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Fine European Works of Art & Clocks 6 June 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 6th June 2018


SALE CALENDAR

JUNE

12

TUESDAY

British & European Fine Art with Portrait Miniatures

13

WEDNESDAY

Wine & Spirits

19

TUESDAY

Interiors & Design Silver & Objects of Vertu

20

WEDNESDAY

Post-War & Contemporary Art Urban Art

26

TUESDAY

Summer Jewels Designer Handbags & Fashion

27

WEDNESDAY

Antiquities & Tribal Art

28

THURSDAY

Modern & Post-War British Art

JULY

03

TUESDAY

Interiors & Design Ceramics & Glass

10

TUESDAY

20th Century Design


SPECIALIST

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

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IMPORTANT INFORMATION

CONDITION OF LOTS

CITES

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.

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


Fine European Works of Art & Clocks

Wednesday 6th June 2018, 13.00

VIEWING AT SOUTH KENSINGTON lots marked SK only Monday 21 May - Wednesday 30 May

VIEWING AT CHISWICK full sale Friday Saturday Sunday Monday Tuesday Wednesday

1 June 2 June 3 June 4 June 5 June 6 June

12.00 - 18.00 11.00 - 17.00 11.00 - 17.00 10.00 - 18.00 10.00 - 18.00 10.00 - 13.00

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

Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Front cover: Lot 75 Back cover: Lot 53 Inside Front cover: Lot 260 Page One: Lot 178


1 AN IMPORTANT LATE 15TH CENTURY ITALIAN CARVED SANDSTONE BUST OF A BEARDED MAN, CIRCLE OF ANGELO DI GIOVANNI DA VERONA (ITALIAN, 1437-1508) the elderly sage with balding head, the back of his head carved with tight curls, his long beard terminating in two distinct sections and carved with scrolling ringlets, his eyes downcast and lips slightly parted, with furrowed brow, wearing a classical toga secured at his right shoulder, the back roughly hewn, 59cm high The distinctive tightly curled beard, expressive facial features and furrowed brow are all characteristics that are also visible in the carved stone figure of Saint Anthony Abbot in the Church of S. Lorenzo, Vicenza attributed to Angelo di Giovanni da Verona. The St Anthony is part of a carved stone relief featuring the Virgin and Child and Saint Sebastian, carved circa 1480. See Franco Barbieri, “Scultori a Vicenza dal XV al XVI Secolo, 1480-1520”, Vicenza, 1984, p.18, pl. VIII, ill. 8. £6,000-£8,000

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*See page two for information regarding fees


2 A 15TH CENTURY FRENCH GOTHIC CARVED LIMESTONE FIGURE OF A MAGI KING the kneeling figure holding an orb shaped vessel, his crown at his feet, the bearded figure with furrowed forehead and lips slightly parted, finely carved hair falling in stylised curls, the back of the figure also carved with folds of drapery revealing the sole of his foot, traces of polychrome, 85cm high £8,000-£12,000

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3 A MID 14TH CENTURY FRENCH POLYCHROME, GILDED AND CARVED LIMESTONE GROUP OF THE VIRGIN AND CHILD, PROBABLY ILE-DE-FRANCE the standing figure holding the Christ Child in her left hand, on an integral base, carved with a flat back, 66cm high This mid 14th century sculpture is of very similar form to a monumental polychrome limestone Virgin and Child in the Metropolitan Museum of Art (Cloisters Collection, no. 37.159). Her shallow crown which has traces of the original cabochons over tightly curled hair and a veil, her mantel and the arrangement of the folds of drapery, her pointed shoe peeking from beneath her mantle are all comparable to the Metropolitan Museum example. Features such as the extremely finely carved right hand and the geometrically arranged drapery which falls in complex folds over her wrist, her left hand supporting the Christ Child who holds an orb and her serene expression are all typical characteristics of the sculpture produced between 1340 and 1350 in Paris. The Metropolitan Museum example retains much of the original polychrome and gilded decoration, and appears much the same as it would have done during the 14th century. The present sculpture also retains some original polychome and gilding to the hair and crown and the edges of the drapery which are also gilded in the museum example. ÂŁ7,000-ÂŁ10,000

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*See page two for information regarding fees


4 AFTER LUCA DELLA ROBBIA (ITALIAN, 1400-1482): A LARGE MARBLE RELIEF FROM THE CANTORIA ‘SINGING GALLERY’ depicting seven youthful, classically attired choir singers holding hands in a circle and singing, some of the figures carved in the round others in high relief. Raised on a purpose-made black metal stand with four legs which supports the panel, the panel 100cm high x 96cm wide, when on the stand 123cm high The present relief is after the original panel from Della Robbia’s earliest documented work, the Cantoria or singing gallery of Florence cathedral. In 1431 Della Robbia was commissioned to produce ten carved marble panels to fit around the singing gallery or organ loft of Florence cathedral. These were mounted in an architectural setting, with the upper part enclosing four panels and resembling a Roman sarcophagus, with a further panel on each end and four further reliefs in the console below. Originally situated above the door of the North Sacristy, the panels were dismantled in 1688 and are now in the Museo dell’Opera del Duomo of Florence Cathedral. Related Literature: Italian Renaissance Sculpture, J.M. Olsen, Thames and Hudson, London 1992, p75. £20,000-£30,000

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5 A FRENCH GOTHIC STYLE CARVED LIMESTONE CORBEL DEPICTING AN ANGEL POSSIBLY 16TH CENTURY the figure with curling hair and outswept wings supporting the shaped shelf above, issuing from a roughly carved square block, 33cm high x 36cm wide x 50cm deep £2,000-£3,000

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6 A FRENCH GOTHIC CARVED LIMESTONE CORBEL, POSSIBLY 12TH CENTURY carved with stylised fruit and foliage, 35cm deep x 22cm high x 30cm wide £500-£800

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7 A FRENCH GOTHIC STYLE COMPOSITION HEAD OF AN APOSTLE, PROBABLY 19TH CENTURY the hair and beard modelled with tightly curled tendrils, 44cm high £500-£800

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*See page two for information regarding fees


8 AN 18TH CENTURY CARVED LIMESTONE FIGURE OF THE WEARY HERCULES OF LYSIPPOS, AFTER THE ANTIQUE the standing figure leaning against his club and a tree stump draped with the skin of the Nemean lion, on an integral rectangular base, 70cm high The Greek sculptor Lysippos created the original bronze, life-size or larger statue of the Weary Hercules leaning on his club after supporting the heavens on his shoulders. The bronze statue was made around the time that Alexander the Great died, and early in the Hellenistic period a version was made for Athens. A Roman copy of the Greek original was found in the 16th century and subsequently moved to the Palazzo Pitti, Florence. £5,000-£8,000

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9 A 17TH CENTURY ITALIAN MARBLE HEAD OF A BACCHANTE / CERES her mouth open and her hair adorned with grapes and other fruit, 32cm high £1,000-£1,500

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10 A 17TH CENTURY ITALIAN TERRACOTTA HEAD OF THE VIRGIN with serene expression and heavily lidded eyes, her hair covered with a veil, cast with a hole to the back and to the underside, with a wooden dowel to the inside, 22cm high £1,000-£1,500

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11 A 17TH CENTURY ITALIAN TERRACOTTA BUST OF AN ANGEL his eyelids delineated and lips slightly parted, his long wavy hair curling in tendrils behind, his right hand clasped at his chest, the remains of his wings to the reverse, 33cm high £500-£800

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12 A TERRACOTTA BUST OF A SOLDIER, PROBABLY SOUTH NETHERLANDISH, 17TH CENTURY the hand modelled bust depicting the bearded figure looking slightly to dexter, his veins delineated to his neck, wearing a tunic with collar beneath a cuirass, depicted in the Antique style in the manner of Mars or a soldier, 48cm high This finely modelled bust may represent an actual person, a leading citizen or nobleman who commissioned the work, and was pleased to be depicted in this classical manner. The style of the bust, which is truncated just below the chest rather than at the shoulders, was used in the Netherlands in the 17th and 18th century by sculptors such as Lucas Faydherbe (1617-1697) who produced terracotta busts of his patrons in the ancient style. A comparable terracotta bust of a bearded man was at Sotheby’s, London, 6 July 2017, lot 136. A further comparable terracotta bust, also in Roman armour but catalogued as Italian 17th century was sold at Christie’s, London, 2 December 2014, lot 11. £2,000-£3,000

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13 A MID 18TH CENTURY GERMAN CARVED ALABASTER BUST OF A CHILD looking to sinister, a floral sprig in her hair and wearing an unusual headdress which falls to her left shoulder, a band carved with flower heads below her chest, raised on a later rectangular marble plinth, the bust 18cm high, 24cm high overall £800-£1,200 14 λ A LATE 18TH / EARLY 19TH CENTURY CARVED IVORY MODEL OF A HOUND the reclining beast raised on a black marble, rectangular plinth, the ivory 5cm high x 7cm wide £200-£400 15 A CARVED STONE FIGURE OF THE MADONNA AND CHILD, PROBABLY 11TH CENTURY BYZANTINE carved in the round with a flat back, the Christ Child with right hand raised in blessing and a book in his left, the Virgin enthroned and with the Christ Child balanced on her left knee, head of Virgin repaired, 20cm high £600-£800

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*See page two for information regarding fees


16 λ A LARGE LATE 19TH CENTURY GERMAN / AUSTRIAN CARVED IVORY FIGURAL GROUP OF AN INTERIOR SCENE depicting a gentleman seated on a chair holding a bugle, a lady seated opposite playing a lute and a further lady standing with a parasol, all in early 19th century dress, a table beside them with a claret jug and two glasses, on a scrolling shaped plinth base, 24cm high x 34cm wide £6,000-£8,000

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A Private Collection of European Ivories

17 λ A FRENCH ART DECO PERIOD CARVED IVORY FIGURE OF A NUDE GIRL CIRCA 1920 the standing figure with both arms raised, on an integral circular base, unsigned, raised on a green onyx, circular plinth, the ivory 31cm high £700-£1,000

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*See page two for information regarding fees


18 λ A VERY LARGE 19TH CENTURY IVORY CORPUS CHRISTI the figure of Christo Vivo, with head turned to his left and mouth open revealing teeth and tongue within, his eyes open and wearing a crown of thorns, with a rope tied perizonium, his hands and feet set with iron nails, applied with a bronze ring to the back to hang on the wall, 72cm high £5,000-£8,000

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19 19 λ CLAUDE ANTOINE ROSSET (D. 1818): A PAIR OF LATE 18TH CENTURY CARVED IVORY BUSTS OF VOLTAIRE AND MONTESQUIEU each on an associated cylindrical alabaster pedestal; Voltaire signed to the reverse ‘A:ROSSET. á St. Claude’, Montesquieu signed ‘A: ROSSET’; 8cm high, 17.5cm high overall (2) Provenance: Purchased by the present owner from Christie’s, London, 8 July, 2010, lot 60, £6,250. For an almost identical pair of busts by Rosset in the Louvre, see P. Malgouyres, ‘Ivoires du musée du Louvre 1480-1850, une collection inédite’, Paris, 2005, nos. 51 and 51. £1,200-£1,800

20 20 λ A PAIR OF LATE 18TH / EARLY 19TH CENTURY PAINTED AND CARVED IVORY PANELS DEPICTING VENUS AND CUPID AND CERES the rectangular miniature painted scenes within ornate Renaissance Revival carved frames, with female mask crestings and winged caryatids flanking each side, later mounted in a velvet lined, stained wood and glazed rectangular frame, the ivory panels 11.5cm high x 10cm wide, the frame 32cm wide £800-£1,200

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21 λ A LARGE 19TH CENTURY DIEPPE IVORY TRIPTYCH FIGURE OF A BISHOP the standing figure holding a crozier in his left hand and a model of a church in his right, the back carved to show his ornate cope hood decorated with the lamb of god, the front with hinges to each side opening to reveal the carved interior within, depicting various scenes from the life of Christ in the French Gothic style, 33cm high £800-£1,200

22 λ A 19TH CENTURY DIEPPE IVORY TRIPTYCH FIGURE OF JOAN OF ARC the standing figure holding a shield in her left hand and a crucifix in her right, the lower section hinged and opening to reveal the carved interior, inscribed ‘JEANNE D’ARC’ and showing scenes from her life and death, 24cm high £500-£800

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23 λ A 19TH CENTURY DIEPPE IVORY FIGURE OF JOAN OF ARC SET WITH PASTE JEWELS the standing figure wearing a plumed helmet and holding a crucifix in her left hand, her right resting on her sword, set throughout with red, blue and green paste jewels, 23cm high £700-£1,000 24 λ A 19TH CENTURY IVORY FIGURE OF A NAPOLEONIC OFFICER the standing figure holding a scroll in one hand and his sword in the other, on a canted rectangular base over a later stained wood plinth, the ivory 23cm high £700-£1,000 25 λ AN 18TH CENTURY SPANISH CARVED IVORY AND PARCEL GILT FIGURE OF THE INFANT CHRIST IN BLESSING the standing figure with right hand raised in blessing, his hair carefully delineated and gilded, his eyes and eyebrows painted, raised on a canted rectangular base over a hardwood octagonal plinth, the ivory 18cm high £600-£800

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*See page two for information regarding fees


26 λ A 19TH CENTURY DIEPPE IVORY RELIEF OF THE FELICITY OF THE REGENCY OF MARIE DE’ MEDICI AFTER SIR PETER PAUL RUBENS depicting Marie as the personification of Justice flanked by Cupid, Minerva, Prudence, Abundance, Saturn and two figures of Pheme, within an ornate ivory frame carved with scrolling acanthus leaves, grotesque heads, garlands of fruits and surmounted by a female mask, with a bearded male mask below, 24cm high x 18cm wide Provenance: Purchased by the present owner at Bonhams, London, 2 November 2011, lot 6.

The present relief shows Marie de Medici as an allegory of Justice seated on a throne, holding scales and maintaining the balance and order of the world. The surrounding figures are identifiable through their attributes, Prudence has a snake to indicate wisdom, Abundance has a cornucopia in her right arm, and Minerva has a helmet and shield. Saturn is shown guiding the figure of France forward. Fame signals the occasion with a trumpet in the top left corner and four putti play around the scene. The series of paintings that this panel is copied from are now in the Louvre, Paris. £1,200-£1,800

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27 λ A PAIR OF 19TH CENTURY FRENCH DIEPPE IVORY ALLEGORICAL FIGURES OF DAY AND NIGHT the figure of Day unveiling herself, a floral sprig in her left hand and a winged putto at her feet also holding flowers, the figure of Night shrouding herself, also with a winged putto at her feet, both raised on spreading cylindrical plinths, 23cm high (2) This pair of figures are almost identical to a pair offered at Bonhams, London, 2 November 2011, lot 52, except that the accompanying putti are slightly different, but they were surely carved by the same hand. £1,200-£1,800

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28 λ AN UNUSUAL PAIR OF 19TH CENTURY FRENCH (DIEPPE) IVORY FIGURES OF PUTTI IN NAPOLEONIC DRESS ‘THE LOVE LETTER’ the male putto amusingly semi-clad in a jacket, boots and bicorne hat with nothing underneath, a quiver of arrows at his feet and an envelope in his right hand, the female putto with butterfly type wings, also semi-clad and with shoes and frilly bonnet, reaching for the letter, both on cylindrical bases, 16cm high (2) £600-£800

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*See page two for information regarding fees


29 λ A PAIR OF 19TH CENTURY IVORY FIGURES DEPICTING A RAT CATCHER AND A TRAVELLING APOTHECARY the rat catcher carrying a box engraved with a skull and cross-bones, the apothecary with a box of bottles engraved with an owl seated on a book (representing wisdom), with a dog at his feet, both on naturalistic bases, 27cm high and 25cm high respectively (2) £700-£1,000

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30 λ A 19TH CENTURY FRENCH (DIEPPE) CARVED IVORY FIGURE OF A YOUNG PEASANT GIRL wearing a hat, her hands in the pockets of her low cut dress, raised on a modern turned wood stand, the ivory 17cm high £300-£500 31 λ A LATE 18TH / EARLY 19TH CENTURY GERMAN IVORY FIGURE OF A PEASANT wearing clogs and holding a bottle in his right hand, looking to sinister, raised on a modern turned wood plinth, the ivory 15cm high £500-£800

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32 λ A 19TH CENTURY CARVED IVORY CORPUS CHRISTI the crucifix figure of Christ depicted wearing the crown of thorns, his head turned to his right and with eyes open, wearing a rope tied perizonium, later mounted on a rectangular red velvet covered board, the ivory 22cm high £300-£500

34 λ A 19TH CENTURY CARVED IVORY CORPUS CHRISTI the crucifix figure of Christ depicted wearing the crown of thorns, his eyes open and lips parted revealing teeth and tongue within, wearing a rope tied perizonium, later mounted on a velvet covered board, the ivory 29cm high £500-£800

33 λ A LATE 18TH CENTURY CARVED IVORY CORPUS CHRISTI the fine carved figure of Christ with head turned to his right, his mouth open revealing teeth and tongue within, mounted on a rusticated, naturalistically carved wood cross modelled to resemble a tree trunk, the crucifix later mounted on a dark blue velvet mounted board, the ivory 29cm high, the cross 54cm high £500-£800

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35 λ A 19TH CENTURY CARVED IVORY CRUCIFIX the Corpus Christi figure of Christ depicted wearing the crown of thorns, his head turned to his left and eyes open, wearing a rope tied perizonium, mounted on an ebonised cross, the ivory 33cm high, the cross 67cm high £400-£600

*See page two for information regarding fees


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36 λ A 17TH / 18TH CENTURY GERMAN CARVED IVORY CRUCIFIX the Corpus Christi figure of Christ depicted wearing the crown of thorns, his head turned to his right, eyes downcast, wearing a rope tied perizonium, raised on a fruitwood cross with later semi-circular plinth base, the ivory 23cm high, the cross 57cm high £700-£1,000 37 λ A 19TH CENTURY CARVED IVORY AND EBONY CRUCIFIX the Corpus Christi figure of Christ depicted wearing the crown of thorns, his eyes open and lips parted, wearing a rope tied perizonium, mounted on a carved ebony cross with faceted plinth base, the ivory 22cm high, the cross 60cm high £400-£600

38 λ A 19TH CENTURY CARVED IVORY CRUCIFIX the Corpus Christi figure of Christ depicted wearing the crown of thorns, his head turned to his right and eyes open, wearing a rope tied perizonium, mounted on an ebonised cross, the ivory 20cm high, the cross 46.5cm high £300-£500 39 λ AN 18TH CENTURY INDO-PORTUGUESE (GOAN) CARVED IVORY CRUCIFIX the Corpus Christi figure with painted hair and beard, his head turned to his right and eyes and mouth closed, wearing a rope tied perizonium with fringe edge, carved with a small recess to the back of the head for a relic, raised on a hardwood (possibly calamander) cross on rectangular plinth, the ivory 23cm high, the cross 40cm high Religious sculpture of this type was commissioned in Goa to assist the missionaries in converting the native people to Christianity, but also for export for the European market. £600-£800

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40 40 λ A SET OF SIX LATE 19TH CENTURY CARVED IVORY FIGURES OF MUSICIANS playing various instruments and in dishevelled dress, each raised on an ebonised, cylindrical plinth, 17cm high overall (6) £600-£800

41 41 λ A SET OF SIX LATE 19TH CENTURY GERMAN CARVED IVORY FIGURES OF MUSICIANS the musical band all raised on carved and stained wood plinths modelled as barrels, 16cm high overall (6) £600-£800

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*See page two for information regarding fees


42 λ TWO 19TH CENTURY NORTH EUROPEAN IVORY CORPUS CHRISTI both of similar form with Christ’s head turned to his right, wearing a crown of thorns and with eyes and mouth open, wearing a rope tied perizonium, the larger later applied to a red velvet mounted gilt frame, the smaller applied to a wooden cross, the ivories 27cm high and 19cm high (2) £300-£500

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43 λ A PAIR OF EARLY 19TH CENTURY FRENCH (DIEPPE) IVORY FIGURES OF A LADY AND GENTLEMAN DANCING the male figure dancing and holding a violin in his right hand, the female figure wearing a hair comb and holding a bag, holding her skirts in her hands, both raised circular bases over ebonised cylindrical plinths, 23cm high overall (2) £800-£1,200

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44 λ FERDINAND PREISS (GERMAN, 1892-1943): AN IVORY AND GILT BRONZE BUST OF A GIRL the young beauty with hair arranged in a long plait wrapped around her head, looking to dexter, her dress cast in bronze and with foliate trim, raised on a faceted marble plinth, unsigned 9.5cm high This ivory bust is of almost identical form to one ascribed to Preiss but also unsigned, that was sold at Bonhams, London, 19 June 2013, lot 123 (£1600). Related Literature: Bryan Catley, ‘Art Deco and other Figures’, Antique Collectors’ Club, 2003, pg. 273 illustrates another similar example. £600-£800

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45 λ ATTRIBUTED TO JOSEF LORENZL (AUSTRIAN, 1892-1950) OR FERDINAND PREISS (GERMAN, 1892-1943): A PAIR OF COLD PAINTED BRONZE AND IVORY FIGURES OF CHILDREN their clothes cast in bronze, their shoes of gilt ivory, the young boy holds a book, the girl a stick in her right hand, raised on rectangular onyx plinths, 20.5cm high overall (2) For another example of these figures sold at auction see Bonhams, London, 15 June 2016, lot 64. £600-£800

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46 λ AN EARLY 20TH CENTURY SILVERED BRONZE AND IVORY FIGURE OF HAMLET IN THE MANNER OF JOSEF LORENZL the standing figure holding a skull in his left hand, raised on a stepped onyx plinth, 26.5cm high overall £500-£800 47 λ ERNST SEGER (GERMAN, 1868-1939): A CARVED IVORY AND BRONZE FIGURE OF A GIRL ‘AFTER THE BATH’ the semi-clad girl with right arm raised as she pulls on her gown, the gown cast in bronze and falling in folds to the ground, raised on a circular base signed ‘E. SEGER’, and with foundry stamp ‘BERLIN ****’, 28cm high overall £800-£1,200 48 λ ATTRIBUTED TO DEMETRE CHIPARUS (1886-1947): AN IVORY FIGURE OF A GIRL ‘ODALISQUE’ OR ‘FAVOURITE’ the youthful girl dancing in exotic dress, wearing a headdress and jewelled, diaphanous gown, raised on an oval integral base, unsigned, over a faceted onyx plinth, the ivory 15cm high, 21.5cm high overall This small ivory statuette is of identical form to an ivory and gilt bronze figure by Chiparus, signed in the cast ‘Chiparus’, and also raised on an onyx plinth, that was recently sold at Bonhams, London, 13 June 2017, lot 94, £25,000 (48cm high). Related Literature: A. Shayo, ‘Chiparus; Master of Art Deco’, 2016, page 198. £2,000-£3,000

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49 λ A LARGE 19TH CENTURY FRENCH (DIEPPE) CARVED IVORY FIGURE OF THE VIRGIN AND CHILD IN THE GOTHIC STYLE carved in the full round, the Virgin wearing an ornate crown and a typical mantle with folds of drapery falling to the ground, she supports the Christ Child with her left arm who playful passes her an orb, raised on an octagonal oak plinth, the ivory 51cm high, 56cm high overall

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Provenance: Purchased by the present owner from Christie’s, London, 17 March 2011, lot 64. £6,800 £3,000-£5,000

*See page two for information regarding fees


The Private Collection of a British Sculptor Lots 50, 51 & 52

50 SK A MID 19TH CENTURY FRENCH LIFE-SIZE TERRACOTTA FIGURE OF TOILETTE DE VENUS IN THE MANNER OF ALBERT-ERNEST CARRIER-BELLEUSE (FRENCH, 1824-1887) the nude figure of Venus leaning against a draped, naturalistically modelled tree stump, plaiting her long hair, on an integral oval base, numbered to the reverse ‘3155’, unsigned, 136cm high

Provenance: The private collection of a British sculptor. Purchased at Sotheby’s, Billingshurst, 19th May 2009. The pose, detailed modelling and physique of the bathing Venus are all reminiscent of the work of Carrier-Belleuse, particularly his L’Amazone Captive (Captive Amazon) which was sold at Sotheby’s, London, 25 May 2016, lot 17. £3,000-£5,000 29


51 GIUSEPPE VACCA (ITALIAN, 1803-1871): A LARGE WHITE MARBLE FIGURE OF PSYCHE OF CAPUA OR ‘APHRODITE’, AFTER THE ANTIQUE signed and dated ‘G. Vacca In Napoli 1861’ 95cm high, base 39.5cm wide Provenance: Private collection of a British sculptor. Purchased in 2006 from John Wiseman’s Architectural Antiques, London.

