NYC24592 Irene Roosevelt Aitken

NEW YO R K | 13 FE B R UA RY 2 02 6

THE COMPLETE SESSIONS CALENDAR VOLUME 1

The Dining Room and British Paintings Lots 1-115 Wednesday, 11 February 2026, 10 am VOLUME 2

The Drawing Room and French Paintings Lots 201-321 Thursday, 12 February 2026, 10 am VOLUME 3

The Library, Bedrooms and Objects of Vertu Lots 401-550 Friday, 13 February 2026, 10 am ONLINE SALES

A Love of the 18th Century Lots 601-799 Online sale 4-18 February 2026 A Life on 5th Avenue Lots 901-1089 4-19 February 2026

AUCTION Friday, 13 February at 10.00am (Lots 401-550)

20 Rockefeller Plaza New York, NY 10020

Saturday Sunday Monday Tuesday Wednesday Thursday

EXHIBITION 7 February 3.00pm-6.00pm 8 February 1.00pm-5.00pm 9 February 10.00am-5.00pm 10 February 10.00am-5.00pm 11 February 10.00am-5.00pm 12 February 10.00am-5.00pm

AUCTIONEERS Victoria Tudor, Richard Nelson, Tash Perrin, Sarah El-Tamer, Helena Guindo, Joey Quigley, Jennifer Wright

AUCTION CODE AND NUMBER In sending absentee bids or making enquiries, this sale should be referred to as DERBY-24592

ABSENTEE AND TELEPHONE BIDS Tel: +1 212 636 2437 Email: BidsUS@christies.com

PRIINCIPAL AUCTIONEER: Adrien Meyer

Front Cover:

Please scan for complete auction information

Lot 423, © Visko Hatfield, 2025

Back cover:

Lot 486, © Visko Hatfield, 2025

15/ 12/2025

SPECIALISTS AND SERVICES FOR THIS AUCTION

Will Strafford Deputy Chairman, Senior International Specialist European Furniture and Works of Art

Elizabeth Seigel Head of Private and Iconic Collections, New York

Jennifer Wright Head of Department, Old Master Paintings, New York

Giada Damen Specialist, Old Master Drawings, New York

Allison Cox Associate Specialist, English Furniture and Works of Arts, New York

Chris June Junior Specialist, Silver, New York

Csongor Kis Specialist, European Furniture and Works of Art, New York

Peter Hall Cataloguer, European Furniture and Works of Art, New York

Will Russell Specialist Head of Department, Sculpture, New York

Jonathan Rendell Consultant, Private and Iconic Collections

Paul Carella Consultant, Antique Arms

Jody Wilkie Senior Consultant, European Ceramics and Glass

Carleigh Queenth Consultant, European Ceramics and Chinese Export

Melissa Gagen Consultant, English Furniture

Alan Wintermute Consultant, Old Master Paintings

John Stainton Deputy Chairman, Old Master Paintings, London

Harry Williams-Bulkeley International Head of Silver, London

Isabelle Cartier-Stone Specialist, Silver and Gold Boxes, London

Margo Oganesian Head of Department, Faberge and Russian Works of Art, London

Annabel Kishor Specialist, British Drawings and Watercolors, London

Thomas Williams International Head of English Furniture and Clocks, London

Charles Cator Deputy Chairman, Christie’s International, London

Orlando Rock Chairman, Christie’s UK, London

Amjad Rauf International Head of Masterpiece and Private Sales, London

Paul Gallois Head of European Furniture, Paris

PAYMENT, SHIPPING AND COLLECTION Tel: +1 212 636 2650 Fax: +1 212 636 4939 Email: PostSaleUS@christies.com John Manger

Sale Coordinator

© Visko Hatfield, 2025

© Visko Hatfield, 2025

THE LIBRARY

O

f the many art-filled rooms in the Aitken apartment, the library perhaps offered the greatest surprise. Upon opening the door the visitor encountered a small, dark paneled room filled not with books, but GUNS! Or more accurately, highly decorated antique European firearms and edged weapons dating from the sixteenth to the early nineteenth century. This was Russ Aitken’s room, and his “small” collection of more than one hundred arms was elegantly displayed on the walls and tabletops. To this day, his collection is the stuff of legend, known indirectly to amateurs d’armes (thanks to illustration of the Aitken arms in several widely read publications of the distant past), but known directly only to a few specialists.

Located between the living room and dining room, the library is a smaller, more private space, a place of study and relaxation. The room was designed by Russ in the mid 1960s, while he and Annie Laurie were remodeling their residence as a showcase for their growing collection of eighteenth century French and English decorative arts. The original plaster walls were covered with paneling of bleached walnut carved with eighteenth-century style moldings. The paneling provided a secure anchor for the nailed or screwed metal mounts that held the firearms. (Russ confided that ”my wife has, understandably, a horror of nail-holes” in the boiserie.) The pieces were carefully arranged on the panels, the pistols displayed horizontally, the longer sporting guns and rifles vertically. The only visual reference to the room’s nominal designation as a library are two niches, one on either side of the fireplace, which had no bookshelves but rather were lined with tawny velvet as a backdrop to a dozen of Russ’s finest pistols.

Like every room in the Aitken residence, the library was filled with important works of eighteenth century art. Lemuel Abbott’s portrait of Captain Sir John Campbell, a Scottish soldier who served in the British campaigns in America, India, and the Mediterranean from 1780 to his death in 1819, hangs over the mantel and serves as the room’s focal point. The portrait particularly appealed to Russ, who was of Scottish ancestry. The room was furnished with ormolu-mounted French furniture, including a bureau plat that served as a convenient work and display space, and several large, comfortable George II and Louis XV chairs upholstered with Aubusson tapestry and needlework. The floor was covered by a Savonnerie carpet composed of portions one of the carpets woven for Louis XIV for the Grande Galerie at the Louvre. The library also served as a showplace for the Borghese-Rothschild bronze table fountain by Taddeo Landini, a rare Renaissance work to enter Russ and Annie Laurie’s collection, and for miscellaneous objects de vertue.

Russ’s love of art was matched by his love of the outdoors. A legendary big game hunter and champion marksman, guns had been an integral part of his life since childhood, when he hunted and trapped in the woods near his home. His attraction to decorated firearms thus reflected both interests, which he appreciated not only for their technical qualities but for their design, craftsmanship, and historical associations. In this respect, Russ was probably alone among American arms collectors of his day in his deep appreciation of arms as works of art.

Russ began collecting in the early 1950s, when he acquired modestly priced European firearms, most at auctions at Parke Bernet Galleries, to decorate his bachelor studio at 2 West 67th Street. Few remain in the collection today. Following his marriage to Annie Laurie in 1957, he began to collect in earnest what was then called ”high art” weapons.

The majority of pieces acquired in the 1960s from a handful of sources: Leopold Blumka, the well known New York dealer, who provided him with a number of fine firearms from the collection of William Randolph Hearst at St.Donat’s Castle, Wales; Joseph Kindig Jr. of York, Pennsylvania; Charles H. Moses of Ashtabula, Ohio; F. Theodore Dexter in Los Angeles, and Frank Bivens Jr., also in Los Angeles. The postwar years were particularly flush with fresh collectable artworks from Europe, where private collectors and even public museums, still suffering from the economic disasters of war, were eager to sell abroad.

Russ was collecting at the right time and had ample opportunity and resources to acquire exceptional pieces.

One such piece was the single flintlock pistol by Nicolas-Noël Boutet, the leading French gunsmith during the age of Napoleon (lot 417).

Offered for sale in the 1954 mail order catalogue of well known dealer Theodore Dexter, Russ missed it by forty-eight hours. He tracked down the pistol’s new owner, Charlie Moses, a modest, small town grocer who possessed the best collection of European decorated firearms in the United States. Russ kept after Charlie until he finally relented and sold Russ the pistol in 1966. After a twelve-year wait, Russ effusively declared that it was “the crown jewel of my collection and will get star billing. It will go in an illuminated Empire vitrine—all by itself. I may decide to make my friends take their shoes off before the enter the room.” The pistol remained in that special vitrine until 2025. And most visitors were required to take off their shoes.

By 1970 Russ had essentially ceased to collect: the library walls were full. But he made one last purchase at Christie’s, London, in 1975, when he bought an exceptionally rare pair of late eighteenth-century Scottish pistols that had been presented to Lord Jeffrey Amherst by members of his regiment. The pistols, now at the Met, are exquisite and jewel-like, the barrels blued and gilt, the stocks of gilt brass, engraved with British heraldry, and fitted with enameled plaques bearing Amherst’s arms.

Russ had been keen to acquire such a pair for decades and in buying these magnificent examples declared with great satisfaction that his collection was now truly complete.

Irene Aitken always referred to the arms displayed in the library as “Russ’s collection.” In the years following their marriage in 1987, however, her own interest in antique arms took root. Like Russ, she appreciated their workmanship and connection to history. Her first purchase in the field, a finely chiseled French smallsword in neoclassical style (lot 419), offered at Christie’s in 1988, appealed to her interest in French decorative arts of the period. The fact that it had once belonged to The Met’s legendary curator of Arms and Armor, Bashford Dean (1867-1928), who considered it the finest smallsword he had ever owned, intrigued her. She gave it to Russ as a Christmas present.

In subsequent years Irene added regularly to Russ’s collection, often acquiring true masterpieces of the gunsmith’s and swordmaker’s art. She had a particular passion for British presentation swords and sabers with hilts and scabbard mounts of enameled gold, of which she acquired six stellar examples (one is lot 422). A relatively new field of interest, she was a quick study and bought with discernment and confidence. It took her only moments to decide on the purchase of her splendid presentation sword by Napoleon’s goldsmith, Martin Guillaume Biennais, its hilt of gold embellished with lapis lazuli, or the magnificent hunting rifle made in the Imperial Tula Arms Factory of Empress Elizabeth II of Russia, which is part of a garniture of arms still in the State Hermitage Museum in Saint Petersburg. Somehow she managed to squeeze them into the library displays. As with all her acquisitions, these objects complemented those collected decades earlier by Russ and Annie Laurie, and enhanced the beauty and stature of the Aitken collection.

Russ had always intended that his antique arms would go to the Met. Irene fulfilled that wish. She made special provisions in her will to bequeath the arms to The Met’s Department of Arms and Armor, with the proviso that the department select only those items that made significant contributions to its existing holdings, pieces worthy of display in the Russell B. Aitken Galleries. The remainder – including the arms in this catalogue -- were to be sold to fund an endowment for future acquisitions of arms and armor. Few benefactors are so thoughtful and forward thinking!

Stuart W. Pyhrr Curator Emeritus, Department of Arms and Armor, the Metropolitan Museum of Art

■401

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A NUREMBERG WHEEL-LOCK CARBINE CIRCA 1570

With sighted rifled octagonal barrel, brass frontsight, missing rearsight, barrel maker’s initials PD around illegible mark, marks at breach N (illegible), sighting groove extending into short tang. Flat lock with spring-loaded safety sculpted and engraved dog pierced and engraved wheel cover, pan cover engraved with a mask, Nuremberg mark and maker’s mark LS with a bird (Neue Støckel 1062). Fruitwood full stock inlaid with engraved lines, foliate tendrils and dogs, bone plaques engraved with hounds, stags, and dragon masks, front and rear ramrod pipes engraved with birds, engraved buttplate (large chip on upper left), rear cheek border plaque missing. Spring release patchbox.

Iron triggerguard with knob finial. Adjustable trigger and iron tipped wooden ramrod.

29Ω in.

The successful bidder will be responsible for arranging their own shipments pments or collecting in-person and will be responsible for applicable New York taxes. $20,000-30,000

PROVENANCE:

William Randolph Hearst.

With Leopold Blumka.

Acquired by Russell Barnett Aitken from the above.

LITERATURE:

J.F. Hayward, The Art of the Gunmaker, London, 1962, vol. I, p. 282, plate 11b

The manufacture of a firearm in the 16th century was specialized in that a barrelsmith, lockmaker, and stockmaker would combine their efforts. On this carbine, the barrelsmith's mark is illegible; the mark at breech probably the Nuremberg guild mark. The stockmaker appears to have left no marks.

The lockmaker, however, has clearly made his marks. The arms of the city of Nuremberg with half eagle/chevron pattern and the maker's which is a canting device. The maker is L. Strauss (which is German for ostrich).

■402

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A GERMAN WHEEL-LOCK PUFFER CIRCA 1580

With two stage blued barrel flared at muzzle part round part the octagonal breech the top flat stamped with Augsburg pinecone mark and the barrel smith's mark: a bird in shield. Flat lock stamped with Nuremberg shield mark and maker’s mark IV and a bird within a shield (Neue Støckel 3640), domed wheel cover, sculpted and engraved dog, pan and spring release pan cover with acanthus and hatch ground, spring loaded safety. Ebonized fruitwood stock with engraved bone plaques: portraits of a Queen and King around barrel tang below the initial H on each side, acanthus strapwork borders, s-scrolls, bearded harpies, flower rounds on ball butt, circular acanthus border engraved cap. Iron triggerguard with incised lines, ramrod pipes with helmeted man and fore-end cap a mask. Iron tipped wooden ramrod (replaced).

20º in. overall The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

(detail)

$20,000-30,000 PROVENANCE:

W. Keith Neal.

With James Graham Galleries, New York.

Acquired by Russell Barnett Aitken from the above.

The development of the wheellock pistol was largely driven by Germany’s major arms-making centers, particularly Augsburg and Nuremberg. German pistols often feature distinctive marks and were frequently dated during the 16th century, providing valuable historical information. Ball-butted pistols, known as Puffers, remained popular until the late 16th century. Designed for horsemen and carried in saddle holsters, their large ball pommel likely ensured a secure grip when drawn. The name almost certainly describes the large puff of smoke discharged from the muzzle when fired.

A number of similar high quality wheellock pistols of this exact design are recorded, with a large number preserved in the city arsenal at Graz, Austria.

The pistols are invariably stamped with the control marks of Augsburg or Nuremberg, with some examples like the Aitken one bearing both marks. It may be speculated that a consortium of craftsmen from both south German cities were contracted to fulfill a large order of these pistols, all according to a prescribed design. Two similar examples are in the Metropolitan Museum of Art, both bearing Augsburg marks alone (acc. Nos. 14.25.1402a, 14.25.1402b).

Although this series of pistols appears to have been made to fulfill an large order, suggesting their use for the military or a city militia, their design is particularly elegant, the dark ebonized wood providing an effective contrast to the large plaques of bone engraved with Renaissance strapwork, grotesques, and human figures.

The successful bidder of any firearms (lots 401– 404, 408 – 418, and 423) will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

■403

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A SAXON WHEEL-LOCK PUFFER CIRCA 1580

With swamped two stage barrel the octagonal breech marked H R with a rampant lion and arrow in between (Neue Støckel 5497), the breech and tang with incised lines. Flat lock with spring loaded safety, flat wheel cover, dog, pan, and cover with incised lines, spring loaded cover release (malfunctioning). Wood stock with engraved bone plaques with closely wound spirals and pellets, figures and masks, ball butt with round cap engraved with helmeted mustachioed man. Iron triggerguard and horn tipped wooden ramrod.

Overall: 24¬ in.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. $20,000-30,000 PROVENANCE:

The Saxon Royal Armouries, Dresden.

Bayerisches Nationalmuseum, Munich.

James M. Hodgson.

With F. Theodore Dexter.

George L. Hudson.

Wrigley Museum, Chicago.

W. Robert Clark.

Acquired by Russell Barnett Aitken.

The distinctive decoration of the wood stock, with minute inlays of stag-horn in tight spirals surrounded by pellets, is characteristic of a large number of German Puffers made for the armory of the Prince-Electors of ‘saxony in the 1570s and 1580s, many of which were sold by the Historisches Museum (now Rüstkammer) in Dresden between the world wars. This example was reputedly acquired by James M. Hodgson in a trade with the Bayerisches Nationalmuseum, Minich, around 1950.

■404 LEARN MORE

A PAIR OF SAXON WHEEL-LOCK HOLSTER PISTOLS

BY HANS STOCKMAN OF DRESDEN, EARLY 17TH CENTURY

With slender tapering two stage barrels round then octagonal with grooved sections ending in balls, scroll and star engraved breeches stamped with makers initials HS (Hans Stockman), short tangs with engraved stars. Flat locks, engraved sculptured dogs, push button releases pan covers, exposed wheels with punched dots, sculpted bridles. Dark fruitwood full stocks inlaid with engraved bone plaques (minor losses and replacements), sea monsters, tendrils, dots, monster tail engraved bone plaques at tails of locks, cartouches, engraved silver pommel collars, six-sided pear-shaped pommels with engraved alternating rosettes and clam shells, button finials (one replaced), engraved forward and rear ramrod pipes. Iron trigger guards. Wooden ramrods with engraved bone tips.

31Ω in.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

(2) $20,000-30,000

PROVENANCE:

The Royal Saxon Armouries, Dresden.

Sotheby & Co., London, 20 June 1929, lot 9.

Dr. Dagobert D. Runes, Sotheby & Co., London, 11 June 1964, lot 50 (bought by E. Fairclough Limited for Russell Barnett Aitken).

LITERATURE:

Ivory Hammer, Sotheby & Co., 1963-4, p. 210.

Merrill Lindsay, One Hundred Great Guns, New York, 1967, p. 301.

Pistols of this distinctive form, with straight stocks ending in pear-shaped pommels, appear to have been designed specifically for use by the guard of the Prince-Electors of Saxony and were manufactured in Dresden by a small number of court gunsmiths, most notably Hans Stockman (1590-1639), whose initials are struck on the barrels. The pistols’ elegant, slender profile and long, small bore barrels announce a new aesthetic, introduced around 1600, during the reign of Prince-Elector Christian II, that marks a sharp contrast to the shorter, heavy barreled Puffer form of pistols popular a generation earlier. A prolific craftsman, Stockman's work was represented by197 firearms, mostly pistols, in a 1667 inventory of the Saxon electoral armory.

■405

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AN EXCEPTIONALLY RARE GILT-BRASS MOUNTED SAXON CARVED WOOD FLASK, FROG, SPANNER AND POUCH PRESUMABLY DRESDEN, EARLY 17TH CENTURY

The flask with ebonized wood body of flat, oval, rectangular section curved in an arc, the outer face with carved border, the central panel with a pikeman in early 17th century costume against a densely stippled ground , the reverse with stylized foliate scroll, fitted with pierced gilt-brass mounts engraved with foliate scrolls and strapwork, belt hook, and six suspension rings. The flask retains its original cloth covered frog (traces of velvet pile) with metallic thread borders, containing cartridge pouch, engraved gilt brass mount. Knotted suspension cord of intertwined black and gilt metal thread and attached iron spanner with turnscrew head.

7 in. high $10,000-20,000 PROVENANCE:

Frank E. Bivens Jr., Los Angeles, 1966.

Acquired by Russell Barnett Aitken from the above.

LITERATURE:

F. Theodore Dexter, Half Century Scrapbook of Vari-Type Firearms, Los Angeles, 1960, no. 1051, pp. 37-38, plate 13.

Made for the Trabantenleibgarde of Christian II of Saxony (r. 1591-1611).

An almost identical example is on exhibition in the Metropolitan Museum of Art (26.259.7).

This finely carved gunpowder flask, with its carrier, or 'frog', bullet pouch, and spanner belonged to the equipment issued to the bodyguard of the PrinceElectors of Saxony. About fifty such flasks were originally recorded in the inventories of the Dresden armory, most of them plainer, with metal mounts of blued steel. Those flasks with fittings of engraved gilt brass, like this example, must have been reserved for officers and are exceptionally rare today. The survival of their original black textile covering and gold braid trim is remarkable and can be credited with their centuries of care in the well maintained Dresden armory.

406

407

■406 LEARN MORE

■407

A FINE SAXON MUSKETEER'S POWDER-FLASK

A FINE ITALIAN CHISELLED STEEL WHEEL-LOCK SPANNER AND TURNSCREW

DRESDEN, CIRCA 1590

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With wooden body of hollow triangular form covered with original black velvet fabric and encased within an openwork gilt and engraved copper frame. The front with central cartouche engraved with the arms of the Electorate of Saxony impaling those of the Hereditary Arch marshalship of the Holy Roman Empire, all set within a wreath border, at the sides and back pierced and engraved fleurs-de-lys, six iron suspension rings, long pierced iron belt hook at the back, all blued. Engraved conical gilt nozzle with sprung blued iron cut-off, nozzle cap and chain. Retaining nearly all its original gilt finish throughout. With its original braided cord and tassels made of intertwined black and gold wire thread.

FIRST HALF OF THE 17TH CENTURY

$20,000-30,000

$6,000-8,000

PROVENANCE:

PROVENANCE:

The Saxon Royal Armouries, Dresden.

With Cyril Andrade, London.

Stephen V. Grancsay.

With Peter Finer, London.

Acquired by Irene Roosevelt Aitken from the above.

LITERATURE:

Brooklyn Museum, Loan Exhibition of European Arms and Armor, Summer, 1933 no. 275, Illustrated Allentown Art Museum, Arms and Armor, March 15-June 14, 1964, no. 163, illustrated

The bodyguard of the Prince-Electors of Saxony, the Churfürstliche Trabantenleibgarde, were among the most richly outfitted in Europe. Dressed in fine fabrics of black and gold, the Saxon colors, they were equipped with specially designed arms and equipment of exceptionally high quality, mostly made in Dresden. One hundred large triangular gunpowder flasks of this elaborate design were originally issued to the unit of musketeers. While many examples survive, few retain their original fittings, including the nozzle cap secured by a chain and large decorative tassels of black silk and gold braid.

This flask is one of the few complete examples outside the Dresden armory, or Rüstkammer.; another, retaining its original spanner, is in the Metropolitan Museum of Art (acc. no. 28.195.3).

T-shaped made entirely of iron, the cross bar chiseled with intertwined scaled maned monsters with snarling teeth on each end (the openings of slightly differing sizes), the stem with burled tree and acanthus leaves around a swiveled suspension hanger, transforming into two intertwined snakes holding the turnscrew head engraved with acanthus leaves on each side of the base.

9Ω in.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

With Charles H. Moses, 1967.

Acquired by Russell Barnett Aitken from the above.

LITERATURE:

F. Theodore Dexter, The Weapons Art Museum, cat. no. 1, 1955, no. 219, p. 22.

A spanner was an essential tool for every musketeer or hunter armed with a wheel-lock gun, whose complex spring-operated ignition mechanism needed to be wound –or spanned--like a clock in order to function. On this example, the spanner openings are of different sizes to account for the lack of standard gauges of the wheel spindle over which they fitted. Here the spanner is combined with ‘turnscrew', or screwdriver, another essential instrument for maintaining a gun. The transformation of this utilitarian object into a minor work of sculpture can be credited to an Italian craftsman, probably from Brescia, which was a renowned center for firearms manufacture and iron chiseling.

(detail) (d t il)

■408 LEARN MORE

A FINE AND RARE PAIR OF SWISS WHEEL-LOCK HOLSTER PISTOLS

BY FELIX WERDER OF ZÜRICH, CIRCA 1640-50

With gilt-brass octagonal barrels engraved at muzzles and breeches with hatched foliage, engraved short pointed tangs, gilt-brass lock plates of characteristic beveled form, engraved overall with hatched scrolling foliage and fitted with highly polished iron dogs, springs, pan covers, and exposed wheels, as well as gilt brass wheel guides, bridles and pans, ebonized fruitwood full stocks with mounts of gilt-brass including triggers and trigger-guards, pommels cast with a grotesque masks in high relief, quatrefoil washers for side-screws, ramrod-pipes and fore-end caps, each with a wooden ramrod with a gilt-brass tip.

Overall length: 20 in.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

(2) $80,000-120,000 PROVENANCE:

Prince Friedrich von Hohenzollern, Hohenzollern Collection, Sigmaringen Castle, inv. no. 2133 a/b.

James M Hodgson, Washington, D.C., who acquired the pair by exchange with the Sigmaringen Castle Museum on August 10, 1952.

With Charles H. Moses, Ashtabula, OH, by 1955.

Acquired by Russell Barnett Aitken from the above,1966.

LITERATURE:

Hans Schedelmann,”Felix Werder Goldschmied und Büchsenmacher in Zürich,” Alte und Neue Kunst, Zürich, nr. 13, 1953, pp 8-9, illustrated F. Theodore Dexter, The Weapons Arts Museum, Burbank, CA, cat. no. 1, 1955, no. 214, pp. 22, 29, 36-7, plates 28, 28A Hy Hunter, Hand Guns of the World, Los Angeles, 1956, p. 25 (illustrated) J.F. Hayward, The Art of the Gunmaker, vol. I, first edition, London, 1962, p. 291, plate 44a J.F. Hayward, The Art of the Gunmaker, vol. I, 2nd edition, London, 1965, p. 318, plate 56a Merrill Lindsay, One Hundred Great Guns, New York, 1967, p. 48 Hans Schedelmann, Die Großen Büchsenmacher, Braunschweig, 1972, p.128 Arne Hoff, “The Significance of 'Inventor' in Felix Werder's Signature,” in R. Held ed., Arms and Armor Annual, I, Northfield, IL,1973, pp. 161-69.

Celebrated Swiss gunmaker and goldsmith Felix Werder (1591-1673) was a member of the Zürich Goldsmith's guild, of which he became a master in 1616.

His earliest and most richly decorated known firearm dated 1630, is in the Metropolitan Museum of Art (acc. no. 10.42), while his latest, a flintlock gun in the Imperial Armory, Kunsthistorisches Museum, Vienna (A.1454), is dated 1652.In all about thirty firearms by Werder are known to have survived, most of them wheel-locks, and few are signed. Werder's innovation was the manufacture of strong thin cast-brass barrels by a cold-hammering process that rendered them strong, lightweight, and elegant. The present pair, also unsigned, have gilt brass barrels, lockplates, and mounts fitted to stocks of contrasting ebonized fruitwood. These features, and particularly the grotesque mask on the butt plate, e, are characteristic of his firearms. The city of Zurich appears to have presented Werder’s distinctive firearms as diplomatic gifts, as examples are recorded in the Habsburg armory in Vienna and in the French royal cabinet d’armes in Paris.

■409 LEARN MORE

A BAVARIAN WHEEL-LOCK SPORTING RIFLE

STOCKED BY HIERONYMOUS BORSTORFFER OF MUNICH, CIRCA 1610-1620 With sighted blued octagonal barrel slightly swamped at the muzzle, breech with tapering sighting groove terminating in poppy plant that extends into short tang, left and right barrels flats with barrel smith’s initial SD (Simon Dausch) respectively.

Blued flat lock, domed solid brass wheel cover chased and engraved with a double headed eagle on stippled ground, dog with embossed applique the pan cover release button in the form of a winged putti head. Wood full stock covered in bone plaques Bone, stockmakers initials HB behind tang, wood strapwork and floral insets some with butterflies, three panels alternate with bone inlaid strapwork, patchbox, bone oval insert in butt. Brass triggerguard with indents for fingers. Adjustable set trigger.

Wooden ramrod with bone tip inlaid with 9 wood bands.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. $40,000-60,000 PROVENANCE:

Frank E. Bivens Jr., Los Angeles.

Acquired by Russell Barnett Aitken from the above,1968.

This is a distinctive example of the work of Hieronymous Borstorffer (active 1596-1637), the leading stockmaker working for the court of the Electors of Bavaria in the early seventeenth century. Borstorffer’s name is most often associated with that of his Munich compatriot, the famous iron chiseler Daniel Sadeler(1602-1632/33), who together made a number of richly decorated firearms for the Bavarian rulers and their court. These works, among the finest made in Europe in their day, are distinguished by elaborately chiseled barrels, locks, and mounts, the figural and foliate ornament of blued iron on a gilt ground, fitted to the wood stocks inlaid with equally rich ornament in engraved bone or staghorn. But Borstorffer also stocked guns and rifles in a simpler and more restrained manner, as exemplified by this example, where the stock is covered with a veneer of white bone (in imitation of more expensive ivory) highlighted by contrasting outlines and scrolling ornament in dark wood. Such stocks demonstrate Borstorffer's technical mastery of his materials and his refined taste.

409 (detail)

■410 LEARN MORE

AN AUSTRIAN WHEEL-LOCK SPORTING RIFLE STOCKED BY THE MEISTER DER TIERKOPFRANKE, DATED 1659

With single stage rifled sighted octagonal barrel polished bright and slightly swamped at the muzzle, incised line and chain pattern at breech, date and barrelsmith's mark GF, short tang. Flat lock engraved with a running animal amidst foliate scrolls ending in and head on a stippled ground with trefoil topped plant mark, pan and pan cover pierced flat wheel cover, Sculpted and engraved dog with top jaw engraved with animal head and terminating in baluster turned finial. Fruit wood stock profusely carved with hares, monkeys (some playing horns), hounds, monster playing bagpipes, monkey with halberd, infantryman carrying pike with rapier and a Wildman holding an orb both with walled cities at their feet, pierced and engraved mother-of-pearl foliate scrolls around plaques in their centers with flower heads, scaled underside at butt , thin brass wire inlays, pierced engraved brass buttplate with foliate scrolls terminating in animal heads.

Patch box, iron trigger guard indented for fingers, and engraved mother of pearl tipped ramrod with engraved brass tip and collar.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. $30,000-40,000 PROVENANCE:

William Randolph Hearst.

Acquired by Russell Barnett Aitken (possibly from Leopold Blumka).

LITERATURE:

An Inventory of The William Randolph Hearst Collection of Arms and Armor, St. Donat's Castle, A-181.

Richard H. Randall, 'Firearms Carved by Der Meister Der Tierkopfranke', Journal of the Walters Art Gallery, 1949, p. 63, no. 17 H. J.F. Hayward, The Art of the Gunmaker, London, 1962, vol. I, First Edition, p. 290, pl.

40b J.F. Hayward, The Art of the Gunmaker, London, 1965, vol. I, Second Edition, p. 316, pl.

51a Merrill Lindsay, One Hundred Great Guns, New York, 1967 p. 57 Schedelman, Die Grossen Büchsenmacher, Brunswick, 1972 Hans Schedelmann, The Master of the Animal-Head Scroll, Arms and Armour Annual, vol. I, Northfield, Illinois, 1973, no. 15, pp. 189, 190 (illustrated)

The anonymous "Master of the Animal-Head Scroll", is so-called for his distinctive style of carved relief ornament dominated by scrolling tendrils ending in animal heads. A number of his guns are associated with the Austrian imperial court, of which at least three are believed to have belonged to the Emperor Ferdinand II himself. Some of the stocks have locks and barrels by Vienna and Salzburg makers, and it seems likely that he worked in one of these two centers, the former being the more probable. Over fifty wheel-lock guns, rifles and pistols, and one flintlock rifle, all with his distinctive carving, have been identified; some of the guns have locks bearing dates within the period 1624-59.

6 59. Thee Aitken t e gun appears to be his last dated work.

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A BOHEMIAN SELF-SPANNING WHEEL LOCK RIFLE

BY CASPAR NEIREITER OF PRAGUE, LATE 17TH CENTURY

With octagonal rifled barrel slightly swamped at the muzzle, brass fore-sight with engraved border and acanthus, maker’s name Caspar Neireiter in Prag within an acanthus border cartouche, fixed rear-sight with one additional folding leaf the finial chased and engraved with an image of Mars, the breech chased in low relief with clouds surrounding figures from Greek mythology including Zeus with a swan, Pegasus, Orion within a hatched field of stars with a dog underneath and the words canis minor, Hercules over an image of Diana Goddess of the hunt and the words Vesper Diana, short tang engraved with acanthus leaf. Polished bright flat lock engraved with classical figures with an architectural setting including possibly Lucretia and crowned man being stabbed by two figures, baluster sculpted pan cover with engraved acanthus finial the top flat portion engraved with three cannon, flash guard engraved with three soldiers with a musket and pikes, pierced and engraved dog with an archer slaying a dragon and swans, flat pierced and engraved wheel cover with a double headed eagle. Fruitwood full stock inlaid with tendrils, stars, engraved plaques of hounds and hares, stags, a hunter with a horn with a hound on the underside large cheekpiece plaque with hunter on horseback chasing a stag and a boar with a landscape, the stock flat incised N5, other scroll engraved border plaques including tang surrounds, ramrod pipes, and fore-end cap, horn patchbox cover with acanthus scroll borders with a central vignette of a lioness and lion flanked by the names Lorentz and Driebel and a rose engraved push button release in the middle. Iron triggerguard indented for fingers with pierced and engraved finials. Adjustable set trigger.

47Ω in.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. $40,000-60,000 PROVENANCE:

William Randolph Hearst.

With Leopold Blumka, New York.

Acquired by Russell Barnett Aitken from the above.

LITERATURE:

An Inventory of the William Randolph Hearst Collection of Arms and Armor, St. Donat’s Castle, Wales, no. A-143 Russell Barnett Aitken, 'The Investment You Can Hang on the Wall', True Magazine, September 1963, p. 63 (illustrated)

Caspar Neireiter (Bohemia, Prague, 1667–ca. 1730) is recorded as a purveyor to the Hapsburg Court. With its elaborate ornament and mythological scenes and complex self-spanning mechanism, this rifle is a tour de force displaying the gunmaker’s artistic and mechanical skill. The name on the patch box cover, Lorentz Dreibel, is presumably that of the stock maker or decorator, hitherto unrecorded. There is a pair of wheellock rifles made for Emperor Leopold I (1640-1705) by Neireiter housed in the collection of the Metropolitan Museum of Art accession no. 50.203.1, .2.

■412 LEARN MORE

A BOHEMIAN WHEEL-LOCK SPORTING RIFLE

BY MARCUS LINCK OF PRAGUE, 1675

With blued sighted octagonal barrel, the fore-sight recess surrounded by engraved foliate scrolls, Fixed rearsight (folding leaf broken off) with cut and engraved flower final, lightly chased and engraved breech with a mask and foliate scroll, top flat signed in script Marcus Linck in prag and makers mark ML over a dragon within an escutcheon.

Flat gilt brass lock engraved with classical hunting figures including Diana goddess of the hunt and signed in script Marckus Linck in Prag, pierced and engraved dog a flute player over a serpent, pierced and engraved brass bridle (cracked). Fruitwood full stock profusely inlaid with scrolling tendrils and stars, engraved plaques of running hounds, hares and stags, rosettes , St. George and the Dragon, Lucretia, cheekpiece vignette with canopied figure of Mars within a, scrolling vignette surrounded by harpies and heralds, hunting scenes, a crowned double headed eagle, engraved buttplate of a gentleman suitor presenting flowers to a lady and signed FRANTZ SCHNEITER M S.T. INBRAG 1675, forward ramrod pipe probably lost and now replaced with straight bone inlays (one missing), rear ramrod pipe engraved with a mask, patchbox with central push button release (malfunctioning). Gilt brass triggerguard indented for fingers engraved with Diana. Engraved horn tipped wooden ramrod with inlaid spiral bone running its length and iron cleaning tip A probable interpretation of the signature on the butt is that the stockmaker submitted this work as his Masterpiece (Meisterstück) marking the end of his apprenticeship.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. $20,000-40,000 PROVENANCE:

William Randolph Hearst, St. Donat’s Castle, Wales.

With Leopold Blumka, New York.

Acquired by Russell Barnett Aitken from the above.

This colorful and exuberantly decorated rifle is the work of two little known Bohemian craftsmen working in Prague, the gunmaker Marcus Linck, and stock maker or decorator, Frantz Schneiter. The dense ornament, punctuated overall with balls or dots of white bone, includes the crowned double-headed eagle of the Holy Roman Empire, a reminder that the Habsburg emperors were also Kings of Bohemia. Such fully signed and dated guns are exceptionally rare.

■413 LEARN MORE

A PAIR OF GILT-MOUNTED LT MOUNTED NEAPOLITAN MIQUELET MIQUELETLOCK HOLSTER PISTOLS SIGNED SCHIAZZANO, 1702

With two stage round barrels, ribbed at the breech end, the forward section plain with middle girdles and muzzle rings, plain tangs. Miquelet locks, the lock plates engraved with a coiled serpent around the rear retaining screw and signed Schiazzano along the bottom edge, the cock and frizzen engraved with foliate scrolls, the faces of the frizzens engraved with eagles and the date 1702. Walnut full stocks overlaid with panels of foliate scrolls in engraved and pierced gilt-brass sheet, the panels located at sides of the grip, surrounding the barrel tang, forming the side plate and trigger surround, and underside of the stock. A similar openwork panel on the back of the grip is formed of entwined snakes. The gilt trigger guards are chiseled with foliate scrolls in low relief against a stippled ground, ovoid shaped butt caps with shallow flutes divided into four panels and chiseled in low relief against a stippled ground, with knob finials. The fore-end caps, ramrod pipes, and trumpet-shaped tips of the wooden ramrods are also of gilt brass engraved with leaf ornament.

Length overall 19æ in.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

(2) $10,000-20,000 PROVENANCE:

Carl Anton Osbahr, Rome, 1908.

Carl Robert Lamm, Näsby Castle, near Stockholm, Sweden, sold American Art Association, New York, February 21-24, 1923, lot 243.

Gustave Diderrich, Philadelphia.

Acquired by Russell Barnett Aitken.

EXHIBITED:

Metropolitan Museum of Art Loan Exhibition of European Arms and Armor, August 3 – September 27, 1931, no. 318, lent by Gustave Diderrich Brooklyn Museum Loan Exhibition of European Arms and Armor Catalogue by Stephen V. Grancsay, June-August 1933, no. 266, lent by Gustave Diderrich LITERATURE:

Abercrombie & Fitch, New York, Untitled typescript list of antique firearms from the Gustave Diderrich collection, undated [ca. 1942-3], no. 87, priced at $750.00 Merrill Lindsay, One Hundred Great Guns, New York, 1967, p. 75 Agostino Gaibi, Armi da Fuoco Italiane, Busto Arsizio, 1978, p.258 Bruno Barbirolli, Repertorio storico degli archibugiari italiani dal XIV al XX secolo, Bologna, 2012, p. 491.

These unusual and colorful pistols are inscribed Schiazzano, the name of a small village in the south of Italy, near Sorrento, in the Bay of Naples (Campana). It is unclear from these apparently unique examples if the gunmaker had adopted the town’s name as his signature or was merely advertising the location of his workshop. While the form of the miquelet locks reflects Spanish influence and the pieced metal stock ornament echoes the well-known Brescian tradition (but employing iron rather than gilt brass), these pistols defy standard Italian firearms typology but perhaps represent a local south Italian tradition still awaiting examination.

