have a mount to the marble case but is, like the present clock, of Rouge Griotte marble and features a patinated bronze eagle rather than a gilt bronze version, is Inv. No. RCIN 30258 and is numbered 936. These examples are typical of his work and are both single fusee timepieces rather than striking clocks with a bell. The numbering of these royal clocks suggest they were designed, manufactured and supplied in the mid 1820's by Benjamin Lewis Vulliamy, who inherited his father’s business in 1811.

Auction Comparable: A timepiece of similar design, of Rouge marble surmounted by a gilt bronze eagle and with a classical relief to the base, Vulliamy number 753, was sold at Bonhams, London, 11 December 2007, lot 161.Unlike the present clock this example was a single fusee timepiece that did not strike. £12,000-£18,000

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80 A FINE AND RARE FRENCH LOUIS XV PERIOD VERNIS MARTIN AND GILT BRONZE MOUNTED QUARTER CHIMING MANTEL CLOCK OF THREE WEEKS DURATION BY VERNEAUX A PARIS, CIRCA 1760 in the Rococo style, the scrolling case painted with white roses on a dark blue background, with fine fire-gilded bronze mounts, fish-scale frets to the sides and surmounted by a pair of doves symbolising love, the signed enamel dial with blue Roman numerals for the hours, Arabic numerals for the five minutes and gold stars for the halfhours, the triple train movement with circular plates with flat tops, with verge escapement and silk suspension, striking the quarters on three silvered bells, with two outside countwheels, a small lever on the left of the dial allows for the easy setting up of the hourly strike, the backplate with engraved signature ‘Verneaux à Paris’, of three weeks duration, with pendulum, 48cm high x 27cm wide The movement is ticking and chiming but not fully tested or guaranteed.

Related Literature: Tardy, ‘Dictionnaire des horlogers français’, Paris, 1972; Jean-Dominique Augarde, ‘Les Ouvriers du Temps, La Pendule à Paris de Louis XIV à Napoléon Ier’, Genève 1996.

Provenance: Former Dillée collection, Paris. £2,000-£3,000

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81 A 19TH CENTURY FRENCH EBONISED, CUT BRASS AND GILT BRONZE MOUNTED PENDULE RELIGIEUSE the clock case in the late 17th century style, with caddy top over an arch flanked by flaming urn finials, with Corinthian column pilasters flanking the arched door over a plinth base cast with a lambrequin mount and toupie feet, the red velvet mask with a gilt bronze mount of Atlas supporting the brass dial with Roman numerals, the twin train movement with square plates and striking on two coiled steel gongs, with pendulum, 61cm high £1,200-£1,800

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82 λ A VERY LARGE AND IMPRESSIVE 18TH CENTURY FRENCH GILT BRONZE, CUT BRASS AND STAINED HORN BOULLE STYLE BRACKET CLOCK WITH BRACKET SIGNED JN. LE ROY, PARIS the scrolling case with a large pierced foliate and C scroll crest over the pagoda top, ornamented with ormolu flowers and foliage and cut brass decoration of scrolling tendrils decorated with silvering, mother of pearl, and stained horn and wood in red, green and yellow, the sides glazed (lacking one glass panel), the hinged front door with globe and telescope mount, opening to the 11.25 inch cast brass dial with enamelled Roman numerals and centre decorated with a sunburst and scrolling foliage, the twin barrel movement with rectangular plates, the backplate signed Jn. Le Roy, Paris, with verge escapement and silk suspension, with five pointed star to the outside countwheel, lacking bell and pendulum, the matching bracket with conforming scrolling and foliate decoration, 143cm high overall Julian Le Roy is listed in Tardy as born in Tours in 1686 and died in 1759. £3,500-£4,500

83 λ A SECOND QUARTER 18TH CENTURY FRENCH BOULLE STYLE CUT BRASS, GILT BRONZE AND TORTOISESHELL INLAID BRACKET CLOCK BY JACQUES CLOUZIER, PARIS the shaped case in the Rococo style, with a caddy top surmounted by a gilt bronze figure of a Chinese man holding an umbrella, the inswept sides with glazed panels, on four scrolling feet, the balloon shaped front door with foliate mounts and an enamel plaquette signed ‘CLOUZIER A PARIS’, the inside of the case with chequered base and cut brass foliate inlay, the gilt brass dial with enamel Roman numerals and engraved outer minute track, the twin barrel movement with anchor escapement, silk suspension and numbered five pointed star outside countwheel striking on a bell mounted in the removable caddy top, signed ‘Clozier A Paris’, with pendulum, the bracket with similar decoration, with Rococo style gilt bronze mounts and cut brass inlay of scrolling tendrils, the clock 61cm high, 88cm high on bracket The movement is winding, ticking and striking but not fully tested or guaranteed.

Notes: Jacques Clouzier became a Master clockmaker in 1692 and a member of the Jurande from 1700. He was based at Rue des Pretres St Paul in 1748 and is recorded as still working in 1753. Tardy states that he signed his clocks ‘Clouzier a Paris’. (see Tardy, ‘Dictoinnaire des Horlogers Francais’, p.133.) £2,000-£3,000

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85 84

84 A THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MANTEL CLOCK the case surmounted by a model of a dove, with pinecone and laurel wreath handles and a shaped base with porcelain panel, the porcelain dial with Roman numerals centred by an image of Cupid, the twin barrel movement stamped ‘JAPY FRERES MED D’HONNEUR’, striking on a bell, The bell strikes when the hands are turned but the clock is not fully tested or guaranteed. £200-£300 85 A LATE 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE MANTEL CLOCK DEPICTING A PAIR OF DOVES the ormolu doves atop the arched case ornamented with volute scrolls and floral garlands, on a stepped plinth base with shellwork feet, the white enamelled dial with Roman numerals and recessed centre with visible Brocot escapement, the movement signed ‘JOHN HALL PARIS’, striking the half hour and the hours on a bell, with pendulum, 42cm high x 46cm wide x 15cm deep £1,500-£2,000 86 A LATE 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE MANTEL CLOCK in the Louis XVI style, the plinth case surmounted by a pair of doves flanking a flaming torch, the sides with trellis panels, raised on a bow front base, the white enamelled dial with Arabic numerals, the twin train movement striking on a bell, stamped ‘DAUBREE’ and ‘VINCENTI & CIE, MEDAILLE D’ARGENT 1855’, with pendulum and winder, 28cm high 86

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The movement is ticking and striking but not fully tested or guaranteed. £400-£600 *See page 2 for information regarding fees

87 87 A MID 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MOUNTED MANTEL CLOCK the plinth base with shellwork and scrolling feet, set with porcelain panels of floral and farming theme, surmounted by a pair of cherubs supporting a large oval porcelain panel in a floral frame surmounted by a pair of doves, the panel depicting the Toilette de Venus, the porcelain dial with gilt highlights and Roman numerals, the twin train movement stamped ‘GARDIEN PARIS & CHERON’, and ‘JAPY FRERES MEDAILLE D’ARGENT 1844-1849’, striking on a bell, with pendulum, 42cm high The clock is striking when the hands are turned but not fully tested or guaranteed. £1,200-£1,800

88

88 A SECOND QUARTER 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK IN THE ROCOCO STYLE the case profusely decorated with scrolls, foliage and rocailles, the rectangular base with pierced decoration and surmounted by a pair of ormolu children, one taking a chick from a nest of birds, the twelve piece enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, with silk suspension, 41cm high £600-£800 89 AN 18TH CENTURY LOUIS XVI PERIOD GILT BRONZE AND WHITE MARBLE FIGURAL MANTEL CLOCK SIGNED ETIENNE GOMET, PARIS the case surmounted by an ormolu mount of doves on a quiver of arrows and a flaming torch, the shaped white marble plinth surmounted by a putto holding a horn beside a hound and a rifle beside an oak tree, the white enamelled dial signed ‘Gomet a Paris’, with Arabic numerals and Roman five minute markers, the twin barrel movement with flat bottomed plates, silk suspension and outside countwheel striking on a bell, with pendulum, 39cm high The movement is ticking and striking but not fully tested or guaranteed.

Related Literature: C.H. Baillie lists Etienne Gomet as Maitre in Paris from 1776-1789. £700-£1,000

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90 A FINE THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE FIGURAL MANTEL CLOCK modelled as Venus with arms raised and drapery flowing in numerous folds, beside a fluted column and with Cupid flying beside her, raised on the clock case modelled as a twin handled urn with mask and acanthus mounts, on a fluted cylindrical base over an ornate plinth cast with a border of oval portraits, with two grotesque claw feet, the gilt dial decorated to the centre with three putti, with enamelled Roman numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, 59cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £2,500-£3,500

91 A FINE AND LARGE FRENCH NAPOLEON III GILT AND PATINATED BRONZE AND VERDE ANTICO MARBLE FIGURAL CLOCK, THE BRONZE AFTER CLODION, CIRCA 1860 the clock case modelled as a fluted marble column on re-entrant cut plinth base, with ormolu mounts, surmounted by a large bronze figural group after Clodion depicting two Bacchantes, one with tambourine the other holding a bunch of grapes, running along a naturalistic base with a baby satyr beside them, Bacchus’s thrysus and pipes below their feet, dark brown patination, signed ‘Clodion’, and numbered 1060, the clock dial with blue Roman numerals and Arabic five minute markers, the twin train movement striking on a bell and stamped ‘VINCENTI & CIE MEDAILLE D’ARGENT 1855’, 84cm high £4,000-£6,000

90

91

92 A LATE 19TH CENTURY CHANTILLY STYLE PORCELAIN FIGURAL CLOCK, POSSIBLY SAMSON the clock case surmounted by a group depicting a maiden in floral decorated dress about to untie a native girl who is bound to a palm tree, the clock case with a pair of Greek Key mounts to the sides, decorated in blue, white and gilt and with a pair of putti reclining above the dial and a pair of floral panels beside, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘MIROY A PARIS SGDG’, 44cm high The movement is winding, ticking and striking when the hands are turned but not fully tested or guaranteed. £800-£1,200 92 38

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93 A LATE 19TH CENTURY FRENCH GILT AND SILVERED BRONZE CLOCK GARNITURE IN THE MANNER OF L’ESCALIER DE CRISTAL in the Japonisme style, modelled as a gong, the scrolling, pierced frame cast with dragon heads and raised on a rectangular base decorated with a panel depicting blossom within a yellow ground, the enamelled dial with Arabic numerals, the single train, timepiece movement with balance wheel escapement stamped ‘5864’, the matching garniture candelabra with similar panels to the centre and each with a pair of candle nozzles, the clock 33cm high (3) £1,500-£2,000

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94 A LATE 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MOUNTED CLOCK GARNITURE IN THE MANNER OF BARBEDIENNE in the Neo-Grec style, the clock case surmounted by an urn decorated with a classical maiden, and raised on a plinth base with a porcelain medallion decorated with a goddess, on paw feet, hung with chains, the painted dial with Roman numerals signed ‘AIRD & THOMSON GLASGOW’, the twin train movement striking on a bell (now lacking) and stamped ‘CAF’ and ‘PL TRE’, the matching garniture candelabra of conforming design and each with a pair of branches centred by a third, the clock 39cm high (3) £800-£1,200 95 A FINE LATE 19TH / EARLY 20TH CENTURY FRENCH BELLE EPOQUE PERIOD GILT AND PATINATED BRONZE AND FLEUR DE PECHER MARBLE CLOCK GARNITURE SIGNED ‘LE ROY PARIS’ the clock case surmounted by an urn and with a pair of freestanding columns to the shaped plinth base and toupie feet, the signed, white enamelled dial with Arabic numerals and decorated with floral garlands, the twin train movement striking the half hour and the hours on a bell, the garniture candelabra each modelled with a baby satyr after Clodion, supporting a pair of ormolu, acanthus wrapped branches with leafy collars and urn shaped nozzles, on conforming plinth bases, 34cm high (3)

94

The movement is winding, ticking and striking but not fully tested or guaranteed. £1,000-£1,500 95 39

96

96 JOSEPH D’ASTE (ITALIAN, 1881-1945): A FINE GILT BRONZE AND ALABASTER FIGURAL GROUP OF CHILDREN PLAYING IN THE SNOW the children holding hands and rushing through the snow wearing traditional clothing and clogs, the snow formed from the alabaster base, signed ‘J. D’Aste’, 27cm high x 43cm wide £2,000-£3,000

97 MATHURIN MOREAU (FRENCH 1822-1912): A LARGE BRONZE FIGURAL GROUP OF A MOTHER AND CHILD IN A STORM ENTITLED ‘TEMPETE’ the mother supporting a small child in her left arm, with a young girl huddled beside her, she carries a fishing net and walks barefoot over the rocky ground, her shawl blowing in the wind, on a circular base signed ‘Math Moreau Hors Concours’, and stamped ‘MEDAILLE D’HONNEUR’, stamped to the back ‘GALERIA ARTISTICA S.C. REGUAN PERU 134’, light brown and goldish patination, raised on a separate rotating base above a Verde Antico marble plinth, set with a plaquette inscribed ‘TEMPETE PAR MATH MOREAU MEDAILLE D’HONNEUR’, 67cm high The unusual stamp to the reverse of this bronze is probably a retailers stamp for a Peruvian gallery. It was not uncommon for galleries to add their own stamps to sculptures, for example the Ferdinand Vichi marble that was sold in these rooms last year had a metal disc inset to the marble inscribed ‘BAZAR COLON, MONTEVIDEO’ referring to the gallery in Uruguay that sold the work in the early 20th century. (See lot 32, 21st March 2018, Chiswick Auctions). £2,500-£3,500

