Chiswick-Auctions-European-Works-of Art-December 2018

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Fine European Works of Art & Clocks 5 December 2018

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

Fine European Works of Art & Clocks London 5th December 2018

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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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CONDITION OF LOTS

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

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

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Fine European Works of Art & Clocks

Wednesday 5th December 2018, 14.00

VIEWING AT CHISWICK full sale Friday Saturday Sunday Monday Tuesday Wednesday

30 November 1 December 2 December 3 December 4 December 5 December

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

Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Basak Ulukose Front cover: Lot 85 Inside front cover: Lot 91 Page one: Lot 26 Inside back cover: Lot 188 Back cover: Lot 200

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1 A 15TH CENTURY SOUTH GERMAN CARVED AND POLYCHROME LIMEWOOD (LINDENWOOD) FIGURE OF THE MADONNA AND CHILD carved in three quarter relief with flat back, the Virgin seated on a throne and holding the Christ Child in her right arm, who holds two apples, 23cm high Provenance: Helene Borne (Boerne) born in Potsdam in 1875, the grandmother of the present owner. She married Dr Ludwig Bourne (b. 1861), a descendent of the German political writer and satirist Ludwig Borne (1786-1837); and they lived in a grand apartment in Charlottenstrasse, Berlin which photographs show was decorated with many sculptures and works of art. The family, being of Jewish heritage on the paternal side, emigrated from Germany in the 1930’s and presumably took the carving with them at this time.

This rare and early figural group depicts the Madonna enthroned in a frontal position which echoes the typical position and depiction of Christ in Majesty, reminding us as the viewer of her importance. The symmetrical position of her body, with her knees slightly apart and her drapery falling in geometric folds is typical of the late byzantine style, her hair frames her face and a small hole in the top of her head indicates that she would once have had a crown. She points with a long finger to the two apples that the Christ Child is holding. The polychrome paintwork appears to be original, the mantel decorated in dark blue with red lining and yellow trim.

For a comparable South German Madonna and Child see Sotheby’s, Amsterdam, 16 April 2007, lot 63. This Madonna also features this combination of paintwork. £800-£1,200

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2 A LARGE EARLY 16TH CENTURY FRENCH CARVED WOOD AND POLYCHROME DECORATED RELIEF DEPICTING CHRIST ON THE ROAD TO GOLGOTHA Christ carrying the cross surrounded by a procession of soldiers, with the two thieves at the front of the procession, with a town in the distance, with later additions to the top flat section, mounted in a later wooden frame, 44.5cm x 83cm excluding frame This complex multi-figural scene is derived from the engraving by Martin Schongauer (German, ca. 1435/50– 1491), an example is in the Metropolitan Museum of Art, New York, Inv. no. 35.27. Schongauer was known to have been inspired by a painting of the same subject by Jan van Eyck which is now lost but known through copies, however he altered the scene by turning Christ’s head so that he stares directly at the viewer, encouraging us to meditate on Christ’s suffering. The carver of this relief followed Schongauer’s technique and although full of different people and animals the eye is drawn to the central figure of Christ who stares back at us. £6,000-£8,000

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3 A 13TH CENTURY GOTHIC CARVED LIMESTONE HEAD an architectural fragment, now raised on a metal stand, the head 26cm high £600-£800 4 A LATE 15TH CENTURY FRENCH CARVED LIMESTONE FIGURAL CORBEL, PROBABLY BURGUNDY the open mouthed angel with thick curly hair and wearing a gown, holding a shaped shield and supporting the shaped shelf above, 18cm high x 23cm wide x 31cm deep For a comparable corbel see the Metropolitan Museum of Art, New York, No. 1974.126.2, Bequest of Irwin Untermyer.

The museum’s 15th century corbel retains traces of polychromy and gilding and features small winged angels with similar curly hair and gowns supporting a shaped shield beneath the architectural shelf. £1,000-£1,500 5 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 £1,000-£1,500

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6 A LATE 15TH / EARLY 16TH CENTURY FLEMISH CARVED OAK RELIEF OF ST JOHN AND THE VIRGIN the fragmentary relief depicting St John weeping and the Virgin shown in profile, both with heavy drapery falling in deep folds, on an integral base, 38.5cm high This carving would have originally belonged to a larger multifigured, relief carved and polychrome decorated altarpiece, probably depicting the Deposition of Christ. From the beginning of the 16th century narrative altarpieces were becoming more sophisticated, and they reached their peak in 1520-40, in Antwerp. An example of a complete altarpiece of this type and of slightly later date to the present lot, the Pagny Chapel altarpiece in painted and gilded oak, Antwerp c.1530-40, is now in the Philadelphia Museum of Art. Like the present carving, it is carved on a sloping ground to give the effect of foreshortening.

Related Literature: Netherlandish Sculpture 1450-1550, Paul Williamson, V&A, London, 2002. £1,200-£1,800

6 7 A LATE 15TH CENTURY GERMAN CARVED WALNUT FIGURE OF SAINT ANTHONY THE HERMIT the standing figure with a full beard and dressed in a hermit’s robe and cap, holding a staff in his left hand and a book and a bell in his right, on a naturalistically carved integral base with a small pig, carved in the full round, 89cm high Auction Comparable: See Sotheby’s, Amsterdam, 21 November 2007, lot 23.

Museum Comparable: See Metropolitan Museum of Art, Inv. No. 1988.159.

The museum figure also dates from the late 15th century and is carved in walnut and attributed to Nikolaus von Hagenau (German, ca. 1445–died before 1538). It depicts the saint in a similar manner to the present carving with the same attributes and hermit’s hair and beard, except there is a demon at his feet. The museum suggest that as the Antonines were dedicated to the care of the sick, largely through the establishment of hospitals, and had two foundations in Alsace – at Isenheim and Strasbourg – it is possible that their figure belonged to one of them. It may be that the present figure was also produced for a hospital in that region.

St Anthony the Hermit was also known as St Anthony the Abbot and St Anthony the Great. Born to a wealthy family in Egypt in 251 AD, he gave away his property and wealth to live as a swineherd.

Related Literature: Barnet, Peter, and Nancy Y. Wu. ‘The Cloisters: Medieval Art and Architecture’, New York and New Haven: The Metropolitan Museum of Art, 2005. no. 105, pp. 144, 198. £4,000-£6,000

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8 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. £5,000-£8,000

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9 AN EARLY 16TH CENTURY GERMAN CARVED, POLYCHROME DECORATED AND PARCEL GILT WOOD FIGURE OF ST JOHN THE EVANGELIST MOURNING FROM A CRUCIFIXION GROUP the figure carved in the round but with a flat back, the distinctive hair with tight curls around the forehead, his lips parted and teeth revealed within, with tears running down his face he holds aloft part of Christ’s white perizonium and holds a book in his left hand, raised on a naturalistic base, 84cm high £4,000-£6,000

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10 PROBABLY GENOESE, 16TH OR 17TH CENTURY: A SLATE LINTEL PANEL WITH A ROMAN EMPEROR IN PROFILE flanked by two vase-ornaments, 200cm wide x 58cm high x 3cm deep With thanks to Dr Charles Avery for his assistance with cataloguing this lot.

Detail

Portals in Genoa in the late 15th and early 16th centuries were frequently carved with over-door panels depicting St George, patron saint of the city, or the Annunciation, or the Holy Monogram, IHS, beginning with Giovanni Gaggini in a late gothic style and gradually evolving into the Renaissance (almost half a century later than what had happened in Florence). Two whole portals, magnificent in conception and in a fully Renaissance style carved in slate by Giovanni Gaggini, one of 1472 with an Annunciation, and the other of 1480 with the Resurrection, and three separate panels of St George and the Annunciation, are to be seen in the Victoria & Albert Museum, London. Others are still to be found in situ in Genoa, notably on the Doria Palace, and in museums world-wide. Initially the portals tended to be overladen with rich – albeit Renaissance – detailing, but later on, in the hands of Gian Giacomo della Porta, some simplification took place, leading towards a more austere rendering of classical Roman architecture. The present panel may well be an example of this stylistic shift.

Literature: John Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria & Albert Museum, London, 1964, nos. 410-14, pls. 406-12.

Hanno-Walter Kruft, Portali Genovesi del Rinascimento, Florence, 1971, plates 36-37; 21-22. £5,000-£8,000

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11 A LATE 16TH / EARLY 17TH CENTURY GERMAN SOLNHOFEN STONE RELIEF DEPICTING THE HOLY FAMILY AND ST. JOHN THE BAPTIST of rectangular form, the Virgin seated and holding the Christ Child who takes some grapes from a bowl offered by St John, with a flying putto in the sky about to offer Christ two apples, 31cm wide x 20cm high Solnhofen stone was quarried in Franconia from the 16th century onwards, and was prized in Augsburg and Nuremberg for its soft texture which made it easier to carve than marble, its attractive colour and smooth surface that could be polished to good effect. It was often used for small scale sculpture and reliefs such as the present carving and employed by sculptors such as Loy Hering and Peter Flotner.

Auction Comparable: Sotheby’s, London, 12 November 2013, lot 195, South German solnhofen stone relief dated 1634, attributed to Georg Schweigger (1613-1690).

Museum Comparable: Victoria and Albert Museum, Inv. No. A.411947. £2,000-£3,000

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12 A 17TH CENTURY SICILIAN (TRAPANI) GILDED AND PAINTED ALABASTER FIGURE OF CHRIST AS THE MAN OF SORROWS the standing figure wearing a gilt cloak tied at his chest, his head turned to sinister and mouth opening revealing carved teeth within, raised on a shaped plinth carved with a central cartouche flanked by a pair of pierced scrolls, 39.5cm high £1,200-£1,800 13 λ CIRCLE OF CHRISTOPH DANIEL SCHENK (GERMAN, 16331691): A FINE IVORY FIGURE OF THE MOURNING VIRGIN her face upturned and eyes open, her hands clasped in prayer, her voluminous drapery revealing the tips of her toes on the demi-lune integral base, 26cm high

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Related Literature: R. Randall, Jr. ‘Masterpieces of Ivory’, Sotheby’s Publications, 1985, p.252, no. 382 for a comparable 17th century South German ivory mourning Virgin.

Museum Comparables: Walters Art Gallery, Baltimore, Inv. no.

71.471 Auction Comparables: Sotheby’s London, 5 July, 2016, lot 121, a carved wood crucifixion group also attributed to circle of Schenk which features a very similar figure of the Virgin Mourning.

This intricately carved figure can be attributed to the circle of Schenk based on the tightly clamped and finely carved hands which are typical of Schenck and his followers, the voluminous drapery with numerous folds and ripples as well as the almost S shaped pose of the Virgin are features of German carving in the second half of the 17th century. Christoph Daniel Schenck produced mainly religious sculpture, from large scale wooden altarpieces to small devotional figures in ivory similar to the present lot. He was known for exploring themes of suffering and penance through his art, and using the drapery of his figures to express heightened emotion.. £2,500-£3,500 *See page 2 for information regarding fees

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14 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 £2,000-£3,000

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15 A 17TH CENTURY ITALIAN CARRARA MARBLE FIGURE OF ST BARBARA WITH HER TOWER holding her drapery in her right hand, the tower in her left, her toes revealed beneath the edge of her gown over an integral circular base, inscribed ‘TIE CON FORENTIVM’, the back flat and with two holes drilled in, 74cm high The inscription on the marble may relate to the Italian town of Forentum which was established from the time of the Emperor Augustus, eight miles south of Mount Vultur. £5,000-£8,000

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16 A LATE 17TH / EARLY 18TH CENTURY FRANCOFLEMISH TERRACOTTA MODEL DEPICTING A PAIR OF PUTTI AS AN ALLEGORY OF INFIDELITY the comical composition depicting Cupid pulling at the ear of the barking dog who represent Fidelity, his companion seated on a rock and turning away, both raised on a naturalistic base, 37cm high This beautifully modelled terracotta depicts a moralising yet humorous scene that would have been easily read and understood by contemporary art lovers as an allegory of infidelity, as Passion (Cupid) hurting the faithful and devoted hound of Fidelity. £3,000-£5,000

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17 AN 18TH CENTURY ITALIAN CARRARA MARBLE BUST OF MINERVA depicting all’ antica, wearing a plumed helmet and looking to dexter, wearing armour and with drapery around her chest, the back of the bust rusticated, 39cm high £500-£800

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18 FRANCO-FLEMISH, c.1640, PERHAPS BY THE YOUNG GERARD VAN OPSTAL (1605-1668): AN OVAL MARBLE RELIEF OF THE VIRGIN SUCKLING THE CHILD attended by Joseph and the infant St John the Baptist, with his reedcross and symbolic lamb, mounted in a later oval giltwood frame, the marble 30cm wide x 22cm high £3,000-£5,000 With thanks to Dr Charles Avery for his assistance with cataloguing this lot.

COMPARATIVE LITERATURE: G. Bresc-Bautier /I. Leroy-Jay Lemaistre/Guilhem Scherf, Musée du Louvre, Département des Sculptures…, Sculpture française II – Renaissance et Temps Modernes, vol 2 Goujon – Warin, Paris, 1998, p. 605, MR 2771, marble relief, 37.5 x 55.5cm – ‘La Vierge allaitant l’Enfant adoré par des anges’.

The date of Van Opstal’s birth in Brussels has recently been established as 1605, rather than c. 1594. He trained in his native city under Nicolas Diedon, but matriculated into the Guild of St Luke in Antwerp in 1635-6, where he seems to have concentrated on carving in ivory. In 1643 he moved to Paris and embarked instead on a career as a marble and alabaster carver, producing decorative reliefs for many buildings, including the Palais du Louvre (under Sarrazin) and the Hotel Carnavalet (1655-61). He also worked in terracotta and bronze. In 1648 he was one of the twelve founding members of the Académie royale de peinture et sculpture and was appointed ‘sculpteur ordinaire du roi’. His style is indebted on the one hand to ancient Roman sarcophagi and Renaissance reliefs, but on the other to his fellow-countrymen, the sculptor François Duquesnoy and the painter Rubens, who were helping to create the Baroque style in Rome and in Flanders.

Nearly twenty bas-reliefs in marble were recorded first in Van Opstal’s posthumous inventory of 1668, then in the Cabinet des Dessins du Roi (Louis XIV), and finally in the Musée du Louvre. Of these, one depicting The Virgin suckling the Child adored by Angels (MR 2771) seems to be a re-working of, or to have been inspired by, the present, more tentative, composition.

There, the Virgin is enthroned on a classical architectural podium, holding the child comfortably in the crook of her proper left arm as He suckles at her breast: here she is a Virgin of Humility, seated on the rocky ground (as in a typical Rest on the Flight into Egypt), supporting her weight by propping her right arm behind her, while Joseph attends her with a wicker basket laden with ripe fruit – perhaps large, luscious dates (as again was traditional in that scene, though there is no sign of the palm-tree from which angels shook them down).

There, the infant St John reaches up at her knees and passes to her the scroll with his famous later prophecy, ‘Behold the Lamb of God,..’. Here, the classical profile of the Virgin’s cowled head and the play of drapery carefully arranged to reveal her limbs beneath it are reminiscent of the work of the sculptor François Duquesnoy (mentioned above), while the frizzy hair and beard of Joseph seem to show the beginnings of Van Opstal’s characteristic treatment of hair as a windswept mass.

Alternatively, the present scene may instead be derived from Van Opstal’s similar, adult work in the Louvre by a gifted assistant within his workshop, for the relief described above remained there until it was acquired by the King, and so was probably not disseminated further afield.

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19 A 17TH / 18TH CENTURY ITALIAN POLYCHROME TERRACOTTA FIGURE OF ST JOHN THE BAPTIST SLEEPING the reclining figure with eyes closed, wearing his sheepskin tunic with a staff beside him, on a rectangular naturalistic base, 45cm wide x 20cm high £2,000-£3,000

20 AN 18TH CENTURY ITALIAN CARVED CARRARA MARBLE FIGURE OF A WEEPING PUTTO holding his drapery to his face to catch his tears, on an integral rectangular base, probably from a tomb, 80cm high £1,500-£2,000

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21 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 £500-£800

22 AN 18TH CENTURY FRENCH TERRACOTTA BOZZETTO OF CERES WITH A PUTTO Ceres with her drapery falling to reveal her right breast, stood a contra posto and with her right arm raised, her hair in an elaborate coiffure and finely modelled, the chubby putto at her feet supporting the cornucopia, on an oval integral base, 41cm high £3,000-£5,000

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23 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

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24 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

*See page 2 for information regarding fees

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25 AN EARLY 18TH CENTURY ROMAN VARIEGATED AND CARRARA MARBLE FIGURE OF THE MADONNA AND CHILD in the late Baroque style, the Virgin’s mantel slipping from her head as she looks down to the Christ Child supported in his right arm, her coloured marble drapery falling in soft folds to her feet, on a rectangular plinth, 74cm high £3,000-£5,000

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Giambologna’s fowler A unique cast

26 A BRONZE STATUETTE OF A FOWLER, PROBABLY GERMAN FIRST HALF OF THE 17TH CENTURY, AFTER A MODEL BY GIAMBOLOGNA (FLORENTINE, 1529-1608) the huntsman, wearing thick protective apparel, is out to catch little birds in a dark wood by the light held up in his left hand with the racquet or bat now missing from his right. Balanced on one foot, this is a unique variant of the standard model of Fowler called ‘Type A’, raised on a carved ebonised cylindrical plinth, the bronze 28.5cm high, 35cm high overall With thanks to Dr Charles Avery for his assistance with this catalogue entry.

This composition by Giambologna is well-known: one of the best casts is in the Robert H. Smith Collection, Arlington, Virginia (and/or National Gallery of Art, Washington, D.C.), while an early, documented, one – complete with miniature oil-lamp and racquet – is in the Louvre Museum, Paris (no. 78 of the former French Crown collection). Another, in the Museo Nazionale del Bargello, Florence, on a terrace with plants, was perhaps finished by Giambologna’s successor as court sculptor to the Medici, Pietro Tacca (1577-1640); while several crisply modelled and incisively chased casts are held to be by Antonio Susini (d.1624). The subject of a fowler with a lantern and bat features in both lists of authentic bronze statuettes by Giambologna, that drawn up by Markus Zeh (or Zäch) in 1611 and by Filippo Baldinucci in 1688. £5,000-£8,000 20

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The Fowler is the biggest and most impressive of the three main models of genre figures produced by Giambologna, the others being figurines of the Bagpiper seated, and the Shepherd with a drinking-barrel. Genre-figures like these had long featured in German and Flemish wood-sculpture as being ‘ordinary people’, frequently in the guise of the shepherds attending Christ’s Nativity, or as bystanders in scenes of Christ’s Passion. They had been popularized by the engravings of Dürer, among others. The identification with nature, agriculture and the ‘simple life’ which is characteristic of the Tuscan, even when an aristocrat – in self-conscious emulation of the ancient Romans – led to an interest in artistic renderings, such as the hunting tapestries produced in the Medici Manufactory and marble or bronze statues showing peasants at work or play to be placed for fun in natural settings in gardens.