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This large white marble figure is a copy of an ancient Roman marble, thought to be a copy of a Greek Original produced c.350-330 BC and possibly by Scopas, excavated in the 18th century at the amphitheatre of Capua. The figure is thought to represent Psyche, and it has been suggested that the smooth surface to the side of the figure indicates that it was once joined with another, possibly that of Eros. It may simply have been that when the original was carved, the sculptor used separate pieces of marble which are now lost, and so the present figure is a direct copy of the sculpture recovered in Capua. Alternatively the figure could possibly have been part of a pediment, which would also explain why it was carved in this manner. £2,000-£3,000

*See page two for information regarding fees


52 AFTER BERTEL THORVALDSEN (DANISH, 1770-1844): A SECOND HALF 19TH CENTURY WHITE MARBLE FIGURE OF GANYMEDE OFFERING THE CUP the youth crouching on his cloak and holding an amphora and a circular cup of nectar, nude except for his Phrygian cap, on an integral rectangular base, together with a later white painted wood rectangular plinth, the plinth 73cm high x 89cm wide x 44.5cm deep the marble 88cm high x 73cm wide (restored) Provenance: The private collection of a British sculptor. Thorvaldsen is widely considered to be one of the most important and influential sculptors of the early 19th century, comparable only to Antonio Canova in terms of his significant within the Neo-Classical movement, he produced works for the Pope, Napoleon and the royal families of Europe. His sculptures now feature in many of the major museums of art in the world such as the Louvre in Paris, the Metropolitan Museum in New York, the Victoria & Albert Museum in London, the Hermitage Museum in St. Petersburg and the Alte Nationalgalerie in Berlin, and of course in the Thorvaldsen Museum in Copenhagen. Thorvaldsen produced five sculptures of Ganymede, who according to myth was the most beautiful of mortals and was carried away by Jupiter’s eagle to be cup bearer to the gods, replacing Hebe who had

accidentally spilled the nectar that made the gods immortal. His first depiction of Ganymede was commissioned in 1805 for Countess Woronoff, a rich Russian heiress and depicted the youth standing, wearing the phrygian cap that he wears in the present piece, and holding out his cup (No. A854 in the Thorvaldsen Museum). In 1816 he produced a variation on this theme, showing Ganymede pouring the nectar (commissioned by the Austrian consul at St. Petersburg, a version is not in the Hermitage). In 1817 Earl Gower commissioned the original version from which the present sculpture is derived, which depicted Ganymede offering a cup of nectar to Jupiter who has taken the form of an eagle (No. A44 Thorvaldsen Museum). Thorvaldsen’s composition is itself derived from an ancient Roman original, and an engraved antique carnelian gem depicts a very similar composition; Thorvaldsen’s referencing of an ancient work would have appealed to the patron as it demonstrated the artist’s and patron’s knowledge of antiquity and general erudition. Earl Gower was evidently very pleased with the marble and wrote in a letter to the sculptor in January 4th, 1830, announcing “l’heureuse arrivée de votre groupe du Ganymede et l’Aigle. . . . Chef d’oeuvre do vos mains. . .” Literature: ‘Thorvaldsen and His Ganymede and the Eagle’, Anthony Morris Clark, online archive arkivet.thorvaldsensmuseum.dk, a republication of Anthony M. Clark: ‘Thorvaldsen and His Ganymede and the Eagle’, in: The Minneapolis Institute of Arts Bulletin, Volume LV, 1966, p. 25-35. £4,000-£8,000 31


‘The Despair Of Salome’ Acquired directly from the artist in Paris by Aaron Rapoport, and thence by descent.

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*See page two for information regarding fees


53 SK NAUM ARONSON (RUSSIAN, 1872-1943): A WHITE MARBLE FIGURE OF SALOME, ‘THE DESPAIR OF SALOME’, CIRCA 1924 the nude figure on an integral rusticated base carved with numerous serpents, signed ‘n. aronson’ to the base, 23cm high x 36cm wide x 25.5cm deep Provenance: Private Collection UK, acquired directly from the artist in Paris by Aaron Rapoport, and thence by descent. Aaron Rapoport was born in Moscow on May 18th 1878. He was the eldest son of the Rapoports: two cousins from a family of wealthy white Russian Jews living in Moscow: Berka Rapoport (born in 1847) and Perle married on April 4th 1874 and had 5 children. Towards the end of the 19th century, they fled Russia and sought refuge in France where they settled. Ary became naturalised French in December 1904. He was a diamond merchant and dealt in natural pearls in the office of “Rapoport Jerwood Perles et pierres fines” in the rue Drouot, in the 9th arrondissement in Paris. He lived in Rue Lauriston in the 16th arrondissement in Paris. They mixed with various artists, especially Russian Jews like themselves and Ary started collecting works by local painters and sculptors as well as English prints and etchings. He was a highly respected figure in the artistic community and respected for his connoisseurship. He died in Paris in December 1963. Footnote: Naum Aronson was born in 1872 in the village of Kreslavka, Vitebsk (formerly Russia, currently Latvia). He began sculpting at a young age. At sixteen he went to Vilna to study at Ivan Trutneu’s Drawing School for ten months, encountered anti-Semitism and returned to his hometown. In 1891 he moved to Paris, which was attracting East European Jewish artists at the time. For two years he simultaneously attended the free municipal Ecole des Arts Decorative, the class of the sculptor Prof. H. Lemarie, and the Privet Art School of F. Colarossi. He was influenced by the work of Michelangelo and Auguste Rodin (1840-1917) and he became acquainted with and deeply inspired by the work of the Impressionists. He lived and worked in Paris for nearly fifty years but due to financial difficulties, he was unable to attend the Ecole des Beaux Arts. He exhibited his work at the Salon du champs de Mars and he became a jury member of the salon. His work was also exhibited at the International Exhibition in 1900. He was awarded a gold medal prize in Liege. In 1937 he was granted France’s highest award. the Legion of Honor, for his work at the ‘Exposition Universelle.’ Aronson reached his maturity in the 1920’s, which is when the present marble dates from, and by this time he had exhibited a large body of works with such titles as Enigme, ‘Les Épaves and Aux Innocents’. They are similarly carved with forms emerging from a marble matrix left rough-hewn. The present work, one of his most emblematic and spiritual, relates to the bronze that was exhibited in 1924. This work may well show the influence of Rodin. He produced a number of versions of Salomé in bronze as well as another carved version in basalt which dated from 1837 and was acquired directly from the artist (see Sotheby’s London: Tuesday, November 25, 2014 [Lot 505] Russian Works of Art, Fabergé and Icons). He was celebrated for his portrait busts of important leaders and cultural figures, including Beethoven, Wagner, Chopin, Berlioz, Pasteur, Tolstoy, Rasputin and Lenin (exhibited in the Soviet Pavilion in 1937). Aronson fled to America after the German invasion of France. He arrived in New York in March, 1941, on the S.S. Serpa Pinto, a Portuguese liner used by multiple Jewish organizations to transport refugees from Lisbon to New York. He died in New York in 1943. For further works from his collection including a study for the bust of Tolstoy by Naum Aronson, Arnold Borisovich Lakhovsky; Albert Abramovitz and Paul Jouve see Chiswick Auctions British & European Fine Art Sale 12th June 2018. We are grateful to Musya Glants, for her assistance in cataloguing this lot. Sources: Glants, M. Naum Aronson and Lev Tolstoi // Experiment / Эксперимент. A Journal of Russian Culture, v.1, p. 7-25. Charles Schlacks, Jr., Publisher, 1995. Musy Glants. Naum Aronson – khudozhnik i chelovek. Paralleli: russko-evreiskii istoriko-literaturnyi almanakh, # 12, p.145-164. M: “Dom evreiskoi knigi”, 2012. M. Glants. N. Aronson. Autobiography (materials from the Aronson’s archive in New York). Vestnik evreiskogo universiteta v Moskve, # 2 (18), p. 278-304. Moskva-Yerusalim, 1998. £10,000-£18,000

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54 SK ARISTIDE MAILLOL (FRENCH, 1861-1944): A BRONZE FIGURE OF ‘JEUNE FILLE SE VOILANT LES YEUX’ the nude girl reclining on a tree stump, her right arm covering her face, on a naturalistic integral base, dark brown patination, signed ‘ARISTIDE MAILLOL’ 21.7cm high The authenticity of this work as a lifetime cast has been confirmed by Olivier Lorquin, Musée Maillol, Fondation Dina Vierny, Paris. Oliver Lorquin states that this bronze was cast by Vollard, and these casts were not numbered (unlike many later limited editions). Provenance: Purchased by Eric Hyde Villiers DSO, (1881-1964) in Paris after the First World War, thence by descent to his son James Michael Hyde Villiers (1933-1998) and to his wife Lucy Villiers. The Villiers family are one of England’s most eminent aristocratic families with historic links to royalty dating back to the 17th century with George Villiers, 1st Duke of Buckingham (1592–1628) who was a favourite of King James I. Perhaps most famous of the Villiers family was Barbara Villiers, Duchess of Cleveland (1640–1709) who was mistress of King Charles II and had five children by him. Eric Hyde Villiers, who first acquired this bronze in the early 20th century whilst living in Paris and a director of Martell cognac; was the son of Sir Francis Hyde Villiers, and the grandson of George Villiers, 4th Earl of Clarendon. Upon his death in 1964 the bronze passed to his son James Michael Hyde Villiers, who was a well known actor who had studied at the Royal Academy of Dramatic Art and whose film roles included The Damned (1961), Eve (1962), King and Country (1964) and Roman Polanski’s Repulsion (1965). His aristocratic ancestry was often reflected in the types of roles he played, such as King Charles II in the BBC series The First Churchills (1969), the Earl of Warwick in Saint Joan (1974), and Lord Thurlow in The Madness of George III. Upon his death in 1998 his wife Lucy Villiers inherited the bronze. This figure was conceived in 1900; and another example was recently sold at Christie’s, Paris 23 March 2018, lot 244, 72,500 euros. Literature: J. Rewald, Maillol, Paris, 1939, p. 166, no. 114-115 (another cast illustrated). W. George, Maillol, Paris, 1971, p. 65 (another cast illustrated). W. George, Aristide Maillol et l’âme de la sculpture, Neuchâtel, 1977, p. 246, no. 140 (another cast illustrated, pl. 140). £30,000-£50,000 34

*See page two for information regarding fees


The Hyde Villiers Maillol Bronze ‘Jeune Fille Se Voilant Les Yeux’

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55 JEANNE ITASSE-BROQUET (FRENCH, 1867-1941): A GILT BRONZE FIGURAL INKWELL CAST BY FRIEDRICH GOLDSCHEIDER modelled as a nude maiden laying beside a pool with lily pads, her hair flowing into the water and covering her face, with an inkpot modelled as a flower head, with glass liner, the bronze signed ‘Jeanne Itasse’ and with the Goldscheider foundry stamp depicting a woman at an easel to the underside, 27cm wide x 9cm high £300-£500 55

56 FRANZ BERGMAN (AUSTRIAN, 1861-1936): A COLD PAINTED BRONZE FIGURE OF AN AFRICAN MAN WITH TWO LEOPARDS the semi-clad male figure wearing a turban and a necklace, holding the chains attached to two leopards walking beside him, the underside of the figure and each of the leopards all stamped with the Bergman amphora and ‘GESCH 6782’, 21cm high £1,200-£1,800

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57 ALFRED BARYE (1839-1882): A LATE 19TH CENTURY COLD PAINTED SPELTER MODEL OF AN ARAB RIDING A CAMEL ‘CAVALIER ARABE’ on a naturalistic base signed ‘BARYE FRANCE’, raised on a Verdi Antico, oval marble plinth, 34cm high Alfred Barye was known to have produced sculpture in spelter and cold painted spelter in the Orientalist style, he is most famous for his large figure of ‘Cavalier Arabe’ which he produced with Emile-Coriolan-Hippolyte Guillemin. £300-£500

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58 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-Rivière. Like Guiraud-Rivière 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-Rivière was sold at Sotheby’s, New York, 11 December 2003, lot 157, $36,000. £6,000-£8,000

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59 CHARLES DROUET (FRENCH, 1836-1908): A BRONZE BUST OF A MAIDEN in Renaissance dress, her eyes downcast, her hair arranged in two plaits and a low chignon, on a cylindrical socle over a square base, signed ‘C. DROUET Sculpt.’ 31cm high £400-£600 60 ADRIEN ETIENNE GAUDEZ (FRENCH, 1845-1902): A BRONZE FIGURE OF DAVID WITH THE HEAD OF GOLIATH the figure of David nude except for a loin cloth, holding a sword in his left hand, his left foot resting on the head of Goliath, on a waisted, circular base with a cartouche inscribed ‘DAVID PAR A. GAUDEZ HORS - CONCOURS’, mid brown patination, 45.5cm high £600-£800 61 CHARLES LOUCHET (FRENCH, 1854-1936): A GILT BRONZE FIGURE OF A DUTCH GIRL WITH CAT wearing a cap and holding a sock in her hands, a cat playing with a ball of wool at her feet, on a rectangular base signed ‘CH LOUCHET’, 23cm high £600-£800 61 38

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62 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). £6,000-£8,000 39


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64 63 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. £700-£1,000 64 AFTER THE ANTIQUE: AN EARLY 19TH CENTURY BRONZE FIGURE OF THE MATTEI CERES the standing figure holding ears of corn in her left hand, on a spreading oval plinth, dark brown patination, 34cm high The Mattei Ceres was produced by an unknown Roman sculpture circa 300 BC-200 BC. The original marble figure was found on the Roman estates of the Mattei family and was purchased by Pope Clementine in 1770. £700-£1,000

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65 AFTER THE ANTIQUE: A 19TH CENTURY FRENCH BRONZE FIGURE OF DIANA THE HUNTRESS ATTRIBUTED TO BARBEDIENNE the standing figure with a plumed helmet at her feet, her right arm raised and clad in a short draped robe, on an integral rectangular base, with the ‘A.COLLAS BREVETE REDUCTION MECANIQUE’ stamp to the reverse (usually used by Barbedienne), dark brown patination, 39.5cm high £700-£1,000 *See page two for information regarding fees


66 A LARGE AND IMPRESSIVE LATE 19TH CENTURY FRENCH BRONZE ORIENTALIST 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 trellis-work, a pierced gallery and stylised arabesques, on an outswept rectangular base, mid brown patination, 225cm high £20,000-£30,000 41


67 λ DOMINIQUE ALONZO (FRENCH): AN EARLY 20TH CENTURY ART DECO GILT BRONZE, IVORY AND ONYX FIGURE OF A MAIDEN ‘LA LISEUSE’ the chryselephantine figure descending a flight of stairs whilst reading from a book, in Medieval type dress, signed ‘D. Alonzo’, 33cm high £4,000-£6,000

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68 λ DESIRE GRISARD (FRENCH, B. 1872): A LARGE GILT BRONZE AND IVORY CHRYSELEPHANTINE FIGURE OF A MAIDEN in Medieval dress, holding a book in his left hand, descending a flight of steps, signed to the base ‘D. Grisard’, 45.5cm high £4,000-£6,000

*See page two for information regarding fees


69 λ AFFORTUNATO GORY (ITALIAN, FL. 1895-1925): A FINE GILT BRONZE, IVORY AND MARBLE FIGURE OF A YOUNG GIRL DRESSING the chryselephantine figure of a youthful beauty seated on a stool and pulling a sock on to her foot, signed ‘Gory’, to the stool, on a canted and spreading rectangular marble plinth, 29cm high £7,000-£10,000

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70 SK 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 Christie’s New York, October 26 2004, lot 273 for $35,000. £1,000-£1,500 71 λ AN EARLY 20TH CENTURY GERMAN ART NOUVEAU CARVED IVORY FIGURE OF THE PIED PIPER OF HAMELIN the seated figure wearing a plumed hat and playing his pipe, with three rats surrounding him, signed to the reverse ‘HOHLOCHER’, raised on a red marble canted plinth, the ivory 9.5cm high, 17cm high overall Provenance: Purchased from Finch & Co., London. Previously in a Private European Collection. £800-£1,500 72 ALBERT-ERNEST CARRIER-BELLEUSE (FRENCH, 1824-1887): A LATE 19TH CENTURY GILT BRONZE AND IVORY (CHRYSELEPHANTINE) FIGURE OF ‘LA LISEUSE’ the standing figure in Medieval dress reading a book, signed to the base ‘Carrier Belleuse’, the base with a bronze plaquette inscribed ‘LA LISEUSE Par Carrier Belleuse (Gt. Prix du Salon)’, on a white marble circular plinth, 27cm high Related Literature: B. Catley, ‘Art Deco and Other Figures’ Second Edition, Antique Collectors’ Club, Woodbridge, 2003, p.53, for illustration of this model. £1,200-£1,800

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*See page two for information regarding fees


73 λ RENE PAUL MARQUET (FRENCH, B. 1875): A LARGE GILT BRONZE AND IVORY CHRYSELEPHANTINE FIGURE OF DANCING GIRL WITH CYMBALS the elegant girl in mid step with right leg raised, wearing a gilt hair band, her short dress revealing her legs and her drapery falling in stylised folds to the ground, raised on an onyx stepped plinth base, unsigned but numbered 805, 48cm high Although unsigned, other examples of this model are signed Marquet, for example see Bonhams, 29 November 2005, lot 122. £6,000-£8,000 45


74 SK AFTER CHRISTOPHE-GABRIEL ALLEGRAIN (FRENCH, 1710-1795): A 19TH CENTURY MARBLE FIGURE OF VENUS SORTANT DU BAIN the nude maiden holding her falling drapery with her left hand, about to dry herself, her hair arranged in an elaborate coiffure with entwined plaits, on a naturalistic base carved with rocks and reeds, signed ‘ALLEGRAIN’, 88cm high

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Allegrain was commissioned to carve the original version of this figure in 1755 by the Marquis de Marigny for the chateau de ChoisyLe-Roi (Val-de-Marne). He exhibited a plaster version at the salon of 1757, and the marble version was completed and exhibited in 1767. The comtesse Du Barry purchased the piece for the park of the Chateau de Louveciennes in 1772 where it remained until 1793 when Louis-Simon Boizot secured the figure for the nation, it is now in the Louvre. £5,000-£7,000 *See page two for information regarding fees


75 SK JEAN-LOUIS GRÉGOIRE, (FRENCH, 1840-1890): A FINE GILT AND SILVERED BRONZE LIFE-SIZE BUST OF A YOUNG GIRL the youthful maiden wearing a hair band adorned with flowers, her drapery falling to reveal her left breast and tied with a rose pin, raised on an outswept, shaped rectangular plinth, signed to the reverse ‘L. GREGOIRE 1882’, and numbered 35210, 62cm high

Jean-Louis Grégoire was born and died in Paris. Training under Salmson at the Ecole des Beaux-Arts, he exhibited at the Salon from 1867 and became one of the first Associates of the Artistes Français. Gregoire’s bronze group of L’Allégro was sold Christie’s London, 27th September 2007 lot 191 (£23,000). £6,000-£8,000

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76 JULES MOIGNIEZ (FRENCH, 1835-1894): A PAIR OF GILT AND PATINATED BRONZE URNS AND COVERS of hunting theme, the squat urns with handles modelled as storks, the bodies cast in relief with families of pheasants and rabbits, signed ‘Moigniez’, the covers surmounted by hawk finials and cast with hounds and a fox, raised on naturalistic spreading socles over black marble cylindrical plinths, with polished brass interiors, 32cm high (2) £600-£800 77 AFTER GUILLAUME COUSTOU (FRENCH, 1677-1746): A PAIR OF 19TH CENTURY FRENCH BRONZE MODELS OF THE MARLEY (MARLY) HORSES each rearing horse being held by the reins by a semi-clad male figure, on naturalistic bases, dark brown patination, signed ‘Coustou’ to the bases, 38cm high (2) £500-£800

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78 AUGUSTE MOREAU (FRENCH, 1834-1917): A SMALL PAIR OF BRONZE FIGURES OF CHILDREN ‘LE PRINTEMPS’ AND ‘L’AUTOMNE’ the girl representing Spring, with trailing roses, the boy representing Autumn with a basket of fruit, both on cylindrical socles, 18.5cm high (2) £200-£300 79 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE AND COLOURED MARBLE TAZZAS the squat urns with scrolling twin handles, raised on circular feet over the stepped plinth marble bases, 25.5cm high (2) £200-£300

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80 A PAIR OF BRONZE AND WROUGHT IRON JACOBEAN STYLE FIRE ANDIRONS, PROBABLY 19TH CENTURY the knopped and ringed bulbous upright supports on dome circular feet, with wrought iron supports, 48cm high Provenance: Purchased by the present owner from Harrods in the early 1980’s. £200-£300 81 A PAIR OF LATE 19TH / EARLY 20TH CENTURY FRENCH GILT BRONZE CANDELABRA IN THE MANNER OF MEISSONIER in the Rococo style, the asymmetric stems with trailing roses, on feet modelled with rocailles and C scrolls, each with four scrolling acanthus wrapped branches centred by a fifth with flaming torch candle snuffer, 54cm high (2) £600-£800

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82 A LATE 18TH / EARLY 19TH CENTURY FRENCH CAST IRON STATUETTE OF VOLTAIRE depicted seated on a rocky mound, a book resting on his left leg, on a square naturalistic base, inscribed ‘ECOLE ROYALE’ to one side and ‘CHALONS S’ to the other, 23cm high £250-£350 *See page two for information regarding fees


83 SK ANATOLE-JEAN GUILLOT (FRENCH, 1865-1911): A LARGE PAIR OF COLD PAINTED AND GILT DECORATED SPELTER ORIENTALIST FIGURES ON DECORATIVE STANDS CAST BY EUGENE BLOT depicting male and female Middle Eastern figures, the female figure carrying an urn in front of ancient Egyptian style architecture decorated with hieroglyphics, the male figure with Islamic architecture behind, the female figure signed ‘J. Guillot’, both indistinctly signed ‘E. BLOT’, raised on late 19th century painted wood plinths decorated to resemble marble, apparently original, the figures 83cm high, the plinths 44cm wide, 155cm high overall (2) An identical pair of figures without the plinths were sold at Christie’s, New York, 11 April 2007, $12,000. £4,000-£6,000

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86 84 GEORGE ANDERSON LAWSON (BRITISH, 1832-1904): A MARBLE BUST OF A GENTLEMAN, POSSIBLY A SELF PORTRAIT, DATED 1888 signed to the reverse ‘G.A. LAWSON Sc. LONDON 1888’, raised on a waisted marble socle, 72cm high Provenance: Acquired by the present owner in 1997 from a large private residence in Richmond.