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98 AN EXCEPTIONALLY FINE FRENCH NAPOLEON III GILT BRONZE AND ROUGE GRIOTTE MARBLE FIGURAL CLOCK GARNITURE BY RAINGO FRERES, PARIS, AND JEAN LOUIS GREGOIRE, FRENCH (1840-1890), CIRCA 1860 the fluted column base surmounted by a gilt bronze figural group by Gregoire depicting two classical maidens on a naturalistic ground cast with roses, signed ‘Gregoire’ and ‘RAINGO FRES’, and numbered ‘844’, the dial with blue enamel surround, with raised gilt highlights, the Arabic numerals interspersed with gilt fleur de lys, signed ‘Raingo Fres A Paris’, and with gilt trellis and fleur de lys hands, the twin train movement also stamped ‘RAINGO FRES PARIS’, striking on the half hour and the hours on a bell, stamped 309 the original pendulum also stamped 309, the matching garniture candelabra with baluster shaped urns with cherub and floral garlands ormolu mounts, issuing five acanthus wrapped branches terminating in urn shaped nozzles and centred by a shorter fifth foliate wrapped nozzle, raised on fluted column bases over shaped plinths, the clock 74cm high the candelabra 71cm high (3) The movement is ticking and striking but not fully tested or guaranteed. £10,000-£15,000

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100 98A

98A A FINE EMPIRE PERIOD FRENCH GILT BRONZE AND VERDE ANTICO MANTEL CLOCK SIGNED ‘DENIERE & MATELIN, PARIS’ the marble case surmounted by an ormolu figure of Cupid playing a lyre, a laurel wreath and telescope beside him, raised on a plinth base with foliate cast border and mounted with a relief of two Cupids placing roses at a flaming altar, the white enamelled dial with Roman numerals signed ‘Deniere & Matelin Fabr de Bronze a Paris’, the twin train movement with outside countwheel striking on a bell, stamped ‘180 C’, with pendulum, 38cm high Museum Comparables: A malachite mounted and gilt bronze mantel clock dating to 1810 by Deniere & Matelin is now in the Frick Collection, New York, (Horace Wood Brock Collection).

Literature: H.L. Tardy, ‘Dictionnaire des Horlogers Français’, Paris; S. 191P. Kjellberg, ‘Encyclopedie de La Pendule Francaise du Moyen Age au XX Siecle’, Les Editions de l’Amateur, Paris, 1997, p. 226.

Auction Comparables: A gilt and patinated bronze mantel clock of similar date to the present clock by Deniere was sold at Christie’s, Paris, 21st June 2007, lot 234, 74,000 euros. £800-£1,200 99 AN IMPRESSIVE PAIR OF GILT BRONZE ROCOCO STYLE FOURTEEN LIGHT CANDELABRA ON COLUMNS the ormolu candelabra formed of scrolling acanthus branches terminating in nozzles cast with brickwork and cartouches with scrolling drip pans and leafy collars, raised on painted wood, spreading circular plinths resembling porphyry, over painted wood, faux marble columns on square bases, the candelabra 62cm high, overall 195cm high (2) £4,000-£6,000 100 A PAIR OF LATE 19TH CENTURY FRENCH GILT AND PATINATED BRONZE AND BLEU DE ROI PORCELAIN FIGURAL CANDELABRA in the manner of Clodion, each with an inverted porcelain baluster stem flanked by a pair of bronze putti and issuing acanthus wrapped branches with rams head mounts and terminating in beaded drip pans and urn shaped nozzles, each centred by a fifth nozzle, raised on re-entrant cut, square Carrara marble bases, 47cm high (2) £700-£900

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101 A FINE PAIR OF RUSSIAN ORMOLU MOUNTED CUT GLASS VASES AFTER A DESIGN BY IVAN IVANOV, THE GLASS ATTRIBUTED TO THE IMPERIAL GLASS FACTORY, CIRCA 1820-30 each with facetted ovoid body with a band of stylised foliage, surmounted by gilt bronze flared necks with anthemion casting and beaded rims, each mounted with a pair of swan handles, each handle issuing from an acanthus leaf, raised on waisted socles over square, inverted-cornered plinths over circular beaded feet, 34cm high (2) A pair of related vases is in the State History Museum, Moscow (illustrated A. Gaydamak, ‘Russian Empire’, Moscow, 2000, p. 84). These exceptional vases were designed by Ivan Ivanov, the principal designer of the Imperial Glass Factory between 1819 and 1848. Ivanov designed most of the crystal glass pieces made for the Imperial family during this period, and the Imperial Glass Factory was famous for the un-rivalled quality of cut crystal glass it produced, which was skillfully faceted and known as ‘Russian stone’. The present pair of vases unite the superlative workmanship of Russian glass-making with the elegance and refinement of the French Empire period design.

Vases of identical design were sold at Christie’s, London, 7 July 2005, lot 479 (£30,000) and Christie’s, London, 7 June 2016, lot 53 (£27,500). £8,000-£12,000

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102 A FINE LATE 19TH CENTURY BOHEMIAN PAINTED AND GILDED OVERLAY GLASS GARNITURE OF VASES the central twin handled bowl raised on a lappet decorated, circular foot over a separate cylindrical plinth, finely gilded throughout with scrolls and foliage, together with a pair of matching twin handled vases of baluster form, on circular feet, all decorated with painted panels depicting children within landscapes and floral bouquets to the reverse, the urn on stand 41.5cm high, the vases 36.5cm high (3) £3,500-£4,500

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103 A LATE 19TH CENTURY FRENCH NEO-GREC GILT AND PATINATED BRONZE GARNITURE BY FERDINAND BARBEDIENNE, DESIGNED BY FERDINAND LEVILLAIN AND HENRY CAHIEUX the amphora vases with gilt rims, their necks cast with gilt leafy fronds, the tapering bodies each with a pair of reeded handles, cast in relief with classical figures, the first with a male nude playing pipes at a small altar, the reverse with a further altar with a bearded Bacchic head on the ground and a thrysus, the other depicting a male nude offering a ram to the flaming altar, the reverse with a further altar with a Bacchic male head on the ground, both raised on three Bacchic bust monopediae terminating in paw feet over Rouge Griotte marble and ormolu triform plinth bases, both vases signed to the bodies ‘F. LEVILLAIN’ and ‘F. BARBEDIENNE’, together with a matched urn, signed ‘F. BARBEDIENNE FONDEUR’ and ‘HENRY CAHIEUX’, the tapering body cast in relief with classical figures and anthemions, raised on a spreading circular foot, the vases 32cm high, the urn 31cm high (3) Ferdinand Levillain: Ferdinand Barbedienne (1810-1892) and Ferdinand Levillain (1837-1905) exhibited a large amphora vase of similar Neo- Grec design to the present pair at the Paris Universal Exhibition in 1878, at the same exhibition Levillain was unanimously awarded a gold medal for his Neo-Grec pieces, and the famous Parisian bronzier Henri Servant declared in the report of the jury for Artistic Bronzes that the work of Levillain ‘chased like the finest jewels’, and works were ‘so diverse and pure of form (…) are of the highest degree of perfection’. Levillain receiving a first class medal at the 1884 Salon for a cup entitled ‘The Elements, the Months and the Seasons’ and won a silver medal at the 1889 Universal Exhibition in Paris. In 1892, the French Republic made Levillain a Chevalier de la Légion d’Honneur.

Auction Comparable: A pair of vases of identical design but 56cm high were sold at Sotheby’s, New York, 22 October 2008, lot 72, $15,000.A very large pair of amphora shaped vases of similar design to the present pair and also produced by Levillain and Barbedienne were sold at Christie’s, New York, 24 April 2001, lot 251, £68,000 Henry Cahieux: The classical relief decorating the present urn is identical to that featured in a pair of urns exhibited by Henry Cahieux at the 1855 Paris Universal Exhibition. Cahieux supplied Barbedienne with numerous design for casting in bronze during the 1850’s and 1860’s, and the urn that featured this relief was described as follows: “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”.

Auction Comparable: See Sotheby’s, New York, 20 April 2007, lot 3, $12,000 for a pair of urns by Cahieux and Barbedienne that feature the same classical relief to the present urn. £1,200-£1,800

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104 A GROUP OF FOUR 19TH CENTURY AND LATER ORMOLU AND TURQUOISE PORCELAIN LAMP BASES the largest with a turquoise glass baluster stem over a spreading base cast with rams heads and acanthus leaves, with a single electric nozzle, together with a pair signed ‘ABBOTT’ to the undersides, with baluster porcelain stems and Rococo style bases, drilled for electricity, together with a single lamp base with floral and foliate gilt bronze mounts, 19th century, now fitted for electricity, the largest 61cm high (4) £200-£300

*See page 2 for information regarding fees

105 A LATE 19TH CENTURY SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED URN AND COVER of bulbous, squat form, the domed lid surmounted by an ormolu figure of a putti with a goat, with faceted handles terminating in female Bacchante masks, raised on a laurel wreath cast, oval foot, the body of the urn with gadrooned base, decorated with gilt highlight on a turquoise ground, with borders of ‘jewelled’ decoration, and a band painted with a portrait of Ariadne flanked by winged putti and Flora to the reverse, 25cm high £400-£600 106 A 19TH CENTURY FRENCH GILT BRONZE PRESENTATION BOWL FOR THE AGRICULTURE SECTION OF THE 1867 PARIS EXPOSITION UNIVERSELLE the bowl mounted with a pair of classical maiden heads wearing crowns formed of ears of corn and hung with fruiting garlands, raised on a spreading circular foot cast with wheat sheaves, with a circular cartouche inscribed ‘EXPOSITION UNIVERSELLE DE MDCCCLXVII A PARIS’, 23cm high £400-£600

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107 A PAIR OF 19TH CENTURY FRENCH ROCOCO STYLE GILT BRONZE CHENETS each modelled as a putto representing Autumn and Spring, Spring holding a posy of flowers and Autumn a glass of wine, raised on asymmetrical base cast with C scrolls, 34cm high (2) £300-£500 108 A LATE 19TH CENTURY FRENCH BRONZE FIGURAL FENDER IN THE LOUIS XVI STYLE the central rail decorated with floral garlands, the ends cast with reclining putti on volute scroll bases also with floral garlands, 52cm high x 11cm deep x 153cm wide fully extended and 131cm at its narrowest. £250-£350

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109 A PAIR OF LATE 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) £400-£600 110 A LATE 19TH CENTURY FRENCH BRONZE FIGURAL JARDINIERE SIGNED ‘L. FUGERE’ cast in relief with various scrolling vines and adorned with three putti, raised on a circular naturalistic foot, with removable metal liner, 24cm high £250-£350

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111 A LATE 19TH CENTURY FRENCH SIENNA MARBLE AND BRONZE MOUNTED MANTEL CLOCK MOUNTED WITH A TIGER AND LEOPARD the case of architectural design with a stepped plinth base, mounted with a bronze tiger to one side and a leopard to the other, with gilt dial with Roman numerals, the twin train movement stamped ‘JAPY FRERES MED D’HONNEUR’, striking on a gong, 32cm high x 59cm wide The movement is winding and ticking but not fully tested or guaranteed. Lacking pendulum. £1,000-£1,500

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112 A LATE 19TH CENTURY SILVERED BRONZE AND EBONISED ALTAR SET COMPRISING A CRUCIFIX AND FOUR CANDLESTICKS IN THE MANNER OF PUGIN the large crucifix with scallop edged terminals set with faceted glass cabochons and raised on a fluted and knopped stem with ruby glass cabochons over a circular base and scrolling feet, with cross with ebonised body, the figure of Christ wearing a perizonium, together with four matching altar sticks, with similar ruby cabochons to the stems, the crucifix 70cm high, the altar sticks 47cm high (5) £1,200-£1,800 113 TWO LATE 19TH CENTURY FRENCH GILT BRONZE JARDINIERES IN THE LOUIS XV STYLE the larger with pierced trellis-work basket and rocaille and foliate handles, hung with garlands of flowers and raised on a pierced base cast with acanthus leaves, vines and cartouches, with metal liner to the inside, the second slightly smaller ormolu jardiniere of similar design, with scrolling handles, pierced basket and cast with cartouches, also with metal liner, the larger 60cm wide x 30cm high, the smaller 48cm wide x 26cm high (2) £300-£500 114 A PAIR OF SECOND QUARTER 19TH CENTURY GERMAN CAST IRON CANDLESTICKS, BERLIN the fluted shafts surmounted by foliate nozzles and raised on triform bases with acanthus wrapped paw feet, over leaf cast plinths, 31cm high These candlesticks are typical of the Berlin cast iron wares produced in the first half of the 19th century. For another pair at auction see Christie’s, Amsterdam, 2 October 2012, lot 591, sold £2250. £200-£300 115 A PAIR OF 19TH CENTURY FRENCH GILTWOOD FIGURAL CANDLESTICKS modelled as a shepherd and shepherdess, each with a lamb beside them, on a shaped plinth base, with a tree behind issuing a single gilt bronze urn shaped candle nozzle, with glass petal shaped collars hung with beaded drops, 36cm high (2) £200-£300 116 A PAIR OF MID 19TH CENTURY FRENCH BRONZE AND SIENA MARBLE URNS ON STANDS the squat, gadrooned urns with scrolling handles and beaded rim, raised on foliate socles over rectangular plinths, 27cm high (2) £250-£350

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*See page 2 for information regarding fees

117 A LATE 19TH CENTURY JAPANESE MEIJI PERIOD BRONZE, SILVERED AND PARCEL GILT VASE DECORATED WITH DRAGONS the flared vase with shaped rim and raised on a circular base, decorated with two silvered dragons scrolling around the body of the vase, the larger holding a crystal orb in its claws, signed by Genryu Sai Saeya, 56cm high £2,500-£3,500

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118 A LARGE PAIR OF NAPOLEON III PERIOD BRONZE EWERS

BY VICTOR PAILLARD (FRENCH, 1805-1886) the ewers of baluster form with long necks and lips cast with bearded masks, the bodies decorated with reliefs of stylised dolphins and garlands formed of shells, the scrolling handles decorated with winged female caryatids, raised on gadrooned socles over Rouge Griotte marble circular plinths, signed ‘Victor Paillard’, 67cm high (2)

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Victor Paillard was one of the most highly regarded bronze founders of the mid 19th century. He set up his own firm in the 1830’s at 105 boulevard Beaumarchais and 6 rue Saint-Claude and by the 1850’s was employing over one hundred workers. He exhibited numerous pieces at exhibitions both in England and in France, including numerous bronze clocks in the Salon of 1844, and was appointed as a member of the jury of the Universal Exhibition of 1855 in Paris. That he was sought to cast the massive and prestigious zinc and bronze figure of Queen Victoria for the 1851 Great Exhibition shows the high esteem he was held in. He received many official commissions such as the interior decoration of the Ministry of Foreign Affairs at the Quai d’Orsay in Paris, and was employed by some of the most famous sculptors of the day to cast their bronzes, such as Pradier, Barye and Carpeaux.