■414 LEARN MORE

A PAIR OF BRESCIAN ESCIAN FLINTLOCK HOLSTER PISTOLS THE EARLIER BARRELS SIGNED LAZARINO COMINAZZO, CIRCA 1740

With two stage barrels of peaked chevron section with ribbed girdle surmounted by foliate peaks chiseled in low relief, multi-faceted fluted breaches each signed with stamped letters on the top flats ~ LAZARINO ~ COMINAZZO ~ , tangs with engraved and gilt retaining screws. Locks with cocks, frizzens, pans, and springs chiseled, engraved and gilt with trophies of arms. Lightly scroll carved wooden full stocks. Parcel gilt silver mounts including side plates spurred pommel caps with trophies of arms amidst scrollwork, trigger guards one with helmeted panoply the other a helmeted face, crowned escutcheons with panoplies. Ramrod pipes and parcel gilt tipped wooden ramrods with iron worms. (2) Overall length: 19 in. (each) The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

(2) $15,000-20,000 PROVENANCE:

James M. Hodgson, Washington, D.C., 1952.

With F. Theodore Dexter, Los Angeles, 1953.

Charles H. Moses, Ashtabula, OH, by 1955.

With James Graham Galleries, New York, 1966.

Acquired by Russell Barnett Aitken from the above.

LITERATURE:

F. Theordore Dexter, Typescript newsletter, Los Angeles, October 1953, p. 3, no. DX-7, illustrated F. Theodore Dexter, Forty-two Years Scrapbook of Rare Ancient Firearms, Los Angeles, 1954, p. 253 (illustrated) F. Theodore Dexter, The Weapons Art Museum, cat. no. 1, Burbank, CA,1955, no. 217, pp. 22, 31, plate 30 Hy Hunter, Hand Guns of the World, 1956, p. 25 (illustrated) J.F. Hayward, The Art of the Gunmaker, vol. II, London, 1963, plate 77a Russell Barnett Aitken, 'The Investment You Can Hang on the Wall,' True Magazine, September 1963, p. 63 (illustrated)

Brescian firearms traditionally employed mounts of relief-chiseled iron; silvermounted examples are extremely rare. The form of these unsigned pistols and their distinctive style of rococo-inspired decoration, with panels of gilt ornament within the silver, recall similar decorated examples bearing the name of Francesco Bigoni of Brescia, apparently a firearms decorator, who is recorded in Brescia in the 1740s.

■415 LEARN MORE

A GARNITURE OF TWO GILT-MOUNTED FLINTLOCK BELT PISTOLS AND A SPORTING GUN

BY GIOVANNI BOTTI, CIRCA 1730

From the collection of Ernst August I, Grand Duke of Saxe-Weimar (r. 1728-1748).

The Pistols with two stage sighted barrels round then multi-faceted breech signed on top flats *LAZARINO*COMINAZZO’ notched folding rear sights. Chiseled rounded locks: tails, cocks, pans, and frizzens the cocks with animal heads, both signed in script Gio. Botti. Lightly scroll carved and incised bands wooden full stocks (one with small inset restoration the other cracked thru at forward barrel retaining pin). Gilt furniture including sideplates, tang reinforces, triggerguards chased in low relief with foliate scrolls some terminating in animal heads, spurred pommel caps en suite with SaxeWeimar arms and cypher of Ernst August I, ramrod pipes and fore-ends caps. Wooden ramrods with baluster turned tips the heads chased with flower heads. Iron belt hooks.

The gun with similar decoration but the butt with foliate scrollwork but no arms. The stock with carved cheekpiece with spiral finials. (1) Overall length: 14 in. (the pistols, each) 46¿ in. (the gun) The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

(3) $15,000-20,000

PROVENANCE:

The Gewehrkammer of the Grand-Dukes of Saxe-Weimar, at Schloss Ettersburg, Saxony.

William Randolph Hearst.

Arthur Yates, Costa Mesa, California.

Acquired by Russell Barnett Aitken from the above in 1965.

LITERATURE:

J. F. Hayward, The Art of the Gunmaker, vol. II, London, 1963, pp. 134-35 Nolfo di Carpegna, Brescian Firearms, Rome, 1997, p.157, C9

Most, if not all, of the firearms bearing Botti's signature come from the armoury of the Dukes of SaxeWeimar at Ettersburg; some of them, like the present Aitken garniture, bear the initials of Duke Ernst-August (1688-1748). It has been theorized that the locks, mounts, and barrels were imported from Brescia and stocked in a distinctive local form.

■416 LEARN MORE

A PAIR OF GERMAN FLINTLOCK HOLSTER PISTOLS

BY JOHANN JAKOB KUCHENREUTER OF REGENSBURG, LATE 18TH CENTURY With sighted barrels profusely chiseled in low relief with foliate scrolls and a vignette of stags, tapering sighting flats inlaid in silver “Jacob . Kuchenreuter”, gilt maker’s stamp at breeches, folding rear sights, engraved tangs. The slightly rounded locks decorated en suite with stag and hounds in landscapes. Foliate scroll carved walnut stocks with chased gilt brass furniture including the sideplates foliate scroll borders with vignettes of hounds, short spurred pommel caps and triggerguards with stags including, rearramrod pipes with foliate scroll finials, plain forward ramrod pipes and horn fore-end caps (small losses) and horn tipped wooden ramrods. Cut for shoulder stocks.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

(2) $10,000-20,000 PROVENANCE:

Livrustkammaren, Stockholm.

With F. Theodore Dexter.

Frank E. Bivens Jr., Los Angeles, 1960.

Acquired by Russell Barnett Aitken from the above.

LITERATURE:

F. Theodore Dexter, Half Century Scrapbook of Vari-Type Firearms, no. 629, pp. 64, 67, plate 28 Russell Barnett Aitken, 'The Investment You Can Hang on the Wall', True Magazine, September 1963, p. 63 (illustrated)

The Kuchenreuter family is among the most storied names in Germanic gunmaking. For several generations, they earned renown as master gunsmiths, serving distinguished patrons such as the King of Bohemia, Napoleon, and the Tsar of Russia. Johann Jacob Kuchenreuter (1709–1783), one of the dynasty’s most celebrated figures, held the prestigious position of court gunmaker to the Princes of Thurn and Taxis.

■417

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A SILVER SILVE AND SILVER-GILT MOUNTED FLINTLOCK PISTOL

BY NICOLAS-NOËL NICOL BOUTET OF VERSAILLES, EARLY 19TH CENTURY

With sighted sight multigroove rifled octagonal barrel gilded panels at muzzle inlaid gold stars on matte blued background, und, floral trophy trop motif, gilded panels at breech with maker’s poinçons, engraved tang/breech block with integrated reararsight, numbered num 299. Engraved lock with dragon at the tale signed Boutet, French cock and frizzen, partial rainproof oof pan with roller. ro Walnut full stock profusely inlaid and overlaid with engraved silver sheet trophies of arms, snakes crowned imperial im eagle lightning bolts in talons with cypher on left and coat of arms on right, leaves, silver backstrap, rap, laurels with wit arrows, parcel gilt furniture including sideplate buttcap with ebony spacer triggerguard, rear ramrod mount with laurel portrait bust panoply, small frieze on rear ramrod pipe, plain front ramrod pipe, trigger guard with eaglee surmounted stand of arms, classical figure with Zeus and Mercury, buttcap laurel wreath portrait bust, four panels with surmounte caduceus, scales of justice, lion and hand on a haft with snake intertwined symbols of office, and two elephant heads, ds, sideplate with w classical landscape female figure with faces and staff reclining over stand with rayed eye lion at her feet.

The parcel parce gilt mounts are hallmarked for the period 1798-1809. Silver tipped wooden ramrod with screwhead.

The successful succes bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. responsibl $100,000-200,000 $100,000PROVENANCE: PROVENANC

Bernard-F Bernard-Franck collections, Hôtel Drouot, Paris, 22-23 February 1935, lot 186 (illustrated).

Madame Auguste A Seiler, Vevey, Switzerland.

With F. Theodore Th Dexter.

With Charles Char H. Moses.

Acquired by b Russell Barnett Aitken from the above in 1966.

EXHIBITED:

'Trésors du Premier Empire', Château de Nyon, June 1952, no. 408 'The Arts under u Napoleon', Metropolitan Museum of Art, 6 April - 30 July 1978, no. 142 in the catalogue by James David Draper Dra LITERATURE: LITERATURE

Maurice Bottet, B La Manufacture d'Armes de Versailles: Boutet, Directeur-Artiste, Paris, 1903, p. 59, pl. 51.

F. Theodore Theodo Dexter, Forty-two Years Scrapbook of Rare Ancient Firearms, pp. 246-8; The Weapons Art Museum,, Burbank, California, C cat. no. 1, 1955, pp. 22, 28.

The Gun Report, R November 1955, cover and pp. 6-7; November 1960, cover and p. 35.

American Rifleman, May 1961, cover and p. 2.

Guns, June 1962, pp. 34-5 (illustrated); April 1969, p. 37 (illustrated).

J.F. Hayward, Haywa The Art of the Gunmaker, London, 1963, vol. II, p. 340, plate 63a.

Merrill Lindsay, Lin Miniature Arms, New York, 1970, cover and p. 63.

A. Hoff, Va Vaabenhistoriske Aarboger, vol. 18 (1972), pp. 95-110.

R. L. Wilson, Wilso Silk and Steel: Women at Arms, New York, 2003, p. 6 (illustrated).

Nicolas-N Nicolas-Noël Boutet (1761-1833) was the premier gunsmith of France during an important period of arms ms manufacture. Son of a French royal gunsmith and son-in-law of another, Boutet survived the Revolution manufact n of 1789 to become an important gunsmith under the subsequent rise of Napoleon. Boutet was named Directeur Artiste of the newly formed Versailles Arms Manufactory in 1792 and in 1795 was appointed head of the th newly created Arms de luxe department, responsible for richly decorated presentation arms suitable for fo military heroes or heads of state. Napoleon then made Boutet his chief gunsmith from 1800 to 1818. During Dur this period Boutet was able to marry technical perfection and precision of workmanship with ith the finest decoration. Skilled crafts guilds had been disbanded with the decline of Louis XVI; Boutet hired red many masters mas of silversmithing, lock-making and goldsmithing for his Versailles workshops. Working in the Empire idiom id that took hold with Napoleon's rise and with the Mediterranean campaigns, Boutet fashioned oned the finest presentation arms of the period, richly embellishing them with the Graeco-Roman and Egyptian ian ornament that reflected the period's ideals of military honor and glory.

This superbly supe decorated pistol typifies the highest level of design and craftsmanship in French gunmaking ing of the Napoleonic Na period and is typical of Boutet’s finest deluxe arms. It belongs to a small series of pistols tols decorated on the grips with the crowned imperial eagle enclosing the emblem of the Legion of Honor (for for example, Bottet 1903, pl. XLV). Established by Napoleon in 1802, the Légion d’Honneur was the highest and most prestigious pres order of merit at the time. Pistols of this design were presumably presented by Napoleon on to select members m of the order. The backstrap on the grip, now blank, was presumably intended for a presentation inscription. In this example, however, the Order’s emblem has subsequently been replaced with presentat the arms and monogram of a member of the Guzman-Olivares family, one of Spain’s oldest noble families. ies.

The cast and a chased silver mounts are of a design used on a number of Boutet pistols, including those of the well known know garniture of arms in the Metropolitan Museum of Art (acc. No. 1970.179.1; Pyhrr 1973). Although ugh hallmarked for the period 1798-1809, they had a long working life in the Versailles factory in later years. hallmarke Indeed, th the absence of any reference to Versailles or Boutet’s role as Directeur artiste in the inscriptionss on the loc lock and barrel suggests that the present form of the pistol may date after 1818, when Boutet lost his concession. The gunmaker’s signature in Gothic script on the lockplate also signals a date during the reign concessio ign of Louis X XVIII (r.1814-24).

The pistol pisto was originally one of a pair. The matching barrel, also numbered 299, now forms part of a composite pistol in a private collection, suggesting that the mate was damaged and only the barrel saved. composit d.

417

418

■418 LEARN MORE

A MINIATURE OF THE AITKEN BOUTET FLINTLOCK NO. 299

BY WILLIAM A. JOHNSON, CIRCA 1950

Expertly rendered to scale by jeweler William A. Johnson, Birmingham, Alabama. Exact in every detail except that the parcel gilt mounts of the original are made of gold.

5Ω in.

The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. $10,000-20,000

PROVENANCE:

Commissioned by Charles H. Moses.

Acquired by Russell Barnett Aitken from the above in 1967.

EXHIBITED:

'The Art of the Goldsmith & The Jeweler', A La Vieille Russie, 6-23 November 1968, no.

186 (illustrated) LITERATURE:

A La Vieille Russie, The Art of the Goldsmith and the Jeweler, 6-23 November 1968, no.

186 (illustrated) Merrill Lindsay, Miniature Arms, New York, 1970, cover and p. 63 The Gun Report, November 1960, p. 35 Guns, June 1962, pp. 34-5, (illustrated); April 1969, p. 37 (illustrated) American Rifleman, May 1961, cover and p. 2

detail of lot 417

■419

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A FINE CHISE CHISELLED AND GILT FRENCH SMALL SWORD CIRCA 1770

With associated blade blad of partial flamboyant section with central fuller and engraved ‘VIVAT’ on each face, face long forte with two fullers pierced and gilt, the steel hilt finely chiseled with medallions medall of music, learning, art, sculpture, architecture, heroism and fame motifs, playful putti, classical busts, flowers, scrolls, masks, foliage and dolphins on a gilt matte ground, groun and silver and copper wire bound grip with ‘Turk’s head’ ferrules.

39 in. $8,000-12,000 PROVENANCE:

With Hotel Drouot, April A 14-15, 1864, Objects d'Art, lot 150, hilt un-mounted Collection of Bashford Bashfo Dean.

With William H. Guthman.

Gut John R. Phillips.

Sold in these rooms: Christie's East, New York, 23 November 1988, lot 162.

Acquired by Irene Roosevelt Ro Aitken from the above.

LITERATURE:

Important Specimens Specimen of Arms and Armor ... The Property of a New York Collector [Bashford Dean] ..., A American Art Galleries Association, sale catalogue, New York, 23 and 24 November 1923, 19 lot 89 (illustrated) Christie's Review of the t Season, 1989, p. 447 (illustrated)

By the early sevent seventeenth century, the rapier—a long, slender thrusting sword— had become the ul ultimate symbol of a gentleman’s status and skill. As fencing techniques advanc advanced throughout the century, this elegant weapon gradually gave way to a light lighter, more refined successor: the smallsword. By 1700, the smallsword was no not merely a defensive tool but a fashionable accessory, often adorned with intric intricate designs and luxurious materials. For nearly a century, it remained an esse essential part of a gentleman’s attire, until the late eighteenth century, when pist pistols began to replace swords in the ritual of the duel. Typically crafted from silver or steel, the finest examples incorporated gold, porcelain, and enamel—trans enamel—transforming these weapons into wearable works of art that reflected the co combined mastery of swordsmiths, cutlers, and jewelers.

Beyond their practical and aesthetic appeal, smallswords were also prized as lavish gifts and prestigious tokens of honor, frequently presented in recognition o of heroic military service and the esteem of comrades in arms.

■420 LEARN MORE

A VERY FINE FRENCH SILVER-HILTED SMALL-SWORD -SWORD MARKS OF THE FERMIER ANTOINE LESCHANDEL, PARIS, CIRCA 1748-9 48-9

The blade of hollow-triangular section etched and gilt (gilding rubbed) for or most of its length with strapwork, a fleur-de-lys, and at the base with circular medallions lions inscribed respectively Ne Me Tire Pas Sans Raison and Ne Me Remette Pas Sans Honneur; the hilt finely cast and chased in high relief with elaborate rocailles and small martial artial trophies against a minutely stippled gilt ground.

Blade: 32Ω in.

Overall: 39 in. $10,000-15,000 PROVENANCE:

A.N. Kennard; Christie's, London, 27 March 1996, lot 32.

Acquired by Irene Roosevelt Aitken from the above.

LITERATURE:

"A.N. Kennard Collection", privately published 1993, No. 31 (illustrated)

■421 LEARN MORE

AN ENGLISH GOLD, JEWELLED AND ENAMELLED SMALL-SWORD AND SCABBARD

BY JAMES MORISSET, LONDON, 1795

Presented to Major General Welbore Ellis Doyle, London Hilt with gold marks, date letter U for 1795 and the maker's mark of James Morisset. The underside of the oval shell is inscribed: Testimony of Esteem from the Field Officers of the British Anny to Major General Doyle on Isle d'Yeu 1795. The grip and center of the knuckle-bow are inset with oval translucent enamel plaques decorated with the shield and crest from the arms of Welbore Ellis Doyle and trophies of arms and flags, the pommel with a round translucent enamel plaque inset with the recipient's initials WED in diamonds.

The forward arm of the hilt with the form of a laurel wreath attached to the shell guard while, most exceptionally, there appears to be no indication of the ever been a matching wreath of the rear arm. The inside of the oval shell-guard inset with two oval enamel plaques, one decorated with the personification of Britannia, the other with a classical seated female figure and grey heron with a tusked elephant in the background, a personification of Ceylon. Blade of hollow triangular section, blued, etched and gilt.

With gold mounted black leather covered scabbard.

38Ω in overall, 30º in blade $100,000-150,000 PROVENANCE:

Major General Welbore Ellis Doyle (1758-1798).

Still in the possession of the family in 1911, by descent to the third baronet, Sir Everard Hastings Doyle (1852-1933).

Acquired by Russell Barnett Aitken, London art market, 1960s.

LITERATURE:

Burke, John: The Peerage and Baronetage (various editions from c. 1850 to 1870) Doyle, Col. Arthur: A hundred years of conflict, being some records of the service of six generals of the Doyle family 1756-1856 (London, 1911) Fortescue, The Hon. John: A History of the British Anny, vol.IV part I (1789-1801) (London, 1906) Massie, Dr. Alastair: entry on General Sir John Doyle in Oxford Dictionary of National Biography (Oxford, 2004) Russell Barnett Aitken, 'The Investment You Can Hang on the Wall', True Magazine, September 1963, p. 63 (illustrated)

This is a previously unrecorded example of a smallsword made by the distinguished London goldsmith James Morisset (1738-1815), who specialized in British presentation swords, sabers, Freedom and snuff boxes of enameled gold.

At least seventy of his marked products survive, most of them created as awards to military and especially navel heroes of the French wars that were presented by the City of London, the Honourable East India Company, and various committees of merchants and insurers. Morisset’s work is distinguished by finely chased neoclassical ornament framing panels of opaque and translucent enamel typically painted with patriotic imagery, the recipient’s arms, crest, and monogram, as well as allegorical figures and historical scenes.

This is one of the earliest recorded examples of this type of small-sword as presented to a soldier, whereas most contemporary recorded examples having been presented to officers of Britain's Royal Navy. The circumstances of its award place it among a very small number of recorded examples of similar type that were presented to general officers by their subordinates following campaigns that did not result in the presentation of a sword to the general officer commanding by his superiors or by an institution.

The recipient of the sword, Major-General Welbore Ellis Doyle (1758 – June 30, 1797) was a distinguished Irish-born British Army officer Born in Dublin, Ireland, in 1758 to Charles Doyle and Elizabeth Milley. During the American Revolutionary War he served as a lieutenant colonel with the "Volunteers of Ireland" regiment, Doyle was involved in actions in the Southern Campaign. He participated in operations around Fort Granby and skirmished with Brigadier General Francis Marion's forces at Snow's Island and Witherspoon's Ferry.

Doyle commanded the 14th Regiment of Foot during the Flanders Campaign in the French Revolutionary War where he famously led a successful attack at the Battle of Famars in 1793, ordering his men to play the French patriotic tune "Ça Ira" to demoralize the enemy. The 14th Foot was subsequently ordered to use "Ça Ira" as their regimental marching tune in commemoration of the victory.

He was later promoted to brigadier-general and then major-general. He was appointed Commander-in-Chief and the third Military Governor of British Ceylon (now Sri Lanka) in January 1797 and died suddenly in Ceylon on June 30, 1797, at the age of 39.

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A MAGNIFICENT BRITISH PRESENTATION SMALLSWORD MOUNTED IN GOLD AND TRANSLUCENT ENAMELS

BY JOHN RAY AND JAMES MONTAGUE OF LONDON, CIRCA 1806

Presented by the City of London to Rear Admiral The Hon. Alexander Forrester Inglis Cochrane 1806 The hilt of 18-karat gold, the inside of the knucklebow struck with the London hallmark for the assay year of 1806-7 and the Standard mark, the blade side of the shell and the upper band of the grip also struck with the Standard mark, both sides of the shell with the maker's mark of Ray and Montague. The cast and boldly chased hilt decorated overall with neo-Classical iconography: the knucklebow on both sides with trophies of arms and flags between sprays of oak and laurel; the arms of the hilt formed of wreaths of laurel; the flat-topped pommel button with acanthus leaves. The grip inset with oval translucent enamel plaques within cast and chased tied wreaths of oak and laurel, the plaque inside the hand bearing the shield of Arms, Crest and Motto of Rear Admiral Cochrane and that outside the hand bearing the Arms of the City of London. The oval pommel inset with translucent enamel plaques within cast and chased tied wreaths of oak and laurel, each plaque bearing a trophy of arms and flags incorporating a globe, compass and sextant The grip side of the oval shell-guard decorated with a border, incorporating opposing shells and opposing trophies of arms and flags between sprays of oak and laurel, surrounding a polished center. The blade side of the shell en suite with a border formed of a continuous laurel wreath surrounding an engraved inscription upon a polished ground: SHAW MAYOR At a Court of Common Council holden in the Chamber of the Guildhall of the CITY of LONDON on Thursday the 27th of March 1806.

Resolved Unanimously that a Gold hilted Sword be Presented To REAR ADML. COCHRANE As a mark of their good Opinion of his Exemplary Conduct when Serving under Vice Admiral Sr. John Duckworth at the Capture and Destruction of the -FRENCH FLEETon the 6th day of February last OFF ST. DOMINGO. The polished blade of triangular section decorated with etched scrolls. The wooden scabbard covered in polished black shagreen mounted in gold, the top mount with the Standard mark and Duty mark and engraved with the retailer's name Goodbehere, Wigan & Bult, 86 Cheapside, London and the middle and bottom mounts with the makers' mark and Standard mark; loose rings attached to the top and middle mounts.

Overall length: 40º in.

Blade length: 32√ in. $150,000-250,000

PROVENANCE:

By descent until 2004 when sold privately to Peter Finer, Warwickshire, England.

Acquired by Irene Roosevelt Aitken from the above.

EXHIBITED:

National War Museum of Scotland, Edinburgh Castle,1965-2004 (No. ML1965.2) LITERATURE:

Blair, C., Three Presentation Swords, (London, 1972). p. 51, item 35.

Cochrane, A., The Fighting Cochranes, (London, 1983), pp. 229-271.

Howarth, S., 'Sir Alexander Forrester Inglis Cochrane', in Oxford Dictionary of National Biography. (Oxford, 2004).

Southwick, L., 'The recipients, goldsmiths, and costs of the swords presented by the Corporation of the City of London,' Journal of the Arms and Armour Society, Vol. XIII, No. 3 (March 1990), pp. 173-220; this sword p. 181.

Southwick, L., 'New facts about James Morisset ...', Joumal of the Arms and Armour Society, Vol. XV, No. 6 (September 1997), pp. 313-350; this sword pp. 339-340, item 55.

Southwick, L., London Silver-Hilted Swords: Their Makers, Suppliers and Allied Traders with directory, (Leeds, 2001); pp. 121-123 and 204-205.

Woodman, R. (ed.), The Victory of Seapower: winning the Napoleonic War 1806-14 (London, 2001), pp. 20-24, 77-80.

Peter Finer Catalogue 2005, no. 43.

Between 1797 and 1816, the City of London is recorded as presenting thirtyfive swords, mainly accompanied by Freedoms of the City, to senior British and allied naval and military officers for their distinguished service against the French and their allies. Within this august group, nineteen were awarded to British naval officers, twelve to British army officers and four to foreigners. Prior to the award of this sword in 1806, the City had awarded fourteen swords, of which eleven had been given to senior naval officers. Of the nineteen swords awarded to naval officers between 1797 and 1816, eleven were to the value of one hundred guineas, as is this one, and nine of those were small-swords. This sword is the seventh of the nine one hundred-guinea small-swords awarded by the City of London to British naval officers in the nineteen years of the wars with France.

John Ray and James Montague likely trained and worked in the workshop of James Morisset. They succeeded Morisset in his premises in Denmark Street, Soho, in 1800 and maintained the extraordinarily high standard of work in the same type of goods for which Morisset had been known. Their output, especially in the realm of sword hilts and snuffboxes in precious metals and enamels, occasionally set with precious stones, has been the subject of the same research as has the work of Morisset. Ray and Montague registered their joint mark at Goldsmith's Hall in May 1800 and continued in partnership until 1821, by which time the ending of the wars with France had meant that demand for pieces for presentation to martial heroes had come to an end. Ray and Montague are known to have made the mounts for six of the seven onehundred-guinea smallswords presented by the City to naval officers between

1800, when Ray and Montague took over from Morisset, and 1816, when the last award was made, although a number of different retail jewelers and goldsmiths supplied the finished articles to the City for presentation. The retailers who supplied Cochrane's second sword, described here, joined in partnership in 1800 at 86 Cheapside in the City of London, the partnership lasting until the death of Edward Wigan in 1814.

Sir Alexander Forrester Inglis Cochrane (1758-1832) saw service in the American Revolution, the French Revolution, the Napoleonic wars, and the war of 1812.

During the war with France in 1804, he was advanced to flag rank, as Rear Admiral of the Blue squadron, and spent the next year in command of the blockade of Ferrel, a port on the north-western tip of Spain that housed a French squadron. In February 1805, Cochrane's squadron chased a French fleet to the Caribbean, where he was appointed Commander-in-Chief on the Leeward Islands station. Having been promoted to Rear Admiral of the White squadron in1805, he was on leave in England when a large French squadron evaded the British blockade and left Brest for the Caribbean on 13th December. Hurrying west across the Atlantic, Cochrane found the British fleet sent in pursuit of the French at St. Kitts on 12th January 1806 and was immediately appointed as second-in-command to Vice-Admiral Sir John Duckworth KB (1748-1817). After several weeks of maneuvering, the two fleets met off the island of St. Domingo on 6th February 1806 and the resulting, hotly contested, action - the last real squadron or fleet action of the Napoleonic Wars - ended in a total defeat for the French, the capture of several ships and prizes and the inflicting of enormous casualties at comparatively little cost to the Royal Navy. The victory off St.

Domingo ended any further concerns on the part of Britain about the French capacity to wage a naval war in the Caribbean. As a result of his services on that occasion Cochrane was created a Knight Companion of the Order of the Bath (KB) and presented with the Freedom of the City of London, together with this sword and a gold medal from the King.

Cochrane remained in the Caribbean and in North American waters, being promoted Rear Admiral of the Red squadron in 1808 and commanding the naval element of an expedition to capture the island of Martinique in 1809.

Cochrane formed two Corps of Colonial Marines, made up primarily of escaped slaves. The first corps was based on the island of Marie-Galante and operated from 1808 to 1810. The larger second corps (the first had been disbanded), formed in 1814, was disbanded in 1815, at the conclusion of the War of 1812.

On 1st April 1814, with the war with the United States in its second year, Cochrane was appointed Commander-in-Chief on the North American station and hoisted his flags in HMS Tonnant, that had been captured from the French at the Battle of the Nile.

While based in Chesapeake Bay, he was instrumental in coordinating the joint naval and military attack on Washington, 0.C. in August 1814, in which British soldiers, sailors and Royal Marines caused great devastation, including burning the White House. An attack on Baltimore on 13th September proving less successful, as another in New Orleans on 8th January 1815, fifteen days after the signing of a peace treaty between Britain and the United States of America.

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A FLINTLOCK OVER-AND-UNDER POCKET PISTOL

BY JOSEPH EGG, PICCADILLY, LONDON, CIRCA 1820

Formerly blued octagonal barrels signed in gold on top flat -JOS * EGG -, the top barrel sighted, platinum lines at breech, tang engraved with sunburst, trophies, and foliate scrolls. Engraved locks both signed JOS * EGG, partial rainproof pans with rollers, bolted safeties, engraved French cocks. Border engraved frizzens. Checkered walnut grip with gold octagonal escutcheon engraved with embowed arm with arrow.

Engraved silver trigger guard struck with Britannia hallmarks (illegible) and partially spurred silver butt cap engraved with a coat of arms within a border of strapwork interlace. Iron ramrod with engraved tip.

The Crest and coat of arms are those of the Taylours marquesses of Headfort (Kells, Ireland).

6Ω in. overall 6/16” bore The successful bidder will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes. $15,000-20,000 PROVENANCE:

Clay P. Bedford, 1966.

Acquired by Russell Barnett Aitken.

Compact and refined, small side-lock pistols like this were among Joseph Egg’s specialties. Renowned for their precision craftsmanship and jewel-like quality, they offered both elegance ce and practicality as pocketable weapons. Egg’s innovative singleletrigger mechanism allowed the barrels to fire sequentially with h two pulls of the trigger. He produced similar pistols for the Prince of Wales after his appointment as Prince Regent, as well ell as for his brother, Prince Frederick Augustus, Duke of York and nd Albany (1763–1827). A similar pistol owned by a member of thee Welsh royal family, Hughes of Gwerclas, is preserved in the Metropolitan Museum of Art accession no. 19.53.111a–d.

The finest London firearms of the early nineteenth century exemplify the classic British style—stately, innovative, and technically refined. Distinguished by elegant proportions, restrained ornamentation, and flawless mechanics, these weapons pons prioritized purity of form over lavish decoration, reflecting thee Neoclassical aesthetic then in vogue and departing from the ornate traditions of Continental Europe.

The successful bidder of any firearms (lots 401– 404, 408 – 418, and 423) will be responsible for arranging their own shipments or collecting in-person and will be responsible for applicable New York taxes.

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FRENCH SCHOOL

A PAIR OF MODELS OF REARING HORSES 18TH CENTURY bronze Horse 1: 8º. in (21 cm) the bronze, 10 in. (26 cm., with base Horse 2: 8æ. (22cm.) the bronze, 10Ω (26 cm.), with base $20,000-30,000 PROVENANCE:

With Blumka Gallery, circa 1950s; Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above.

(2)

© Visko Hatfield, 2025

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TADDEO LANDINI (FLORENCE, 1561 - MARCH 13, 1596, ROME) VIRTUE OVERCOMING VICE IN THE FORM OF AN INKSTAND LAST QUARTER 16TH CENTURY bronze On a veined black marble base 16Ω. in (42cm.) high, overall 14º. in. (36 cm.) high, the bronze only $60,000-90,000 PROVENANCE:

Palazzo Borghese, Rome; Baron Nathaniel Mayer Anselm von Rothschild, Vienna (1836-1905); Baron Alphonse Mayer von Rothschild, Vienna (1878-1942); Rosenberg & Stiebel purchased this inkstand from Clarice de Rothschild as inventory #838 in May 1948, and sold it to Max Epstein that year; Max and Leola (Selig) Epstein, Chicago, (1875-1954 and 1888-1968), 1948-1955; Inherited by Lucile (Epstein) Selz, then with Rosenberg & Stiebel, New York; Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above May 12, 1969 ($65,000); EXHIBITED:

The Art Institute of Chicago, December 1945 (lent by Max and Leola Epstein).

LITERATURE:

W. Bode, Die italienischen Bronzestatuetten der Renaissance, Berlin, 1906, Vol. 1, p. 28, Vol. 2, p. 20, plate 145, Vol. 3, p. 23; G.F. Hill, ‘Italian Bronze Statuettes,’ in The Burlington Magazine for Connoisseurs, vol.

15., no. 78, September 1909, p. 352; ‘The Beauclerk Sale. 2900 Guineas for a Bronze Group’, in the Times (London), 18 February, 1911, p. 13 (and also Christie’s, Manson & Woods, ‘The Property of Lady Amelius Beauclerk, 3 Bryanston Square, W., London, 17 February, 1911, lot 28; ‘Taylor Sale Shows Rise in Art Values’, in The New York Times, 2 July, 1912, p. 6; Virtue Overcoming Vice, A Florentine Bronze Statuette Group by Benvenuto Cellini, Paris, undated [1912]; F. Goldschmidt, Die italienischen Bronzen der Renaissance und des Barock, Vol. I, Berlin, 1914, no. 109, pp. 24-25; W. R. Valentiner, The Henry Goldman Collection, New York, 1922, no. 7; L. Planiscig, Picoli bronzi italiani del rinascimento, Milan, 1930, p. 44, plate 89; Master Bronzes: Selected from Museums and Collections in America, The Buffalo Fine Arts Academy, The Albright Art Gallery, Buffalo, New York, February, 1937, no. 138; W. R. Valentiner, ‘Two Unknown Bronze Statuettes by Cellini’, in the Detroit Art Quarterly, 2 (1939), pp. 35-47; Duveen Sculptures in Public Collections of America: a Catalogue Raisonné with Illustrations of Italian Renaissance Sculptures by the Great Masters which have passes through the House of Duveen, New York, 1944, nos. 200 and 201.

Art Institute of Chicago, Press Release, December 16, 1948; C. S. Seymour, Jr., Masterpieces of Sculpture from the National Gallery of Art, Washington, D.C., 1949, no. 47, p. 182; E. Camesasca, Tutta l’opera del Cellini, Milan, 1955, p. 67.

W. R. Valentiner, ‘Rustici in France’, in Studies in the History of Art, Dedicated to William E. Suida on his Eightieth Birthday, New York, 1959, p. 214; C. P. Saylor, ‘Broken Virtue’, in The Capital Chemist (September, 1970), p. 139; J. Pope-Hennessy and A. F. Radcliffe, The Frick Collection: Sculpture, Vol. 3, New York, 1970, pp. 234 and 236; U. Middeldorf, ‘Eine seltene Bronze de Spätrenaissance‘ originally in Giessner Beitrage zur Kunstgeschichte Festschrift Günther Fiensch zum 60. Geburtstag, Giessen, 1970 and republished in Raccolta di Scritti / that is Collected writings, II, 1939-1973, Florence, 1980, pp. 304-308 and no. 140; W. Bode, The Italian Bronze Statuettes of the Renaissance, new edition edited and revised by J. D. Draper, New York, 1980, pp. 54, 101 and plate CXLV, no. 1; D. Allen, A Study of the History of and Variants of the Aitken Bronze (personal correspondence between D. Allen and Irene Roosevelt Aitken), November 2006; P. Sénéchal, Giovan Francesco Rustici, 1475-1554: un sculpteur de la Renaissance entre Florence et Paris, Paris, 2007, no. SR 72c2, p. 260.

With its previous attribution to Cellini and its illustrious provenance which includes the Borghese and Rothschild families, this bronze has a fascinating and complex story. For most of the 20th century, it was attributed to the greatest Renaissance metalworker, Benvenuto Cellini. The titans of art history, Wilhelm von Bode and W. R. Valentiner, both attributed the bronze to Cellini. In 1911, J. P. Morgan bought two examples, one of which, the version now at the Frick Museum, caused a firestorm of publicity and achieved a staggering price at Christie’s, London. More recent scholarship has attributed the inkwell to the sculptor Taddeo Landini. The original attribution to Landini was proposed by Pope-Hennessy and others have since agreed and a comprehensive dossier has been compiled by D. Allen, at the time curator of sculpture at the Frick and now the Metropolitan Museum of Art. Active in late 16th century Florence and Rome, Landini was hired for commissions for both Pope Sixtus V and Pope Clement VIII. However, his most celebrated commission – and one of Rome’s most beloved and charming monuments -- is his Fontane delle Tartarughe (The Turtle Fountain), in the Piazza Mattei. Landini collaborated with the architect Giacoma della Porta and the fountain was later embellished with the bronze turtles, possibly added by Bernini, in the 1650s. Besides the four later versions in public collections in the United States, perhaps the best-preserved later version is the one hidden in an enchanted Gilded Age garden in Tuxedo Park, New York.

The present inkwell, remarkably, is still intact. There is only one other complete version of this inkwell, that in the J.B. Speed Art Museum. Other versions of this inkwell, or portions of it, are in the Frick Collection, the Ashmolean Museum, the Victoria and Albert Museum (three versions), and the Museo Civico, Brescia. And there are variants, probably later 18th or 19th century casts, some with rectangular bases, in the National Gallery of Art, the Morgan Library, the Louvre and the Staatliche Museen zu Berlin. There is also a version of just the upper group of Virtue overcoming Vice in an English private collection as well as other versions, or portions of it, that are presently unlocated.

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AFTER THE MODEL BY GIAMBOLOGNA, FLORENTINE A MODEL OF A PACING BULL FIRST HALF 17TH CENTURY bronze 9 in. (23 cm.) high, 14Ω. in. (37 cm) high, on base $12,000-18,000 PROVENANCE:

With Mathias Komor, New York; With Blumka Gallery, 1969; Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above

427 LEARN MORE

LEMUEL FRANCIS ABBOTT (LEICESTERSHIRE 1760-1802 LONDON)

Portrait of Captain Sir James Campbell (c. 1765-1819), Bt., half-length, in the uniform of the 19th Light Dragoons oil on canvas 29Ω x 24Ω in. (74.9 × 62.2 cm.) $15,000-20,000 PROVENANCE:

Jane Rocklington, née Abbott, sister of the sitter, Carlton. with Thomas Agnew & Sons, London. with Fearon Galleries, New York, from whom acquired by, Martha Warmack, née Sharp (1869-1956), New York. with Newhouse Galleries, New York. with Fearon Galleries, New York, where acquired on 4 November 1930 by, Martha Warmack, née Sharp (1869-1956), New York, and by descent to her daughter, Annie Laurie Crawford, later Aitken (1900-1984).

This portrait, which dates to the late 1780s or early 1790s, is a typical example of Abbott’s military portraiture from that period. Abbott, who regularly exhibited at the Royal Academy, was a renowned portraitist of leading naval figures of the day, including, most famously, Horatio Nelson, whose portrait most recently sold at Christie's, London, 2 December 2025, lot 33. This portrait shares a number of similarities with that of Nelson, namely its composition, the framing of the sitter against a plain background, and in the handling of the sitter’s hair and uniform.