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The sculptor is known to have lived in Richmond before his death in 1904. Lawson trained at the Royal Scottish Academy and set up his first studio at 36 St George’s Place, Glasgow in 1860. In 1866 he moved to London after a period in Rome, but maintained his links with Scottish artists and patrons. His most famous work is his memorial to Robert Burns in Ayr, inaugerated in 1892 and hailed at the time as ‘the finest statue of Burns from any studio’. Other versions were made and are now in Dublin, Melbourne and Montreal. He also won the Wellington monument competition and completed a statue of the Duke of Wellington for the top of Wellington’s Column in the centre of Liverpool. He also produced portrait busts such as that of George MacDonald (1887), Jeanie Deans (n.d.) and Motherless (1901), which is in the collection of GMAG (reg no. S-80). The present bust bears a distinct similarity to a painting of the sculptor by Thomas Alexander Ferguson Graham, and so could well be a self portrait. Lawson was elected HRSA in 1884, he exhibited at the RA, 1862-93, RSA, 1860-92, and RGIFA, 1870-92. £600-£800 85 A LARGE 20TH CENTURY FRENCH TERRACOTTA NUDE FIGURE OF A GIRL BY SUSSE FRERES, PARIS the nude depicted half length in the 18th century style, her hair arranged in a chignon and eyes downcast, signed indistinctly ‘Guy Ditton’ and stamped ‘SUSSE FRES EDIT PARIS’ with Susse circular stamp, 80cm high £600-£800 86 HANS STOLTENBERG LERCHE (ITALIAN, 1867-1920): A BRONZE RELIEF CAST ‘BAT’ VASE of baluster form with long neck, cast in relief with three bats with a stylised townscape and gilt stars, signed ‘H.S. Lerche Paris 1892’, 19.5cm high

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Another example of Stoltenberg’s ‘Bat’ vase, also dated 1892 was sold at Sotheby’s, London 16 November 2006, lot 122, £2280. £500-£800

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87 SK EDGAR GEORGE PAPWORTH (ENGLISH, 1832-1927): A CARVED MARBLE FIGURE OF A YOUNG BOY WITH A SHELL ON A SERPENTINE MARBLE PLINTH the nude boy with drapery in his lap, seated on a rocky plinth and holding the conch shell to his left ear, signed to the reverse ‘E.G. PAPWORTH 1870’, raised on a 19th century Italian serpentine marble plinth with shaped demi-lune top with carved foliate decoration over the fluted column and octagonal base, the marble figure 56cm high x 52cm wide, the column 85cm wide x 124cm high, 180cm high overall E.G. Papworth was the son of a sculptor also known as E.G. Papworth, who had studied under the leading sculptor, E.H. Baily at a young age, and at the age of seventeen, in 1826, joined the Royal Academy.

Papworth the elder married Caroline Baily, the daughter of his master E.H. Baily and E.G. Papworth the younger was born in 1832. Papworth the younger joined the Royal Academy in 1848 and exhibited there from 1852 to 1882. His ‘Startled Nymph’ which was commissioned by J. Neeld M.P. was lent to the Exhibition of Art Treasures held in Manchester in 1857, and exhibited at The International Exhibition, London, 1862. His work was well received and in 1862 several of his statues were reproduced in Parian ware, including ‘The Young Emigrant’, ‘The Young Shrimper’, ‘Maidenhood’ and ‘Beatrice’. Related Literature: R. Gunnis, ‘Dictionary of British Sculptors 1600-1851’, p.289. Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011. £7,000-£10,000

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89 88 AFTER JACOPO SANSOVINO (ITALIAN, 1486-1570): AN 18TH CENTURY ITALIAN BRONZE FIGURE OF MARS the standing figure wearing a plumed helmet, his drapery in his left hand and a shield beside the draped tree trunk, on a square base, mid brown patination, 30cm high This finely executed bronze statuette is a reduction of Sansovino’s large Renaissance statue of Mars on the Giants’ Staircase entrance to the Doge’s Palace in Venice, Italy. £1,000-£1,500 89 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 £700-£1,000 90 A LATE 18TH CENTURY FRENCH BRONZE FIGURE AFTER THE ANTIQUE OF THE FAUN WITH KID the faun supporting a baby goat on his shoulders, raised on a square, naturalistic base with chiselled surface and cast with a tree stump, dark brown patination with light brown high points, 42cm high

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This bronze is modelled after the Roman original marble which was discovered in Rome in 1675. It is now in the collection of the Prado. £800-£1,200

*See page two for information regarding fees


91 A FIRST HALF 17TH CENTURY BRONZE FIGURE OF MARS AFTER A FRENCH MODEL FROM THE LAST THIRD OF THE 16TH CENTURY nude except for a plumed helmet with scrolling decoration, standing a contra posto with his right hand raised to hold a spear (now lacking), raised on a small integral base decorated with stylised foliage, over a later rectangular ebonised plinth, the bronze 29.5cm high King Francois I of France commissioned Cellini to make a monumental statue about 18.7 meters (some 54ft.) high of Mars (Walter Leo Hildburgh, ‘Benvenuto Cellini’s Model for His Colossal Mars’, Burlington Magazine 85, no. 497 (August 1944), pp. 200-2). The statue was to crown a large square fountain in a courtyard at Fontainebleau. For this colossus Cellini said that he produced a model about 60 centimetres high, which held a broken lance, raised aloft in its right hand and the left hand was placed on the hilt of a scimitar fashioned in a most beautiful shape; it was posed on its left foot, and the right rested on the crest of a helmet as richly decorated as it is possible to imagine. The present, smaller, statuette (known in various casts with minor variations), of which Hildburgh, owned an example (now in the V&A, A.4-1944), differs from the big Mars most obviously in the position of the helmet, here firmly on the head and there under the right foot. Another statuette exists [in two or three casts only, e.g. one in the Metropolitan Museum of Art, New York] that is in this important respect identical with the image described by Cellini. Nevertheless, there does seem to be a vague connection and it is usually assumed that the statuettes reflect a wax model left behind in Cellini’s studio when he fled from France, perhaps for the Mars in the series of life-size silver statues bearing candlesticks in a raised hand that he produced for the Gallery of Francois I inside the chateau of Fontainebleau, whose actual appearance is unknown (see C. Avery, ‘Cellini’s silver statues of the gods for Fontainebleau’, in Studies in the Decorative Arts, The Bard Graduate Centre for Studies in the Decorative Arts, Design, and Culture, New York, XIV, no. 1, Fall-Winter 2006-2007), pp. 2-18 (esp. pp. 11-13). Another example in the Herzog Anton Ulrich-Museum Braunschweig, Germany, is catalogued by U. Berger & V. Krahn (Bronzen der Reniassance and des Barock: Katalog der Sammlung, Braunschweig, 1994, pp 304-5, no 245) as: ‘after a French model from the last third of the 16th century, the cast seemingly Flemish, first half of the 17th century’. A further example of this model was sold at Chiswick Auctions on 24 May 2017, lot 38. £3,000-£5,000

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93A

94 92 A 16TH CENTURY GERMAN BRONZE CORPUS CHRISTI cast in low relief with protrusions to the back to apply to a cross, 13cm high £200-£300

95 94 A 16TH CENTURY ITALIAN GILT BRONZE FIGURE OF A PUTTO the flying figure now lacking wings and forearms, raised on a later metal stand, the figure 12cm high

93 A SMALL BRONZE CRUCIFIX, POSSIBLY 16TH CENTURY the figure of Christ on the cross with stylised trefoil terminals, mounted on red silk within a later gilt frame, the cross 22cm high £150-£200

This delightful statuette is reminiscent of Andrea del Verrocchio’s clay figure of a putto poised on a globe, now in the National Gallery of Art, Washington, Inv. No. 1937.1.128. £200-£300

93A A 19TH CENTURY BLACK FOREST CARVED STAG HORN SNUFF BOX of cylindrical form with oval ends carved with amusing faces with glass eyes, both with their tongues sticking out, the body of the box carved throughout with a scene of miners digging out rocks, the lid with gilt brass hinge, the interior void, 12cm wide £500-£600

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95 A PAIR OF 17TH / 18TH CENTURY NORTH EUROPEAN BRONZE PRICKET CANDLESTICKS the knopped and ringed baluster stems surmounted by large circular drip pans and spire prickets, raised on triform bases, 46cm high (2) £300-£500

*See page two for information regarding fees


96

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96 A SMALL LATE 15TH / EARLY 16TH CENTURY FLEMISH BOXWOOD RELIEF OF THE PIETA of rectangular form, carved in high relief depicting the Virgin supporting the head of Christ with her right hand, both with halos carved above, with traces of gilding, 9cm high x 6cm wide £600-£800

98 A 19TH CENTURY NORTH EUROPEAN CARVED BOXWOOD VIRGIN AND CHILD carved in the round, the Virgin supporting the Christ Child with her left arm, his right hand raised in blessing, raised on an integral canted base, 35cm high £300-£500

97 A FRENCH BRONZE CORPUS CHRISTI IN THE GOTHIC STYLE the figure of Christ wearing a crown and stylised perizonium, with rib cage delineated and legs straight, the back hollow, 14cm high £300-£500

99 A LATE 17TH / 18TH CENTURY CARVED GILTWOOD HEAD OF A GENTLEMAN, POSSIBLY SHAKESPEARE wearing a plumed hat and looking to dexter, with flat back, probably once part of an architectural scheme, now with an iron loop at the back to hang, 25cm high £300-£500

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100 A FINE AND LARGE BERLIN PORCELAIN PLAQUE BY KPM DEPICTING A MAID WITH A TRAY AFTER JEANETIENNE LIOTARD ‘LA BELLE CHOCOLATIERE’ the serving girl wearing a pink bonnet and holding a tray with a glass of water and cup of chocolate, signed indistinctly ‘A. Kisler’, the reverse with the impressed sceptre mark and stamped ‘KPM’, incised with the size ‘12” x 9 3/4’, and signed indistinctly to the reverse, mounted in a gilt frame with foliate scrolls to the corners, the panel 30.5cm high x 25cm wide, the frame 46cm x 40cm The original painting is now in the Staatliche Kunstsammlungen, Dresden. A further KPM porcelain plaque depicting the same scene was sold at Sotheby’s, London, 5 June 2007, lot 64. £2,500-£4,000

101 A FINE 19TH CENTURY BERLIN PORCELAIN PLAQUE DEPICTING SCENES AFTER RAPHAEL, POSSIBLY KPM of rectangular form, with three roundels flanked by alcoves containing various winged putti, with a gilt border, mounted in a gilt bronze frame with beaded edge and ring handle above, the panel 23cm wide x 32cm high, the frame 36cm high £1,000-£1,500

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*See page two for information regarding fees


102 λ A FINE 19TH CENTURY SOUTH GERMAN OR AUSTRIAN CARVED AND STAINED WOOD AND IVORY FIGURAL GROUP SCENE depicting two gentlemen in 16th century dress with ruff collars seated at a table, a serving girl holding a basket of fruit and a bottle, on a decorative chequered floor inlaid with mother of pearl roundels, over a moulded hexagonal base, 20.5cm high x 27.5cm wide £6,000-£8,000

103 λ A FINE 19TH CENTURY SOUTH GERMAN OR AUSTRIAN CARVED WOOD AND IVORY FIGURAL GROUP ‘THE LOVESONG’ depicting a tavern scene with two male figures in Cavalier dress, an upturned vessel on the floor and a stein and glasses on the table, one figure playing the guitar the other seated on a stool, centred by a laughing woman, on an ebonised octagonal plinth with an ivory plaquette inscribed ‘Ein Liebeslied’ (‘The Love Song’), 21cm high x 36cm wide £6,000-£8,000

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104 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 £1,200-£2,000

105 A FINE AND LARGE 19TH CENTURY ROMAN MICROMOSAIC DEPICTING THE FORUM OF ROME the rectangular panel depicting the Forum of Ancient Rome with the columns of the Temple of Vespasian at the centre flanked to the left by the Arch of Septimus Severus and the Church of Saints Martin and Luke, to the right are the columns of the Temple of Saturn, the grassy foreground has two couples conversing, in the background are the column of Foca and the columns of the Temple of Castor and Pollux leading to the arch of Titus, set in black Belgian marble, with an ebonised frame with simulated basket weave and ripple moulding, the panel 39.5cm wide x 29cm wide, the frame 54cm wide x 43cm high £8,000-£12,000

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106 λ A FINE PAIR OF LATE 19TH CENTURY VIENNESE SILVER GILT, ROCK CRYSTAL, IVORY AND HARD STONE SET FIGURAL CANDLESTICKS each modelled as a male and a female ivory figure with silver hat and satchel, beside a weaved hamper containing flowers raised on a tree stump, on a glass rectangular base set within a Rococo style silver gilt plinth cast with C scrolls, leaves and flowers and set with cabochons on four scrolling feet, each with a single rock crystal candle branch wrapped with silver vines and terminating in an urn shaped nozzle, 26.5cm high x 15.5cm wide £8,000-£12,000

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107

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107 λ A LATE 18TH CENTURY ANGLO-INDIAN VIZAGAPATAM SANDALWOOD AND IVORY BOX the hinged lid centred by an oval with trailing husk border with the initials ‘RM’, flanked by trees with in a foliate border, flanked by a further border of flowers and foliage, the front decorated with a building with balustrade, the sides and back with similar decoration, the interior void but with one section, 8cm high x 30cm wide £600-£800 108 λ A GEORGE III IVORY, TORTOISESHELL STRUNG AND PIQUE WORK TEA CADDY of faceted form, with silver scrolling handle over and oval silver plaque flanked by pique work to the front panel, the interior with lid (possibly later), 12cm high £300-£500 109 A 19TH CENTURY GERMAN CARVED AGATE TAZZA the shallow bowl with scallop edge and lobed base, carved with a band of wavy lines, raised on a fluted baluster stem over a domed and stepped oval foot, 15cm high x 16cm wide £800-£1,200

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110 A MAGDEBURG STYLE BRONZE CANDLESTICK IN THE FORM OF AN ELEPHANT AND CASTLE, PROBABLY 19TH CENTURY the standing beast with a turret on his back, with crenellated top surmounted by a figure of an archer with a bow, 14.5cm high £200-£300

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111 SIX 17TH / 18TH CENTURY AGATE, STEEL AND SILVER KNIVES AND FORKS, PROBABLY GERMAN comprising three forks with sharply pointed tines and un-marked silver stems, with faceted and tapering agate handles, the three knives also with faceted, tapering agate handles, silver grips and steel blades, the largest 26cm wide (6) £2,000-£3,000 112 λ A SET OF TWELVE 18TH CENTURY GREEN STAINED IVORY AND STEEL KNIVES AND FORKS the forks with sharply pointed tines, swelling stems and tapering handles, the knives with similar stained ivory handles, some marked ‘J L’, the knives 27.5cm long (12) £600-£800 113 A 16TH CENTURY LIMOGES ENAMEL PLAQUE DEPICTING THE FLAGELLATION OF CHRIST IN THE MANNER OF PIERRE REYMOND (FRENCH, 1513-1584) Christ bound to a column, within an architectural scene, the sky with gilt stars revealed within an archway, mounted in a 19th century gilt bronze and red velvet covered rectangular frame, the panel 12cm high x 10cm wide A similar enamelled panel by Pierre Reymond depicting the Flagellation is in the Los Angeles County Museum of Art, William Randolph Hearst Collection (51.1.1b), circa 1535-1540. £1,000-£1,500 114 A 19TH CENTURY MEERSCHAUM PIPE CARVED IN THE ORIENTALIST STYLE WITH A BEARDED GENTLEMAN the bowl carved as the head of a bearded man with turban, the stem carved with bands of roses, in the original leather covered travelling case, 39cm high £200-£300

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115 A STAINED AND LEADED GLASS PANEL DEPICTING ST MARTIN OF TOUR, PROBABLY 16TH CENTURY depicting Saint Martin on horseback dividing his cloak and giving half to a naked beggar, the gate of the city of Amiens to the background, later mounted in an ebonised light box, the window 43cm wide x 39cm high There is a stained glass window depicting this scene in Chartres cathedral, showing the young soldier cutting his expensive cloak in half to give to the poor beggar, beneath the gate of the City of Amiens, where the incident supposedly took place. £2,000-£3,000

116 A LARGE STAINED AND LEADED GLASS WINDOW DEPICTING THE RESURRECTION OF CHRIST, PROBABLY 19TH CENTURY Christ with hands in prayer, with two figures at his feet sleeping, later mounted in a rectangular light box frame, the panel 92cm high x 52cm wide £2,000-£3,000

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*See page two for information regarding fees


117 A LARGE PAIR OF 19TH CENTURY STAINED AND LEADED GLASS WINDOWS DEPICTING THE HOLY FAMILY of rectangular form, the first panel depicting the Virgin with the Christ Child in her lap, Joseph beside, in the stable, beneath a Gothic arch with numerous spires, the second panel depicting a shepherd kneeling, both mounted in later pine frames fitted with hinges to fit together, 137cm high x 61cm wide the frames 69cm x 145cm (2) Provenance: From a private London collection. £500-£800

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118 A PAIR OF 19TH CENTURY STAINED AND LEADED GLASS PANELS DEPICTING ST CATHERINE AND THE ANGEL GABRIEL of rectangular form, both in later pine frames, 102cm high x 31cm wide, the frames 105.5cm x 35cm (2) £300-£500

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119 A SET OF THREE LARGE 19TH CENTURY STAINED GLASS PANELS DEPICTING CHRIST the tall windows depicting Christ in Majesty, Christ crucified and Christ blessing respectively, all mounted in later pine frames, the panels 161cm high x 34cm, the frames 167cm x 38cm (3) Provenance: From a private London collection. £400-£600 120 A PAIR OF 19TH CENTURY STAINED AND LEADED GLASS PANELS OF RELIGIOUS THEME depicting a donor kneeling before an angel and the Baptism of Christ by St John the Baptist, both in later pine frames 111cm high x 33.5cm wide, 115.5cm x 37.5cm including frames (2) Provenance: From a private London collection. £300-£500 121 A 19TH CENTURY STAINED AND LEADED GLASS ROUNDEL the circular window with borders of stylised foliage and flowers, 45cm high £100-£150 121

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121A 121A 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) £1,000-£1,500 122 A 17TH CENTURY RED VELVET AND COLOURED SILK EMBROIDERED PANEL depicting a vase of flowers flanked by a pair of lions passant, and a pair of birds, later mounted in a glazed and stained wood rectangular frame, the panel 56cm high x 53cm wide £300-£500 123 A 17TH / 18TH CENTURY PORTUGUESE EMBROIDERED SILK BANNER of rectangular form, with a flaming heart in an oval frame to the centre, flanked by scrolling foliage and various flowers, within a later glazed, gilt frame, the panel 89cm x 83cm £200-£500

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124 A SET OF 18TH CENTURY MATCHING CHURCH VESTMENT FRAGMENTS, PROBABLY SPANISH in white silk, richly embroidered with coloured silks and gilt thread, with applied silver thread work decoration, pieces comprises two maniples, front apron from a chasuble and a stole, in a later frame (unglazed), the frame 105cm x 105cm £300-£500 125 FOUR RUSSIAN BRASS AND ENAMELLED ORTHODOX CROSSES TOGETHER WITH AN ITALIAN MICROMOSAIC CRUCIFIX, 19TH CENTURY AND LATER three of the crosses with enamelled decoration, all with Cyrillic inscriptions, the Italian steel crucifix with inlaid micromosaic decoration inscribed ‘ROMA’, with Christ cast in brass in the round and applied to the cross, a hanging loop above, the largest 26.5cm high (4) £300-£500