Auction Comparable: A slightly larger pair of bronze ewers of identical form except for the plinth bases were sold at Sotheby’s, New York, 14 April 2008, lot 375, $8000. £1,200-£1,800

119 A FINE PAIR OF LATE 19TH CENTURY JAPANESE MEIJI PERIOD BRONZE AND INLAID VASES the baluster urns with everted lip and scrolling handles, raised on separate ringed and domed circular bases, both inlaid with gilt, silver and copper decoration throughout, together with a purpose-made wooden case, each vase 28.5cm high (2) £1,600-£1,800

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120 A LATE 19TH CENTURY FRENCH ORMOLU AND TOLE PEINTRE FIGURAL MANTEL CLOCK in the Louis XVI style, the baluster clock case painted dark blue and raised on a gadrooned plinth base cast with a naturalistic base supporting two dancing putti, one with a tambourine, with rams masks and floral garlands, the white enamelled dial with Roman numerals and Arabic five minute markers, the twin barrel movement stamped ‘OPPENHEIM A PARIS’, striking on a bell, with pendulum, 45cm high £300-£500

121 A LATE 19TH CENTURY FRENCH GILT BRONZE CARTEL CLOCK AND BAROMETER ENSUITE, SIGNED ‘L. OUDRY & CIE, PARIS’ in the Louis XVI style, the cases surmounted by urns with flaming finials, with shaped, fluted sides decorated with ribbon-tied floral garlands, the tapering bases with fruiting bosses, both cases signed ‘L. Oudry & Cie Paris’, the clock with enamelled dial with Roman numerals and Arabic five minute markers, the twin train movement stamped ‘Japy Freres’ and ‘EM 10709’, with pendulum striking on a bell, the barometer marked ‘Barometre Holosterique’, with silvered dial, 45cm high (2) The clock movement is ticking and striking when the hands are turned but not fully tested or guaranteed. £1,000-£1,500

122 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) £300-£500

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*See page 2 for information regarding fees

123 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MOUNTED CANDELABRA in the Louis XVI style, each modelled with a putto, one representing Autumn, the other Summer, each holding aloft five foliate candle arms terminating in urn shaped nozzles, raised on cylindrical plinths with porcelain panels depicting Cupid, 39cm high (2) £250-£350

124 A PAIR OF LATE 19TH CENTURY FRENCH SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED URNS AND COVERS in the Louis XVI style, the domed covers surmounted by ormolu foliate and pineapple finials, the handles cast with classical female masks, raised on spreading socles over re-entrant cut square plinth bases, the bodies decorated with music trophies on a blue ground with gilt highlights, 28cm high (2) £400-£600

125 A PAIR OF 19TH CENTURY FRENCH LOUIS PHILIPPE PERIOD GILT AND PATINATED BRONZE FIGURAL CANDELABRA each modelled as a nobleman and noblewoman, the female figure holding a rose, the male with his hand on his sword, each supporting the triple branch candelabra, with urn shaped nozzles and leafy collars, raised on fluted plinths with foliate decoration over square bases, 58cm high (2) £1,000-£1,500

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127 126 A LATE 19TH / EARLY 20TH CENTURY FRENCH SEVRES STYLE PORCELAIN AND ORMOLU MOUNTED VASE of slender baluster form, the long neck surmounted by a brass fixed cover, with raised gilt decoration, the body decorated with a rural idyll and courting couples after Boucher, on a spreading socle over a domed foot, raised on a gilt bronze square plinth, 68cm high £1,000-£1,500 127 LOUIS VALENTIN ELIAS ROBERT (FRENCH, 1821-1874): A NAPOLEON III BRONZE AND ROUGE GRIOTTE MARBLE FIGURAL TAZZA, CIRCA 1870 modelled as a classical maiden with left arm raised to support the bowl atop her head, with lobed basin and cast with vines to the rim, the interior of the basin cast with Medusa’s head, raised on a cylindrical plinth set with a bronze relief of further classical maidens, signed ‘LVE ROBERT’ 57cm high Auction Comparable: See Sotheby’s Amsterdam, 16 April 2007, lot 408 for a pair of candelabra by Robert which feature the same design of a classical maiden as the present lot (sold £4560 euroes). £800-£1,200 128 A 19TH CENTURY FRENCH GILT BRONZE CANDELABRA ADAPTED AS A LAMP BASE in the Louis Philippe style, the triple fluted stem issuing three upward scrolling branches centred by a large fourth, now with an electric nozzle, raised on three paw feet over a triform base, fitted for electricity, 62cm high £300-£500

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129 A SPECIMEN MARBLE OBELISK including Verde Antico and Siena marble, raised on a rectangular plinth base, 35.5cm high £100-£150

*See page 2 for information regarding fees

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130 A THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE AND ETCHED GLASS VASE BY FERDINAND BARBEDIENNE the stand with scrolling acanthus handles terminating in palmettes, the pierced base cast with further palmettes and bellflowers, on three cabriole paw feet, the vase etched with scrolling patterns and paterae, stamped F BARBEDIENNE to the stand, 30.5cm high £600-£800 131 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD ORMOLU AND TOLE PEINTE LAMPE BOUILLOTTE the gilt bronze lamp base with recessed circular base with beaded edge supporting the fluted shaft issuing three acanthus wrapped scrolling branches terminating in laurel cast, urn shaped nozzles with removable beaded drip pans, surmounted by cockerel head mounts, and issuing a central branch surmounted by a laurel wreath and with black tole shade decorated with gilt stars, later drilled for electricity, 57cm high A similar bouillotte lamp with cockerel head terminals was sold at Christie’s, London, 7 July 2005, lot 484. £700-£1,000 132 ATTRIBUTED TO FERDINAND BARBEDIENNE: A PAIR OF LATE 19TH CENTURY FRENCH GILT AND PATINATED BRONZE CANDELABRA in the Neo-Grec style, each fluted column surmounted by three urn shaped nozzles and centred by a figure of Bacchus, raised on three paw feet over shaped Rouge Griotte marble plinths, 42cm high (2) £300-£500 132 51

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135 134 AFTER THE ANTIQUE: A LARGE LATE 19TH / EARLY 20TH CENTURY PATINATED PLASTER FIGURE OF MARSYAS the nude standing figure raised on a rectangular base, numbered 269, 86cm high The original Roman marble is now in the Vatican. £400-£600 135 AFTER EDME DUMONT (FRENCH, 1722-1775): A LARGE LATE 19TH CENTURY BRONZE OF MILO OF CROTON the nude man with mustache and sideburns, wrestling apart a large tree trunk, on a naturalistic base, dark brown patination, 79cm high Dumont’s full scale marble depiction of Milo of Croton was his reception piece for the Academie royale de peinture et de sculpture, The Louvre, in 1768. £3,000-£5,000 136 AFTER THE ANTIQUE: A LARGE LATE 19TH CENTURY FRENCH BRONZE FIGURE OF EUTERPE, POSSIBLY BY BARBEDIENNE the classical maiden leaning against a foliate decorated pedestal and holding a flute in her right hand, raised on a rectangular base inscribed ‘EUTERPE’ and with REDUCTION MECHANIQUE A. COLLAS BREVETE foundry stamp 69cm high

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The A. Collas Brevete foundry stamp is usually found on Barbedienne bronzes. £2,000-£3,000 *See page 2 for information regarding fees

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137 AFTER THE ANTIQUE: A LATE 19TH / EARLY 20TH CENTURY PATINATED PLASTER HEAD OF HYPNOS the head raised on an integral cylindrical socle, 36cm high This head is based on the 4th Century B.C. bronze statue, attributed to Skopas. £300-£500 138 A FINE 19TH CENTURY FRENCH BRONZE FIGURE OF CUPID WITH HIS BOW the kneeling figure with one eye closed as he looks to the distance and pulls the string of his bow back, mid to dark brown patination, the hair finely chased, raised on a grey veined, white marble rectangular plinth, 28cm high £500-£800 139 A MID 19TH CENTURY FRENCH BRONZE FIGURE OF VENUS AND CUPID IN THE MANNER OF ÉTIENNE-MAURICE FALCONET (FRENCH, 1716-1791) the nude figure of Venus holding an arrowhead, leaning against a draped rock, Cupid beside her, an upturned ewer on the naturalistic ground, raised on a re-entrant cut, square, moulded marble plinth, 38cm high The composition of this figural group is very similar to that attributed to Joseph Broche, circa 1775-1800, in the style of Falconet, in the Huntington Collection, Inv. No. 16.7 £1,200-£1,800 139 53

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141 140 AFTER RAFFAELE MONTI (ITALIAN, 1818-1881): A COPELAND PARIAN PORCELAIN BUST OF ‘LOVE’ depicting a youthful beauty, her long hair falling about her shoulders, her dress adorned with a rose, raised on a cylindrical socle, the back of the bust inscribed ‘R. MONTI Sept 1871 / CERAMIC / CRYSTAL PALACE ART UNION/ COPELAND’ 34cm high Raffaele Monti is perhaps most famous for his bust of a veiled vestal, which was first carved for the 6th Duke of Devonshire. The veiled vestal or ‘Veiled Bride’ as it became known as, was also issued as a Parian bust in 1861 by the Crystal Palace Art Union. £400-£600 141 AFTER JOSEPH DURHAM A.R.A (BRITISH, 1814-1877): A COPELAND PARIAN PORCELAIN BUST OF ‘THE HOP QUEEN’ the beautiful maiden with hair adorned with hops, the reserve inscribed ‘HOP QUEEN / CERAMIC AND CRYSTAL PALACE ART UNION / PUB. JANUARY 1873 / COPELAND / F73 / J. DURHAM A.R.A.’, raised on a cylindrical socle, 35cm high £300-£500

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142 AN EARLY 20TH CENTURY ITALIAN ALABASTER LAMP BASE MODELLED AS A NUDE GIRL the nude seated on a rock over crashing waves, raised on grey mottled alabaster plinth, the inside fitted with an electric light nozzle, with holes drilled to the back of the rocky base and the plinth to emit the light, 59cm high £700-£1,000 *See page 2 for information regarding fees

143 A FINE AND IMPRESSIVE LATE 19TH / EARLY 20TH CENTURY ITALIAN COLOURED AND WHITE ALABASTER FIGURAL FLOOR STANDING LAMP the main pedestal with spiralling, fluted column raised on a waisted, octagonal plinth, the central gadrooned bowl signed to the inside ‘N.1082 / Made in Italy / E. Castellucci’ and covered with a naturalistically carved, removable cover with protrusions carved with holes to the top to emit light, the column drilled to the centre for electric wiring, surmounted by a figure of a semi-nude maiden in a diaphanous gown, 197cm high £6,000-£8,000

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145 144 JEAN JULES SALMSON (FRENCH, 1823-1902): A PAIR OF COLD PAINTED BRONZE FIGURES OF ARABS, ‘LA PORTEUSE’ AND ‘LE GUERRIER ARABE’ both in long flowing robes and raised on naturalistic bases, signed ‘SALMSON’, raised on circular black marble bases, 44cm high (2) Literature: H. Berman, ‘Bronzes Sculptors & Founders’, Abage Encyclopedia, Chicago, 1980, Vol. IV, page 951 and page 1035.P. Kjellberg, ‘Les Bronzes du XIXe Siecle’, Les Editions de L’Amateur, Paris, pages 609 and 610.