Sir James Campbell was born circa 1765 to Sir James Campbell of Inverneil (1737-1805) and his wife, Jane, daughter of John Campbell of Askomil County,

Argyll. His father, who received his knighthood in 1788, was the hereditary usher of the White Rod in the Scottish Parliament (a ceremonial office akin to the Black Rod in England) and MP for Stirling from 1780 to 1789. The sitter had a storied military career – he received a commission as an ensign in the Royal Scots regiment in July 1780. In just over a year he was promoted to the rank of Lieutenant in the 94th regiment, though immediately transferred to the 60th or American regiment, with which he served during the last two campaigns of the American War of Independence. After the Declaration of Peace in 1783, Campbell was once again promoted, this time to Captain of the 71st regiment. In June 1787, Campbell transferred to the 73rd regiment, acting as aide-de-camp for his uncle, Sir Archibald Campbell (1739-1791) in India, where he also served in the 1790, 1791 and 1792 campaigns in the 19th Dragoons under Lord Cornwallis. Campbell returned to England in 1794 and continued to serve in numerous regiments in Ireland and later in the Mediterranean and Sicily. He was married in 1794 to Agnes Margaret, daughter of Dr John Hunter of Leicester Square, Middlesex. He was promoted to Major-General in 1808 and Lieutenant-General in 1813. In 1814, he was ordered to take possession of the Ionian Islands, formerly controlled by the Venetian Republic, but which had been a French enclave since Napoleon’s conquest of Venice in 1797. In 1816, Campbell returned to England once again, after acting as Governor in the Ionian Islands and commanding the British forces there. He was made a Baronet on 3 October 1818 and died in June the following year. His body was buried in Westminster Abbey.

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BENJAMIN WEST, P.R.A. (SPRINGFIELD 1738-1820 LONDON)

Portrait of Sir William Young (1749/50-1815), 2nd Baronet, and later Lieutenant Governor of Tobago, halflength, seated in a brown suit oil on canvas 30¿ x 25º in. (76.5 x 64.2 cm.) $20,000-30,000 PROVENANCE:

Sarah Elizabeth Ottley, née Young, (1748-1825), sister of the sitter, and by descent to, William Ottley, from whom acquired on 3 May 1920 by the following, with Agnews, London, where acquired om 17 June 1920 by the following, with Henry Reinhardt & Son, New York, where acquired on 20 September 1920 by the following, with Agnews, London, where acquired on 29 December 1920 by the following, with Charles W. Kraushaar Galleries, New York, where acquired in 1923 by, Concord Art Association, Concord, MA. with Vose Galleries, Boston, by 1975.

George C. Seybolt (1914-1993), Dedham, MA; his deceased sale, Northeast Auctions, New Hampshire, 24 February 2008, lot 1749. with William Vareika Fine Arts Ltd., Newport, RI, Acquired by Irene Roosevelt Aitken, née Boyd (1931-2025) from the above in August 2011.

EXHIBITED:

Philadelphia, The Art Alliance, Memorial Exhibition: Benjamin West, 28 November 1921 - 2 January 1922, no. 21.

Brooklyn, Brooklyn Museum, Exhibition of paintings and drawings by Benjamin West and engravings representing his work, 1922, no. 16.

Fogg Art Museum, Cambridge, on loan (according to a label on the reverse).

Philadelphia, Pennsylvania Museum of Art, Benjamin West: 1738-1820, 1938, no. 38.

Newport, RI, William Vareika Fine Arts Ltd., The New Port Gallery of American Art, Gilbert Stuart and his Time, An Exhibition to Benefit The Gilbert Stuart Birthplace and Museum, Saunderstown, Rhode Island, 4 December 2010 - 6 March 2011, unnumbered.

LITERATURE:

H. Watts, 'The Benjamin West Exhibition at the Art Alliance Philadelphia', Art and Archaeology, January 1922, p.22, illustrated.

'Concord Acquires Benjamin West Portrait', Art News, June 1923, p. 1, illustrated.

H. von Erffa and A. Staley, The Paintings of Benjamin West, New Haven and London, 1986, p. 570, no. 725.

Sir William Young, the sitter in this intimate portrait, was the son of Sir William Young, 1st Bt. (1724/5-1788), Governor of Dominica, and his second wife, Elizabeth Taylor. The portrait was painted circa 1767, the same period during which Young sat for the nearly identical portrait by Benjamin West that remains at Eton College (Berkshire), and is among the earliest of the Eton leaving portraits executed by the artist (H. von Erffa and A. Staley, loc. cit.). The present version was sent home to the sitter's family, and shows some slight changes in the lace cuff and neckerchief. Young continued his education at Clare College, Cambridge, but later transferred to University College, Oxford.

After the death of his father in 1788, Young inherited four sugar plantations in Antigua, St. Vincent, and Tobago, 896 enslaved people, as well as an enormous debt of around £110,000. In 1791, he undertook a voyage to the West Indies, with the intent to save his plantations from bankruptcy. He recorded his journey in the 1801 publication, A Tour through the several islands of Barbadoes, St Vincent, Tobago and Grenada in the years 1791 and 1792, which also put forward an argument in opposition to the abolition of the slave trade advocated

by William Wilberforce and his supporters. He argued for providing the enslaved peoples with extra holidays, provisions, adequate housing, medical care, and religious instruction in hope of improving the conditions of slavery such that eventually there would be no need for the slave trade. His argument ignored the inherent immorality of the slave trade and Wilberforce and the abolitionists prevailed. Although Parliament abolished the slave trade in 1807, it would be decades before it was eradicated completely. In that very same year, Young was made Governor of Tobago, a position he held until his death in 1815.

In 1810-1812 he made a report of the conditions of slavery in Tobago, noting in the years following the abolition, that there remained 16,671 enslaved people on the island. Young's attempt to find a moderate position on the practice of slavery and the slave trade was ultimately contradictory; although he argued for the improvement of the living conditions and legal protections for enslaved people, he continued to deny their humanity by insisting they remained the property of landowners.

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GEORGE ROMNEY (DALTON-IN-FURNESS, LANCASHIRE 1734-1802 KENDAL, CUMBRIA)

Portrait of Hester, Lady Lushington, née Boldero (17531830), three-quarter length, in a white dress and seated in a landscape oil on canvas 50º x 40¿ in. (127.6 x 101.9 cm.) $30,000-50,000

LITERATURE:

Sir H. Maxwell, George Romney, London and New York, 1902, p. 183, no. 247.

Lord R.S. Gower, George Romney, London, 1904, p. 121, no. 247.

H. Ward and W. Roberts, Romney: A Biographical and Critical Essay with a Catalogue Raisonné of his Works, London, 1904, I, pp. 106, 117-119 and 125, II, p. 97.

H.C. Marillier, 'Fifty Years of Art Sales', Art News, XXV, no. 32, 14 May 1927, p. 22 and 26, illustrated.

J.C. Watson, George Romney in Canada, exhibition catalogue, Ontario, 1985, p. 76, under no. 32, fig. 23.

M. Secrest, Duveen: a life in art, New York, 2004, pp. 126-128.

A. Kidson, George Romney: A Complete Catalogue of his Paintings, II, New Haven and London, 2015, p. 375, no. 820, illustrated.

PROVENANCE:

Henri Louis Bischoffsheim (1828-1908), Bute House, South Audley Street, London, by 1902; his deceased sale, Christie’s, London, 7 May 1926, lot 85, for 8,300 gns. to Sampson. with Howard Young, New York by 1928.

Matilda Dodge Wilson, Meadowbrook Hall, Rochester, Michigan, by whose estate sold, [Property of the Estate of Matilda R. Wilson, deceased Meadowbrook Hall, Rochester, Michigan]; Parke-Bernet Galleries, New York, 22 October 1970, lot 91, Acquired by Russell Barnett Aitken (1910-2002) and Annie-Laurie Aiken, née Warmack (1900-1984) from the above.

Born Hester Boldero of Darrington, Yorkshire, the sitter married Stephen Lushington (1744-1807) of Southill Park, Bedfordshire in 1771. Her husband later became a director of the East India Company in 1782. Romney evidently took care in composing and executing this elegant three-quarter-length portrait, as eight sittings in his studio are recorded between 5 February and 21 May 1789.

The sitter’s pose and the loose brush work lend the likeness a ‘particularly casual’ impression (Kidson, loc. cit.). The Lushingtons were important patrons of the artist; in addition to this portrait Romney painted portraits of the sitter’s son, her nephew and her niece (ibid, pp. 375-376. nos. 821, 822, 823).

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SIR HENRY RAEBURN, R.A. (STOCKBRIDGE 1756-1823 EDINBURGH)

Portrait of William Fullarton of Skeldon, three-quarter length, in a red coat, reclining in a landscape oil on canvas 50 x 40¿ in. (127 x 101.9 cm.) $40,000-60,000 PROVENANCE:

Miss Fullarton, by 1876.

Mrs. James J. Souter-Sanderson, by 1901.

Mrs E. A. Souter-Sanderson, Wheatlands Manor, Finchampstead, Berkshire, and by whose estate sold, [The following is sold by Order of the Executors of Mrs. E.A. Souter-Sanderson, late of Wheatlands Manor, Finchampstead, Berkshire]; Christie's, London, 26 October 1945, lot 87, where acquired by the following, with the Fine Art Society, London.

Captain Alexander Steven Bilsland, 1st Baron Bilsland, KT, MC (1892-1970), London, and by whom sold, [From the Collection of Lord Bilsland]; Christie's, London, 19 November 1970, lot 204. with Newhouse Galleries, New York, Acquired by Russell Barnett Aitken (1910-2002) and Annie-Laurie Aitken, née Warmack (1900-1984) from the above in June 1971.

EXHIBITED:

Edinburgh, The Royal Academy, National Gallery of Scotland, Sir Henry Raeburn, R.A., October-November 1876, no. 197.

LITERATURE:

W.R. Andrew, Life of Sir Henry Raeburn, R.A.: with portraits and appendix, London, 1886, p. 122, no. 119.

W. Armstrong, Sir Henry Raeburn: with an introduction by R.A.M. Stevenson and a biographical and descriptive catalogue by J.L. Caw, London and New York, 1901, p. 102.

E. Pinnington, The Makers of British Art: Sir Henry Raeburn, R.A., London and New York, 1904, p. 230, no. 257.

J. Greig, Sir Henry Raeburn, R. A.: His Life and Works, with a Catalogue of His Pictures, London, 1911, p. 46.

D. Mackie, Raeburn, life and art, II, unpublished Ph.D. thesis, Edinburgh, 1993, p. 425, no. 313.

Painted in 1805, at the height of Henry Raeburn’s career, this portrait of the advocate William Fullarton of Skeldon, Aryshire is a notable example of his work. When included in David Mackie’s 1993 dissertation, the sitter’s dates were not known (loc. cit.). Much is documented regarding the life of one Colonel William Fullarton of Fullarton (1754-1808) who was a politician, military commander in India, and later commissioner of Trinidad, and was engaged in agricultural reform in Aryshire, publishing two memoirs on the topic. As the sitter appears to be a young gentleman in his thirties, however, it is likely the portrait depicts William Fullarton of Skeldon (1775-1835), an advocate and Provost of Aryshire who held office from 1827 to 1829 and from 1832 to 1834.

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A DIRECTOIRE ORMOLU THREE-LIGHT BOUILLOTTE LAMP CIRCA 1795

The adjustable black tôle peinte shade below a plume finial, each arm terminating in a swan's head, on a vase-shaped stem centering a dished circular base pierced with palmettes, electrified 25Ω in. (65 cm.) high $2,000-3,000 PROVENANCE:

With Rosenberg & Stiebel, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 22 January 1971.

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A GERMAN SILVER-GILT MOUNTED MEISSEN PORCELAIN HAUSMALEREI TANKARD AND COVER

THE MOUNTS WITH MARK OF JOHANN GEORG HERKOMER, AUGSBURG, 1724-1728, THE PORCELAIN DECORATED IN THE SEUTER WORKSHOP, AUGSBURG, CIRCA 1724

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Cylindrical, the porcelain decorated with gilt Chinoiserie scenes between applied gilt and vari-color flowers, the domed silver-gilt foot rim chased with husks and trellis, with conforming lobed domed cover with detachable eagle finial and female mask thumbpiece, the scroll handle mounted with a draped female figure, the underside engraved with initials H.F.C.V.M., marked on underside of base and cover 7 in. (17.8 cm.) high $10,000-15,000 PROVENANCE:

By tradition, in the collection of Graf Arthur Sprinzenstein, Troppau, Austrian Silesia.

Gift from Sunny Crawford von Bülow (1931-2008) to her mother, Annie Laurie Crawford, later Aitken (1900-1984).

The Seuter workshop in Augsburg was established by brothers Abraham and Bartolomäus Seuter. During the early 18th century, the area was home to a large number of independent decorators known as hausmalerei. These enterprising workers would acquire old stock models from the Meissen factory which they decorated with gilt and enamels, often with imagined Asian scenes rendered in gilt, like this one, known as goldchinesen. The Seuters' renown was such that in 1726, the Augsburg City Council provided express permission to Bartolomäus to work as a porcelanschmeltzer (porcelain enameler).

As a means of counteracting what the Meissen factory viewed essentially as intellectual property theft, they eliminated the sale of unmarked white porcelain after 1730. Despite this early competition, the rise of other porcelain manufactories on the Continent were soon a larger threat, and the influx of choice in the market caused the hausmalerei workshops to wane. In fact, as Ulrich Pietsch posits in his book, Early Meissen Porcelain: The Wark Collection from the Cumer Museum of Art & Gardens (2011, pp. 43-46), the proliferation of Meissen forms at the hands of the hausmalerei only helped to spread the renown of the factory and deepen their good reputation.

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Another Meissen hausmalerei tankard decorated by the Seuter workshop, with silver-gilt mounts by Elias Adam, was sold from the Estates of Bernard and Helga Kramarsky, Christie's, New York, 5 April 2022, lot 74. Another example of a Meissen tankard mounted

by Herkomer is listed in Helmut Seling, Die Augsburger Gold-Und Silberschmiede 1529-1868, Munich, 2007, p. 493, no. 2550.

© Visko Hatfield, 2025

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JOSEPH CHINARD (LYON, 1756-1813)

A BUST OF NAPOLEON BONAPARTE AS FIRST CONSUL His chest inscribed HIC EST HOMO MEDICUS LEONI, his back collar inscribed VOILA LE FRUIT DE SON GENIE, the base signed Chinard de l'institut nationale de L'athénee de Lyon le 24 frimaire an [I] O (15 December, 1801) tinted plaster on a later stained pine pedestal 30Ω. in. (77.5 cm.) high, the plaster 40Ω. in, (103 cm.) high, the pedestal $30,000-50,000 PROVENANCE:

With Fabius Frères, Paris.

Acquired from the above and sold Christie’s, New York, 13 April, 2016, lot 27.

Acquired by Irene Roosevelt Aitken from the above.

EXHIBITED:

The Arts of France, from Francois Ier to Napoleon Ier, A Centennial Celebration of Wildenstein’s Presence in New York, 26 Oct. – 6 Jan., 2006, n. 154, pp. 342-4.

LITERATURE:

S. Lami, Dictionnaire des Sculpteurs de l'École Française au dix-huitième siècle, Paris, I, 1910, reprint 1970, p. 208.

COMPARATIVE LITERATURE:

G. Hubert and G Ledoux-Lebard, Napoléon: portraits contemporains bustes et statues, Paris, 1999, pp. 48-54.

Modeled in 1801, this portrait bust by sculptor Joseph Chinard captures a turning point in history—Napoleon Bonaparte just as he nears the apex of his extraordinary reign. At age thirty-two the sitter had just returned a hero from his campaigns in Egypt, engineered a coup establishing himself as First Consul of the Republic, and had that year signed the “Concordat of 1801”, thereby restoring the Catholic Church’s religious privileges while keeping the lands seized by the Revolution.

These successes, and those preceding them, are emblazoned across Bonaparte’s chest. His sash is inscribed with the names of his various victorious battles, each encircled by a laurel wreath, while his back collar reads VOILA LE FRUIT DE SON GENIE (“This is the fruit of his genius”). These messages of strength are accompanied by Napoleon’s distinct iconography, such as the “B” for Bonaparte that appears to the right side of his chest, which was later to become a leitmotif throughout his Empire. Similarly, the Latin phrase HIC EST HOMO MEDICUS LEONI (“This man is a doctor of a lion”) appears above a bas-relief on the socle depicting an allegory of a hurt lion licking the hands of the First Consul, a reference to the weakened nation that is now in the capable hands of Napoleon. In less than three years from when this bust was modeled, Napoleon would crown himself Emperor and the world would never be the same.

There are eight known plaster versions of the present bust, as well as a marble and a terracotta version. The other identical plaster versions of Chinard’s Napoleon are in the prestigious public collections of the Château de Malmaison, Musée des Beaux-Arts de Lyon, Hôtel de Ville of Lyon (which was commissioned in 1801

by General Duhesme has since been lost), and Musée d’Art at d’Histoire of Geneva (acquired in 1802); as of 1999 the other three were in separate private Genevan collections. The final eight bust was a gift from Chinard to the Académie de Lyon which has since been lost. The present bust is assuredly one of the last four stated.

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AN EMPIRE ORMOLU LOCK-PLATE

THE DESIGN ATTRIBUTED TO PERCIER AND FONTAINE, CIRCA 1804-1814 The handle cast with with 'N' between palmettes, the box applied with a spread-winged eagle clasping a ribbon-tied plume and fruiting laurel branch, the reverse stamped once and the reverse of the eagle stamped twice with an 'S' and quatrefoil, the eagle also stamped 'I' 8æ in. (22.5 cm.) wide $10,000-20,000 PROVENANCE:

By repute, supplied for one of the doors of Napoleon's office at the Palais des Tuileries.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002).

EXHIBITED:

New York, Metropolitan Museum of Art, The Arts Under Napoleon, 6 April - 30 July 1978.

LITERATURE:

J.D. Draper, exhibition catalogue, The Arts Under Napoleon, New York, Metropolitan Museum of Art, 1978, no. 39, fig. 14.

When this lock-plate was exhibited at the Metropolitan Museum in 1978, the catalogue described an impressive reputed provenance: "This powerfully composed object is said to have ornamented the door of Napoleon's office in the Palais des Tuileries." Although it will likely never be possible to determine the precise door for which the lock-plate was originally designed, the museum’s cataloguing nonetheless reflects the close association that can be made between it and the inventions of Charles Percier and Pierre-François-Léonard Fontaine (1764-1838 and 1762-1853), who refurbished the Tuileries for Napoleon in the new and avant-garde Empire style. This is illustrated especially by a group of manuscript drawings from the studio of Pierre Fontaine, recently offered in Paris, including several plans for door furniture of similar design. See the two pairs of drawings from the firm of Fontaine, sold Thierry de Maigret, Hôtel Drouot, Paris, 21 November 2025, lots 120-121, and the single drawing from the firm of Percier and Fontaine, lot 152.

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A CONTINENTAL SILVER-GILT MOUNTED HARDSTONE BUST OF AN EMPEROR 20TH CENTURY

Realistically modeled with silver-gilt toga and on a waisted circular base, apparently unmarked 2√ in. (7.3 cm.) high $800-1,200 PROVENANCE:

Russell Barnett Aitken (1910-2002).

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TWO FRENCH SILVER AND HARDSTONE CLASSICAL BUSTS PARIS, LATE 19TH/EARLY 20TH CENTURY, PROBABLY BY HENRI AND ALIX VEYRASSAT

The first with bloodstone head of Vitellius, the second gilt and with rock crystal head of Othon, both on waisted pedestals engraved with their name and on black slate bases, marked on base rims with maker's marks, illegible, Vitellius with French Minerva head mark, Othon with illegible French control mark 6¬ in. (16.8 cm.) high (2) $5,000-8,000 435

PROVENANCE:

The James Donahue Collection; Parke-Bernet Galleries, New York, 2-4 November 1967, lot 76.

Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002).

A catalogue note for this lot is available on christies.com.

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A VICTORIAN ENAMELED GOLD-MOUNTED BLOODSTONE DOUBLE DESK SEAL CIRCA 1840

Formed as an armored arm and mailed fist decorated with scrolls and flowers in blue and white enamel, with uncarved matrix to either end, one in bloodstone the other in lapis lazuli, indistinctly marked on rim with later French control mark for foreign items in use after 1864 3¬ in. (9.2 cm.) long $2,000-3,000 PROVENANCE:

Russell Barnett Aitken (1910-2002).

For a comparable see D. Morris, Matrix, A Collection of British Seals, Romsey, 2012, pp. 100-103, nos. 44 and 45.

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A PAIR OF CONTINENTAL GOLD CELESTIAL AND TERRESTRIAL MINIATURE GLOBES PROBABLY LATE 19TH/20TH CENTURY

Each raised on a Janus term-figure stem with circular base engraved with scrolling foliage, the terrestrial globe engraved ANNO SALVTIS M.D.C.V.I, apparently unmarked 5¿ in. (13 cm.) high 4 oz. 10 dwt. (140 gr.)

(2) $5,000-8,000 437

PROVENANCE:

Anonymous sale; Parke-Bernet Galleries, New York, 8 December 1962, lot 44.

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A GEORGE IV GOLD THISTLE-FORM CUP MARK OF JOHN LINNIT, LONDON, 1824, 18 KARAT

Modeled as a thistle with matte spiny surface, on a leafy foot and circular base, engraved around the base From John Gloag Esq. to John Eddison Esq, further engraved with the motto Nemo me impune lacessit and with a crest, marked on underside 3¬ in. (9.2 cm.) high 3 oz. 8 dwt. (106 gr.) $8,000-12,000 PROVENANCE:

Anonymous sale; Sotheby's, London, 2 June 1955, lot 120.

Russell Barnett Aitken (1910-2002).

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A PAIR OF GEORGE II 3-INCH POCKET GLOBES ON WALNUT STANDS THE GLOBES BY RICHARD CUSHEE, 1731, THE STANDS 19TH CENTURY

Comprising a terrestrial and celestial globe, the terrestrial cartouche signed 'A New / GLOBE / of the Earth / by R. Cushee / 1731', each on a later stand with spiral-turned legs joined by X-form stretchers 4º in. (10.8 cm.) high, 3º in. (8.3 cm.) diameter overall (2) $3,000-5,000 PROVENANCE:

With Arthur Davidson, Ltd., London.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above on 9 May 1972.

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Richard Cushee (1696-1733) was apprenticed to the hydrographer and globe maker Charles Price (c.1697-1733), made a freeman of the Merchant Taylors guild in 1721, and worked from The Globe & Sun in Fleet Street, sharing premises with John Coggs and William Wyeth (G. Clifton, Directory of British Scientific Instrument Makers 1550-1851, London, 1995). A single terrestrial pocket globe of this size and with the same signature and date was sold from the collection of Nico and Nanni Israel; Christie's, London, 11 December 2019, lot 21 (£10,000).

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A PAIR OF LOUIS XV ASH AND AUBUSSON TAPESTRY FAUTEUILS

A PAIR OF GEORGE II PARCEL-GILT MAHOGANY STOOLS

POSSIBLY EASTERN FRANCE, CIRCA 1745, THE UPHOLSTERY MID-18TH CENTURY AND ASSOCIATED Each cartouche-shaped back and serpentine rail carved with rocaille and trailing foliage and flowers, on cabriole legs with scroll toes, covered in associated eighteenth-century Aubusson tapestry, the backs woven with hunting scenes and the seats with scenes from Aesop's Fables 38º in. (97.5 cm.) high (2) $5,000-8,000 PROVENANCE:

With Mallett, London.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 28 March 1969.

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CIRCA 1740

Each drop-in oval seat on hipped cabriole legs headed by shells and with ringed angles and claw-and-ball feet, with the original drop-in seat frames, webbing, and scrim beneath the current upholstery 17 in. (43.2 cm.) high, 21 in. (53.3 cm.) wide, 15Ω in. (39.4 cm.) deep (each) (2) $5,000-8,000 PROVENANCE:

With Arthur S. Vernay Inc., New York.

Supplied by Vernay to Mrs. Morton Plant, (later Mrs. William Hayward, then Mrs. John Rovensky, née Mae Caldwell, 1881-1955) for her mansion at 1051 Fifth Ave. and 86th St., Sold, The Collection of Mrs. John Rovensky, Parke-Bernet Galleries, New York, 15-19 January 1957, lot 566.

With Florian Papp, New York.

Acquired by Irene Roosevelt Aitken from the above on 30 January 1997.

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A LATE LOUIS XV ORMOLU-MOUNTED TULIPWOOD AND MARQUETRY TABLE EN CHIFFONNIERE

BY PIERRE-FRANCOIS GUIGNARD, CIRCA 1770

Oval, with a leather-inset top and pierced three-quarter gallery, the three doors at the body with marquetry scenes of classical ruins, the back with fan inlay, on cabriole legs joined by an oval undertier, stamped 'P.F. GUIGNARD' and 'JME' atop one inner drawer, stenciled ‘14520’ several times to drawers, partially remounted 31Ω in. (80.5 cm.) high, 20Ω in. (52.5 cm.) wide, 15º in. (39 cm.) deep $7,000-10,000 PROVENANCE:

Countess of Carnarvon, Highclere Castle, Newbury, Hertfordshire.

With French & Co., New York.

Collection of Laura, Countess Sala, née Bache Keyser, New York (1874-1961); ParkeBernet Galleries, New York, November 17-18, 1961, lot 252.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above.

Pierre-François Guignard (1740-1794), mâitre in 1767.

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LES STATUTS DE L'ORDRE DU SAINT-ESPRIT L'ORDRE DU SAINT-ESPRIT, 1740

[ROYAL ORDER OF THE HOLY SPIRIT] – Les statuts de l'ordre du Saint-Esprit. [Paris]: L'imprimerie royale, 1740.

Statutes of the French royal chivalric order, in a contemporary binding displaying the arms of Louis XV. The Order of the Holy Spirit was created by Henry III during the Wars of Religion on December 31 1578. The first order of the French monarchy, its members had to be Catholic and of hereditary nobility, tracing their lineage back at least to their great-grandfather.

Quarto (285 × 210mm). Engraved title-page, tailpieces and initials, engraved headpieces signed by S. le Clerc, margins ruled in ink (light marginal toning, occasional small stains, spotting in quires 2K and 2L). Contemporary French red morocco, arms of Louis XV on covers, emblem of the Holy Spirit in the corners (OHR 2494, nos. 12 and 13), alternating fleur-de-lys and palmette roll border, compartments tooled with semy of fleurs-de-lys and flames, Dutch paper endleaves tooled, gilt and painted by Bey Simon at Augsburg.

Provenance: early armorial bookplate (lion salient between three flames) – Bibliothèque de Mr de Berenger (bookplate). $7,000-10,000

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BOUND FOR JAMES II & VII BELLORI, 1685; MÉNESTRIER, 1688

BELLORI, Giovanni Pietro (1613–1696). Veterum Illustrium Philosophorum Poetarum Rhetorum. Rome: Jacob de Rossi, 1685. [With:] . MÉNESTRIER, Claude-François (1631– 1705). Symbolica Dianae Ephesiae statua [...] exposita [...] Cui accessere Lucae Holstenij epistola [...] de fulcris, seu verubus Dianae [...] Io. Petri Bellorij notae in numismata [...].

Rome: Jacob de Rossi, 1688.

Bound for King James II during his final exile in France. The exiled Stuart family remained at Saint Germain-en-Laye until 1713 when they were obliged by the Treaty of Utrecht to move to Bar-le-Duc in the Duchy of Lorraine. Many of their possessions, including much of James II's library, were given to the Scots College in Paris, where the brain of James II was interred. Cicognara 2765.

Two works in one, folio (333 × 219mm). I: Engraved frontispiece, three part titles and 92 plates (); II: Half-title, 24 engraved plates (first four leaves rather browned, light dampstains in upper margins). Contemporary red ?goatskin tooled in gold, triple fillet round sides, fleuron corner-piece dividing the outer from the inner two fillets, at center the arms of James II, gold-tooled turn-ins, edges gilt over marbling (split at head of upper hinge); red levant morocco case. Provenance: James II & VII, King of England, Ireland and Scotland (supralibros) – Andrew Lumisden (bookplate) – Mortimer L. Schiff (label; his sale, Sotheby’s, London, 5 July 1938, lot 615) – William Foyle (Beeleigh Abbey label; his sale, Christie’s, New York, 11–13 July 2000, lot 404). $8,000-12,000

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ALMANACH ROYAL, ANNÉE COMMUNE M.DCC.LXXXX LAUREN D'HOURY, 1790

D’HOURY, Laurent (1644–1725). Almanach royal, année commune M.DCC.LXXXX. présenté a Sa Majesté. [Paris]: Deburre, Gendre de feau M. D’Houry, 1790.

Revolution-era royal almanac, in a contemporary binding displaying the arms of Louis XVI. Octavo (197 × 117mm). Woodcut arms of Louis XV on title-page, woodcut moon phases (light spotting, some leaves toned, occasional offsetting). Contemporary French red panelled morocco tooled in gold, arms of Louis XV on covers, fleur-de-lys cornerpieces, lettering and fleur-de-lys tools in spine compartments, board edges and turn ins tooled in gold, edges gilt, blue endpapers (rubbed at extremities, corners lightly bumped, head of spine chipped); custom box. $5,000-8,000

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REPRÉSENTATION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG POUR LA CONVALESCENCE DU ROI J.M. WEIS, [1745]

WEIS, J.M. (1711–1751). Représentation Des Fêtes Données Par La Ville De Strasbourg Pour la Convalescence du Roi. Paris: Laurent Aubert, [1745].

First edition in contemporary binding by royal bookbinder Antoine-Michel Padeloup; the Hamilton Palace copy, later owned by British Prime Minister Archibald Primrose.

The work the depicts the festivities given by the city of Strasbourg to celebrate the visit of Louis XV in 1744. After suffering a high fever while leading his armies at Metz, Louis XV was welcomed into Strasbourg by twelve hundred cavalrymen and infantrymen to the sound of timpani, trumpets, oboes, hunting horns and other instruments. The festivities continued for several days, and to immortalize the occasion François-Joseph de Klinglin, the royal moneylender in Strasbourg, commissioned the creation of this magnificent album.

Louis XV had a number of copies specially bound by his Royal Binder Padeloup for presentation to members of his court, in either polished calf or red morocco and elaborately decorated in gold. Cohen-Ricci, 870; Berlin Kat. 3015.

Binding: the original binding by Antoine-Michel Padeloup, signed with his engraved ticket at bottom of the engraved title-page, red morocco tooled in gold, arms of Louis XV on covers, frame of alternating fleurs-de-lys and palmettes, royal cyphers and additional ornaments in spine compartments, edges gilt.

Large folio (625 × 458mm). Engraved title by Marvye, engraved portrait of Louis XV by Wille after Parrocel, 11 double-page engraved views by J.-P. le Bas after Weis, 10 leaves of engraved text (spotting, some leaves toned, scratch on pl. 9 affecting one letter, small hole in pl. 9). Contemporary red morocco tooled in gold by Padeloup (rebacked, light scratches, rubbed, corners bumped). Provenance: William Beckford (1760–1844; Hamilton Palace sale, Sotheby’s, London, 12 July 1883, lot 2278) – Archibald Philip Primrose, 5th Earl of Rosebery, British Prime Minister (1847–1929; bookplate). $5,000-7,000

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A PAIR OF GEORGE II GILTWOOD FIGURAL TORCHERES POSSIBLY BY THOMAS JOHNSON, CIRCA 1750

Each in the form of a standing chinoiserie robed figure holding aloft a palm frond support with icicle-hung platform, on an open scroll rocaille base, the palm frond support and platform later replacements 49Ω in. (125.8 cm.) high, 8º in. (21 cm.) diameter of top, 16 in. (40.6 cm.) wide overall (2) $40,000-60,000 PROVENANCE:

Almost certainly Baron Mayer de Rothschild, Mentmore Towers, Buckinghamshire and by descent.

The 6th Earl of Rosebery, Mentmore Towers, Buckinghamshire; sold, Sotheby's House Sale, 18-20 May 1977, lot 862 (as German).

With H. Blairman and Sons, London, 1978.

With Mallett, London, circa 1978.

With Mallett, New York.

Acquired by Irene Roosevelt Aitken from the above on 26 February 2015.

EXHIBITED:

London, The Grosvenor House Antiques Fair, 13-23 June 1979 (with Mallett), illustrated in the Handbook, p. 59.

LITERATURE:

The Connoisseur, October 1978 (advertisement for Mallett).

L. Synge, Mallett's Great English Furniture, London, 1991, p. 96, fig. 106.

Country Life, 25 February 2015, p. 90 (Art market review).

Masterpiece 2015, London, illustrated in the brochure, p. 28 (and intended for display).

Mallett, Catalogue, 2015, p. 187.

THE MODEL It has been suggested that the Chinoiserie figures on the pair of torchères may originate from English or French Chinoiserie prints. Indeed, the importation of silks and porcelain from the East was significant in promoting the taste for Chinoiserie, an imaginary portrayal of the exotic orient rather than an imitation of reality. In 1754, Mathew Darly (circa 1720-1781), caricaturist, print-seller and ornamental engraver (renowned for engraving most of the plates for Thomas Chippendale's Director), and George Edwards (d. 1760), published fanciful oriental-inspired designs in A New Book of Chinese Designs Calculated to Improve the present Taste, consisting of Figures, Buildings, & Furniture, Landskips, Birds, Beasts, Flowers and Ornaments. In parallel, in Paris, Pierre Aveline (d. 1760) was making prints after the whimsical Chinoiserie drawings of Francois Boucher (d. 1770).

Another pair of torchères, similar in design and spirit, was almost certainly supplied to Sir Roger Palmer, 1st Bt. (d. 1816) of Castle Lacken, Ballycastle, Co. Mayo and later Kenure Park, Co. Dublin, Ireland. They were photographed in the 1964 Kenure Park sale catalogue flanking the magnificent parcel-gilt padouk cabinet-on-stand, attributed to Thomas Chippendale (sold Christie's, London, 18 June 2008, lot 8, £2,729,250). The Kenure torchères were later sold, the property of a Distinguished European Collector; Christie's London, 22 May 2014, lot 1163 (£58,500 after the sale). Another closely related pair was in the collection formed by the 1st Viscount Leverhulme. These are presently in the collections of the Lady Lever Art Gallery, Port Sunlight (P. Macquoid, English Furniture, Tapestry and Needlework of the XVIth-XIXth Centuries, London, 1928, no. 285, pl. 54).

Mentmore Towers, Buckinghamshire, England.

THOMAS JOHNSON The torchères were likely to have been crafted by Thomas Johnson (d. 1778), described by Helena Hayward as one of the most influential English designers of the 18th century, and a renowned carver and gilder (J. Simon, 'Thomas Johnson's "The Life of the Author"', Furniture History Society, 2003, pp.

1-64). Johnson's Life of the Author (1793) reveals that in the mid-1740s, as an apprentice in the workshop of James Whittle, he worked with Matthias Lock (d. 1765) who also incorporated Chinoiserie elements in his pattern book, A New Book of Ornaments (1752), and lent his drawings to Johnson to copy (see a design for a table with Chinese seated figures reproduced in P. Ward-Jackson, English Furniture Designs of the 18th Century, London, 1958, pl. 55). With Lock as his mentor, Johnson almost certainly knew Edwards and Darly's A New Book of Chinese Designs.

Between 1753 and 1755 Johnson was working in Dublin where he produced decorative carving for interiors in addition to mirror and table frames. Although he was employed by a 'Mr. Partridge', possibly William Partridge, a 'principal carver' supplying frames to looking-glass shops, he brought three of his own apprentices and four journeymen from London suggesting he was intending to undertake independent work. Johnson describes a Gothic chimneypiece he supplied to leading Dublin society figure, Lady Arabella Denny, which attracted the attention of her nephew, Lord Shelburne, who subsequently invited him to work for him either in Dublin or at his country seat, probably Bowood, Wiltshire. On an earlier visit to Dublin in 1746-48 Johnson had worked for a 'Mr. Houghton', this was possibly John Houghton (d. 1761) of Duke Street, the leading Irish carver, described by Johnson in his biography as 'the best wood-carver, for basso-relievo figures, I ever saw before or since. I made great improvements from him, and his apprentices from me'. Johnson stated that he had received 'many advantageous offers' although unfortunately he does not describe his work or commissions, and as no furniture bills in Johnson's name have been identified, it is likely much of his finest work sold under another's name (Simon, op. cit., p. 6). Johnson's Irish connection is interesting given the provenance on the closely related pair of torchères from Kenure Park, Dublin.

MENTMORE TOWERS These torchères formed part of the legendary collections at Mentmore Towers, Buckinghamshire and were part of the celebrated sale of 1977. Mentmore Towers was one of the great Rothschild buildings in England, created for Baron Mayer Amschel de Rothschild by Joseph Paxton in 1850, in a grandiloquent style reminiscent of the celebrated Elizabethan prodigy houses of the 16th century such as Hardwick Hall and Wollaton Hall. The sale typified all the grandeur of the goût Rothschild, with treasures ranging from a chimneypiece reputedly from Rubens's house in Antwerp, to throne chairs from the Palazzo Ducale in Venice and a magnificent collection of French furniture. Interestingly the collection at Mentmore did include a scattering of English furniture, including a group of seat furniture by Chippendale of which a pair of side chairs was subsequently sold from the collection of Mr. and Mrs. John Gutfreund; Christie's, New York, 27 January 2021, lot 271. In the sale catalogue, the figures, described at the time as German, are shown holding different supports which have since been changed to a more appropriate pattern in keeping with designs of Thomas Chippendale (see The Gentleman & Cabinet-Maker's Director, 3rd Edition, 1762, pl. No. LXXI). It is unclear when these splendid torchères entered the collection- they do not appear in the privately published Mentmore 'inventory' of 1883-1884 presently in the Rothschild archives.

A related pair of torcheres from Kenure Park, Dublin.

The Connoisseur, September, 1964, p. XVI (advertisement by James H. North & Co.)

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A PAIR OF EARLY GEORGE III SMALL GILTWOOD MIRRORS CIRCA 1765

Each rectangular frame with floral wreathed cresting and gadrooned urn base, one with white chalk inscription to the reverse, 'To... Aberdeen' 33 in. (83.8 cm.) high, 20 in. (50.8 cm) wide (2) $12,000-18,000 PROVENANCE:

With Stair & Company, New York.

Acquired by Irene Roosevelt Aitken from the above on 9 October 1991.

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A GEORGE III INDIAN ROSEWOOD, SABICU AND MARQUETRY WORK TABLE ATTRIBUTED TO PIERRE LANGLOIS, CIRCA 1760

The serpentine hinged top with circular medallion of laurel leaves enclosing a ribbontied floral spray, the frieze with husk swags on cabriole legs joined by stretchers 28Ω in. (72.4 cm.) high, 20º in. (51.4 cm.) wide, 15 in. (38.1 cm.) deep $10,000-15,000 PROVENANCE:

Property of a Lady of Title.

With Apter-Fredericks, London.

Mr. and Mrs. Saul P. Steinberg; Sotheby's, New York, 25 May 2000, lot 151.

Private New Jersey Collection; Sotheby's, New York, 27 October 2017.

Acquired by Irene Roosevelt Aitken from the above.