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128 126 A 18TH CENTURY GERMAN EBONISED, BOXWOOD AND SILVER MOUNTED TABLE CABINET of architectural form, the sarcophagus top with a moulded edge and sliding, hidden compartment, the sides and back and front with decorative panels with moulded borders, the hinged lid set with a rectangular mirror plate to the inside, flanked by a pair of silver panels depicting allegorical figures of Charity and Justice, flanked by a pierced silver scrolling border, the fall front also with a mirrored panel and enclosing two further silver panels of strapwork and foliage and four drawers, centred by a sliding compartment with a recess with chequered floor and arched window front, 32.5cm high x 44cm x 30cm deep £600-£800 127 A 19TH CENTURY FRENCH BRONZE GOTHIC REVIVAL FONT of hexagonal form with castellated top and a tapering footed base, with winged angles applied to each apex, the engraved Gothic script text reads ‘Soli Deu honor et Gloria in Saecula Saeculorum Amen’, raised on a hexagonal platform support on mythical beasts, 69cm wide x 47cm high £600-£800 66

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129 128 SK A 16TH CENTURY AND LATER FRENCH CARVED WALNUT TABLE the later octagonal top with egg and dart border, raised on three 16th century scrolling supports, each carved with a putto caryatid, terminating in foliate scrolls and paw feet, 69cm high x 86cm wide £300-£500 129 λ AN 18TH CENTURY INDO-PORTUGUESE (GOAN) IVORY AND CARVED WOOD CRUCIFIX the ivory figure of Christ with finely carved hair, previously painted, with rope tied perizonium with gilt fringe, raised on a cross with ivory quatrefoil mounts over a shaped plinth base, the Christ 9.5cm high, the cross 26.5cm high £250-£350

*See page two for information regarding fees


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131 130 λ A 19TH CENTURY SCRIMSHAW, WHALE BONE, IVORY AND TORTOISESHELL WATCH STAND COMMEMORATING THE ‘PROSERPINE’ AND ‘BROTHERS’ SHIPS the pair of sperm whale teeth carved with images of the Proserpine at sea, one inscribed ‘Sofs of the PROSERPINE’ the other ‘the Barque BROTHERS’, centred by a whale bone stand for a pocket watch and raised on a shaped tortoiseshell, whale bone and ivory mounted plinth over four bun feet, 14.5cm high x 22.5cm wide The terms barque refers to a sailing ship, typically with three masts, and Brothers was a 431-ton barque (ship), built in Whitby, England in 1815 and used to ship convicts to Australia. The Proserpine was commissioned in 1777 and was wrecked in 1799 near the Danish port of Cuxhaven, when she became encased in ice. When the crew managed to re-board her she was swept out to sea and grounded for a second time. £800-£1,200

131 λ AN 18TH CENTURY INDIAN (VIZAGAPATAM) ROSEWOOD, BONE AND IVORY INLAID MARQUETRY WRITING BOX / SLOPE the sloping hinged lid inlaid with a bone border of floral scrolling tendrils, centred by a stylised plant, the sides and back also with inlaid bone border, with ivory stringing, the lid opening to reveal four short and two long drawers with gilt brass handles centred by an alcove with ivory decoration, 58cm wide x 42cm deep x 17.5cm high £800-£1,200 132 λ A 19TH CENTURY FRENCH / ITALIAN CARVED IVORY CRUCIFIX ON CALAMANDER VENEERED CROSS the ivory Corpus Christi with eyes open and wearing the crown of thorns, raised on a calamander veneered cross with an ivory ‘INRI’ panel above, the Christ 13.5cm high, the cross 30cm high £300-£500 67


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133 A THIRD QUARTER 19TH CENTURY FRENCH GILT AND PATINATED BRONZE STANDARD LAMP IN THE STYLE OF PIERRE GOUTHIERE (FRENCH, 1732-1813) the central stem modelled as a quiver of arrows hung with lambrequin and terminating in a fruiting boss, issuing a brass stem supporting three acanthus wrapped downward pointing nozzles with foliate decoration, raised on a tripod base with rams head finials and hoof feet, later fitted for electricity, with etched and frosted glass shades, 186cm high £600-£800

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134 A 19TH CENTURY FRENCH GILT BRONZE AND GILT BRASS FIVE LIGHT CANDELABRA the plain stem issuing five scrolling branches with trailing flowers, terminating in urn shaped nozzles, with a sixth central branch later mounted with a lobed urn with foliate finial, raised on a circular foot over a later reentrant cut, square base, 85cm high £300-£500

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135 A LARGE PAIR OF ROMAN STYLE SPECIMEN MARBLE OBELISKS inlaid with a geometric design of various coloured marbles on black ground, on plinth bases, 121cm high £2,000-£3,000

*See page two for information regarding fees


136 A PAIR OF 19TH CENTURY FRENCH GILT BRONZE FIGURAL CANDELABRA AFTER THE MODEL BY ETIENNE-MAURICE FALCONET CIRCA 1760 each modelled as a pair of nude classical maidens holing aloft a large arrangement of flowers tied with a floral garland and drapery which tumbles to the shaped bases, raised on acanthus and lobed feet, the three candle branches cast as flower heads amongst the various flowers, later drilled for electricity, 68cm high (2)

This elegant, Louis XVI style model was first exhibited at the Salon du Louvre in 1761 by the important sculptor Etienne-Maurice Falconet, director of the sculpture studios at Sèvres between 1759 and 1766. £7,000-£10,000

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137 A PAIR OF LOUIS XV STYLE PORCELAIN AND GILT BRONZE MOUNTED VASES AND COVERS in the Sevres style, the baluster bodies decorated with a pair of putti to one side and a bouquet of flowers to the reverse, with gilt borders on a blue ground, the domed covers with similar decoration and surmounted by a fruiting finial, with a pair of entwined serpent handles, on stiff-leaf cast socles and re-entrant cut square bases, 55cm high (2) £400-£600 138 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) £600-£800

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139 AN EARLY 20TH CENTURY FRENCH CHINESE STYLE PAINTED AND JAPANNED PANEL of rectangular form, fitted with three panels within a gilt frame, the panels depicting a kingfisher and another bird, centred by a scene in the Oriental style showing a pagoda and a pair of figures beside a lake, the reverse of the panels with Japanned decoration of foliage and a butterfly centred by pagodas and trees, 115cm high £300-£500 140 A CHINESE STYLE JAPANNED, PARCEL GILT, MOTHER OF PEARL INLAID AND HARD STONE MOUNTED THREE PANEL SCREEN each section with four shaped panels mounted with hard stone Chinese style motifs such as a horse, pagoda and dragon, within a mother of pearl inlaid trellis type ground, the reverse with gilt circular motifs on a black ground, each panel 40.5cm wide x 183cm high (121.5cm wide when extended) £500-£800

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141 A SECOND QUARTER 19TH CENTURY ENGLISH TWIN HANDLED PAPIER MACHE TRAY ATTRIBUTED TO HENRY CLAY of rectangular form with curved corners, decorated with panels simulating japanned lacquer against a gilt ground with seaweed decoration bordered with geometric latticework, the centre with a coat of arms surmounted by a crest of a cross pattée fitchée, the brass handles with painted tin backplates, 70.5cm long For a tray of identical form and similarly attached handles decorated with Chinoiserie figures, see Bonhams Knightsbridge, 10th Feb 2016 lot 747 £200-£300

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142 λ AN 18TH CENTURY SPANISH / PORTUGUESE TORTOISESHELL VENEERED CASKET of rectangular form with domed lid, with white metal fluted handle and engraved escutcheon, the interior void, 19cm wide x 6cm high £300-£500

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144 143 TWO EARLY 20TH CENTURY MAJOLICA POTTERY STICK STANDS MODELLED AS STORKS ATTRIBUTED TO DELPHIN MASSIER one holding a lizard in its beak, the other a frog, both on oval naturalistic bases, with impressed numbers to the underside, unsigned, 66cm and 62cm high respectively (2) £3,000-£5,000

144 A PAIR OF LATE 19TH CENTURY GLAZED TERRACOTTA CHERUB MASK KEYSTONES BY LIPSCOMBE & CO. AFTER THE MODEL BY FRANCOIS DUQUESNOY (FLEMISH, 1597-1643) each modelled in relief with the head of a child on a tapering block with bevelled edge, stamped ‘Lipscombe & Co patent glazed terracotta potteries, Chesterfield’, 43cm x 30.5cm x 33cm Provenance: The private collection of a British sculptor. Purchased at Christie’s, London, 21 February 2003. £600-£800

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148 145 A 19TH CENTURY ENGLISH BLUE JOHN CARVED EGG 6.5cm high £600-£800 146 A LATE 19TH / EARLY 20TH CENTURY JAPANESE SHIBAYAMA WORK HORN CUP decorated with gilt, lacquer and inlaid abalone shell with storks and blossom trees, 15cm high £300-£500 147 A CARVED ROCK CRYSTAL EGG, PROBABLY 19TH CENTURY 7cm high £600-£800 148 PIERRE ADRIEN GRAILLON (FRENCH, 1807-1872): A CARVED RED STONE RELIEF DEPICTING A FAMILY ESCAPING THE ERUPTION OF MOUNT VESUVIUS the four adults and three children in a chariot pulled by a pair of horses, the volcano in the background, signed to the reverse ‘P.A. GRAILLON’, 17cm wide x 14cm high £500-£700 72

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149 A LATE 19TH CENTURY SEVRES STYLE ENAMELLED AND ‘JEWELLED’ PLATE of circular form, with a border of spires decorated in gilt with red, blue, green and white ‘jewelled’ decoration, with a centre stylised motif, 23cm diameter £360-£600 150 A LATE 19TH CENTURY FRENCH SEVRES STYLE PORCELAIN ‘JEWELLED’ AND GILT BRONZE MOUNTED VASE AND COVER of baluster form, the domed lid surmounted by a fruiting finial, the Greek key type handles over laurel wreaths, the body decorated on a blue ground with a pair of panels depicting Ceres and attendants riding in a chariot pulled by lions and a child holding a birds nest to the reverse, with gilt scrolling floral decoration throughout, on a lappet moulded spreading socle over a re-entrant cut square plinth, 50cm high overall £500-£800

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151 A 19TH CENTURY GILTWOOD AND GESSO OVAL GIRANDOLE MIRROR the oval frame naturalistically modelled as a branch and with an oak and acorn border and cresting, with a pair of scrolling branches terminating in urn shaped candle nozzles at the base, 71cm high x 50cm wide £400-£600 152 AN 18TH CENTURY ITALIAN GILTWOOD MARGINAL WALL MIRROR the bevelled rectangular mirror plate within a C scroll and trelliswork border flanked by a marginal mirror, with pierced corner mounts of a classical helmet flanked by scrolling foliage, 78cm wide x 94cm high £800-£1,500 153 A LARGE 19TH CENTURY FRENCH GILTWOOD AND GESSO WALL MIRROR the rectangular frame with protruding corners and beaded and laurel border, with a rose and laurel wreath cresting and floral garland decoration, 138cm high x 88cm wide £400-£600 154 A 19TH CENTURY FRENCH AMBOYNA AND GILT METAL MOUNTED CABINET / TABERNACLE surmounted by a cross and gilt metal relief depicting Pierre Terrail, seigneur de Bayard (known as the Chevalier de Bayard), with arched top and two hinged doors, with void interior, 80cm high x 17cm deep x 33cm wide £250-£350

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Textiles from Malmesbury House, Salisbury

155

A photograph showing the lot in situ.

155 A MID 19TH CENTURY ENGLISH APPLIQUE CEREMONIAL TRUMPET BANNER FOR THE LIFE GUARDS (HOUSEHOLD CAVALRY) CIRCA 1860 the embroidered royal coat of arms flanked by the lion and unicorn worked in gold and silver and coloured threads on crimson silk ground, with scrolling letters ‘V R’, and fringed border, in a rectangular glazed frame with a plaquette inscribed ‘THE LIFE GUARDS TRUMPET BANNER C.1860’, with a label to the reverse for the Parker Gallery, 2 Albermarle Street, London, the banner 60cm wide x 46cm high including fringing, the frame 74cm x 59cm Provenance: From Malmesbury House, sold with a photograph of the banner hanging in the house. An almost identical banner was sold at Sotheby’s, London, 22 July 2004, lot 1, catalogued as 18th century. £1,000-£1,500 156 A SMALL 19TH CENTURY EMBROIDERED ROYAL COAT OF ARMS TOGETHER WITH AN EMBROIDERED MILITARY CLOTH BADGE the coat of arms worked in silver and gilt thread on crimson ground, in a rectangular glazed frame, the badge also worked in gold and silver thread depicting a pennant with a crown above and crossed swords below, in a 19th century tortoiseshell and ripple moulded frame, both with labels to the reverse for the Parker Gallery, 2 Albermarle Street, London, the banner 60cm wide x 46cm high including fringing, the frame 74cm x 59cm

156

Provenance: From Malmesbury House, Salisbury. £200-£300 157 A SET OF THREE EARLY 20TH CENTURY FRAMED EMBROIDERED PENNANTS WITH ROYAL CRESTS each folded over and revealing the same crest to each side of the double glazed frame, comprising the Falcon and Fetterlock of the heraldic badge of Edward IV, the Bohun swan of Henry IV, and the feathers of Henry VI, each frame 60cm wide x 50cm high (3) Provenance: From Malmesbury House, Salisbury. £200-£300 74

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158 A PAIR OF LATE 19TH CENTURY ROCOCO STYLE GILT BRONZE AND PORCELAIN FIGURAL CANDELABRA the asymmetric candlesticks modelled as scrolling acanthus leaves and flowers, the naturalistic bases with C scrolls and shellwork and surmounted by a figures of a boy and girl in the Meissen style, each with a pair of urn shaped nozzles, 30cm high (2) Reputedly from Malmesbury House, Salisbury. £300-£500 159 A PAIR OF FIRST HALF 20TH CENTURY CERAMIC AND CUT GLASS CANDELABRA designed with ceramic baluster supports with trailing flowers on a white ground, each issuing five brass scrolling arms centred by a shorter sixth, all with urn shaped nozzles, the drip pans hung with chip cut, arrow-headed lustres, 61cm high (2) £600-£800 160 A LARGE PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE CANDELABRA in the Renaissance Revival style, each with a central twin handled urn cast with bowls of fruit, issuing a pair of scrolling, acanthus wrapped branches terminating in bulbous and stiff-leaf cast nozzles, centered by a third straight branch, raised on plinth bases with free standing columns cast with putto heads, on four scrolling mask feet, 76cm high (2) £800-£1,500 161 A LATE 19TH CENTURY FRENCH PATINATED SPELTER STANDARD LAMP IN THE NEOGREC STYLE the central urn decorated with a continuous frieze of classical dancers and musicians, on three scrolling legs with panther heads and paw feet, on a stepped circular base, drilled for electricity, 148cm high £300-£500

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164 162 A 19TH CENTURY SWISS GOLD AND ENAMEL CIGARETTE HOLDER decorated with spirally twisted bands of scrolling acanthus leaves and trailing flowers, interspersed with gold and white bands, in an associated red leather and gilt tooled case, 9cm high £800-£1,200 163 SIX 18TH / 19TH CENTURY IZNIK RECTANGULAR TILES decorated with scrolling foliage and flowers on a blue ground, later mounted in a row onto a wooden backing, each tile 20cm wide, 120cm wide overall £500-£800

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163 (detail)

165 164 A REGENCY MAHOGANY FOLDING DUMB WAITER comprising three graduated circular tiers each hinged in two places to fold down, on a turned baluster shaped pedestal and reeded down-swept legs terminating in brass caps and castors, 122cm high x 59cm wide when folded out £600-£800 165 λ A LARGE 19TH CENTURY MAHOGANY, BOXWOOD STRUNG AND IVORY MOUNTED TOILET MIRROR the bevelled mirror plate in a scrolling frame with gilt and ivory urn shaped finial, the base fitted with three drawers with turned bone handles, raised on ivory bun feet, 52cm wide x 34cm deep x 95cm high £300-£500

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166 SK AN EARLY 20TH CENTURY FRENCH ONYX AND GILT METAL MOUNTED SQUARE PEDESTAL the chamfered edge, square shelf over the square stem and plinth base, the top 25cm wide, 103cm high £500-£700

168 SK A LATE 19TH CENTURY FRENCH ROUGE GRIOTTE MARBLE PEDESTAL the rotating square top over the tapering fluted column terminating in a square plinth base, the top 32cm wide, 111.5cm high £500-£700

167 SK A LATE 19TH / EARLY 20TH CENTURY ONYX AND GILT METAL MOUNTED PEDESTAL the square top over the Corinthian column, square tapering shaft, terminating in a circular base over a square plinth, the top 24cm wide, 110cm high £500-£700

169 SK A LATE 19TH / EARLY 20TH CENTURY ROUGE GRIOTTE MARBLE AND GILT METAL MOUNTED PEDESTAL the rotating square top over the Corinthian column support, on a square base and gilt feet, 25cm wide x 107cm high £500-£700

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170 A FINE AND LARGE THIRD QUARTER 19TH CENTURY FRENCH NEO-GREC GILT BRONZE AND CLOISONNE ENAMEL DECORATED ONYX JARDINIERE BY FERDINAND BARBEDIENNE (FRENCH, 1810-1892) PROBABLY DESIGNED BY LOUIS-CONSTANT SEVIN AND EDOUARD LIEVRE of shaped oval form, the body with a band of enamel decoration of C scrolls, foliage and flowers, raised on four scrolling feet cast with female masks below shell crests, with entwined handles, one handle signed ‘F. BARBEDIENNE’, 57cm wide x 22cm high The attribution to the designer Edouard Lievre is based on the similarity of the jardiniere to one that featured a monogram of interlaced Ds to the centre of each side of the vessel, a monogram used by Lievre for his important patron Edouard Detaille. (See Steinitz, Edouard Lièvre exhibition Catalogue, Paris, 2014, pp. 184-191). Interestingly, another Barbedienne jardiniere of near identical form that sold at auction featured the date 26th July 1864 in Roman numerals and ‘JUILLET’ to the central panel of the jardiniere in the same place that the other was monogrammed with D’s. (This example was sold August 27th 2016, GWS auctions, California, US, $15,000), and so we know that the model was designed before 1864. The model for this jardiniere is usually attributed to the important designer Louis-Constant Sevin, who worked with Ferdinand Barbedienne for over thirty years from 1855 to 1888 and much of Barbedienne’s success was arguably due to the high quality, inventive models developed by Seven during this time. They exhibited together at the Paris Exposition Universelle in 1867 and 1878. We know from the other jardiniere mentioned above that this design was already in use by 1864 and so it may well have been exhibited at the Exposition Universelle of 1867. £10,000-£15,000

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171 SK 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. £15,000-£20,000


172 A FINE AND IMPRESSIVE SECOND QUARTER 19TH CENTURY FRENCH GILT BRONZE CLOCK SIGNED ‘SILVANI, B. A PARIS’, MOUNTED WITH A LARGE BERLIN PORCELAIN PANEL, PROBABLY KPM, CIRCA 1830 the ornate case modelled with scrolling acanthus and lotus leaves, enclosing the large Berlin (probably KPM) porcelain plaque depicting the Holy Family (the Seville Virgin) after Bartolomé Esteban Perez Murillo (Spanish, 1617-1682), the front feet modelled as griffins, the back feet plain, one stamped indistinctly ‘& Fils’, the dial with Roman numerals, signed near to VI, the twin train movement also signed ‘SILVANI B. A PARIS’, with outside countwheel striking on a bell, 72cm high

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The movement is winding, ticking and striking but not fully tested or guaranteed. The back foot of this clock is indistinctly stamped ‘...IER FILS’ which may refer to the French Empire maker Baclier & Fils. Although unmarked the exceptional quality and size of the porcelain panel indicate a prestigious maker such as KPM. £10,000-£15,000

*See page two for information regarding fees


173 A LARGE MID 19TH CENTURY FRENCH LOUIS PHILIPPE GILT BRONZE AND BERLIN PORCELAIN CLOCK GARNITURE SIGNED ‘ANDRE HOFFMAN’ the clock case in the Neo-Gothic style, or architectural form with stepped bell tower finial flanked by flying buttresses, the arcaded base flanked by painted arched plaques depicting the the rest on the flight to Egypt and Christ and St. John the Baptist, the twelve piece enamelled dial with Roman numerals, the twin barrel movement with outside countwheel striking on a blued steel, coiled gong, stamped

‘VINCENTI & CIE MEDAILLE D’ARGENT’, the strike hammer with a string attached which is also attached to the strike of the small bell in the bell tower atop the clock, together with a pair of candelabra with five scrolling branches, also with porcelain panels, on stepped bases, the clock 64cm high, the candelabra 66.5cm high (3) The movement is ticking and striking but not fully tested or guaranteed. £10,000-£15,000

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175 174 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL MANTEL CLOCK WITH A COURTING COUPLE the stepped plinth base with relief cast decoration of a classical scene with Venus being pulled on a chariot with dolphins in the sea, surmounted by a bronze depicting a pair of Ottoman style figures in an embrace, on a rocky naturalistic base centred by the white enamelled dial, the twin train movement with outside countwheel and silk suspension striking on a bell, with pendulum, 53cm high The movement is winding, ticking and striking but looks to need a clean and service and not fully tested or guaranteed. £600-£800 175 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL MANTEL CLOCK IN THE OTTOMAN TASTE the gadrooned and stepped plinth base surmounted by a figure of a Orientalist maiden holding a posey of flowers and reclining against a tree stump, a fan beside her, the dial with Roman numerals (silvering worn), the twin train movement with outside countwheel and silk suspension striking on a bell, with pendulum, 50cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800

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176 A LATE 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MOUNTED MANTEL CLOCK the case of arched form surmounted by a twin handled urn with fruiting finial, with canted angles and a plinth base over toupie feet, the porcelain decorated with a farm scene to the front and views of classical architecture to the sides, the dial signed ‘NATHAN & CO’ and painted with flowers, with Roman numerals, the twin train movement striking on a bell, raised on an associated giltwood plinth, 36cm high overall The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800

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177 SK A 19TH CENTURY FRENCH ROCK CRYSTAL STYLE GLASS AND GILT BRONZE PORTICO CLOCK ATTRIBUTED TO BACCARAT the cut glass cornice supported on four free standing columns with acanthus capitals, diamond cut decoration and fluted shafts, on a rectangular plinth base with foliate border over four square, fish-scale cast feet, the dial with Roman numerals, the twin train movement stamped ‘VINCENTI & CIE MEDAILLE D’ARGENT 1855’ striking on the half hour and the hour on a bell, 45.5cm high

The movement is ticking and striking but not fully tested or guaranteed. For a similar portico clock attributed to Baccarat see Bonhams, London, 5 April 2017, lot 94. £4,000-£6,000

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178 A RARE 19TH CENTURY FRENCH GILT BRONZE AND GLASS MYSTERY CLOCK WITH RECTANGULAR DIAL BY JEAN EUGENE ROBERT HOUDIN the 6 inch rectangular bevelled glass dial signed ROBERT-HOUDIN PARIS, with gilt Roman numerals and Arabic five minute markers, within a moulded frame surmounted by a cartouche cresting and raised on a pair of acanthus wrapped, swan neck supports, over a red velvet covered plinth, the shaped plinth base with mask and foliage mount, the single train timepiece movement with vertically mounted lever platform escapement, signed ‘HOUDIN’ ‘22761’, 37cm high The clock is in working order but not fully tested or guaranteed. Jean Eugene Robert was born in Blois, near Paris, which had been a centre for clock and watchmaking for centuries; his father was a watchmaker and so naturally he began his career also in this trade. In 1830 he married Eglantine Houdin, the daughter of Jacques Houdin, a prestigious horologist who had studied under arguably the greatest watchmaker of all time, the great Breguet. Jacques Houdin had a shop in Paris which specialised in precision instruments, and the young Jean Eugene Robert was so impressed by his father-inlaw’s work that after the marriage he took his name and became Robert Houdin. In 1831 Robert Houdin began to develop the first mystery clocks.