Auction Comparable: Christie’s London, 4 February 1998, lot 694, of the same size, sold £10,000. £1,500-£2,000 145 GASTON LEROUX (FRENCH 1854-1942): A BRONZE FIGURE OF REBECCA in the Orientalist style, the youthful beauty in traditional dress and descending steps with an urn atop her head, on a naturalistic base, signed ‘G. L’EROUX’, mid brown patination, raised on the original rotating Rouge Griotte marble cylindrical plinth, with a plaque inscribed ‘REBECCA PAR G. LEROUX 3me MEDAILLE’ 79cm high overall Leroux specialised in Oriental and classical subject matters, and exhibited numerous models at the Paris Salon during the 1880s.

Related Literature: This model is illustration on page 436 of Les Bronzes du XIXe Siecle P. Kjellberg, Les Editions de l’Amateur, Paris. £2,200-£2,600 146 A MID 19TH CENTURY FRENCH BRONZE FIGURE OF A MAN EATING FRUIT the young man in peasant’s attire, eating fruit stored in his upturned hat, on a naturalistic base, unsigned but with A*D foundry stamp, 45cm high

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The foundry stamp A.D. could possibly be for the founder Alfred Daubré, who was established as a founder in 1855. His foundry stamp is also often found on bronzes by the important Animalier sculptor Alfred Jacquemart (French, 1824-1896). £500-£800

*See page 2 for information regarding fees

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147 EDOUARD DROUOT (FRENCH: 1859-1945): A BRONZE FIGURE ENTITLED ‘RETOUR DE LA FONTAINE’ the orientalist style bronze depicting a beautiful Arab maiden water carrier with an urn on her head, stepping through a stream, mid brown patination, signed ‘Drouot’, raised on the original Rouge Griotte marble rotating base, with a brass plaquette inscribed ‘RETOUR DE LA FONTAINE Par E. Drouot (Medaille du Salon’, 65cm high £1,800-£2,200 148 JEAN JULES SALMSON (FRENCH, 1823-1902): A PAIR OF BRONZE FIGURES OF ARABS, ‘LA PORTEUSE’ AND ‘LE GUERRIER ARABE’ the female carrying an urn and looking to sinister, the male with a rifle, both in long flowing robes and raised on naturalistic bases, signed ‘SALMSON’, mid to dark brown patination, 56cm high (2) Literature: H. Berman, ‘Bronzes Sculptors & Founders’, Abage Encyclopedia, Chicago, 1980, Vol. IV, page 951 and page 1035.P. Kjellberg, ‘Les Bronzes du XIXe Siecle’, Les Editions de L’Amateur, Paris, pages 609 and 610.

Auction Comparable: Sotheby’s Paris, 19 October 2006, lot 29, sold 14,000 euros, a pair of this model of the same size.

Salmson exhibited regularly at the Salon from 1859, and worked on various monuments in Paris including those at L’Opera, les Tuileries, and le tribunal de Commerce. As well as being known for his Orientalist subject matter he is known for his statues of great historical figures such as Shakespeare, Rubens, Hamlet and Byron. The present pair are perhaps his best known figures and he modelled the female figure in 1880 and the male in 1875. £1,500-£2,000 149 ÉMILE LOUIS PICAULT (FRENCH, 1833-1915): A BRONZE FIGURE OF AN ARTIST the standing figure holding a painter’s palette in his left hand, a brush in his right, raised on a shaped base signed ‘E. PICAULT’, 49cm high £800-£1,200

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151 150 JEAN-BAPTISTE BELLOC (FRENCH, 1863-1919): A LARGE BRONZE FIGURE OF A MALE NUDE CAST BY SUSSE FRERES, PARIS the male figure holding a forging hammer in his right hand and a number of swords in his right on a naturalistic base cast with the title ‘JE CHANGERAI L’EPEE EN UN SOC DE CHARRUE TEMPS FUTURS’ and signed ‘J.B. Belloc’ and with a foundry stamp to the back ‘COPYRIGHT SUSSE FRES’, raised on a later moulded wood base, the bronze 65cm high, 74cm high overall £1,200-£1,800 151 EUTROPE BOURET (FRENCH, 1833-1906) ‘AU CLAIR DE LA LUNE’ A BRONZE FIGURE OF A LUTE PLAYER / JESTER raised on a square base inscribed with the title to the front and signed ‘BOURET’, mid brown patination, 48cm high £700-£1,000 152 PIERRE-ETIENNE-DANIEL CAMPAGNE (FRENCH, 1851-1910): A BRONZE FIGURE ENTITLED ‘L’HYMNE DU SOIR’ the semi-clad maiden playing a lyre like instrument modelled as a serpent, raised on a cloudy base over a cylindrical plinth, signed ‘Campagne’ and with a small brass plaquette inscribed ‘L’HYMNE du SOIR par D. Campagne’, mid brown patination, 60cm high £800-£1,200

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153 VINCENZO AURISICCHIO (ITALIAN, 1855-1926): A BRONZE BUST OF A LAUGHING MAN the youth emerging from waves, mid brown patination signed ‘V. Aurisicchio’, raised on a rectangular marble plinth, 22cm high £200-£300

*See page 2 for information regarding fees

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154 HENRI-HONORE PLE (FRENCH, 1853-1922): A BRONZE FIGURE OF DAVID the nude male figure holding a sword and resting on a tree stump covered with a lion skin, the base signed ‘H. Ple’, and ‘CA4’, the underside stamped ‘AB’ in three places, mid brown patination, 23.5cm high £500-£700 155 NOEL RUFFIER (FRENCH, 1847-1921): A BRONZE FIGURE OF MME SANS GENE the young lady wearing an empire line gown, seated on a stool, above a rectangular base, with a plaque inscribed MME. SANS GENE, signed ‘Noel Ruffier 1894’ 42cm high £700-£1,000 156 ETIENNE HENRY DUMAIGE (FRENCH, 1830-1888): A BRONZE FIGURE OF JEANNE D’ARC (JOAN OF ARC) the young girl depicted at the moment of her vision, raised on a naturalistic ground signed ‘H. Dumaige’, and with ‘B.D. VRAI BRONZE PARIS’ foundry stamp, 31cm high £300-£500 157 AFTER MICHELANGELO: A PAIR OF 19TH CENTURY GRAND TOUR BRONZES OF DAY AND NIGHT the male and female figures reclining and raised on arched wooden bases, 17cm high x 17cm wide (2) £200-£300

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159 158 ADOLPHE-JEAN SAVERGNE (FRENCH, 1851-1901): A SMALL BRONZE FIGURE OF A SNAKE CHARMER the standing semi-clad boy holding a serpent on a stick, on a naturalistic base signed ‘Savergne’, over a Verde Antico marble plinth, 30cm high £300-£500 159 FRIEDRICH GOLDSCHEIDER (AUSTRIAN, 1845-1897): A LATE 19TH CENTURY TERRACOTTA FIGURE OF A MEDIEVAL KNIGHT the standing figure wearing a helmet, his arm outstretched and holding a sword, raised on a naturalistic base indistinctly signed by the modeller, with the Goldscheider foundry stamp to the reverse and numbered 2989 / 40 / 67, 79cm high excluding sword £800-£1,200 160 A LATE 19TH / EARLY 20TH CENTURY CAST IRON FIGURE OF MEPHISTOPHELES AFTER THE MODEL BY JACQUES LOUIS GAUTIER (FRENCH, B. 1831), POSSIBLY RUSSIAN the standing figure raised on a rocky base, signed ‘Gautier’, 72cm high Auction Comparable: A further cast iron sculpture of this figure was sold at Sotheby’s New York, 8 January 1998, lot 459, sold $3750. Other cast iron examples have appeared at auction with Cyrillic inscriptions. £500-£800

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161 AFTER BARON FRANCOIS JOSEPH BOSIO (FRENCH, 1768-1845): A LARGE LATE 19TH CENTURY BRONZE FIGURE OF THE YOUNG HENRI IV the standing figure looking to sinister and raised on a square base with tree stump beside, dark brown patination, 74cm high £1,500-£2,000 *See page 2 for information regarding fees

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162 EMILE BRUCHON (FRENCH 1806-1895): A LATE 19TH CENTURY BRONZED SPELTER FIGURAL GROUP ‘LA SOURCE’ depicting a classical maiden holding a basket of flowers, an upturned urn spilling water beside her with Cupid catching the water, on a circular base with scroll entitled ‘LA SOURCE par Bruchon’, signed to the reverse ‘Bruchon’, 55cm high £200-£300 163 A LARGE 19TH CENTURY FRENCH BRONZE FIGURE OF A BACCHANTE MAIDEN WITH A PUTTO IN THE MANNER OF CLODION the maiden with a tambourine slung over her left arm, a child at her feet offering her a glass of wine from a ewer, on a circular base, dark brown patination, unsigned, 84cm high £4,000-£6,000 164 GIOVANNI ANTONIO LANZIROTTI (ITALIAN, 1839-1921): A SILVERED BRONZE ENTITLED ‘LE PRINTEMPS DE LA VIE’ (THE SPRINGTIME OF LIFE) depicting a beautiful semi-clad maiden in flowing drapery holding a butterfly in her hands, a putto at her feet reaching up to see, on a naturalistic base, signed ‘A.G. LANZIROTTI PARIS’, on a gilt bronze base inscribed with the title, 37cm high Auction Comparable: A larger, patinated bronze version of this sculpture was offered at Sotheby’s, London, 16 November 2006, lot 93, and a further example was sold Christie’s, New York, 14th July 2001, Lot 201. £1,500-£2,000

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166 165 JULES GRAUX (BELGIAN, 1867-1930): A PAIR OF LATE 19TH CENTURY BRONZE FIGURE OF NEAPOLITAN DANCERS the female dancer holding a tambourine, and wearing a Bacchic headdress of vines, the male figure semi-clad in a lion pelt, both on circular naturalistic bases signed ‘J. Graux’, mid brown patination with lighter high points, over marble circular plinths, 38cm high (2) The theme of Neapolitan dancers was explored by some of the most influential sculptors during the second half of the 19th century in Paris, including Carrier-Belleuse, Duret and Delafontaine. £1,000-£1,500 166 A PAIR OF MID 19TH CENTURY FRENCH BRONZE FIGURES OF CUPID AND PSYCHE Cupid depicted running beside a tree stump beside a quiver of arrows and holding his bow, Psyche also in mid step and pulling her drapery around her, beside a tree trunk, both on naturalistic bases, dark brown patination, 30cm high (2) £800-£1,200 167 AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A PAIR OF 19TH CENTURY BRONZE FIGURES OF MERCURY AND FORTUNA both raised on one foot on the mouth of Boreas, emitting a gust of wind, raised on black marble and bronze relief mounted cylindrical plinths, 47cm high (2) £400-£600

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168 A JAPANESE BRONZE FIGURE OF A SAMURAI with a bisen-to, with parcel gilt decoration, circa 1920 38cm high £400-£600 169 A 19TH CENTURY FRENCH TERRACOTTA MODEL OF TWO CHINESE CHILDREN PLAYING AN INSTRUMENT hand modelled, unsigned, raised on a circular base, 35cm high £600-£800 170 A FINE 19TH CENTURY JAPANESE MEIJI PERIOD BRONZE AND PARCEL GILT ‘ONI’ HOLDING ALOFT A GONG in Miya-o style, the horned figure with gilt decoration to his drapery and gilt eyes, raised on a naturalistic base above a hardwood carved plinth, holding aloft a foliate bowl supporting a large gong formed as a bowl with parcel gilt decoration of butterflies, blossom and other motifs, with a gong hammer with painted wood handle, 84cm high overall £3,000-£5,000

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171 AN EARLY 19TH CENTURY REGENCY PERIOD GILTWOOD CONVEX GIRANDOLE MIRROR the circular moulded frame surmounted by a model of an eagle, with two adjustable candle sconces, 106cm x 75cm x 26cm £300-£500

173 λ A 19TH CENTURY DIEPPE IVORY AND BONE WALL MIRROR the shaped frame decorated throughout with applied bone and ivory leaves, baskets of flowers, crests and winged putti, the central crest surmounted by a crown above a scroll inscribed ‘MONTIOYE ST DENYS’, enclosing a bevelled glass oval plate, 87cm high x 57cm wide £700-£1,000

172 AN EARLY 18TH CENTURY FRENCH LOUIS XIV PERIOD REPOUSSE BRASS WALL MIRROR surmounted by a triangular pediment over the rectangular mirror plate with sloping sides and marginal plates, the whole decorated with cockerels, vases of flowers and foliage, 131cm high x 85cm wide £700-£1,000

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174 A LATE 19TH CENTURY ARTS AND CRAFTS STYLE SOLID EBONY AND SILVERED METAL MOUNTED WALL MIRROR the circular solid ebony moulded frame with pierced silver coloured metal mounts (unmarked), with bevelled glass plate, 60cm diameter £600-£800

*See page 2 for information regarding fees

175 λ A FINE LATE 19TH CENTURY ITALIAN EBONISED AND IVORY INLAID CABINET ON STAND IN THE MANNER OF FERNANDO POGLIANI (ITALIAN, 1832-1899) profusely inlaid with ivory throughout, the upper section with an ivory balustrade surmounted by three ivory figures of musical muses one playing flute, one with a triangle and one with pipes, over an arrangement of various drawers all with ivory bun handles, the drawers inlaid with scrolling acanthus leaves and stylised flower heads and centred by a panelled cupboard door inlaid with a stylised plant with scrolling tendrils, opening to reveal three further matching drawers, raised on a stand with conforming decoration, fitted with two frieze drawers centred by an engraved ivory panel of Venus and Cupid, the corners also inlaid with ivory depictions of classical goddesses including Venus and Cupid and Justice, raised on a ringed and knopped baluster legs united by a geometric stretcher centred by an urn with ivory ball finial, 184cm high x 125cm wide x 66cm deep Auction Comparable: See Sotheby’s, New York, 20 April 2007, lot 35 for a cabinet on stand of similar design, inlaid throughout with ivory foliage and surmounted by an ivory balustrade with ivory finials over.