The French fashion for this style of Lady's table was introduced to London by the Tottenham Court Road ébéniste Pierre Langlois (d.1767) and was illustrated amongst the 'inlaid work' or 'Meubles, inscrutez de fleurs en bois et marqueteries...'advertised in his trade sheet (P. Thornton & W. Rieder, 'Pierre

Langlois: Ebéniste. Part 1', The Connoisseur, December 1971, p. 284). Langlois invoiced one such hinged-top and stretcher-trayed table known as a table en chiffonnier or vide poche in 1759. When supplied at a cost of 9 guineas to the 4th Duke of Bedford, it was described as a 'table de vide poche incruste de fleur de bois violette des indes enjolivee de ornement de bronze doree ...'(ibid., p. 283 and illustrated in G. Worsley, 'Woburn Abbey', Country Life, 22 April 1993, p. 55, fig. 9). This table's elegantly serpentined form corresponds to that of 'A Table inlaid Woods by Langlois £8' purchased by Elizabeth Duchess of Northumberland in the early 1760s (P. Thornton & W. Rieder, 'Pierre Langlois: Ebéniste. Part 3', The Connoisseur, April 1972, p. 258, fig. 4). Its surface is strewn with trompe l'oeil sprigs of Venus's sacred roses, accompanying a poetic tablet. This comprises a sacred urn enriched with flowered and laurel-festooned Roman foliage in the antique or arabesque manner adopted around 1770 and later popularized by Thomas Chippendale Junior's Sketches of Ornament, 1779.

This table bears similarities to a work-table attributed to Langlois, sold Christie's, London, 16 April 1998, lot 133 ($27,600). A further related work table attributed to Langlois, with the same laurel medallion to the top, was included in the Gyrn Castle Sale; Christie's House Sale; 17 July 2006, lot 523. Another from Broadlands, Hampshire is illustrated in H. A. Tipping, English Homes, Period VI, vol.I, Late Georgian, 1760-1820, London, 1926, p.251, fig.392.

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A ROYAL LOUIS XIV COMPOSITE SAVONNERIE CARPET DELIVERED TO THE GARDE-MEUBLE DE LA COURONNE BY LOURDET VEUVE ON 16 JUNE 1687

Comprised of two large panels sewn together, each with a field woven with a cartouche enclosing a landscape, under flower-filled vases and surrounded by acanthus and scrolling foliage, within a border woven with ovolo, the corners with fleurs-de-lys Approximately 10 ft. 6 in. (3.20 m.) by 8 ft. 6 in. (2.59 m.) $100,000-150,000 PROVENANCE:

Composed of the two ends originally part of a larger carpet delivered to the GardeMeuble de la Couronne by Lourdet Veuve on 16 June 1687, probably to be installed in the Pavillon de la Lanterne of the Grande Galerie at the Louvre.

Anonymous sale; Etude Rheims, Palais Galliera, Paris, 21 March 1969, lot 119.

With Samy Chalom, Paris, 38 rue du Faubourg-Saint-Honoré.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 5 April 1969.

LITERATURE:

P. Verlet, The Savonnerie, London, 1982, pp. 208 and 210., fig. 132.

When Louis XIV ascended the throne in 1661, it was decided with his chief minister, Jean-Baptiste Colbert, that a refurbishment of the Louvre was necessary to make a statement to the world manifesting the power of the King and the State. One aspect of this immense redecoration plan was furnishing the Galerie d'Apollon and the Galerie du Bord de l'Eau, otherwise known as the Grande Galerie, with carpets on a scale not yet achieved in France. The first carpets executed for the renovation were a set of thirteen for the Galerie d'Apollon, considered a trial run for the ninety-two carpets that would be needed to cover the Grand Galerie which, at 1,460 feet by 32 feet, presented an intimidating project.

The task proved to be of great importance in the development of the country's carpetweaving arts, spurring new innovations in the craft. Until this time, the majority of French pile carpets were of relatively small size and were produced either by the Dupont family on looms in the ateliers of the Louvre or by the Lourdet family, who had established competitive workshops in a former soap factory, or savonnerie, at Chaillot. Initially, Colbert planned to commission the new carpets for the Louvre from Ottoman weaving workshops in Cairo, as the existing carpet workshops in France were unable to produce carpets on the large scale required. Simon Lourdet, however, working in conjunction with his son Philippe, proposed that he could fulfill the Louvre commission with new, specially built looms. These looms were as wide as the length of the carpet, rotating the task of weaving by ninety degrees, and thus allowing more weavers to work simultaneously side by side—a novel concept which accelerated production and reduced the time it took to complete a single carpet. Dupont agreed that he could employ the same technique, and thence two ateliers worked together for the first time to accomplish the monumental task. Colbert agreed to this proposition, not only for expediency, but also as he wished to promote domestic industries and retain crown funds in France. After the last carpet for the Galerie d'Apollon was delivered in 1667, work began on the Grande Galerie carpets (see S. B. Sherrill, Carpets and Rugs of Europe and America, New York, 1996, p. 69).

Charles Lebrun, the first painter to the King, was entrusted with the designs of these carpets in 1663 while working closely with Louis Le Vau, the architect in charge. Their cooperation ensured that all the design elements in this refurbishment were complementary and designed along the chosen theme, the Apotheosis of Louis XIV. The ninety-two carpets share in common a black to dark brown background with lush and colorful scrolling foliage, acanthus leaves and rinceaux centering a panel, which varies from piece to piece. At each end of the carpet are tableaux either representing an allegory or a landscape, sometimes woven in grisaille. Each carpet is framed by a unifying blue and gold egg-and-dart variant border in which the darts are replaced by spiraled foliage.

The main border is flanked by guilloché and leaf-tip guard borders and further overlaid with a Royal fleur de lys in each corner. The overarching theme was the glorification of the King, the designs exalting his power through the recurring symbols of the Sun, his patron God, Apollo, fleurs de lys, orbs, and interlaced ‘L's’ and crowns, as seen in this example.

Of the ninety-two carpets commissioned and planned for the Grande Galerie, all but one were executed. In addition to these, a number of others were made on the same looms using the Grande Galerie cartoons and were given as diplomatic gifts to foreign sovereigns. The first carpet was delivered to the Louvre in 1670 and the last in 1687 (the present carpet), and yet they were never installed in situ; Louis XIV abandoned the restoration of the Louvre and moved his court to Versailles in 1678. It seems, however, that although the carpets were never laid out at the Louvre, they were nonetheless used on occasion at Versailles for official court functions and ceremonies. Surprisingly, though the carpets were designed as an explicit celebration of Royal prestige, they continued to be appreciated during the Revolution and the Directoire. At this time, many of the Grande Galerie carpets were dispersed to government officials, used to pay governmental debts; many were cut down in size, to fit in less palatial spaces. Most of the extant Grande Galerie carpets known today are preserved in museums, with more than forty examples in the national collections of France, three in the Metropolitan Museum of Art, New York, two in the Huntington Art Gallery, San Marino, CA and three at Waddesdon Manor, as well as others in numerous museums and private collections.

The Aitken carpet mainly consists of two panels sewn together, originally from one of the two carpets that were intended to flank the first carpet of the series (now at the Palazzo Reale in Naples, see W. Burchard, The Sovereign Artist: Charles Le Brun and the Image of Louis XIV, London, 2016, p. 191). All three, the main carpet and the two small ones, were delivered by the widow of Lourdet on 16 June 1687, with the smaller examples woven with “two landscapes, octagonal in shape, and an oval blue and yellow bas-relief” (see P. Verlet, The Savonnerie, London, 1982, p. 475). While the blue and yellow bas-relief formerly between the two landscapes of the Aitken carpet has not been located, the other blue and yellow bas-relief is known to survive, see Christie’s, Paris, 23 June 2005, lot 434. Contrary to what was proposed previously, it is now believed that the first carpet would have been placed in the Pavillon de la Lanterne, at the center of the gallery, and not in the Salon Carré.

This new information about the carpet's exact delivery date, its identification within the scheme and its intended location within the Grande Galerie was kindly provided by Wolf Burchard, Emmanuelle Federspiel and Antonin Macé de Lépinay, who are currently preparing a comprehensive new monograph, in French and English, about Louis XIV’s Savonnerie carpets woven for the Grande Galerie and Galerie d’Apollon, and which will be published in the fall of 2026.

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A PAIR OF GEORGE II FRUITWOOD LIBRARY ARMCHAIRS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1755-65

Each covered in gros and petit point needlework depicting a dancing couple or figure with a lyre, within large-scale carved frames headed by a cabochon 41º in. (104.8 cm.) high, 30 in. (76.2 cm.) wide (2) $100,000-150,000 PROVENANCE:

Part of a suite of twelve armchairs almost certainly supplied to Robert Clive, 1st Baron Clive of Plassey (1725-1774) for Walcot Hall, Lydbury North, Shropshire.

By descent at Walcot until sold by the Direction of the Rt. Hon. The Earl of Powis and Viscount Clive; Harrods, House Sale, 22-26 July 1929, lots 712-717 (catalogued as Louis XV, one of the chairs illustrated in plate opp. p. 30).

With Messrs. Dawson & Co., New York (a set of six).

With Symons Galleries, Inc., New York.

Property Sold by Order of Harvey T. Mann, Trustee; Anderson Art Galleries, New York, 31 January-1 February 1936, lot 405 (previously thought to have been from the Gloria Morgan Vanderbilt Collection, which was sold in the same auction).

A New York Private Collector; Parke-Bernet Galleries Inc., New York, 19-21 February 1942, lot 489.

Anonymous sale; Parke-Bernet Galleries Inc., New York, February 1952, lot 344.

Acquired by Annie Laurie Crawford, later Aitken (1900-1984) from the above.

LITERATURE:

'Exhibits of Decorative Arts', The Art News, New York, 10 Nov. 1934, p. 10 (a pair of chairs from the suite).

J. Aronson, The Book of Furniture and Decoration: Period and Modern, New York, 1936, pl. opposite p.112 (a single chair from the suite).

A. Coleridge, Chippendale Furniture, New York, 1968, pl.185 (a single chair from the suite).

The form and decoration of these richly carved armchairs are characteristic of the French 'picturesque' style which was was captured by Thomas Chippendale’s 1754 pattern-book The Gentleman & Cabinet-Maker's Director. These chairs closely follow a design for ‘French Chairs’ illustrated in plate XVIII of the publication. Commenting on this design, Chippendale noted: ‘... A skilful Workman may also lessen the Carving, without any Prejudice to the Design.

Both the Backs and the Seats must be covered with Tapestry, or other sort of Needlework'.

CLIVE OF INDIA These armchairs are part of a suite of twelve sold from Walcot Hall, Lydbury North, Shropshire, in 1929. Walcot was the principal home of Robert Clive (1725-1774), 1st Baron Clive of Plassey, ‘Clive of India’, and the chairs may have been a special commission. Clive, the son of an unsuccessful Shropshire squire, went to India in 1744 as a junior clerk for the East India Company. Over the next two decades (1743-53, 1754-60, 1765-7), his military genius consolidated the British position in India and laid the foundations for the British Raj. Clive parlayed a £40,000 diamond investment into an estate worth over £500,000 at his death, reputedly making him the wealthiest man in England. Created Lord Clive of Plassey in 1760, he purchased Walcot and its 80,000-acre park in 1764 and commissioned Sir William Chambers (d. 1796) to redesign the house.

Chambers employed master craftsmen including carver Sefferin Alken and ornamental plasterer Joseph Wilton. Chambers’ work at Walcot coincides with his commissions at Pembroke House and, in 1774, Melbourne House, where he collaborated with Thomas Chippendale.

Walcot Hall, Lydbury North, Shropshire.

armchairs were originally commissioned for Walcot, or moved there later from another Clive residence is yet to be determined.

At least five pairs (ten chairs) from the suite have been identified. All have had their frames stripped of their original decoration, were stained, and polished. Of the group, the majority were later upholstered with contemporary needlework covers and comprise: 1. The current pair (with needlework panels depicting figures dancing around a maypole and a seated figure with lyre).

2. A pair with needlework panels depicting figures playing cards and youths by a stream: With Charles of London, New York.

Mrs. George L. Mesker, 'La Fontana', Palm Beach, Florida, sold Parke-Bernet Galleries Inc., New York, 27-30 October 1943, lot 766.

3. A pair with needlework panels depicting a gentleman and ladies playing cards and a courting scene with horn-playing musician: With Charles of London, New York.

Mrs. George L. Mesker, 'La Fontana', Palm Beach, Florida; Parke-Bernet Galleries Inc., New York, 27-30 October 1943, lot 767.

Baron and Baroness Carl von Seidlitz; sold, Parke-Bernet Galleries Inc., New York, 3 May 1947, lot 110.

A New York Estate; Christie's, New York, 13 April 2000, lot 93 ($556,000).

Property from an Important Private Collection; sold, Christie's, New York, 1 Feb 2024, lot 35.

4. A pair with needlework panels depicting figures in a garden setting and reveling dancers: With Edward I. Farmer, Inc., New York, in 1934.

(Exhibited: The Fine Arts Exposition, Rockefeller Center, New York, November, 1934. See: E. Riefstahl, 'English Interiors Recreate Splendors of the Past in Many Styles and Periods at Exposition', The Art News, New York, 10 Nov. 1934, p. 6).

Mrs. Elmer T. Cunningham, Monterey, California; Parke-Bernet Inc, New York, 14 March 1959, lot 114.

THE MAKER While a Chippendale attribution is tempting given the design’s close adherence to his patterns, however, the chairs lack certain signature Chippendale constructional features such as cramp cuts and batten holes, suggesting another talented maker. One candidate is Charles Arbuckle of St. Alban's Street, Pall Mall, whose documented suite for Clive’s Berkeley Square townhouse in the 1760s shares the same profile and scale, though with flatly carved crestrails ending in distinct corners and scrolled feet (O. Fairclough, ‘In the Richest and Most Elegant Manner; A Suite of Furniture for Clive of India,’ Furniture History, 2000). Part of this suite remains at Powis Castle, while a pair of armchairs and six side chairs were sold from the Collection of Saul and Gayfryd Steinberg (Sotheby’s, New York, 26 May 2000, lot 268).

5. A pair with Mortlake tapestry panels depicting flower-filled vases: With Symons, Inc., New York.

Robert J. Dunham; sold Parke-Bernet Galleries Inc., New York, 9-10 May 1947, lot 370.

Walter P. Chrysler Jr., sold Parke-Bernet Galleries Inc., New York, 6-7 May 1960, lot 372. (illustrated in A. Coleridge, Chippendale Furniture, New York, 1968, pl.185).

With J.J. Wolff, New York.

Mrs. Reuben Trane; gifted to the Art Institute of Chicago, 1964.

(The Art Institute notes that the chairs were 'originally covered in tapestry with bouquets of flowers and urns or baskets'; the tapestry is no longer with the chairs).

THE WALCOT HALL PROVENANCE The Walcot connection for the suite of twelve armchairs was previously cited, but remained conjectural until recently. They were listed in the dining room at Walcot Hall, and were sold sequentially as pairs from the sale on the premises

by Harrods, 22-26 July 1929, lots 712-717. At the time they were catalogued as Louis XV and were painted and parcel-gilt (this is certain, as one of the chairs is illustrated in the auction catalogue, plate opposite page 30). Whether the

A further two pairs, without needlework upholstery have also been identified.

One sold Sotheby's, New York, 22 October 2010, lot 216 and the other sold from a Private Collector; Christie's, New York, 15 April 2011, lot 558. It is certainly possible that one of them could be a newly discovered pair. However, as it has been decades since some of the pairs have appeared at public auction, it is more likely that they are one of the five listed above, since stripped of their needlework covers and re-gilt.

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A GEORGE III MAHOGANY WHEEL BAROMETER

BY JOHN WHITEHURST, DERBY, CIRCA 1780

With columnar stem and terminating in twinned pierced acanthus leaves, the circular dial edged with beading and foliage, the dial signed 'Whitehurst / Derby', originally with a finial 43 in. (109.2 cm.) high, 14 in. (35.6 cm.) wide, 2º in. (5.7 cm.) deep $10,000-15,000 PROVENANCE:

With Randolph Ltd., Baldock, Hertfordshire.

Private Collection, London.

With Ronald Phillips Ltd., London.

Acquired by Irene Roosevelt Aitken from the above, 12 May 2016.

LITERATURE:

CINOA International Art Treasures Exhibition, London, 1962, fig. 128.

N. Goodison, English Barometers 1680-1860, London, 1969, p. 260, fig.

158.

E. Benfield, Barometers, Wheel of Banjo, London, 1985, p. 30, fig. 24.

N. Goodison and R. Kern, Hotspur: 80 Years of Antique Dealing, London, p. 248, fig. 6.

John Whitehurst (1761–1834), recorded at 22 Irongate, Derby, belonged to a distinguished family of barometer-makers renowned for their angle and wheel barometers. He also supplied his fellow member of the Lunar Society, Matthew Boulton (1728–1809), with the majority of his clock movements.

Other examples of this rare and distinguished model by John Whitehurst include: 1. One in the Untermyer Collection in the Metropolitan Museum of Art, New York, formerly in the Henry Hirsch collection (illustrated in Y. Hackenbroch, English Furniture, The Collection of Irwin Untermyer, Norwich, 1958, pl. 20, fig. 36 2. One sold anonymously (Arthur Leidesdorf); Sotheby's, London, 27-28 June 1974, lot 158.

3. One with more elaborately carved frame, sold from the collection of Walter Chrysler; Parke-Bernet Galleries, New York, 29-30 April 1960, lot 220.

4. One in the Gerstenfeld Collection, Washington D.C. (illustrated in E. Lennox-Boyd, ed., Masterpieces of English Furniture: The Gerstenfeld Collection, London, 1998, p. 242, cat. 99).

5. One sold from the collection of Dick Turpin; Christie's, London, 9 March 2006, lot 111 (£38,400). This barometer was possibly also the one sold from the collection of Benjamin Sonnenberg; Sotheby's, New York, 5-6 June 1979, lot 1641.

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A PAIR OF GEORGE III ORMOLU ICE PAILS

BY MATTHEW BOULTON, CIRCA 1772

Each two-handled urn with fluted body and satyr-mask handles, on a stepped base below a Vitruvian-scroll band and up-springing acanthus, on turned foot, with silveredcopper liners, liners possibly later, one liner with typed label '5246', the underside of both scratched 'D9728' and '212729', and one incised 'M' 8 in. (20.3 cm.) high, 9º in. (23.5 cm.) wide (including handles) (2) $30,000-50,000 PROVENANCE:

Private Collection, New York.

Acquired privately by Irene Roosevelt Aitken in 2015.

The ‘ice pail’ cistern was among the first products discussed following the opening of Matthew Boulton and John Fothergill’s gilt-bronze manufactory in Soho, Birmingham, in 1768, and the model entered production in 1772.

Conceived in the French manner, the bacchic vase form, with foliage-wrapped bowls and satyr-headed handles, derives from celebrated marble antiquities, notably the Medici and Borghese wine-krater vases. The pattern, featuring husks suspended in the antique flutes, appears in the firm’s Pattern Book I (p.

177), intended for execution in ormolu or silver (N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 258, pl. 211). This pair is the only recorded example to adhere precisely to Boulton’s design, including pendant husks and fluted collar.

Two sizes of the model appear to have been produced.

Three drawings of ice pails were submitted to the Duke of Ancaster in 1772, resulting in an order of five examples, both ‘large’ and ‘smaller’. Goat-head handles were added at the Duchess’s request to prevent servants from spoiling the gilding. Other known patrons included James Belliss (a pair), the Earl of Ashburnham (four of the Ancaster goat model), the Earl of Coventry (a pair), the Countess of Derby, and the Earl Beauchamp. Two examples, ‘lined with silver’ for a pint or quart, were included in the 1778 Christie and Ansell sale but were not sold and likely correspond to the two listed in the 1782 inventory (ibid., pp.

257-258).

The design embodies the period’s fashion for adapting or inventing ‘new modes of luxury and magnificence’ inspired by French models. Comparable French examples include a set of four Louis XV ormolu ice-pails, later mounted on early 19th-century English bases, sold from Houghton Hall by the 7th Marquess of Cholmondeley, Christie’s, London, 8 December 1994, lot 68. Other Boulton ice-pails may have been catalogued as Louis XVI, including a set of four sold Parke-Bernet Galleries, New York, 19 April 1969, lot 70.

Matthew Boulton’s design for the ‘ice pail’ cistern (Pattern Book I, p. 177).

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A GEORGE III MAHOGANY TRIPOD TABLE OR KETTLE STAND CIRCA 1760

The circular top with piecrust edge on a fluted, acanthus-carved baluster stem on foliate-headed down-swept legs with claw-and-ball feet 21Ω in. (54.6 cm.) high $30,000-50,000 PROVENANCE:

J. S. Sykes, Grosvenor Square, London.

Thence by descent until sold; Phillips, London, 12 June 2001, lot 57.

The Neil and Gina Smith Collection, New York; Sotheby's, London, 3 July 2019, lot 113.

With Ronald Phillips, London.

Acquired by Irene Roosevelt Aitken from the above at TEFAF, New York, in October 2019.

EXHIBITED:

New York, TEFAF, October 2019 (with Ronald Phillips).

J. S. Sykes was a pioneering collector of 18th Century English furniture, part of a select group of aficionados including Percival Griffiths, Samuel Messer, Eric Moller, Geoffrey Blackwell and Lord Plender, all advised by the celebrated connoisseur and scholar R. W. Symonds, whose collection and reference library now forms part of the Winterthur Museum. Several pieces from the great collection formed by J. S. Sykes are featured in R. W. Symonds' seminal book (London, 1940), Masterpieces of English Furniture and Clocks, in which he described the Sykes collection as 'outstanding'. A closely related table, possibly from the same workshop and in the collection of Lord Plender, is illustrated by Symonds on p. 29, figs. 19 and 20.

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A PAIR OF GEORGE III MAHOGANY LIBRARY ARMCHAIRS ATTRIBUTED TO PAUL SAUNDERS, CIRCA 1765

Each serpentine padded back and seat covered in Chinoiserie pattern silk, the hipped shell-carved cabriole legs with scroll toes, feet formerly with castors 37 in. (94 cm.) high (2)

was sold to Lord Londonderry in 1819. The model bears a marked resemblance to furniture supplied by Saunders for Holkham (see R. Edwards, The Shorter Dictionary of English Furniture, London, 1964, p. 144, fig. 108). Hornby Castle was sold by the 11th Duke of Leeds in 1930 and a six-day sale of the contents ensued. The castle was demolished that same year; the chairs were not included in this sale.

The Collection of Sir William Henry Bennett, K.C.V.O. (d. 1931), No. 1 Chesterfield Street, Mayfair, London.

With Basil Dighton, New York.

Acquired by Annie Laurie Crawford, later Aitken (1900-1984) from the above on 25 April 1942.

The Aitken pair differs from the Hornby chairs in only minor details such as the flowerhead handholds and the bifurcated scroll toes. A gilt-embellished easy chair from Hornby of a related design ('from the same set') is illustrated in P. Macquoid and R. Edwards, ibid., fig. 133 and later sold Simon Sainsbury: The Creation of an English Arcadia; Christie's, London, 18 June 2008, lot 48.

Another chair which was likely part of the Hornby/Holderness set was sold from the Estate of Janice Newman Rosenthal; Christie's, New York, 29 November 2012, lot 125.

These armchairs are virtually identical to the set commissioned by the diplomat and politician Robert Darcy, 4th Earl of Holderness (1718-1778) as part of his refurbishment of Hornby Castle or Holderness (later Londonderry) House during the late 1750s. Holderness was an early patron of Samuel Norman (d.1759), cabinet-makers, carvers and gilders of St. Andrews Street, Soho, from 1755. Another likely maker is Paul Saunders, who received large payments from the 4th Earl for his work at the London house at Old Park Lane from 1754-58.

The furniture may have been transferred to Hornby after Holderness House

SIR WILLIAM HENRY BENNETT The chairs once belonged to Sir William Henry Bennett, a surgeon knighted for his services during the Boer War in South Africa and who later worked fully in for the Red Cross during World War I. He was a known collector and lived at no.

1 Chesterfield Street, Mayfair in 1911 (as per the Census), a house dating to 1820 that originally backed onto the garden of Chesterfield House. Thus Sir William never lived at Chesterfield House proper, which was the property of Lascelles/ Earls of Harewood from 1922 until around the sale of its contents in 1932. By the time of his death in 1931, Sir William had moved to no. 3 Hyde Park Place, Marble Arch.

$25,000-40,000 PROVENANCE:

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AN AMERICAN GOLD TABLE BOX MARK OF CARTIER, NEW YORK, MID-20TH CENTURY, 14 KARAT

Square with textured surface, the domed hinged cover mounted with a badge of the Order of St. Hubert, formed as a beaded star with white enamel cross, the center with translucent red enamel circle over a guilloche ground of radiating lines, applied with motto IN TRAU VAST, marked on flange of box Cartier 14k, the badge apparently unmarked 4 in. (12.1 cm.) square 12 oz. 18 dwt. (401 gr.) gross weight $7,000-10,000 PROVENANCE:

By repute, with Spink & Son, London (the badge).

By repute, acquired by Russell Barnett Aitken (19102002) in the 1950s and mounted on the Cartier box.

457

The Royal Order of Saint Hubert is a Roman Catholic order of knighthood founded in circa 1445 by Gerhard VII, Duke of Jülich-Berg (b.c.14161475). The order fell into abeyance in the early 17th century but was revived by Prince-Elector Johann Wilhelm, Duke of Neuberg (1658-1716) in 1708. Following the War of Bavarian Succession the control of the order eventually passed to Maximilian IV, Elector of Bavaria in 1800. The current Duke of Bavaria, Franz von Bayern is the head of the order.

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A RUSSIAN SILVER AND ENAMEL CIGAR BOX

BY IVAN KHLEBNIKOV, MOSCOW, CIRCA 1909

Mounted with numerous jetons and orders, the interior engraved with a presentation inscription in Russian 'Prize for Horse Jumping / Among Officers / Belgorod 12th Uhlan Regiment / From the Major General Yakovlev / to Cornet Przhetslavskiy / 6 XII 1909', marked inside cover and under base with 'Khlebnikov' in Cyrillic with the Imperial warrant 5¬ in. (14.3 cm.) long $3,000-5,000 PROVENANCE:

By repute, acquired by Annie Laurie Crawford, later Aitken (1900-1984) in Constantinople, now Istanbul, Turkey, 1926.

458

© Visko Hatfield, 2025

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A SILVER-MOUNTED KARELIAN BIRCH WOOD CIGAR BOX

BY FABERGÉ, WORKMASTER ANDERS (ANTTI) NEVALAINEN, ST. PETERSBURG, 1899-1904, SCRATCHED INVENTORY NUMBER 5118

Rectangular with silver anthemion-chased mounts, the hinged cover later applied with a silver and enamel graduation badge of the Nicholas Academy of the General Staff with Cyrillic initials 'D.L.', on four ball feet, marked on mounts with workmaster's initials 5 in. (12.6 cm.) long $4,000-6,000 PROVENANCE:

By repute, with Bryan Foy (1896-1977), American film producer and director, by the 1960s.

By repute, with A La Vieille Russie, New York.

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1970s.

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A GUILLOCHÉ ENAMEL AND TWO-COLOR GOLD-MOUNTED BOWENITE CANE HANDLE

BY FABERGÉ, WORKMASTER HENRIK WIGSTRÖM, ST. PETERSBURG, 1904-1908 The tau-form bowenite handle mounted with a collar enameled in translucent lilac over a wavy guilloché ground applied with two-color gold swags, within laurel and beaded borders, on a wood shaft, marked on mounts with workmaster's initials 5º in. (13.3 cm.) wide $15,000-20,000 PROVENANCE:

With A La Vieille Russie, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 27 December 1983.

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A GROUP OF RUSSIAN SILVER AND ENAMEL ITEMS VARIOUS MAKERS, LATE 18TH / EARLY 20TH CENTURIES

Comprising: A silver-gilt and cloisonne enamel cane handle, curved, decorated overall with vari-color foliate motifs, mark of Mikhail Zorin, Moscow, 1908-1917 A silver-gilt and niello bonbonniere, circular, the cover set with a medal of Empress Elizabeth dated 1739, the reverse with the Imperial Eagle, maker's mark indistinct, Moscow, 1793 A silver-gilt Imperial seal case, circular, the cover applied with the Imperial double-headed eagle, indistinct maker's mark, St. Petersburg, 1835, with later French control marks A silver and niello snuff box, rectangular, the cover with a scene of allegorical figures of victory crowning a man in uniform, maker's mark Cyrillic 'IK', Moscow, 1829 5Ω in. (14 cm.) long, the cane handle (4) $8,000-12,000 PROVENANCE:

All with A La Vieille Russie, New York.

By repute, Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1950s (the bonbonniere and snuff box).

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 11 June 1975 (the seal case).

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 17 October 1978 (the cane handle).

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A JEWELED GOLD-MOUNTED ENAMEL PARASOL HANDLE CONVERTED INTO A PAPER KNIFE

BY FABERGÉ, WORKMASTER AUGUST HOLMSTRÖM, ST. PETERSBURG, CIRCA 1890 Of baluster form, the opaque white enamel handle mounted with gold scrolling foliage and stylized flowers and set with emeralds and diamonds, with a later silver-gilt blade with a top rim set with diamonds and emeralds, marked on mounts with workmaster's initials 9¿ in. (23.2 cm.) long, overall $10,000-15,000 PROVENANCE:

With A La Vieille Russie, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 23 December 1969.

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A RUSSIAN GOLD AND MICROMOSAIC BONBONNIÈRE

BY KEIBEL, ST. PETERSBURG, FIRST QUARTER 19TH CENTURY, THE MICROMOSAIC POSSIBLY FROM THE RAFFAELLI WORKSHOP, ROME Circular, the gold body with engine turned reeded sides, the detachable cover with a micromosaic depicting two swans on a lake, within a gold fan leaf border, the base with alternating engine turned vertical bands and a fan leaf border, marked inside cover and base with 'Keibel' 2√ in. (7.2 cm.) diameter $15,000-25,000 PROVENANCE:

With A La Vieille Russie, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1950s.

Johann Wilhelm Keibel (1788-1862) was the son and apprentice of the famous goldsmith Otto Samuel Keibel, and was considered one of the best jewellers of the Imperial Court. After his father's death in 1809, he adopted the same mark and became master in 1812.

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Keibel was one of the most important workshops producing gold boxes in Russia in the first half of the 19th century. It was Johann Wilhelm Keibel who in 1826 made the small Imperial crown for the coronation of Empress Alexandra Feodorovna and in 1855 he made the funeral crown of Nicholas I. After the death of Johann Wilhelm Keibel in 1862, the firm specialized in the production of insignia until 1917.

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A TWO-COLOR GOLD-MOUNTED GUILLOCHÉ ENAMEL AND QUARTZ MAGNIFYING GLASS

BY FABERGÉ, WORKMASTER HENRIK WIGSTRÖM, ST. PETERSBURG, 1904-1908, SCRATCHED INVENTORY NUMBER 12276

The light blue quartz handle of slightly tapering form, the gold mounts for the oval lens enameled in light pink over a wavy guilloché ground, applied with gold laurel band, within beaded borders, the handle with a similar rim at the top, marked on mounts with 'Fabergé' in Cyrillic and workmaster's initials 5æ in. (14.6 cm.) long $15,000-25,000 PROVENANCE:

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The James Donahue Collection; Parke-Bernet Galleries, New York, 2-4 November 1967, lot 72.

Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002).

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AN IMPERIAL JEWELED TWO-COLOR GOLD AND ROCK CRYSTAL BONBONNIÈRE

BY FABERGÉ, WORKMASTER ERIK KOLLIN, ST. PETERSBURG, CIRCA 1890

Rectangular with cut corners, the sides in pink gold engraved with bands and dots, with borders of yellow gold laurels, the hinged cover and underside in faceted rock crystal, the cover engraved with the cypher of Empress Maria Feodorovna beneath the Imperial crown, within a border of rose-cut diamonds, marked on flange with Fabergé in Cyrillic and workmaster's initials 2Ω in. (6.5 cm.) long $30,000-50,000 PROVENANCE:

Dowager Empress Maria Feodorovna (1847-1928).

By direct descent to Princess Irina Yusupov, née Princess Irina Alexandrovna of Russia (1895-1970).

Property of H.H. Princess Irene Youssoupoff; Christie's, London, 26 November 1963, lot 92.

Collection of Lansdell K. Christie (1903-1965).

Valuable and Important Objets de Vertu by Carl Fabergé from the Lansdell K. Christie Collection; Parke Bernet Galleries, New York, 7 December 1967, lot 55.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above.

EXHIBITED:

New York, Metropolitan Museum of Art, Long Term Loan, 1962-1966.

Princess Irina Alexandrovna (1895–1970) was the only daughter and eldest child of Grand Duke Alexander Mikhailovich and Grand Duchess Xenia Alexandrovna, the daughter of Emperor Alexander III and Empress Maria Feodorovna.

In 1914, Irina married Prince Felix Yusupov, at the time one of the wealthiest men in Russia. Two years later, in 1916, Yusupov took part in the assassination of Grigori Rasputin, the controversial mystic and ‘holy healer’ to Irina’s hemophiliac cousin, Tsarevich Alexei Nikolaevich. Following the Revolution of 1917, the Yusupovs fled Russia and after a brief stay in London, they eventually settled in Paris in 1920.

This bonbonnière, sold at Christie’s, London, in 1963 as part of the property of Princess Irina Yusupov, was formerly described as belonging to Empress Maria Feodorovna and her daughter, Grand Duchess Xenia Alexandrovna, from whom it was inherited by Princess Irina.

Princess Irina Yusupov with her husband, Prince Felix Yusupov.

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A GEM-SET, TWO-COLOR GOLD AND SILVER-GILT MOUNTED AVENTURINE QUARTZ BELL-PUSH

BY FABERGÉ, WORKMASTER MICHAEL PERCHIN, ST. PETERSBURG, CIRCA 1890 Tapering rectangular, the aventurine quartz body mounted with two-color gold ribbon-tied laurel swags, the top applied with a gold ribbon-tied laurel wreath with crossed arrows, centering a push button set with a cabochon garnet, the body with an anthemion-chased lower rim and on four silver-gilt lion paw feet, with a bakelite base, marked on mounts with 'Fabergé' in Cyrillic and workmaster's initials 2Ω in. (6.4 cm.) high $15,000-25,000 PROVENANCE:

With A La Vieille Russie, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 23 December 1969.

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A SILVER-GILT AND GUILLOCHÉ ENAMEL STAMP BOX

BY FABERGÉ, WORKMASTER ANDERS (ANTTI) NEVALAINEN, ST. PETERSBURG, 1904-1908, SCRATCHED INVENTORY NUMBER 14886

Rectangular, the hinged glazed cover with a rectangular laurel-chased aperture, opening to reveal three sloping stamp compartments, the tapering sides of the body enamelled in translucent green over a wavy guilloché ground, mounted with laurel swags, on four bun feet, interior gilt, marked under base and inside cover with 'Fabergé' in Cyrillic with the Imperial warrant and workmaster's initials 3æ in. (9.5 cm.) long $15,000-25,000 PROVENANCE:

By repute, with A La Vieille Russie, New York.

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1950s.

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A GEM-SET NEPHRITE MATCH HOLDER IN THE FORM OF A FROG PROBABLY BY FABERGÉ, CIRCA 1900

Realistically modeled as a frog with gold-mounted cabochon garnet eyes, with a carved match compartment in the middle, apparently unmarked 3Ω in. (9 cm.) long $6,000-8,000 PROVENANCE:

By repute, with A La Vieille Russie, New York.

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1960s.

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A JEWELED BLOODSTONE MODEL OF AN ELEPHANT

BY FABERGÉ, ST. PETERSBURG, CIRCA 1900, SCRATCHED INVENTORY NUMBER 23908

Realistically modeled as a standing elephant, with incurved trunk, with cabochon ruby eyes, the front left foot engraved 'C. Fabergé' on underside 1æ in. (4.4 cm.) long $20,000-30,000 PROVENANCE:

With A La Vieille Russie, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1960s.

A comparable rhodonite elephant with the scratched inventory number '23905' and a similar Fabergé signature on the underside of a foot was sold at Bonhams, London, 5 June 2019, lot 102.

The rhodonite elephant was listed in the inventory of Fabergé works confiscated from the Moscow branch. It was sold by the Bolsheviks in 1919 for 525 roubles.

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A LARGE AND RARE JEWELED AND GOLD-MOUNTED BLOODSTONE SNUFF BOX SHAPED AS A HEAD OF A HIPPO

BY FABERGÉ, WORKMASTER MICHAEL PERCHIN, ST. PETERSBURG, CIRCA 1890 Realistically carved as the head of a hippo, the gold mounts and hinged cover chased with scrolls and wavy border, with diamond and ruby-set thumbpiece, marked on flange with 'Fabergé' in Cyrillic and workmaster's initials, also with French import marks 3æ in. (9.5 cm.) long $100,000-150,000 PROVENANCE:

LITERATURE:

Countess Vera Sergeevna Zubova (1845-1925).

Anonymous sale; Christie's, Geneva, 1 May 1974, lot 218.

With A La Vieille Russie, New York.

Acquired by Irene Roosevelt Aitken from the above, 11 February 2019.

Exhibition catalogue, Fabergé: Exhibition for the Benefit of the Scholarship Fund of the Cooper-Hewitt Museum, New York, 1983, pp. 122-123, no. 452 (illustrated).

G. von Habsburg, Fabergé, Munich, 1986, p. 178, no. 266 (illustrated).

G. von Habsburg, M. Lopato, Fabergé: Imperial Jeweler, London, 1993, p. 355, no. 247 (illustrated).

Exhibition catalogue, Carl Fabergé: Goldsmith to the Tsar, Stockholm, 1997, p. 132, no.

82 (illustrated).

EXHIBITED:

New York, A La Vieille Russie, Fabergé: Exhibition for the Benefit of the Scholarship Fund of the Cooper- Hewitt Museum, the Smithsonian Institution's National Museum of Design, 22 April - 21 May 1983, no. 452.

Munich, Kunsthalle der Hypo-Kulturstiftung, Fabergé, 5 December 1986 - 22 February 1987, no. 266.

St Petersburg, Hermitage State Museum; Paris, Musée des Arts Décoratifs; London, Victoria and Albert Museum, Fabergé: Imperial Jeweller, June 1993 - April 1994, no.

247.

Stockholm, Nationalmuseum, Carl Fabergé: Goldsmith to the Tsar, 6 - 19 October 1997, no. 82.

This rare bloodstone snuff box carved in the shape of a hippo's head was once in the collection of Countess Vera Zubova, née Plautina (1845-1925), a Russian noblewoman and philanthropist. In 1869, she married Count Platon Zubov (1835-1890), one of the wealthiest landowners in the Russian Empire.