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Between 1831 and 1844 he produced five distinct types all functioning in slightly different ways and for different effect. When one of these mystery clocks was exhibited in London in 1838, it is said spectators were amazed and could not work out how the hand moved, many speculating that the clock was driven with magnetism. In 1839 Robert Houdin exhibited some of his mystery clocks at the Exhibition of French Industry, and won a bronze medal. His clocks, automatons and other inventions became world famous, and he is now widely considered to be not only the inventor of the first mystery clocks but also perhaps more importantly, the father of modern magic and conjuring. It has been said that every magician of the 20th century is haunted by Robert Houdin, his techniques and showmanship casting a shadow over all future conjurers. In fact, the famous Harry Houdini was so in awe of Houdin that he changed his name from Ehrich Weiss to Harry Houdini in homage to the great master, for he erroneously believed that adding an ‘I’ to the end of a name meant ‘like’ in French. Related Literature: Derek Roberts, Mystery, Novelty & Fantasy Clocks, pp 225-226. A square dial mystery clock by Houdin was sold at Chiswick Auctions, £20,700, 21 March 2017, lot 516. £10,000-£15,000

*See page two for information regarding fees


179 A FINE AND RARE EARLY 19TH CENTURY FRENCH GILT BRONZE SEDAN TYPE CLOCK WITH GRANDE SONNERIE PULL REPEAT AND AUTOMATON FIGURES BY BREGUET, PARIS the case of rectangular form and surmounted by a ring handle, decorated with a cache pot emitting scrolling foliage flanking the dial, on a stippled ground, the engine turned bezel enclosing the Arabic white enamelled chapter ring, signed ‘BREGUET A PARIS’, the centre with skeletonised movement and a pair of gilt, silvered and polychrome decorated figures of noble savages ‘au Bon Sauvage’ each striking a decorative bell, when the pull repeat cord is activated, one strikes the hours, then both strike the quarters with a ting tang on each bell, once for quarter past, twice for half past and three times for quarter to the hour, 16.5cm high with handle down The movement is in working order but not fully tested or guaranteed. £2,500-£3,500

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180 AN EARLY 20TH CENTURY GERMAN STERLING SILVER AND ENAMEL SINGING BIRD BOX CIRCA 1900 BY JOHANN S. KURZ & CO. the rectangular box with canted angles and sloping base and domed top decorated with scrolling foliage, marked to the underside with maker’s mark, Hanau, the sides with blue enamel panels, the oval hinged top with mask amongst C scrolls, opening to reveal a pierced scrolling grill from which the singing bird emerges, with brightly coloured plumage, flapping its feathered wings, 11cm wide x 6cm high The box is in working order but not fully tested or guaranteed. £3,000-£5,000

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181 A 20TH CENTURY GILT METAL SINGING BIRD BOX ‘OISEAUX CHANTANTS’ the rectangular box decorated with filigree work of scrolling foliage throughout, with a switch to activate the oval hinged lid, opening to reveal the singing birds with red and green feathered plumage, the bird appearing from a pierced grill and singing, his wings also moving, 10.5cm wide In working order but not fully tested or guaranteed. £3,000-£5,000

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183 182 A SECOND QUARTER 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK DEPICTING VENUS AND CUPID Venus holding a laurel branch and pointing up to a twin handled urn, Cupid flanking the clock and holding a sundial, on a demi-lune base, the white enamelled dial with Roman numerals and Arabic five minute outer track, the twin train movement stamped ‘Pons MEDAILLE D’OR 1827’ and ‘BARRET A PARIS’, striking on a bell, 43cm high The movement is striking when the hands are turned but not fully tested or guaranteed. £500-£800 183 A LARGE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK DEPICTING ARES AND APHRODITE the rectangular plinth base set with gilt bronze mounts depicting a griffin and a greyhound centred by a trophy with a lyre, flaming torch and quiver of arrows, on four lotus cast gilt bronze feet, the clock set within the naturalistic base supporting the figures of Ares and Aphrodite, both holding gilt flaming torches, the clock dial with gilt chapter ring with Roman numerals and with gilt mounts of the signs of the zodiac around the dial, the twin train movement signed ‘A.C.D.’ with outside countwheel and silk suspension, with pendulum, 66.5cm high The movement is winding and ticking and strike functions but hammer is lacking. Not fully tested or guaranteed. £1,500-£2,000

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184 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE CLOCK DEPICTING APOLLO the standing figure strumming his lyre, mounted on the pedestal beside him, raised on a plinth base with mounts depicting garlands of roses and a lyre and swan, the silvered dial with Roman numerals, the twin train movement signed ‘BARRET JNE’, with outside countwheel and silk suspension, with pendulum, striking on a bell, 55cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800

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*See page two for information regarding fees


185 A LARGE LATE 19TH CENTURY FRENCH ORIENTALIST COLD PAINTED AND GILT METAL FIGURAL CLOCK depicting an Arabian maiden appearing from an ornate doorway with curtains, on a shaped base with Arabesque motifs, cold painted in blues, greens, reds and white (decoration probably later), the clock movement atop, with green enamelled dial with Roman numerals, the twin barrel movement stamped ‘JAPY FRERES MED. D’HONN’, with outside countwheel striking on a bell, 60cm high £4,000-£6,000 87


186 A RARE EARLY 18TH CENTURY GILT BRONZE TABLE CLOCK WITH ALARM the break-arch gilt dial surmounted by a shell crest flanked by S scrolls, with similar scrolls to the sides and base of the dial, the arch with a silvered boss engraved with a crest depicting a cartouche containing a tree and two tigers with a hat above, flanked by further acanthus and C scroll mounts, the silvered chapter ring with Roman numerals interspersed with flower motifs, and with Arabic five minute markers, with a subsidiary alarm dial to the centre, the single train movement with a bell, 23cm high The movement is winding and ticking and bell striking but not fully tested or guaranteed. £1,500-£2,000

186 187 A FINE 19TH CENTURY FRENCH WHITE MARBLE, GILT AND PATINATED BRONZE FIGURAL ANNULAR ‘CERCLES TOURNANTS’ MANTEL CLOCK modelled as a grey veined, white marble urn raised on an octagonal stepped plinth base with gilt bronze mount and surmounted by a removable lid with a bronze model of a putto above, holding a floral garland, the enamelled annular dial with Roman numerals and Arabic five minute markers, with a gilt foliate cast hand indicating the time as the dial rotates, 43cm high The movement is ticking but not fully tested or guaranteed. This elegant clock is based on a Louis XVI design, the two revolving dials indicating the time. An 18th century example in the ‘Au Balancier de Cristal Collection’, is illustrated Tardy, ‘French Clocks the World Over’, Part Two, Paris, 1981, p.90. A similar example was recently sold in The Ballyedmond Collection, Sotheby’s, London, 23 May 2017, lot 321. £1,800-£2,200

187 188 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE AND MALACHITE MOUNTED MANTEL CLOCK the case of plinth form, surmounted by a bust of Napoleon raised on a malachite base (malachite possibly later) set with a gilt bronze mount depicting a fox and a crane from Aesop’s Fables, over the gilt dial with Roman numerals, flanked by a pair of urn finials on laurel wreath cast, gilt mounts, the plinth base cast with trailing bell flowers, anthemion and other motifs, the twin train movement with outside countwheel and silk suspension striking on a bell, 47cm high £1,200-£1,800

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189 A SMALL EARLY 19TH CENTURY EMPIRE PERIOD GILT BRONZE MANTEL CLOCK DEPICTING A YOUTH the classically attired young boy holding a cornucopia, stood beside an arched plinth surmounted by a lyre, on a stepped base over acanthus cast feet, the dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 37cm high x 25.5cm wide The movement is ticking and striking when hands are turned but not fully tested or guaranteed. £650-£850

189 190 AN EARLY 19TH CENTURY EMPIRE PERIOD GILT BRONZE MANTEL CLOCK DEPICTING AN ALLEGORY OF ASTRONOMY the standing, classically attired Muse Urania holding a pair of callipers to a star covered globe, a telescope to the other side of the clock dial, raised on a plinth with laurel wreath mounts enclosing various tools of the trade, the white enamelled dial signed ‘a Paris’, with Roman numerals and Breguet type hands, the twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 36.5cm high x 30cm wide x 10cm deep The movement is ticking and striking but not fully tested or guaranteed.

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Jean-Louis Prieur (1732-1795) is known to have produced a clock depicting Urania, muse of Astronomy in 1766 for the Royal Palace at Warsaw, and the enthusiasm for this theme continued into the early 19th century and the Empire period. Clocks devoted to science, astronomy, mathematics and study were popular during this time and some of the great master clockmakers and bronziers of the day such as Jean-André Reiche (1752-1817) and Claude Galle (1759-1815) produced clocks of similar theme and design to the present example, often including scientific instruments and tools such as telescopes. £1,000-£1,500

191 A FINE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE CLOCK WITH CONCENTRIC CALENDAR SIGNED GAUTIER A PARIS the case of architectural design, with an arched top with a relief depicting River gods, over a pair of fluted pilasters and a pair of dolphins over a cistern, raised on a rectangular plinth base surmounted by a figure of Venus and Cupid, the plinth with hippocampi and swan mounts, raised on four paw feet, the white enamelled dial with Roman numerals and inner Arabic calendar track, the twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 49cm high Provenance: Purchased from Sotheby’s sale ‘Property from Comte Guillaume de Toulouse-Lautrec’, 8 July 2008, lot 310 The movement is ticking and striking when the hands are turned but not fully tested or guaranteed. £3,000-£5,000

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Dr Fischer’s Collection of Table Clocks (Lots 192-241)

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Born in Austria in the grand Renaissance castle of Schwarzenau in the early fifties, Dr. Georg Fischer’s great passion for life, and his curiosity about the natural world led him to become an engineer, focusing on the drilling and exploration of oil, gas and diamonds. His great determination and inventiveness led to Dr. Fischer travelling the globe in search of sites and findings: from the exploration of the North Pole on board a Russian ice-breaker to his exploratory work in the inhospitable South Pole. Throughout the years and also thanks to the support and help of his wife Nina, he managed to build an exceptional and unexpected art collection. His diverse collection is a reflection of the exceptional personality of this art lover and the richness of his global experience. The collection ranges from an impressive Art Déco collection, through to ancient books, paintings, jewellery, tribal and Asian art coming to an incredible collection of watches and clocks, showing his particular affection for mechanism and accuracy. We are glad to present here a selection of his miniature table clocks, which have all been treasured and well looked after over the years and are nearly all in good working condition. 90

*See page two for information regarding fees


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192 A LARGE THIRD QUARTER 19TH CENTURY ENGLISH EBONISED AND GILT BRASS MOUNTED TRIPLE FUSEE MUSICAL BRACKET / TABLE CLOCK BY CHARLES FRODSHAM, NO1289 the bell top ebonised case surmounted by a flaming urn finial and flanked by four urn finials, with caryatid mounts to the canted front angles and pierced gilt brass sound frets to the sides and top, cast with putto masks and C scrolls, the plinth base with a plaquette inscribed ‘Mynors Bright A.M. E Collegie S. Mari Magdalene Socio Presidique Alumni et. Amici Cantabrigienses A.D. 1874’, the 8” arched brass dial with silvered Roman chapter ring and matted gilt centre, with subsidiary dials for Fast / Slow and Strike / Silent, with nameplate signed ‘CHARLES FRODSHAM CLOCK MAKER TO THE QUEEN 84 STRAND NO.1289’, the substantial triple chain fusee movement chiming the quarters with a cylinder pin wheel on a nest of four graduated bells and the hours on a large separate bell, with pull cord repeat which chimes the last quarter and the hours, the rectangular backplate signed ‘Chas. Frodsham 84 STRAND 1289’, with heavy brass bob pendulum, 67cm high

194 A LATE 18TH CENTURY GEORGE III MAHOGANY AND BRASS MOUNTED FUSEE TABLE / BRACKET CLOCK BY BARRAUD, CORNHILL, LONDON the triple pad top case surmounted by a brass handle, over moulded cornice and fish scale sound frets, the 7” painted dial signed ‘Barraud Cornhill LONDON’, and with Roman numerals, the twin fusee movement with anchor escapement striking on a bell, the backplate signed ‘Barraud London’ and with engraved lambrequin border, the adjustable pendulum with heavy brass bob with conforming engraving, with pendulum holdfast, with pull cord repeat, 42cm high

The movement is winding, ticking and striking and the pull repeat is working but not fully tested or guaranteed. £2,000-£3,000 193 A MID 19TH CENTURY ENGLISH MAHOGANY FUSEE TABLE CLOCK WITH PULL CORD REPEAT BY BROCKBANK & ATKINS, LONDON, NO. 2427 of case of plinth form with glazed pad top and glazed sides, over a shaped plinth base, the 5” square silvered dial with Roman numerals signed ‘Brockbanks AND Atkins LONDON NO. 2427’, the twin fusee chain movement with anchor escapement striking on a blued steel, coiled gong, the backplate signed ‘Brockbank & Atkins LONDON 2427’, with pendulum, 29cm high The movement is winding and ticking but not fully tested or guaranteed. £800-£1,200

The movement is winding, ticking and striking and the pull cord repeat is working but not fully tested or guaranteed. £1,000-£1,500 195 A VICTORIAN ROSEWOOD AND MOTHER OF PEARL INLAID FUSEE DROP DIAL WALL CLOCK SIGNED ‘J. DUNSTALL 10 KING ST GRAVESEND’ the octagonal bezel over the trunk with glazed pendulum aperture and carved scrolling side mounts, with hinged door to the lower section, the painted dial with Roman numerals, the single fusee timepiece movement with pendulum, 74cm high £200-£300

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196 A 1960’S SWISS 18K GOLD AND AMAZONITE SET MINIATURE TABLE CLOCK BY GUBELIN N° 201720 the circular case with rope twist decoration and raised on a rope twist plinth, with triangular amazonite cabochons, the dial with luminescent dots, signed ‘GUBELIN SWISS’ and with centre seconds hand, quartz movement, marks to the back of the case, 51mm diameter

198 AN ART DECO STYLE JAEGER LECOULTRE PERSPEX AND CHROME DESK CLOCK RETAILED BY GARRARD of circular form with pierced circular chapter ring with Arabic fifteen minute markers, signed to the dial ‘JAEGER LECOULTRE SWISS MADE’, winding from the back, also signed ‘LECOULTRE SWISS MADE 1500’, the back of the plinth base signed ‘GARRARD BRITISH CASE’, 17cm high

Untested. £1,000-£1,500 197 A MID 20TH CENTURY SWISS 18K YELLOW GOLD, TURQUOISE AND LAPIS LAZULI MINIATURE DESK CLOCK BY CARON, MIDO of circular form with decorative bezel enclosing the hard stone cabochons, the blue dial signed ‘CARON CHRONOMETER ELECTRONIC SWISS MADE’ with applied batons, the back marked ‘750’ and ‘SWISS YS 12717’, movement calibre 1207EC side ‘MIDO’ 5cm diameter £1,000-£1,500

The movement is ticking but not fully tested or guaranteed. £700-£1,000 199 λ AN EARLY 20TH CENTURY FRENCH SILVER AND IVORY DESK CLOCK RETAILED BY MAPPIN & WEBB of rectangular strut form, the ivory surround with gilt and silver pierced spandrels to the corners, the strut of silver and stamped ‘925’ and with London import marks, with French marks to the underside, the silvered dial with engine turned centre and Roman numerals, with paste set hands, the single train timepiece movement with balance wheel escapement. 9.5cm high The movement is winding and ticking but not fully tested or guaranteed. £800-£1,200

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200 A FINE EARLY 20TH CENTURY SWISS SILVER AND ENAMEL MINIATURE TRAVELLING CARRIAGE CLOCK BY THE GENEVA CLOCK CO. (JTC) No. 8584 the case with translucent pink and lilac, guilloche enamelled sides and top, the sides also with enamelled oval panels depicting portraits of 18th century ladies, the mother of pearl dial with Arabic numerals, the underside of the case with stamped ‘ARGENT’ ‘JTC’, and numbered ‘8584’, the hinged back revealing the single train timepiece movement with vertically mounted balance wheel escapement also signed ‘JTC’ 6cm high The movement is ticking but not fully tested or guaranteed. £1,000-£1,500 201 A FINE EARLY 20TH CENTURY SILVER AND ENAMEL MINIATURE TRAVELLING CARRIAGE CLOCK BY THE GENEVA CLOCK CO. (JTC) No. 8311, RETAILED BY ASPREY the case with translucent pink guilloche enamelled sides and top, and with white stringing, the dial with Arabic numerals signed ‘Asprey’, the underneath with hallmarks and stamped ‘ARGENT’ ‘JTC’ ‘8311’, the inside of the case gilded and also stamped ‘925’, the single train timepiece movement with platform escapement and winding from the back, stamped ‘JTC GENEVA CLOCK CO. 56348’ 8.2cm high

202 A SMALL ART DECO PERIOD FRENCH BAKELITE AND MOTHER OF PEARL DESK CLOCK of shaped narrow case with stylised cloud decoration and chequer motifs, raised on a stepped plinth base over four ball feet, the dial signed ‘LUX 8 jours’ with Arabic numerals, the jewelled timepiece movement winding from the back, with vertically mounted lever platform escapement, the back cover inscribed ‘8 JOURS / EMPIERRE 9 RUBIS / FABRICATION FRANCAISE’. 15cm high The movement is ticking but not fully tested or guaranteed. £400-£600 203 AN EARLY 20TH CENTURY SILVER AND ENAMELLED MINIATURE TRAVELLING CLOCK IN THE ART NOUVEAU STYLE the rectangular case decorated with Gothic arches and quatrefoils, with translucent lilac guilloche enamel and white enamel stringing, on a hard stone plinth, the white enamelled dial with Roman numerals, with London import marks, 4.5cm high The movement is ticking but not fully tested or guaranteed. £2,500-£3,500

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

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207 204 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 The clock is ticking but not fully tested or guaranteed. £600-£800 205 AN EARLY 20TH CENTURY SWISS ENAMEL AND SILVERED METAL MINIATURE TRAVELLING CLOCK of arched pedestal form, with cream guilloche enamel and green borders, the dial with Arabic numerals, with watch type movement, unmarked, 9cm high The movement is winding and ticking but not fully tested or guaranteed. £300-£500 206 AN EARLY 20TH CENTURY SWISS MOTHER OF PEARL AND SILVERED SUB MINIATURE TRAVELLING CLOCK the mother of pearl case surmounted by an unmarked silvered metal swing handle, raised on four ball feet, the dial with gilt Arabic numerals, the underside inscribed ‘BREVET 33817’ centred by a Swiss cross, winding from the underneath, 5.8cm high £400-£600 94

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207 L. BAURLE, CHATHAM: A 19TH CENTURY HALLMARKED SILVER OPEN FACED POCKET WATCH IN A SILVER CASE, BIRMINGHAM 1904 the pocket watch with silver inner and outer case, signed ‘L. Baurle CHATHAM’, the white enamelled dial with Roman numerals and subsidiary seconds, within a silver case of Rococo design, hallmarked for 1904, Henry Matthew, the outer case 10cm high £400-£600 208 AN EARLY 20TH CENTURY AUSTRIAN SILVER AND ENAMELLED DESK CLOCK of arched form, with filigree work depicting flower heads and inscribed ‘GOOD LUCK’ centred by a cabochon, with Austrian silver mark to the underside, 9cm high £500-£800 209 A 19TH CENTURY SILVER AND GILT WATCH HOLDER MODELLED AS A BOOK CIRCA 1867 with filigree decoration to both sides, the hinged front panel opening to reveal the back of the watch, with white enamelled dial, inscribed ‘Vereinsball 1867’ to the spine, 7.5cm high £200-£300

*See page two for information regarding fees


210 210 A LATE 19TH CENTURY GILT BRASS AND ENAMEL MINIATURE CARRIAGE CLOCK with four glass panels on a plinth base, together with a gilt brass and enamel miniature clock with quartz movement 8cm and 9cm respectively £200-£300 211 AN EARLY 20TH CENTURY MOTHER OF PEARL AND GILT METAL MINIATURE TRAVELLING CLOCK TOGETHER WITH ANOTHER the first of portico form, the triangular pediment over the pair of columns and plinth base, the dial with Arabic numerals, winding from the back, the second a miniature strut clock of silvered and gilt brass, with white enamelled dial with Roman numerals, the timepiece movement with balance wheel escapement, both 9cm high (2) £200-£300 212 AN EARLY 20TH CENTURY SWISS GILT BRONZE MINIATURE TRAVELLING / CARRIAGE CLOCK RETAILED BY J.W. BENSON of rectangular form with a dentil cornice and plinth, the sides with guilloche decoration, the enamelled dial with gilt decoration and Arabic numerals signed ‘J.W.BENSON’, the hinged back door opening to reveal the vertically mounted lever platform escapement and single winding arbor, the underside inscribed ‘DEPOSE BRONZE DORE GENEVE’ and stamped with a clock motif, 5.6cm high The movement is winding and ticking but not fully tested or guaranteed. £200-£300 213 AN EARLY 20TH CENTURY GILT BRASS DESK ALARM CLOCK BY ZENITH of square form with engine turned decoration, on four bun feet, the silvered dial with Arabic numerals signed ‘ZENITH’, 7cm high The movement is ticking but not fully tested or guaranteed. £100-£150