Museum Comparable: Comparable cabinets by Pogliani are in the Museo del Castello Sforzesco in Milan.

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This exceptional cabinet on stand clearly shows the influence of Pogliani’s work, embracing the Renaissance and classical styles of Italy’s past and yet also demonstrating the influence of the Middle East, with stylised inlay and arabesques more often found in Islamic furniture. Ferdinando Pogliani had a workshop in Borgo di Porta, Vittoria N.81, Milan and a gallery at Via Monte Napoleone. He was renowned for his use of ivory inlay in his Renaissance inspired pieces of furniture, he won numerous prizes at exhibitions for this work which was famous across Europe. £4,000-£6,000

176 λ A LARGE NAPOLEON III GILT BRONZE MOUNTED, CUT BRASS AND TORTOISESHELL ‘BOULLE’ STYLE VITRINE / DISPLAY CABINET CIRCA 1870 the full height single panel glazed door above a drawer, with arched cresting and canted front corners, alterations, 106cm wide x 50cm deep x 260cm high £600-£800

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177 TAHAN, PARIS: A NAPOLEON III GILT BRONZE AND PORCELAIN MOUNTED KINGWOOD CASKET, THIRD QUARTER 19TH CENTURY of rectangular form, with ormolu foliate mounts, the top centred by an oval porcelain panel depicting a floral bouquet within a rose border, on gadrooned feet, the hinged top and fall front opening to reveal the blue silk lined interior, the lockplate signed ‘TAHAN F DU ROI’, 27.5cm wide x 11cm high

179 A FINE LATE 19TH CENTURY FRENCH SATINWOOD, GILT BRONZE AND SEVRES STYLE PORCELAIN MOUNTED WRITING TABLE the top with gilt tooled leather writing surface, with egg and dart and foliate ormolu border, the frieze with porcelain panels throughout, depicting panels of fruit and flowers on a white, gilt and green ground, the front with frieze drawer, on square tapering legs, 80cm wide x 47cm deep x 75cm high £1,500-£2,000

Auction Comparable: See Bonhams, Los Angeles, 26 March 2019, Lot 327 sold for £1600, for a table desk of very similar design by Tahan. £300-£500 178 TAHAN, PARIS: A THIRD QUARTER 19TH CENTURY TURQUOISE ENAMEL AND GILT BRONZE MOUNTED JEWEL CASKET, TOGETHER WITH FIVE SIMILAR the largest of rounded rectangular form, raised on four ormolu, scrolling feet, the enamel with white ‘jewelled’ raised decoration and gilt highlights, the inside edge signed ‘TAHAN Boult. des Italiens, No. 11’, with decoration of snow drops and with velvet lined interior, together with three very similar jewel caskets also probably by Tahan but unsigned, a further bleu de roi casket with silk buttoned interior and a cylindrical casket of champleve enamel in the manner of Barbedienne, the Tahan casket 15.5cm wide, (6) £400-£600 66

180 A LATE 19TH CENTURY FRENCH KINGWOOD, ROSEWOOD AND CUBE PARQUETRY CARD TABLE in the Louis XVI style, on four cabriole legs with folding top, fitted with a frieze drawer with bearded mask mounts, an identical mount fitted to the back frieze, the corners with C scroll and shell ormolu mounts, the hinged top opening to the gilt tooled, green baize playing surface, 69cm wide x 78cm high, the top when open 92cm x 70cm £300-£500

*See page 2 for information regarding fees

181 A FINE FRENCH NAPOLEON III PERIOD GILT BRONZE MOUNTED TULIPWOOD, AMARANTH AND SYCAMORE MONTH GOING REGULATEUR, THE CASE BY WASSMUS FRERES A PARIS, CIRCA 1860, THE DIAL SIGNED DUBUISSON in the Louis XVI style, the case with stepped cartouche-shaped hood above a serpentine trunk with a lenticle and pedestal base inset with trellis-parquetry reserves and mounted with mercurial gilded ormolu mounts, the dial and movement of earlier date, the white enamelled dial with Roman numerals, signed below the VI by the enamellist Dubuisson and for the clockmaker ‘Bourdier horloger Mecanicien a Paris’, with gilt, pierced and chased hands and a blued steel centre seconds hand, the movement going for between five and six weeks on a single wind, with pin-wheel escapement, centre seconds and maintaining power, the plates united by four large baluster pillars, the massive pendulum with lenticular brass-faced bob and steel rod, 216cm high x 47cm wide x 21.5cm The movement is ticking but not fully tested or guaranteed.

This fine regulator clock was assembled by the celebrated cabinetmaker ebeniste, Henri-Leonard Wassmus. It appears that the high quality movement was ordered for the case by Wassmus and re-uses an extremely fine late 18th century dial by Dubuisson signed for Bourdier, Paris. It may well have been a special commission from an important client who wished to have their movement and dial rehoused in this extremely fine and ornate case.

The firm Wassmus Frères was established in Paris in 1810 and was fêted for high quality furnishings in the 18th century taste. From 1853 the business traded from 146, rue du Faubourg-Saint-Denis supplying furniture to European nobility and contributing to the Paris Exhibitions of 1855 and 1867. Wassmus was cabinet maker to Napoleon III, and commodes by Wassmus in Louis XVI style furnish the Hotel Marigny in Paris and the bedroom of Napoleon III at the Elysee Palace.

Etienne Gobin, known as Dubuisson (b. 1731 d. after 1815) was one of the two greatest dial painters of the Louis XVI period the other being Joseph Coteau (1740-1801). Born in Lunéville, Dubuisson worked as a porcelain painter in his hometown, in Strasbourg, and at Chantilly. Like Coteau, he was employed at the Sèvres Royal Porcelain Factory, 1756-9, as a flower painter, specializing in enamelling watchcases and clock dials. During the 1790’s he was recorded in the rue de la Huchette and later circa 1812 at rue de la Calandre. His name is associated with the finest clockmakers of his day, in particular Bourdier and Louis XVI’s favourite clockmaker, Robert Robin. £3,000-£5,000

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182 A RARE LATE 19TH CENTURY ENGLISH MAHOGANY AND BRASS PATENTED ‘JANITOR’ FOUR BOTTLE TANTALUS the unusual design of square form fitted with a secret drawer to the front, the four decanters secured within by a central brass rod issuing branches that hold the decanters in place, upon the turn of the key the brass fitment springs up allowing the decanters to be removed, each decanter of jug form, with a scrolling handle and faceted stopper, resting in purple velvet lined recessed roundels, the back of the box with a brass plaque inscribed ‘THE JANITOR CHAPMAN’S PATENT NO. 765’, 45cm high £1,200-£1,800

183 A 19TH CENTURY MAHOGANY TEA CADDY MODELLED AS A SIDEBOARD with gilt brass, lion mask ring handles to the sides, raised on a pair of pedestals on bun feet, the hinged lid rising to the interior with two hinged, lidded compartments centred by an aperture for a glass mixing bowl, 18cm high x 38cm wide x 19.5cm deep £400-£600

184 A MID 19TH CENTURY SWISS ROSEWOOD MUSICAL BOX, NO 8535 the case of rectangular form with boxwood stringing, the side hinged and opening to reveal the winding square to the cylinder and three switches, with winder, 44cm wide x 12cm high 183

In working order but not fully tested or guaranteed.

Provenance: Purchased from Graham Webb of Brighton, author and specialist in mechanical music, with original invoice dated 1/8/91. £400-£600

185 TWO 19TH CENTURY GILT AND PATINATED BRONZE PORTRAIT RELIEFS DEPICTING WELLINGTON AND PRINCE ALBERT both depicted in profile with a scrolling plaque below identifying each sitter, within rectangular wooden glazed frames, the frames 61cm high x 50cm wide (2) £250-£350

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186 A RARE PAIR OF LATE 19TH CENTURY CARVED ALABASTER FIGURES OF NAPOLEON AND THE DUKE OF WELLINGTON Napoleon depicted with arms crossed stood beside a draped pedestal, the Duke of Wellington holding a scroll in his left hand, his right behind his back, both raised on carved square bases, 50cm high (2) £4,000-£6,000

187 A PAIR OF LATE 19TH CENTURY ITALIAN CARVED ALABASTER COLUMNS the pedestals with canted square tops over cylindrical fluted shafts, carved with a central Greek Key border, raised on octagonal plinths, £1,000-£1,500

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A private collection of Napoleonic Theme

188 AN EARLY 19TH CENTURY BRONZE EQUESTRIAN MODEL OF NAPOLEON Napoleon in military garb astride his horse, with right foreleg raised on a naturalistic base, mid brown patination, 21cm high £400-£600

189 A 19TH CENTURY ITALIAN BRONZE EQUESTRIAN STATUETTE OF NAPOLEON CROSSING THE ALPS Napoleon pointing astride his rearing horse, dark brown patination, raised on a Verde Antico rectangular marble plinth with bronze foliate mount, 32cm high This bronze depicts Napoleon Crossing the Alps after the famous painting by JacquesLouis David. £600-£800

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190 A MID 19TH CENTURY FRENCH GILT AND SILVERED BRONZE EMPIRE STYLE MANTEL CLOCK OF NAPOLEONIC THEME depicting Napoleon riding a silvered stallion, on a naturalistic ground raised on a rectangular plinth base cast with scrolling foliage and shellwork, the silvered dial with Roman numerals, the twin train movement previously with silk suspension, now converted, with outside countwheel striking on a bell, stamped ‘S. Marti & Cie MEDAILLE DE BRONZE’ 44cm high The movement is striking when the hands are turned but lacking pendulum. £600-£800 191 AN EARLY 19TH CENTURY FRENCH GILT AND PATINATED BRONZE EMPIRE STYLE MANTEL CLOCK ON NAPOLEONIC THEME the case surmounted by a figure of Napoleon with arms crossed, his flag, map and a laurel wreath ornamenting the clock, raised on a stepped plinth base with laurel wreath casting, the gilt dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 37cm high £600-£800 192 ALBERT SCHRODEL (FL. LATE 19TH / EARLY 20TH CENTURY): A GILT BRONZE AND IVORY MOUNTED FIGURE OF NAPOLEON CIRCA 1900 the standing figure with arms behind his back and a telescope in his hands, on a naturalistic base signed ‘A. SCHRODEL’, 18cm high £300-£500

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193 MATHIEU MOLITOR (GERMAN, 1873-1929): A BRONZE FIGURE OF NAPOLEON, 1912 the standing figure with his hands held behind his back, raised on an integral rectangular base signed ‘MATHIEU MOLITOR 1912’ mid brown patination, raised on a marble plinth, 44cm high overall £500-£800

194 A 19TH CENTURY BRONZE FIGURE OF NAPOLEON the standing figure with arms crossed raised on a square base, dark brown patination, over a Verde Antico marble plinth, 23cm high £250-£350

195 A 19TH CENTURY BRONZE FIGURE OF NAPOLEON the standing figure with arms crossed and raised on an integral rectangular plinth decorated with a laurel wreath, 24cm high £150-£200

196 A 19TH CENTURY BRONZE FIGURE OF NAPOLEON the standing figure with arms crossed and raised on an integral stepped plinth with gilt bronze eagle mount, over a Verde Antico marble base, 24cm high £200-£300

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197 A 19TH CENTURY FRENCH BRONZE BUST OF NAPOLEON SIGNED ‘POSY’ dark brown patination, raised on an integral socle over a Siena marble shaped plinth, 20cm high £200-£300 198 A 19TH CENTURY FRENCH EMPIRE STYLE GILT AND PATINATED BRONZE FIGURE OF NAPOLEON ON A STAND the standing figure in ormolu and raised on a rectangular stepped plinth fitted with a single drawer to the front with bud handle, 20cm high £200-£300 199 A 19TH CENTURY BRONZE MODEL OF A COLUMN SURMOUNTED BY A FIGURE OF NAPOLEON the figure of Napoleon atop the column, inscribed with various places of battle, the rectangular base modelled with four classical maidens, on a faceted black marble plinth, 29cm high £200-£300

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200 HENRI HUPPE (FRENCH, FL. LATE 19TH / EARLY 20TH CENTURY): A GILT BRONZE, ENAMELLED AND GREEN ONYX PAPERWEIGHT MODELLED AS NAPOLEON’S HAT his hat resting beside his sword and enamelled medal, signed ‘Huppe’, on a rectangular green onyx base, 11.5cm wide £200-£300 201 A LATE 19TH CENTURY PATINATED SPELTER MODEL OF A SPHINX raised on a green marble plinth, 16cm high x 36cm wide £150-£200 202 THREE 19TH CENTURY STAFFORDSHIRE POTTERY FIGURES OF NAPOLEONIC THEME comprising a flatback figure of Napoleon in the guise of a mantel clock, 41.5cm, a further figure of Napoleon on horseback, 22.5cm high and a standing figure of Napoleon, 19cm high (3) £200-£300 203 THREE SMALL MODELS OF NAPOLEON comprising a patinated spelter figure of Napoleon on horseback, 12cm high. a figure of Napoleon standing on fluted plinth, 14cm high and a painted figure of Napoleon, 11cm high (3) £100-£150

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204 ARTHUR MARIE GABRIEL COMTE DU PASSAGE (FRENCH, 1838-1909): A BRONZE EQUESTRIAN MODEL ‘LE CONTREBANDIER’ (THE SMUGGLER) depicting a Russian Cossack riding a stallion laden with saddlebags, the Cossack looking into the distance, dark brown patination, signed ‘A. du Passage’ to the naturalistic base, raised on a black marble rectangular plinth, 59cm high x 62cm wide Born to a noble family, Comte du Passage began his career as a second lieutenant in the 9e Carabiniers at Maubeuge. He first exhibited at the Salon in 1865 and following his success there, decided to give up his military career and concentrate solely on his art. He was fortunate enough to study under two of the most important Animalier sculptors of the day, Mêne and Barye, and like Mêne specialised in equestrian models, dogs and hunting scenes.