Countess Zubova was descended from the Ogarev family through her mother, Anna Platonovna Ogareva, while her husband belonged to the distinguished Zubov and Suvorov families. Platon Zubov owned a substantial fortune and was actively engaged in charitable activities. He served as a trustee of the House of the Poor under the Imperial Philanthropic Society.

(another view)

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A VERY RARE AND IMPORTANT DIAMOND-SET GOLD RUSSIAN IMPERIAL PRESENTATION BOX

BY JEREMIE PAUZIE, ST. PETERSBURG, CIRCA 1754-1761

Circular, the hinged cover finely chased with a portrait bust of the Empress Elizabeth against an architectural background, with a figure of Victory above in the clouds, with a diamond-set scroll and foliate thumbpiece, the underside chased with figures of Athena and Mercury in the clouds, the sides chased with five panels depicting the life of the Empress, with scenes of the Empress and her grand nephew Paul Petrovitch as a young child, the Empress receiving homage from the Navy, the Empress receiving homage from the Army, Providence presenting the newborn Paul Petrovitch to the Empress, and the Empress receiving homage from allegorical figures, apparently unmarked, the scene of Providence engraved with initials F.R. and G.F. on the paving stones, also with French import marks 4º in. (11 cm.) diameter 14 oz. 6 dwt. (445 gr.) gross weight $180,000-250,000

(detail)

PROVENANCE:

Almost certainly commissioned by Empress Elizabeth as a presentation gift.

With A La Vieille Russie, New York.

Property from the Estate of a Lady; Christie's, New York, 19 April 2002, lot 58.

With S.J. Phillips, London.

Acquired by Irene Roosevelt Aitken from the above at the Grosvenor House Fair, London, June 2004.

EXHIBITED:

New York, A La Vieille Russie, The Art of the Goldsmith & the Jeweler, 6-23 November 1968, no. 174.

LITERATURE:

Henry and Sidney Berry-Hill, Antique Gold Boxes: Their Lore and Their Love, New York, 1953, pp. 184-185, nos. 189-193 (illustrated).

K. Snowman, Eighteenth Century Gold Boxes of Europe, London, 1966, pp. 613-615 (illustrated).

A La Vieille Russie, The Art of the Goldsmith & the Jeweler, New York, 1968, p. 76, no.

174 (illustrated).

A. M. Terekhova, A Gold and Diamond Snuffbox of the 18th Century by Pauzie, in Annual Report of the State Museum of the Moscow Kremlin, Moscow, 1973, p. 167 (listed).

A. Solodkoff, Russian Gold and Silver, London, 1981, pp. 140, no. 166 (illustrated).

K. Snowman, Eighteenth Century Gold Boxes of Europe, London, 1990, p. 361, pl. 765767 (illustrated).

(detail)

V. Eriksen, Empress Elizabeth of Russia, 1757.

Exquisite in its execution and remarkable for its large size, this extraordinary gold box was clearly intended as an Imperial gift. The cover features a bas-relief portrait bust of Empress Elizabeth (r. 1741-1761), inspired by a medal struck during the Empress's lifetime. The sides are richly chased with cartouches celebrating notable events of the Empress's reign. In one scene, Providence presents the infant Paul Petrovitch (b. 1754, r. 1796-1801 as Paul I), the son of Catherine II (r. 1762-1796), to a figure representing Russia. In another, the young child Paul is directed to his destiny, echoing a medal of the same theme struck during the reign of Peter I in 1682. As the Empress Elizabeth had assumed patronage for her grand-nephew, his presence on this box was a clear indication of intended dynastic succession. The scenes firmly date this box between 1754, after the birth of Paul and 1761, the death of Elizabeth.

Jérémie Pauzié (1716-1779, working 1740-1764) supplied this tour-de-force of chasing. As a Swiss émigré, Pauzié was apprenticed to the Parisian Graveraus, the Russian court jeweler, and first gained the notice of the Empress Anna. He later served both the Empress Elizabeth and Catherine II. While Pauzié is best

(reverse)

Unknown artist, Jérémie Pauzié, circa 1750-1779.

remembered as a jeweler, at least 12 Pauzié gold boxes relating to Elizabeth were listed in Folkersam's 1907 Inventaire de L'Argenterie Conservée dans Les Garde-Meubles des Palais Impériaux.

Pauzié recorded in his memoirs that diamonds were often needed for large tobacco boxes and rings as presents to foreign ministers for farewell audiences.

He was apparently the only craftsman charged with these important orders which were arranged through the Chancellor Vorontsov, on instructions from the Empress. One order for Pauzié 'to work on a large gold tobacco-box with diamonds costing 1,650 roubles' is still extant, and was paid for in September 1759. Typically boxes cost considerably less, between 300 and 350 roubles.

Only one other box of this magnitude is known. It also features a portrait bust of Empress Elizabeth on the cover, a Minerva figure on the base, and sides chased with notable events from the life of the Empress. It is now in the collection of the Kremlin Armory in Moscow.

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A PAIR OF RUSSIAN PORCELAIN ICE PAILS FROM THE DOWRY SERVICE FOR GRAND DUCHESS MARIA PAVLOVNA

BY THE IMPERIAL PORCELAIN FACTORY, ST. PETERSBURG, PERIOD OF PAUL I (1796-1801)

Each of cylindrical form, each side centering an oval cartouche painted with the views of the Tivoli Gardens, the Steps of Mount Etna, Salaro Bridge and the Temple at Segeste, the upper border with a strapwork band of roses on red ground alternating with grisaille rosettes, with gilt rim and female mask handles, inscribed in French under base with descriptions of the scenes, both marked under base with blue underglaze factory marks 6√ in. (17.5 cm.) high (2) $25,000-35,000 PROVENANCE:

By repute, with A La Vieille Russie, New York.

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1950s.

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A GOLD-MOUNTED PORCELAIN BONBONNIÈRE IN THE FORM OF A DRUM

BY FABERGÉ, WORKMASTER HENRIK WIGSTRÖM, ST. PETERSBURG, 1908-1917; AND THE IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, 1911

Cylindrical, the porcelain body shaped as a drum, painted with red lacing and lines of imperial eagles, with hinged cover with gold mounts, marked on mounts with 'Fabergé' in Cyrillic and workmaster's initials, the underside of the cover with green underglaze Imperial Porcelain Factory mark dated 1911 2º in. (5.8 cm.) high $8,000-12,000 PROVENANCE:

With A La Vieille Russie, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 1960s.

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A SCOTTISH GLASS-PASTE PORTRAIT MINIATURE

BY JAMES TASSIE, DATED 1790

Depicting five of the grandchildren of Empress Catherine the Great of Russia, (from left to right): Alexander, Constantine, Alexandra, Helene and Catherine, all facing sinister and overlapping, the reverse with printed sticker 89, within an oval ebonized frame 53/8 (13.7 cm.) x 61/2 in. (16.5 cm.) (overall) $2,000-3,000 PROVENANCE:

With Mallett, New York.

Acquired by Irene Roosevelt Aitken from the above, 19 December 2001.

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A GEORGE III ORMOLU-MOUNTED AGATE BOWL CIRCA 1770

Agate with gilt-bronze mounts, with two loop handles held by lion masks, underside with a 'BADA' paper label 4√ in. (12.4 cm.) high, 8√ in. (22.5 cm.) wide $40,000-60,000 PROVENANCE:

The Collection of Colonel H. H. Mulliner (1861-1924), The Albany, London and Clifton Court, Rugby, Warwickshire; Sold from the above collection, Christie's, London, 10 July 1924, lot 38.

The Property of Humphrey Cook, Esq. (1893-1978), 38 Upper Brook Street, W.1; sold, Sotheby's, London, 1 May 1936, lot 71.

Private Collection, Australia.

The Property of a Lady; Christie's, London, 6 December 2017, lot 54.

Acquired by Irene Roosevelt Aitken from the above.

EXHIBITED:

London, Burlington Fine Arts Club, 1920-1921.

LITERATURE:

H. Batsford, H.H. Mulliner, The Decorative Arts of England, 1660-1780, London, 1923, chapter 14, fig. 165.

This beautifully mounted bowl is an important rediscovery from the celebrated collection of Colonel H. H. Mulliner (1861-1924). A collector of exceptional discernment, Mulliner devoted himself to assembling a comprehensive survey of English decorative arts, intended to trace their development from the Restoration of the mid-17th century to the early years of George III, a period then notably underrepresented in national collections such as the Victoria and Albert Museum. At the time, his collection was widely regarded as one of the most significant contributions yet offered to the study of English decorative art.

The bowl was subsequently in the collection of Sir Humphrey Wyndham Cook (1893-1978). A shy and notably modest figure, Cook inherited a considerable

fortune at the age of twelve following the death of his father, proprietor of the wholesale drapery firm Cook Son & Co. of St. Paul’s Churchyard. Beyond his activities as a collector, Cook played a significant role in British motor racing.

In 1933, together with Raymond Mays and Peter Berthon, he co-founded English Racing Automobiles (E.R.A.), serving as its managing director, principal financier, and one of its drivers. Under his direction, the E.R.A. voiturette cars achieved notable success during the 1930s, competing against the dominant state-sponsored German Grand Prix teams. Cook is also credited with introducing British Racing Green to international motorsport. He appears to have acquired several objects from the Mulliner collection, and it is plausible that the two men were personally acquainted, particularly given Mulliner’s ownership of Mulliners Limited of Birmingham, the renowned British coachbuilding firm. A number of works in the Irene Roosevelt Aitken collection share this distinguished provenance.

Carved from a stone often described as ‘oriental agate,’ the bowl exhibits a neoclassical vocabulary informed by the lingering influence of Rococo ornament. Its combination of finely chased ormolu mounts and precious hardstone invites comparison with the work of Matthew Boulton, although the use of agate in this manner appears to be without direct parallel in his documented oeuvre. Several ornamental details also diverge from Boulton’s established designs, including the foliate clasps along the rim and the specific arrangement of motifs on the base, particularly the gadrooned edge to the foot. The masks issuing ring handles at either end, however, closely relate to those found on a pair of perfume-burners in the Royal Collection by Boulton (illustrated in N. Goodison, Ormolu: The Work of Matthew Boulton, London, 1974, fig. 94).

The bowl’s refined materials and mounts also find parallels in the work of the Parisian marchands-merciers of the 1770s and 1780s. While certain features recall known models by Boulton, the object resists secure attribution and may instead represent the work of another English craftsman operating at the highest level, such as the goldsmith James Cox (1723-1800), examples of whose work appear elsewhere in the Irene Roosevelt Aitken collection (see lots 484 and 485).

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A PAIR OF GEORGE III ORMOLU-MOUNTED BLUE JOHN CANDLE-VASES

BY MATTHEW BOULTON, CIRCA 1775

Each surmounted by a removable top with pinecone finial above a spreading domed acanthus base and pearled neck, the top reversing to form a baluster-shaped stiff-leaf candle nozzle with removable drip pan, the ovoid body with reeded rim flanked by scrolled handles cast with rosettes, husk trails and acanthus sprays, above an acanthus cup and fluted spreading circular socle with laurel collar and square base 12æ in. (32.4 cm.) high (2) $200,000-300,000 PROVENANCE:

The Collection of Colonel H. H. Mulliner (1861-1924), The Albany, London and Clifton Court, Rugby, Warwickshire; Sold from the above collection, Christie's, London, 10 July 1924, lot 41 (to Mrs. Godfrey).

With Norman Adams, London.

A Private Collection, acquired from the above in 1976.

'50 Years of Collecting: The Decorative Arts of Georgian England'; Christie's, London, 14 May 2003, lot 100.

A Distinguished Private Collection; 'The Exceptional Sale', Christie's, New York, 11 December 2014, lot 20.

Acquired by Irene Roosevelt Aitken from the above.

EXHIBITED:

Burlington Fine Arts Club, London, 1920-1921.

LITERATURE:

H. Batsford, H. H. Mulliner, The Decorative Arts in England during the late XVIIth and XVIIIth Centuries, London, 1923, fig. 166.

C. Claxton Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, Woodbridge, rev. ed., 1985, pp. 475-6.

N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 309, figs. 288-289.

THE MODEL The present magnificent 'Roman' vases were particularly suited to rooms decorated in the fashionable George III 'antique' style promoted by architects and designers such as James and Robert Adam. They likely formed part of a decorative table or chimney-piece garniture. In a letter from Boulton to his wife detailing a visit to Buckingham House in 1770, the designer noted the fashion for adorning chimneypieces with ormolu-mounted vases, recalling: 'The Queen sent for me into her bed chamber, shewed me the chyney [sic] piece and asked my opinion how many vases it would take to furnish it, for she says all that china shall be taken away' (N. Goodison, Matthew Boulton: Ormolu, London 2002, p. 165).

The Aitken agate bowl and pair of candle-vases from H.H. Mulliner’s collection, c. 1923.

H. Batsford, H.H. Mulliner, The Decorative Arts of England, 1660-1780, London, 1923. figs. 165-166.

Vases accounted for the majority of the firm's ormolu production and the present pair, with slender scrolled arms and reversible socket-concealing lids serving as candle holders, is derived from a sketch in from the firm's Pattern Book I numbered 863 (Pattern Book 1, p. 170; illustrated ibid., fig. 290).

Significantly, and perhaps surprisingly, the vases offered here appear to be the only known pair of this precise pattern. While the design suggests that the model was possibly conceived with additional ornamentation such as swags, the choice to keep the mounts spare serves to showcase the exceptionally striking figure of the stone. The finely cast and chased ormolu finials recall the lids in a pattern of winged-figure vases (ibid., p. 361, fig. 370), while the nozzles feature on the 'Apollo and Diana' candlestick pattern (p. 186, fig. 132.1-2). Close variants on the present model, including related examples with scrolled handles, appear in sketches on page 170 and 171 of the Pattern Book (illustrated ibid., pp. 295, 307-308, figs. 257, 284, 287).

BLUE JOHN Featuring richly striated blue john, the present vases reflect the taste for precious mounted minerals and hardstones among collectors in the second half of the 18th century. A rare fluorspar deposit, blue john is mined on a single hill in Castleton, Derbyshire. The mineral is comprised of a mix of deep purple hues with lighter translucent layers ranging from honey yellow to light brown, and can be polished into a gleaming hardstone-like surface. Robert Adam, too, incorporated blue john into furniture and lighting, while a pair of Louis XVI vases and a ewer in the Wallace Collection suggest that Parisian marchandsmerciers also used the material (P. Hughes, The Wallace Collection, Catalogue of Furniture, London, 1996, vol. III, pp.1390-3, F345-7). It remains unknown if marchands-merciers obtained blue john directly from Castleton or if they were supplied through Boulton, who had an essential monopoly on the mineral in England, as well as a flourishing trade in France.

THE MULLINER COLLECTION This pair of candle-vases, along with several other lots from the Irene Aitken collection, was formerly in the renowned collection of Colonel H. H. Mulliner (d. 1924) of Clifton Court, Rugby and The Albany, London. Mulliner was owner of the coachbuilders Mulliner Park Ward, creators of some of the greatest Rolls Royce cars. In his later years, he became an investor in Lenygon & Co. and, like his contemporary William Lever, 1st Viscount Leverhulme (d.1925) strove to support the case of British Art. Both collectors lent English eighteenth century furniture and decorative arts to The Burlington Fine Arts Club's Exhibition held in 1920. Three years later, Mulliner introduced the catalogue to his collection, The Decorative Arts in England 1660-1780, with the statement that it aimed 'to embrace for the first time in one work representative examples of the various decorative arts produced in England during the late 17th and the 18th Centuries.'

The Victoria & Albert Museum acquired some important examples of decorative English work from the sale of Mulliner's collection held by Messrs. Christie's in May 1922. The remainder of his collection was sold Christie's, London, 10 July 1924, although the wine cooler does not appear in that sale.

A closely related drawing by Matthew Boulton for design no. 863. (Pattern Book I, p. 170).

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A GEORGE III ORMOLU-MOUNTED BLUE JOHN TWO-LIGHT VASE CANDELABRUM

BY MATTHEW BOULTON, CIRCA 1770

With paired scrolling arms supporting nozzles and foliate drip-pans, the ovoid body with loop handles terminating in ram masks joined by laurel swags, on turned socle, previously pierced for electricity 12 in. (30.5 cm.) high, 8º in. (21 cm.) wide $8,000-12,000 PROVENANCE:

With Frank Partridge, London.

Acquired by Irene Roosevelt Aitken from the above in 2015.

The model appears as a candle-vase in Boulton’s Pattern Book I (N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 305, pl. 278), while this precise variation of candle-branches is illustrated separately as sketch no. 125 in the same volume (ibid., p. 319, pl. 312). A model of this type, which brings together several designs from Boulton’s manufactory, illustrates the highly adaptable nature of his production. He was able to offer clients bespoke combinations tailored to their preferences. This flexibility explains why surviving examples often incorporate elements from multiple patterns; the final configuration likely depended on whether the client preferred a white marble or blue john vase body, the inclusion or omission of candle-branches, a lid conceived to serve as both candleholder and perfume burner, and so forth.

Matthew Boulton’s design no.

125 for candle-arms (Pattern Book II, p. 11).

Matthew Boulton’s design for a candle-vase. (Pattern Book I, p. 171).

■478 LEARN MORE

477

A PAIR OF GEORGE III ORMOLUMOUNTED BLUE JOHN CANDLEVASES

BY MATTHEW BOULTON, CIRCA 1770

The lid with flaming finial reversing to a candle nozzle, the ovoid body with loop handles terminating in leafy sprays, on stepped ormolu plinth 6Ω in. (16.5 cm.) high (2) $25,000-40,000 PROVENANCE:

With Ronald Phillips, Ltd., London.

Acquired by Irene Roosevelt Aitken from the above at the International Antiques Show, New York, on 14 November 2013.

EXHIBITED:

New York, The International Antiques Show, November 2013 (with Ronald Phillips).

LITERATURE:

T.D. Ford, Derbyshire Bluejohn, Derbyshire, 2005, p. 35.

478

Nicholas Goodison published the revised edition of his definitive study on Matthew Boulton in 2002.

At that time, he had not identified any surviving examples corresponding to Boulton’s drawing no.

516 (see N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 319, fig. 311). This pair, therefore, which matches pattern no. 516 precisely, constitutes an exciting and significant addition to Boulton’s known oeuvre.

Matthew Boulton’s design no. 516 (Pattern Book 5, p. 33).

Detail of Boulton’s ‘Cleopatra’ medallion, which is actually a profile of Ceres.

■479 LEARN MORE

A PAIR OF GEORGE III ORMOLU-MOUNTED BLUE JOHN AND GLASS ‘CLEOPATRA’ CANDLE-VASES

BY MATTHEW BOULTON, CIRCA 1770

Each with removable domed lid above a garland-embellished body, the pedestal sides with black and white glass simulated marble panels, each centered by an oval portrait medallion of Ceres on a stepped plinth with ball feet 10Ω in. (25.7 cm.) high (2) $20,000-30,000 PROVENANCE:

With Frank Partridge, London.

Acquired by Irene Roosevelt Aitken from the above in 2015.

Matthew Boulton's candle-vases of this pattern were among the first to be made at Soho. Early in 1770, Boulton thought that Augusta, the Dowager Princess of Wales, might be persuaded to buy a pair of 'Cleopatra' vases, although his description ends there. In the same year, the Marquess of Rockingham bought a pair, though there is no indication of precisely what form these vases took. This vase pattern was invented for 'altar-pedestals' bearing 'Cleopatra' medallions, and feature in Boulton's Pattern Book I (N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 330, pl. 330). The depiction derives from a James Tassie gem (ibid., p. 329, pl. 74:3).The medallions, however, actually depict Ceres, the goddess of plenty. It appears that at the time, Ceres was mistaken for Cleopatra.

Like many of Boulton's models, variations of this type exist.

Many examples lack the Ceres/Cleopatra medallions altogether.

Other known examples also feature glass bases simulating different stones such as lapis, agate, and aventurine (ibid., pl.

329), rather than a simulated marble as they do here. For a pair with simulated malachite glass bases, though lacking medallions, see Christie's, 17 May 2017, lot 63.

Boulton’s design for the ‘Cleopatra’ vase.

(Pattern Book I, p. 171).

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AN EARLY GEORGE III MAHOGANY SECRETAIRE CABINET-ON-STAND ATTRIBUTED TO WILLIAM VILE, CIRCA 1760

With fret-carved galleried superstructure pierced at the front with Vitruvian scrolls, above a secretaire section with hinged fall-front enclosing a fitted interior and baizelined writing surface, the stand with cluster-column legs 63 in. (160 cm.) high, 25º in. (64.1 cm.) wide, 12Ω in. (31.8 cm.) deep $50,000-80,000 PROVENANCE:

The Collection of Mrs. Morton Plant (later Mrs. William Hayward, then Mrs. John Rovensky, née Mae Caldwell, 1881-1955) at her mansion on 1051 Fifth Ave. and 86th St. (photographed c. 1922 in a corridor).

Mrs. Edward F. Hutton; Sotheby's Parke-Bernet, New York, 7-10 June, 1973, lot 973.

Private Collection, Hertfordshire, England.

With Ronald Phillips, London.

Acquired by Irene Roosevelt Aitken from the above at Masterpiece, London, in 2017.

EXHIBITED:

London, Masterpiece, 2017 (with Ronald Phillips).

LITERATURE:

A. Vernay, Decorations and English Interiors, New York, 1927, fig. 39.

Ronald Phillips, exh. cat., Masterpiece, 2017, item 38.

COMPARATIVE LITERATURE:

H. Cescinsky, English Furniture from Gothic to Sheraton, 1929, p. 328 (and second edition, p. 307).

O. Brackett, English Furniture Illustrated, revised edition, 1950, London, p. 203, pl.

CLXXV. P. Macquoid and R. Edwards, eds., The Dictionary of English Furniture, revised edition, 1954, vol. I, pp. 151-2, figs. 58-60.

P. Brown, The Noel Terry Collection of Furniture & Clocks, York, 1987, pp. 96-97, fig. 96.

This secrétaire cabinet-on-stand belongs to a group of at least four examples traditionally attributed on stylistic grounds to the Royal cabinet-maker William Vile (c. 1700/05-1767). Three of these are discussed by Geoffrey Beard in ‘Vile and Cobb, eighteenth-century London furniture makers’, Magazine Antiques, June 1990, vol. 137, p. 1405, f/n 31. Two secrétaire cabinets were supplied to Robert D’Arcy, 4th Earl of Holderness (1718-1778), Secretary of State to George III, for Hornby Castle, Yorkshire. They are known as the D’Arcy Cabinet and the Hoffman Cabinet. The D’Arcy Cabinet was bequeathed by Lady Holderness to the Hon. Augusta Leigh, Lord Byron’s half-sister, and is cited in a codicil to her Will dated 23 July 1801: ‘I leave to my said granddaughter Augusta Mary Byron my little cabinet with the china within and at top; it stands in my bed

The cabinet photographed c. 1922 in the 1051 Fifth Ave mansion of Mrs. Hayward (formerly Mrs. Morton Plant, and later Mrs. John Rovensky).

chamber next to the chimney’. The cabinet was later sold by the collector Arthur D. Leidesdorf, Sotheby’s, London, 27 June 1974, lot 23 (£29,000), and again as the Property of a Gentleman, Sotheby’s, London, 18 November 1983, lot 60 (£203,500). The Hoffman Cabinet was sold by Mrs. Madeline S. Hoffman, Parke-Bernet Galleries, New York, 12 April 1969, lot 120 ($25,000). A third cabinet in this group, formerly in the collection of Lady Dudley Ward at Dudley House, London, and later with Mallett & Son in 1964, is now in the Noel Terry Collection at Fairfax House, Yorkshire (see P. Brown, The Noel Terry Collection of Furniture & Clocks, York, 1987, pp. 96-97, fig. 96). A fourth cabinet, probably once with Ronald A. Lee and later with Partridge, was offered at Christie’s, New York, 21 October 1999, lot 139, and subsequently at Sotheby’s, New York, 19 April 2021, lot 137. A fifth cabinet-on-stand, formerly in the collection of James Thursby-Pelham, is illustrated in O. Brackett, English Furniture Illustrated, revised ed., London, 1950, p. 203, pl. CLXXV. MRS. MAE CALDWELL MANWARING PLANT HAYWARD ROVENSKY Mrs. Plant (née Mae Caldwell, formerly Manwaring, and later Mrs. William Hayward and Mrs. John Rovensky) and her second husband, the American financier Morton F. Plant (1851-1918), were already preparing to move uptown to their new residence at Fifth Avenue and 86th Street when she became captivated by a pair of exceptional natural pearl necklaces at Cartier. Her admiration inspired the now-famous exchange in which Pierre Cartier proposed trading the pearls for the Plants’ former Fifth Avenue mansion at 52nd Street.

The final agreement transferred the house, valued at $950,000, in return for the two necklaces, valued at $1.5 million, plus $100. The transaction secured for Cartier the distinguished New York headquarters that remains the firm’s flagship today.

The present cabinet-on-stand was photographed in a corridor of Mrs. Plant’s newly completed mansion at 1051 Fifth Avenue and 86th Street, finished around 1916. She was among the earliest and most important clients of the English-born antiques dealer and decorator Arthur S. Vernay (1877-1960), who supplied much of the furniture and art for her interiors. These rooms were later documented in his 1927 publication Decorations and English Interiors.

After Morton Plant’s death in 1918, Mae, known as “Maisie,” married Colonel William Hayward (1877-1944). Together they acquired Clarendon Court, the former Bellevue Avenue cottage of E. C. Knight in Newport, and in 1930 they opened Casa Louwana in Palm Beach, Florida. Following Hayward’s death in 1944, Maisie married John Edward Rovensky (1880-1970) in 1954 at her Fifth Avenue mansion. She died in Newport two years later, in July 1956. The magnificent furniture, decorative arts, paintings, and jewelry from her Fifth Avenue residence, along with selected pieces from Clarendon Court, were sold in a landmark five-part auction, The Art Collection of the Late Mrs. John E. Rovensky, Parke-Bernet Galleries, 15-19 January 1957.

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A PAIR OF EARLY GEORGE III MAHOGANY OPEN ARMCHAIRS ATTRIBUTED TO WILLIAM VILE, CIRCA 1760

Each with a rectangular padded back, arms and seat covered in chinoiserie fabric, the down-swept arm-supports garlanded with flowers and foliage and with trellis panels, above foliate and palmette-carved rails on square chamfered legs garlanded with flowers and with similar trellis panels, headed by pierced C-scroll angle-brackets on pierced guttae feet with later sunken casters, each chair marked '91' or '94' respectively in black ink to the inside of the front seat rail, the chair marked '94' also inscribed in a cursive hand, 'Best Drawing Room' in pencil; minor variations to carving 40 in. (101.6 cm.) high, 28º in. (71.8 cm.) wide, 30Ω in. (77.5 cm.) deep (2) $200,000-400,000 PROVENANCE:

Commissioned by Anthony Ashley-Cooper, 4th Earl of Shaftesbury (17111771), for St. Giles's House, Wimborne, Dorset.

By descent at St. Giles's House, to Anthony Ashley-Cooper, 10th Earl of Shaftesbury (1938-2004), by whom sold; Christie's, London, 26 June 1980, lot 91 (one of the pair) and lot 94 (the second of the pair) (both lots sold to Partridge, in partnership with Mallett).

Private American Collection.

With Mallett, London.

Acquired by Irene Roosevelt Aitken from the above.

EXHIBITED:

Two armchairs from the same suite exhibited in London, English Taste in the Eighteenth Century, Royal Academy of Arts, 1955-56, no. 194.

LITERATURE:

'St Giles's House, Dorsetshire', Country Life, 13 and 20 March 1915, pp. 340, 373 - 374, illustrated.

P. Macquoid and R. Edwards, The Dictionary of English Furniture, 1924-27, vol. III, p. 102, fig. 50.

O. Brackett, Thomas Chippendale, 1930, pl.XXI. M. Jourdain, 'Furniture at St. Giles, Dorset', Country Life, 23 June 1934, figs. 1-2.

C. Hussey, 'St Giles's House, Dorset - III', Country Life, 24 September 1943, p. 553, figs. 3-4.

P. Macquoid and R. Edwards, The Dictionary of English Furniture, London, rev. ed., 1954, vol. III, p. 94, fig. 54.

R. C. Lines, 'My House at St Giles's', The Connoisseur, vol. CXLIV, August 1959, pl. 12.

'St Giles's House', Antique Collector, August 1962, pl. 145.

R. Edwards, The Shorter Dictionary of English Furniture, London 1964, p.

455, fig. 43.

A. Coleridge, Chippendale Furniture, 1968, p. 194, pl. 202.

W. Reider, 'A Golden Age of English Furniture', Apollo, February 1980, p.

36, figs. 5-6.

C. Gilbert, 'The St Giles's House Furniture sale', Christie's Review of the Season 1980, pp. 214-218.

G. Beard and J. Goodison, English Furniture 1500-1840, Oxford, 1987, p.

110.

St. Giles’s House, Dorset.

Part of the suite photographed in the Drawing Room at St. Giles’s House, c. 1915. (©Country Life/ Future Publishing Ltd.)

THE EARLS OF SHAFTESBURY AND ST. GILES'S HOUSE Anthony Ashley-Cooper, 4th Earl of Shaftesbury (d.1771) inherited St. Giles's House Dorset, as it was historically known, in 1713. It was originally built in 1651 by the 1st Earl of Shaftesbury (1621-1683) who inherited extensive estates and other holdings which made him one of the wealthiest men in England. Under Henry Flitcroft (d.1767) and his successor, Stephen Wright (d.1780), the original Jacobean residence underwent a long-term refurbishment that reflected the aesthetic transition from the Roman villa inspired grandeur to the incorporation of the ‘Modern’ taste which infused St. Giles’s with novelty’ and ‘variety’ as lauded by the artist, William Hogarth’s Analysis of Beauty (1753). This natural evolution under a sophisticated and enlightened patron resulted in the creation of into one of England’s grandest mid-Georgian interiors.

THE ORNAMENT This form of easy chair was called a 'French Chair' in Chippendale's Director, and inspiration for the stylized motifs derive from various plates in the publication, including elements such as the Doric guttaed plinths seen on 'Gothick' and 'Chinese' chair-patterns, and the flower-entwined pilasters seen on a china cabinet (pls. XXI, XXVII, and CVIII). Through the rich combination of these details, the St. Giles's Suite served to introduce the ornament of Arcadia, the Poet's paradise, to the stately Drawing Room. Their richly flowered frames record the triumph of Venus and display her festive scallop-shell badge.

Symbolizing 'Peace and Plenty', there are swagged garlands of flowers and fruit, emblematic of Ceres, the kindly harvest deity of Virgil's Georgics, entwining the arms and legs. Such iconography would have been immediately recognized and interpreted by the 18th century viewer, for whom it would have held inherent significance.

THE ST. GILES'S SUITE These extraordinary armchairs, with exuberantly carved frames of virtuosic quality, formed part of one the most celebrated and iconic suites of seatfurniture created in 18th century England, which was commissioned by the 4th Earl of Shaftesbury (1711-1771) and is now known as the St. Giles's Suite. They are masterpieces of the sculptor-carver's art and when R. W. Symonds, one of the legends of English furniture scholarship, was discussing them, he remarked that ‘…no expense was spared in making these chairs the best of their kind'.

Originally comprising four settees and twenty-five armchairs (possibly more), this grand suite was intended for use in the Drawing Room, which, along with the other principal apartments, had been renovated in the 1740s by the 4th Earl in the fashionable Palladian taste. The suite’s combination of both Roman and French elements is a clear reflection of this, while it also incorporates the latest trend for rococo, or what Thomas Chippendale described as the 'Modern' style in his 1754 Director. The chairs, which would have been placed around the room's perimeter, complimented the architectural decoration and corresponded with the other furnishings, such as five mirrored sconces, whose frames displayed the head of Ceres, festooned with fruit and flowers (sold by the Earl of Shaftesbury, Christie's, London, 26 June 1980, lots 53-55).

THE COMMISSION The commission of the suite may have been intended to celebrate the Earl’s second marriage in 1759 to Mary Bouverie (1730-1804), daughter of Jacob, 1st Viscount Folkestone (d. 1751) or his appointment the following year as George III's Lord Lieutenant of Dorset. That appointment was also commemorated by a portrait commissioned from Sir Joshua Reynolds in 1760, the frame for which was enriched with flowers, trellises, and shells, which echo the decoration of these chairs (R. W. Symonds, St. Giles's House, Guidebook, 1956, p. 5).

THE ATTRIBUTION TO WILLIAM VILE An extensive search of the Shaftesbury family papers has frustratingly revealed very little in the way of direct payments to cabinet-makers and thus an attribution of this extraordinary suite remains something of a mystery. In the section titled ‘Extraordinary Disbursements’ of the Household Account Book, the cabinet-maker William Hallett (d.1781) was paid £167 in February 1745 for ‘carved chairs’, however, this date is too early to correspond to these chairs which date stylistically to the mid-1750s. Interestingly, Thomas Chippendale was even credited with the manufacture of the St. Giles's suite in a memorandum drawn up by the 7th Earl of Shaftesbury (d.1885) in the middle of the 19th Century. He described them as 'very valuable and fine, being by Chippendale', although subsequent research has proved this to be unfounded.

The St. Giles's Suite is now generally attributed to the royal cabinet-maker William Vile (d.1767) who worked with Hallett earlier in his career before he was appointed as cabinet-maker to George III. On a stylistic basis, guttaed feet similar to those seen in the present lot were adopted by him for stools which he and his partner John Cobb supplied for the Vyne, Hampshire and invoiced in March 1753. The attribution is further supported by the superb carving of the suite, which is filigreed in the intricate manner adopted by architectural model makers. Visually it corresponds with the characteristics of furnishings supplied

by Vile and Cobb for the royal residences of George III and Queen Charlotte, including Kensington Palace, St. James's Palace, and the Queen's House, now Buckingham Palace. It is conceivable that Hallett, a former colleague and close friend of Vile, introduced Vile to Lord Shaftesbury since he had worked for him on earlier commissions.

Unidentified artist, Portrait of Qianlong Emperor as a Young Man, ink and color on hanging silk scroll, 19th Century. In the collection of the Metropolitan Museum of Art, New York, Rogers Fund, 1942.

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AN IMPERIAL GOLD AND ENAMEL CEREMONIAL KNIFE AND SHEATH CHINA, QIANLONG PERIOD (1736-1795) OR LONDON, CIRCA 1770

Of oval section, the handle decorated with basse-taille blue enamel flower sprays within white ribbon borders and with borders of rose-cut diamonds, the blade damascened with Masonic eye of providence, the sheath conformingly decorated and with diamond and green glass mount for suspension ring, apparently unmarked 12 in. (30.5 cm.) long, overall $20,000-30,000 PROVENANCE:

By repute, acquired by Dr. Pierre Loup (1876–1961), antique dealer based in Geneva and Tianjin in the 1920s-30s from a Russian émigré in Canton (now Guangzhou), China, sold as, The Loup Collection; Christie's, London, 29 April 1969, lot 117 (part).

With A La Vieille Russie, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 15 December 1975.

This elegant knife and sheath finely chased and enameled en basse-taille in the 18th century European taste is part of a small group of knives similar in shape, size and richness used by members of the imperial court. Originally used as hunting knives by the Manchus for whom “The use of personal knives at meals was a mark of Manchu identity. When eating sacrificial pork, not only men but also women were expected to cut up their own meat. Knives with other eating utensils formed part of the dowries of princesses and even maidservants” (C. Ho and B. Bronson, Splendors of China’s Forbidden City: The Glorious Reign of Emperor Qianlong, Chicago, 2004, p. 201, No 248).

Traditionally these knives would have been worn suspended to a belt or girdle as seen on the ‘Portrait of the Qianlong Emperor As a Young Man’ illustrated here and in the collection of the Metropolitan Museum, New York (42.141.8) and were part of the court costumes worn by the Manchu-led ruling imperial family of the Qing dynasty which governed China from 1644 to 1912.The Metropolitan Museum in New York holds in its collection a similar imperial knife and sheath (60.107a, b) inlaid on the spine of the blade with the Qianlong mark, and enameled in blue basse-taille with trailing floral foliage and animals; meanwhile Stamford Auction Rooms sold 7 February 2025, under lot 278 a hunting knife with similar sheath but a jade handle knife. The present dagger was originally sold in the Loup collection along with a matching etui, now offered as lot 483.

■483 LEARN MORE

A RARE GEORGE III GOLD AND ENAMEL TOOTHPICK CASE FOR THE CHINESE MARKET LONDON, CIRCA 1760

Baluster shaped rectangular decorated with basse-taille blue enamel flower sprays within white ribbon borders, each side with an oval vignette, one depicting a peacock the other a crane, apparently unmarked 5 in. (12.7 cm.) long 2 oz. 2 dwt. (65 gr.) gross weight $6,000-8,000 PROVENANCE:

By repute, acquired by Dr. Pierre Loup (1876–1961), antique dealer based in Geneva and Tianjin in the 1920s-30s from a Russian émigré in Canton (now Guangzhou), China, sold as, The Loup Collection; Christie's, London, 29 April 1969, lot 117 (part).

By repute, with A La Vieille Russie, New York.

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 15 December 1975.

The shape of this etui suggest it was made for the Chinese market either in London or made in Canton. Undoubtedly its preciousness suggest it was most probably made for a member of the Imperial court. Its shape and style of opening is unusual for a European etui however the shape appears to be that of a Ming or Manchu toothpick case to be suspended at the chao dai or girdle much like a chatelaine, as the robes had no pocket. Important officials or members of the imperial court would often wear on their belts variously practical or ceremonial objects including purses and knife case (see fig. 14 in Catalogue of the Exhibition of Ch’ing Dynasty Costume Accessories, Taipei, 1986).

The motif of the peacock seems to further confirm that this etui was intended for an important figure at the Chinese court. The peacock is indeed a meaningful Chinese symbol associated with beauty, power, good fortune and rank so that peacock feathers were used to create ceremonial items for the Imperial court. However the blue basse-taille enamel is in the style of that made in England circa 1760. The enamel is in the manner of James Morrisset, a Huguenot by descent and one of London’s most celebrated makers of enameled gold dress-swords, boxes and objects of vertu. Indeed, the floral ornaments resembles those found not only on a chatelaine in the Victoria & Albert Museum, London (M.261B-1975), but also on a box illustrated in K. Snowman, Eighteenth Century Gold Boxes of Europe, London, 1966, pl. 460 as well as another box sold at Christie’s, London, 23 April 2024, lot 125. The present etui was originally sold from the Loup collection along with a matching dagger, now offered here as lot 482.