Though unfamiliar to the 21st century observer, ‘bat fowling’ (as Shakespeare calls it – using bat in the same sense as a cricket bat) was a popular sport and livelihood in the Renaissance. It involved attracting little birds in the dark woods with a special lantern, consisting of an oil lamp surrounded by a semi-conical shade, open at the front – and then stunning them with a bat of woven withies, like a primitive tennis racquet. Few examples are complete with the fowler’s full set of accoutrements, as they were separately fashioned and then attached.

Detail

One can only surmise the reason why the foundry-man or his patron decided to change the standard lunging pose of the Fowler, with both feet on the ground, to this one, balanced on one leg and with his rear foot in mid-air: it adds a feeling of tension, as the huntsman reaches out perilously after his fluttering victim. It may have been in order to set it atop a domed or pyramidal piece of furniture to act as an eyecatching finial, like the Architecture – also after Giambologna – that crowns the Fitzwilliam Coin Cabinet of c. 1750, now in Oxford (see N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, 1540 to the Present Day, I, Italian, Oxford 1992, pp. 41-42, no. 35). In such a position it would also have echoed amusingly – with its peasant’s workaday attire – the standard pose of Giambologna’s classically nude Mercury, or the graceful female figures of Fame with her trumpet, or Fortune, that crowned turrets or domes on many a grand building of the period.

Literature: C. Avery and A. Radcliffe (eds.), Giambologna, Sculptor to the Medici, exh. cat., Arts Council of Great Britain, London, 1978, nos. 130-33; C. Avery, Giambologna: the Complete Sculpture, Oxford, 1987, p. 266, no. 112, pl. 40-41; A. Radcliffe and N. Penny, Art of the Renaissance Bronze, 1500-1650. The Robert H. Smith Collection, London, 2004, no. 25.

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27 AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A PAIR OF BRONZE FIGURES OF MERCURY AND FORTUNA Mercury leaping, his left foot raised on the open mouth of Boreas who emits a gust of wind to propel him, holding his caduceus in his left hand, Fortuna also raised on a gust of wind and with her left arm raised, both on cylindrical plinths with relief decoration of industrious putti over Belgian Black marble bases, 83cm high (2) £1,500-£2,000

28 A BRONZE FIGURE OF EVE, POSSIBLY 16TH CENTURY GERMAN, CIRCLE OF LOY HERING (1485-1554) the standing figure looking at a serpent in her left hand, holding an apple in her right, her right foot raised on a conch shell, over an integral circular base, dark brown patination, raised on a later Rouge marble cylindrical base plinth, the bronze 40.5cm high, 52cm high overall This bronze figure of Eve shares stylistic similarities with a bronze of Eve previously in the collection of Leon Bagrit that Yvonne Hackenbroch had attributed to Loy Hering and catalogued as Augsburg circa 1525. (See Sotheby’s, London, 8 December 2006, lot 250, Yvonne Hackenbroch, ‘Bronzes in the collection of Mr. Leon Bagrit’, Connoisseur, May 1959, p.217, figs.7-8). £800-£1,200

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29 A BLACK MARBLE BUST OF A YOUNG MOOR, PROBABLY 16TH / 17TH CENTURY ITALIAN his head turned slightly to sinister, the hair and back roughly hewn, 30cm high This marble bust of a young African boy is depicted in the Antique style, nude and with typical stylised features. The depiction of the moor in European art was revived in the 13th century when used as a heraldic device to represent the victories of certain families during the Crusades. Frederick II (1194-1250) ruler of the Holy Roman Empire established an enclave for black African retainers near his palace in Lucera, southern Italy where he recruited musicians and bodyguards, and their use in art was to express Frederick’s worldliness, power and authority as an international ruler. The depiction of the Moor during the Renaissance period continued to reflect these ideas, and the crowned head of a moor in profile became relatively common in German heraldry through the 15th century, spreading to many other European countries.

Further information is available at www.chiswickauctions.co.uk £600-£800

30 A SMALL LATE 17TH CENTURY ITALIAN BRONZE STATUETTE OF BACCHUS the bearded figure standing on his left leg, a cup in his left hand and a twin handled urn in his right, raised on a later Verdi Antico marble plinth, the bronze 9.5cm high, 14cm high This delightful and amusing statuette depicting Bacchus dancing, nude and holding aloft his cup of wine is a theme explored throughout the 16th and 17th centuries, for example Giambologna’s humorous figure of the Medici dwarf Morgante depicts the dwarf nude and raising his cup in a toast.

Related Literature: Giambologna, C. Avery, Phaidon, London, 1993, page 266. £800-£1,200

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31 AN ITALO-FLEMISH BRONZE FIGURE OF JULIUS CAESAR, PROBABLY 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 24

32 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 £600-£800

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33 A 17TH CENTURY VENETIAN BRONZE STATUETTE OF JUPITER the bearded figure depicted nude except for a piece of drapery, his right foot raised on an anvil, on a rectangular base, later mounted on a stepped alabaster plinth, the bronze 15cm high, 22cm high overall This small bronze figure was probably cast as a mount or finial to ornament a functional item such as an andiron or piece of desk furniture.

Auction Comparable: Sotheby’s, London, 5 December 2017 lot 657.

This pair of bronze figures of Juno and Jupiter, catalogued as Venetian early 17th century, features a Jupiter in similar pose to the present lot. £800-£1,200

34 AFTER THE ANTIQUE: A LARGE LATE 19TH CENTURY BRONZE FIGURE OF THE FAUNO ROSSO (RED FAUN) BY CHIURAZZI, NAPLES the Bacchic faun holding a bunch of grapes in his right hand and staff in his left, raised on shaped base with a tree stump and a woven basket, with a goat resting his front leg on the basket, mid brown patination, signed ‘Chiurazzi Napoli’, 70cm high The 2nd century AD Roman statue that the present bronze is derived from is now in the Capitoline Museum, Rome. It is carved from distinctive red marble and is itself a copy of a Hellenistic Greek original, depicting a drunken satyr. The Fauno Rosso was discovered at Hadrian’s Villa in Tivoli and so it is thought that Hadrian commissioned the Roman red marble statue. £1,200-£1,800

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35 ATTRIBUTED TO HUBERT LE SUEUR (ACTIVE 1596-1658): A SECOND QUARTER 17TH CENTURY ENGLISH BRONZE GROTESQUE FOUNTAIN MASK mounted on a metal stand with rectangular base, the bronze 24cm high x 22cm wide

Lord Herbert of Cherbury by Le Sueur

With thanks to Dr Charles Avery for his assistance with cataloguing this lot.

Comparative literature: C. Avery, “Hubert Le Sueur, ‘the unworthy Praxiteles’ of King Charles I”, in The Walpole Society, XLVIII, 1982, pp. 135-209; reprinted in C. Avery, Studies in European Sculpture, II, London, 1988, pp. 145-235.

C. Avery, ‘Le Sueur’, in J. Turner [ed.], The Dictionary of Art, London, 1996, 19, pp. 249-50.

J. Marsden, ‘Portrait Busts’, in Jane Roberts [ed.], The King’s Head: Charles I, King and Martyr, exh. cat., The Royal Collection, London, 1999, pp. 36-37.

C. Avery, ‘Le Sueur’, in A. Bostrøm [ed.], Encyclopedia of Sculpture, 2004, II, pp. 952-55.

The unpublished fountain-mask is an interesting possible addition to the growing catalogue of work by Hubert le Sueur, court sculptor – as he himself boasted – to two kings, Louis XIII of France and Charles I of England and Scotland. Arriving in London from his native Paris in 1624, probably in the retinue of the King’s new French bride, Henrietta Maria, by 1631 he was in the pay of the crown, and was shortly dispatched to Italy to make casts of the outstanding antiquities so that he could manufacture bronze copies for the gardens of St James’s Palace. He was also involved in producing two monumental fountains for the queen at Somerset House, and so he was well aware of requirements in terms of bronze fitments in connection with the flow and display of water.

The present grotesque mask closely resembles those on the pauldrons (shoulder-pieces) of the armour in which several of his portrait-busts are clad. While lion’s masks were theoretically reserved for the monarch, and feature on several of Le Sueur’s busts of King Charles I, for instance those in Duke Humphrey’s Library in the Bodleian Library, Oxford, and in Wentworth Woodhouse, Yorkshire (Avery, as above, Cat Nos. 30B and 30C, figs. 55a, and 55e), Sir Peter Lemaire was also endowed with them in his bust in St Margaret’s, Lothbury (Avery, fig. 59c). In general, lesser mortals were given pauldrons with more anthropomorphic features, for instance Edward, Lord Herbert of Cherbury in 1631(Avery, Cat. no. 34, fig. 59a-b: now National Gallery of Wales and the National Trust for Powys Castle). These features resemble those on the present mask, with its exaggerated ridges over the eyebrows and continuous wrinkle running across the nose, which is broad and flattened. The whole face is surrounded on the pauldrons by curvilinear, flattened, strap-work with separate Ccurves on either side, like enlarged ears, while on the mask these function as the bony outer edge of feathered winglets. The incised lines of patterning round the moustache of the mask and up into the hairline are similar to those decorating Lord Herbert’s gorget. It should be remembered that Hubert was son of a Paris armourer and this continued to influence his style.

If it is by Le Sueur, the present mask might even be one of the ‘3 Certouses’ [three cartouches] that are now missing, but were listed in 1649-51 alongside the crowning figures – and various other easily recognizable bronze components – from the Fountain of Arethusa (formerly identified as ‘Diana’ and now in Bushy Park, near Hampton Court). This was in the inventory for the sale of the King’s Goods in a job-lot @ £500 (see Avery [1982] 1988, p. 178, for the full list of items). £2,000-£3,000

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36 A BRONZE STATUETTE OF APOLLO, PROBABLY DRESDEN MIDDLE OF THE 18TH CENTURY AFTER THE ANTIQUE MARBLE ORIGINAL OF APOLLO AND MARSYAS, RESTORED PERHAPS BY ERCOLE BOSELLI (ACTIVE BEFORE 1667) the figure of Apollo with arms outstretched, his drapery swirling around his nude body, raised on his right foot with his left leg outstretched, mounted on a later square marble plinth, the bronze 32cm high With thanks to Dr Charles Avery for his assistance with researching this bronze.

The present bronze statuette is thought to represent Apollo holding a knife, about to make the first cut whilst flaying Marsyas. It appears to be derived from a known group that is in part ancient and in part a 17th century reconstruction that also depicts Apollo about to flay Marsyas. This large marble group combined an ancient figure of Marsyas with a fragmentary Roman torso of Apollo which may once have formed part of a group depicting Apollo and Daphne. The restorer / carver may have been Ercole Boselli, and Montagu points out the obvious similarity to the famous Bernini composition of Apollo and Daphne, which Boselli was clearly influenced by when he ‘restored’ the group. The marble was purchased in 1728 from the Chigi Collection for Dresden and the appearance of the present bronze, the brassy alloy and the dark brown, almost black patination are all consistent with what would be expected of a copyist working in Dresden in the 18th century.

Related Literature: Jennifer Montagu ‘Roman Baroque Sculpture: the Industry of Art’, New Haven / London, 1989, p. 163. £2,000-£3,000

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37 ATTRIBUTED TO GIROLAMO LUCENTI (ITALIAN, 1627-1698): A PORTRAIT MEDALLION OF POPE PIUS V (MICHELE GHISLIERI, 1504-1572) Bronze, uniface, incuse-cast, 17.3cm diam.

Inscribed: BEA * PIVS * V * P * O * M* CREATVS DIE 7 IANVAR 1565 With thanks to Dr Charles Avery for his assistance with cataloguing this lot.

Literature: Spink in association with Christie’s, An Important Collection of Renaissance and Baroque Medals and Plaquettes, 21 May 1996, lot 207 (‘…the style seems much closer to Girolamo Lucenti, with its stippled field and coarsely indicated lettering.’)

The pairing of this retrospective portrait roundel of a 16th century pope with the 17th century one of Innocent XI is perhaps owed to their reputations as very pious and holy men and to their standing as ‘warrior popes’ against the Turkish hordes: Pius presided over the Battle of Lepanto in 1571 and Innocent over that at Kahlenberg in 1683, which saved Vienna and finally drove the Turks away from mainland Europe. Pius excommunicated Queen Elizabeth I. As Pius is called only ‘Beatus’, this forceful rendering must date from between the centenary of his death, in 1672, when Pius was beatified

by Pope Clement X, and before his canonisation in 1712. £800-£1,200

38 AFTER A DRAWING BY GIANLORENZO BERNINI (ITALIAN, 1598-1680): A PORTRAIT MEDALLION OF POPE INNOCENT XI (BENEDETTO ODESCALCHI, 1611-1689) C. 1676 Bronze, uniface, incuse-cast, 17.3cm diam.

Inscribed: INNOCENTIVS*XI*P*O*M With thanks to Dr Charles Avery for his assistance with cataloguing this lot.

Literature: I. Lavin, Drawings by Gianlorenzo Bernini from the Museum der Bildenden Künste, Leipzig, German Democratic Republic, exh. cat., University Art Museum, Princeton, 1981, pp. 4142, fig. 27; C. Johnston, G. Shepherd, M. Worsdale, Vatican Splendour: Masterpieces of Baroque Art, exh. cat., National Gallery of Canada, Ottawa, 1986, p. 108, no. 35 The likeness is derived from a red chalk sketch of Innocent by Bernini in the Gabinetto Nazionale delle Stampe, Rome.

The facts that Benedetto Odescalchi (1611-1689) was elected pope in 1676 and that Bernini died in 1680 allows only four years for its creation. Within this span, it was presumably produced shortly after Innocent’s election, while excitement was still high and before Bernini’s powers faded away as death approached. “…The pope’s appearance matched his personality. He was exceedingly tall and gaunt, with a huge aquiline nose and a projecting chin. These features are glossed over in many ‘straight’ portraits of Innocent, but we have a drawing, perhaps by Bernini himself, in which his crabbed and rather chilling aspect appears unmitigated. The profile of the pope may have been made in preparation for a sculptured portrait.” (Irving Lavin, 1981) Worsdale attributes the unsigned and undocumented image to Lucenti, but the unconvincing relationship between the profile head and three-quarters view of the shoulders is quite unlike the smooth transition between the views to be noted in Lucenti’s signed bronze medal of 1678 depicting Innocent. Worsdale concludes: “The portrait of Innocent XI may be derived from a drawing by Bernini, who seems to have been regularly called upon to establish the features of the popes in a form suited to translation into medals” £800-£1,200

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Details 39 A COLLECTION OF REPOUSSE SILVER RELIEFS, POSSIBLY 16TH CENTURY, LATER MOUNTED ON A 19TH CENTURY CASKET the 16th century silver reliefs depicting Juno and her peacock within an egg and dart border to the top, flanked by borders of scroll work, putti, urns and foliage, the back also with a relief of Juno and the peacock flanked by a scrolling acanthus border and flanked by a pair of female figures with baskets atop their heads, the front panel depicting Venus and Cupid within an acanthus border and with an escutcheon modelled as a pair of putti, similarly flanked by female figures, the left side with Venus and Cupid and Apollo and his lyre, the right side with Venus and Cupid and Saturn with a scythe within a guilloche border, the 19th century calamander casket with yellow silk lined interior, 37cm wide x 17cm high x 29cm deep Provenance: Purchased from the auction of the Collection of Baron de Sellieres at Chateau de Melot, France. ÂŁ3,000-ÂŁ5,000

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40 A RARE 16TH CENTURY FRENCH WALNUT CAQUETOIRE the rectangular back carved with stylised flower heads within a rectangular moulded panel, the scrolling arms raised on ringed, baluster supports, the turned front legs united by a stretcher below the trapezoid seat, 114cm high x 63cm wide Provenance: Madame Jacqueline Boccador, Paris.

Related Literature: J. Boccador ‘Le Mobilier Français du Moyen Age a la Renaissance’, 1988, St.-Rémy-en-l’Eau, p. 300, 302 and 303.

Daniel Alcouffe, ‘Furniture Collections in the Louvre, Vol. I, Middle Ages, Renaissance’, p. 28-29, no’s 7 and 8.

Comparable chairs at auction: See Sotheby’s London, 31 October 2006, lot 39.

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Museum Comparables: See Musee Jacquemart-Andre, Paris.

The term ‘caquetoire’ is derived from the French word caqueter which means to gossip or chatter, because chairs of this type were commonly placed by the fireside where people would relax and chatter. Although beautifully carved with stylised motifs, they were also designed for comfort; the trapezoid shaped seat with a wide part at the front narrowing to the high back was designed to allow ladies with wide skirts to sit comfortably and the high back no doubt helped to keep out the cold drafts.

These chairs were also known as a ‘Tallemouze’ armchairs, referring to the talmouse cake which was triangular in shape. From contemporary inventories we know that these chairs were always made singly and not in pairs or sets. £4,000-£6,000

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41 41 A PAIR OF FLEMISH 17TH CENTURY STYLE CARVED OAK FRUITING AND FLORAL GARLANDS, PROBABLY 19TH CENTURY carved in high relief with flat backs and depicting apples, grapes, ears of corn etc.