211 214 AN EARLY 20TH CENTURY GILT METAL MINIATURE CARRIAGE CLOCK the case of arched form, on four bun feet, with Arabic numerals, the single train timepiece movement with vertically mounted lever platform escapement, with original leather covered travelling case, 4.2cm high The movement is winding and ticking but not fully tested or guaranteed. £100-£150 215 A FRENCH CHRISTOFLE SILVERED METAL DESK CLOCK of circular form with a flat base, the back with engine turned decoration and stamped ‘Christofle’, the dial also signed and with centre seconds hand, 8cm diameter The movement is ticking but not fully tested or guaranteed. £300-£500 216 A LATE 20TH CENTURY GILT METAL DESK ALARM CLOCK BY CARTIER the circular, moulded case with strut support, the dial signed ‘CARTIER’ and with Roman numerals, inscribed ‘MADE IN FRANCE’ ‘Cartier Paris’ numbered ‘0533595’, 9cm high Untested £200-£300 217 A LATE 20TH CENTURY CARTIER GILT BRASS ALARM CLOCK of arched frame form with cream enamel decoration, the Roman dial signed ‘CARTIER PARIS MADE IN FRANCE’, the reverse also signed ‘Cartier PARIS’, with strut support cast with two C’s, 8cm high The movement in working order but not fully tested or guaranteed. £200-£300 218 A LATE 20TH CENTURY GILT AND POLISHED BRASS DESK ALARM CLOCK BY HOUR LAVIGNE of square plinth form, with laurel cast bezel and Roman dial, 11cm high The movement is ticking but not fully tested or guaranteed. £200-£300 95


219 219 A MID 20TH CENTURY SWISS LACQUERED BRASS DESK COMPENDIUM BY IMEXAL of cube form and supported on a scrolling triple branch support over a crescent moon plinth, the sides set with a clock dial with calendar apertures and gilt numerals, a hygrometer, barometer and thermometer, inscribed ‘SWISS’ and ‘IMEXAL 15 JEWELS 8 DAYS’, 29cm high The timepiece movement is ticking but not fully tested or guaranteed. £300-£500 220 A LATE 19TH CENTURY FRENCH INDUSTRIAL STYLE GILT AND SILVERED BRASS DESK COMPENDIUM MODELLED AS A SHIP’S LANTERN the top fitted with a compass, over the cylindrical body with three silvered dials for time, barometer and temperature, the Roman chapter ring signed ‘J.W. ROSENTHAL BOMBAY MADE IN FRANCE’, 27cm high £500-£800 221 AN EARLY 20TH CENTURY SWISS SILVERED METAL AND ENAMEL MINIATURE TRAVELLING CLOCK of arched form on a plinth base with gilt decoration, the enamelled dial signed ‘GWN & Co.’, fitted with a watch type movement with winding crown underneath, the movement with lever platform escapement and signed ‘SCHILD & CO SWISS FIFTEEN 15 JEWELS’, 5.2.cm The movement is ticking but not fully tested or guaranteed. £200-£300 222 AN EARLY 20TH CENTURY FRENCH GILT METAL AND CHAMPLEVE ENAMEL MINIATURE DESK ALARM CLOCK of square plinth form raised on four lobed feet, the white enamelled dial signed ‘ZENITH’ with alarm hand, the reverse of the single train movement also signed ‘ZENITH’, winding from the back, 6cm high The movement is ticking but not fully tested or guaranteed. £300-£500

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220 223 AN EARLY 20TH CENTURY FRENCH ONYX, GILT METAL AND PASTE SET SEDAN TYPE CLOCK of circular form with swing handle over, the edge of the case, handle and bezel paste set, the white enamelled dial with Arabic numerals, the single train timepiece movement numbered 4793 and inscribed ‘MADE IN FRANCE’, with vertically mounted lever platform escapement, 19cm high The movement is winding and ticking but not fully tested or guaranteed. £200-£300 224 A LATE 20TH CENTURY GILT BRASS AND CLOISONNE ENAMEL CARRIAGE CLOCK the case with dentil cornice and three quarter Corinthian column angles, with white enamelled dial with Roman numerals, the single train timepiece movement with platform escapement, 19.5cm high £200-£300 225 AN EARLY 20TH CENTURY FRENCH ALGERIAN ONYX AND GILT METAL MOUNTED DESK CLOCK RETAILED BY MAPPIN & WEBB, LONDON of arched form over a plinth base, with bevelled glass panels throughout, the enamelled dial signed ‘MAPPIN & WEBB’, with Arabic numerals, the single train timepiece movement with platform escapement, 13.5cm high The movement is winding and ticking but not fully tested or guaranteed. £300-£500 226 A LATE 19TH CENTURY FRENCH WHITE MARBLE AND GILT BRONZE MOUNTED MANTEL CLOCK RETAILED BY WARING & GILLOW in the Louis XVI taste, surmounted by a serpent handle, the white enamelled dial with floral garlands and Arabic numerals, the single train timepiece movement with vertically mounted balance wheel escapement, 21cm high The movement is winding and ticking but not fully tested or guaranteed. £200-£300

*See page two for information regarding fees


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229 227 A LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK the ornate case with ring and knopped finials and feet and three quarter fluted columns to the corners, the mask with pierced decoration of griffins enclosing the white enamelled dial with Arabic numerals, the twin barrel movement striking the half hour and the hours on a coiled steel gong, with lever platform escapement, 19cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800 228 AN EARLY 20TH CENTURY GILT BRASS MINIATURE CARRIAGE CLOCK in the Renaissance Revival style, the case with foliate borders and scrolling handle, the corners with caryatids, the silvered dial with Arabic numerals, the single train timepiece movement winding from the back, 12cm high The movement is ticking but not fully tested or guaranteed. £400-£600

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230 229 A 19TH CENTURY FRENCH GRAND SONNERIE MINIATURE CLOCK WITH PUSH REPEAT comprised of a 19th century pocket watch movement mounted in an engraved brass case, the carriage clock type case with fluted handle over the shaped sides, the whole engraved throughout with shellwork, scrolling foliage and other motifs, with push repeat above the a bevelled glass, hinged front door, the white enamelled dial with Arabic numerals signed ‘GERMAN GYULA BUDAPEST’, the watch movement signed ‘BAILLY A PARIS RUE DE LA LOY’, striking the hours and the quarters at each fifteen minute interval and on repeat, 12cm high The movement is winding, ticking and striking and the push repeat working but not fully tested or guaranteed. £400-£600 230 A LATE 19TH CENTURY VIENNESE GILT BRASS AND PEARL DECORATED MINIATURE CARRIAGE CLOCK BY CARL SUCHY & SOHNE the corniche type case with bevelled glass panels and inset pearl decoration to the handle, corners, plinth, cornice and dial, the dial signed ‘C. SUCHY & SOHNE VIENNE’, the single train timepiece movement with lever platform escapement, 8cm high The movement is ticking but not fully tested or guaranteed. £300-£500 97


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231 A LARGE LATE 19TH CENTURY FRENCH LACQUERED AND SILVERED BRASS AND PORCELAIN CARRIAGE CLOCK WITH REPEAT the Anglaise Riche case with handle over and Corinthian columns with silver capitals to the corners, the porcelain dial depicting a lake with a chateau, with Roman numerals, the twin barrel movement striking the half hour and the hours on a blued steel, coiled gong, with lever platform escapement, 20cm high

233 A LATE 19TH / EARLY 20TH CENTURY FRENCH LACQUERED AND GILT BRASS CARRIAGE CLOCK WITH ALARM the corniche case with dentil cornice, the ornate pierced gilt mask enclosing the white enamelled Arabic chapter ring, with subsidiary alarm dial below, the timepiece movement with balance wheel escapement, 15cm high

The movement is winding, ticking and striking and the push repeat is working but not fully tested or guaranteed. £1,500-£2,000 232 A FINE EARLY 20TH CENTURY FRENCH GILT BRASS AND ENAMELLED MINIATURE CARRIAGE CLOCK BY DROCOURT, RETAILED BY TIFFANY & CO, NEW YORK the case with dentil cornice, plinth and handle, with bevelled glass front and sides, the porcelain dial depicting a young beauty holding a hat, with gilt chapter ring and Arabic numerals, signed ‘TIFFANY & CO. NEW YORK’, the single train timepiece movement with ‘DC’ stamp for Drocourt, 11cm high The movement is ticking but not fully tested or guaranteed. £800-£1,200

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The movement is ticking and the alarm is working but not fully tested or guaranteed. £700-£1,000 234 AN EARLY 20TH CENTURY GILT AND SILVERED METAL CARRIAGE CLOCK WITH ALARM AND REPEAT SIGNED ‘TIFFANY & CO. PARIS’ the Anglaise Riche case with stiff-leaf wrapped swing handle and foliate cornice and plinth, with three quarter columns to the corners, the silvered dial with gilt Arabic chapter ring and pierced centre, with subsidiary alarm dial below, the twin barrel movement striking the half hour and the hours on a blue steel, coiled gong, with lever platform escapement, 13.5cm high In full working order but not fully tested or guaranteed. £800-£1,200

*See page two for information regarding fees


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235 A FINE LATE 19TH CENTURY GILT AND SILVERED BRASS GRANDE SONNERIE CARRIAGE CLOCK WITH PUSH REPEAT, DAYS OF THE WEEK, ALARM, CALENDAR AND MOONPHASE the Anglaise Riche case with three quarter Corinthian columns to all the corners, on a plinth base, the enamelled dial with Roman numerals and Arabic five minute markers, and moonphase within, with three subsidiary dials below, the movement striking hours and the quarters with a ting tang on two blued steel, coiled gongs every fifteen minutes, the underside with a sliding switch to set ‘full striking / silent / quarters’, with lever platform escapement, 21cm high The movement is ticking and striking but not fully tested or guaranteed. £4,000-£6,000 236 A LARGE LATE 19TH CENTURY FRENCH BRASS AND PORCELAIN CARRIAGE CLOCK WITH ALARM AND REPEAT the Anglaise Riche case with bevelled glass side panels and porcelain dial decorated with birds and flowers, with Roman numerals and subsidiary alarm dial below, the twin barrel movement striking the half hour and the hours on a blued steel, coiled gong, numbered 2684, with lever platform escapement, 15.5cm high with handle down The escapement is moving freely and the bell strikes when the hands are turned, the push repeat is working but not fully tested or guaranteed. £800-£1,200 237 A FINE LATE 19TH CENTURY FRENCH GILT BRASS GRANDE SONNERIE CARRIAGE CLOCK WITH ALARM AND PUSH REPEAT BY HENRI JACOT, PARIS the gorge case of typical form with bevelled glass panels throughout, the white enamelled dial signed ‘HENRI JACOT PARIS’, with subsidiary alarm dial below and Roman numerals, the movement with lever platform escapement striking on two blued steel, coiled gongs, striking the hours on one gong, and the quarters with a ting tang on both gongs, repeating the previous hour and the relevant quarter every fifteen minutes, with lever to the underside to select ‘GDE SONNERIE / SILENT / PTE SONNERIE’, 18cm high

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The movement is winding, ticking and striking, the alarm and push repeat are working but not fully tested or guaranteed. £1,200-£1,800 99


238 238 A 1960’S SWISS CARTIER GILT METAL AND FAUX LAPIS LAZULI DESK ALARM CLOCK of square form, with beaded bezel and silvered dial signed ‘CARTIER 8 SWISS MADE’, winding from the back and the alarm set from the back, with push off / on button, 7.6cm high The clock is ticking and the alarm is working but not fully tested or guaranteed. £1,000-£1,500

240 240 A RARE 1960’S / 70’S SWISS JAEGER LECOULTRE GILT METAL AND FAUX LAPIS LAZULI MINIATURE TRAVELLING ALARM CLOCK WITH DATE APERTURE AND CENTRE SECONDS MADE FOR CARTIER the rectangular case with rotating cover that folds back to act as a stand for the clock, the manually wound movement with two crowns set in to the back of the faux lapis lazuli case, the gilt dial signed ‘JAEGER LECOULTRE SWISS MADE’, with centre seconds, date aperture and Roman numerals, with central arrow to set alarm, numbered to the back 1334143, 5.2cm high

239 239 A 1960’S SWISS GILT METAL AND FAUX TORTOISESHELL TRAVELLING ALARM CLOCK BY PIAGET, GENEVA the case of rectangular form with glazed front panel, with Roman chapter ring and dial signed ‘PIAGET Geneve’, the timepiece movement winding from the back, inscribed ‘15 JEWELS 598561 SWISS LEVER ESCAPEMENT C.249’, 7.5cm high £400-£600

241 241 A 1970’S SWISS JAEGER LECOULTRE POLISHED BRASS AND FAUX TORTOISESHELL MUSICAL ALARM CLOCK the case of rectangular plinth form, the dial signed ‘JAEGER LECOULTRE SWISS MADE 8’, with Roman numerals, enamelled hands and 24 hour alarm aperture, the movement winding from the back, 12cm The movement is ticking but not fully tested or guaranteed. £300-£500

The clock is ticking but not fully tested or guaranteed. This model was made for and retailed by Cartier. £600-£800

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*See page two for information regarding fees


Other Properties

242 242 A 1960’S SWISS IMHOF POLISHED BRASS AND FAUX TORTOISESHELL TABLE CLOCK the rectangular case surmounted by a scrolling and knopped handle, over four bun feet, the square beaded bezel with bevelled glass panel enclosing the engraved gilt dial with Roman numerals, signed ‘IMHOF STRIKING SWISS’, the movement winding from the back and striking a bell on the hour, 24cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £350-£450

244 244 A SILVERED AND GILT BRASS AND ENAMELLED MINIATURE CARRIAGE CLOCK the ornate Anglaise Riche case in the Renaissance Revival style and modelled with winged caryatids to each corner, with a scrolling handle over centred by a cartouche, the case decorated with acanthus leaves, crests and a satyr mask, the sides with enamel panels decorated en grisaille with classical maidens, each pouring a ewer into a cup, the dial with a bowl of fruit flanked by scrolls, with Roman numerals, the underside of the case with hallmarks, the single train timepiece movement with lever platform escapement, 9cm high The movement is winding and ticking but not fully tested or guaranteed. £800-£1,200

243 243 A 1980’S LACQUERED BRASS AND PLEXIGLASS ATMOS CLOCK BY JAEGER LECOULTRE the case with canted corners over a plinth base, with hinged front door, the skeletonised dial with applied gilt batons and Arabic numerals, revealing the movement within, signed ‘JAEGER LECOULTRE ATMOS SWISS MADE’ the movement wound by changes in air pressure, the underside signed ‘LECOULTRE & CIE METAL CALIBRE 526-5 SWISS’, the back of the clock with a bronze plaquette inscribed ‘PRESENTED TO P A EDWARDS... 1944-1984’, with original guarantee and papers, 22.5cm high Provenance: Originally purchased from Garrard & Co. Ltd, 112 Regent Street, London, consigned by a relative of the original first owner, P.A. Edwards. £600-£800

245 245 A MID 19TH CENTURY ENGRAVED GILT BRASS STRUT CLOCK IN THE MANNER OF THOMAS COLE the circular frame surmounted by an Arabesque crest and raised on conforming scrolling feet, the silvered dial with engraved centre decorated with scrolling strapwork and with Roman numerals and blued steel fleur de lys hands, the single train timepiece movement with eight day going barrel, winding from the back, with vertically mounted balance wheel escapement, 17cm high The movement is winding and ticking but not fully tested or guaranteed. £400-£600

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248 246 A FINE LATE 19TH CENTURY SWISS GILT BRASS CARRIAGE CLOCK WITH MOONPHASE AND PUSH REPEAT BY MOULINIE, GENEVA the ornate, engraved gilt brass case decorated in the Renaissance Revival taste with strapwork, roses and C scrolls, with three quarter columns to the corners terminating in mythical beasts, the hinged front and back doors and the sides with bevelled glass panels, the engraved, silvered mask enclosing the white enamelled dial with Roman numerals, signed ‘MOULINIE GENEVE’, over the moonphase, the twin barrel movement striking on a bell, inscribed ‘Pg’ and numbered 271, with balance wheel escapement, 19cm high

249 248 A FINE LATE 19TH CENTURY FRENCH GILT BRASS GRANDE SONNERIE CARRIAGE CLOCK WITH ALARM AND REPEAT SIGNED ‘HENRY CAPT’ the gorge case with scrolling handle over, the white enamelled dial with Roman numerals and Arabic five minute markers, signed ‘HENRY CAPT’, with subsidiary alarm dial below, the twin barrel movement striking the quarters with a tang tang on two blued steel, coiled gongs and the hours on one of the gongs, the push repeat sounding the last quarters and hours, with lever platform escapement, the backplate numbered 11935, the underside with three position strike selection lever, 18.5cm high

The movement is winding, ticking and striking but not fully tested or guaranteed. £2,500-£3,500

The movement is winding, ticking and striking and the push repeat and alarm are working but not fully tested or guaranteed.

247 A LATE 19TH CENTURY FRENCH GILT BRONZE PENDULE D’OFFICER the case of typical form with snake handle over applied foliate and ribbon mounts, on toupie feet, with a 4 inch signed white enamel Arabic dial, the twin train movement with platform escapement striking on a coiled blued steel gong, 20.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £750-£850

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Related Literature: Charles and Bonnert, ‘Carriage Clocks’ listed Henry Capt and states they had premises in both Paris (Rue d’Alger in 1850, Rue Scribe in 1870 and Rue de la Paix in 1880) and London (151 Regent Street). The business was re-named in 1893 and so the present clock must have been made before that date. £2,500-£3,500 249 A SMALL 19TH CENTURY ENGLISH BRASS SKELETON CLOCK UNDER GLASS DOME the scrolling frame with four knopped pillars and raised on four domed feet, the silvered Roman chapter ring signed ‘1427 MARK. READ. LEARN.’, the single fusee chain timepiece movement with deadbeat escapement, with brass bob pendulum with regulation nut, raised on a stained wood base with glass dome over, 21cm high overall £500-£800 *See page two for information regarding fees


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250 A LATE 19TH CENTURY FRENCH GREEN STAINED TORTOISESHELL AND GILT BRASS MOUNTED ‘BOULLE’ STYLE MANTEL CLOCK the case of typical form with caddy top surmounted by a bowl of grapes, the cut brass decoration with strapwork and scrolling foliage, the twelve piece enamelled dial with Roman numerals, the twin barrel movement striking on a bell, stamped ‘R&C PARIS & LONDON BEST WARRANTED’, with pendulum, 30cm high £500-£800 251 A RARE LATE 19TH CENTURY VIENNESE SILVER, GILT, ENAMELLED, PEARL AND SEMI PRECIOUS STONE MOUNTED MUSICAL TABLE CLOCK IN THE CHINESE TASTE of portico form, the circular case surmounted by an oval cabochon of turquoise stone, raised on a pair of columns terminating in pierced bases cast with C scrolls and flowerheads, raised on a rectangular plinth base with engine turned decoration, with four further turquoise cabochons to the corners, over four scrolling feet, the gilt dial with enamelled Roman numerals, the hinged back cover with filigree work, revealing the finely engraved back of the single train movement decorated with foliage and flowerheads, the base fitted with a musical movement activated by winding from the underside, 23cm high

252 A FRENCH ROSEWOOD AND GILT BRONZE MOUNTED MUSICAL CLOCK AND THERMOMETER CIRCA 1830 SIGNED LINET FRERES PARIS the brass drum case raised on a plinth base with gilt mounted and silvered thermometer dial, the white enamelled clock dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, signed ‘LINET FRERES a Paris’ ‘302’, with pendulum, 38cm high The movement is ticking, striking and the music playing but not fully tested or guaranteed. £350-£450 253 AN EARLY 19TH CENTURY EMPIRE PERIOD GILT AND PATINATED BRONZE FIGURAL CLOCK BY BAUFSE, PARIS modelled as a figure of Cupid holding aloft the foliate scrolling support to the gilt foliate and floral cast bezel, raised on a gilt bronze baluster shaped pedestal over a circular base and stepped square plinth, the dial signed ‘Baufse au Merid. Bould. d’Antin’, with engine turned centre and enamelled Roman chapter ring, the twin train movement with silk suspension and outside countwheel striking on a bell, with sunburst mask pendulum, 43cm high

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

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

A very similar clock was sold at these rooms on 21 March 2017, lot 537, £11,000. £4,000-£6,000

An Empire clock depicting ‘La Liseuse’ and also signed ‘Baufse / Au Meridien B.lvart d’Antin’ was sold at Christie’s, London, 16 September 2014, lot 480. £500-£800 103


254 A GEORGE III MAHOGANY AND GILT BRASS MOUNTED FUSEE TABLE / BRACKET CLOCK BY EDWARD SHEPLEY, MANCHESTER the case with bell top surmounted by a brass swing handle and flanked by four fruiting finials, the sides with brass fish scale frets, the front angles with beaded ribbon mounts, over bracket feet, the breakarch painted dial with floral and fruit painted corners and strike / silent subsidiary to the arch, signed ‘EDWD SHEPLEY Manchester’, the twin fusee movement with anchor escapement striking on a bell, the backplate engraved with a scrolling floral border, signed ‘Edwd. Shepley Manchester’ within an oval and sunburst border, with adjustable brass bob pendulum, 51cm high The movement is winding, ticking and striking and has recently been serviced, but not fully tested or guaranteed. £3,000-£5,000

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255 A 17TH CENTURY ENGLISH BRASS LANTERN CLOCK WITH ALARM the case of typical form with a strapped bell supported by four ringed urn finials with a further finial above, the frets centred by a shield flanked by acorns, on four ball feet and with iron spikes to the back, the 6.25 inch chapter ring with Roman numerals interspersed with wheat ears, the centre engraved with sunflowers and foliage, with an alarm disc with Arabic numerals centred by an engraved flower head, with a single hand, the weight driven movement now with balance wheel escapement (previously verge), with weights, 39cm high The movement is ticking and striking but not fully tested or guaranteed. £3,000-£5,000

*See page two for information regarding fees


256 A FINE AND LARGE MID 19TH CENTURY ENGLISH MAHOGANY QUARTER CHIMING MUSICAL BRACKET / TABLE CLOCK BY THOMAS ROSKELL the case with fluted and foliate carved pagoda top surmounted by an urn finial, the front angles with protruding Corinthian columns, the sides with hinged rectangular doors with pierced trellis frets, raised on a stepped plinth base over scrolling foliate feet, the pointed arch, gilt brass dial mask finely engraved with scrolling foliage in the manner of Thomas Cole, the white enamelled dial with Roman numerals, signed ‘THOMAS ROSKELL’, the substantial triple chain

fusee movement chiming the quarters on a nest of eight bells and the hours on a coiled steel gong applied to the back door, with anchor escapement and pendulum, with conforming bracket, the clock 80cm high, the bracket 34.5cm wide, 114cm high overall The clock is winding, ticking and striking but not fully tested or guaranteed. £4,000-£6,000

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258 257 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. £1,200-£1,800 258 A LATE 18TH CENTURY MAHOGANY AND BRASS MOUNTED QUARTER STRIKING TABLE / BRACKET CLOCK WITH CENTRE SECONDS SIGNED ‘J. BROWN’ the arched case surmounted by a foliate swing handle, with pierced brass sound frets to the sides decorated with scrolling foliage, over a plinth base and bracket feet, the signed, painted dial with Roman numerals and centre seconds hand, the twin fusee movement winding from the back, with verge and knife edge escapement, striking on two bells, the backplate finely engraved with a lambrequin border and a further border around the edge of where the bell is applied, with a vase of flowers over, with short pendulum with pear shaped bob, 42cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,500-£2,000

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259 A SMALL REGENCY MAHOGANY FUSEE TABLE CLOCK the case of rectangular form, raised on four gilt brass feet and with a tooled gilt brass bezel, the 5” silvered dial with Roman numerals, signed ‘Berquez Vere Street, London’, the single train timepiece movement with anchor escapement and pendulum, 27cm high The movement is winding and ticking but not fully tested or guaranteed. £300-£500

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*See page two for information regarding fees


An Exceptionally Rare Edmund Massey Clock 260 SK A RARE AND FINE LATE 17TH CENTURY EBONISED BRACKET / TABLE CLOCK WITH PULL QUARTER REPEAT BY EDMUND MASSEY, LONDON the pierced basket top surmounted by a gilt brass handle cast with foliage and a pair of birds’ heads, flanked by four flaming urn finials, over the moulded edge, on a plinth base and four bun feet, the 5.75 inch square brass dial with winged cherub spandrels to the corners, the silvered Roman chapter ring with Arabic five minute markers, signed ‘Edmund Massey High Holborne’, the gilt matted centre with ringed winding square, the gut fusee timepiece movement united by five knopped and ringed pillars, with verge escapement, the pull repeat chiming the previous hours and quarters on two bells, the backplate finely engraved with scrolling, stylised flowerheads within a wheat ear border, the pendulum cock pierced and engraved with similar foliage, the pendulum with pear shaped bob, 34cm high with handle up, 23.5cm wide The movement is ticking and the pull quarter repeat is working but not fully tested or guaranteed.