(another view)

(alternate view)

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A GEORGE III GEM-SET AND GOLD-MOUNTED AGATE SNUFF BOX SET WITH WATCH AND AUTOMATON LONDON, CIRCA 1770, THE WATCH DIAL SIGNED JAMES COX

Rectangular with white striated grey-green agate plaques and gold cagework chased with shells, scrolls and floral swags, the foliate thumbpiece set with rubies, emeralds, and diamonds, the front with white enameled Roman chaptered watch dial flanked by a regulator and an open balance, the reverse with hinged secret compartment featuring two windows with rotating erotic scenes, both automated and static, against a painted landscape, with winding key and in a modern fitted case, signed JAS. COX, LONDON on watch dial, the flange marked twice with French owl control mark 3¿ in. (8 cm.) long $80,000-120,000 PROVENANCE:

Anonymous sale; Christie's, Geneva, 12 May 1981, lot 444.

His Excellency Mahdi Al-Tajir (b. 1931), first ambassador of the United Arab Emirates to the United Kingdom.

Anonymous sale; Christie's, New York, 19 April 2002, lot 49.

Anonymous sale; Christie's, New York, 16 April 2004, lot 26.

With S.J. Phillips Ltd., London.

Acquired by Irene Roosevelt Aitken from the above.

EXHIBITED:

London, Christie's, The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection, 1989, no. 202.

LITERATURE:

Géza von Habsburg-Lothringen, Gold Boxes from the Collection of Rosalinde and Arthur Gilbert, London, 1983, p. 52.

Charles Truman ed., The Glory of the Goldsmith: Magnificent Gold and Silver from the Al-Tajir Collection, London, 1989, no. 202, pp. 244-245.

Charles Truman, The Gilbert Collection of Gold Boxes, London, 1991, no. 105, p. 308.

(alternate view)

This box is a wonderful example of the luxurious “toys” created by James Cox, the most celebrated maker of precious elaborate mechanical objects in the 18th century. Its technical complexity and jeweled design indicate it was likely made for export to China, where the Qianlong Emperor (r. 1735–1795) and his court had a great appetite for European clocks, watches, and automata. From the 16th century, Western mechanical clocks were used as diplomatic gifts to open up trade with China—an approach begun by Jesuit Matteo Ricci and later continued on a large scale by the British East India Company. By the mid-18th century, makers such as James Cox and Timothy Williamson were creating spectacular mechanical wonders specifically for the Chinese market. Cox’s own son, John Henry Cox, established a trading firm in Canton in the 1780s to meet the booming demand.

James Cox (c.1723–1800) trained as a goldsmith and set himself up as a producer of “curious wares” in gold, silver, tortoiseshell, enamel, and precious stones. After early bankruptcy, he rebuilt his business with financial backing and, by the 1760s–70s, claimed to oversee "eight hundred to one thousand workmen” making musical clocks, automata, agate cabinets, snuffboxes, and other luxurious objects. Between 1766 and 1772 he exported an enormous £750,000 worth of goods, primarily to China, India, Russia, and the Ottoman Empire. By 1772, however, Cox faced serious financial trouble due to overproduction and an East India Company embargo on shipments to China. To raise money, he auctioned stock at Christie’s and created a public exhibition known as Cox’s Museum, showcasing his extravagant mechanical masterpieces and attracting huge crowds. He attempted to dispose of the collection through a lottery, but poor ticket sales and the collapse of consistent Chinese trade led to another bankruptcy in 1778. Additional sales followed, including the final dispersal of remaining Canton stock in 1792. Despite these setbacks, Cox and his sons resumed limited business, exporting watches, mostly Swiss-made, to China.

Cox worked at Shoe Lane until 1795 and died in 1800.

This automaton box is similar to one in the Gilbert Collection, Victoria & Albert Museum, London, (LOAN:GILBERT.384-2008) illustrated in Charles Truman, The Gilbert Collection of Gold Boxes, 1991, no. 105 pp. 307-08. Both boxes feature a watch, flanked by regulator and open balance, and the reverse with a painted landscape with rotating panels, however the present lot features a dial signed by James Cox, while the box in the Gilbert Collection is unsigned and unmarked.

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A GEORGE III GOLD-MOUNTED AGATE NECESSAIRE WITH GOLD AND GILT-METAL FITTINGS LONDON, CIRCA 1760, IN THE MANNER OF JAMES COX

Rectangular set with panels of banded grey-blue agate in gold mounts cast with scrolls, rocaille, flowers and putti, on four shell feet, the hinged cover with scrolled handle and push-button thumbpiece, opening to reveal a mirror, central compartment with agate cover lined in blue velvet, two blue glass bottles painted with gilt trellis and flowerheads and with fluted gold covers, and a removable gilt-metal box with sliding agate cover and lower secret compartment, both lined in blue velvet and containing a steel folding knife with gold handle cast with scrolls and flower heads, apparently unmarked 3¬ in. (9.2 cm.) long $10,000-15,000 PROVENANCE:

With S.J. Phillips Ltd., London.

Acquired by Irene Roosevelt Aitken from the above, 16 October 2001.

(alternate view)

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A PAIR OF GEORGE III ORMOLU AND BLUE JOHN TWOLIGHT VASE CANDELABRA

BY MATTHEW BOULTON, CIRCA 1770-71

Each with removable scroll candle arms, the central fruited lid over an ovoid body mounted with lion head tablets over a Greek-key band hung with floral swags, the base with multiple lion feet on a guilloche-rimmed plinth inset with blue john panels; one drip-pan replaced 18 in. (45.7 cm.) high, 13Ω in. (34.3 cm.) wide (2) $200,000-300,000 PROVENANCE:

[Possibly] Messrs. Boulton and Fothergill; sold, James Christie, Pall Mall, London, 11-13 April 1771 (six lots thought to be of this model).

With H. Blairman and Sons, London in the 1960s.

[By repute] sold to Matthew White Ridley, 4th Viscount Ridley (d. 2012); The Property of a Nobleman [thought to be his son, 5th Viscount Ridley]; Sotheby's, London, 5 June 2007, lot 147.

Acquired by Irene Roosevelt Aitken from the above, through Mallett, London.

EXHIBITED:

London, Grosvenor House Antiques Fair, 1961 (with H. Blairman and Sons, Ltd).

New York, Special Exhibition on English Furniture Collections, 2013 (with Mallett).

COMPARATIVE LITERATURE:

N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 288, figs. 244-5 (for a further example of the same model in a private collection).

THE DESIGN The design of the present candle-vases show a much stronger French influence in its adherence to the principals of the prevailing Parisian goût grec than is generally found amongst Boulton's oeuvre. This is due in no small part to the fact that three of the key details are copied directly from the work of the Parisian bronzier Pierre Gouthière (1732-1813) who was a major exponent of the style. The block-mounted lions' masks, the cluster of lion's paws radiating from the socle and the ribbon-bound laurel border to the base all appear to be copied directly from the Parisian's work; furthermore on variants of this design where an additional plinth is present even the flower-filled entrelac border appears to be taken from him. Gouthière, who produced work for Marie Antoinette and the French Court, produced and signed several candlesticks displaying these features which survive today. It is likely that Boulton encountered Gouthière's work, and possibly even acquired a candlestick of this type, during his 1765 visit to Paris.

Among the earliest surviving examples of silver produced at the Soho manufactory are a group of six candlesticks (dated 1768-9) of near identical design to Gouthière's; Boulton later also produced the design in ormolu. Two ormolu candelabra of this type, originally supplied as part of a larger group to Lord Sefton, survive in the collections of the Walker Art Gallery in Liverpool.

Interestingly, if coincidentally, while it would appear that Boulton was the first, he apparently was not the only, British smith to copy the designs of Gouthière as a group of four silver candelabra, with bases of this design, by the King's goldsmith Thomas Heming (dated 1774/75), remain in the collections at Harewood House.

'BINGLEY'S VASE' Goodison suggests that this vase is probably the model which is often referred to in Boulton's papers as 'Bingley's vase', thought to have been named after the manager of the plated department, William Bingley. There were almost certainly vases of this type in Boulton's speculative sale at Christie's in 1771. A pair believed to be of this design was delivered to Sir Gregory Turner also in 1771, perhaps after he had seen them exhibited at Christie's, and others sold to Sir John Griffin (1771) and Mr. Thynne (1772), were they cost £15 15s 0d each. Also in 1772, a pair of 'lion faced' vases were loaned to Robert Child the banker while he waited upon the delivery of a pair of wing-figured vases.

At present, examples of the 'Bingley' design with some variation to the arms or plinth design include: - A pair in the National Trust collection at Shugborough Estate, Staffordshire (NT 1270507.1 and .2). This pair has no candle-arms, and the ormolu plinths are inset with verre eglomise panels rather than blue john.

- A pair in the Metropolitan Museum of Art, New York (Nos. 55.148.1a-h and 55.148.2a-h) (also see: N. Goodison, Ormolu: The Work of Matthew Boulton, 1974, fig. 102). According to the Met, this pair belonged to Lady Bateman (d.

1919) of Oakley Hall, Eye, Suffolk; sold, Christie's, London, 10 July 1919, lot 63 (to E. Simmons); and was subsequently in the collection of Irwin Untermyer (d.

1973) until gifted to the museum in 1955.

- A pair from Harewood House, Yorkshire (with an un-looped pattern of arm and ebony plinths) which were probably inherited or acquired by H.R.H. The Princess Mary, Princess Royal, Countess of Harewood (d. 1965). These were later sold, Harewood: Collecting in the Royal Tradition; Christie's, London, 5 December 2012, lot 551 (£145,250).

- A pair of vases in the Royal Collection (RCIN 83) (also see: N. Goodison, Matthew Boulton: Ormolu, 2002, p. 290, fig. 246). This pair has no candle-arms, and the provenance states it was acquired by Queen Mary (d. 1953).

- A pair of vases sold from the collection of H.R.H. The Prince George, Duke of Kent; Christie, Manson & Wood, London, 12-14 March 1947, lot 311.

- A further pair was exhibited by H. Blairman & Sons, Ltd. at the Grosvenor House Antiques Fair, London, in 1961.

- Another pair, sold alongside the present pair by the same owner in the Sotheby's 5 June 2007 sale, lot 146 (£276,000 = $552,000) was bought by Ronald Phillips, London.

This pair of candelabra, and its companion pair in the 2007 sale, was reputed to have come from the collection of Matthew White Ridley, 4th Viscount Ridley (d. 2012) Lord Ridley served in various capacities for the Royal Family, most notably as Lord Steward of the Household from 1998-2001. His mother was the daughter of the architect Sir Edwin Lutyens.

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A PAIR OF VIENNA PORCELAIN SQUARE PLAQUES OF STILL-LIVES DATED 1808, BOTH SIGNED JOS.(EPH) NIGG, ONE ALSO DATED 1808

Each finely painted with a bouquet of flowers, including a tulip, a lily, forget-me-nots, roses, carnations, an iris, a camellia and other flowers, all in a glass vase on a ledge 8º in. (21 cm.), square, excluding the giltwood frames (2) $15,000-25,000 PROVENANCE:

Sir Herbert Jermingham, Longridge Towers, Berwick Upon Tweed.

Collection of Mrs. John Rovensky (formerly Mrs. Morton F. Plant); Parke-Bernet Galleries, New York, 17 January 1957, part IV, lot 477.

Acquired by Annie Laurie Crawford, later Aitken (19001984) from the above.

Joseph Nigg (1782-1863) studied under Johann Drechsler at the Academy in Vienna, before becoming arguably the most accomplished flower painter ever to be employed at the Vienna porcelain manufactory. Active at the factory between 1799 and 1843, he became the head flower painter in 1816 and a tutor of flower painting from 1835. Dating to 1808, these plaques are from the earlier part of his illustrious painting career.

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A GEORGE III SATINWOOD, MAHOGANY, TULIPWOOD-BANDED AND MARQUETRY PEMBROKE TABLE CIRCA 1780

The oval top with radiating medallions above a drawer to one end on square tapering legs with trailing husks 28º in. (71.8 cm.) high, 20 in. (50.8 cm.) wide, 30 in. (76.2 cm.) deep (closed) $8,000-12,000 PROVENANCE:

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With Apter-Fredericks, London.

A New York Private Collection; Christie's, New York, 18 October 2017, lot 600.

Acquired by Irene Roosevelt Aitken from the above.

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SIR THOMAS LAWRENCE, P.R.A. (BRISTOL 1769-1830 LONDON)

Portrait of Lord Thomas Pelham Clinton, half-length signed with initials and dated 'TL./ June 1790' (lower right) and with inscription 'Lord T Pelham Clinton/ B T Lawrence' (on the backboard) and with a further inscription 'Lord Thomas Pelham Clinton/ (2nd Son of Thomas 3rd Duke of Newcastle & Anna Maria his wife./ Born at Waltons 24 February 1786/ Lieutenant in the 1st Regiment of Life Guards/ Died unmarried at Gibraltar/ 8 October 1804.-/ By Sir Thomas Lawrence' (on a label attached to the backboard) pencil, black and red chalk, on wove paper 10¿ x 8¿ in. (25.2 x 20.5 cm) Executed in 1790 $15,000-25,000 PROVENANCE:

Anonymous sale; Bonham's, London, 22 April 2009, lot 74. with Andrew Wyld, W.S. Fine Art, Ltd., London.

Acquired by Irene Roosevelt Aitken from the above, February 2010.

LITERATURE:

New York Times, 29 January 2010, illus. p. C-23.

The present striking drawing of a young boy was executed in 1790, when Lawrence was only 21. The sitter, Thomas Pelham Clinton, was just four years old, yet he stares with such intensity and concentration out of the drawing at the viewer. Perhaps he had been instructed to sit still while his likeness was drawn? Whatever the reason for his pose, Lawrence was clearly taken with his young sitter, capturing his charm and innocence. Lawrence has used black and red chalksin the present work, which are particularly suited for depicting the child's mass of curly hair. A virtuoso draftsman, it is around this period that Lawrence executed some of his most successful and beautiful drawings, such as Mary Hamilton (British Museum, London) and Mrs Papendiek and her son Frederick (Metropolitan Museum, New York) and it was in 1790 that he exhibited his critically acclaimed full-length portraits of Queen Charlotte and Elizabeth Farren at the Royal Academy.

Thomas Pelham Clinton (1786-1804) was the second son of Thomas, 3rd Duke of Newcastle and 10th Earl of Lincoln (1752-1795) and Anna Maria Stanhope (1760-1834), daughter of William Stanhope, 2nd Earl Harrington. As the inscription on the reverse tells us, he was appointed Lieutenant in the 1st Regiment of Life Guards, probably sometime in 1802 and died, unmarried, in Gibraltar in 1804, aged only eighteen. His elder brother Henry, who inherited the dukedom, and his wife Georgiana Elizabeth, were painted by Lawrence in 1807 (K. Garlick, Sir Thomas Lawrence, A Complete Catalogue of the Oil Paintings, 1989, p. 245, nos. 601 and 602) and Georgiana Elizabeth's father, Edward Miller Mundy (1750-1822) was painted by Lawrence in 1792.

Lawrence has captured not only the likeness, but something of the character of the little boy, which makes the present work such an arresting drawing.

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HUGH DOUGLAS HAMILTON, R.H.A. (DUBLIN 1736-1808)

Portrait of Queen Charlotte, bust-length, facing left signed and dated 'H.D. Hamilton Fec.t 1769' and inscribed 'Her most sacred Majesty Charlotte Queen of Great Britain, June 1769' (verso) pencil and pastel on paper, oval 11¿ x 9 in. (28 x 22.8 cm) $6,000-10,000 PROVENANCE:

Anonymouse sale; J. Halle, Munich, 15-18 June 1909, lot 527.

The Royal House of Hanover; Sotheby's, Schloss Marienburg, Hanover, Germany, 8 October 2005, lot 1743, where acquired by with Agnew's, London.

Acquired by Irene Roosevelt Aitken from the above, January 2007.

LITERATURE:

J. Ingamells, National Portrait Gallery, Mid-Georgian Portraits 1760-1790, London, 2004, p. 104.

N. Jeffares, Dictionary of pastellists before 1800, online edition, no. J.375.1153.

Hamilton, who trained in the Dublin Schools under the tutelage of Robert West, was one of the leading exponents of the delicate medium of pastel. The relative speed with which a work could be completed, together with the more portable scale of the finished works increased the popularity of the medium. These attributes also allowed multiple versions of portraits of highly regarded sitters to be produced with ease. Hamilton's sensitive and careful use of the medium meant that he was greatly in demand after his move to London from Dublin in 1764. The present pastel is one of four portraits of Queen Charlotte by Hamilton

and along with a version in the Kupferstichkabinett, Berlin is the earliest, dated 1769. A third version is dated 1770 and a version in the Royal Collection (A.P. Oppé, Drawings in the Royal Collection, 1950, no. 288) is dated 1771.

Queen Charlotte herself in a letter of 1770 to Lord Harcourt refers to the popularity of Hamilton and the delay in executing the commission to produce another version of her portrait. In it she refers to one of the versions dated 1769 `My Lord Harcourt, -You must by this time have formed a very bad opinion of my Promises, as well as of the performance of Hamilton the Painter. The blame cannot fall upon me, as my Orders were given even before your Departure; but I believe the great encouragement he has met with, has made him rather neglectful; however, this delay is fully repaired in the Drawings, as I think it is even better than the Original one you saw in the Summer last.' (Oppé, loc. cit.).

Queen Charlotte was twenty-five when the present work was painted and had been Queen for eight years. During her reign she was painted by all the leading artists of the age, including Alan Ramsay (1713-1784), Johann Zoffany (17331810), Benjamin West (1738-1820), Sir Joshua Reynolds (1723-1792), Thomas Gainsborough (1727-1788), Sir Thomas Lawrence (1769-1830), John Downman (1750-1824) and William Beechey (1753-1859). In her early portraits she is often depicted informally in a maternal pose, sometimes holding one of her children.

In the present drawing Hamilton has painted her in the same black shawl and pearl choker, but without the elaborate bonnet in which she is seen in Zoffany's painting of the subsequent year (Royal Collection). However, after the King's first bout of insanity in 1788, portraits show her looking more care-worn and older, as can be seen in Lawrence's portrait of her, exhibited at the Royal Academy in 1790.

King George III and Queen Charlotte were keen patrons of the Arts, and it was during their reign that the Royal Academy and the Royal Society of Arts were founded. The Queen was also a talented amateur botanist in an age which boasted the explorations of Captain Cook and Sir Joseph Banks.

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THOMAS ROWLANDSON (LONDON 1756-1827)

ENGRAVED:

pencil, pen and gray ink, and watercolor on paper 9æ x 12 in. (25 x 30.5 cm)

This watercolor is a relatively unusual example in Rowlandson's oeuvre of a work that is entirely devoid of caricature; indeed it is a straightforward representation of domestic bliss. Apart from the subject matter, elements such as the lute, traditionally a symbol of harmony, the loyal dog by his master's side and the painting of Venus with the infant Cupid, representing love, on the wall behind the father, combined with the gentle palette, all emphasize the gentle and harmonious nature of the work.

Samuel Alken, and published by S.W. Fores, 28 December 1786 (and reissued 18 March 1790).

The married man or The happy family $15,000-25,000 PROVENANCE:

The Wauchope Family.

Sir David Ross, K.B.E. to 1975. with Leger Galleries, London, 1975 Mary Burkhart.

A. Burkhardt, USA, 1999.

Private collection.

Anonymous sale; Christie's, London, 21 November 2002, lot 16.

Private collection, 2008. with Lowell Libson, London.

Acquired by Irene Roosevelt Aitken from the above, 2008.

EXHIBITED:

London, Lowell Libson, Beauty and the beast: A loan exhibition of Rowlandson's works from British private collections, 2007, no. 1.

LITERATURE:

J. Grego, Rowlandson the caricaturist, London, 1880, II, p.391.

J. Hayes, Rowlandson, watercolours and drawings, London, 1972, no.56, illustrated.

D. Shawe Taylor, The Georgians: Eighteenth Century Portraiture and Society, London, 1990, p.184, fig.123.

L. Libson, Beauty and the Beast: A loan exhibition of Rowlandson's works from British private collections, 2007, cat. no.1.

From the 1720s and 1730s, a move away from formal portraits towards more relaxed, domestic groups or Conversation Pieces began to emerge. Artists such as William Hogarth (1697-1764) in the 1730s and later Thomas Gainsborough, R.A. (1727-1788) and Johann Zoffany, R.A. (1733-1810) did much to popularize this form of portraiture. The present watercolor is a rare example of Rowlandson looking at and interpreting more conventional forms of art.

As John Hayes has noted the artist 'has kept his penwork to a minimum and allowed the colour, pale but sympathetic to the mood of the subject matter, to ring out in broad, clean washes' (J. Hayes, op. cit., p.120). Indeed the artist's penwork in the present watercolor, although rapidly executed, is highly sophisticated: his rococo line is reminiscent of Gainsborough, whose work he admired.

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FRANCIS WHEATLEY, R.A. (LONDON 1747-1801 MIDDLESEX) Industry and Idleness

the first inscribed 'No. 2 and Mr. Cartwright 1 Suffolk Place' (verso); the second signed and dated 'F. Wheatley delt. 1786' (lower right) and inscribed 'No. 1' (verso) pencil, pen and gray ink and watercolor on paper 16¡ x 13º in. (41.3 x 33.7 cm) each, oval both executed in 1786 (2) $10,000-15,000 PROVENANCE:

William Ralph Cartwright of Aynhoe Park, Oxfordshire, (1771-1847) acquired in the late 1780s; and by family descent until 2008. with Lowell Libson, Ltd., London.

Acquired by Irene Roosevelt Aitken from the above, 2009.

LITERATURE:

W. Roberts, F. Wheatley, RA; His life and works with a catalogue of his engraved pictures, 1910, p. 39, pl. vi (relating to the engraving).

M. Webster, Francis Wheatley, 1970, pp. 72-73, 164, fig. 90 (relating to the engraving).

ENGRAVED:

Both engraved by Charles Knight, the first published 31 March 1787 (a coarser stipple engraving of the subject was published in France with the title La Bonne Ménagère).

The present pair of watercolors are characteristic of the works produced by Wheatley following his return from Ireland in 1783. The fashion in France for sentimental genre and pastoral subjects and fancy pictures, as practised by artists such as François Boucher (1703-1770), Jean-Baptiste Greuze (1725-1805) and Pierre-Alexandre Wille (1748-1821) travelled across the Channel and found favour in Britain. Wheatley emerged as one of the pre-eminent exponents

of this new fashion, although he adapted the style and subject matter to suit British taste, which demanded less sentimentality and a greater degree of realism.

Wheatley exhibited his first Fancy Picture, The Amorous Sportsman, at the Royal Academy in 1785. The following year he exhibited two works, Brickmakers and Girl making cabbage nets at a cottage door. The latter appears to be an oil version of one of the present watercolors, Industry, which was engraved and variously published under the titles The Industrious Cottager and Industry.

In Industry the artist depicts a young girl, intent on her work, ignoring the attentions of the youth behind her, as well as the view beyond her. In Idleness, the subject is slightly more complex: the girl appears to be listening to the words being whispered to her, her dress is slipping off her shoulders and she has lost concentration on her task. However, above her head, the bird (traditionally a symbol for female virtue) remains in its cage. It was this careful balancing between innocence and hints of a fall from grace, which found such popularity with Wheatley's audience.

There is another version of Idleness, executed the year after the present watercolor and in a paler palette, (Yale Center for British Art, New Haven). The subject was engraved in 1787 and entitled The Rustic Lover.

The inscription, in the artist's hand, on the verso of these watercolors indicates that they were acquired directly from the artist in the 1780s by the eminent collector William Ralph Cartwright (1771-1847).

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A PAIR OF EARLY LOUIS XV ORMOLU TWO-BRANCH WALLLIGHTS CIRCA 1725-1730

Each standard cast as a scrolling console with acanthus and flowers, issuing two scrolling arms terminating in gadrooned and lobed drip-pans 17 in. (43.5 cm.) high, 9Ω in. (24.5 cm.) wide (2) $8,000-12,000 PROVENANCE:

Anonymous sale; Ader-Picard-Tajan, Paris, 15 March 1983, lot 69.

Mr. and Mrs. Howard B. Keck, La Lanterne, Bel Air, California; Sotheby's, New York, 5-6 December 1991, lot 196.

Acquired by Irene Roosevelt Aitken from the above.

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A PAIR OF GERMAN GILT-METAL MOUNTED SMALL AGATE BOWLS POSSIBLY 17TH CENTURY

The circular agate bowls with gilt-metal scrolled handles surmounted by busts and on circular feet, apparently unmarked 3√ in. (9.8 cm.) long, over handles (2) $1,500-2,500 PROVENANCE:

By repute, with Blumka Gallery, New York.

By repute, acquired by Russell Barnett Aitken (19102002) from the above.

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A FRENCH ORMOLU-MOUNTED AMARANTH AND BOIS CITRONNIER BUREAU PLAT LATE 19TH/EARLY 20TH CENTURY

In the Louis XVI style, the top inset with a black tooled leather surface, the frieze with three ormolu-framed drawers opposed by dummy drawers, each end with a leather-lined slide, on tapering square legs mounted with oak festoons and terminating in foliate feet, spuriously stamped 'JME J.H.RIESENER' 30 in. (76.5 cm.) high, 65º in. (166 cm.) wide (with the slides retracted), 33º in. (84.5 cm.) deep $12,000-18,000 PROVENANCE:

Irma N. Straus, New York (1874-1970); Parke-Bernet Galleries, New York, 24 October 1970, lot 165.

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A PAIR OF LOUIS XVI ORMOLU AND PATINATED BRONZE GRIFFIN-FORM CANDLESTICKS ATTRIBUTED TO FRANCOIS REMOND, ALMOST CERTAINLY SUPPLIED BY DOMINIQUE DAGUERRE, CIRCA 1785, PROBABLY ORIGINALLY FITTED WITH CANDLE-ARMS

The bodies cast as upright seated griffins, the foliate nozzles atop their heads, on plinth bases mounted with palmettes and raised on toupie feet, lacking binets, one foot double-stamped 'JJ' 11 in. (28 cm.) high (2) $8,000-12,000 PROVENANCE:

Property of Princess Gabrielle Liechtenstein, 3 East 77th Street, New York; Parke-Bernet Galleries, New York, 1 December 1956, lot 308.

Acquired by either Annie Laurie Crawford, later Aitken (1900-1984) or Russell Barnett Aitken (1910-2002) from the above.

François Rémond (d. 1812), mâitre in 1774.

The model for these candlesticks 'au griffon' was created in 1782 by the celebrated bronzier François Rémond and was most frequently intended to incorporate candle-arms. A pair of this design was recorded in the register belonging to the marchandmercier Dominique Daguerre dated 26 January 1783, priced at 650 livres. Rémond would go onto sell a further thirteen pairs to the luxury dealer between January 1783 and December 1787. A closely related pair, once in the collection of the Hungarian aristocrat, Princess Kinsky, is today conserved in the Musée du Château de Versailles in the Cabinet Intérieur du Petit Appartement de la Reine (discussed in D. Meyer, L'Ameublement des Petits Appartements de la Reine à Versailles sous LouisPhilippe, in 'Antologia di Belli Arti', nos. 31-32, 1987, p. 38). The model may ultimately derive from the celebrated griffin candlesticks designed by the Scottish architect Sir William Chambers, examples of which include those in the collection of the Duke of Marlborough at Blenheim Palace and those sold anonymously, Christie's, London, 12 November 1998, lot 5 (£155,500).

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A PAIR OF DIRECTOIRE GREYPAINTED AND PARCEL-GILT WANUT TABOURETS

BY GEORGES JACOB, CIRCA 1795

Each close-nailed rectangular seat covered in apricot velvet, the rails carved with ribbons and joined by flowerhead corner blocks, on spirally fluted legs, each stamped 'G. IACOB' and inscribed '8155' in black ink 16Ω in. (42 cm.) high, 23Ω in. (60 cm.) wide, 17º in. (44 cm.) deep (2) $3,000-5,000

PROVENANCE:

With Dalva Brothers, New York.

Mrs. Alan L. Corey, New York and Glen Head, Long Island; Sotheby's, New York, 5-7 December 1974, lot 720.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above.

Georges Jacob (1739-1814), maître in 1765.

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A PAIR OF LOUIS XVI GILTWOOD FAUTEUILS

BY JEAN-BAPTISTE DEMAY, CIRCA 1785

Each with a tablet-shaped back flanked by pinecone finials, the frames carved with flower-filled guilloché and beading in recessed channels, the curved arm supports joined to stop-fluted columns continuing to leaf-capped stop-fluted legs, covered in green moiré silk, stamped J.B.B. DEMAY, one inscribed in red paint '53D' and applied with a paper label inscribed '#68', the other inscribed in red paint '53F' 36Ω in. (93 cm.) high (2) $12,000-18,000 PROVENANCE:

Emily, Marquise de Ganay, née Ridgway (1838-1921), Paris.

Mrs. Charles B. Wrightsman, née Jayne Larkin (1919-2019), New York; Sotheby's, New York, 14 October 1988, lot 79.

With Rosenberg & Stiebel (purchased at the above sale).

Acquired by Irene Roosevelt Aitken from the above, 20 December 2000.

LITERATURE:

F.J.B. Watson. The Wrightsman Collection I, Greenwich, 1966, pp. 68-70.

Jean-Baptiste Bernard Demay (1759-1848), maître in 1784.

First based on rue du Faubourg-Saint-Antoine before moving his workshop to rue de Cléry, Jean-Baptiste Bernard Demay (1759-1848) is chiefly remembered for his celebrated model of chaise en montgolfière. He is recorded to have worked for the most illustrious clients at the time, including Queen MarieAntoinette. For examples of his elegant Louis XVI productions now in the Metropolitan Museum of Art, New York, the Musée des Arts Décoratifs, Paris, and the Musée Carnavalet in Paris, as well as in the château de Versailles see P. Kjellberg, Le Mobilier Français du XVIIIème siècle, Paris, 1998, pp. 248249. Demay's workshop continued operations during the Revolution, when he changed his stamp to 'DEMAY RUE DE CLERY,' and remained prosperous into the Empire and the restoration of the monarchy. A further closely related pair of bergeres, possibly from the same suite and formerly in the collection of Princesse Cécile-Caroline Murat, was sold Sotheby's, Paris, 8 October 2015, lot 171.

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A LARGE PAIR OF CHINESE EXPORT PORCELAIN HEXAGONAL ‘MANDARIN PALETTE’ VASES AND TWO COVERS QIANLONG PERIOD, CIRCA 1785

Each with gilt Buddhist lion finial, each of the six sides painted with a large famille rose panel of noble families at various pursuits in terraced gardens, within gilt scroll surrounds, the neck alternating panels of songbirds and sepia landscapes, all on an iron-red, gilt and grisaille cell-pattern ground, the matched covers with trapezoidal panels of birds 21º in. (54 cm.) high (4) $6,000-8,000 PROVENANCE:

With Imperial Oriental Art, Madison Avenue.

Acquired by Irene Roosevelt Aitken from the above, 26 July 2013.

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A PAIR OF CHINESE EXPORT PORCELAIN PISTOL-HANDLED URNS AND COVERS JIAQING PERIOD (1796-1820), CIRCA 1800

Each shield shaped vase molded to both sides with a central oval panel painted with grisaille European landscape vignettes, the upright scroll handles suspending chains of bell-flowers, on a faux-bois square base 15Ω in. (39.3 cm.) and 15 in. (38 cm.) high (4) $4,000-6,000 PROVENANCE:

With Cohen & Cohen, London.

Acquired by Irene Roosevelt Aitken from the above, 14 February 2020.

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A MATCHED PAIR OF NORTH EUROPEAN ORMOLUMOUNTED CHINESE FAMILLE VERTE PORCELAIN VASES

ONE PORCELAIN VASE KANGXI PERIOD (1661-1722), THE OTHER 18TH/19TH CENTURY, THE ORMOLU MOUNTS POSSIBLY AUSTRIAN OR ENGLISH, SECOND QUARTER 19TH CENTURY Each vase of roleau form, the earlier painted with scholars and attendants in landscapes and panels enclosing poetic inscriptions, each poetic reserve followed by the Mushi Ju ('Studio of Wood and Stone') seal mark in iron-red, the later vase with bird-and-flower scenes, each rim-mount suspending pierced handles with stamped number '5270', on a square base with a fruiting laurel band 21 in. (53.5 cm.) high (2) $10,000-15,000

detail of the inscription

Museum vase standing out as an exceptional example. The vase preserves a literary gathering which took place in Jingdezhen probably in the 1690s, alternating views of famous local sites with the poetry of a visiting official and two local scholars. Zhao, who was in attendance, painted the vase in commemoration of the occasion, titling it at the underside 'A Poetry Gathering by the Changjiang, a River in Jingdezhen', adding a verse of his own composition, and signing his creation with his sobriquet and the Mushi Ju seal.

Lu remarks upon this as an unprecedented fusion of poetry with ceramics, and draws from it a picture of the advancement in status of the private potter in the late seventeenth century—a period during which, he writes, "some artists themselves became literati." For an in-depth discussion of Mushi Ju, see P. Lu, "Where Potter Met Poets, A Kangxi Vase with a Poetry Gathering in Jingdezhen", Arts of Asia, March-April 2017, pp. 98-104; and "Recent Acquisitions", The Metropolitan Museum of Art Bulletin, 78, no. 3, winter 2021, pp. 34-35.

PROVENANCE:

Prince Liechtenstein (according to the Rosenberg & Stiebel invoice).

With René Weiller, Paris.

With Rosenberg & Stiebel, New York, acquired from the above.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 22 January 1971.

These two impressive famille verte vases are united as a pair by their refined gilt-bronze mounts, but were produced by different hands, with the slightly older vase bearing the mark of the rarefied Mushi Ju workshop in Jingdezhen.

Although this workshop, whose name means ‘Studio of Wood and Stone’, has been a subject of scholarly inquiry since the 1990s, only recently has the identity of its master potter and owner, as well as its uncommonly close relationship with the broader literati arts, become known. Pengliang Lu, studying the inscriptions to a blue and white vase now in the Metropolitan Museum, New York (obj. no. 2020.73.6), determines that the Mushi Ju studio was a private enterprise owned by a local official, Zhao Wenzong, who was well-connected among artists, calligraphers and poets, and its output indeed embodies the literati spirit, in the medium of porcelain. Known works from the studio reveal a keen interest in the combined arts, with the Metropolitan

The Aitken vase is of a similar spirit to the Metropolitan Museum vase, in which the painting to each side is paired inextricably with the verse inscribed above it. The poem in a quatrefoil reserve, for example, begins 日暮堂前花蕊嬌， 手拈小筆上床描 ("At dusk before the hall the flower buds are fair / she picks up her slender brush and bends over the bed to draw"), while the scene below is painted with a beauty at her writing implements, raising her brush above a flower-painted scroll in her lap. On the opposite side, a lady in a leaf-shaped reserve sits on a balcony fanning away insects, while the poem above describes 豆蔻花間蝶翅肥，輕紈撲處損香衣 ("Among clove blossoms butterflies with heavy wings / waving a gauzy silk, she brushes her fragrant robe"). Each poetic inscription then concludes with the Mushi Ju mark in iron red.

Further works of art from the Mushi Ju workshop include two famille verte brushpots each also pairing poetic inscription with painting, one dated 1712 and formerly in the collection of Marcel Proust, sold at Sotheby’s, New York, 11 September 2019, lot 906; and another from the Jie Rui Tang Collection, sold at Sotheby’s, New York, 20 March 2018, lot 310. A third brushpot was more recently sold at Sotheby’s, New York, 22 March 2023, lot 580, and another, from the Ernest Grandidier Collection and dated 1709, is in the collection of the Musée Guimet, Paris (inv. no. G 4217).

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A GEORGE III ORMOLU-MOUNTED WHITE MARBLE ‘BACCHANALIAN' VASE PURFUME-BURNER

BY MATTHEW BOULTON, CIRCA 1770-75

With pierced lid, the body with a frieze of Bacchic figures including Mercury delivering the infant Bacchus to the care of Ino, above pierced fluting, on turned socle edged with stiff leaves and square plinth 16 in. (40.6 cm.) high, 6√ in. (17.5 cm.) diameter $70,000-100,000 PROVENANCE:

The Dukes of Württemberg at Schloss Carlsruhe, Upper Silesia (today Pokój, Poland), removed from the palace prior to its destruction in 1945, By descent to Ferdinand Eugen (1925-2020), Duke of Württemberg, Until sold from his estate; Hidden Treasures from the House of Württemberg, Neumeister, Munich, Germany, 30 March 2022, lot 1262.

With Ronald Phillips Ltd., London.

Acquired by Irene Roosevelt Aitken from the above, January 2023.

EXHIBITED:

New York, The Winter Show, January 2023 (with Ronald Phillips).

COMPARATIVE LITERATURE:

N. Goodison, Ormolu: The Work of Matthew Boulton, London, 1974, p. 145.

N. Goodison, 'Matthew Boulton's Bacchanalian Vase', The Connoisseur, July 1977, pp.

182-7.

T. Curtis, The Lyle Official Antiques Review 1990, Galashiels, 1989, ill. p. 598 (a vase of this model).

N. Goodison, Matthew Boulton: Ormolu, London, 2002, pp. 319-323, figs. 313-316.

MATTHEW BOULTON'S 'BACCHANALIAN' VASE Nicholas Goodison described this model as ‘one of the most satisfying of all Boulton’s vase designs. It is one of the few designs based on the classical urn, and it is the only vase that incorporates a complete pictorial frieze of classical figures.’ Its prototype is traditionally linked to the celebrated 'Gaeta' antique vase attributed to the Athenian sculptor Salpion, which served as the baptismal font in the Cathedral at Gaeta before its removal to Naples in 1805.

The vase was also recorded in a 1795 sketch for a garniture de cheminée by Charles Heathcote Tatham. Boulton articulated his approach in a 1772 letter to his patroness Mrs. Montagu: ‘I am satisfied in… humble copying their [the ancient Greek] style and making new combinations of old ornaments without presuming to invent new ones.’ His interpretation of the so-called ‘Bacchanalian’ vase reflects this philosophy. While drawing from the Gaeta prototype, he altered the silhouette, added a potpourri lid with pierced decoration, and reimagined the frieze by introducing a thyrsus, more statuesque figures, and two vine stems.