153cm wide x 27cm high (2) £800-£1,200

42 A PAIR OF ELIZABETHAN CARVED OAK CARYATID PANELS TOGETHER WITH THREE FURTHER 17TH CENTURY OAK PANELS the pair of panels probably from a tester bed, depicting a male bearded bust and a female bust, the female semi-clad, both raised on a pilasters carved with flower heads and scrolls, together with a panel from a coffer carved with a foliate arch, and two relief carved lion heads, probably from a bed, 43cm high and 26cm high and 14cm high respectively (5) £300-£500 42 43 A 17TH CENTURY NORTH EUROPEAN CARVED WALNUT PANEL WITH A CARTOUCHE the relief carved panel with a pair of putti holding aloft laurel garland and centred by an oval cartouche, with an eagle holding below perched on a floral garland, 37cm high £400-£600 44 A 17TH CENTURY CARVED OAK RELIEF DEPICTING A PUTTO the reclining putto riding on what appears to be a part of a serpent with scales and holding a bunch of palm fronds in his left hand, flanked by foliage and flowers, 31cm wide x 17cm high £250-£350 45 A 17TH CENTURY CARVED OAK RELIEF DEPICTING THE GREEN MAN TOGETHER WITH A FURTHER CARVING AND A 17TH CENTURY FOOT STOOL the first of rectangular form and carved with a green man mask flanked by trellis-work and scrolls and with two shells below, the second carving a foliage roundel centred by a fruiting boss, the footstool of small size, rectangular on a pair of shaped supports, 28cm high, 26cm and 12cm high respectively (3) £250-£350 43 31

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46 A LATE 15TH / EARLY 16TH CENTURY FRENCH IRON MOUNTED CUIR BOUILLI MISSAL BOX the leather covered wood casket with domed lid and iron strapwork, with ringed swing handle mounted to the top, the lockplate flanked by a pair of hinged iron clasps, the interior void, on small bun feet, with key, 27cm wide x 13cm high x 19cm deep Auction Comparables: Sothebys, London, 12 December 2003 lot 132. £1,500-£2,000

47 A SMALL 16TH / 17TH CENTURY OAK AND IRON TABLE CASKET of rectangular form with studded edges and iron studded hinges, the interior void, 20cm wide x 10cm high £300-£500

48 A 16TH / 17TH CENTURY SPANISH CUIR BOUILLI AND IRON BOUND CASKET / DOCUMENT BOX the leather covered exterior with iron arrow-headed straps and clasp, of rectangular form with void interior, 47cm wide x 11.5cm high £500-£700

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49 A 16TH CENTURY NUREMBERG REPOUSSE BRASS ALMS DISH OF BACCHIC THEME of typical bowl form, the outside rim with punched flower heads and wavy line, the gadrooned sides enclosing the central field with a band of panther heads issuing pine cones, centred by a raised roundel, 45cm diameter £400-£600

50 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 £500-£800

51 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 £1,000-£1,500

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52 A FINE EARLY 18TH CENTURY MARBLE PORTRAIT RELIEF, PROBABLY FRANCO-FLEMISH AND DEPICTING GEORGE FRIDERIC HANDEL, CIRCA 1720 depicted as a bust and wearing a long, flowing wig and an open-necked shirt and cloak pinned on his right shoulder, applied to a black felt covered mount, the marble 19cm high x 15cm wide This fine marble relief appears to be from the same workshop as two other reliefs that depict unknown sitters (now in the Victoria and Albert Museum, A.5-1988 and A.63-1965) and a third which depicts the musician Henry Purcell. All three oval marble reliefs depict their sitters with full flowing wigs, open-necked shirts and cloaks secured with a pin, the folds of drapery are carved in the same manner, the facial features carefully modelled to create realistic portraits, with the pupils and irises carefully delineated. They are all of similarly small size, the V&A example being 18.5cm high and the Purcell example 22cm high. The two reliefs that are now in the Victoria and Albert Museum have been attributed to a French or South Netherlandish sculptor working between 1700 and 1720. Little is known of these reliefs, although it is noted that they both resemble ivory reliefs, and certainly the similarity between all four of these portrait reliefs and the work of ivory carver David Le Marchand (1674-1726) is apparent. The third relief is known to depict the musician Henry Purcell (1659-1695) and was sold at Sotheby’s, London on 11 May 2004, lot 413 (£10,800). This portrait was believed to have been based on the portrait painted by John Closterman in 1695 (see National Portrait Gallery, Complete Illustrated Catalogue, 1981, p.462., no. 1352); and was catalogued as English, late 17th century. It seems entirely possible that the sculptor could have been a Flemish or French carver working in London in the first part of the 18th century, much like David Le Marchand who was French but working in London from 1705. £4,000-£6,000 34

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53 A PAIR OF EARLY 18TH CENTURY FRENCH MARBLE RELIEFS OF THE VIRGIN AND CHRIST AFTER THE MODEL BY FRANÇOIS GIRARDON (1628-1715) of oval form, both busts depicted in profile, mounted in later gilt oval frames, 23cm high x 19.5cm wide excluding frames This pair of marble reliefs are derived from Girardon’s bronze reliefs dating from 1691 and ornamenting the tabernacle of the church of SaintJean de Troyes, which was the sculptor’s town of birth. The marble relief of the Virgin was no doubt inspired by Girardon’s earlier relief depicting a bust of the Virgin carved in marble that he exhibited at l’Académie royale de peinture et de sculpture in 1657 and is now in the Louvre.

Related Literature: F. Souchal, ‘French Sculptors of the 17th and 18th centuries, The reign of Louis XIV’, London 1981, Vol. II, pp. 62-65.

Auction comparable: Sotheby’s Paris, 30 September 2011 lot 75, sold £6785.

Museum comparable: Louvre, Paris, Girardon’s Mater Dolorosa marble relief of 1657, R.F. 3148. £1,500-£2,000

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54 A 17TH CENTURY FLEMISH IVORY CORPUS CRUCIFIX the ivory Corpus Christi with eyes and mouth open, his head turned to the left and his feet crossed, wearing a finely carved, rope tied perizonium, raised on a later stained wood cross on a square plinth, with ivory ‘INRI’ sign, the cross applied with an old red wax seal with a heraldic device, once applied to the previous stand, the Christ 22cm high, overall 49cm high £600-£800 55 A LARGE LATE 17TH CENTURY GERMAN BRONZE PRICKET CANDLESTICK the dished top raised on the baluster, ringed and knopped stem over the circular ringed foot, 67cm high Provenance: Prof. Dr. Rudolf Leopold Collection, Vienna £1,200-£1,800 56 AN 18TH CENTURY FRENCH PATINATED TERRACOTTA BUST OF A YOUNG BOY IN THE MANNER OF JEAN-ANTOINE HOUDON (FRENCH, 1741-1828) the boy looking slightly to sinister and down, wearing a shirt with frilly collar which falls open to reveal his left nipple, rusticated at the back, raised on a spreading cylindrical socle, 30cm high £400-£600

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57 λ A LATE 18TH / EARLY 19TH CENTURY INDO-PORTUGUESE (GOAN) IVORY RELIEF OF A FEMALE SAINT SURROUNDED

BY ANGELS the reclining female figure wearing a floral headdress and a simple gown tied at the waist with a rope, gazing up to the four full angels above and the four winged angel masks, later mounted in a 19th century mahogany and velvet lined arched case with hinged glazed door, 28cm high overall £300-£500 58 AN 18TH CENTURY ITALIAN GLAZED CERAMIC FIGURE OF A WARRIOR IN THE MANNER OF DOCCIA depicting a soldier in a plumed helmet supported by a shield and a drum, a flag beside him, on a rectangular spreading and moulded base, repaired, 27cm high £500-£800 59 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 £1,000-£1,500

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60 A SET OF FIVE 18TH CENTURY NEAPOLITAN PAINTED TERRACOTTA CRIB FIGURES four male figures and an old lady, clothed in silk, wool and linen, some with gold thread decoration, the largest 23.5cm high (5) £500-£800 61 THREE 18TH CENTURY NEAPOLITAN CARVED WOOD MODELS OF SHEEP two standing and one reclining, 38cm high, 23.5cm high and 15cm high These sheep probably formed part of a large Neapolitan creche scene. These multi-figure and animal scenes were very fashionable in the 18th century, sometimes including hundreds of figures and depicting the Nativity with shepherds as well as other rustic scenes of Neapolitan life. £1,000-£1,500

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62 A 19TH CENTURY COCONUT AND FRUITWOOD CUP AND COVER the coconut bowl raised on a ringed socle over a domed foot, with a ringed and domed cover with urn shaped finial, 20cm high £150-£200 63 AN EARLY 19TH CENTURY FRUITWOOD TEA CADDY MODELLED AS AN APPLE of naturalistic polished form with a stalk handle and oval iron escutcheon, with traces of red staining, the interior void but with traces of foil lining, 12cm high 61

Thought for many years to originate in Georgian England, these naturalistic tea caddies modelled as apples and pears are now thought to have been produced in Germany or the Netherlands during the late 18th and early 19th centuries. £300-£500 64 A MID 18TH CENTURY GILT BRONZE RELIEF DEPICTING A BUST OF CHRIST of circular form, with a border of acanthus leaves and c scrolls, Christ depicted with finely tooled, long flowing hair and a halo, later mounted in an alabaster and giltwood frame, the relief 9cm diameter, 20cm diameter overall £150-£200

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65 A 17TH CENTURY FRANCO-FLEMISH CARVED WALNUT CARYATID PANEL carved in relief with a flat back with a nude winged female figure with long flowing hair terminating in a bunch of fruit and with a further carved head emanating below, 42cm high £250-£350

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66 AN 18TH CENTURY GILTWOOD AND GESSO MODEL OF THE PELICAN IN HER PIETY the bird with outstretched wings pecking at her breast, with three chicks below in a nest, later gilded, 43cm high £500-£800 67 A 16TH / 17TH CENTURY ITALIAN CARVED WOOD DOOR PANEL DEPICTING THE PELICAN IN HER PIETY of break-arch rectangular form with moulded edges, carved with a pelican with outstretched wings with her three chicks pecking at her breast, with traces of polychrome and gilding and a key hole, 43cm high x 22cm wide £400-£600 68 A 17TH / 18TH CENTURY GERMAN CARVED WOOD FIGURE OF HERCULES WRESTLING DIOMEDES OF THRACE Hercules wearing a lion’s pelt, Diomedes nude but for a sliver of drapery, raised on a rocky base over a later velvet covered plinth, the figure 32cm high £600-£800

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69 A LARGE LATE 18TH / EARLY 19TH CENTURY ITALIAN FLEUR DE PECHER MARBLE TAZZA the spirally fluted bowl centred by a ringed circular boss to the interior and raised on a waisted foot and stepped square base, 52cm diameter, 31.5cm high Fleur de Pecher marble was sourced from a quarry in Serravezza in Italy from the 17th century onwards where it was known as ‘Fior di Pesco’. In Italy during the 17th and 18th centuries it was highly prized for its beautiful rich colour and often used in religious architectural schemes and altarpieces. It was also fashionable during the Second Empire and favoured by Napoleon III, for example the marble fireplace in the main hall of Napoleon III’s apartments at the Louvre museum is carved from this prized material. £4,000-£6,000

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70 PROFESSOR GIOVANNI BESJI (ITALIAN, LATE 19TH CENTURY SCHOOL): A CARVED ALABASTER BUST OF A MAIDEN ON PEDESTAL ENTITLED ‘GIUDITTA’ the young beauty wearing a fabric headdress and looking to dexter, her dress finely carved with flowerhead (with traces of gilding), signed ‘Prof G Besji’, on a plinth with canted angles, raised on a pedestal with square canted shelf over ringed cylindrical shaft and raised on a stepped base, the bust 42cm high, 147cm high overall £800-£1,200

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71 A LATE 19TH CENTURY FRENCH COLOURED MARBLE PEDESTAL the main cylindrical column shaft of Rouge Languedoc marble on a square base of St Anne Beige and Carrara marble over a further section of black marble which is now loose, the rotating square shelf of grey veined, white marble, the shelf 29cm wide, 98cm high excluding detached black marble section which is 12cm high £1,000-£1,500

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72 A PAIR OF LATE 18TH / EARLY 19TH CENTURY ITALIAN CARRARA AND SIENNA MARBLE COLUMNS the pedestals with square tops over ringed capitals, on waisted bases over square plinths, one with chipped top, the shelf tops 20cm x 20cm, 110cm high (2) £300-£500

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73 AFTER AUGUSTIN PAJOU (FRENCH, 1730-1809): A LARGE MID 19TH CENTURY FRENCH SEVRES STYLE BISCUIT PORCELAIN BUST OF MADAME DU BARRY her hair in an elaborate coiffure, her drapery falling around her shoulders and her head turned to sinister, raised on a waisted square socle, inscribed to the reverse ‘d’apres Pajou’, numbered to the underneath 5601, 62cm high Madame du Barry was the last Maîtresse-en-titre of Louis XV of France, he built the Château de Louveciennes for her and she retired there after his death in 1774. She met her death on the guillotine during the French revolution in 1793. Pajou was known to be her favourite sculptor and he made five portraits of her, each with a different hair style. The present bust is a copy of the most famous example which Pajou exhibited at the Salon 1773 and is now in the Louvre. £800-£1,200

74 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 pseudo Sevres mark, the signed white enamelled dial with Arabic numerals, the single train, timepiece movement with silk suspension and pendulum, 41cm high £700-£1,000

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74A A 19TH CENTURY FRENCH TERRACOTTA GROUP OF TWO CHAMPANZEES ‘PIGNOUF’ the comical scene depicting a seated monkey dressed in a pharaoh’s type headdress and seated on a classical style day bed, holding tail of the standing monkey beside him, on an integral base inscribed ‘Pppignouf!’ and signed indistinctly to the right side 'L.D.Molds', 13cm high x 15cm wide The term Pignouf refers to a boorish, coarse man. £600-£800 75 A LATE 18TH / EARLY 19TH CENTURY ITALIAN TERRACOTTA FIGURE OF THE VIRGIN wearing a mantel and looking to dexter, raised on an integral rectangular base, 29.5cm high £400-£600 75A A 16TH CENTURY ITALIAN BRONZE FIGURE OF APOLLO the pose derived from the Apollo Belvedere, the standing figure with left arm outstretched, a quiver of arrows slung over his shoulder, on a base modelled with a tree stump, on a later plinth, the bronze 27cm high Provenance: David Lascelles, 8th Earl of Harewood, until 2013.

This bronze is characteristic of a taste for statuettes emulating antique Roman sculpture that developed in Renaissance Italy around 1500. The present figure was inspired by the Apollo Belvedere, an antique marble statue that was discovered in Rome in the early years of the 16th century. Placed in a niche in the Belvedere courtyard, the marble became one of the most famous works of antiquity. £3,000-£5,000

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76 AN IMPORTANT EARLY 19TH CENTURY NEO-CLASSICAL MARBLE GROUP OF VENUS AND ADONIS, CIRCA 1820 Adonis nude and turning away to dexter, Venus nude except for her falling drapery, tied in a complex fold at her thighs to reveal her bottom, she clings to Adonis as he tries to remove her left hand, raised on an oval base, apparently unsigned, 139cm high Provenance: The marble has been in the same London private collection for at least a generation.

The present large marble group depicts Venus beseeching Adonis to stay with her and not to go hunting; he stands with his quiver of arrows ready to depart as she implores him to stay, her arm wrapped around his right shoulder and her face leaning against his left as he turns away to leave. According to Ovid’s Metamorphoses, Venus had fallen madly in love with Adonis after being hit by an arrow from Cupid’s bow. Sadly her worst fears were realised and she was never to see Adonis again as he was killed by a wild boar. The present marble owes much to Antonio Canova’s famous sculpture of the same subject, but the sculptor of the present work has cleverly altered the composition to show Adonis turning away from Venus rather than looking into her eyes, imbuing the work with a great emotional depth and pathos whilst also hinting to the viewer of the tragedy to come. That the sculptor has invented his own, until now unrecorded version of the subject indicates that he was an accomplished artist, familiar with the seminal works of this theme but confident enough to re-work them to his own design.

It was considered almost obligatory for British sculptors in the early 19th century to travel to Rome to study ancient sculpture and the Neo-Classical masters such Canova and Bertel Thorvaldsen as part of their ongoing education. John Gibson (1790-1866) for example, now regarded as the foremost British Neo-Classical sculptor, spent many years in Rome and studied there under Canova. In fact according to contemporary travel literature, both Canova’s and Bertel Thorvaldsen’s studios were considered important places to visit not only for sculptors but for all well-educated gentlemen on the Grand Tour and so it seems likely that the sculptor of the present work visited their studios and studied their work. This is important, because we know that by 1820; following the death of the original owner, Canova’s Venus and Adonis was back in his studio where he re-worked the drapery to reveal more of Venus’s nude behind and added a fig leaf to Adonis (amongst other alterations, the marble is now at the Musée d’Art et d’Histoire, Geneva).

The present sculpture also shows the influence of Bertel Thorvaldsen’s marble group of Cupid and Psyche, which like Canova’s group depicts the male nude looking at the female as she wraps her right arm around him, in contrast to our Adonis who turns away from Venus’s feminine wiles. Attributing the present marble to a particular sculptor is difficult, however according to the online reference, the Biographical Dictionary of Sculptors in Britain (1660-1851) (the database originally published as a book in 2009 as ‘A Biographical Dictionary of Sculptors in Britain 1660-1851’, Yale University Press), there are four main contenders for the sculptor. Robert Ward of Liverpool is listed as having produced a Venus and Adonis in 1828, (now lost) as did Isaac Jackson, also of Liverpool in 1829. William Spence is recorded as exhibiting a group of Venus and Adonis at the Royal Academy, London in 1821, and Richard Cockle Lucas exhibited his Venus and Adonis there in 1831. Further study of these possible candidates may well result in a firm attribution in the future. £8,000-£12,000

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77A

77 AFTER THE ANTIQUE: A MARBLE BUST OF THE MEDICI VENUS, PROBABLY 18TH CENTURY with typically arranged hair, her head turned to sinister, the back of the bust rusticated, later mounted on a marble cylindrical socle, the bust 25cm high, 34cm high overall The Medici Venus was a Roman copy of a Greek sculpture by Cleomenes of Athens, the sculpture was famous throughout the 17th, 18th and 19th century, when it was seized by Napoleon in 1802 and removed to the Louvre. £300-£500 77A G. PICCARDI (ITALIAN, FL, LATE 19TH / EARLY 20TH CENTURY): A SMALL MARBLE BUST OF A LAUGHING BOY the small child with curly hair and looking slightly to dexter, signed to the reverse ‘G. Piccardi’, raised on a coloured marble rectangular plinth, 31cm high overall £300-£500

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78 MANNER OF HIRAM POWERS (AMERICAN, 1805-1873): A 19TH CENTURY MARBLE BUST OF PROSERPINE the classical maiden with hair centrally parted and arranged in an elaborate coiffure, her bust issuing from leaves, raised on a waisted socle over a separately carved cylindrical pedestal, 54cm high overall £300-£500 *See page 2 for information regarding fees

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79 A 19TH CENTURY MARBLE STATUE OF A BOY HOLDING A SCROLL the nude standing figure holding a scroll beside a tree stump, raised on a rectangular integral base, weathered, 85cm high £800-£1,200 80 PROFESSOR G. GAMBOGI (ITALIAN, FL. LATE 19TH CENTURY): A WHITE MARBLE FIGURE OF A FEMALE WATER CARRIER holding an urn and looking to dexter, signed to the reverse of the brick wall G. Gambogi, on a circular base, 61cm high Gambogi’s white marble group of Leda and the swan was sold at Christies New York, October 26 2004, lot 273 for $35,000. £700-£1,000 81 A 19TH CENTURY ITALIAN MARBLE BUST OF DANTE ALIGHIERI depicting facing front and wearing a laurel crown and hat, the back rusticated, 33cm high £300-£500 81 47

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82 PIETRO DELLA VEDOVA (ITALIAN, 1831-1899): A MARBLE FIGURE OF A YOUNG GIRL OFFERING A POSY OF FLOWERS DATED 1870 with further flowers scooped into the skirt of her dress, bare foot and smiling with a ribbon in her hair, raised on a naturalistic base carved with further flowers, signed ‘P. Della Vedova 1870’, over a grey veined, white marble cylindrical plinth, 96cm high £10,000-£15,000

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*See page 2 for information regarding fees

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83 GUGLIELMO PUGI (ITALIAN, FL. 1850-1915): A CARVED ALABASTER FIGURAL GROUP OF THREE FROLICKING PUTTI the dancing figures on an integral naturalistic base signed ‘Pugi’, over a grey veined alabaster oval plinth, 39.5cm high £800-£1,200 84 GAETANO CELLINI-MIGLI (ITALIAN, 1857-1937): AN EARLY 20TH CENTURY ALABASTER FIGURE OF A NUDE the youthful girl wearing nothing but a fox fur, stood beside a chair on a faceted integral base, signed ‘G. Cellini Migli Firenze’, 44cm high £1,200-£1,800

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Medardo Rosso ‘Petite Rieuse’

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85 *MEDARDO ROSSO (ITALIAN, 1858-1928): ‘PETITE RIEUSE’ A wax over plaster head of a laughing woman Subject conceived in 1890, probably a posthumous cast by the sculptor’s son, Francesco Rosso and cast from the original plaster model (now in the Private Collection of the Rosso heirs, Milan).