Provenance: Recently inherited by the present owner from a clock collector who purchased it from a prestigious UK clock dealer. Edmund Massey was apprenticed in 1674 to arguably the most important clockmaker of the 17th century, Joseph Knibb, and his influence is apparent in this refined and elegant table clock. The silvered Roman chapter ring with fleur de lys half hour markers, and the gilt putti spandrels are almost identical to those on a clock by Joseph Knibb sold at Bonhams, New York, 7 December 2010, lot 58. Other features are typical of the finest London clocks produced during this period, for example the basket top with miniature putti riding cornucopiae centred by a putto mask with shell above, and the distinctive swing handle cast with a pair of bird’s heads also feature in an ebonised timepiece by Nathaniel Hodges of London, circa 1690 which was sold at Bonham’s, London, 9 December 2008, lot 136 (£30,750). Massey was made free of the clockmaker’s between 1683-1690. £15,000-£20,000

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261 A THIRD QUARTER 19TH CENTURY GILT BRONZE AND PORCELAIN MANTEL CLOCK in the Rococo taste, the naturalistically cast clock case surmounted by a pair of birds and flanked by two putti, on a pierced scrolling base with shellwork and foliage, over a later fabric covered plinth, the porcelain dial with Roman numerals, the twin train movement stamped ‘S. Marti MEDAILLE D’ARGENT’, with outside countwheel striking on a bell, with pendulum, 35cm high overall The movement is ticking but not striking at present, not fully tested or guaranteed. £500-£700

261

262 A LATE 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE FIGURAL MANTEL CLOCK the shaped marble plinth case surmounted by a gilt bronze figure of a reclining classical maiden, raised on gilt squat feet over a giltwood plinth with beaded border, the white enamelled dial with Roman numerals, the twin train movement signed ‘MIROY FRES BTES S.G.D.G. C.M. PARIS 138’, striking on a bell, with pendulum, 31cm high and 50cm wide overall The clock is winding, ticking and striking but not fully tested or guaranteed. £300-£500 263 A LOUIS XVI STYLE GILT BRONZE CLOCK GARNITURE the case of drum form surmounted by a flaming urn and with lion mask handles to the sides, on a shaped plinth base, the twelve piece enamelled dial with Roman numerals, the twin train movement striking on a bell, the garniture candelabra with five scrolling branches centred by a fifth, on conforming bases, the clock 46cm high (3)

262

The movement is winding, ticking and striking but not fully tested or guaranteed. £600-£800 264 A LATE 19TH CENTURY FRENCH GILT METAL AND PORCELAIN MOUNTED MANTEL CLOCK the drum case raised on a shaped plinth surmounted by a pair of oval porcelain panels depicting cherubs and a maiden looking into a hand mirror, on a later giltwood plinth, the porcelain dial with Roman numerals, the twin train movement stamped ‘S. Marti & Cie MEDAILLE DE BRONZE’, striking on a bell, with pendulum, 37cm high overall The movement is winding, ticking and striking but not fully tested or guaranteed. £250-£350

263

108

*See page two for information regarding fees


265 265 A SMALL REGENCY MAHOGANY AND INLAID FUSEE BRACKET / TABLE CLOCK WITH PULL REPEAT SIGNED THORNDIKE IPSWICH the arched pediment with ebonised stringing, the sides inlaid with brass over an ebonised dentil cornice, raised on four brass ball feet, the back door with trellis fret panel, the signed 6” painted dial with Roman numerals and strike / silent switch above, the twin fusee movement with anchor escapement striking on a bell mounted above the plates, the pendulum with heavy brass bob and pendulum lock, 32cm high

266

The movement is ticking and striking and the pull repeat is working but not fully tested or guaranteed. Provenance: A private London collection. £500-£800 266 AN 18TH CENTURY LANTERN CLOCK BY GEORGE CLARKE, LONDON the case with strapped bell flanked by pierced scrolling frets, with urn finials to the corners and above the bell, on four ball feet, the 8” brass break-arch dial with gilt urn and foliage spandrels, with silvered chapter ring with Roman numerals and silvered boss to the arch signed ‘Geo Clarke / Leaden Hall Street / London’, the weight driven striking movement with verge escapement and short pendulum, with weight, 37cm high George Clarke is recorded as working in Leadenhall Street from 1727, he specialised in clocks for the Eastern and Turkish Markets and was last recorded in 1787. £1,000-£1,500 267 A GEORGE III STYLE MAHOGANY AND BRASS MOUNTED AUTOMATON MUSICAL BRACKET / TABLE CLOCK the bell top case with a brass handle over, the sides with carved pierced scrolling frets, over a plinth base, the break-arch brass dial with silvered Roman chapter ring with Roman numerals, signed ‘Christian Huygens’, with circular moon aperture to the centre, with a switch to the right side for Whitt. / St Mich. / Westm. / Silent, the arch with an automaton scene of musicians with moving arms playing instruments on the hour, the triple train movement signed ‘MADE IN WEST GERMANY FOR CHRISTIAN HUYGENS 2 JEWELS’, with horizontally mounted balance wheel escapement, with musical pin wheel striking on eight chimes, 46cm high

267

The movement is ticking and chiming and the automaton moving when the hands are turned but not fully tested or guaranteed. £600-£800 109


270 A GEORGE III STYLE BURR WALNUT AND BRASS MOUNTED TABLE CLOCK WITH MOONPHASE the inverted bell top over the carved and pierced side frets, the break-arch brass dial with moonphase to the arch and silvered Roman chapter ring, the twin train movement stamped ‘JUNGHANS’, striking on a gong, with pendulum, 40cm high The movement is ticking and striking but not fully tested or guaranteed. £150-£200 271 A GEORGE III STYLE BURR WALNUT AND BRASS MOUNTED TABLE CLOCK the case of breakarch form surmounted by a brass handle, the sides with carved and pierced sound frets, the breakarch dial with moonphase and Roman numerals, with name plate bearing the signature ‘John Smith London’, the twin train movement stamped ‘JUNGHANS’ striking on a bell, 39cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £150-£200 272 A GEORGE III STYLE WALNUT AND BRASS MOUNTED MOONPHASE TABLE / BRACKET CLOCK the inverted bell top with brass swing handle over, the sides with carved reticulated sound frets over a plinth base and foliate feet, the break-arch brass dial with moonphase to the arch and silvered Roman chapter ring, with gilt matted centre, the twin train movement striking on a bell and stamped ‘JUNGHANS’, with pendulum, 49.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £250-£350

268

273 A MID 19TH CENTURY FRENCH BRASS GREAT EXHIBITION SKELETON CLOCK the inverted Y frame raised on a brass inlaid, ebonised oval plinth, the white enamelled dial with Roman numerals, the single barrel timepiece movement with silk suspension and anchor escapement, with pendulum, (lacking glass dome), 23cm high overall

268 AN EARLY 19TH CENTURY SCOTTISH MAHOGANY LONGCASE CLOCK SIGNED JOHN LAW, KIRKCALDY the moulded arched hood over the trunk with boxwood stringing and fluted pilasters, the 13” circular painted dial with Roman numerals and subsidiary dials for seconds and calendar date, the brass four pillar movement with anchor escapement striking on a bell, with pendulum and weights, 199cm high £600-£800

For a similar clock but with alarm see Christie’s, New York, 17 June 2005, lot 37, with a base plate stamped ‘MS. HONORABLES/EXP./PARIS. LONDRES’.

269 AN 18TH CENTURY ENGLISH OAK LONGCASE CLOCK the hood with caddy top over three quarter columns to the corners, the Osborne type painted dial of break-arch form, with floral painted spandrels and an urn of flowers to the arch, with Roman numerals, with subsidiary seconds and calendar dials, the weight driven movement with anchor escapement striking on a bell, with pendulum and weights, 210cm high £300-£500

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

110

Related Literature: D. Roberts, ‘Continental and American Skeleton Clocks’, Schiffer, Pennsylvania, 1989, pp.102-103, figs.90-93. F.B. Royer-Collard, ‘Skeleton Clocks’, NAG Press, London, 1969, p.69, fig.4-7. £250-£350 274 A FIRST HALF 20TH CENTURY LACQUERED BRASS AND ONYX NOVELTY CLOCK DEPICTING A CHINESE MAN the standing figure in traditional dress, raised on a chamfered, square onyx base, supporting the clock on his shoulders, the silvered dial with Roman numerals, the single train timepiece movement with vertically mounted lever platform escapement, 18.5cm high

275 λ A LATE 19TH CENTURY FRENCH TORTOISESHELL AND GILT BRASS MOUNTED DESK CLOCK the arched, tapering case over a plinth base, the white enamelled dial with Roman numerals, the single train timepiece movement with vertically mounted lever platform escapement, 20cm high The movement is winding and ticking but not fully tested or guaranteed. £150-£200

*See page two for information regarding fees


276 A GOOD LATE 18TH CENTURY MAHOGANY AND SATINWOOD STICK BAROMETER BY EDWARD NAIRNE, LONDON (1726-1806) the arched case enclosing the signed, silvered register plate, the trunk with separate hinged door enclosing the silvered mercury thermometer, terminating in a moulded cistern cover, 97cm high Edward Nairne’s trade card (a copy is in the Science Museum, London) listed him as an ‘Optical, Philosophical and Mathematical InstrumentMaker at the Gold Spectacles, Reflecting Telescope and Hadley’s Quadrant in Cornhill, opposite the Royal Exchange, London’. It lists some of the instruments that the company produced, such as reflecting telescopes, magnifying glasses, camera obscuras, air fountains, Hadley’s quadrants, and of course, barometers for which they were most well known. Edward Nairne was elected a member of the Royal Society in 1776. £1,200-£1,800 277 A MID 19TH CENTURY ENGLISH GILT BRASS FUSEE TABLE CLOCK WITH PULL REPEAT SIGNED T. HALL NORTHAMPTON of Gothic Revival taste, the case of architectural design with fruiting finials and quatrefoil window frets to the sides, on scrolling feet, the 5” brass dial with Roman numerals, signed ‘T. Hall Northampton’, the twin fusee movement striking on a bell (now lacking), with pendulum, 40cm high The movement winding, ticking and striking and the pull repeat working but not fully tested or guaranteed. £300-£500 278 A SMALL THIRD QUARTER 19TH CENTURY FRENCH ‘BOULLE’ TYPE CUT BRASS AND TORTOISESHELL INLAID MANTEL CLOCK BY CHARLES TAYLOR & SON, PARIS the case of typical scrolling form, surmounted by a pinecone finial, the white enamelled dial with Roman numerals and Arabic five minute outer track, signed ‘CHLES TAYLOR & SONS PARIS’, the twin barrel movement with outside countwheel striking on a bell, with pendulum, the movement striking the half hour and the hour, similarly signed and numbered 4499, with original pendulum also numbered 4499, 30cm high The movement ticking and striking but not fully tested or guaranteed. Provenance: From a private London collector. £200-£350 279 A LATE 19TH CENTURY FRENCH GILT METAL AND PORCELAIN MANTEL CLOCK the case modelled as a fluted column surmounted by a twin handled urn and flanked by a pair of figures of children holding flowers, raised on a later giltwood plinth, the twin train movement stamped ‘JAPY FRES’ and ‘DUCASSE CLAVEAU & CO. PARIS’, striking on a bell, with pendulum, 44cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500 280 A LATE 19TH CENTURY FRENCH WHITE MARBLE AND GILT BRONZE PORTICO CLOCK GARNITURE SIGNED ‘JACOT PARIS’ the portico clock of typical form, with a pair of baluster columns to the front and hung with chains, the white enamelled dial with Roman numerals and Arabic five minute markers, the single train timepiece movement with sunburst mask pendulum, together with a pair of twin branch candelabra, the clock 37cm high (3) The clock is winding and ticking but not fully tested or guaranteed. £250-£350

281 A SMALL EARLY 20TH CENTURY FRENCH GILT BRONZE PENDULE D’OFFICIER the white enamelled dial with floral garlands and Arabic numerals, the single train timepiece movement with vertically mounted balance wheel, 11.5cm high The movement is winding and ticking but not fully tested or guaranteed. £150-£200 282 AN EARLY 20TH CENTURY FRENCH LACQUERED BRASS AND CLOISONNE ENAMEL MANTEL CLOCK the case surmounted by a spire finial flanked by four further finials, with four freestanding knopped columns to the corners, the sides with enamelled panels, the gilt dial with Roman numerals, the twin train movement stamped ‘ARMY & NAVY GSL’, striking on a bell, 28cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500 283 A THIRD QUARTER 19TH CENTURY FRENCH PORCELAIN MOUNTED FOUR GLASS MANTEL CLOCK RETAILED BY HOWELL JAMES & CO. SUPPLIER TO THE QUEEN of typical form, the movement enclosed by four bevelled glass panels, the top of the clock with a porcelain panel depicting Venus and Cupid beside a column within a gilt border, over a plinth base with dentil border, the porcelain dial with Arabic numerals, the recessed centre with a floral garland and signed ‘HOWELL & JAMES TO THE QUEEN’, the twin train movement with Brocot escapement striking on a coiled steel gong, stamped ‘A.D. MOUGIN DEUX MEDAILLES’, with twin tube mercury pendulum, 30cm high

276

The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500 284 A SMALL LATE 19TH CENTURY FRENCH GILT AND BRONZED METAL MANTEL CLOCK DEPICTING CUPID cupid with his bow atop the shaped plinth enclosing the enamelled dial with Arabic numerals, with a single train timepiece movement, 20cm high £100-£150 111


285

286

285 A LATE 19TH CENTURY GILT BRONZE AND PORCELAIN MOUNTED MANTEL CLOCK of architectural form, surmounted by three ringed finials, with a pair of knopped free standing columns to the front angles, on a plinth base and toupie feet, raised on a giltwood plinth, with twin train movement striking on a bell, stamped ‘Japy Freres’ and ‘Hy MARC PARIS’, with pendulum, 40cm high overall The movement is ticking and striking but not fully tested or guaranteed. £300-£500 286 A LATE 19TH CENTURY FRENCH PORCELAIN MANTEL CLOCK BY DIXON & CO. PARIS the case modelled as an oval fluted column on a plinth base with floral decoration, surmounted by a pair of putti, the white enamelled dial signed ‘DIXON & CO. PARIS’, the twin train movement signed ‘DIXON ET CO. PARIS’, with outside countwheel striking on a bell, 38cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800 287 AN EARLY CENTURY MEISSEN STYLE PORCELAIN MANTEL CLOCK in the mid 18th century style, the scrolling case with floral decoration and surmounted by a vase, with a pair of figures to the base, the white enamelled dial with floral garlands and Arabic numerals, signed ‘BOULOGNE S/ MER’, on a later plinth, the twin train movement stamped ‘S. Marti 1900 Paris’, with outside countwheel striking on a bell, with pendulum, 49cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £400-£600

112

287

288

288 A LATE 19TH CENTURY DUTCH STERLING SILVER MINIATURE LONGCASE CLOCK in the mid 18th century style, the arched case surmounted by three finials of religious figures, on a bombe base, the silvered dial with applied Roman numerals, the case hallmarked with Dutch standard marks and import marks for London 1892 by B.H. Joseph & Co., 23cm high £400-£600 289 A LATE 19TH CENTURY SWISS MINIATURE GILT, ENAMEL AND PEARL SET CLOCK IN THE CHINESE TASTE BY RAU & STEINMEYER the rectangular case with a linear design to the sides and hinged back, with pearl set bezel surmounted by a model of a dragon with mouth open to catch a butterfly, the butterfly enamelled and with paste jewels to the wings, raised on a bulrush, over a Rococo style gilt base, the enamelled dial with Arabic numerals, the back with an easel stand, the hinged door opening to reveal the single train, timepiece movement signed ‘RAU & STEINMEYER GENEVE’ and numbered 12988, with vertically mounted lever platform escapement, 9.5cm high The clock is winding and ticking but not fully tested or guaranteed. A miniature timepiece with enamel decoration by Rau & Steinmeyer was sold at Sotheby’s, London, 14 December 2004, lot 34. £300-£500 290 A 19TH CENTURY AUSTRIAN GILT BRASS ZAPPLER TYPE CLOCK OF MARITIME THEME modelled as an anchor over an oval base with rope twist mount, the white enamelled dial with Arabic numerals and brass pendulum mounted to the front, with single train timepiece movement winding from the front, 17cm high The movement is ticking but not fully tested or guaranteed. £300-£500

*See page two for information regarding fees


291

292

291 A FIRST HALF 20TH CENTURY AUSTRIAN PAINTED CLOCK MODELLED WITH AN EAGLE raised on a rocky plinth base, set with the brass clock dial with Roman numerals, the single barrel timepiece movement with vertically mounted balance wheel escapement, 61cm high £400-£600 292 A NAPOLEON III MUSICAL AND AUTOMATON CLOCK ATTRIBUTED TO RICHIR, PARIS, CIRCA 1870 the diorama scene depicting a windmill with moving sails beside houses, and a water mill with moving waterwheel, the river with a rocking ship, activated by a lever to the base, the clock set in to a brick building, the white enamelled dial with Roman numerals, the twin barrel movement with outside countwheel striking on a bell, stamped ‘Japy Freres’ and with pendulum, the whole raised on an oval giltwood plinth beneath a glass dome, painted with a background scene of a harbour, 29cm high x 42cm wide The clock is winding, ticking and striking and the musical automaton is working but not fully tested or guaranteed. The attribution to Richir of Paris is based on the similarity to a musical automaton clock sold by Christie’s 11 July 2007, lot 1501. £1,200-£1,800 293 A LATE 19TH CENTURY GILT METAL AND BLACK MARBLE FIGURAL MYSTERY CLOCK BY GUILMET NO. 950 the black marble plinth case raised on four scrolling paw feet and with lion mask, ring handles, surmounted by a figure of Venus and Cupid, Venus holding aloft the pendulum terminating in a bevelled glass and brass mounted bob, the dial with incised gilt Roman numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘BREVETE SGDG GLT 950’, 60cm high The clock is currently working, the movement is winding, ticking and striking but not fully tested or guaranteed. A similar clock by Guilmet (number 1340) was sold at Bonhams, London, 8 July 2015, lot 121. Other examples are illustrated in Qing; ‘Antique Clocks, Art and Technology in Time, 1680-1820’, pages 208-215. £1,500-£2,000

293 113


294 294 A LATE 19TH CENTURY FRENCH GILT BRONZE AND GREY MARBLE MANTEL CLOCK GARNITURE SIGNED LEMERLECHARPENTIER & CIE, PARIS the case surmounted by an urn flanked by acanthus scrolls, the white enamel dial with Roman numerals and Arabic five minutes, signed ‘LEMERLE-CHARPENTIER & CIE/Bronziers/PARIS/8 Rue Charlot’, the twin barrel movement striking on a bell, the back plate stamped ‘LEMERLE CHARPENTIER FONT DE BRONZE, 84 PARIS’, also with Japy Freres stamp, with pendulum, together with a pair of matching six light candelabra, the clock 46.5cm high x 35cm wide, the candelabra 58cm high (3) £1,000-£1,800 295 A 19TH CENTURY FRENCH GILT METAL AND PORCELAIN MOUNTED CLOCK GARNITURE the arched case surmounted by an urn and with a pair of ring handles to the sides, on scrolling paw feet, the porcelain dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘VINCENTI & CIE MEDAILLE D’ARGENT 1855’, with pendulum, the conforming garniture urns decorated with rural scenes, all raised on separate plinths, the clock 38cm high overall (3) The movement is winding, ticking and striking but not fully tested or guaranteed. £250-£350 296 A LOUIS XVI STYLE BRONZE, BRASS AND WHITE MARBLE FIGURAL CLOCK GARNITURE the case modelled in the form of a lyre surmounted by an urn and flanked by a pair of bronze satyr putti, raised on a shaped base, the dial with Roman numerals, the candelabra of conforming design and each with six scrolling branches centred by a shorter fifth with candle snuffer, the clock 60cm high, the candelabra 68cm high (3) £200-£300 297 A SMALL MID 19TH CENTURY FRENCH GILT BRONZE FIGURAL CLOCK GARNITURE the clock with an arched case raised on a plinth base and four toupie feet, mounted with a figure of Cupid, the white enamelled dial with Roman numerals, with single train timepiece movement with pendulum, the matched garniture candlesticks also decorated with a figure of Cupid, each holding a single branch with urn shaped nozzle with flambeau snuffer above, the clock 20cm high (3) The movement is ticking but not fully tested or guaranteed. £500-£800 114