In reality, it is unlikely that Boulton ever saw Salpion’s vase firsthand. Goodison proposed instead that the design was inspired by a bronze reduction produced in Rome by Giacomo (d. 1785) and Giovanni (d. 1805) Zoffoli, described as a ‘vaso di Gaeta’ in Giovanni Zoffoli’s 1795 sale catalogue, although notable differences appear between the respective friezes. A more compelling clue emerges from a recently rediscovered engraving by Henry Moses (17811870), published in A Collection of Antique Vases, Altars, Paterae, Tripods, Candelabra, Sarcophagi… in 1814 (pl. 49). The engraving matches Boulton’s frieze precisely, yet Boulton’s vase predates the publication. Moses’s caption,

Possible design source for Boulton’s ‘Bacchanalian’ vase pattern.

(H. Moses, A Collection of Antique Vases, Altars, Pateræ, Tripods, Candelabra, Sarcophagi..., London, 1814, pl. 49.)

‘From casts of vases in my collection,’ suggests that an exact classical model once existed and may yet be identified. This discovery opens the possibility of a direct ancient source for Boulton’s design.

Of the recorded 'Bacchanalian' vases, Boulton supplied one to Hugh Smythson, 1st Duke of Northumberland (d. 1786) circa 1770-5, which remains at Syon House, Middlessex. Two more, reserved at '£14, 6s. 0d', were offered in the Christie and Ansell Sale of May 1778, the first being described as: 'an elegant vase in statuary marble and ormoulu after the antique, on which is a bas relief representing Mercury delivering the infant Bacchus in the care of Ino. This piece turns around on a swivel for the conveniency of viewing the bas-relief and is perforated and lined for essences.' Of these, one may be that recorded in the 1782 inventory following John Fothergill's death, while the other may be the 'ormolu Bacchanalian vase' sold to Lord Stormont in 1783 for '£16, 16. 0d'. This model is evidently among the rarest of all surviving pieces by Matthew Boulton.

A pair of this model was sold anonymously, Christie's, London, 3 July 1980, lot 10, and a single example sold from the collection of Edward Sarofim; Christie's, London, 16 November 1995, lot 120.

THE DUKES OF WÜRTTEMBERG This vase originates from the former palace of the Dukes of Württemberg in Carlsruhe, Upper Silesia (present-day Pokój, Poland). It has yet to be discovered how this vase came to their collections, but Matthew Boulton regularly exported orders from Soho to the continent of Europe, including a very large order for Empress Catherine of Russia delivered in 1776.

Founded in 1749 as a hunting lodge and summer residence by Duke Carl Christian Erdmann von Württemberg-Oels (1716-1792), the Carlsruhe palace burned down in 1751, was rebuilt, and was again destroyed by fire in 1798 before being reconstructed a second time. From 1763 onward, the planned residential city of Carlsruhe developed around it, featuring a park laid out first in the French Baroque style and later updated with English-style gardens. By the mid19th century, the town had evolved into a spa destination with hydrotherapy facilities, guesthouses, and restaurants.

Duke Albrecht Eugen of Württemberg (1865-1939), heir to the Kingdom of Württemberg, married Archduchess Margarete Sophie of Austria (1870-1902) in 1893. They lived primarily at his palace in Stuttgart until 1918, when his cousin King Wilhelm II (1848-1921) abdicated following the November Revolution and the abolition of the monarchy. The former king granted Albrecht and his family Altshausen Castle as their main residence, and upon Wilhelm’s death in 1921, Albrecht also inherited the Carlsruhe palace. In 1924, Albrecht and Margarete’s second son, also named Duke Albrecht Eugen of Württemberg, married Princess Nadejda of Bulgaria (1899-1958), daughter of the former Tsar Ferdinand of Bulgaria of the House of Saxe-Coburg-Koháry. Their eldest son, Ferdinand Eugen, was born in 1925.

The palace at Carlsruhe was destroyed in 1945 during the advance of the Red Army, but its movable contents had been transferred to safety beforehand. The collection remained with the Württemberg family and was eventually inherited

by Ferdinand Eugen (1925-2020), Duke of Württemberg. Following his death in 2020, this vase appeared at auction (Neumeister, Munich, 30 March 2022, lot 1262) alongside other items from his estate—objects originally saved from Schloss Carlsruhe and kept stored in crates since their removal.

Matthew Boulton’s design for the ‘Bacchanalian’ vase. (Pattern Book I, p. 171).

Mid-19th century view of Schloss Carlsruhe, residence of the Dukes of Württemberg prior to its destruction in 1945.

(A. Duncker, ‘Schloss Carlsruhe’, Die ländlichen Wohnsitze, Schlösser und Residenzen der ritterschaftlichen Grundbesitzer in der preußischen Monarchie, Vol. 4, Berlin, 1862.)

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A PAIR OF GEORGE III ORMOLU-MOUNTED SYCAMORE, SATINWOOD AND MARQUETRY SEMI-ELLIPTICAL COMMODES ATTRIBUTED TO INCE & MAYHEW, CIRCA 1775

Each with a satinwood cross-banded and foliate-inlaid top centered by the arms of Birch impaling Ryves with husk swags and ribbon-tied branches, with a boldly gadrooned edge above a frieze inlaid with half-paterae, urns and further husk swags, with a central drawer flanked by hinged drawers above three further cross-banded drawers and doors inlaid with swagged urns, each enclosing two shelves, on square legs with simulated fluting and square tapering acanthus sabots with ball feet, inscribed in chalk 'B/792' 34Ω in. (87.6 cm.) high, 59 in. (149.8 cm.) wide, 24Ω in. (62.2 cm.) deep (2) $400,000-600,000

PROVENANCE:

Almost certainly supplied to Robert Birch, Turvey House, Donabate, County Dublin around 1775.

With Arthur S. Vernay Inc., New York.

Supplied by Vernay to Mrs. Morton Plant, (later Mrs. William Hayward, then Mrs. John Rovensky, née Mae Caldwell, 1881-1955) for her new mansion at 1051 Fifth Avenue and 86th Street, completed in 1916 (the commodes photographed c. 1922 in the second floor gallery); Until sold, The Collection of Mrs. John E. Rovensky, Parke-Bernet Galleries, New York, 19 January 1957, lots 965 and 966 (to Mallett).

With Mallett Ltd., London.

The Collection of Claude Leigh, West Riddens, Cuckfield, West Sussex.

Anonymous Sale, Christie's, London, 25 June 1981, lot 133 (to Mallett).

With Mallett, London.

The Property of a Gentleman; 'The Exceptional Sale', Christie's, London, 5 July 2012, lot 33.

With Mallett, New York.

Acquired by Irene Roosevelt Aitken from the above in 2015.

LITERATURE:

'House of Mrs. William Hayward', The Architectural Forum, November 1922, pl. 80.

A.S. Vernay, Decoration and English Interiors, New York, 1927, pl. 36.

D. Nickerson, English Furniture of the Eighteenth Century, London, 1969, pp. 66-67, figs.

68-69.

Christie's, Review of the Season, 1981, p. 218.

Hugh Roberts, 'The Derby House Commode', The Burlington Magazine, vol. CXXVII, no. 986, May 1985, pp. 275-283, fig. 15.

Geoffrey Beard and Judith Goodison, English Furniture 1500-1840, Oxford, 1987, p.187, pl. 4.

F.L. Hinckley, Hepplewhite, Sheraton & Regency Furniture, New York, 1987, p. 209, pl.

175, no. 348.

Mallett, Catalogue, 2013, no. 33, pp. 162-4.

Mallett, Catalogue, 2014, pp. 41-4.

H. Roberts and C. Cator, Industry and Ingenuity: The Partnership of William Ince and John Mayhew, London, 2022, p.184.

This pair of George III semi-elliptical commodes is attributed to the preeminent and fashionable Golden Square cabinet-makers William Ince (d.1804) and John Mayhew (d.1811) who ranked George III, the 6th Earl of Coventry, and the Earl of Kerry among their distinguished clients. It typifies the elegant 'antique' style established by the country's leading Neoclassical architect, Robert Adam (d.1792), popularized in a drawing of January 1773 for an 'Etruscan' commode for the Duke of Bolton and published in Adam's Works in Architecture (1773-77). It became one of Mayhew and Ince's most long-lived and popular furniture models of the 1770s and 80s.The inlaid arms indicate that the commodes offered here were supplied to Robert Birch M.P. (d. 1810), of Turvey House, Donabate, Co. Dublin.

One of the commodes photographed c. 1922 in the second floor gallery of Mrs. William Hayward’s mansion at 1051 Fifth Ave and 86th St., decorated by Arthur S. Vernay.

INCE & MAYHEW From 1764, Ince & Mayhew worked with Adam on several notable commissions, culminating in their 'ability to produce very early on furniture in the most startling advanced Neoclassical taste' (Geoffrey Beard, Christopher Gilbert, Dictionary of English Furniture Makers 1660-1840, Leeds, 1986, p.592). The firm faithfully reproduced Adam's furniture designs, in 1775 supplying the magnificent Derby House commode to Edward Smith-Stanley, Lord Strange (later 12th Earl of Derby) for his Grosvenor Square, London property. The Derby House commode is the only fully documented Adam commode to survive, and Ince & Mayhew's invoice for 'A circular Commode of fine and curious Woods very Finely inlaid with Etruscan Ornaments' at a cost of £84, 'completed from a Design of Messrs. Adams' demonstrates the close working relationship between designer and maker.

The firm also created their own distinctive designs in a refined and sober Neoclassical fashion exemplified by a rectangular satinwood and marquetry commode sold from the Countess of Portsmouth's collection, Christie's, London, 18 May 1922, lot 81, now in the Metropolitan Museum of Art, New York (64.101.1145), and a semi-elliptical commode from the Barbara Piasecka Johnson collection, sold Christie's, London, 9 July 1992, lot 162, (£660,000, including premium).

The aesthetically spare decoration of this commode, a testament to the decorative language of the Neoclassical spirit of the late 18th century, places it into a specific sub-group of commodes. Particularly striking are the large scale 'antique' urns, a frequent Ince & Mayhew motif that relates to ornamentation found on a number of other commodes attributed by Lucy Wood to Ince & Mayhew (Lucy Wood, Catalogue of Commodes, London, 1994, pp. 223-237, nos.

26, 27 and 28).

THE IRISH CONNECTION Ince & Mayhew did have a small but significant Irish clientele, including Francis Thomas Fitzmaurice, 3rd Earl of Kerry, who commissioned the firm for the refurbishment of his Portland Square, London, house in the early 1770s. Furthermore, a related demilune commode, smaller in size but with the distinctive marquetry of Ince & Mayhew, and a very similar pattern of squared acanthus-wrapped feet, was in the collection of James Alexander, 1st Earl of Caledon, a wealthy Indian Nabob, who first engaged Ince & Mayhew at his London house on Berners Street in 1773. The early history of this commode is uncertain but it appears to have been commissioned by the Earl's brother-inlaw, Josias Dupré, Governor of Madras, for his house in Portland Place, but was returned to Ince & Mayhew in July 1777 for restoration before being transferred to Caledon in Ireland. Ince & Mayhew subsequently fulfilled an exceptional commission for the Earl at Caledon between 1785 and 1795. (H. Roberts, 'Unequall'd Elegance: Mayhew and Ince's furniture for James Alexander, 1st Earl of Caledon', Furniture History Society, 2009, p.117).

Turvey House, County Dublin.

A further link between the London partnership and Ireland is afforded by William Moore (d.1814), cabinet-maker of Abbey Street and later Capel Street, Dublin. Moore had been apprenticed to Ince & Mayhew before establishing his workshop in Dublin in 1779. He was soon the foremost marqueteur in Ireland, and unsurprisingly, the Neo-classical marquetry of Adam-derived motifs, highly characteristic of the London practice, was also adopted by Moore. In his trade advertisements Moore particularly emphasized his 'long experience at Messrs.

Mayhew and Ince, London' (R. Luddy, 'Every Article in the Inlaid Way: the furniture of William Moore', Irish Arts Review, 2002, vol.18, p. 47). However, few pieces of furniture are firmly attributable to Moore, including a semi-elliptical marquetry commode supplied to William Henry Cavendish-Bentinck, 3rd Duke of Portland in 1782, and a pianoforte, its whereabouts unknown. Other pieces in public collections are now believed to be by Moore, including another commode, very similar to the Portland example, in the collection of the Victoria & Albert Museum, London (ibid., p.44; W.56:1 to 3-1925).

THE COAT-OF-ARMS The arms are those of Birch impaling Ryves, for Robert Birch M.P. (d. 1810), of Turvey House, Donabate, co. Dublin and his wife Catherine (d.1819), daughter of William Ryves, of Castle Jane, Co. Limerick, whom he married in Dublin in 1759. At the time of his marriage, Faulkner's Dublin Journal refers to him as 'an eminent merchant of this City', but contemporary parliamentary sketches are less complimentary. G.O. Sayles in 'Contemporary Sketches of the Members of the Irish Parliament in 1782', Proceedings of the Royal Irish Academy, vol. 56, 1954/54, p. 237 quotes from the 1782 publication and records that 'he bought the parliamentary seat of Belturbet, Co. Cavan from Lord Lanesborough,... Lord Buckingham made him Clerk of the Quick Rents, £150 a year; he will support any government and take anything he can get'.

Evidently Birch ran into rather dire financial circumstances but this appointment seems to have saved him from penury and he was still residing at Turvey House in 1789. Birch appears to have leased Turvey House from Lord Trimlestown. The house was of great antiquity although its general appearance was that of a building of the 17th century. The original building was a 15th century tower house. This was added to in the 16th century by Sir Patrick Barnewall. He is said to have made use of the stone from the ruinous Grace

Dieu Nunnery. T. Sadleir and P. L. Dickinson in Georgian Mansions in Ireland, Dublin, 1915, p. 86-88, comment that it was much altered in the second quarter of the 18th century. There was the date 1773 on a Venetian window which would seem to relate to works initiated by Birch and it is most probable that this pair of commodes was commissioned around the time of this refurbishment.

THE 20TH CENTURY PROVENANCE This pair of commodes was supplied by the English-born antiques dealer and decorator Arthur S. Vernay to Mrs. Morton Plant (later Mrs. William Hayward, then Mrs. John Rovensky; née Mae Caldwell, 1881-1955) and her husband, the American financier Morton F. Plant (1851-1918), for their mansion at 1051 Fifth Avenue and 86th Street, newly completed around 1916. The commodes were photographed in the second-floor gallery circa 1922, and later published in Vernay’s 1927 volume, Decorations and English Interiors.

Mr. and Mrs. Plant were already preparing to move uptown when Mrs. Plant became captivated by a pair of exceptional natural pearl necklaces at Cartier.

Her admiration inspired the now-famous exchange in which Pierre Cartier proposed trading the pearls for the Plants’ former Fifth Avenue mansion at 52nd Street. The final agreement transferred the house, valued at $950,000, in return for the two necklaces, valued at $1.5 million, plus $100. The transaction secured for Cartier the distinguished New York headquarters that remains the firm’s flagship today.

After Morton Plant’s death in 1918, Mae, known as ‘Maisie’, married Colonel William Hayward (1877-1944). Together they acquired Clarendon Court, the former Bellevue Avenue cottage of E. C. Knight in Newport, and in 1930 established Casa Louwana in Palm Beach, Florida. Following Hayward’s death in 1944, Maisie married John Edward Rovensky (1880-1970) in 1954 at her Fifth Avenue mansion. She died in Newport two years later, in July 1956. The magnificent furniture, decorative arts, paintings, and jewellery from her Fifth Avenue residence, along with selected pieces from Clarendon Court, were dispersed in a landmark five-part auction, The Art Collection of the Late Mrs. John E. Rovensky, Parke-Bernet Galleries, 15-19 January 1957, in which these commodes appeared as lots 965 and 966. This distinguished provenance extends to several additional lots in the Irene Aitken Collection.

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A PAIR OF GEORGE III ORMOLU-MOUNTED WHITE MARBLE 'LYRE' VASE PERFUME-BURNERS

vase, white marble,' the pattern was featured in the Boulton's 1782 stock list. The mounts, notably the lyres and the bucrania, may owe their design to William Chambers or Dietrich Anderson.

Each with pierced lid over a tapering body mounted with lyres and rams' heads joined by laurel swags, the cylindrical stepped base with bucrania, one lid replaced 12 in. (30.5 cm.) high, 6º in. (15.9 cm.) diameter (2)

Other 'Lyre' vases in white marble include: 1. A pair from the collection of Mrs. Robert Tritton, Godmersham Park, Kent; Christie's, 6 June 1983, lot 97 (N. Goodison, Matthew Boulton: Ormolu, 2002, fig. 347).

BY MATTHEW BOULTON, CIRCA 1771-72

$40,000-60,000 PROVENANCE:

Anonymous sale; Christie's, New York, 17 October 1992, lot 160.

With Partridge, London.

Acquired by Irene Roosevelt Aitken from the above on 2 February 1993.

Designed in the French 'antique' style in the form of krater-shaped 'sacred urns' on drum-form altar plinths with double stepped bases, these ormolu-mounted vases were used as 'essence pots' or incense-burners. Described as 'Lyre essence

2. A pair sold Christie's New York, 17 October 1997, lot 218 ($134,500) and now in a private collection (N. Goodison, Ormolu: The Work of Matthew Boulton, 1974, fig. 117).

3. A pair sold from the Estate of the Late Lady Samuel of Wych Cross; Sotheby's, London, 18 November 2018, lot 77.

A further single vase of the 'Lyre' model, executed in blue john, is in volume one of The Irene Roosevelt Aitken Collection.

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A GEORGE III ORMOLU AND WHITE MARBLE 'VENUS' VASE PERFUMEBURNER

BY MATTHEW BOULTON, CIRCA 1771

The urn with pierced lid on a pedestal mounted with an oval medallion depicting Adonis with the wild boar flanked by swags, the stepped base with grieving Cupid and Venus with a pair of Venus' doves and Cupid's quiver, foliate-cast edge 12 in. (30.5 cm.) high, 6 in. (15.2 cm.) wide $15,000-25,000 PROVENANCE:

Anonymous sale; Christie's, New York, 16 April 1998, lot 23.

Acquired by Irene Roosevelt Aitken from the above.

This allegorical vase 'perforated for essence', conforms to a design in Messrs. Boulton and Fothergill's Pattern Books dating from around 1770 (see N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 355, fig. 360). Produced as a vase as well as a clock-case (op. cit., fig. 191), the Venus vase was a popular model. There were two 'Venus vase' perfume burners offered at Boulton and Fothergill's Christie's sale in 1771, bought by the Earl of Kerry and Lord or Lady Melbourne, respectively.

In the 1778 sale, the five vases were described in the catalogue as 'Venus and Cupid in ormolu, at the tomb of Adonis', one of which was fitted with branches for two candles. A very similar perfumeburner is illustrated ibid., p. 355, pl. 359 and 361.

There is another at Syon, lacking its lid, Cupid's bow, and brand.

Others of this model on the market include: 1. One exhibited London, Hotspur, Golden Jubilee Exhibition, 1974, pl. 19.

2. Another sold Christie's, London, 17 November 1983, lot 6.

3. Another, almost identical sold Sotheby's, London, 10 July 1987, lot 8.

4. One exhibited London, Mallett, The Age of Matthew Boulton, 2000, pp. 50-51 in the catalogue A Venus clock with rotating dial was sold Christie's, London, 31 May 1956, lot 57, the Property of the Duke of Roxburghe. A related Venus clock with alterations to the urn was sold Christie's, London, 11 October 1990, lot 11. The Aitken collection features another very similar version of this model, lot 518, where the weeping Venus figure's right arm is down rather than resting on the plinth.

Boulton’s design for the Venus vase perfume-burner.

(Pattern Book I, p. 171).

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A LOUIS XV GOLD SNUFF-BOX MARK OF JEAN DUCROLLAY, PARIS, 1740

Cartouche form, the cover and base chased with Turqueries featuring reclining figures in fantastical scrolling architectural scenes, the sides further chased with bound slaves, ships at anchor, and hunting dogs in similar settings, marked on interior cover, base, and side with date letter A, maker's mark, and charge, the flange with decharge and with additional later collector's mark FW 3Ω in. (8.9 cm.) long 5 oz. 18 dwt. (183 gr.) $30,000-50,000 PROVENANCE:

With S.J. Phillips, London.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 2 February 1972.

EXHIBITED:

New York, A La Vieille Russie, The Art of the Goldsmith & the Jeweler, 6 November - 23 November 1968.

Memphis, Dixon Gallery and Gardens and New York, Rosenberg & Stiebel, Louis XV and Mme. de Pompadour: A Love Affair with Style, 10 March - 15 April and 2 May - 15 June 1990.

LITERATURE:

A La Vieille Russie, The Art of theGoldsmith & the Jeweler, New York, 1968, no. 52.

P. Hunter-Stiebel, Louis XV and Mme. de Pompadour: A Love Affair with Style, New York, 1990, no. 16, illus. p. 31.

Turquerie became in France a fashionable phenomenon following the FrancoOttoman alliance in 1715. The movement infiltrated all areas from paintings to fabrics fueled by an appetite for exoticism and the growing availability of goods which served as models for artists and craftsmen. Jean-Baptiste Vanmour (1671-1737) was hugely instrumental in providing visual evidence of the Ottoman lifestyle. Vanmour came to Istanbul in 1699 in the suite of the French ambassador the Marquis Charles de Ferriol, where he remained for almost four decades until his death in 1737, producing hundreds of images ranging from city views, parades, and ambassador’s audiences to portraits of Ottoman statesmen and ordinary people. In 1707, Ferriol commissioned one hundred oil paintings of the local people. His images were engraved and published in Paris in the Recueil de cent estampes représentant différentes nations du Levant (1712–13).

These proved to be an invaluable source of inspiration for French artists. Thus, the scene featured on the cover is loosely inspired by a drawing of François Boucher ‘the Pasha in His Harem’ dated circa 1735-1739 now in the Albertina Museum in Vienna (12152).

Works by François Boucher (1703–1770), who held the prestigious title of first painter to the king, served themselves as a highly popular source of inspiration for artists as prints of his work were widely circulated and provided artists with compositions that could be faithfully reproduced or adapted. Ducrollay had access to such printed materials which he used to create this box. One of the most renowned Parisian makers of snuffboxes in the 18th century, Jean Ducrollay (1710-1787) was goldsmith-jeweler to the Crown and the Court, supplier to the Menus Plaisirs, the Ministry of Foreign Affairs, as well as a highly distinguished clientele including Madame de Pompadour. Apprenticed in 1722 to his uncle Jean Drais, who sponsored him in 1734, Ducrollay’s workshop was a family enterprise that included his brother Jean-Charles (1712–66), along with the goldsmiths Louis Roucel (fl. 1763–1787) and Pierre-François Drais (fl.

1763–1788), Jean Drais’s son, then an apprentice. His work is often distinguished by his use of a variety of precious materials—such as enamel, porcelain, ivory miniatures, lacquer, and hardstones—which he combined within gold mountings.

This taste for elaborately mounted pieces undoubtedly stems from his training under his sponsor Jean Drais, who specialized in such works, particularly miniature boxes. His boxes are generally considered to have achieved the highest level of design and craftsmanship. In this instance, he not only uses a fashionable theme but also integrates it into a three dimensional rococo setting reminiscent of the design of Juste-Auréle Meissonnier for dramatic effect (see P. Fuhring, Juste-Aurèle Meissonnier: un génie du rococo, 1695-1750, Turin, London, Germani, 1999, vol. II, pp. 307).

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A LOUIS XV JEWELED AND ENAMELED GOLD SNUFFBOX MARK OF JEAN-FRANCOIS GARAND, PARIS, 1750

Rectangular, decorated with blue basse-taille scenes of hunting dogs and game birds in the Oudry style within garlands of multicolor flowers and foliage all against an engine turned ground, the thumbpiece of diamond-set lozenges, marked on interior base, cover, and side with date letter K, maker's mark, and charge for Antoine Leschaudel, 1744-1750, the flange with decharge for Julien Berthe, 1750-1756, and engraved GARAND A PARIS 3º in. (8.2 cm.) long 6 oz. 12 dwt. (205 gr.) gross weight $40,000-60,000

The Metropolitan Museum of Art in New York hold in its collection Met (17.190.1232) another box by Garand dated 1751-1752 with similar flower enameling that seems to float on the box as if casually resting on the surface; this three-dimensional effect is found on this box enhanced by the finely chased gold ground. This style of enameling called en plein enamel painting appears to have been in fashion in Paris between 1747 and 1757. Sometimes attributed to Louis-François Aubert (master 1748, died 1755), who was described after his death as goldsmith and painter in enamels to the King, most enamellers have sadly remained unknown. Flowers have long been a central motif in decorative arts, from fabrics to gold boxes, combining aesthetic appeal with symbolic meaning. In the 1740s, floral decoration became especially fashionable in goldwork.

PROVENANCE:

With S.J. Phillips, London.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 2 February 1972.

EXHIBITED:

Memphis, Dixon Gallery and Gardens and New York, Rosenberg & Stiebel, Louis XV and Mme. de Pompadour: A Love Affair with Style, 10 March - 15 April and 2 May - 15 June 1990.

LITERATURE:

P. Hunter-Stiebel, Louis XV and Mme. de Pompadour: A Love Affair with Style, New York, 1990, no. 16, illus. p. 31.

Jean-François Garand (d. 1778) was apprenticed to Leopold Artaut from 1753 and then Richard Jarry from 1740. He entered his mark in 1748 and took over the workshop of Jean-François Ravechet, whose widow Marie-Francoise Lecoq he then married. Garand was also a retailer and put his signature on boxes made by goldsmiths including Formey, Le Bastier and Robert. He was one of the suppliers of jewelry to the Menus-Plaisirs du Roi, and is mentioned in the archives of the Présents du roi in 1757 for the delivery of jewelry to the Marquis de l'Hôpital, ambassador to the Russian Imperial Court, to be presented to the Empress. Garand was elected officer of his Guild in 1772 and became treasurer the following year. He died in Passy, near Paris, in 1778.

(another view)

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A LOUIS PHILIPPE RUBY-MOUNTED GOLD SNUFF-BOX MARK OF JOSEPH-NAPOLEON YVOREL, PARIS, 1834-1838

Rectangular with bombé sides chased with foliage and lozenges, with engine-turned cover and base, the cover later mounted with a crowned monogram flanked by fleurs-de-lys all in rubies, the interior with a later presentation inscription, marked on flange with maker's mark and French control marks, further stamped 132 3º in. (8.3 cm.)

3 oz. 2 dwt. (96 gr.) gross weight The presentation inscription reads, WITH MUCH LOVE TO ANNIE LAURIE A VERY DEAR FRIEND ELLEN OCTOBER SECOND 1937. $2,500-3,500 PROVENANCE:

Presented to Annie Laurie Crawford, later Aitken (19001984).

508

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A LOUIS XVIII JEWELED GOLD PRESENTATION SNUFF-BOX

MARK OF GABRIEL-RAOUL MOREL, PARIS, 1820 Rounded rectangular, the cover set with a diamond monogram of Louis XVIII on matted ground, with borders of scrolling foliage and flowerheads, the sides and base with panels of engine-turning, in original gilt tooled red leather case with the Royal coat-of-arms, marked on interior cover, base, and flange 3¿ in. (7.9 cm.) long 4 oz. 18 dwt. (152 gr.) gross weight $15,000-20,000 PROVENANCE:

Presented by Louis XVIII to John Knowles F.R.S. (17811841) on the occasion of the translation of one of his books into French, circa 1820.

The Collection of Lt. Col. F.K. Windcott, London.

Valuable and Important French Furniture and Objets d'Art from the Estate of the Late Gustave Pierre Bader, New York and Paris; Parke-Bernet Galleries, New York, 9-10 November 1962, lot 34.

Acquired by Russell Barnett Aitken (1910-2002) from the above.

509

Please see www.christies.com for further information regarding this lot.

■511 LEARN MORE

A LOUIS XV VARI-COLOR GOLD AND ENAMEL SNUFF BOX MARK OF LOUIS OUIZILLE, PARIS, 1771

Oval set with enamel panels to the cover, underside, and sides of grisaille scenes of putti frolicking on clouds on a pink ground, within vari-color gold borders of scrolls, flowerheads, and foliage, marked on interior cover, base, and side with date letter H, maker's mark, and charge mark, the flange with decharge mark and 1838 restricted warranty twice, further engraved 193 3º in. (8.3 cm.) long 4 oz. 14 dwt. (146 gr.) gross weight $30,000-50,000 PROVENANCE:

With S.J. Phillips, London.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 16 April 1959.

EXHIBITED:

London, Grosvenor House, The Antique Dealers' Fair and Exhibition, 13-28 June 1956, p. 71, on the stand of S.J. Phillips, London.

London, Grosvenor House, The Antique Dealers' Fair and Exhibition, 10-25 June 1959, p. 77, on the stand of S.J. Phillips, London.

511

511 (another view)

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A CONTINENTAL GOLD-MOUNTED SHELL CAMEO SNUFF-BOX POSSIBLY ITALIAN, CIRCA 1725-30

Formed of two shells within gold mounts chased with a hunt, the body shell carved in cameo with hunters and dogs in a landscape, the other with a reclining hunter with a dog, the interior of the cover fitted with a painting of a hunting scene on vellum under glass, marked on flange with Austrian import mark for Vienna, also with French owl import mark twice 2Ω in. (6.4 cm.) long $3,000-5,000 PROVENANCE:

Russell Barnett Aitken (1910-2002).

510 512 (another view)

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A LOUIS XV JEWELED VARI-COLOR GOLD SNUFF-BOX MARK OF LOUIS ROUCEL, PARIS, 1773

Oval, the sides and base with polished surfaces and borders of pink and green gold berried foliage, the base with a central rosette, the cover applied with a bouquet of flowers and foliage in white, green, and pink diamonds on a matte ground within a wreath and outer border of scrolling foliage also in diamonds, marked on interior of cover, base, and side with date letter K, maker's mark, and charge, the flange with decharge 3¡ in. (8.6 cm.) long 4 oz. 14 dwt. (146 gr.) gross weight $20,000-30,000 PROVENANCE:

By repute, with S.J. Phillips, London.

By repute, acquired by Russell Barnett Aitken (19102002) from the above, 13 April 1960.

512

Please see www.christies.com for further information regarding this lot.

■513 LEARN MORE

TWO LOUIS XVI GOLD ETUIS

THE FIRST MARK OF JEAN-ANDRE-LOUIS HUDDE, PARIS, 1786, THE SECOND MARK OF NICOLAS HUGUET, PARIS, 1789 The first with panels of engine turning engraved with dots between chased bands of husks, with corded borders, the cover with a rosette, the base engraved with a coat-of-arms under marquess' coronet, the second with panels of engine turning engraved with dots and stars with borders of scrolling foliage, the cover with a rosette, the first marked on inside of cover with date letter P, maker's mark, and charge mark, inside of body with maker's mark, the flange with decharge, also with 1838 restricted warranty twice, and French import mark 1819-1838, the second marked on inside of cover with date letter P, maker's mark, and charge mark, inside of body with maker's mark, the flange with decharge, also with 1838 restricted warranty twice, and French import mark 1819-1838 4æ in. (12.1 cm.) long 2 oz. 14 dwt. (84 gr.)

The arms on the first are those of Plantin de Ville Perdrix, a noble family of Southeast France.

(2) $2,500-3,500 PROVENANCE:

Annie Laurie Crawford, later Aitken (1900-1984).

513

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A LOUIS XVI VARI-COLOR GOLD SNUFF-BOX PARIS, 1789, MAKER'S MARK UNCLEAR

Oval with engine-turned surfaces decorated with dots and leaves, with chased borders of scrolling foliage, the cover with medallion decorated with a pair of love birds perched on scrolls and foliage, marked on interior cover, base, and side with date letter P, maker's mark, and charge mark, the flange with decharge, later marked on side of cover and flange with French import mark 2æ in. (7 cm.) long 2 oz. 16 dwt. (87 gr.) $6,000-8,000 PROVENANCE:

By repute, with A La Vieille Russie, New York.

By repute, acquired by Annie Laurie Crawford, later Aitken (1900-1984) from the above, 5 December 1945.

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514

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A LOUIS XVI VARI-COLOR GOLD BONBONNIERE

MARK OF FRANÇOIS-NICOLAS CHEVANCE, PARIS, 1787

514

Circular with engine-turned surfaces engraved with flowerheads and overlapping circles, with chased borders of husks and scrolling foliage, the cover centered by a roundel chased with a flowering urn, marked on interior cover, base, and side with date letter P, maker's mark, and charge mark, the flange with decharge, the base stamped 306, the flange further marked with 1838 restricted warranty twice, also marked on flange and interior cover with later Russian 18K gold import mark for Moscow post 1908 2√ in. (7.3 cm.) diameter 3 oz. 14 dwt. (115 gr.) $5,000-8,000 PROVENANCE:

With A La Vieille Russie, New York.

By repute, acquired by Russell Barnett Aitken (19102002) from the above.

515

516

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A LOUIS XVI GOLD AND VERRE EGLOMISÉ SNUFF-BOX MARK OF ADRIEN-JEAN-MAXIMILIEN VACHETTE, PARIS, 1784

Rectangular with cut corners, polished gold set on cover and sides with oval grisaille miniatures of marine mythologies on scarlet ground under glass, and with conforming putti tritons at the angles, with borders of concave ovals throughout, marked on interior cover, base, and side with dated letter P, maker's mark, and charge mark, the flange with decharge and second mark, unidentified 3Ω in. (8.9 cm.) long 4 oz. 16 dwt. (149 gr.) gross weight $7,000-10,000 PROVENANCE:

By repute, with S.J. Philips, London.

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 24 April 1958.

LEARN MORE

A LOUIS XVI JEWELED ENAMELED GOLD ETUI A TABLETTES MARK OF JOSEPH-ETIENNE BLERZY, PARIS, 1782

Rectangular with panels of translucent blue enamel over wavy dotted guilloche ground within borders of opalescent beads and green foliage, one side mounted with a grisaille portrait head on paper of Stanislaus Auguste Poniatowski, King of Poland, in an oval of diamonds, the opposite with an enamel plaque of a maenad in an oval of pearls, with diamond thumbpiece, the cover with Souvenir and d'amitie' in diamonds, the interior fitted with a gold-capped pencil, marked on flange with date letter T, maker's mark, and charge and decharge 3º in. (8.3 cm.) high $6,000-8,000 Please see www.christies.com for further information regarding this lot.

Please see www.christies.com for further information regarding this lot.

517 (two views)

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A GEORGE III ORMOLU AND WHITE MARBLE 'VENUS' VASE PERFUME-BURNER

BY MATTHEW BOULTON, CIRCA 1771

The urn with pierced lid on a pedestal mounted with an oval medallion depicting Adonis with the wild boar flanked by swags, the stepped base with grieving Cupid and Venus with a pair of Venus's doves, foliate-cast edge 12 in. (30.5 cm.) high, 6æ in. (17.1 cm.) wide $15,000-25,000 PROVENANCE:

With Charles Truman at Asprey, London.

Acquired by Irene Roosevelt Aitken from the above, 3 June 1994.

EXHIBITED:

London, Grosvenor House Antiques Fair, 9-18 June 1994 (with Asprey), illustrated in the Handbook, p. 58.

New York, International Fine Art & Antiques Fair, 1994 (with Asprey, illustrated in the Handbook, p. 45).

LITERATURE:

N. Goodison, Ormolu: The Work of Matthew Boulton, London, 1974, pl. 45.

N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 355, figs. 359-361.

Apollo, March 1994 (Asprey advertisement, back cover).

International Fine Art and Antiques Fair, Handbook, New York, 1994, p. 45.

This allegorical vase, ‘perforated for essence’, conforms to a design recorded in Boulton and Fothergill’s Pattern Books dating to around 1770 (see N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 355, fig. 360). Produced both as a vase and as a clock case (ibid., fig. 191), the so-called 'Venus' vase was a popular model. At Boulton's Christie’s sale in 1771, two ‘Venus vase’ perfume burners were offered, purchased respectively by the Earl of Kerry and by Lord or Lady Melbourne. At the 1778 sale, five vases described in the catalogue as ‘Venus and Cupid in ormolu, at the tomb of Adonis’ were included, one fitted with branches for two candles. A very similar perfume burner is illustrated ibid., p. 355, pls.

359 and 361, and in N. Goodison, Ormolu: The Work of Matthew Boulton, London, 1974, pl. 45. Another example is at Syon, lacking its lid, Cupid’s bow, and brand.

Other recorded examples of this model include: 1. One exhibited at Hotspur’s Golden Jubilee Exhibition, London, 1974, pl. 19.

2. Another sold Christie’s, London, 17 November 1983, lot 6.

3. Another sold Sotheby’s, London, 10 July 1987, lot 8.

4. One exhibited at Mallett, The Age of Matthew Boulton, London, 2000, pp.

50-51.

The Irene Roosevelt Aitken Collection contains a further closely related version, lot 505, in which the weeping 'Venus' figure’s right arm is raised.

© Visko Hatfield, 2025

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A GEORGE III ORMOLU AND WHITE MARBLE TRIPOD VASE AND PERFUME-BURNER

BY MATTHEW BOULTON, CIRCA 1770-1775, THE BASE AFTER A DESIGN BY JAMES WYATT

The pierced lid with pineapple finial, the ovoid body with floral-cast rim and acanthus handles joined by floral swags and with three oval medallions depicting a Sacrifice Group, Achilles Victorious, and a Heroic Figure, on fluted socle and tripartite base with incurved female caryatid supports 12Ω in. (31.8 cm.) high $20,000-30,000 PROVENANCE:

A Lady of Title; Christie's, King Street, 7 July 1994, lot 28.

In a Private American Collection.

With Apter-Fredericks, London.

Acquired by Irene Roosevelt Aitken from the above at TEFAF, New York, in October 2016.

EXHIBITED:

New York, TEFAF, October 2016 (with Apter-Fredericks).

LITERATURE:

N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 317, pl. 305.

THE DESIGN The distinctive form of the tripod base of this perfume burner, with slender incurved female caryatids, is clearly derived from a design for a silver ewer with a closely related base by the architect James Wyatt (1746-1813), illustrated in Goodison, Matthew Boulton: Ormolu, London, 2002, p. 87, pl. 53, which in turn was reproduced almost exactly by Boulton and Fothergill in their Pattern Book I, p. 83 (ibid., p. 87, pl. 52).

The medallions on this perfume burner reflect the renewed taste for antique cameos among fashionable collectors of the 1760's and 1770's, which were further popularized by impressions of antique originals produced by Josiah Wedgwood and particularly James Tassie, who in 1775 published A Catalogue of Impressions in Sulphur of Antique and Modern Gems, from which Pastes are Made and Sold (ibid., p. 103).