Inscribed ‘Medardo Rosso’ ‘Danila Rosso Parravicini’ on the plaster interior. Sold together with the original letter of authentication from Danila Rosso Parravicini and a copy of the original exhibition catalogue from the ‘Pioneers of Modern Sculpture’ exhibition at the Hayward Gallery, 1973, and the exhibition catalogue from the 2003 Kunstmuseum Winterthur exhibition, mounted on a later wooden plinth, (the plinth 20cm high x 35cm wide) 34cm x 21cm x 21cm £70,000-£100,000 * Please note that this lot is subject to import VAT at a preferential rate of 5% on the Hammer Price and the prevailing rate on the Buyer’s Premium. Please see our terms and conditions for more information.

PROVENANCE Sold by the granddaughter of Medardo Rosso, Danila Rosso Parravicini on 17th August 1965 to Philip Granville of Lord’s Gallery, London.

Purchased by the present owner from Phillips, London, 5 February 2001, lot 24.

EXHIBITED ‘Pioneers of Modern Sculpture’, Arts Council of Great Britain, Hayward Gallery, London, 20 July – 23 September 1973, No. 181.

‘Medardo Rosso’, Kunstmuseum Winterthur, 6 September – 23 November 2003, No. 25.

‘Medardo Rosso’, Stiftung Wilhelm Lehmbruck Museum Centre for International Sculpture, Duisburg, 14 December – 28 March 2004.

LITERATURE ‘Pioneers of Modern Sculpture’ Exhibition Catalogue, Arts Council of Great Britain, 1973, p.145. (A copy to be sold with the sculpture) ‘Medardo Rosso’ Kunstmuseum Winterthur & Stiftung WilhelmLehmbruck-Museum, Centre for International Sculpture Exhibition Catalogue, No. 25, full page illustration, p. 100. (A copy to be sold with the sculpture).

M. Fagioli, ‘Medardo Rosso Catalogue of the Sculptures’, Opus Libri, 1993, No. 30.

Paola Mola & Fabio Vittucci, ‘Medardo Rosso Catalogo ragionato della scultura’, Museo Medardo Rosso, Skira, 2009, p. 126-131, p. 277283, p. 127 illustrates a photograph circa 1907 of a photograph by Rosso of 1901, showing a wax cast of the Petite Rieuse.

Dr Sharon Hecker, ‘A Moment’s Monument, Medardo Rosso and the International Origins of Modern Sculpture’, University of California Press, 2017, p. 137-139. Figure 52 illustrates an original photograph by Rosso of a wax cast of the Petite Rieuse.

Margaret Scolari Barr, ‘Medardo Rosso’, New York, 1963, p.34-36.

Page 35 illustrates a wax cast of the Petite Rieuse which is listed as being in the Medardo Rosso Museum, Barzio. Page 36 illustrates a contemporary photograph of Rosso in his Paris studio modelling the Petite Rieuse.

F. Stocchi ‘Medardo Rosso’, Giunti, 2015. p. 40 illustrates a photograph circa 1902 of a wax cast of Petite Rieuse.

‘Medardo Rosso Sight Unseen and his Encounters with London’, Galerie Thaddaeus Ropac, exhibition catalogue, p.54-55. p. 55 illustrates a photograph of the wax Petite Rieuse circa 1902, p. 27 shows another photograph of a wax cast of the Petite Rieuse in a rectangular glazed case, dating from the early 1890’s and in situ in Medardo Rosso’s studio. This exhibition included a bronze cast of the same subject.

We are grateful to the Medardo Rosso Museum, Barzio for their assistance with researching and cataloguing this work.

*See page 2 for information regarding fees

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Original letter of authentication

OTHER KNOWN CASTS OF ‘PETITE RIEUSE’ The following known examples cast in wax are listed in the Catalogue Raisonnée by P. Mola & F. Vittucci: Lifetime casts: 1 Galleria Internazionale d’Arte Moderna di Ca’ Pesaro, Venice, inv.

554 2 National Gallery of Australia, Canberra, inv. 80.1680 3 Galleria Nazionale d’Arte Moderna, Rome, inv. 9072 4 Private Collection, Milan Original casts without documented lifetime provenance: 1 Kroller-Muller Museum, Otterlo, Netherlands, inv. 170-20 2 Richard Gray Gallery, Chicago / New York.

3 Private Collection, previously Collection Panizzuti, now Collection Gianni Porta, Milan Posthumous casts, legally cast from the original plaster model by Francesco Rosso: 1. Medardo Rosso Museum, Barzio, Italy.

A bronze cast of Petite Rieuse is now in the Musee Rodin, Paris. This cast was given to Rodin by Rosso when they first met in 1893 in exchange for Rodin’s ‘Torso’.

This important sculpture belongs to the above rarefied group of casts that are in major museums throughout the world. The work was sold

by Medardo Rosso’s granddaughter Danila Rosso Parravicini on 17th August 1965 to the important British art dealer Philip Leonard Granville, director of Lords Gallery in St John’s Wood, London.

Rosso’s granddaughter provided a written certificate of authenticity for the work, which she apparently believed at the time to be a life time cast by her grandfather. Three other works were sold at the same time and are listed in the document, they are: Bambino Ebreo, Grande Rieuse and Ecce Puer The Grande Rieuse (Laughing Woman, large version) listed above is now in the permanent collection of the Tate Gallery, London, inv.

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T04846. It is catalogued as a posthumous cast, probably made during the 1950’s and was also inscribed by the artist’s granddaughter ‘Danila Rosso Parravicini’ on the plaster surface. It was purchased from Philip Granville of Lord’s Gallery (Grant-in-Aid) with assistance from the Friends of the Tate Gallery 1986. The Grande Rieuse was, like the Petite Rieuse, exhibited in the 1973 Hayward Gallery show ‘Pioneers of Modern Sculpture’ (No. 182, repr. p.72, as ‘Large Laughing Figure (Grande Rieuse)’, dated 1891). When purchased by the Tate Gallery in 1986, Grande Rieuse was thought to date from the 1890s. This impression was supported by the bill of sale (that is included with this lot), signed by the artist’s granddaughter, which stated that this and the other works including Petite Rieuse, sold to the London dealer Philip Granville, were ‘authentic’ Rossos, and had been signed by her. However, on 31st March 1989, the Medardo Rosso expert, Luciano Caramel, examined the cast at the Tate Gallery and came to the conclusion that the sculpture was a posthumous cast from the 1950s.

It is only in relatively recent years that scholarly research has shown that some of the sculptures that were previously thought to have been lifetime casts made by the artist were in fact authorised casts made legally after his death by his son Francesco, from the sculptor’s original plaster models. Dr Sharon Hecker’s fascinating article ‘The afterlife of sculptures: posthumous casts and the case of Medardo Rosso’ (Journal of Art Historiography Number 16 June 2017) discusses this in some depth, and uses the Tate’s Grande Rieuse as her main example. Paola Mola and Fabio Vittucci’s scholarly work on the sculptor’s oeuvre has validated these concerns, and in their 2009 catalogue raisonné they divided the known works into those that had lifetime provenance and those that were un-documented or thought to have been cast by Francesco Rosso, as listed at the start of this footnote. Casts by Francesco Rosso are in museums throughout the world, including the Medardo Rosso Museum, Barzio which has a wax head of Petite Rieuse cast by Francesco (see notes above). A wax over plaster cast of ‘Bambina Ridente’, also conceived in 1890 but cast by Francesco Rosso from the artist’s original plaster model was sold at Chiswick Auctions, London, 12th September 2018, lot 157, £225,000 (including premium). *See page 2 for information regarding fees

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Like the ‘Bambina Ridente’ previously sold at Chiswick Auctions, the ‘Petite Rieuse’ probably depicts a known person, but cannot be described as a conventional portrait, for Rosso has used the woman as a source of inspiration to transmit his own ideas rather than to depict in a three-dimensional manner an actual person. In a review of his works at the Venice Biennale of 1914, Rosso described the sculpture as the portrait of a cabaret singer named Bianca da (sic) Toledo and he referred to the same singer when listing the work for the collector Luigi Bergamo. Photographic postcards of the time claim that the singer was actually Spanish and named Bianca de Toledo, her nickname being ‘La Toledo’. However, as the work is very far removed from an actual portrait, any true likeness to a particular person is difficult to establish. Like much of Rosso’s oeuvre, the work functions of many different levels, and poses as many questions about his original meaning and motivations as it answers. The theme of female Parisian performers as symbols of modernity is familiar to us through many widely disseminated paintings by Impressionist masters such as Edouard Manet, Edgar Degas and Toulouse-Lautrec who represented the alienation and detachment of urban Paris through their portraits of female ‘entertainers’ and all of their accoutrements, sometimes in the music halls or bars that they inhabited such as the Moulin Rouge and Folies Bergere, and often engaging with the viewer through their direct stare. Rosso does the complete opposite, he detaches his portrait from any surroundings; from the attributes of the figure such as her signature black gloves, jewellery and sumptuous gown and transmutes her face into a blank mask that instead of starring out at the viewer, offers only absent eyes, as if the actual person has been erased and replaced with a mannequin or waxwork. The fleeting impression of her smiling face is given completely without context, there is no attempt to express a moral opinion or narrative about the nature of her work or lifestyle. Instead we must read the sculpture in a more nuanced way, and Rosso’s choice of wax, his impressionist modelling of the head and treatment of the surface can be seen as an attempt to express other, more complicated ideas.

The head on one level depicts a young woman laughing and so alludes to joy and happiness, and yet these feelings are subverted by the connotations of death that are also presented. The use of

wax is important in this respect, as it is a reminder of death masks, in use widely in the 19th century and earlier (for example the mask known as ‘L’Inconnue de la Seine’ which was made by a morgue worker of an unidentified young woman who had drowned in the late 1880’s in Paris, and was widely copied and admired). The head therefore conveys the opposing emotions of joy and anxiety, and this, Dr Sharon Hecker argues, disrupts the emotional connection between the viewer and the work, evoking confusion and ambiguity.

The eyes are an important feature in this process of disruption, as the viewer we automatically seek to meet the sitter’s gaze, and yet are met by blank, blind eyes that are ghostly and haunting. This helps to create a kind of melting vision, a fleeting moment rather than of a lifelike depiction.

The use of wax also gives the sculpture a feeling of fragility, wax is much more likely to decay and decompose, to melt like a candle or shatter than the typical materials used by other sculptors that suggest permanence and longevity such as bronze or marble. Rosso rejects the artistic tradition of the Renaissance and Antiquity by employing a material thought of as unsuitable for finished sculptures. Wax was commonly used by sculptors but only in the casting process, the wax model is destroyed during the lost wax casting process to produce the final, finished bronze.

Rosso subverts these rules about the proper way to make sculpture by producing wax sculptures to be appreciated in their own right. He also used wax as it allowed the visualizations of process that were part of his modern artistic expression, he left casting flaws such as seams and air bubbles on the wax surface to act as ‘authorial signs’, to function like a signature, and these markings thus become part of the finished work.

Although rejecting the artistic traditions of the past, many of Rosso’s works allude to Renaissance artworks, his ‘Bambina Ridente’ has been thought of by some scholars as a reinterpretation of the Renaissance heads of children made by sculptors such as Desiderio da Settignano; and in some ways the ‘Petite Rieuse’ can be thought of as Rosso’s own Mona Lisa.

The Mona Lisa’s enigmatic smile and the soft facial shading that was typical of Leonardo’s sfumato technique imbues the work with a mysterious aura which is also expressed in the Petite Rieuse.

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86 A LARGE AND IMPRESSIVE ORIENTALIST BRONZE FIGURE OF AN ARAB MAIDEN the standing figure wearing a headdress and laughing, beneath an arched pagoda type architectural structure, surmounted by an onion shaped spire and cast with trelliswork, a pierced gallery and stylised arabesques, on an outswept rectangular base, mid brown patination, 225cm high £12,000-£18,000

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87 AUGUSTE MOREAU (FRENCH, 1834-1917): A LARGE EARLY 20TH CENTURY BRONZE FIGURAL CLOCK DEPICTING SELENE the bronze maiden holding a crescent moon, wearing a diaphanous dress and with long flowing hair, raised on a globe covered in stars and with stylised clouds floating around it, signed ‘Auguste Moreau’ and raised on a spreading plinth with a plaquette inscribed ‘SELENE PAR AUG. MOREAU RECOMPENSE AU SALON’, the globe fitted with a Bayard eight day timepiece, the dial with Roman numerals, the movement signed to the back ‘8 jours 7 rubis BAYARD DB’, winding from the back with a joined winding key, 88cm high £2,000-£3,000 88 VICTOR ROUSSEAU (BELGIUM, B. 1865): A LARGE LATE 19TH CENTURY BRONZE FIGURE OF A SLAVE GIRL the young girl with long flowing hair, semi-nude and bound at the wrists with a rope, standing a contra posto on a circular base, signed ‘Rousseau’, on a waisted circular plinth, mid brown patination, 68cm high £2,000-£3,000 89 EUTROPE BOURET (FRENCH, 1833-1906): A LARGE BRONZE FIGURE OF A PEASANT GIRL the young girl wearing a head scarf, holding a sheaf of wheat in her skirt and in his left hand, on a naturalistic base over a circular plinth, signed ‘BOURET’, 72cm high £2,000-£3,000 89 55

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90 PIERRE JULES MENE (FRENCH, 1810-1879): A LARGE BRONZE FIGURE OF AN ARAB FALCONER ‘FAUCONNIER ARABE À CHEVAL’ in the Orientalist style, the Arab man on horseback and holding the falcon on his right hand, on a naturalistic oval base signed ‘P.J. MENE’, brown patination with light brown high points, 77cm high x 74cm wide Another example of this model at the same size was sold at Sotheby’s New York, 18 April 2008, lot 123, $40,000. Mene exhibited the original wax model at the Salon of 1873 where it was entitled ‘Chasse au faucon’, before producing the bronze version. Barbedienne also cast versions of this model and a silvered bronze version was exhibited after the sculptor’s death at the 1900 Exposition centennale de l’art français (#1735). £4,000-£6,000

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*See page 2 for information regarding fees

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91 COMTE HENRI-GEOFFROY DE LA PLANCHE DE RUILLE (FRENCH, 1842-1922): A RARE EQUESTRIAN BRONZE MODEL OF A LADY RIDING SIDE SADDLE WITH A HOUND the trotting horse with a greyhound running along beside, on a naturalistic base signed ‘C. de Riulle’, dark brown patination, 42cm high x 48cm wide As is apparent from this exceptionally well modelled and proportioned bronze, Comte Geoffroy de Ruillé was not only a talented sculptor but also an experienced horseman. A painting by René Princeteau (1849-1914) in the Musée Toulouse-Lautrec in Albi, entitled ‘Le Comte Geoffroy de Ruillé chassant à courre avec son fils à ses côtés’, shows him confidently galloping across a field, and his sculptures were nearly all of equestrian theme. His admiration for ladies that were able to hunt side saddle is obvious in this composition, where the graceful rider is ably perched on the side of the saddle and looking down to the hound whilst the horse moves forward at a fast gait.

Comte de Ruille exhibited at the Paris Salon from 1884 until 1921 and all of his submissions were of equestrian theme. His bronzes were cast in small limited editions; he produced a similar pair of bronzes depicting a female riding side saddle and a male huntsman which appear at auction occasionally, but this larger bronze with the hound running alongside is even rarer. The sculptor also produced a bronze equestrian model of Emperor Nicholas II in 1900, an example which came to auction at Sotheby’s, New York, 21 April 2008, lot 58 realised $27,000. £3,000-£5,000

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92 92 MAURICE GUIRAUD-RIVIÈRE (FRENCH, B.1881): A LARGE EARLY 20TH CENTURY BRONZE FIGURAL GROUP OF A NUDE GIRL AND SATYR DANCING CAST BY ETLING, PARIS the nude girl with vines adorning her hair, the rectangular base also cast with grapes and vine leaves, signed ‘M. GUIRAUD RIVIERE’ and ‘ETLING PARIS’, raised on a rectangular Verde Antico marble plinth, 61cm high x 79cm wide The renowned Art Deco sculptor Maurice Guiraud-Rivière studied at the École des Beaux Arts and exhibited at the Paris Salon in the 1920’s and 30’s. He also exhibited at the Salon des Humoristes. Edmond Laurent Etling played a key role in the formation of the Art Deco movement in Paris, he not only owned a bronze foundry ‘Edmond Etling & Cie’, which cast works by some of the most important sculptors of the day, but also a gallery at 158 Rue de Temple, and a business which directly commissioned works from artists that he supported, La Societe Anonyme Edmond Etling. He worked with many of the iconic Art Deco sculptors that typify the movement, such as Dimitri Chiparus, Roberte Colinet, and of course Guiraud-Riviere.

Like Guiraud-Riviere he won numerous prizes for his work including Gold medal and diplomas d’honneur at the Brussels International Exhibition of 1910, Grand Prix at the World’s Fair Turin, 1911, Grand Prix and diplomas d’honneur at the Paris Exhibition, 1913 Exposition international des Arts Décoratifs et industriels moderne, 1925 and World Exhibition Paris, 1937. A bronze figural group ‘Three Athletes’,

by Etling and Guiraud-Riviere was sold at Sotheby’s, New York, 11 December 2003, lot 157, $36,000. £4,000-£6,000

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93 A LATE 19TH CENTURY BRONZE FIGURE OF A GIRL in 18th century dress, the smiling girl leaning forward and with her arms behind her, dark brown patination, raised on a Verde Antico marble plinth, 42cm high £800-£1,200

*See page 2 for information regarding fees

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94 ALFRED BOUCHER (FRENCH 1850-1934): A BRONZE FIGURE OF A MAN ‘LE TERRASSIER’ CAST BY F. BARBEDIENNE the nude figure with a shovel, wearing only a belt at the waist, on an oval integral base, mid brown patination, signed to the base ‘F. BARBEDIENNE FONDEUR’ and ‘A. BOUCHER’, raised on a Maurin Green marble plinth, 48cm high This bronze, depicting a navvy at work is typical of Boucher’s style in its realistic depiction of the human physique which embodies energy and movement. The sinews, tendons and muscles beneath the skin are visible in this extremely well cast example which is a reduction of Boucher’s full size marble that was exhibited at the Salon of 1890 and is now in the Musee Galliera, Paris. Barbedienne was the figure in three sizes. £1,000-£1,500

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95 EMANUEL EDWARD GEFLOWSKI (POLISH / BRITISH 1834-1898): A LARGE BRONZE FIGURE OF A LABOURER the male figure with a moustache and wearing a hat, his arms folded and seated on a large bucket of coal, on an integral canted base, dark brown – greenish patination, signed to the base ‘E.E. Gekoswki 1895’, 62cm high Geflowski was born in Poland but settled in Liverpool in the 1850’s before setting up his own workshop as a sculptor and architectural carver. He became more well known in the 1870’s when he won a commission to produce a statue of the engineer and philanthropist Sir William Fairbairn from the much more well known sculptor, Thomas Woolner. The statue was larger than life-size and carved in marble for installation at Manchester Town Hall. He also produced other portrait sculpture such as a bust of Garibaldi (Walker Art Gallery, Liverpool), a statue of Queen Victoria, commissioned by the Chinese Community of Singapore to commemorate the jubilee, (unveiled in 1881); and a marble statue of Queen Victoria for Kingston, Jamaica which was commissioned for the Diamond Jubilee (unveiled on 22 June 1897).