Related Literature: P. Kjellberg, ‘Bronzes of the 19th century, Dictionary of Sculptors’, Paris, 1994, p. 531 illustrated this model.

Auction Comparable: See Sotheby’s, New York, 24 October 2007, lot 418. £4,000-£6,000

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205 A LATE 19TH CENTURY BRONZE MODEL OF A BORZOI the standing hound raised on a naturalistic rectangular base, 25cm high x 37cm wide £600-£800 206 A 19TH CENTURY BRONZE MODEL OF A POODLE the standing dog holding its lead in its mouth, raised on a Siena marble, rectangular plinth, 15.5cm high £400-£600 207 CHARLESE CURRY (ENGLISH, FL. LATE 19TH / EARLY 20TH CENTURY): A BRONZE EQUESTRIAN MODEL OF AN AMAZON, CIRCA 1920 the semi-clad female figure riding bare-back and holding an axe, riding a large stallion on a naturalistic base, signed to the base ‘Chas Curry Scpt / Ernest W Adamson Copyright’, the underside with a retailers plaque inscribed ‘DOBSON 9 NEW BOND ST W’, together with the original polished oak stepped rectangular plinth, the bronze 49cm high, 63cm high overall £2,000-£3,000

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208 AFTER ANDREA DEL VERROCCHIO (ITALIAN, 1435-1488): A 19TH CENTURY BRONZE REDUCTION OF THE EQUESTRIAN MONUMENT TO BAROLOMEO COLLEONI dark brown patination, with a rectangular base, raised on a stepped yellow marble plinth, 51cm high This bronze is a reduction of the famous equestrian monument to the Condottiero Bartolomeo Colleoni who served many years under the Republic of Venice. Verrocchio was commissioned to produce the sculpture in 1480 by the Venetian Signoria using funds left by Colleoni in his will. He began work on the model only to be told that they had changed their mind and given the commission to another sculptor; Verrocchio was so enraged at this that he smashed his model to pieces and left Venice in a rage. The Signoria soon realised their mistake and had to re-employ him at twice the previous rate; but these delays meant that the monument was still unfinished eight years later when the sculptor fell ill with a chill and died. It was therefore finished by Alessandro Leopardi. £1,200-£1,800 209 A LATE 19TH / EARLY 20TH CENTURY BRONZE MODEL OF AN ELK RAISED ON AN ONYX STAND the large animal with mouth open, raised on a green onyx shaped base with rusticated edge and recessed pen tray, 24cm high x 37cm wide £500-£800 210 A LARGE LATE 19TH / EARLY 20TH CENTURY MAJOLICA GLAZED POTTERY STICK / UMBRELLA STAND ATTRIBUTED TO DELPHIN MASSIER modelled as a stork standing on one leg and with a small serpent in its beak, beside reeds and irises, raised on a fluted column plinth base, 116cm high £3,000-£5,000

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211 AN EARLY 20TH CENTURY FRENCH ART DECO PERIOD PATINATED SPELTER AND ALGERIAN ONYX MODEL OF A CAMEL RIDER the North African figure perched a top of camel and holding a dagger and shield, the running beast raised on a rectangular Algerian onyx and black marble plinth, 35cm high x 60cm wide £800-£1,200

212 A 19TH CENTURY RUSSIAN CAST IRON MODEL OF A BEAR the brown patinated model depicting the bear laying down on a rectangular ebonised plinth, unmarked, 14cm high x 42cm wide overall This very detailed and carefully modelled sculpture of a bear is typical of the works produced by the the Kaslinskii Factory. The Kaslinskii Factory was founded in 1747 by J. Korobkov, and was famous throughout the late 18th and 19th century for producing high quality works in cast iron which were patinated in the same manner as bronzes. £800-£1,200 77

213 A PAIR OF EARLY 20TH CENTURY GILT BRONZE AND PORCELAIN CANDLESTICKS TOGETHER WITH TWO SMALL MIRRORS the candlesticks with blue de roi porcelain stems and bases, the mirrors both of oval form decorated with putti, the first mirror with cut steel filigree work around the outer plate, and a loop to the top to hand, the second on a scrolling foliate base, the candlesticks 25.4cm high, the mirrors both 25cm high (4) £200-£300 213

214 A PAIR OF SECOND QUARTER 19TH CENTURY FRENCH GILT BRONZE FIGURAL CANDLESTICKS IN THE ORIENTALIST STYLE each modelled as a Chinese man and woman, wearing ornate tunics with floral motifs, raised on Rococo style bases cast with C scrolls and rocailles, each holding aloft a single candle nozzle with collars cast as up-turned parasols, 34cm high (2) £200-£300 215 A PAIR OF SECOND QUARTER 19TH CENTURY ENGLISH BRONZE, PARCEL GILT AND CUT GLASS CANDLE LAMPS the faceted stems raised on spreading lappet cast bases over octagonal plinths, with removable full length candle holders inside, the petal shaped glass collars hung with faceted arrowheaded lustres, with a diamond registration mark, each surmounted by a frosted and etched glass shade (one repaired), 45cm high (2) £400-£600 216 A MID 20TH CENTURY MURANO GLASS PEACOCK ADAPTED AS A TABLE LAMP the perched bird with scrolling tail, raised on a stylised, lobed branch, later fitted with a brass lamp fitment, 47cm high £200-£300

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217 A LATE 19TH / EARLY 20TH CENTURY AUSTRIAN (VIENNA) COLD PAINTED BRONZE MODEL OF A HOUND MOUNTED ON AN ONYX STAND the pointer dog raised on the onyx, shaped base, in the manner of Franz Bergman, 6.5cm high x 18cm wide £150-£200 218 A LATE 19TH CENTURY FRENCH BRONZE INKWELL MODELLED AS THE HEAD OF A BIRD BY LE BLANC, PARIS the bust of the bird resting on a naturalistic foliate cast base, the head with a hinge, the inside opening to a removable ink pot, the underside of the bronze signed ‘CH LE BLANC PARIS’, on a circular black marble plinth, 14cm high Gustave Leblanc was the nephew of Ferdinand Barbedienne, the most renowned bronze founder in Europe at that time. He inherited the Barbedienne foundry upon Ferdinand Barbedienne’s death in 1892 and continued to cast both small objets d’art like the present lot and large monumental works. £200-£300 219 A SMALL EARLY 20TH CENTURY GERMAN BRONZE BUST OF A SOLDIER WITH COMMEMORATIVE PLAQUE dark patination, his helmet with green patination, raised on a white veined, black marble plinth with bronze plaquette inscribed ‘Unserem lieben kameraden Max Kanzler nebst gattin zur Vermahlung gewidmet Untffz Vereiniging 2/F3 Lankwitz, den 15.9.34’, 16cm high £250-£350

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220 AN EARLY 20TH CENTURY BRONZE MODEL OF TWO WILD BOARS the fighting boars raised on a rectangular onyx plinth, 14cm high x 23cm wide £200-£300 *See page 2 for information regarding fees

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221 OSKAR GARVENS (GERMAN, 1874-1951): A BRONZE HEAD OF A MAN CAST BY THE GLADENBECK U SOHN FOUNDRY the bearded man raised on an integral stand, the reverse of the bust signed ‘OSK GARVENS’, the back of the stand signed ‘AKT GES. vorm. H. GLADENBECK U. SOHN’, raised on a black marble rectangular plinth, 59cm high £600-£800

223 A 19TH CENTURY GILTWOOD MARGINAL WALL MIRROR of rectangular form with pierced scrolling crest centred by an urn, with trailing flowers and acanthus leaves to the sides and with a laurel swag carving to the base, 90cm high x 52cm wide £300-£500

222 GUGLIELMO PUGI (ITALIAN, 1850-1915): AN ALABASTER BUST OF A GIRL IN A BONNET the smiling girl wearing a large ribbon-tied bonnet and an ornate jacket carved in relief with scrolling decoration, signed to the reverse ‘Flli. Pugi / Firenze’ and raised on a Verde Antico marble socle, 49.5cm high

224 A LATE 19TH CENTURY ART NOUVEAU STYLE BRONZE DRESSING MIRROR the shaped frame cast with serpents, flowers and fish, with a bevelled glass plate and easel support, 47cm high Provenance: Reputedly owned by Adelaide Hall. £200-£400

For a similar alabaster bust by Pugi signed in the same manner and depicting a mother and child, the mother also in an over-sized hat, please see Christie’s, London, 27 September 2007 lot 36. £400-£600 79

225 225 λ A 19TH CENTURY DIEPPE IVORY FIGURE OF A CAVALIER ON HORSEBACK the mounted figure wearing a plumed hat and blowing a horn, the standing horse on a naturalistic ground, over a shaped and stepped plinth base, 17.5cm high £700-£1,000

226 A 19TH CENTURY TERRACOTTA BOZZETTO OF VENUS RECLINING DATED 1877 the nude goddess reclining on a bed of roses, on a rectangular integral, naturalistic base, signed ‘RAMSAN 10/2 1877’ 13cm high x 17cm wide £300-£500

228 A PAIR OF EMPIRE STYLE ORMOLU AND VERDE ANTICO MARBLE FIGURAL CANDELABRA modelled as a pair of classical maidens, each holding aloft a fluted horizontal branch issuing three urn shaped nozzles with beaded drip pans, raised on circular bases and lappet cast feed over rectangular plinths, 47cm high (2) £400-£600

229 A PAIR OF 19TH CENTURY ENGLISH CUT GLASS DECANTERS AND STOPPERS with ringed necks and everted rims, with spirally turned stoppers with faceted finials, on circular feet, 26cm high (2) £150-£200

227 A CHINESE PORCELAIN BLANC DE CHINE LAMP BASE modelled as a female figure holding a flower, on a shaped base with lilies over a hardwood, pierced plinth and brass lamp fitting, with silk shade, the lamp 51cm high including fitment £150-£200

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230 λ A PAIR OF 19TH CENTURY DIEPPE IVORY DANCING FIGURES both in 18th century dress and large hats, the female figure holding a guitar, both raised on Rococo style pierced bases over stepped cylindrical plinths, 25cm and 26cm high (2) £1,500-£2,000

231 λ A 19TH CENTURY DIEPPE IVORY FIGURE OF NAPOLEON the standing figure with his arms crossed, a pile of cannon balls at his feet, raised on a canted square integral base over a later ebonised plinth, the ivory 24.5cm high £1,500-£2,000

232 A 19TH CENTURY FRENCH SEVRES STYLE BISQUE PORCELAIN FIGURAL MANTEL CLOCK SIGNED ‘BLANC FILS PALAIS EGALITE’ depicting Venus and Cupid, Cupid pointing to a globe, the clock set within a fluted pedestal surmounted by a book and a cockerel, on a naturalistic base, the underside with Sevres mark, the signed white enamelled dial with Arabic numerals, the single train, timepiece movement with silk suspension and pendulum, 41cm high £400-£600

232 81

233 ALBERT ERNEST CARRIER-BELLEUSE (FRENCH, 1824-1887): A CARRARA MARBLE BUST OF A YOUTHFUL BACCHANTE the maiden with curled hair arranged with a headdress of vines, looking left and smiling, her drapery also adorned with grapes, raised on a cylindrical socle, over a later grey veined, white marble plinth, 87cm high overall £3,000-£5,000

234 AN EARLY 20TH CENTURY ITALIAN ALABASTER FIGURAL LAMP BASE DEPICTING A NUDE GIRL ON A BOAT the girl with stylish bob haircut, reclining on a boat and holding the metal lead of a dog which peeks out from the base, with glass eyes, the base modelled as waves, the underneath of the base hollow and fitted with an electric light, 43cm high £500-£800