298 AN EARLY 20TH CENTURY FRENCH GILT BRONZE AND COLOURED MARBLE CLOCK GARNITURE the portico clock raised on four freestanding columns over a plinth base, the white enamelled dial with Arabic numerals and floral garlands, the twin train movement stamped ‘S. Marti MEDAILLE D’OR 1900’ with outside countwheel striking on a bell, with gilt bronze mask pendulum, with a pair of matching garniture urns, 46cm high (3) The movement is ticking and striking but not fully tested or guaranteed. £200-£300 299 A LATE 19TH CENTURY FRENCH GILT METAL AND PORCELAIN MOUNTED CLOCK GARNITURE the case surmounted by a twin handled urn and flanked by a pair of ram mask mounts, the front panel with a bird amongst flowers, the porcelain dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘Japy Freres’, with pendulum, the garniture candlesticks of baluster form, the clock 41cm high overall (3) The movement is winding, ticking and striking but not fully tested or guaranteed. £250-£350 300 A LARGE EARLY 20TH CENTURY GEORGE III STYLE GILTWOOD CARTEL CLOCK the case of Rococo design with scrolling foliage, flowers and trellis work, the brass bevel enclosing the white enamelled dial with Roman numerals, the twin train movement striking on a bell, stamped ‘LES’ with pendulum, 93cm high The movement is ticking and striking but not fully tested or guaranteed. £300-£500 301 A PAIR OF EARLY 20TH CENTURY GILT METAL FIGURAL CANDELABRA IN THE MANNER OF CLODION each modelled as a youthful satyr holding aloft four branches terminating in stiff-leaf cast nozzles, raised on ornate bases cast with scrolling acanthus leaves and shells over triform plinths, 57cm high (2) £300-£500

*See page two for information regarding fees


<MZU[IVL+WVLQ\QWV[NWZ*]aMZ[I\+PQ[_QKS)]K\QWV[

1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. ,MĂ&#x2026;VQ\QWV[ For the purposes of the current Terms and Conditions, the Seller shall JMLMĂ&#x2026;VMLI[\PMW_VMZWN \PM/WWL[1\Q[QUXTQML\PI\\PM;MTTMZQ[\PM legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply. +I\ITWO]MLM[KZQX\QWV[ Any representation in any catalogue or otherwise as to the origin, date, age, attribution, genuineness or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the Catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representa-tion of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good. 1V[XMK\QWV Prior to auction, prospective purchasers are strongly advised to personally examine personally any property in which they are interested to satisfy themselves in relation to matters which may concern them. +WVLQ\QWVZMXWZ\ CA Ltd may issue a Condition Report on request prior to the sale. <PQ[+WVLQ\QWV:MXWZ\Q[NWZQLMV\QĂ&#x2026;KI\QWVX]ZXW[M[WVTaIVLKIVVW\JM considered as giving a precise account of the Lotâ&#x20AC;&#x2122;s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report. As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyerâ&#x20AC;&#x2122;s sole duty to inspect in person the Lot in order be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. -TMK\ZQKIT[ )TTMTMK\ZQKITQ\MU[IZM[WTLI[[MMVIVL+)4\LWâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ[VWO]IZIV\MMI[\W the working condition of such items or their safety. 1\Q[\PM*]aMZÂź[L]\a\W\ISMVMKM[[IZa[\MX[\WJMI[[]ZML\PI\\PM4W\ is safe for normal use. -[\QUI\M[ Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the

condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates. 1.8 Reserves 5IVa4W\[IZMWâ&#x20AC;ŤŮşâ&#x20AC;ŹMZML[]JRMK\\WIZM[MZ^M_PQKPQ[\PMKWVĂ&#x2026;LMV\QIT minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. !:MOQ[\ZI\QWV\W\PM[ITM 6M_ JQLLMZ[ _QTT VMML \W ZMOQ[\MZ XZQWZ \W \PM [ITM 1\ Q[ [\ZWVOTa advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneerâ&#x20AC;&#x2122;s entire discretion. 1V\MZVI\QWVITJQLLMZ[UIaJMZMY]QZML\WZMOQ[\MZ PW]Z[JMNWZM\PM sale and to submit bank details. A deposit may be requested prior to each sale. Failure to register shall result in the impossibility for the bidder to purchase a Lot. 8ZWWN WN QLMV\Q\a Bidders not previously known to CA Ltd will be required to provide: Â&#x152;7â&#x20AC;ŤŮťâ&#x20AC;ŹKQITXZWWN WN QLMV\Q\aQV\PMNWZUWN IXI[[XWZ\WZXPW\WKIZL LZQ^QVOTQKMVKM6WW\PMZNWZU[WN 1,IZMIKKMX\IJTM Â&#x152; 8ZWWN  WN  ILLZM[[ WN  UIQV ZM[QLMVKM 7VTa Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT LWK]UMV\[ showing name and address will be accepted. â&#x20AC;˘ Both landline and mobile telephone numbers â&#x20AC;˘ A bank reference for foreign bidders may be requested Â&#x152;+WZXWZI\MKTQMV\[_QTTPI^M\WXZW^QLMIKMZ\QĂ&#x2026;KI\MWN QVKWZXWZI\QWV XZQWZ\W\PMI]K\QWVITWVO_Q\P\PMZMXZM[MV\I\Q^MÂź[1,QVIKKWZLIVKM with the abovementioned requirements for proof of identity. Any Bidder that does not match the provided identity for registration may not purchase during the sale. 2. DURING THE SALE )\\MVLIVKMI\I]K\QWV Attending the auction in person is recommended. CA Ltd has the right in their absolute discretion to refuse participation QVIVaI]K\QWV\WZMRMK\IVaJQLIVL\WZMN][MILUQ[[QWV\W\PMXZMUQ[M[ Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale. 8MZ[WVITJQLLQVO Bidders attending the auction in person shall be required to collect a number plate prior to the sale.


+WUUQ[[QWVJQL[ +) 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[[QWVJQL[[PITTJMM`MK]\MLI\\PMTW_M[\XW[[QJTMXZQKM[]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\PMM^MV\WN U]T\QXTMKWUUQ[[QWV[I\\PM[IUMXZQKM\PMKWUUQ[[QWV set at the older date shall be taken into account.

<ZIV[NMZWN 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.

<MTMXPWVMJQL[ 1N IJQLLMZQ[VW\IJTM\WI\\MVLQVXMZ[WVIVI]K\QWV+)4\L_QTT][M ZMI[WVIJTMMâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[\WKWV\IK\XZW[XMK\Q^M*]aMZ[_PWUISMIZZIVOMUMV\[ prior to commencement of the sale to bid by telephone. +)4\LKIVVW\JMPMTLZM[XWV[QJTMQV\PMM^MV\WN Q[[]M[Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVOKWVVMK\Q^Q\a resulting in the loss of a chance of purchasing the Lot for the Bidder.

/ZW]VL[NWZKIVKMTTI\QWV]VLMZ\PMXZM[MV\[MK\QWV[PITTQVKT]LMJ]\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\\MVLIVKM1V\PQ[M^MV\+)4\L[PITTVW\JMPMTLZM[XWV[QJTMNWZQ[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVOKWVVMK\QWV *QLLQVOWVJMPITN WN [WUMWVM )*]aMZUIaJQLJaXZW`a1V\PQ[M^MV\XZWWN WN QLMV\Q\aWN 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. *QLLQVOWVIVQ\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\QWV1V\PMM^MV\WN \ZIV[UQ[[QWVQ[[]M[+)4\L[PITTVW\JMPMTL responsible for any subsequent outcome. !7VTQVMWVTaI]K\QWV[ Some auctions may be available to bidders only through an online XTI\NWZU1V\PQ[M^MV\*]aMZ[PI^MILIaXMZQWLI\ZMKMX\QWVWN \PM Lot to withdraw from the sale, in accordance with EU Consumer Law. ,Q[X]\MZM[WT]\QWVL]ZQVO\PMI]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[NMZWN 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\QWVWN \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[ITMWN \PM4W\WZZMWâ&#x20AC;«Ùºâ&#x20AC;¬MZIVLZM[MTT\PM4W\QN Q\JMKWUM[I_IZMWN  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\PQVVWUWZM\PIV LIa[WN \PMLIa\PM*]aMZOI^M+)4\L notice of cancellation. 1N \PM*]aMZM`MZKQ[M[\PMQZZQOP\WN ZM\ZIK\QWV_PMVI]\PWZQ[ML\WLW[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[PXIaUMV\[[PITTVW\JMZMKMQ^IJTMNWZIUW]V\[W^MZÃ&#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[[QWVWV\PMÃ&#x2026;Z[\Â&#x160;IVL XT][>)< WV\PMJITIVKM\PMZMIN\MZ)*]aMZ¼[8ZMUQ]UWN ! XT][>)<Q[ charged on Wine & Spirits Lots. The standard rate of VAT is charged on the premium except on Lots marked â&#x20AC;&#x2DC;â&#x20AC; â&#x20AC;&#x2122; where normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. 1V WZLMZ \W ZMKMQ^M I ZMN]VL WN  >)< IUW]V\[1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and JM`XWZ\\PMTW\NZWU\PM-=_Q\PQVLIa[WN KWTTMK\QWVNWZTW\[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 [PQXXQVOM`XWZ\LWK]UMV\[ L6W>)<IUW]V\[WZ1UXWZ\>)<_QTTJMZMN]VLML_PMZM\PM\W\IT ZMN]VLIN\MZLML]K\QVO\PMXZWKM[[QVONMMQ[]VLMZÂ&#x160;

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

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyerâ&#x20AC;&#x2122;s premium. The rate applicable shall be the legal rate at the date of the sale. /WWL[[]KPI[JWWS[IVLIV\QY]MJWWS[U][QKUIX[IVLKPIZ\[M\KIZM []JRMK\\WbMZWZI\ML>)< 1VILLQ\QWVIVaQUXWZ\\I`M[\PI\UIaJMQVK]ZZML[PITTJMXIQLJa\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[\WZIOMKPIZOM[WN Â&#x160;XMZ4W\XMZLIaWZXIZ\\PMZMWN+)4\L shall be entitled to retain purchased Lots sold until all sums due have been XIQL\W+)4\L1N IVaX]ZKPI[MLTW\ZMUIQV[]VKWTTMK\MLLIa[IN\MZ \PM[ITM[\WZIOMKPIZOM[[PITT\PMZMIN\MZJMÂ&#x160;XMZLIaIVL+)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»)::¼UIaJM[]JRMK\\WITM^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\aXIaIJTMWVIVa[QVOTM4W\Q[\PM[\MZTQVOMY]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\LLWM[VW\Wâ&#x20AC;«Ùºâ&#x20AC;¬MZQV[]ZIVKMNWZ[PQXXQVO0W_M^MZ+)4\LUIa 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\WÃ&#x201A;  Â&#x152;.ZWUÃ&#x201A;\WÃ&#x201A;  Â&#x152;.ZWUÃ&#x201A;\WÃ&#x201A;  Â&#x152;.ZWUÃ&#x201A;\WÃ&#x201A;  Â&#x152;-`KMMLQVOÃ&#x201A;  :MUMLQM[NWZVWVXIaUMV\ 1N \PM*]aMZNIQT[\WUISMN]TTXIaUMV\QVKTMIZMLN]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;<WWâ&#x20AC;«[Ùºâ&#x20AC;¬M\IOIQV[\IVa[]U[_PQKP+)4\LUIaW_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;<WZMN][MMV\Za\W\PM*]aMZI\IVaN]\]ZMI]K\QWVIVLWZZMRMK\ IVaN]\]ZMJQL[Ja\PM*]aMZIVLWZ[MMSILMXW[Q\NZWU\PM*]aMZ entirely in the discretion of CA Ltd. â&#x20AC;¢ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. â&#x20AC;¢ To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. â&#x20AC;¢ To take such other action as is permissible by Law and in the discretion of CA Ltd.

!4W[[WZ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM[ITM+)4\L_QTT][MZMI[WVIJTMMâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[_PMVPIVLTQVOXIKSQVOIVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT/WWL[QUXWZ\IVLM`XWZ\ZM[\ZQK\QWV[ +]T\]ZITOWWL[UIaJM[]JRMK\\WQUXWZ\IVLM`XWZ\ZM[\ZQK\QWV[=VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to WJ\IQV\PMU;WUMKW]V\ZQM[ZM[\ZQK\\PMQUXWZ\WN [XMKQÃ&#x2026;KK]T\]ZITOWWL[ For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural OWWL[QVXZW^MVIVKMNZWU[WUMKW]V\ZQM[[]JRMK\\WIZUMLKWVÃ&#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\IVLM`XWZ\ZM[\ZQK\QWV[ +MZ\IQVMVLIVOMZML[XMKQM[IZMTQ[\MLQV\PM+1<-;+WV^MV\QWV4Q[\ML [XMKQUMV[IVLIVaXIZ\[WZXZWL]K\[\PMZMWN IZM[]JRMK\\WQ[[]IVKMWN IV export permit when leaving the European Union. )XXMVLQ`1[XMKQM[IZMIT[W[]JRMK\\WQ[[]IVKMWN IXZQWZQUXWZ\XMZUQ\ from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyerâ&#x20AC;&#x2122;s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. ?WZSML Q\MU[ \PI\ IZM LI\ML JMNWZM ! IZM M`MUX\ NZWU QUXWZ\ restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol Æ&#x20AC;IZM[]JRMK\ \W+1<-;ZMO]TI\QWV[


4QUQ\I\QWVWN TQIJQTQ\aZMOIZLQVO+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[PITTOQ^MVW\QKM\W+)4\L_Q\PQV LIa[NZWUSVW_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 JMLMÃ&#x2026;VMLI[\PM[\I\MWN I4W\\PI\Q[OMV]QVMIVLVW\INWZOMZaWZIKWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\IVLM`XWZ\ZM[\ZQK\QWV[IVLZMO]TI\QWV[ )ZKPIMWTWOQKITOWWL[W^MZaMIZ[WN IOM]VTM[[KW^MZMLJaM`MUX\QWV WN TQUQ\ML[KQMV\QÃ&#x2026;KQV\MZM[\_QTTZMY]QZMIV-=4QKMVKMNWZM`XWZ\\WI 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\MLIZKPIMWTWOQKITWZ[KQMV\QÃ&#x2026;KQV\MZM[\ Archaeological goods found on United-Kingdom soil or in UK \MZZQ\WZQIT _I\MZ[ W^MZ  aMIZ[ WN  IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination. 7\PMZIZKPIMWTWOQKITWJRMK\[ZMOIZLTM[[WN \PMQZWZQOQV_QTTZMY]QZMIV 1VLQ^QL]IT4QKMVKMWZ7/-4LMXMVLQVOWV\PMQZ^IT]M Both European-Union and UK Licences may be required simultaneously NWZ[WUMQ\MU[1\Q[\PM*]aMZ¼[L]\a\W]VLMZ\ISM\PMVMKM[[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\IVLM[\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;7QTIVLZM[QV\ZMI\UMV\[NWZMUMZITL[IXXTQMLQVLQâ&#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[\WVMUIaPI^MJMMV[]JRMK\\WIVa\aXMWN \ZMI\UMV\QV\PMXI[\+) 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*]aMZU][\JMI_IZM\PI\LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\TIJWZI\WZQM[PI^MLQâ&#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

JMPMTLZM[XWV[QJTMNWZIVaUMV\QWV[\PMZMQV;]KPKMZ\QÃ&#x2026;KI\M[IZMLMMUML to be delivered with the Lot for informative purposes only. -[\QUI\ML_MQOP\[ 1N I[\WVM¼[M`IK\_MQOP\IXXMIZ[_Q\PQV\PMJWLaWN \PMLM[KZQX\QWV\PM [\WVMPI[JMMV]VUW]V\MLIVL_MQOPMLJa+)4\L1N \PM_MQOP\WN  a stone is stated to be approximate, the stone has been assessed by CA 4\L_Q\PQVQ\[[M\\QVOIVL\PMLMÃ&#x2026;VML_MQOP\Q[I[\I\MUMV\WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;)LQIUWVLZQVOJa@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[[]KPI[Q^WZaWZKWZIT;]KPQ\MU[UIaJM[]JRMK\\WQUXWZ\WZ M`XWZ\ZM[\ZQK\QWV[;MM[MK\QWVWV+1<-;ZMO]TI\QWV[NWZUWZMLM\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\[WZPI[JMMV[]JRMK\\WZMXIQZWZZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for QUXWZ\WZM`XWZ\X]ZXW[M[QVIKKWZLIVKM_Q\P+1<-;ZMO]TI\QWV[ CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE =XPWT[\MZMLN]ZVQ\]ZMIN\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\\WZM[\ZQK\QWV[QV\PM=VQ\ML3QVOLWU Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes.CA Ltd shall not be ZM[XWV[QJTMNWZTI\MZIT\MZI\QWV[\W\PMN]ZVQ\]ZMUISQVOQ\]VÃ&#x2026;\NWZ[ITM 9. FINE ART .QVM)Z\XIQV\QVO[I[QVKT]LMLQV\PMKI\ITWO]MLM[KZQX\QWV »@ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ IV I]\PMV\QK work by the artist.


»)\\ZQJ]\ML \W @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ probably a work by the artist. »+QZKTMWN @¼"1V+PQ[_QKS)]K\QWV[¼WXQVQWVQ\Q[I_WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL L]ZQVO \PM period of the artist’s life. ».WTTW_MZ WN  @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZSJaIV]VQLMV\QÅMLIZ\Q[\_WZSQVOQV\PMIZ\Q[\¼[[\aTMKWV\MUXWZIZa or near contemporary. »;KPWWTWN @\PKMV\]Za¼"1V+PQ[_QKS)]K\QWV[¼WXQVQWVQ\Q[I_WZS executed in that period and in the style associated with that artist. ».ZMVKP;KPWWT\PKMV\]Za¼"1V+PQ[_QKS)]K\QWV[¼WXQVQWVQ\Q[I_WZS executed in that period and in the style associated with a particular location. »5IVVMZ WN  @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅMLIZ\Q[\_WZSQVOQV\PMIZ\Q[\¼[[\aTMJ]\I\ITI\MZLI\MIT\PW]OP not of recent execution. »;\aTM WN  @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅMLIZ\Q[\_WZSQVOQV\PMIZ\Q[\¼[[\aTMIVLWN ZMKMV\M`MK]\QWV »)N\MZ@"1V+PQ[_QKS)]K\QWV[¼WXQVQWVQ\Q[IKWXaJaIV ]VQLMV\QÅMLIZ\Q[\WN IVIUML_WZSJa\PMIZ\Q[\ Lots sold ‘as seen’ or ‘as found’ are deemed to be sold in their present condition, with their faults and defects. The Bidder must be aware that purchase of such Lots is at there own risk.

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

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\IVLM`XWZ\ZM[\ZQK\QWV[ ?PMVLMITQVO_Q\P)[QIV)Z\[IVLUWZM[XMKQÅKITTa_Q\PQ\MU[UILMWN  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 ZMM`XWZ\ KMZ\QÅKI\M[ UIa JM ZMY]QZML >MZQÅKI\QWVTM\\MZ[_QTTJMZMY]QZMLNWZZMM`XWZ\WN _WZSMLZPQVWKMZW[Q\MU[

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

13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder.

16. AMENDMENTS .QVM+PQVM[M8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM ÅMTL WN  +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[VW\XMZUQ\]VY]ITQÅML[\I\MUMV\[I[\W\PMI]\PWZ[PQXWZLI\MWN  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»NWZOMZa¼Q[LMÅVMLI[I_WZSKZMI\ML_Q\P\PMQV\MV\\WLMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[IVLUIV][KZQX\[[WTLI[QVKWUXTM\MIZMVW\[]JRMK\\WZM\]ZV[ Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS 1VIKKWZLIVKM_Q\PIOZMML[\IVLIZL[QV\PM\ZILMM[\QUI\M[[PITTJM LMMUML\WPI^M\ISMVQV\WIKKW]V\\PMÅTTTM^MT For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of IV»IKKMX\IJTM¼ÅTTTM^MTNZWU+)4\L

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ\PMJMVMÅ\WN +)4\LITTJQLLMZ[IVL[MTTMZ[IOZMM\PI\\PM+W]Z\[ WN -VOTIVLIZM\WPI^MM`KT][Q^MR]ZQ[LQK\QWV\W[M\\TMITTLQ[X]\M[IZQ[QVO in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.


SPECIALISTS

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

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

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

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

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

Clive Moss, Head of Department

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 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 Jan Leman, Specialist jan@chiswickauctions.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

PRINTED BOOKS & MANUSCRIPTS clive.moss@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, Specialist 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 WINE & SPIRITS Peter Mansell, Head of Department peter.mansell@chiswickauctions.co.uk


SALE CALENDAR

JUNE

12

TUESDAY

British & European Fine Art with Portrait Miniatures

13

WEDNESDAY

Wine & Spirits

19

TUESDAY

Interiors & Design Silver & Objects of Vertu

20

WEDNESDAY

Post-War & Contemporary Art Urban Art

26

TUESDAY

Summer Jewels Designer Handbags & Fashion

27

WEDNESDAY

Antiquities & Tribal Art

28

THURSDAY

Modern & Post-War British Art

JULY

03

TUESDAY

Interiors & Design Ceramics & Glass

10

TUESDAY

20th Century Design


Fine European Works of Art & Clocks 6 June 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 6th June 2018

Chiswick Auctions Fine European Works of Art & Clocks sale catalogue June 2018  

Illustrated sale catalogue

Chiswick Auctions Fine European Works of Art & Clocks sale catalogue June 2018  

Illustrated sale catalogue