Geflowski also worked as an ecclesiastical sculptor and won numerous commissions to work on altarpieces including a number by the important designer and architect George Gilbert Scott. His church sculpture included those at the chapel of the Royal Agricultural College, Cirencester (1860); the Coulston Chantry Chapel, St. Peter’s Cathedral, Lancaster (the chapel was founded in 1856, his work is currently undated but may have been carried out while he was living in Manchester or Liverpool); the carved stone reredos for the church of St. John the Baptist, Cirencester (1867-8 for George Gilbert Scott Junior); figure carving on the elaborate reredos for St. Laurence, Stroud (architect George Gilbert Scott, additional carving by Emanuel’s brother Maurice Geflowski, 1872); and an extensive series of carvings for All Soul’s Chapel, Oxford comprising some 36 statues of apostles, prelates and Lancastrian notables, and 82 smaller statuettes (October 1873-October 1875, architect Sir George Gilbert Scott).

Scholars David Verey and Alan Brooks also attribute extensive architectural carving at Holy Trinity, Watermoor to Geflowski on behalf of George Gilbert Scott. However, this requires confirmation because the church was built between 1847-51, and so this might place Geflowski’s arrival in Britain earlier than previously recorded. £600-£800 95 59

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97 96 CLAIRE-JEANNE-ROBERTE COLINET (FRENCH, 1880-1950): A SMALL BRONZE STATUETTE OF A DANCER the nude female figure holding castanets, raised on a circular base signed ‘Cl JR Colinet’, over a stepped onyx plinth, 18cm high overall £500-£800 97 FRANZ IFFLAND (GERMAN, 1862-1935): A BRONZE FIGURE OF A NUDE GIRL the figure dancing and holding a staff, on a naturalistic base signed ‘F. Iffland’, raised on a marble cylindrical socle, 33cm high £300-£500 98 A LATE 19TH CENTURY NEAPOLITAN BRONZE FIGURE OF A MAN BY GEORGIO SOMMER, NAPOLI RAISED ON AN EBONISED PEDESTAL the figure in classical attire seated on a tree stump, a circular shield applied to the tree stump cast with an open mouthed mask and signed ‘G. Sommer Napoli’, dark brown patination, raised on a late 19th century ebonised and brass mounted triform pedestal with circular, beaded top, the bronze 52cm high, the stand 90cm high £400-£600 99 A PAIR OF LATE 19TH CENTURY ITALIAN BRONZE AND MARBLE RELIEFS OF MONUMENTS the reductions depicting monuments cast with winged cherubs centred by a military trophies with helmets, on oval alabaster plinths over Rosso marble bases, 15cm high (2) £100-£150

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100 100 A 19TH CENTURY FRENCH BRONZE BUST OF A NOBLEWOMAN depicted in the Antique style with a sash across her body and the bust cut at the shoulders, wearing an ornate diadem with a complex hairstyle arranged around her tiara, with parcel gilt highlights, raised on a waisted cylindrical socle, 34cm high £250-£350 101 † JUAN CLARA (SPANISH, 1875-1958): A PAIR OF EARLY 20TH CENTURY BRONZES OF CHILDREN MOUNTED AS BOOKENDS the first seated on a stool and putting on her booties, the second attempting to escape from a high chair, signed ‘Juan Clara’, both mounted on stained wood plinths designed as bookends, 28cm high x 15cm deep overall (2) £1,000-£1,500

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102 A PAIR OF LATE 19TH POLYCHROME PLASTER FIGURES OF A NORTH AFRICAN WATER CARRIERS in the style of Goldscheider, both in traditional dress and carrying an urn, raised on naturalistic bases, 70cm high (2) £800-£1,200 103 AFTER GUILLAUME COUSTOU THE ELDER (FRENCH, 1677-1746): A PAIR OF LATE 19TH CENTURY FRENCH BRONZE MARLEY / MARLY HORSES each rearing horse with a semi-clad male groom, on naturalistic base, mid brown patination, 48cm high (2) £1,200-£1,800

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105 104 A LARGE 19TH CENTURY CONTINENTAL CARVED FRUITWOOD FIGURE OF CHRIST the standing figure looking slightly downward and to dexter, his arms open and his drapery falling in numerous folds to the ground, raised on a rectangular plinth, 139cm high £1,000-£1,500 105 † JEFF JACOBS (MALINES, 1905-1979): A LARGE PLASTER BUST OF CHRIST the expressive face flanked by stylised hair and with canted shoulders, the base signed to the front ‘JEF JACOBS’, 74cm high This stylised bust of Christ is probably the maquette for the now lost marble that Jeff Jacobs produced for the convent of Bassenge in 1936. The marble is published in Engelen-Marx, ‘La Sculpture en Belgique à partir de 1830’, Louvain, 2006, vol. V, p. 931. £400-£600

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106 AN EARLY 20TH CENTURY GOLDSCHEIDER TERRACOTTA FIGURE OF A MAN WITH TIGER ENTITLED ‘ANIMUS ET VIS’ (SPIRIT AND POWER) MODELLED BY JELZESSEL LAVERQUE, NO. 3680 the semi-nude male figure wearing a helmet and holding a pitch fork, with a tiger beside him, on a shaped base inscribed ‘ANIMUS ET VIS’, signed ‘Laverque’, the back with the Goldscheider stamp and numbered 3680 and stamped ‘FABRIQUE ENAUTRICHE’, 74cm high £800-£1,200 *See page 2 for information regarding fees

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108 107 AFTER THE ANTIQUE: A LATE 18TH / EARLY 19TH CENTURY ITALIAN BRONZE MODEL OF THE MEDICI LION TOGETHER WITH FIVE OTHER LIONS the Medici bronze lion with his paw resting on a sphere, reddish brown patination, together with a small early 19th century bronze of the same form, a 19th century carved stone lion after Canova (weathered), a late 18th / early 19th century carved limewood reclining lion with traces of gilding, a 20th century plaster model of a lion and a Royal Rudolstadt porcelain model of a reclining lion, the bronze lion 21cm high x 33cm wide (6) The ancient Medici lion once stood in the garden of the Villa Medici and can now be seen on the steps of the Loggia dei Lanzi in Florence. Flaminio Vacca restored the antique marble lion in the 16th century and produced a pendant lion to create a pair. £500-£800 108 JULES MOIGNIEZ (FRENCH, 1835-1894): A BRONZE MODEL OF A HOUND DATED 1872 the spaniel type dog standing on a naturalistic base, signed ‘J. Moigniez’, on an oval plinth inscribed ‘HAGENAU 10.8.72’, and with a bronze plaque applied to the base and inscribed ‘RAMIN S/L GUMPERT’, 23cm high x 26cm wide £600-£800

109 109 GUIDO CACCIAPUOTI (ITALIAN, 1892-1953): A BRONZE MODEL OF THREE TURKEYS the male bird flanked by a pair of female turkeys, on a rectangular naturalistic base, signed ‘Guido Cacciapuoti’, dark brown patination, 16cm high x 23cm wide £300-£500 110 JEAN-FRANCOIS-ANTOINE BOVY (FRENCH, 1795-1877): A BRONZE RELIEF OF FRANCOIS ARAGO of circular form, depicted in profile, inscribed ‘FRANCOIS ARAGO XVIII CC’ and signed ‘A. BOVY’, 23cm diameter £200-£300 111 HENRI CHAPU (FRENCH, 1833-1891): A BRONZE RELIEF DEPICTING JOAN OF ARC CAST BY F. BARBEDIENNE of circular form, the young girl depicted in profile and with loose hair, inscribed ‘JEANNE D’ARC’, and signed ‘h. Chapu’ and ‘F. BARBEDIENNE FONDEUR’, 24cm diameter £200-£300

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112 A FINE EARLY 19TH CENTURY REGENCY PERIOD GILT AND PATINATED BRONZE MANTEL CLOCK OF SMALL SIZE SURMOUNTED BY A GRIFFIN in the Egyptian Revival style, the griffin raised on a plinth base with mounts depicting a Masonic staff with an eye flanked by a pair of urns, the sides with anchors flanked by urns, the reverse also with staff and urn reliefs, the griffin with his right paw resting on the gilt clock case, with white enamelled dial with Arabic numerals, the timepiece movement signed ‘HAMLEYS Duke Street St James’s No. 566 Watchmaker to HRH the Duke of York’, with balance wheel escapement, 14.5cm high The movement is ticking but not fully tested or guaranteed. £500-£800 113 A PAIR OF REGENCY GILT AND PATINATED BRONZE FIGURAL CANDELABRA each raised on a classical maiden stem supporting a pair of scrolling branches and surmounted by a feather crest, with urn shaped nozzles and foliate collars hung with beaded and prismatic glass drops, 27cm high (2) £300-£500 114 A FINE MID 19TH CENTURY ENGLISH GILT AND SILVERED BRONZE AND CUT GLASS VASE IN THE MANNER OF RUNDELL BRIDGE AND RUNDELL the naturalistic base modelled as a silvered swan amongst lilies and reeds, the faceted cut glass vase resting in the gilt bronze base, 31cm high Rundell Bridge and Rundell produced similar gilt and patinated bronze candlesticks modelled with swans after a design by William Bateman, and the present vase is a similar quality of workmanship to those produced by the firm. £300-£500

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115 A LATE 19TH / EARLY 20TH CENTURY FRENCH GILT TURQUOISE PORCELAIN FIGURAL GARNITURE the centrepiece in the form of a putto riding a swan, the garniture candlesticks in the form of putto holding cornucopia aloft emanating brass candle fittings and sconces, all with gilded detailing, the centrepiece with indistinct incised marks to base, the garniture candlesticks 28cm high (3) £300-£500 116λ A THIRD QUARTER 19TH CENTURY FRENCH ‘BOULLE’ STYLE TORTOISESHELL AND GILT BRONZE MOUNTED CLOCK GARNITURE the clock case of typical scrolling outline, with cut brass scrolling inlay, the twelve piece enamelled dial in a gilt mask, with Roman numerals, the twin train movement stamped ‘H&F PARIS 3777’, and ‘VINCENTI & CIE, MEDAILLE D’ARGENT 1855’, with outside countwheel striking on a bell, with sunburst mask pendulum, raised on a separate shaped plinth, the garniture tazzas with brass trellis-work to the tops and raised on four scrolling feet, the clock 35cm high including base (3) The clock is ticking but not currently striking, not fully tested or guaranteed. £400-£600

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117 A LATE 19TH CENTURY FRENCH GILT BRONZE AND TOLE PEINTRE CLOCK GARNITURE IN THE RENAISSANCE REVIVAL STYLE the clock case of rectangular form surmounted by a twin handled urn, decorated throughout with tole ware panels in the manner of enamel, with griffin terms and scrolling foliage, the dial with Roman numerals, the twin train movement striking on a bell, with pendulum, the matching garniture candelabra with three scrolling branches centred by a fourth, the clock 41cm high The movement is ticking but the strike needs attention, not fully tested or guaranteed. £800-£1,200 118 A LATE 19TH CENTURY PAINTED AND GILT METAL CLOCK GARNITURE in the Renaissance Revival style, the architectural case surmounted by a shell crest and with female herm figures to the front angles, raised on scrolling feet mounted on twin-headed swans, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel and silk suspension striking on a bell, the garniture candelabra with confirming decoration and each with three urn shaped nozzles, all raised on ebonised plinths, the clock 57.5cm high overall (3) The movement is winding, ticking and striking but lacking pendulum and not fully tested or guaranteed. £800-£1,200

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121 119 A FINE NAPOLEON III PERIOD GILTWOOD AND GESSO MARGINAL WALL MIRROR IN THE LOUIS XV STYLE of rectangular form with a pierced Rococo style cresting carved with C scrolls, flowers and centred by a cartouche, the marginal mirror plates with egg and dart decoration to the outer frame and beaded inner border, with acanthus scrolling mounts to the lower corners, 176cm high x 106cm wide £1,500-£2,000 120 A FINE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD MAHOGANY, MARBLE AND GILT BRONZE MOUNTED DRESSING TABLE the upright supports of baluster form raised on cylindrical plinths and surmounted by ormolu urn finials, flanking the pivoting oval mirror plate with ormolu laurel mounts, the slightly dished marble top over a single drawer, raised on scrolling legs and bronze paw feet, 153cm high x 83cm wide x 45cm deep £1,500-£2,000

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122 121 A LATE 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE FOUR GLASS MANTEL CLOCK in the Louis XVI style, surmounted by a twin handled urn, the thick bevelled glass panels decorated with relief cast mounts of ribbon-tied floral garlands and cornucopiae, on a plinth base and four toupie feet, the white enamelled dial with Roman numerals and Arabic five minute markers, the twin barrel movement striking on a bell, stamped ‘A.D. MOUGIN DEUX MEDAILLES’, with sunburst mask pendulum, The movement is winding, the escapement moving freely and striking when the hands are turned but not fully tested or guaranteed. £700-£1,000 122 A LATE 19TH / EARLY 20TH CENTURY FRENCH ROUGE GRIOTTE MARBLE AND GILT BRONZE FIGURAL MANTEL CLOCK the gilt bronze figure by Adrien Etienne Gaudez (French, 18451902), depicting a classical maiden holding a dove, raised on the outswept marble plinth over four scrolling gilt feet, the white enamelled dial with Arabic numerals and floral garlands, the twin barrel movement stamped ‘A.D. Mougin’, with outside countwheel striking on a bell, 46cm high £350-£450 *See page 2 for information regarding fees

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125 123 AN 18TH CENTURY GILTWOOD AND GESSO WALL MIRROR the frame of oval form with Rococo ornamentation, the shell and C scroll cresting over the ornate frame decorated with volute scrolls and cartouches, 115cm high x 87cm wide £600-£800 124 AN 18TH CENTURY ITALIAN GILTWOOD AND GESSO PIER GLASS the mirrored marginal plates within an ornate frame with arched upper section centred by a relief mask flanked by trellis work, C scrolls, foliage and flowerheads, terminating in scrolling acanthus leaves, 165cm high x 90cm wide £400-£600

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126 125 A LATE 19TH / EARLY 20TH CENTURY LOUIS XVI STYLE PORCELAIN AND ORMOLU CERCLE TOURNANT CLOCK modelled as a twin handled urn with removable domed lid with floral finial, on a fluted socle over a square plinth base, the porcelain body with pink floral trellis pattern, with a serpent trailing the urn, its protruding tongue functioning as the indicting hand to the rotating circular dials with enamelled Roman numerals for minutes and for hours, the single train, timepiece movement winding from within the urn, 22cm high The movement is winding and ticking but not fully tested or guaranteed. £1,200-£1,800 126 A LARGE LOUIS XVI STYLE GILT BRONZE MANTEL CLOCK the movement late 19th century, the case 20th century and modelled as an urn with twin satyr mask and scrolling serpent handles, on an acanthus cast foot over a shaped plinth base and toupie feet, the dial with Arabic numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, 55cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,000-£1,500 67

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127 A PAIR OF BELGIAN BLACK MARBLE AND ROSE QUARTZ OBELISKS of typical form, on stepped square bases, 34cm high (2) £600-£800 128 A THIRD QUARTER 19TH CENTURY FRENCH NAPOLEON III PERIOD MARBLE AND BRONZE FIGURAL CLOCK SIGNED ‘LEBLOIS, PARIS’ the Rouge Griotte and black marble oval and fluted case surmounted by a bronze figural group of three children representing music, mathematics and literature, the dial with gilt numerals signed ‘LEBLOIS BLVD BONNE NOUVELLE 27 PARIS’, the twin train movement with outside countwheel striking on a bell, with pendulum, 45cm high x 54cm wide The movement is winding, ticking and striking but not fully tested or guaranteed. £1,200-£1,800 129 A LARGE 18TH / 19TH CENTURY CHINESE SANG DE BOEUF GLAZED CERAMIC VASE WITH 19TH CENTURY FRENCH GILT BRONZE MOUNTS the red glazed vase of baluster form with long neck and everted lip, rim and top of neck repaired and mounted with an egg and dart ormolu mount, raised on a guilloche and foliate cast shaped plinth, 66cm high £800-£1,200 130 A 19TH CENTURY AUSTRIAN GILT BRASS ZAPPLER TYPE CLOCK OF MARITIME THEME modelled as an anchor over an oval base with rope twist mount, the white enamelled dial with Arabic numerals and brass pendulum mounted to the front, with single train timepiece movement winding from the front, 17cm high

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

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131 AN EXCEPTIONALLY FINE THIRD QUARTER 19TH CENTURY GILT AND SILVERED BRONZE AND ROUGE MARBLE FIGURAL CLOCK GARNITURE BY CHARPENTIER & CIE the clock decorated with a figure of Cupid reclining and holding a lyre, leaning against the arched case and raised on a marble plinth with gilt bronze mounts, the white enamelled dial with Roman numerals and Arabic five minute markers, signed to the centre ‘CHARPENTIER & CIE BRONZIERS PARIS RUE CHARLOT 8’, the twin train movement striking on a bell and stamped ‘CHARPENTIER FT DE BRONZES A PARIS 174’, with pendulum, the garniture candelabra with baluster bodies decorated with a continuous band of dancing maidens, issuing six branches centred by a straight seventh, all with squat nozzles, hung with gilt chains hung with orbs, the central nozzle surmounted by a candle snuffer surmounted by a model of a stork, the clock 46cm high x 60cm wide, the candelabra 77cm high (3)

This exceptional clock can be dated to between 1860 when the firm was based at 8 Rue Charlot, and 1870 when they became known as Lemerle-Charpentier & Cie. Widely considered to be one of the most reputable firms of bronziers in Paris, the firm manufactured a ‘Grande Horloge’ (monumental bronze clock) from a design by Frederic-Eugene Piat that was sold at Sotheby’s, New York, 3 November 1999, lot 514 ($222,500). They participated in the Paris Exposition Universelle of 1878, exhibiting clocks as well as other decorative works of art. A rouge Griotte marble and gilt bronze figural clock garniture by Lemerle-Charpentier was sold at Bonhams, London, 25 November 2009, lot 230 for £28,000. £12,000-£18,000