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235

236

235 A 17TH CENTURY ITALIAN POLYCHROME LIMESTONE FIGURE OF THE MADONNA AND CHILD ENTHRONED the Virgin with a large crown supporting the Christ Child in her left arm, he strokes her mantel and gazes at her face, in her right hand she holds a large bunch of grapes, her legs crossed and the folds of drapery revealing one foot, the throne with scrolling acanthus decoration to the sides, on a square integral base, 45cm high £1,200-£1,800 236 AN EARLY 19TH CENTURY FRENCH CLAY HEAD OF ST PAUL SIGNED AND DATED ‘ETIENNE 1818’ his head turned slightly to dexter, his hair and beard in curling tendrils, the reverse ‘St Paule’, 23cm high £600-£800 237 W. MILLIGAN (BRITISH, FL. 1840-50): A MARBLE BUST OF JOHN LOCKE signed to the reverse ‘W. MILLIGAN’, with rusticated back, raised on a cylindrical socle, 70cm high Related Literature: R. Gunnis states in the Dictionary of British Sculptors ‘In 1850 he carved for Portsmouth the statues of Nelson and Wellington which had been commissioned by Lord Frederick FitzClarence. These do not seem to have been particularly successful, for the Builder of that year (page 243) commented on the “tasteless mistake” that had been made of “placing the Duke’s foot on the Gallic cock,” and later added (page 317) that “the impression of looking at them is one of discomfort”. Milligan also executed a bust of Nelson which realised £73 at the sale of the Peel heirlooms in 1900. Another fine work of his is the bust of Mary, Queen of Scots, at the Vyne, near Basingstoke’. £500-£800

237 83

238 A PAIR OF LATE 19TH CENTURY FRENCH PARCEL GILT STEEL AND CUT GLASS VASES MODELLED AS OWLS the double-sided vases each modelled as an owl with an ormolu gilt sleeping putto resting on each wing, raised on a shaped plinth base cast with shields, each with a removable chip cut, faceted glass vase resting in the owl’s head, 49cm high (2) £800-£1,200

239 A PAIR OF CARVED SOLID ROCK CRYSTAL OBELISKS of typical form, raised on square faceted bases, 41cm high (2) £800-£1,200

240 A LARGE AND DECORATIVE EARLY 20TH CENTURY GLASS LILY VASE the elongated trumpet shaped glass vase with a brass base which fits into the domed mahogany stand, 124cm high £400-£600

241 A VERY LARGE LATE 19TH CENTURY GLASS AND BRASS MOUNTED NOVELTY CLARET JUG AND STOPPER of baluster form with circular recessed decoration to the body and decanter type stopper, with scrolling brass handle, spout and collar, inscribed to the underside ‘RICHARD GROSVENOR LONDON’ 54cm high £800-£1,200

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242

243

242 A FRENCH CARVED STONE COLUMN, POSSIBLY 16TH CENTURY with stylised foliate capital supporting the square shelf (28cm wide) over the cylindrical shaft and ringed base, on a stepped square plinth, 116cm high £400-£600

243 AN ITALIAN MARBLE SHAFT OF A FLUTED TORTILE COLUMN, 5TH - 6TH CENTURY AD the spirally fluted shaft raised on a square plinth base, probably Greek marble, 65cm high Provenance: Milan, Longari Collection Related Literature: S. TUZI,’Le colonne spiraliformi, in Le Colonne e il Tempio di Salomone. La storia, la leggenda, la fortuna’, with introductory essay by M. Fagiolo, Gangemi Editore, Roma 2016, pp. 41-74. £5,000-£8,000

244 A LATE 17TH / EARLY 18TH CENTURY WHITE MARBLE RELIEF OF EROTIC THEME, PROBABLY FLEMISH depicting a nude maiden reclining in a draped bed, a man pulling back the curtains to spy on her, 25.5cm wide x 18.5cm high £700-£1,000

244

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245

246 245 AFTER THE ANTIQUE: A 19TH CENTURY BRONZE FIGURE OF VENUS PUTTING ON HER SANDAL the nude figure resting on her right foot while she balances to put on her sandal, a dolphin beside her to the circular, waisted plinth, decorated with anthemions, 36cm high £500-£800 246 A LATE 18TH / EARLY 19TH CENTURY BRONZE STATUETTE OF APOLLO the standing nude figure with left arm resting on a tree stump, looking to sinister and standing a contra posto on a shaped base, dark brown patination with light brown high points, raised on a ebonised plinth, the bronze 18cm high, 22cm high overall £300-£500 247 AN ITALO-FLEMISH BRONZE FIGURE OF JULIUS CAESAR, POSSIBLY 18TH CENTURY the nude figure standing a contra-posto, and holding a scroll in his right hand, on a rectangular base, later mounted on a rectangular marble plinth, the bronze 27cm high, 29.5cm high overall This bronze statuette of Julius Caesar is loosely derived from the Antique Roman original (2nd century a.d.) at the Marble Palazzo Mattei, Rome. The figure is standing a contra-posto, his weight on his right leg and his left slightly raised, his left arm raised to the height of his abdomen and holding a scroll. That the sculptor has chosen to depict Caesar nude except for a fig leaf, rather than wearing armour as is more common in 18th and 19th century statues, demonstrates the renewed enthusiasm for the classical tradition and in particular the ideal nude, that was reinterpreted during the Renaissance. No longer was depicting the naked body considered to be irreligious or even Pagan, but in modelling the naked form, the sculptor became closer to God and His creation of man in His own image (Adam). £1,500-£2,000

247 86

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248

248 A PAIR OF 19TH CENTURY BRONZE FIGURAL CANDLESTICKS MODELLED AS PROWLING BIRD CATCHERS based on a 16th century original design, each bearded figure holding a brass candle nozzle in each hand, raised on oval bases, 23cm high (2) £300-£500 249 A REGENCY ‘BRONZED’ PLASTER FEMALE TORCHERE FIGURE HOLDING A BRONZE COLZA LAMP IN THE MANNER OF HUMPHREY HOPPER the classical maiden with drapery falling to the canted rectangular base, holding aloft a bronze colza lamp with a pair of sconces and the cylindrical colza oil reservoir above, surmounted by a flaming finial, 127cm high A classical style plaster torchere figure of Hebe signed by Hopper was sold at Christie’s, London, 26 October 2016, lot 60, £45,000. £1,200-£1,800 250 AFTER JOHANN HEINRICH VON DANNECKER (GERMAN, 1758- 1841): A SMALL 19TH CENTURY ITALIAN GRAND TOUR BRONZE OF ARIADNE AND THE PANTHER the nude figure of Ariadne seated on the panther, on a rectangular base over a marble stepped plinth, 14cm high £150-£200 251 A 17TH / 18TH CENTURY GILT BRONZE CORPUS CHRISTI, the figure of Christ wearing an entwined crown of thorns and simple loincloth, solid cast, holes to the hands and feet where once applied to a crucifix, 18cm high £300-£500 252 A 17TH CENTURY ITALIAN GILT BRONZE CORPUS CHRISTI the figure of Christ with eyes open, a solid cast, holes drilled to the feet and hands to apply to a crucifix, 18cm high £300-£500 249 87

253

254 253 A SIENESE MARBLE FIGURE OF AN ANGEL, PROBABLY 15TH CENTURY the figure now lacking wings and head, her arms folded and wearing a tunic with carved stylised decoration, raised on a later stained wood plinth, the angel 46cm high £1,500-£2,000 254 AN 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 £500-£800 255 AN 18TH / 19TH CENTURY SPANISH CARVED WOOD, POLYCHROME DECORATED AND PARCEL GILT FIGURE OF SAINT ROCH the standing figure in typical pilgrim garb, wearing a hat and lifting his robe to reveal his plaque sore, his face naturalistically painted with glass eyes, his hound at his feet with a small cherub, raised on a faceted plinth painted to resemble marble and inscribed ‘BOCARE EL NOMBRE DE ROQUE’, together with a 17th / 18th century Spanish carved wood and gilded relief of a foliate motif, St Roch 42cm high, the relief 28cm x 20cm (2) Saint Roch (1293-1327) travelled on a pilgrimage to Rome where the plague was widespread and became known as a healer of the sick. He carries his staff, a sign of pilgrimage, and is represented with the dog that saved his life when he lay dying in the desert, himself stricken with the plague. For this reason he is the patron saint of plague victims, £500-£800

255

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256 A LATE 19TH / EARLY 20TH CENTURY SIENA MARBLE PEDESTAL the square top over the cylindrical column, on a circular base over a stepped square plinth, the top shelf, 28cm x 28cm, 109cm high £400-£600 *See page 2 for information regarding fees

258 AN IMPRESSIVE PAIR OF LATE 17TH / EARLY 18TH CENTURY SPANISH BAROQUE CARVED WOOD, POLYCHROME DECORATED AND GILDED SOLOMONIC COLUMNS the spirally turned columns with foliate Corinthian capitals and carved with trailing vines with grapes, with gilt birds and each with a flying winged putto carved in high relief, the backs with a 5cm wide recessed cut section, raised on square bases, together with two purpose made wooden cases with velvet lining and perspex fronts, the columns 158cm high x 36cm at widest point, the cases 168cm high (2) £3,000-£5,000

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260

261 259 A LARGE 19TH CENTURY SPANISH SILK AND GOLD AND SILVER THREAD BANNER DEPICTING THE PELICAN IN HER PIETY Hung from a painted wood pole, the upper section with three arches and gilt tassels over a crown and strapwork, 348cm high x 68cm wide £600-£800

259

260 A LARGE PAIR OF NEO-CLASSICAL STYLE PAINTED AND CARVED WOOD RELIEFS OF MARS depicting the god in profile, wearing a plumed helmet decorated with a winged lion, within a beaded and rope twist moulded, circular frame, each with an iron loop for hanging at the back, 62cm diameter (2) £800-£1,200

261 A PAIR OF NEO-CLASSICAL STYLE CARVED AND PAINTED WOOD RELIEFS DEPICTING MUSICAL TROPHIES each of oval form wtihin a recessed frame with foliate cresting, the first depicting a lyre and horn, the second a guitar, the backs mounted with an iron hanging loop, 92cm high (2) £500-£800

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262 AN 18TH CENTURY FLEMISH VERDURE SILK AND WOOL TAPESTRY the outer border with various flowers including tulips, the main section depicting trees within a landscape, on a linen backing, restored with hand stitching, 305cm high x 185cm wide £2,000-£3,000

262A A 17TH / 18TH CENTURY SPANISH POLYCHROME AND GILT CARVED WOOD RELIEF PANEL of rectangular form, depicting the Virgin to the centre within a gilt cartouche flanked by winged putto masks and roses, later mounted in a wood box with velvet lining and perspex front, the panel 119cm wide x 24cm high £800-£1,200

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263 AFTER ARNOLFO DI CAMBIO: AN EARLY 19TH CENTURY ITALIAN GRAND TOUR BRONZE AND ALABASTER FIGURE OF SAINT PETER the enthroned saint holding keys and blessing, the alabaster throne finely carved with Empire motifs such as anthemion, 23cm high A similar figure was sold at Christie’s, London, 7 December 2018, lot 586. £400-£600

263

264 AN EARLY 18TH CENTURY REPOUSSE COPPER WINE COOLER, PROBABLY VENETIAN of oval form with recessed ovoid border over a gadrooned basin, with knopped, swing handles, raised on later paw feet, 62cm wide x 27cm high Auction Comparables: Sotheby’s Chateau de Cornillion, Loire, France: Important Gothic and Renaissance Furniture, Works of Art & Textiles, 31st October 2006, lot 47.

Christie’s, King Street, The Legend of Dick Turpin, Part 1, 9th March 2006, lot 178.

Bonhams, Chester, 9 September 2010, lot 356 for a large wine cooler of similar form.

Related Literature: Rupert Gentle and Belinda Feild, ‘Domestic Metalwork 1640 - 1820’, ACC (1994), p. 321, fig. 11, where a similar example is described as ‘English, circa 1760. Oval gilded copper wine-cistern with repoussé decoration and lion mask handles’. £500-£800 265 A 19TH CENTURY SPANISH CARVED WALNUT FIGURAL GROUP OF ST FRANCIS WITH THE CHRIST CHILD AND ST JOHN THE BAPTIST the standing figure holding a baby in his right arm, presumably the Christ Child, and a small child beside him, both with glass eyes, on a canted base, 82cm high £700-£1,000 266 A 17TH CENTURY FLEMISH REPOUSSE BRASS WALL SCONCE of octagonal form, with rope twist borders and decorated with flower heads and fruit, issuing a hand which supports the downward scrolling branch terminating in a ringed urn nozzle with drip pan, 53cm high x 48cm wide £300-£500

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267

268

267 AN 18TH CENTURY SPANISH CARVED WOOD AND POLYCHROME DECORATED FIGURE OF THE VIRGIN AT PRAYER wearing a blue mantel, her hands clasped prayer, raised on an integral shaped base, 50cm high £400-£600

268 AN 18TH CENTURY SPANISH CARVED WALNUT AND POLYCHROME DECORATED FIGURE OF THE VIRGIN her face naturalistically painted, wearing a cloak with her arms (now lacking) outstretched, on a base carved with scrolls, 61cm high £400-£600

269 A 17TH / 18TH CENTURY CARVED WOOD SHIP’S FIGURE DEPICTING A GENTLEMAN the male figure wearing a plumed hat, arms now lacking, bearing traces of original gilding and decoration, now raised on a modern metal floor-standing base, the figure 130cm high, 176cm including stand This figure with traces of original decoration was probably a ship’s companionway post or stern rather than a figurehead. £1,000-£1,500

269 93

270

271 270 A 19TH CENTURY BOXWOOD BUST OF MARS looking to sinistre, wearing a helmet and armour, raised on an integrally carved socle, 35cm high £600-£800

271 A 17TH CENTURY SOUTH GERMAN BAROQUE LIMEWOOD RELIEF CARVED BUST OF A GODDESS carved in high relief with flat back, the maiden with diadem over long flowing hair, her lips slightly parted and looking to sinister, wearing a gown with a diamond shaped clasp, 51cm high £1,200-£1,800

272 A 19TH CENTURY SPANISH CARVED WALNUT FIGURE OF A SAINT wearing full robes with long flowing hair and glass eyes, raised on an integral canted base, 53cm high £400-£600

272 94

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273

374

273 TO BE COLLECTED A 17TH CENTURY FLEMISH CARVED BOXWOOD FIGURE OF MINERVA the smiling goddess wearing a plumed helmet, her hand on her left hip and holding a shield with her right hand, her right foot resting on her left, on a naturalistic base, raised on a later turned wood plinth, the figure 20cm high, overall 26.5cm high £1,200-£1,800 274 A FINE LATE 16TH CENTURY SOUTH GERMAN (POSSIBLY AUGSBURG) CARVED BOXWOOD GROUP OF THE MADONNA AND CHILD the standing figure of the Virgin depicted with long curly flowing hair, a small filled hole to the top of her head indicating she once wore a crown, wearing a mantel laced at the front and a cloak with guilloche pattern border, the drapery swept across her body and revealing her toes below, holding the playful figure of Christ who has his right arm around her neck, a serpent and crescent moon at her feet, carved in the full round, 35cm high This exceptionally finely carved figure depicts the Virgin raised on a crescent moon and trampling the devil in the form of a serpent. This pose may refer to a passage from the Bible: ‘In heaven, a great portent appeared; a woman that wore the sun for her mantel, with the moon under her feet, and a crown of twelve stars about her head’ (Apocalypse 12: 1-2). The crescent moon is also the symbol of her immaculate conception in Revelations.