132 A LATE 19TH CENTURY GREY MARBLE AND GILT BRONZE MOUNTED LYRE CLOCK GARNITURE SIGNED ‘TIFFANY & CO’ in the Louis XVI style, the lyre clock of typical form with sunburst mask crest over rose garlands , the lyre frame with laurel mounts, raised on an oval plinth base, the white enamelled dial decorated with floral garlands and signed ‘Tiffany & Co.’, with Arabic numerals and Roman five minute markers, the twin train movement striking on a bell, with paste set, swinging pendulum which flanks the beaded

bezel, the matching garniture candelabra with conforming decoration, on baluster bodies over domed circular bases, with candle branches modelled as roses, also paste set, the clock 49cm high (3) For a similar lyre clock with knife edge suspension to the paste set pendulum see the Joseph M Meraux Collection of Rare and Unusual Clocks, Sotheby’s, 28 June 1993, lot 75. £5,000-£8,000

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133 A 19TH / 20TH CENTURY FRENCH EMPIRE STYLE GILT BRONZE AND PORTOR MARBLE MANTEL CLOCK the marble case surmounted by an ormolu mount of quiver of arrows and laurel wreath, flanked by a pair of classical maidens, one with a book, the other with a tablet, on a plinth base, the gilt bezel enclosing the white enamelled dial with Roman numerals with Breguet style hands, the twin train movement with outside countwheel and silk suspension striking on a bell, 43cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,200-£1,800

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134 A PAIR OF LATE 19TH CENTURY FRENCH LOUIS XVI STYLE GILT BRONZE CHENETS modelled as swagged urns surmounted by fruiting finials, on shaped bases with ribbon-tied portraits of a classical couple, the andiron supports with laurel and berry border, 33cm high x 32cm deep (2) £250-£350 135 A PAIR OF 19TH CENTURY GILTWOOD AND GESSO FIGURAL WALL BRACKETS the shaped shelf tops with egg and dart and beaded borders over the fern leaf backplates, each with a Bacchic putto emerging from the foliage, 40cm high x 31cm deep x 41cm wide (2) £400-£600

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136 A GEORGE III STEEL FENDER IN THE MANNER OF ROBERT ADAM TOGETHER WITH A SET OF STEEL FIRE TOOLS the fender with pierced, Vitruvian scroll bar with fluted square uprights surmounted by ringed urn finials, the 19th century steel fire irons comprising a shovel with pierced pan, tongs and poker, all with urn handles, the fender 152cm wide x 28cm high x 26.5cm deep (4) £300-£500 137 A PAIR OF REGENCY STYLE GILT BRASS AND COLOURED GLASS LUSTRE CANDELABRA modelled as lyres over stepped triform bases, issuing three branches with leafy collars, the whole hung with green, amber and amethyst glass grape shaped drops, together with a pair of similar wall lights modelled as baskets, fitted for electricity, 51cm high and 34cm high respectively (4) £200-£300 138 A PAIR OF EARLY 20TH CENTURY BRASS, CUT AND MOULDED GLASS LUSTRE CANDELABRA raised on stepped, shaped bases with rings stems issuing four scrolling branches with petal shaped drip pans and urn shaped nozzles, below four tiers of branches issuing faceted pear shaped pendants and flower head drops, with glass knopped and faceted stems, 57cm high (2) £300-£500

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139 A FINE PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE WALL LIGHTS in the Louis XVI style, the backplates cast as Bacchic masks flanked by C scrolls and foliage, each issuing a pair of acanthus wrapped branches terminating in urn shaped nozzles, 31cm high (2) £200-£300 139 140 A SET OF SIX LOUIS XV STYLE GILT BRONZE WALL LIGHTS the backplates cast with cartouches surmounted by urns and with rams masks, each issuing a pair of branches with leafy collars and foliate nozzles, adapted for electricity, 36cm high (6) £400-£600

141 A PAIR OF BACCARAT LOUIS XVI STYLE GILT BRONZE AND CUT GLASS WALL LIGHTS the backplates modelled with volute scrolls, acanthus leaves and fruiting finials, each issuing four long scrolling arms centred by a shorter fifth, with faceted glass drip pans and urn shaped nozzles, the branches hung with chains of beaded drops and pear shaped faceted pendants, the drip pans signed ‘BACCARAT’, the backplates 36.5cm high (2) £400-£600

140 (two of a set of six)

142 A SET OF FOUR EARLY 20TH CENTURY GILT BRONZE LOUIS XVI STYLE WALL APPLIQUES the backplates modelled with swagged urns and tapering stems terminating in fruiting bosses, each issuing a pair of scrolling branches with urn shaped nozzles, later adapted for electricity, with fabric shades, the wall lights 48cm high (4) £400-£600

143 A 20TH CENTURY DECALCOMANIA LAMP BASE in the Baroque style, the faceted body with domed top issuing the light fitment, raised on a circular foot with brass base, fitted for electricity, with silk shade, the lampbase 69cm high including fitment £150-£200

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144 AN 18TH CENTURY ITALIAN PAINTED WOOD TORCHERE STAND ADAPTED AS A LAMP BASE of Baroque style, the central stem with faceted tapering knops surmounted by a hexagonal stand, now adapted for an electric light nozzle, raised on a triform, scrolling base, 88cm high including electric nozzle £250-£350

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145 A LARGE PAIR OF MID 19TH CENTURY ITALIAN GILT BRONZE CANDELABRA the shafts decorated with laurel leaf mounts and supporting Rococo style receivers, each issuing five foliate scrolling branches terminating in pierced leafy collars and trumpet shaped nozzles, centred by a sixth similar shorter branch, raised on triform bases over three scrolling, acanthus cast feet, later drilled for electricity, 74cm high (2) £600-£800

146 A PAIR OF LATE 19TH CENTURY BRONZE LAMP BASES WITH GLASS SHADES the oil lamp bases with removable upper sections revealing the cylindrical reservoirs within, each with a pair of scrolling handles over a knopped foot and pierced, scrolling base, with frosted and fluted glass globular shades, 65cm high (2) £500-£800

147 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) £500-£800

148 A PAIR OF LOUIS XV STYLE BRONZE AND CUT GLASS WALL APPLIQUES the backplates modelled with acanthus and laurel leaves with fruiting bosses, each issuing two tiers of acanthus wrapped branches, with foliate collars and urn shaped nozzles, hung with strings of beaded drops and prismatic pendants, each with a single amethyst glass hanging sphere, the lights later fitted for electricity, 37cm high excluding faux candles, (2) £300-£500

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149 A THIRD QUARTER 19TH CENTURY FRENCH AMBOYNA, BRASS MOUNTED AND ABALONE INLAID DECANTER / LIQUOR BOX COMPLETE WITH DECANTERS AND GLASSES of serpentine form, the hinged rising lid inlaid with a brass cartouche with abalone inlay, opening to reveal the fitted interior with a removable gilt bronze mounted stand enclosing four decanters with stoppers and sixteen matching cut and etched clear and lustre glasses, 33cm wide x 28cm high £300-£500

150 A LATE 19TH CENTURY LOUIS XVI STYLE WHITE MARBLE AND GILT BRONZE MOUNTED LYRE CLOCK SIGNED ‘JULES GRAUX ET CIE’ the case modelled as a lyre with sunburst mask crest and laurel mounts, raised on a re-entrant cut, rectangular plinth over toupie feet, the white enamelled dial signed ‘JULES GRAUX ET CIE Bronzes d’Art PARIS’, with Roman numerals, the twin train movement striking on a bell, 55cm high Jules Graux et Cie exhibited at the 1878 Paris Exposition Universelle and were known for producing high quality bronze clocks, candelabra, statuettes and other furnishings.

Auction comparable: Sotheby’s London, 27 June 2007, lot 311. £1,000-£1,500

151 A MID 19TH CENTURY FRENCH GILT METAL AND PORCELAIN MOUNTED MANTEL CLOCK WITH GLASS DOME in the Louis XV style, the case with repousse decoration of shells, C scrolls and foliage, with vines and porcelain flowers, the white enamelled dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, the pendulum with repousse butterfly mount, raised on a gilt decorated wooden base, with an ebonised plinth with glass dome over, 45.5cm high, the dome 51cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £600-£800

152 A LATE 19TH CENTURY CRYSTAL GLASS CHANDELIER the circular metal frame supporting chains of beaded droplets and a tier of arrow headed lustres, with short protruding branches issuing glass flowerheads and supporting a further chain of glass drops, with a spherical glass boss below, later adapted for electricity, 60cm drop and 60cm diameter £600-£800

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153 A LATE 17TH / EARLY 18TH CENTURY EMBROIDERED STUMPWORK PANEL DEPICTING A PAIR OF LIONS the raised lions embroidered with gold thread, within a landscape of silk stitches of trees, foliage and rocks, with a crenellated castle in the background and a blue silk sky painted with a cloud, mounted in a later gilt and ebonised frame, the panel 41cm wide x 32cm high £500-£800 154 AN REGENCY PERIOD SILK AND STUMPWORK PICTURE DEPICTING THE JUDGEMENT OF SOLOMON embroidered in various coloured silk threads, King Solomon wearing a red cloak and seated on a throne, with a chequered floor and trees visible through the window in the background, mounted in a 19th century giltwood frame, the panel 51cm wide, 74cm wide x 62cm high including frame £300-£500 155 A 17TH CENTURY NEEDLEWORK BAND SAMPLER of silk stitches embroidered on linen, with an alphabet at the top and inscribed ‘MARTHA RICHARDSON’, above a portrait of a gilt flanked by a pair of fruit trees with rabbits beneath, over a band of carnations, a band of roses and a further band of stylised flowers, later mounted in an ebonised frame, the sampler 59cm x 23cm £300-£500 156 λ A 19TH CENTURY CARVED IVORY RELIEF AFTER THE ANTIQUE OF THE LAOCOON, MOUNTED IN A CARVED WALNUT FRAME the ivory relief of oval form, depicting Laocoon and his sons wrestling the serpent, signed indistinctly ‘NOREST’, mounted in a Renaissance Revival carved walnut frame, within a later gilt and glazed frame, the ivory relief 8cm high, the walnut frame 31cm high, the gilt frame 46.5cm high £300-£500

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157 A LATE 19TH CENTURY ITALIAN MAJOLICA CHARGER BY CANTAGALLI depicting a battle scene within a rocky landscape, within a yellow border, the reverse with Cantagalli cockerel and B, 48cm diameter £500-£800 158 A LATE 19TH CENTURY ITALIAN PIETRE DURE PANEL DEPICTING A MAIDEN her eyes downcast as she descends a flight of stairs, a lake and trees to the background, within a black marble slate surround, mounted in a later gilt rectangular frame, the panel 34cm high x 24.5cm wide £800-£1,200 159 A SMALL 18TH CENTURY ITALIAN GILTWOOD WALL MIRROR of rectangular form with marginal plates, surmounted by a ribbon tied crest centred by a further oval mirror plate, the frame with floral and foliate carving, the plates apparently original, 68cm high x 35cm wide £300-£500 160 A COLLECTION OF TWENTY TWO VARIOUS HARDSTONE EGGS AND SPHERES including two large malachite eggs, four of the largest raised on tapering cylindrical glazed ceramic stands inscribed ‘RICHMOND CLUB’, others on wooden stands, the largest egg 14cm high, the largest sphere 11.5cm diameter (22) £300-£500

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161 A PAIR OF 20TH CENTURY LIMOGES ENAMEL PANELS DEPICTING LANDSCAPES of rectangular form, the first depicting a blossoming tree beside a lake and cottage, signed ‘P. BONNET MF LIMOGES’, the second a lake with trees, signed ‘Fqure Limoges FRANCE’, both in moulded, rectangular frames, the first panel 17.5cm x 12.5cm (2) £400-£600 162 A 19TH CENTURY MINTON PORCELAIN ‘NEW VASE’, CIRCA 1838-40 of Rococo form with scrolling acanthus handles, the scrolling lip with gilt decoration over the long neck and urn shaped body, raised on a spreading faceted foot with acanthus corners, the pink ground with gilt decoration enclosing panels depicting exotic pheasants to one side and a floral spray to the other, with a cartouche below with further floral arrangements, 33.5cm high For a vase of the same shape, see Geoffrey Godden, Minton Porcelain of the First Period, pl. 122 £150-£200 163 AN IMPERIAL AMPHORA (AUSTRIA) GLAZED CERAMIC MODEL OF AN OTTOMAN HUNTER ON HORSEBACK carrying a rifle and a dagger, his white steed rearing over a naturalistic base, marked to the underside ‘IMPERIAL AMPHORA AUSTRIA 8. 224 32 G’, 46.5cm high £200-£300

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165 164 AN 18TH CENTURY OTTOMAN (GREEK) SILVER MOUNTED WOODEN CASKET of rectangular form, the openwork, pierced silver mounts decorated with a continuous pattern of flowers in a basket, flanked by rose garlands, with other decorative floral and foliate designs, on a red velvet ground, the swing handles also of floral and foliate design, the interior with purple silk and braided lining, the silver with marks, 42cm wide x 26.5cm deep x 17cm high

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For a comparable casket see Bonhams, London, 25 April 2017, lot 145. £800-£1,200 165 AN AMERICAN FOLK ART CARVED BISON SKULL the skull carved with three eagles with outstretched wings amongst pierced scrollwork, 54cm high £400-£600 166 A SMALL 17TH CENTURY FRUITWOOD AND IRON BOUND CHEST, PROBABLY FRENCH of rectangular form, with iron swing handles to the sides and riveted iron straps to the corners, with three locks to the front with original keys, with void interior, 59cm wide x 39cm deep x 36cm high £1,000-£1,500

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167 A MID 18TH CENTURY FRENCH WALNUT UPHOLSTERED OPEN ARM SETTEE the cream upholstery decorated with stylised floral sprigs, with scrolling open arms and raised on six cabriole legs terminating in pad feet, with undulating back, 153cm wide x 60cm deep x 104cm high £600-£800 *See page 2 for information regarding fees

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168 168 A SET OF FOUR GEORGE III LEAD GARDEN URNS mid/late 18th century, each decorated in relief with a pair of cartouches in the Rococo style, one depicting Venus surrounded by putti musicians and attendants, the other of Cupid in the guise of a putti astride a seahorse, the bodies and domed lobed feet with acanthus decoration, twin wyvern handles, each urn planted with a box ball, each 48cm high, 56cm wide Auction Comparable: Christies, London, 7 July 2015, The Country Home, Lot 23, an identical pair of urns with reputed provenance to Huntingdon Castle, Co. Carlow £500-£800

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169 A PAIR OF EARLY 19TH CENTURY PATINATED METAL CARRIAGE LAMPS of hexagonal form each with five glazed sides and a hinged metal side, surmounted by two tiers of decorative lambrequins and a crown, with metal brackets to apply to the wall, later adapted for electricity, 76cm high overall, 26cm deep from the wall when fitted (2) £300-£500

170 A PAIR OF 19TH CENTURY CARVED OAK CARYATID FIGURES LATER ADAPTED AS LAMP BASES in the 17th century Flemish style, depicting a male and female figure, their nude torsos terminating in a foliate scroll hung with floral garlands, with flat backs, raised on later stepped rectangular ebonised bases and fitted with brass electric nozzles, 97cm high overall including fitment (2) £300-£500 171 A PAIR OF REGENCY TOLEWARE CHESTNUT URNS of typical form, with lion mask ring handles and covers with acorn finials, raised on stepped oval plinths, painted with rural scenes, 33cm high (2) £250-£350

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172 A LATE 19TH CENTURY SWISS BURR WALNUT AND EBONISED MUSIC BOX BY B.H.A. STE. CROIX the case with brass handles to the sides, the lid opening to reveal the glazed lid to the large cylinder pin wheel and comb, with a paper label to the inside listing the twelve airs, inscribed ‘B.H.A. Ste. Croix Switzerland & London’, 68cm wide In working order but stop switch is not functioning. £500-£800

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173 A LATE 19TH CENTURY SWISS BIRD’S EYE WALNUT AND EBONISED ‘BELLS EN VUE’ MUSIC BOX possibly by Nicole Freres, the hinged and glazed dust cover opening to the 11 inch cylinder and three combs, with six bells in sight and a brass drum, 52cm wide x 26cm high £500-£800

174 A LATE 19TH CENTURY SWISS EBONISED AND MARQUETRY ‘BELLS IN VUE’ MUSIC BOX BY STE. CROIX the case inlaid with a floral sprig to the lid and with a painted strapwork motif to the front, the inside of the lid with a paper label listing the ten airs, the hinged and glazed dust cover opening to the cylinder with three additional bells with brass hammers cast as butterflies with enamelled decoration, 40cm wide x 20cm high The music box is working but not fully tested or guaranteed. £400-£600

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175 AN 18TH CENTURY FRUITWOOD THIRTY HOUR LONGCASE CLOCK SIGNED ‘JOHN BOOT SUTTON’ the plain case of small size, the hood with moulded pediment and three quarter columns with parcel gilt decoration, the 11” square brass dial with gilt pierced spandrels and date aperture, with nameplate inscribed ‘JOHN BOOT SUTTON’, the weight driven movement with anchor escapement striking on a bell, 186cm high £300-£500

176 A 19TH CENTURY MAHOGANY WHEEL BAROMETER BY P. TARONI, JERSEY of typical form with a swan neck pediment, the baluster shaped trunk with a mercury thermometer with silvered dial over the silvered and signed barometer dial with brass bezel, 98cm high £120-£180

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177 A GEORGE III JAPANNED RED AND GILT LACQUER LONGCASE CLOCK the break-arch hood surmounted by three ball finials and with three quarter columns to the front angles, with brass reticulated sound frets to the sides, the trunk decorated with flowers, a pagoda, Chinese figures and a galleon, the 12” brass dial with silvered boss engraved with an eagle to the arch, silvered Roman chapter ring and matted gilt centre, with chamfered date aperture and silvered subsidiary seconds dial, two twin train weight driven movement with anchor escapement striking on a bell, with pendulum and two weights, 227cm high £1,000-£1,500

178 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

179 A GEORGE III MAHOGANY LONGCASE CLOCK BY DANIEL DE ST. LEU, LONDON, WATCHMAKER TO THE QUEEN, CIRCA 1760 the break-arch hood with blind fret carving over the free standing fluted columns, the trunk on a plinth base and with arched door, the brass 12” break-arch dial with subsidiary strike / silent to the arch, Roman chapter ring with Arabic five minute markers and subsidiary seconds dial, with chamfered date aperture below the name plate signed ‘Dan De St. Leu WATCHMAKER TO HER MAJESTY LONDON’, the eight day weight driven movement striking on a bell, with pendulum and two weights, 234cm high

The movement is in working order but would benefit from a clean and service. £400-£600

Daniel de st Leu was appointed official Clockmaker to Queen Charlotte in 1765. He is listed in C.H. Baillie, ‘Watch and Clockmakers of the World’ vol. 1. as working 1753-97 and is known to have produced a very fine silver cased bracket clock for the Spanish court. £1,500-£2,000 79

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180 A LATE 19TH CENTURY GERMAN YEW, EBONISED AND ALABASTER AND ORMOLU MOUNTED MANTEL CLOCK the architectural case surmounted by a twin headed eagle and with eagle finials, raised on six alabaster columns with mirrored back and an alabaster and ormolu staircase supporting further gilt bronze figures, the white enamelled dial with Arabic numerals signed ‘Franz Leuwer, Bremen’ the twin barrel movement with outside countwheel striking on a coiled gong, stamped ‘LENZKIRCH 1 Million’, with sunburst mask pendulum, 65cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,800-£2,200

181 AN EARLY 19TH CENTURY AUSTRIAN STAINED AND PAINTED WOOD, ALABASTER AND GILT METAL GRANDE SONNERIE AND AUTOMATON CLOCK the portico type case with four alabaster columns supporting the drum case and raised on a plinth base with floral and fruiting gilt pierced mounts and mirrored back, the gilt mask with a pair of gilt figures of Roman centurions holding hammers, their arms moving to strike the bells as the clock strikes, the central Roman enamelled chapter ring above a subsidiary calendar dial, the triple train movement with rectangular plates and silk suspension striking on two coiled gongs, the pendulum with large pierced bob, 65cm high The movement is winding, ticking and striking and the figures moving, but not fully tested or guaranteed. £1,200-£1,800

182 A RARE 19TH CENTURY AMERICAN MAHOGANY WAGON SPRING SHELF CLOCK BY BIRGE & FULLER, CONNECTICUT the case of steeple form, the pointed arched upper section flanked by a pair of pointed finials, the hinged door with a painted glass panel, the lower section with a glazed panel to the door, over ball feet, the painted Roman dial with skeletonised centre revealing the signed movement ‘BIRGE & FULLER BRISTOL CONN’, the twin barrel movement striking on a coiled gong and powered by the two ‘patent accelerating lever springs’ mounted in the base with heavy chains connected to a pair of pulleys, the original paper label pasted to the backboard and printed with “PATENT.. / EIGHT DAY BRASS CLOCKS / SECOND FEBRUARY 1845 / BIRGE & FULLER”, with pendulum, with later purpose-made wooden travelling case, the clock 69cm high The movement is ticking and striking but not fully tested or guaranteed. £1,500-£2,000

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183 A LATE 18TH CENTURY AUSTRIAN EBONISED QUARTER CHIMING AND REPEATING TABLE / BRACKET CLOCK SIGNED ‘JOHAN BENTELE A SALZBURG NO. 650’ the case with shallow bell top surmounted by a Rococo style brass handle and flanked by flaming finials, the sides with arched, glazed panels, on a plinth base, the break-arch enamelled dial painted with a riverside scene, with Roman chapter ring and Arabic outer ring, the two day triple train movement striking the quarters on one bell and the hours on another, with pull repeat for the hours and quarters, the backplate signed ‘Johan Bentele a Salzburg No. 650’, with pendulum, 52cm high The movement is ticking and striking and the pull repeat is working but not fully tested or guaranteed.

Johann Bentele came from a distinguished family of clockmakers and created clocks for churches in Salzburg such as St Peter’s in 1780 as well as the cathedral clock in 1799. £800-£1,200

184 A LATE 19TH CENTURY ENGLISH EBONISED AND GILT BRASS MOUNTED TRIPLE FUSEE QUARTER CHIMING MANTEL CLOCK the case of arched form surmounted by flaming torch finials and with canted front angles with gilt foliate caryatid mounts, on acanthus scroll feet, the sides with handles over reticulated sound frets, the break-arch brass dial with gilt pierced spandrels, the arch with two silvered subsidiary dials for chime / silent and Cambridge chimes / chime on eight bells, the silvered Roman chapter ring with Arabic five minute markers, the substantial triple fusee movement chiming on a nest of eight graduated bells and a coiled steel gong, the backplate engraved with foliage, the pendulum similarly engraved, 41.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,200-£1,800

185 A LATE 19TH CENTURY FRENCH PATINATED BRASS REPOUSSE WALL CLOCK BY EUGENE FARCOT in the Renaissance Revival style, the rectangular frame ornamented with trailing foliage, grotesque masks and a shell cresting, with a wooden back panel, the protruding dial with enamelled Roman numerals and gilt hands, with gilt sunburst mask pendulum swinging from the single train timepiece movement and visible from beneath the dial, 55cm high The movement is winding and ticking but not fully tested or guaranteed.

Eugene Farcot was an important French clockmaker and inventor famous for his conical pendulum clocks. He exhibited numerous examples at the International Exhibitions throughout the late 19th century including a monumental example at the Exposition Universelle of 1878 which featured a huge pendulum hung from the ceiling with a bob 125cm in diameter. £400-£600

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186 λ A THIRD QUARTER 17TH CENTURY FRENCH TORTOISESHELL, GILT BRONZE AND EBONISED PENDULE RELIGIEUSE BY ISIDORE CHAMPION, PARIS the straight sided case surmounted by a caddy top raised on a cornice with pierced gilt fretwork to the front and sides and surmounted by two sets of flaming torch finials, the case with Corinthian pilasters to the front and glazed side panels, the velvet covered dial with silvered Roman chapter ring with numbered outer track for minutes, with a pierced scrolling mount below with central cartouche, the movement with rectangular plates united by six knopped pillars, now with anchor escapement and silk suspension (previously with verge) and with pendulum and numbered countwheel mounted on the backplate, the backplate signed ‘Isidore Champion A Paris’, striking on a bell mounted in the caddy top, 53cm high The movement is winding, ticking and striking but not fully tested or guaranteed.

Isidore Champion is listed in Tardy, ‘Dictionnaire des Horlogers Francais’ as working in Paris between 1663 and 1675. £2,000-£3,000

187 AN 18TH CENTURY ENGLISH BRASS LANTERN CLOCK SIGNED WM. GOODWIN, STOWMARKET of typical form, the strapped bell surmounted by an urn finial and supported on four further urn finials flanked by pierced scrolling frets, the Roman dial with a single hand and engraved with a central rose, the weight driven movement with anchor escapement striking on a bell, with pendulum and weight, 38cm high The movement is in working order but not fully tested or guaranteed.

William Goodwin of Stowmarket and London is listed in G.H. Baillie as apprenticed in 1675. £800-£1,200

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188 λ A FINE AND RARE MID 18TH CENTURY ITALIAN TORTOISESHELL AND GILT BRONZE QUARTER STRIKING TABLE / BRACKET CLOCK BY NICOLAUS MAGRI, PALERMO the case with raised pad top surmounted by a scrolling brass handle and four knopped finials, flanked by a further four finials, the cornice with gilt brass repousse panels of scrolling flowers, the sides with glazed panels within ebonised mouldings, raised on a plinth base over four gilt bronze models of recumbent lions, their coats finely chiselled and their tongues sticking out, the 9” square brass dial with gilt spandrels and strike / silent lever to the top, with silvered Roman chapter ring with Arabic five minute markers, the gilt repousee centre with mock pendulum aperture and brass alarm disc, the dial signed ‘Nicolaus Magri Fecit Panormi’, the movement with rectangular brass plates united by four ringed and knopped pillars, with verge escapement striking the quarters on two bells, with pendulum and winder, 57cm high with handle down The movement is currently ticking but not fully tested or guaranteed. £4,000-£6,000

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189 189 A RARE 19TH CENTURY GILT BRONZE AND CHAMPLEVE ENAMEL STRUT CLOCK WITH CENTRE SECONDS IN THE MANNER OF THOMAS COLE the case of typical form with three triangular protrusions and engraved strapwork decoration, with champleve enamel panels, the centre of the Roman dial with similar enamel decoration, the dial with centre seconds hand, the case with scrolling easel support, the timepiece movement winding from the back, 16.5cm high The movement is ticking but not fully tested or guaranteed. £600-£800

191 191 A 19TH CENTURY FRENCH PAINTED METAL, WOOD AND GILT BRONZE PENDULE D’OFFICIER CLOCK of rectangular form with domed top surmounted by a C scroll gilt bronze handle, the painted metal case decorated with roses, the sides and hinged back door with glazed panels, on four bun feet, the white enamelled dial with Roman numerals, the twin train movement stamped ‘AR BREVETE A PARIS’, with vertically mounted balance wheel escapement concealed behind the bell, striking the half hour and the hours, 16.5cm high with handle down

190 190 A LATE 19TH CENTURY FRENCH GILT BRONZE PENDULE D’OFFICIER CLOCK the typical case surmounted by a serpent handle over a caddy top with laurel mounts, on four lion paw feet, the white enamelled dial with Arabic numerals, the single train timepiece movement with lever platform escapement, 22.5cm high The movement is winding and ticking but not fully tested or guaranteed. £600-£800

192 192 A MID 19TH CENTURY FRENCH GILT AND PATINATED BRONZE SEDAN CLOCK of rectangular form with applied gilt flowerheads, the brass bezel enclosing the enamelled dial with Roman numerals, the single train, timepiece movement with vertically mounted balance wheel escapement, winding from the back, 17cm high The movement is ticking but not fully tested or guaranteed. £300-£500

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193 A RARE AND LARGE MID 19TH CENTURY ENGRAVED GILT BRASS STRUT CLOCK BY THOMAS COLE, LONDON NO. 1720 the frame case surmounted by a fleur de lys over canted angles and raised on scrolling feet, decorated with engraved interlaced strapwork, acanthus leaves and a cartouche, with a hinged easel support to the back and numbered 1720, with integral winding key and shuttered access to the vertically mounted balance wheel escapement, the silvered oval dial engraved with acanthus scrolls, strapwork and a basket of roses trailing around the chapter ring and to the centre, the roses and foliage enamelled in pink and green, the Roman numerals enamelled in blue to match the blued steel hands, the single barrel timepiece movement signed ‘THOS COLE LONDON’ and numbered 1720, 29.5cm high The movement is winding and ticking but not fully tested or guaranteed.

Provenance: This clock has been in the same English family for at least fifty years.

The unusual enamelled decoration to the dial may indicate that the clock was a special commission, perhaps for a Russian or continental client who admired this type of decoration.

Related Literature: J.B.Hawkins:’Thomas Cole and Victorian Clockmaking’ 1975, p. 75 Other examples at auction: See Bonhams, London, 16 December 2015, lot 118 for a similarly sized Thomas Cole strut clock, numbered 1316. £3,000-£5,000 85

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194 A LATE 18TH CENTURY EBONISED BALLOON SHAPED FUSEE TABLE / BRACKET CLOCK BY ROBERT BEST, LONDON the case surmounted by a flaming urn finial and with brass swing handles to the sides, with shaped and moulded arched base and carved and pierced back door, the silvered dial signed ‘Robt Best LONDON’, with Roman numerals and Arabic five minute outer track, the twin fusee movement with circular plates, the backplate engraved with stylised foliage, with adjustable pendulum stamped ‘BEST’, striking on a bell, 49cm high The movement is winding, ticking and striking but not fully tested or guaranteed.

Robert Best is listed in B. Loomes ‘Watchmakers and Clockmakers of the World Vol. 2’ as free of the Clockmakers’ Company in 1783 and was working throughout the first quarter of the 19th century. In 1790 he was at 4 White Lion Court and by 1798 he had moved to 4 Sweetings Alley. During the early 19th century his workshop was based at 1 Windsor Place, St Pauls. £2,000-£3,000

195 A FINE MID 19TH CENTURY ENGLISH MAHOGANY AND BRASS MOUNTED BALLOON SHAPED TABLE CLOCK BY RICHARD WEBSTER, CORNHILL, LONDON the balloon shaped case with satinwood chequer stringing and gilt brass lion mask ring handles to the sides, the bevelled glass door enclosing the gilt engraved dial with Roman numerals interspersed by flowers and with scrolling acanthus leaves to the centre, the single train fusee timepiece movement signed to the backplate ‘WEBSTER & SON Cornhill LONDON’, with pendulum, 33cm high For a mantel clock by Webster of Cornhill, London with similar gilt engraved dial please see Bonhams, London, 14 December 2016 lot 97 (£6,875). The Webster family of clockmakers had been working in London since 1675, and Richard Webster is listed as working at 43 Cornhill in 1850 until 1882. £2,000-£3,000

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196 A FINE AND RARE EARLY 18TH CENTURY WALNUT FUSEE TABLE / BRACKET CLOCK BY JOHN CRAMPTON, DUBLIN, CIRCA 1720, No. 496 the inverted bell top surmounted by a brass ringed and knopped swing handle, the sides with arched glazed panels, the front door of break-arch form with fruitwood and ebonised stringing, raised on a plinth base and bracket feet, the six inch brass break-arch dial with gilt putto mask spandrels, silvered Roman chapter ring with Arabic five minute markers, the Roman numerals interspersed with acanthus motifs, the gilt matted centre signed ‘Jon Crampton Dublin 496’, with an inactive dummy winding hole beside the proper winding hole, with a chamfered date aperture to the arch flanked by engraved foliage, the single fusee timepiece movement with rectangular plates united by four ringed and knopped pillars, with verge escapement, the backplate signed ‘Jon Crampton Dublin 496’, and engraved with long floral tendrils and a foliate border, with pendulum, 42cm high The movement is winding and ticking but not fully tested or guaranteed.

Previously with pull repeat on a bell, now lacking.

John Crampton is listed in B. Loomes, Watchmakers & Clockmakers of the World, Vol 2. as free of the Clockmakers Company to work as a master clockmaker in 1704. He was known to have had his workshop at Dame St at this time, and was still working in 1732 when he married Mary Booth on 20th July in St Catherine’s church. The fruitwood and ebonised stringing to the case and the dummy winding holes to the break-arch dial are typical features of early 18th century Irish clockmaking. The dummy winding hole provides visual balance and gives the illusion of a fully striking movement.Table clocks of this type from Ireland are rare survivors, this example of small, easily portable size is typical as most were produced as timepieces rather than striking clocks, with a pull repeat so that the strike did not disturb during the night but the owner could find out the time without having to light a candle. £3,000-£5,000

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198 197 A MID 19TH CENTURY ENGLISH OAK FUSEE BRACKET / TABLE CLOCK SIGNED ‘WEBSTER, QUEEN VICTORIA STREET, LONDON’ NO. 16089 the case with sarcophagus top over glazed sides and plinth base, the 8” silvered brass dial with Roman numerals and scrolling engraved spandrels, the substantial twin fusee movement with anchor escapement striking on a coiled steel gong, the backplate also signed ‘Webster, Queen Victoria Street, London’, the pendulum with adjustable heavy cylindrical bob, 48cm high The movement is winding, ticking and striking but not fully tested or guaranteed.

Provenance: This clock has been in the same English family for at least fifty years. £800-£1,200 198 A REGENCY ROSEWOOD AND BRASS MOUNTED FUSEE MANTEL CLOCK SIGNED BENTLEY & BECK, CORNHILL LONDON the case with carved frets to the sides, with a dentil moulding over a plinth base, on four brass ball feet, with a brass campaign style handle to the top, the painted dial with Roman numerals, the twin fusee movement with circular plates and anchor escapement striking on a coiled steel gong, the backplate signed ‘Bentley & Beck, Cornhill, LONDON’, with pendulum, 27cm high The clock strikes when the hands are turned but not fully tested or guaranteed.

Bentley and Beck are listed in G.H. Baillie as working circa 1815-1824. £400-£600

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

Provenance: A private London collection. £300-£500

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200 A FINE AND RARE EARLY 18TH CENTURY EBONY VENEERED QUARTER REPEATING TABLE / BRACKET CLOCK BY DANIEL QUARE AND STEPHEN HORSEMAN, LONDON, CIRCA 1721-1724 the inverted bell top surmounted by a brass baluster turned handle over arched rectangular glazed side panels and a plinth base and block feet, the front and rear doors with pierced quadrants, the front door with gilt brass stylised mask escutcheons, the 6.5 inch break-arch brass dial with gilt mask spandrels and silvered Roman chapter ring with Arabic five minute outer track, the gilt matted centre with oval name plate signed ‘Quare & Horseman London’, above the mock pendulum aperture, with silvered subsidiary dial to the arch for date of the month, the single fusee timepiece movement united by five knopped and ring turned pillars with verge escapement, the pull cord repeating the hours on a bell and the quarters on a further smaller bell, the backplate finely engraved with scrolling acanthus leaves and centred by a vase of flowers over the signature ‘Quare & Horseman LONDON’, flanked by a pair of winged herms, with pendulum, winder and two case keys, 46cm high The clock movement is ticking and the pull repeat is working but not fully tested for timekeeping or guaranteed.

Daniel Quare (c.1649-1724) was first admitted to the Clockmaker’s Company in London as a Brother on 3rd April 1671. He hailed from Somerset but by 1686 was working at Exchange Alley, London and throughout the 17th century his reputation as a master clockmaker grew, culminating in a request from King William III that he accept the post of King’s Watchmaker.

However Quare being a Quaker, was unable to accept the prestigious post as his religion meant he could not swear the necessary oath. This refusal did not seem to impede on his success and William III still commissioned him to produce a repeating watch and a year-going longcase clock which is still installed in the king’s bedroom at Hampton Court Palace. In January 1701 Quare took on a young apprentice named Stephen Horseman who was also a Quaker. Horseman married Quare’s niece Mary Savage in 1712, three years after being given his freedom from the Clockmakers Company so that he could set up his own firm. However in around 1721 Horseman went into partnership with Quare at the workshop in Exchange Alley, and the two worked together until 1724 when Quare died. Horseman then ran the firm until 1730 when he was declared bankrupt. £25,000-£35,000

Detail

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201 A QUEEN ANNE PERIOD EBONISED AND BRASS MOUNTED QUARTER REPEATING BRACKET / TABLE CLOCK SIGNED J. LOWNDES LONDON the case, part late 17th / early 18th century and with later additions, with domed top surmounted by a foliate cast, swing handle flanked by four bud, spire finials and with a pierced gilt foliate mount, on a plinth base, the eight inch square brass dial with gilt putto spandrels and silvered Roman chapter ring with Arabic five minute markers signed ‘J. Lowndes London’, with gilt matted centre with mock pendulum aperture, ringed winding squares (one dummy winding square) and chamfered date aperture with engraved surround of a basket of flowers flanked by a pair of doves, the single fusee timepiece movement with ringed and knopped pillars uniting the rectangular plates, with replaced verge ‘scape wheel and pallets, with pull repeat striking the hours and quarters on two bells, the backplate engraved throughout with scrolling foliage and acanthus leaves, with pendulum.

The movement requires attention and is not currently ticking but the repeat work is in working order.