The distinctive facial expressions of the Virgin and of the Christ Child indicate that she was carved by a South German sculptor before the 17th century when facial features tended to me more idealised and classical in their proportions with more static expressions. The style and folds of drapery are indicative of a late 16th century date, the intense Gothic folds which appear to have a life of their own that feature in the works of the early 16th century such as those by Veit Stoss have relaxed into elegant creases, and show none of the exuberance of the early Baroque which follows in the 17th century. The top of her head is carved with a slightly recessed ovoid and there is a small filled hole to the top, indicating that she would have worn a precious metal crown, as was usual in the sculpture from this period.

The Metropolitan Museum of Art, New York has an ivory Virgin and Child which is of similar style and pose to the present carving, (Inv. No. 24.80.89a,b) catalogued as late 16th century, German or Netherlandish, her sturdy proportions and comparatively static pose with drapery swept in folds up to the left hand which supports Christ can also be seen in this figure, and both are raised on a crescent moon. The wide faces of both Virgins feature heavily lidded eyes, long pronounced noses above small open mouths and slight double chins, flanked by the hair carved as individual curling tendrils around the face. £3,500-£4,500

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275 275 λ A 16TH / 17TH CENTURY SPANISH / PORTUGUESE COLONIAL CARVED AND PAINTED IVORY CORPUS CHRISTI the figure of Christ with eyes open, wearing a perizonium, the beard and hair painted naturalistically, from a crucifix, possibly Filipino or Goan, 22.5cm high £1,000-£1,500

276 AFTER THE ANTIQUE: A PAIR OF 19TH CENTURY ITALIAN SERPENTINE MARBLE MOLOSSIAN HOUNDS each dog raised on a naturalistically carved, rectangular base, 23cm high (2) £500-800

276

277 A 19TH CENTURY BRONZE URN OF BACCHIC THEME derived from the Warwick vase but cast in relief with various Bacchic motifs and head of Bacchus, with naturalistic entwined, scrolling handles and raised on a socle and circular foot, raised on a shaped rectangular, marble plinth, 25cm high £300-500

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*See page 2 for information regarding fees

AN INVITATION TO CONSIGN FOR

Fine European Works of Art & Clocks

A Rare And Fine Mid 19Th Century English Rosewood Triple Fusee Quarter Striking Giant Four Glass Clock With Original Travelling Case And Key By Grohe, London, No.9799 £22,500 incl. premium March 2019

25 SEPTEMBER 2019 ENQUIRIES Head of Fine European Arts & Clocks, Rachael Osborn-Howard rachael@chiswickauctions.co.uk

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6

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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. <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. +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;ŤŮşâ&#x20AC;ŹMZ 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.

Grounds for cancellation under the present section shall include but not 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\QĂ&#x2026;KI\M[ IVa []J[MY]MV\ KPIVOM[ QV LWUM[\QK WZ QV\MZVI\QWVIT legislations restricting the sale of export of goods etc.

In the event of internet-only auctions, the Buyer shall have a 14 day right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

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.

Cash payments shall not be receivable for amounts over â&#x201A;Ź10,000, regardless 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. *]aMZÂź[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ă&#x2026;Z[\ Â&#x160; IVL XT][ >)< on the balance thereafter. A Buyerâ&#x20AC;&#x2122;s Premium of 19.5% plus VAT is charged on Wine & Spirits Lots.

The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyersâ&#x20AC;&#x2122; premium and invoiced on an inclusive basis. â&#x20AC; : Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyerâ&#x20AC;&#x2122;s premium but will not be shown separately on the invoice.

In order to receive a refund of VAT amounts/Import VAT (as applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and (b) export the lot from the EU within 30 days of collection for * lots and 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 satisfactory proof of export/shipping are available from our Finance \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS shipping/export documents. (d) No VAT amounts or Import VAT will be refunded where the total

ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

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.

Goods such as books and antique books, music, maps and charts etc. are []JRMK\ \W bMZW ZI\ML >)< In addition, any import taxes that may be incurred shall be paid by the 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 +) 4\L Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ[ I LQ[KZM\QWVIZa LIa[ NZMM [\WZIOM WV X]ZKPI[ML 4W\[ from the date of the sale. Thereafter Lots not collected shall incur [\WZIOM KPIZOM[ WN Â&#x160; XMZ TW\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L [PITT be entitled to retain purchased Lots sold until all sums due have been paid to CA Ltd. If any purchased lot remains uncollected 21 days after \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L shall, 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 Âť)::Âź 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 a period of 70 years after the artistâ&#x20AC;&#x2122;s death. Royalties are calculated 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 selling below the sterling equivalent of â&#x201A;Ź1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of â&#x201A;Ź12,500.

Royalties for Droit de Suite are as follows: â&#x20AC;˘ From 0 to â&#x201A;Ź50,000 4% â&#x20AC;˘ From â&#x201A;Ź50,000.01 to â&#x201A;Ź200,000 3% â&#x20AC;˘ From â&#x201A;Ź200,000.01 to â&#x201A;Ź350,000 1% â&#x20AC;˘ From â&#x201A;Ź350,000.01 to â&#x201A;Ź500,000 0.5% â&#x20AC;˘ Exceeding â&#x201A;Ź500,000 0.25% :MUMLQM[ NWZ VWV XIaUMV\ If the Buyer fails to make full payment in cleared funds within the time 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;Ť[Ůşâ&#x20AC;ŹM\ 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;ŤŮşâ&#x20AC;ŹMZMV\ 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\ any future bids by the Buyer and/or seek a deposit from the Buyer 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. +WTTMK\QWV Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for

;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;ŤŮşâ&#x20AC;ŹMZ 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. ! 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;ŤŮşâ&#x20AC;ŹWZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]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 [XMKQĂ&#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 KWVĂ&#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[ Certain endangered species are listed in the CITES Convention. Listed [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.

Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences.

Please be aware that all Lots marked with the symbol Ć&#x20AC; IZM []JRMK\ to CITES regulations.

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.

8

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 In the event of a Lot being sold as authentic under the catalogue 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.

The Buyer shall give notice to CA Ltd within 28 days from knowledge 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[ Archaeological goods over 100 years of age, unless covered by exemption 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.

It is recommended that the Buyer contact the Export Licensing Unit 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 territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination.

7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV Individual Licence or OGEL depending on their value.

Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyerâ&#x20AC;&#x2122;s duty to undertake the necessary steps.

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&#x20AC;¢ Irradiation 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\[ If a stoneâ&#x20AC;&#x2122;s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of 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 export restrictions. See section on CITES regulations for more details.

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 import or export purposes in accordance with CITES regulations.

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 1988, furniture that was upholstered after the 1st of January 1950 is []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. GLOSSARY OF PICTURE CATALOGUING TERMS Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1 JMW Turner: In our opinion a work by the artist. When the artistâ&#x20AC;&#x2122;s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. )\\ZQJ]\ML \W 25? <]ZVMZ" In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category. ;\]LQW WN 25? <]ZVMZ" In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artistâ&#x20AC;&#x2122;s direction. +QZKTM WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QĂ&#x2026;ML but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. ;\aTM WN°# .WTTW_MZ WN 25? <]ZVMZ" In our opinion a work by a painter working in the artistâ&#x20AC;&#x2122;s style, but not necessarily his pupil.

6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

8 The term â&#x20AC;&#x2DC;signedâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;datedâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;inscribedâ&#x20AC;&#x2122; means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

9 The term â&#x20AC;&#x2DC;with signatureâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;with dateâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;with inscriptionâ&#x20AC;&#x2122; means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist.

10 Pictures are framed unless otherwise stated.

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 ÂťIKKMX\IJTMÂź Ă&#x2026;TT TM^MT NZWU +) 4\L 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 [XMKQĂ&#x2026;KITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QĂ&#x2026;KI\M[ UIa JM ZMY]QZML >MZQĂ&#x2026;KI\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 Mâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\ WVTa QV [W NIZ I[ Q\ UIa LW [W _Q\PW]\ contravening such legislation and the legality, validity and enforceability WN IVa WN \PM ZMUIQVQVO XZW^Q[QWV[ IZM VW\ QV IVa _Ia \W JM Iâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\ML or impaired as a result.

.QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM Ă&#x2026;MTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQĂ&#x2026;ML [\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.

Notwithstanding, if within 28 days of the sale of any such Lot, the 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 ÂťNWZOMZaÂź Q[ LMĂ&#x2026;VML 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 â&#x20AC;&#x2DC;bindingâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;bindingsâ&#x20AC;&#x2122;.

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 above mentioned 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 Buyerâ&#x20AC;&#x2122;s prior consent.

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

16. AMENDMENTS 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 JMVMĂ&#x2026;\ 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 QV 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.

12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM Ă&#x2026;TT TM^MT For the purposes of the present Terms and Conditions, the â&#x20AC;&#x2DC;Fill Levelâ&#x20AC;&#x2122; refers to the space between the base of the cork and the liquid in the

10

SPECIALISTS ANTIQUITIES & TRIBAL ART Alice King, Head of Department antiquities@chiswickauctions.co.uk

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

ARMS, ARMOUR & MILITARIA Matthew Easton, Head of Department armsandarmour@chiswickauctions.co.uk

MODERN DESIGN Bruce Addison, Head of Department bruce.addison@chiswickauctions.co.uk

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

PHOTOGRAPHICA Austin Farahar, Head of Department photographica@chiswickauctions.co.uk

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

RARE BOOKS & WORKS ON PAPER Clive Moss, Head of Department books@chiswickauctions.co.uk

DESIGN & INTERIORS Liz Winnicott, Head of Department design@chiswickauctions.co.uk

Valentina Borghi, Head of Sales - Autographs & Memorabilia autographs@chiswickauctions.co.uk

DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department fashion@chiswickauctions.co.uk EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard, Head of Department worksofart@chiswickauctions.co.uk FINE ART Adrian Biddell, Head of Department adrian.biddell@chiswickauctions.co.uk Suzanne Zack, Head of Sale British and European Fine Art suzanne@chiswickauctions.co.uk Krassi Kuneva, Head of Sale Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Natasha Broad, Acting Head of Sale, Old Masters melissa.vanvliet@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Department islamic@chiswickauctions.co.uk

RUGS & CARPETS Mark Henry Lampé, Head of Department rugs@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers, Head of Department silver@chiswickauctions.co.uk URBAN ART Penelope Sonder, Head of Department urbanart@chiswickauctions.co.uk WATCHES Tomas Aznar, Head of Department watches@chiswickauctions.co.uk WINE & SPIRITS Sam Hellyer, Head of Department wine@chiswickauctions.co.uk

SALE CALENDAR

JUNE

13

THURSDAY Watches

18

TUESDAY ;QT^MZ 7JRMK\[ WN >MZ\]

19

WEDNESDAY British & European Fine Art including Portrait Miniatures

25

TUESDAY Old Master Paintings

26

WEDNESDAY Books & Works on Paper

27

THURSDAY Antiquities & Tribal Art

JULY

04

THURSDAY Modern & Post-War British Art

09

TUESDAY

Jewellery Designer Handbags & Fashion

10

WEDNESDAY Design & Interiors Lot 164

*Please note that auction dates are subject to change.

12

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4

Chiswick 12 June European WOA cover.qxp_Layout 1 20/05/2019 11:28 Page 1

Fine European Works of Art & Clocks 12th June 2019

1 Colville Road, London W38BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Fine European Works of Art & Clocks Wednesday 12th June 2019