Jonathan Lowndes is recorded as working At the Dial in Pall Mall, London. He was a member of the Clockmakers’ Company from 1680 to 1710. £2,000-£3,000

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202 A FINE AND RARE 19TH CENTURY MAHOGANY TWO DAY MARINE CHRONOMETER OF SMALL SIZE BY ARNOLD & DENT, LONDON, NO. 848, CIRCA 1836 the three piece case with hinged lid opening to the glazed viewing panel, also hinged and with original case key, with sides with brass swing handles, the front with a circular disc numbered ‘848’, the chronometer mounted in a brass bowl with gimbals and gimbal lock, with original winding key, the reverse of the brass cover with hinged winding hole cover, the 3.25 inch silvered dial signed ‘ARNOLD & DENT 84 Strand London No. 848’, with subsidiary dials for running seconds and power reserve running from 0 – 48 hours, the movement with detent escapement and temperature compensated balance, 14.5cm wide x 14.5cm high The movement is currently running but not fully tested or guaranteed.

For a comparable Dent chronometer of small size at auction see Sotheby’s, London, 25 April 2007, lot 8.

John Roger Arnold and Edward John Dent were in partnership between 1830 and 1840. £3,000-£5,000

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203 AN EARLY 20TH CENTURY MALACHITE AND SILVERED METAL MOUNTED DESK CLOCK SIGNED ‘TIFFANY & CO.’ of rectangular form with a plinth base, with pierced scrolling silvered metal mounts to the corners and sides, the hinged back door with similar decoration, the signed, silvered dial with Arabic numerals, the timepiece movement winding from the back and stamped ‘ANGELUS 15’ and numbered ‘134752’, 16.5cm high The movement is winding and ticking but not fully tested or guaranteed. £800-£1,200 204 AN EARLY 20TH CENTURY SWISS SILVER SINGING BIRD BOX the rectangular box decorated with ribbon tied floral garland mounts, stamped 900 twice, with a sliding switch to activate the oval hinged lid opening to reveal the singing bird with coloured plumage rotating and flapping its wings and moving its beak, appearing from a pierced grill, 10cm wide x 4.5cm high The movement is in working order but not fully tested or guaranteed. £1,800-£2,200 205 AN EARLY 20TH CENTURY FRENCH WHITE METAL AND LAPIS LAZULI DESK CLOCK BY GUSTAVE KELLER FRERES, PARIS of rectangular plinth form, the silver coloured metal (unmarked) mounts stamped ‘G. KELLER’ twice and with G.K. initials within a lozenge, the white enamelled dial also signed ‘G. KELLER PARIS’, the single train movement winding from the underside, 11cm high

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

For a similar lapis lazuli veneered clock by Gustave Keller, see Sotheby’s, New York, 1 December 2001, lot 17. £600-£800

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206 AN EARLY 20TH CENTURY ART DECO PERIOD GLASS AND CHROME ELECTRIC CLOCK BY LEON HATOT, PARIS (ATO), NO. 76853 the bevelled edged glass dial with pierced Arabic chrome chapter ring, the skeletonised centre revealing the movement signed ‘ATO’, the reverse stamped ‘STE AME DES ETTS LEON HATOT FABRICANTS PARIS MADE IN FRANCE’ and numbered 76853, the inside of the chrome back cover with paper label with instructions on how to fit the battery, the clock raised on a Belgian Black marble stepped rectangular plinth, 33cm high

209 AN EARLY 20TH CENTURY GILT BRASS MINIATURE CARRIAGE CLOCK in the Renaissance Revival style, the case with foliate borders and scrolling handle, the corners with caryatids, the silvered dial with Arabic numerals, the single train timepiece movement winding from the back, 12cm high

In working order but not fully tested or guaranteed. The owner employed a clock specialist to make some minor adjustments to the battery terminals to accept a modern D shape battery. £700-£900

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

207 A 1970’S JAEGER LE COULTRE LACQUERED BRASS ATMOS CLOCK NO. 433357 of typical form, the canted case with hinged front door enclosing the movement wound by changes in air pressure, the skeletonised circular dial with Arabic numerals and applied gilt batons, the movement signed ‘JAEGER LECOULTRE ATMOS SWISS MADE’ signed to the underside ‘LECOULTRE & CIE METAL CALIBRE 526-6 SWISS’, with a brass plaquette now detached from the front inscribed ‘KWJ FROM HIS FRIENDS AT HOWDENS APRIL 1976’, front door glass panel is loose, 22cm high £300-£500 208 A FRENCH LOUIS PHILIPPE PERIOD ROSEWOOD AND FRUITWOOD MARQUETRY AND GILT BRONZE MOUNTED PORTICO CLOCK of architectural form, the four free standing columns with finely tooled gilt capitals decorated with anthemions, on a plinth base, the white enamelled dial with Roman numerals and decorative Rococo style bezel, the twin train movement stamped ‘Japy Freres Medaille d’or’, with outside countwheel striking on a bell and bi-metallic, gridiron pendulum with ornate gilt bob, 45.5cm high £150-£200

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

The clock is ticking but not fully tested or guaranteed. £300-£500 211 A LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK BY DUVERDRY & BLOQUEL the case with three quarter columns to the corners and surmounted by a pierced shaped scrolling handle, on four bun feet, the white enamelled dial with Roman numerals, the single barrel timepiece movement with lever platform escapement, with a lion in profile trademark stamp for Duverydry & Bloquel, together with the original velvet and silk lined travelling case, the clock 15cm high The movement is winding and ticking but not fully tested or guaranteed.

Related Literature: C. Allix ‘Carriage Clocks’, 1981 for the Duverdry & Bloquel lion stamp. £200-£300 212 A SMALL GEORGE III STYLE WALNUT AND BRASS MOUNTED BRACKET / TABLE CLOCK WITH MOONPHASE the case of break-arch form with brass handle over, the break-arch dial with moonphase to the arch, silvered Roman chapter ring and gilt matted centre with nameplate inscribed ‘Thomas Smith London’, the twin barrel movement with anchor escapement striking on a bell, with pendulum, 32.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £150-£200 93

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213 213 A LATE 18TH CENTURY EBONISED AND GILT BRASS MOUNTED FUSEE TABLE CLOCK OF SMALL SIZE SIGNED ‘DESBOIS & WHEELER’ the case of arched form surmounted by a pagoda top with ball finial, raised on bracket feet, the front with a pierced brass sound fret, the enamelled dial signed ‘DESBOIS & WHEELER GRAYS INN PASSAGE’, the single fusee timepiece movement with pendulum, 33cm high The movement is winding and ticking but not fully tested or guaranteed. £300-£500 214 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD PATINATED BRONZE MANTEL CLOCK SIGNED ‘LEROY & FILS, HGERS DU ROI A PARIS’ the case of narrow pedestal form surmounted by a twin handled urn, the front cast in relief with a figure of Chronos, with a gilt foliate bezel enclosing the silvered dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, signed ‘Pons Medaille d’argent 1823’ and ‘AG’ with pendulum, 34cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500

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214 215 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 The movement is ticking and striking but not fully tested or guaranteed. £300-£500 216 A MID 19TH CENTURY MAHOGANY WALL CLOCK SIGNED ‘JOSEPH SEWILL’ WITH LATER MOVEMENT the typical case with hinged doors to the side and underside, the brass bezel opening to the painted 10 inch dial with Roman numerals, the movement replaced with a late 19th century Winterhalder and Hofmeier twin barrel movement with anchor escapement striking on a coiled gong, with pendulum, 33cm high

215 217 A 19TH CENTURY FRENCH GILT BRONZE CARTEL CLOCK in the Louis XVI style, the case modelled as a lyre hanging from a swagged ring and with laurel mounts and a floral boss, the white enamelled dial with Roman numerals and Arabic five minute markers, the movement replaced with a Smith’s battery operated movement, 76cm high £150-£200 218 A GEORGE III STYLE WALNUT AND BRASS MOUNTED BRACKET / TABLE CLOCK WITH MOONPHASE the case of break-arch form with brass handle over, the sides with pierced carved frets, the break-arch dial with moonphase to the arch, silvered Roman chapter ring and gilt matted centre, the twin barrel movement with anchor escapement striking on a coiled gong, with pendulum, 42cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £150-£200

The movement is winding, ticking and striking but not fully tested or guaranteed. £150-£200

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219 THREE VICTORIAN LEATHER BOUND PHOTOGRAPH ALBUMS FITTED WITH MUSICAL BOXES the leather bound albums with gilt tooled decoration and brass clasps, half of the album with pages and some with Victorian photographs, the other half of each album fitted with a music box movement with a comb playing a cylinder, the albums 30cm x 24cm x 6cm

221 A GEORGE III MAHOGANY AND SATINWOOD STRUNG STICK BAROMETER BY WARNER, LONDON the case with broken-arch pediment centred by a brass finial over the glazed and hinged door to the silvered register plate, signed ‘Warner London’ and with thermometer, the mercury filled tube terminating at the moulded cistern cover, 96cm high

The music box movements all in working order but not fully tested or guaranteed. £300-£500

Provenance: This barometer has been in the same English family for at least fifty years. £500-£800

220 A MID 19TH CENTURY FRENCH ORIENTALIST PORCELAIN CLOCK BY CHARLES A PARIS the case modelled as a Chinese lady reclining on the Rococo style clock case, her feet resting on a cushion, raised on a plinth base decorated with a floral spray and acanthus leaves, the white enamelled dial with Roman numerals signed ‘CHARLES A PARIS’, the twin train movement with silk suspension striking on a bell, also signed ‘J. CHARLES A PARIS’, 41cm high £400-£600

222 No lot 223 A 19TH CENTURY OAK STICK BAROMETER BY NEGRETTI & ZAMBRA, 1 HATTON GARDEN, LONDON of typical form, with signed and engraved ivory dial, visible mercury tube and turned cistern cover, 89cm high £100-£150

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230 224 A 19TH CENTURY FRENCH BRONZE MODEL OF A PEASANT WITH A MULE the rotund man wearing a hat and leading a reluctant mule along a naturalistic oval base, dark brown patination, unsigned, 18cm wide x 13cm high £100-£150 225 AUGUSTE MOREAU (FRENCH, 1834-1917): A SMALL BRONZE MODEL OF A PUTTO SAILING the winged cherub seated in a small sail boat with waves lapping at the sides, signed to the reverse ‘Aug Moreau’, raised on a Maurin Green marble plinth, 20cm high overall £200-£300 226 A FIRST HALF 20TH CENTURY BRONZE FIGURE OF A GIRL WITH HER DOG, SIGNED ‘J. FAES’ the standing girl embracing the seated hound, mid brown patination, raised on a verde antico marble rectangular plinth, 28cm high £300-£500 227 ÉTIENNE-HENRI DUMAIGE (FRENCH, 1830-1888): A SMALL BRONZE STATUETTE OF A PUTTO the dancing figure playing pipes, on a waisted and stiff-leaf cast square plinth, dark brown patination, signed ‘Dumaige’, raised on a Rouge Griotte marble plinth, 15cm high £100-£150 228 A SMALL LATE 19TH CENTURY TWO TIER CRYSTAL GLASS CHANDELIER hung with two tiers of arrow-head lustres, later fitted with a single electric nozzle, 43cm drop including fitments £200-£300 96

229 A PAIR OF REGENCY STYLE SILVERED BRASS AND GLASS LUSTRE CANDELABRA raised on dome feet, one with an inverted baluster stem the other with a diamond cut baluster stem, each with five branches below two tiers of branches hung with chains of beaded drops, surmounted by a spire finial, parts 19th century, 75cm high (2) £200-£300 230 A LARGE AND IMPRESSIVE NAPOLEON III PERIOD GILT BRONZE FIGURAL MANTEL CLOCK GARNITURE BY HENRI PICARD AND RAINGO FRERES, PARIS the ornate case decorated with a pair of reclining putti, one holding a fish the other a bunch of grapes, the scrolling plinth base set with a relief of Bacchic putti and with foliate mounts, surmounted by volute scrolls and reeds, the white enamelled dial with Roman numerals and Arabic five minute markers, signed ‘RAINGO FRERES A PARIS’, the twin movement with outside countwheel striking on a bell, with pendulum, with matching figural lamp bases, each modelled as a putto holding an acanthus wrapped torch and raised on reeded, spreading plinth bases, signed to the reverse ‘PICARD’ the clock 77cm wide x 53cm high, the lamps 53cm high (3) The movement is ticking when wound but not fully tested or guaranteed.

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

For another example of a clock by Picard and Raingo Freres see Bonhams, Los Angeles, 10 July 2013 lot 4126. £6,000-£8,000

*See page 2 for information regarding fees

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231 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE CANDELABRA in the Renaissance Revival style, the cylindrical stems cast with strapwork and floral motifs and issuing a central urn shaped nozzle flanked by three scrolling branches also terminating in urn shaped nozzles, raised on an acanthus wrapped base over a triform plinth with scrolling cartouche form feet, 56cm high (2) £800-£1,200 232 JOSEPH D’ASTE (ITALIAN, ACTIVE 1905-1935): A LARGE BRONZE GROUP OF FOUR PUTTI WITH A GOAT ‘LE BOUC TRAQUE’ on a naturalistic base, signed to the reverse ‘J. D’Aste’, 58cm wide x 30cm high £800-£1200 233 AN EARLY 20TH CENTURY ALABASTER BUST OF A MAN looking to dexter and wearing a jacket and tie, on a square spreading marble plinth, 40cm high overall £150-£200 234 A LATE 17TH / EARLY 18TH CENTURY ITALIAN BRONZE CARYATID FIGURE OF MERCURY wearing his winged hat and holding a purse in his left hand, his drapery secured by a sash tied across his body, terminating in a tapering support with trailing bell flowers and acanthus leaves to the base, the back hollow and with initials ‘HPR’, probably a mount from a piece of furniture, 24.5cm high £300-£500

231 235 A 19TH CENTURY FRENCH / ITALIAN BRONZE FIGURE OF VENUS ARRANGING HER HAIR AFTER THE CIECHANOWIECKI MASTER the standing semi-nude figure holding sections of her long hair, her drapery tied below her waist and falling to the floor revealing her toes, mid brown patination, 27cm high The so-called Ciechanowiecki Master was a 17th century sculptor, probably working in Rome and strongly influenced by classical sculpture and the masters of the previous generation. £400-£600

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

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

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

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

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

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

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

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

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

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

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

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

Under no circumstances can the Buyer cancel the sale.

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

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

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

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

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

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

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

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

The 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 WN -+ ;\IVLIZL =3 >)< _QTT JM KPIZOML WV \PM J]aMZ[¼ 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 XTIKML ]VLMZ \PM <MUXWZIZa )LUQ[[QWV ZMOQUM 1UXWZ\ >)< Q[ XIaIJTM I\ WV \PM PIUUMZ XZQKM >)< I\ _QTT JM ILLML \W \PM J]aMZ¼[ premium but will not be shown separately on the invoice.

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1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show [I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

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

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

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

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

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

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

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

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

! 4W[[ WZ ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM [ITM +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT /WWL[ QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +]T\]ZIT OWWL[ UIa JM []JRMK\ \W QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ =VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s ^IT]M M`KMML[ \PM -= \PZM[PWTL =VLMZ =3 4I_ I TQKMVKM UIa IT[W JM required for intra-EU trade.

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

The Buyer must be aware that certain countries prohibit the import of

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

Please be aware that all Lots marked with the symbol Æ&#x20AC; IZM []JRMK\ \W +1<-; ZMO]TI\QWV[ 4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them.

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

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

7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M *W\P -]ZWXMIV =VQWV IVL =3 4QKMVKM[ UIa JM ZMY]QZML [QU]T\IVMW][Ta NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining Â&#x152; 1ZZILQI\QWV â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the

OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone.

1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only.

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

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

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

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

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

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

According to The Furniture and Furnishings (Fire Safety) Regulations ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements

Chiswick 5th December Works of Art pages.qxp_Layout 2 08/11/2018 14:45 Page 102

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: 1V W]Z WXQVQWV I _WZS Ja \PM IZ\Q[\ ?PMV \PM IZ\Q[\¼[ 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" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja \PM artist, but less certainly as to the authorship expressed than in the preceding category. ;\]LQW WN 25? <]ZVMZ" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja IV 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\QÃ&#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" 1V W]Z WXQVQWV I _WZS Ja I painter working in the artistâ&#x20AC;&#x2122;s style, but not necessarily his pupil.

6 Manner of JMW Turner: 1V W]Z WXQVQWV I _WZS QV \PM [\aTM WN \PM artist and of a later date.

7 After JMW Turner: 1V W]Z WXQVQWV I KWXa WN IVa LI\M WN I SVW_V work of the artist.

8 <PM \MZU »[QOVML¼ IVL WZ »LI\ML¼ IVL WZ »QV[KZQJML¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV IZM NZWU \PM PIVL of the artist.

9 <PM \MZU »_Q\P [QOVI\]ZM¼ IVL WZ »_Q\P LI\M¼ IVL WZ »_Q\P QV[KZQX\QWV¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV have been added by another hand than that of the artist.

10 Pictures are framed unless otherwise stated.

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;.

12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM Ã&#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 bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of IV »IKKMX\IJTM¼ Ã&#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.

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

14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyerâ&#x20AC;&#x2122;s prior consent.

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

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ ?PMV LMITQVO _Q\P )[QIV )Z\[ IVL UWZM [XMKQÃ&#x2026;KITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must JM I_IZM WN QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ QV IKKWZLIVKM _Q\P +1<-; Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QÃ&#x2026;KI\M[ UIa JM ZMY]QZML >MZQÃ&#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;«Ùºâ&#x20AC;¬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\ML WZ QUXIQZML I[ I ZM[]T\ 16. AMENDMENTS

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

6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I »NWZOMZa¼ Q[ LMÃ&#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[

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 JMVMÃ&#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.

Chiswick 5th December Works of Art pages.qxp_Layout 2 08/11/2018 14:45 Page 103

SPECIALISTS

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

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

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

Inez Flynn, Specialist QVMb ÆaVV(KPQ[_QKSI]K\QWV[ KW ]S

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

Lissa Holmes, Specialist lissa.holmes@chiswickauctions.co.uk PRINTED BOOKS & MANUSCRIPTS

Clive Moss, Head of Department clive.moss@chiswickauctions.co.uk

Andrew Kerr, Specialist andrew.kerr@chiswickauctions.co.uk

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

Nicholas Worskett, Specialist nicholas@chiswickauctions.co.uk

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

Chiswick 5th December Works of Art pages.qxp_Layout 2 08/11/2018 15:01 Page 104

SALE CALENDAR

DECEMBER

06

THURSDAY Urban & Contemporary Art

11

TUESDAY Winter Jewels Designer Gifts Antiquities & Tribal Art Interiors & Design

12

WEDNESDAY Modern & Post-War British Art

JANUARY

22

TUESDAY Ceramics & Glass Rugs & Carpets Interiors & Design

23

WEDNESDAY Printed Books & Manuscripts

28

MONDAY Arms, Armour & Militaria

FEBRUARY

12

TUESDAY Jewellery Watches Runs & Carpets

Chiswick 5th December Works of Art covers.qxp_Layout 1 08/11/2018 14:59 Page 2

Chiswick 5th December Works of Art covers.qxp_Layout 1 08/11/2018 14:59 Page 1

Fine European Works of Art & Clocks 5 December 2018

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

Fine European Works of Art & Clocks London 5th December 2018