RELATED EXAMPLES A pair of vases of this pattern is at Temple Newsam House, Yorkshire while another pair was sold anonymously, Christie's, New York, 6 July 1967, lot 48 (ibid., p. 316, pl. 304). A single marble vase was sold anonymously, Christie's, London, 7 July 1994, lot 28, while a blue john version, acquired in Posnan, Poland was offered anonymously, Christie's, London, 4 July 1996, lot 208. The latter appears to correspond with a description of a vase sold at Messrs. Christie and Ansell's Great Room, lot 65 to Mr Nixon and described as 'An essence vase in radix amethisti and ormolu on a tripod £8', while lot 60 comprised 'One pair essence vases, in marble mounted in ormolu, supported by a tripod' which also sold to Mr Nixon, this time for £16.5.6.

A further single example in white marble was sold Christie's, London, 23 April 1998, lot 6.

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A PAIR OF GEORGE III ORMOLU-MOUNTED WHITE MARBLE CANDLE-VASES

BY MATTHEW BOULTON, CIRCA 1775

Each with gadrooned removable lid with leaf-cast finial, the ovoid body with guillochecast rim, loop handles and husk swags, the square stepped pedestal with ram's masks suspending ribbon-tied oval medallions depicting variously (on one vase) Achilles Victorious, Neptune, Aesculapius or Moses and Filial Piety; (on the other vase) Venus Victorious, Pomona, Hygieia or Peace and a Heroic Figure; each on a stepped base 12 in. (30.5 cm.) high, 4¡ n. (11.1 cm.) wide, 4¡ in. (11.1 cm.) deep (2) $40,000-60,000 PROVENANCE:

With H. Blairman and Sons, London, 1977.

Private Collection, England.

With Partridge Fine Arts, London, 1980.

Private Collection, Spain.

Private Collection, London.

With Ronald Phillips, Ltd., London.

Acquired by Irene Roosevelt Aitken from the above at TEFAF, New York, in October 2016.

EXHIBITED:

London, Grosvenor House Antiques Fair, 1977 (with H. Blairman and Sons).

New York, TEFAF, October 2016, (with Ronald Phillips).

LITERATURE:

Grosvenor House Antique Fair handbook, 1977, with H. Blairman and Sons.

Ronald Phillips, Catalogue, 2015, pp. 288-290, illustrated.

INSPIRED BY WEDGWOOD These beautiful ormolu-mounted white marble candle vases almost precisely follow a design by Matthew Boulton (1728-1809) and John Fothergill (1730c.1782) published in their Pattern Book No. 1 (p. 171, fig. t) and reproduced in Sir Nicholas Goodison's Ormolu: The Work of Matthew Boulton (New York, 1974, p.

383, fig. 161).

Josiah Wedgwood (1730-1795) was a close friend of Boulton's and his patterns are thought to be the source for the medallions used on the plinths of these candle vases. Boulton's medallions of classical figures are almost identical to the cameos and intaglios made by Wedgwood and his partner James Tassie. Moulds for these examples can be found in the Wedgwood Collection at the Victoria & Albert Museum. All derive from the same classical source of Renaissance gems. Many gem collections in Europe were widely published at this time and Boulton's library contained A.F. Gori's Museum Florentinum (1731-1766), in which gems from the Medici collection were engraved.

The subjects of the medallions on this pair of candle-vases are: On one vase: 1. Achilles Victorious, depicted as a clothed hero.

2. Neptune, the god of the sea being pulled in his chariot.

3. Aesculapius, Greek god of medicine, depicted with a snake wrapped around his staff (see mould: V&A WE.906-2014) 4. Filial Piety, depicted with a stork at her feet, although in Wedgwood’s time, he confused her for ‘Diana’ (likely mistaking the stork for a peacock).

On the other vase: 5. Venus Victorious, showing Venus leaning against a column with a pike, and giving a helmet to Cupid (see mould: V&A WE.928-2014).

6. Pomona, a Roman goddess of fruit trees, gardens, and orchards, and depicted carrying a basket on her head overloaded with fruit, tumbling to the ground (see intaglio: V&A 5148-1901).

7. Hygeia (or Peace), with an olive branch in her right hand, as seen in Tassie's reproduction of Valerio Belli's gem, and holding a snake in her left hand over an altar (missing from Belli's original gem). This was produced by Wedgwood both as an intaglio and as a cameo (see mould: V&A WE.779-2014).

8. Heroic Figure, described by Wedgwood as 'A Conquering Hero, Probably Perseus'.

Boulton probably asked patrons to choose from a limited repertoire of motifs, and therefore each vase or pair of vases is adorned with their own combination.

It is very rare for a pair of vases, such as this lot, to have no repeating medallions. In total, Boulton used nine medallion subjects on recorded vases of this type, the ninth medallion not used here is one that depicts a 'Sacrifice Group'.

RELATED EXAMPLES A pair of the same model was sold from the Prescott Collection, Christie's, New York, 31 January 1981, lot 76, and again from the Collection of Ann & Gordon Getty: Wheatland; Christies, New York, 19 October 2023, lot 195. A further pair of this model, but with the addition of candle-arms, at Weston Park, Staffordshire was probably acquired by Sir Henry Bridgeman who inherited the house in 1764 (N. Goodison, 2002, p. 314, pl. 301).

Matthew Boulton’s design for candle-vase.

(Pattern Book I, p. 171).

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A MATCHED PAIR OF GEORGE III ORMOLU AND BLUE JOHN TWO-BRANCH VASE CANDELABRA

BY MATTHEW BOULTON, CIRCA 1775

Each with ovoid body of richly veined blue john with flaming finial and pierced anthemion collar, issuing scroll arms on spiral-fluted socle; one candelabra with a replaced arm, drip-can, and nozzle, the other candelabra with both arms, drip-pans, and nozzles replaced 14 in. (35.6 cm.) high, 15¡ in. (39.1 cm.) wide (overall), 4Ω in. (11.4 cm.) diameter (the base) (2) $70,000-100,000 PROVENANCE:

With Mallett, London, circa 2015.

With Ronald Phillips.

Acquired by Irene Roosevelt Aitken from the above at TEFAF New York, 2017.

EXHIBITED:

Mallett, TEFAF Maastricht, 2015.

Ronald Phillips, TEFAF New York, 2017.

LITERATURE:

L. Synge, Great English Furniture, London, 1991, p. 211, fig. 244.

Ronald Phillips, Masterpieces of English Furniture, London, 2016, pp. 26-7.

Ronald Phillips, Fine Antique English Furniture, London, 2016, pp. 10-11.

COMPARATIVE LITERATURE:

N. Goodison, Matthew Boulton: Ormolu, London, 2002, pp. 285-6, figs. 241-2 and p.

287, fig. 243.

Matthew Boulton’s design no. 238, for a candelabra with the same arm pattern as the present lot. (Pattern Book I, p. 156).

These candelabra, with their elaborate pierced anthemion collars and richly spiral-scrolling socles, are closely indebted to the designs of James ‘Athenian’ Stuart and rank among the grandest models of ‘candle vases’ produced by Matthew Boulton. The bodies correspond closely to the design seen on the Wentworth candelabrum, offered in Volume I of the Irene Aitken Collection. The arms, however, differ and match precisely to those published in Boulton’s Pattern Book I, p. 156.

Yet the specific combination of arms and body found here appears to be completely unique within Boulton’s oeuvre.

The mounts on the present pair show subtle variations to the chasing, suggesting that one may have been executed a year or two earlier than its companion.

Comparable examples of the present model with variant arm patterns include: 1. A pair in the collection of the Duke of Marlborough at Blenheim Palace, Oxford. Although there is no record of when the 4th Duke purchased the vases, he did buy other ornaments from Matthew Boulton in 1772 (Goodison, Matthew Boulton: Ormolu, figs. 241-2).

2. A pair in the Royal Collection at Frogmore House. These vases came from the Mulliner Collection (H. Batsford, H.H. Mulliner, The Decorative Arts in England, London, 1924, fig. 164), sold, Christie's, London, 10 July 1924, lot 37, where they were acquired by Humphrey Wyndham Cook (1893-1978), later sold from his collection, Sotheby's, London, 1 May 1936, lot 73 (to Hadley). According to Goodison, they were later given to George V and Queen Mary by the Prince Regent and Princess Paul of Yugoslavia in May 1937 (see Goodison, 2002, note 489). Interestingly, Humphrey Cook seems to have acquired several items from the Mulliner collection sale, including the agate bowl and pair of 'Sphinx' vases which are now in the Irene Aitken collection.

3. A pair inherited or acquired by H.R.H. The Princess Mary, Princess Royal, Countess of Harewood (d.

1965) and by descent at Harewood House, Yorkshire. Subsequently sold, 'Harewood: Collecting in the Royal Tradition'; Christie's, London, 5 December 2012, lot 549, of which one was a slightly later after-cast (£181,250).

4. A set of four (two pairs) sold from the Collection of the Earl of Home, removed from Bothwell Castle, Douglas Castle, and the Hirsel; Christie's, London, 17 June 1919, lot 302 (to M. Harris, presumably the dealer Moss Harris). The set of four was again sold from the Collections of the Late Viscount Leverhulme; Anderson Galleries, New York, 9 February 1926, lot 165 (to Symons).

5. A pair from the Estate of Polly Guggenheim Logan; Sotheby's, New York, 13 October 1994, lot 134; subsequently with Partridge and Hotspur; sold, A Distinguished New York Collection; Christie's, New York, 17 October 2008, lot 50 ($386,500).

6. A single example in the Birmingham City Art Gallery (illustrated, S. Mason, Matthew Boulton: Selling What All The World Desires, New Haven, 2009, p. 58, fig. 49).

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A GEORGE III ORMOLU-MOUNTED FUSTIC, SATINWOOD, AMARANTH AND MARQUETRY SERPENTINE COMMODE ATTRIBUTED TO JOHN COBB, CIRCA 1770

the top with a floral-trellis ground, the top and doors inlaid with finely inlaid floral bouquets within oval medallions, the sides mounted with berried-vine cast lifting handles on satinwood ovals, and with pierced angle mounts and sabots, with scalloped apron; the reverse inscribed ‘PP/ Item 460/ catalogue’ and inscribed ‘2859’ in yellow paint, also with an 'Art Treasures' exhibition label 35 in. (88.9 cm.) high, 45º in. (115 cm.) wide, 22 in. (55.9 cm.) deep $60,000-90,000 PROVENANCE:

With Arthur Ackermann & Son, New York.

Acquired from the above by Mr. and Mrs. Leslie R. Samuels, New York, in 1950.

Until sold from The Samuels Collection (intended for auction, but the collection was privately bought in its entirety. See catalogue: Sotheby's, New York, 2-3 October 1981, lot 460).

Acquired by Imelda Romualdez Marcos (b. 1929) from the above.

With Stair and Company, London.

Acquired by Irene Roosevelt Aitken from the above at the Grosvenor House Antiques Fair, on 23 June 1993.

commodes', are discussed in her Catalogue of Commodes, London, 1994, no.

7, pp. 88-97. Other Cobb features include the trellis pattern top, and the iconic wreath-pattern pull which features on other commodes in the Aitken collection.

Diagonally-oriented geometric patterns outlining large ovals appear on other pieces attributed to Cobb from the 1770s, including the pair of tables from Kenwood (later in the Earl of Mansfield's collection at Scone Palace) (see C. Streeter, 'Marquetry Tables from Cobb's Workshop', Furniture History, 1974, pl.

30A). Another table from the group was sold, Christie's, New York, 14 October 2004, lot 165 ($57,360).

The commode makes its appearance in New York in the mid-20th century when it formed part of the collection of Mr. and Mrs. Leslie R. Samuels housed in the Park Avenue triplex. In 1981, a collection catalogue was produced with the intention to sell the collection in its entirety but the sale was cancelled as Imelda Marcos (b. 1929) purchased everything before the sale could be held.

Mr. Samuels was a retailer who ran I. Miller, and later his wife's family-run department store in Hartford, Connecticut, which was sold to the May company for a reputed $40 million. Philanthropists and music lovers, the couple formed a foundation in their name which provides funds for the arts, primarily Lincoln Center.

EXHIBITED:

New York, Parke-Bernet Galleries, Art Treasures Exhibition, 24 May-7 June 1967, no.

237 (illustrated; lent by Leslie R. Samuels).

New York, Winter Antiques Show, 23-31 January 1993 (with Stair, London; cover of the Stair catalogue).

LITERATURE:

A. Winchester, 'Living with Antiques', The Magazine Antiques, June 1962, p. 616 (shown in situ in the Samuels drawing room).

A. Winchester, ed., Living With Antiques: A Treasury of Private Homes in America, New York, 1963, p. 112 (shown in situ in the Samuels drawing room).

Art Treasures Exhibition, New York, Parke-Bernet Galleries, 1967, no. 237 (lent by Leslie R. Samuels).

J. and M. Miller, The Antiques Directory: Furniture, Boston, 1985, p. 257, pl. A2.

The celebrated St. Martin's Lane cabinet-maker John Cobb continued the business after his partner William Vile retired in 1764. In the spirit of newly fashionable classicism, he began to produce a series of commodes and other furniture in marquetry veneers and largely derived from French patterns.

The serpentine commode, featuring delicate rose sprays within ovals embellished with ribbon-tied husk garlands relates closely to the 'extra neat Inlaid Commode…with brass Ornaments' and matching stands supplied to Paul Methuen for Corsham Court in 1774. A princely sum of £63.5.3 was paid for the commode. Others that relate, what Lucy Wood calls the 'Methuen group of The commode photographed in the drawing room of the Samuels’ Park Avenue apartment, c. 1963.

(E.P. Dutton, Living With Antiques: A Treasury of Private Homes in America, New York, 1963, p. 114).

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A PAIR OF GEORGE III ORMOLU-MOUNTED BLUE JOHN, SIMULATED LAPIS LAZULI AND EBONY ‘SPHINX’ VASE PERFUME-BURNERS

BY MATTHEW BOULTON, CIRCA 1770

Each with pierced fruited lid and campana body with guilloche band displaying four foliate lion masks, the plinth with swagged simulated lapis lazuli glass panels and recumbent Sphinx supports over the base with later ebony panels overlaid with scrolling foliage on gadrooned feet; the lids of a later date 13 in. (33 cm) high, 6 in. (15.2 cm.) wide (2) $120,000-180,000 PROVENANCE:

A Private Collection, England.

With Ronald Phillips, Ltd., London.

Acquired by Irene Roosevelt Aitken from the above at the Winter Antiques Fair, New York, January 2015.

The sphinx pattern evolved from the tripod sphinx-supported cassolette such as Joseph-Marie Vien illustrated in his Suite de vases composé dans le Goût antique, 1760. While such vases served in part to recall the Roman columbarium, they also inspired Homeric concepts of 'sacrifices at love's altar in antiquity'.

The architect Robert Adam (d.1792) played a prominent role in promoting Etruscan vases as an architectural element in Salons or rooms-of-entertainment fashionably dressed à la Français, but an equally important role was played

by James 'Athenian' Stuart (d.1788), the Rome-trained artist and protégé of the Dilettanti Society. Stuart had already introduced one such chimneypiece garniture, symbolizing 'Eternal Love' with a sphinx-guarded urn, in his 1750s proposal for Kedleston, Derbyshire; while he also produced a related sphinxsupported vase for the dining-room hearth (see Stuart's 'Kedleston' design illustrated Susan Weber Soros ed., James 'Athenian' Stuart, New York, 2006, figs.

6-31).

In the present case, it was the Rome-trained court architect Sir William Chambers (d.1796), who, in 1770, encouraged Boulton in the introduction of this pattern of Eternity cassolette at the Queen's House (now Buckingham Palace), where it provided appropriate accompaniment for Queen Charlotte's mantelclock. In March that year, Boulton recorded his visit to the palace to decide, 'how many vases it would take to furnish' in place of china the chimneypiece in the Queen's Apartment (N. Goodison, Ormolu: Matthew Boulton, London, 1974, pp. 31-32, 85, 183-64). Chambers' design for this vase is likely to have been amongst those that he exhibited at the Royal Academy that year as 'to be executed in ormolu, by Mr. Bolton, for their Majesties'. He also at this time produced a design for an urn-capped clock supported by sphinx (see J. Harris and M. Snodin, Sir William Chambers, London, 1997, p. 158 and fig. 235; and p. 157, fig. 233). The Queen Charlotte's cassolettes or 'sphinx vases' were also intended to stand beside a pair of Boulton's vases, whose pattern was named after King George III as the 'King's' vase (J. Roberts (ed.), George III and Queen Charlotte, London, 2004, p. 269, no. 275).

Robert Bradbury of Castleton, Derbyshire supplied six blue john bodies for sphinx vases in 1770 (no. 45). Boulton included twelve vases of this pattern in the London sales of his 'Superb and elegant produce' held at Christie and Ansell's, Pall Mall in 1770, 1771, and 1772. They were described as 'in the antique taste radix amethysti and ormolu, lined with silver, and perforated for essence, supported by four sphinxes upon an ornamental base of ebony' (ibid., 1974, pp.

34, 36, 136, 163).

A pair of 'sphinx' vases is in the Metropolitan Museum of Art (S. Walker ed., Vasemania, New York, 2004, no. 45) and another vase of this pattern is in the Royal Collection (Goodison, pp. 163-165, figs. 94, 96-99; and Roberts, p. 270, no. 276). A pair from the H. H. Mulliner Collection was sold Christie's, London, 10 July 1924, lot 40 (illustrated H. H. Mulliner, The Decorative Arts in England 1660-1780, London, 1923, fig. 163). A pair from the Dr. Norman Gay collection, with simulated agate glass panels, was sold Christie's, London, 28 June 1984, lot 3 and another pair, with simulated lapis lazuli glass panels, was sold Sotheby's, London, 11 July 1986, lot 17. There is a further single example in the Irene Roosevelt Aitken collection (lot 58).

© Visko Hatfield, 2025

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A GERMAN GOLD-MOUNTED AGATE NOVELTY SNUFFBOX PROBABLY DRESDEN, CIRCA 1760

Shaped as a horse head of mottled and striated brown and tan agate, with diamond-set eyes, the scrolled thumbpiece set with diamonds, rubies, and an emerald, marked twice on flange with later French import mark only 2æ in. (7 cm.) high $5,000-8,000 PROVENANCE:

With Wartski, London.

By repute, acquired by Sunny von Bülow (1931-2008) from the above, 8 September 1967, then gifted to, Russell Barnett Aitken (1910-2002).

A similar example was sold from the Collection of Adolphus Andrews Jr. and Emily Taylor Andrews, Christie's, New York, 18 June 2024, lot 24.

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A SWISS PASTE-SET AND ENAMELED GOLD PRESENTATION SNUFF-BOX FOR THE OTTOMAN MARKET CIRCA 1840-60

Shaped oval, the cover centered by a gold Tughra on a blue enamel ground, surrounded by scrolls of paste gems, the sides and base applied and engraved with scrolling foliage on a matted ground, apparently unmarked, the flange stamped 139 3√ in. (9.8 cm.) long 6 oz. 8 dwt. (199 gr.) gross weight The Tughra is that of Ottoman Sultan Abdülaziz I (1830–1876), the 32nd Sultan of the Ottoman Empire, ruling from 1861 to 1876. $15,000-25,000

Please see www.christies.com for further information regarding this lot.

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A GERMAN JEWELED GOLD FIGURAL PATCH BOX POSSIBLY DRESDEN, LATE 17TH/EARLY 18TH CENTURY

In the manner of Johann Melchior Dinglinger, in the Chinoiserie style, the hinged cover modeled as a seated figure with nodding head, on a castle-form base applied with diamonds at the corners and with a further diamond on the figure's head, marked on interior, unidentified 1√ in. (4.8 cm.) high 1 oz. (31.1 cm.) gross weight $15,000-25,000 PROVENANCE:

With A La Vieille Russie, New York.

Russell Barnett Aitken (1910-2002).

Please see www.christies.com for further information regarding this lot.

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A GERMAN GOLD AND ENAMEL SNUFF-BOX

PROBABLY HANAU, CIRCA 1790, MAKER'S MARK INH UNDER A CROWN Oval with engine-turned ground and entrelac borders, the cover mounted with an enamel oval miniature of a woman at an altar of love, marked on interior cover, base, and side with maker's mark, the flange stamped 82 and with an incuse eagle 2¬ in. (6.6 cm.) long 2 oz. 10 dwt. (78 gr.) gross weight $5,000-8,000 PROVENANCE:

By repute, with S.J. Phillips, London.

By repute, acquired by Annie Laurie Crawford, later Aitken (1900-1984) from the above, 2 May 1970.

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A GERMAN GOLD, ENAMEL AND DIAMOND IMPERIAL PRESENTATION SNUFF BOX CIRCA 1860

Shaped rectangular, chased with flowerheads in a trellis pattern within a border of snowdrops, the cover applied with a blue enamel medallion set in diamonds with the initial N beneath a crown framed by diamonds, marked on flange with French 1838 restricted warranty twice only 3Ω in. (8.9 cm.) long 4 oz. 12 dwt. (143 gr.) gross weight $12,000-18,000 PROVENANCE:

Presented by or to Napoleon III (r. 1852-1870).

Anonymous sale; Sotheby's, London, 9 July 1956, lot 121.

Acquired by Russell Barnett Aitken (1910-2002) from the above.

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A GERMAN VARI-COLOR GOLD SNUFF-BOX HANAU OR BERLIN, CIRCA 1765

Rectangular, the cover and base chased with elaborate cartouches and trellis-work enclosing lovers in a landscape, the sides with trophies of love and gardening, marked on interior cover, base, and side, the flange with French 1838 restricted warranty twice 3¿ in. (7.9 cm.) long 6 oz. 10 dwt. (202 gr.) $20,000-30,000 PROVENANCE:

By repute, with A La Vieille Russie, New York.

By repute, acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above, 26 November 1975.

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Please see www.christies.com for further information regarding this lot.

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A GOLD AND SILVER MOUNTED GEM-SET GERMAN PORCELAIN RECTANGULAR SNUFF-BOX AND COVER POSSIBLY 1770, THE PORCELAIN PROBABLY FÜRSTENBERG

Finely painted with figures at leisure pursuits in gardens in the manner of Watteau, including playing with racquets and making music, the painted scrolling trellis enclosing the scene on the top embellished with scrolls of silver-mounted rubies 3¡ in. (8.6 cm.) long $30,000-50,000 PROVENANCE:

The State Hermitage Museum, Leningrad.

Rudolph Lepke, Berlin, 6 November 1928, lot 248.

A. S. Drey, Munich.

Paul Graupe & Co., Berlin, 17-18 June 1936, lot 421, (involuntary liquidation of the assets of the A. S. Drey dealership).

The Jack and Belle Linsky Collection, Metropolitan Museum of Art, New York.

Property of the Descendents of S. Drey, Munich; Sotheby’s, New York, 23 November 2009, lot 3.

Acquired by Irene Roosevelt Aitken from the above.

EXHIBITED:

New York, Metropolitan Museum of Art, 1982-2009.

LITERATURE:

Katharine Baetjer, et al., The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, p. 302, no. 258.

Compare the decoration with the box from the Helmut Joseph Collection illustrated by Barbara Beaucamp-Markowsky, Boîtes en Porcelaine, des manufactures européennes au 18e siècle, Fribourg, 1985, p. 290 and p. 313, no. 257, which was subsequently sold from the Helmut Joseph Collection by Bonhams, London, on 5 July 2011, lot 29.

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A PAIR OF ENGLISH MAHOGANY AND PARCEL-GILT SERPENTINE PIER COMMODES

A GEORGE II GILTWOOD MIRROR

FIRST HALF 19TH CENTURY

With lacquered brass lion mask handles, on ogee bracket feet with etched details, both with labels applied to undersides of top, each printed in red ink, one: 'FORT WILLIAM/ No. 69 / 1948' the other inscribed the same, but 'No. 68' 31 in. (78.4 cm.) high, 24 in. (61 cm.) wide, 15 in. (38.1 cm.) deep (each) (2) $12,000-18,000 PROVENANCE:

Possibly acquired for Fort William, County Waterford, Ireland, by Hugh Richard Arthur, 2nd Duke of Westminster who purchased this property in 1946.

Anonymous sale; Christie's, London, 29 January 2019, lot 109.

With Ronald Phillips Ltd., London.

Acquired by Irene Roosevelt Aitken from the above.

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MID-18TH CENTURY, POSSIBLY SCOTTISH, AND WITH LATER EMBELLISHMENTS The divided plate within an open scrolled surround, the sides with climbing branches, the cresting and base with confronting C-scrolls, with replacements to peripheral carving 58 in. (147.3 cm.) high, 35 in. (88.9 cm.) wide $8,000-12,000 PROVENANCE:

With Basil Dighton, New York.

Acquired by Annie Laurie Crawford, later Aitken (1900-1984) from the above on 15 December 1947 for the Main Hall at Tamerlane, Greenwich, Connecticut.

The mirror relates in its broad design and carving to the various mirrors 'richly carvd and gilded with borders of looking glass' supplied by the Scottish maker William Mathie for the dining room and bed chambers at Dumfries House in 1759 (see 'Edinburgh Wrights and Furniture Makers 1660-1840', Furniture History, 1983, notably pl. 14-15).

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A GEORGE II INDIAN ROSEWOOD-BANDED SABICU COMMODE

ATTRIBUTED TO JOHN COBB, CIRCA 1765, THE CARVING POSSIBLY BY SEFFERIN ALKEN Serpentine, with sectioned top over four drawers flanked by foliate-carved corbels and mounted with gilt-lacquered brass mounts cast as berried wreaths, on bracket feet, veneers of the triangular panels of the top later, the drawers with concave fillets, with inventory number ‘9821-A’ inside top drawer, one drawer with old typed label identifying Cooper provenance, numbered '821A' in yellow chalk 36æ in. (93.3 cm.) high, 52 in. (132.1 cm.) wide, 23Ω in. (59.7 cm.) deep $40,000-60,000 PROVENANCE:

The Collection of Sir George Cooper, Hursley Park, Winchester, Hampshire.

With Stair & Company, New York.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above on 16 May 1966.

LITERATURE:

The Connoisseur, May 1965 (advertisement by Stair).

JOHN COBB: ROYAL CABINET-MAKER John Cobb (d. 1778) was the son-in-law of the renowned early 18th Century cabinet-maker Giles Grendey (d. 1780), a leading manufacturer of furniture for export during the reign of George II. In 1751, he established his partnership with William Vile (d. 1767) and expanded four years later to absorb the neighboring St. Martin's Lane premises of William Hallett (d.

1781). A notice published in the Gentleman's Magazine of 6 September 1783 advertises that Cobb was 'formerly a partner with the late Mr Hallett of Cannons'.

On the accension of George III, Vile and Cobb were granted a royal warrant in 1761 to supply furniture to the Crown under the direction of the Master of the Great Wardrobe. Some of their most celebrated Royal commissions are discussed by Geoffrey Beard, 'Vile and Cobb, eighteenth-century London furniture makers', Antiques, June 1990, pp. 1394-1405.

THE CARVER: SEFFERIN ALKEN A master carver of Danish descent, Sefferin Alken (1717-1783) worked extensively with many of London's top cabinet-making firms, often providing furniture to the designs of Robert Adam. Upon the specific request from Lord Coventry, he was employed for the specialist carving on chairs supplied

by John Cobb at Croome Court in 1765 to Adam's designs. In Alken's collaboration with Cobb, his work was accounted for as part of Cobb's invoice ('carving all the arms and front feet, all the rest carved by Mr. Alken', see C. Musgrave, Adam and Hepplewhite and other Neo-Classical Furniture, 1966, fig. 58).

In addition to the distinctive metalwork, in the form of berried vines encircling a leafy cabochon, the use of concave fillets is also a feature associated with the production of John Cobb's workshop. Another commode attributed to Cobb and in the same rare sabicu with a gadrooned ormolu rim and elaborate pierced angles was sold from the Exceptional Sale, Christie's, London, 5 July 2012, lot 37 (£205,250).

HURSLEY PARK Hursley House in Hampshire was built from 1721-1724 by William Heathcote, MP, who purchased the estate from the son of Richard Cromwell. The estate remained in the family until sold to Sir George Cooper (d. 1940) in 1902.

Cooper, one of Britain's newly rich, was married to a Chicago heiress (Mary Emma Smith) and they commissioned architect A. Marshall Mackenzie & Son (who designed the Waldorf Hotel in London) to enlarge and improve the house. Sir Joseph Duveen and Sir Charles Allom created the interiors, largely in the Palladian style, importing paneling from other sources and making it a showcase with the display of English portraits and French works of art (J. Harris, Moving Rooms, New Haven, 2007, pp. 87-90). Duveen produced a lavish catalogue of the collection (privately printed) in 1912. The George Cooper records in the Duveen archives do not appear to list the commode.

It is not clear if any of the furnishings at Hursley were sold to the Coopers but the Heathcotes were patrons of Chippendale, and presumably other top makers. The Coopers also owned a London home at 26 Grosvenor Square (the present location of the American Embassy) and an estate in Scotland.

Hursley Park, Hampshire c. 1906. (©Historic England Archive, Ref. CC97/02981).

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A PAIR OF GEORGE III GILTWOOD TORCHERES POSSIBLY BY JOHN LINNELL, CIRCA 1770

Each raised top with pendant half-fans and husks, the ram monopodia legs carved with overlapping money, joined by an urn-mounted stretcher, the torcheres appear to retain traces of original gilding 49 in. (124.5 cm.) high, 16Ω in. (41.9 cm.) wide (at base) (2) $20,000-30,000 PROVENANCE:

With Hotspur, London.

Acquired by Irene Roosevelt Aitken from the above on 14 June 1999.

EXHIBITED:

London, Grosvenor House Antiques Fair, June 1999 (with Hotspur).

LITERATURE:

J. and M. Miller, The Antiques Directory: Furniture, Boston, 1985, p. 340, pl. E4.

The altar stands headed by bacchic rams, would have served to support candelabra or vases in the corners of large rooms-of-entertainment. They are designed in the late 18th century 'Roman' fashion promoted by the architect/ designer Robert Adam in his The Works in Architecture of Robert and James Adam, 1773 as well as his contemporaries such as James Wyatt. A similar pattern produced by Adam for Sir Abraham Hume at Hill Street is inscribed with the date 1779.

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A GEORGE II GILTWOOD MIRROR CIRCA 1755

The rectangular plate surmounted by a foliate-canopied pagoda with standing figure, the shaped pierced frame entwined with leafy branches 58 in. (147.3 cm.) high, 30 in. (76.2 cm.) wide $12,000-18,000 PROVENANCE:

With Gerald W. Kerin, Mount Street, Berkeley Square, London.

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above on 15 June 1961.

Adam, the most fashionable architect of his time, worked with all the premier craftsmen of the day, Chippendale, Linnell, Ince & Mayhew, France & Bradburn, and Fell & Turton, among them, resulting in some of England's grandest interiors of the 1760s and 1770s. A closely related pair was executed

by Chippendale to Adam's design for Osterley Park. These are listed in the 1782 inventory as 'Two Elegant Or Molee tripods' (see M. Tomlin, Catalogue of Adam Period Furniture, 1972, F/3, pp. 46-47). A further pair with matching candelabra from Langley Park, Norfolk was advertised by Hotspur, London in 1988 (Country Life, 13 October 1988). Other similar examples include: a pair sold anonymously, Sotheby's, New York, 26 October 2002, lot 1719 ($125,000) and a pair illustrated in L. Synge, Mallett's Great English Furniture, 1991, p. 101, pl. 113 and L. Synge, Furniture in Color, 1977, pl. 45.

The torchères match a pair (catalogued, almost certainly in error, as late 19th century and sold together with glass shades) from the collection of the Late Benjamin and Minna Reeves, Sotheby's, New York, 16-17 April 1993, lot 391.

They may, in fact, be the same examples. In 1993, the central vase was filled with flowering blossoms. If these are the same torchères, the blossoms will have since been replaced with an appropriate fruited finial.

JOHN LINNELL John Linnell's artistic training had taken place at the St. Martin's Lane Academy before his establishment, in partnership with his father William Linnell (d.

1763), in fashionable cabinet-making premises in Berkeley Square. However, an important influence in his career was his role as a principal 'artificer' working alongside the Adam brothers at houses such as Kedleston Hall, Derbyshire.

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A PAIR OF GEORGE III ORMOLU PERFUME-BURNERS

BY MATTHEW BOULTON, CIRCA 1772

Each with removable petal-cast cap, the ovoid body with guilloche, scroll and long leaf design, on female monopodiae supports joined by chains and centered by a burner on a tripartite plinth 8Ω in. (21.6 cm.) high (2) $20,000-30,000 PROVENANCE:

With Jeremy, London.

A Distinguished New York Collection; offered, Christie's, New York, 7 April 2009, lot 231.

With Apter-Fredericks, London.

Acquired by Irene Roosevelt Aitken from the above on 19 October 2009.

The design of these perfume-burners or cassolettes, with its tripod form and classically-inspired ornamentation depicting ovoid egg-shaped 'sacred-urns' with winged siren-monopodia, derives from antiquity and was associated both then and in eighteenth-century England with dining and hospitality. As Mrs. Montagu noted in a letter to Boulton in 1773: '... my friends reproach me that I do not regale their noses with fine odors after entertaining their plates with soups and ragouts. The cassolettes [are] used to make their entry with dessert and chase away the smell of dinner' (N. Goodison, Ormolu: The Work of Matthew Boulton, London, 1974, p. 25).

Boulton subscribed to many of the leading eighteenth century architectural and archaeological publications and the term figures which appear on these perfume-burners relate closely to those which appear in a design by Michaelangelo Pergolesi, found amongst his pattern books. Similar figures also feature in a design by James Wyatt (K. Quickenden, 'Boulton and Fothergill Silver', Burlington Magazine, June 1986, p. 419) as well as in other drawings and works produced by Boulton and Fothergill (R. Rowe, Adam Silver, London, 1965, fig. 47 and N. Goodison, ibid., fig. 125).

A pair of identical perfume-burners with pedestals from the collection of the Earls of Jersey, was sold by Viscount Villiers; Christie's, London, 17 November 1994, lot 26 (£276,500). Produced by Boulton in 1771, Sir Robert Child acquired the Villiers pair for the with drawing room at Osterley Park House, Middlesex, in Christie and Ansell's sale room in April 1772 (N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 358, figs. 363-364). Other identical examples are in the collection at Temple Newsam, Leeds (C. Gilbert, Furniture at Temple Newsam House and Lotherton Hall, London, 1978, vol. II, p. 385, fig. 510; this example lacks its burner) and at Soho House, Birmingham (Goodison, ibid., p. 358, fig. 362). A further pair of this form was purchased from Mallett, London and is illustrated in The Age of Matthew Boulton: Masterpieces of Neoclassicism, London, 2000, pp. 66-67. A single perfume-burner of this model was sold anonymously, Christie's, New York, 19 October 2000, lot 69 and a pair without the suspended oil burner, was sold anonymously, Christie's, London, 5 June 2008, lot 32.

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A PAIR OF 'CHIPPENDALE REVIVAL' MAHOGANY SIDE CHAIRS AFTER A DESIGN BY THOMAS CHIPPENDALE, MID-19TH CENTURY

Each pierced 'ribband back' over an ivory silk damask seat and hipped cabriole legs headed by shells and scrolls and with foliate scroll toes, laminated construction 39 in. (99.1 cm.) high

(2)

$8,000-12,000 PROVENANCE:

[By repute] John Robinson Liddell, Esq. (1826-1887) of Netherton Hall, Northumberland and by descent, Colonel Hugh Liddell, D.S.O, M.C. of Trench Hall, Ravensworth North Yorkshire; Christie's London, 1 May 1930, lot 90 (to Mallett) With Mallett, London.

Francis Saxham Drury, New York (probably Francis Saxham Elwes Drury, d. 1942).

With Frank Partridge, New York Bought from the above by Alfred H. Caspary, New York and Bonnie Doone, Ritter, South Carolina.

The Late Alfred H. Caspary, Parke-Bernet Galleries, New York, 29-30 April 1955, lot 305.

Acquired by Annie Laurie Crawford, later Aitken (1900-1984) from the above.

LITERATURE:

Christie's Season 1930, London, 1930, pp. 320-321 (illustrated).

H. Comstock, 100 Most Beautiful Rooms in America, 1958, p. 93 (shown in situ in the living room at Bonnie Doone, Ritter, South Carolina).

F.L. Hinckley, A Directory of Queen Anne, Early Georgian and Chippendale Furniture, New York, 1971, p. 167.

F.L. Hinkley, Metropolitan Furniture of the Georgian Years, New York, 1988, p. 93, pl.

50, ill. 114.

L. Wood, Research Report on the Chairs, commissioned by Irene Roosevelt Aitken, 4 October 2014.

L. Wood, 'Tied up in Knots: "Three Centuries of the ribbon-back Chair"', Furniture History, 2015, pp. 241-271 (the Lidell Suite discussed pp. 249-250).

The chairs follow a pattern for ‘Ribband Back Chairs’ published in Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director, 3rd edn., 1762, pl.

XV. Chippendale observes of the three designs featured: ‘Several Sets have been made, which have given entire satisfaction. If any of the small ornaments should be thought superfluous, they may be left out, without spoiling the design. If the seats are covered with red Morocco, they will have a fine effect.’

Certain construction features of these chairs, notably the laminate construction of the back-splats, are inconsistent with eighteenth century cabinet-making.

They were therefore likely made in the early nineteenth century, during a revived interest in Georgian rococo design. This revival is evident in John Weale’s publication of Chippendale’s Designs for Sconces, Chimney and Looking-Glass Frames in the Old French Style, circa 1833, which reissued mid-eighteenth century copper plates by Matthias Lock and Thomas Johnson (though none by Chippendale himself) (M. Heckscher, ‘Lock and Copland: A Catalogue of the Engraved Ornament’, Furniture History, 1979, p. 8). Two further editions were issued in 1834 and 1835 (C. Gilbert, The Life and Work of Thomas Chippendale, p. 311).

Other examples of this pattern, likely from the same set, are also thought to be nineteenth century in date. Four side chairs and a settee at the Victoria and Albert Museum, London (bequest of Mr. C.B.O. Clarke, Wiston Park, Sussex, 1935) were profiled in Apollo Magazine the same year. The V&A pieces are illustrated in several publications: one chair appears in G. Wills, Craftsmen and Cabinet-Makers of Classic English Furniture, New York, 1974, p. 49, fig. 36; and in F.L. Hinckley, Masterpieces of Queen Anne and Georgian Furniture, New York, 1991, p. 72, pl. 43, fig. 104.

Please see www.christies.com for further information regarding this lot.

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AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878) Hooping Crane (Plate CCLXI) Sandhill Crane, Grus canadensis

engraving, with aquatint, etching and hand-coloring, on watermarked J Whatman paper dated 1836, circa 1836, framed Sheet: 37¬ x 24¬ in. (956 x 625 mm.) $10,000-15,000 PROVENANCE:

With Kennedy Galleries, 1950s.

Frazier Jelke, New York.

Acquired by James Hallam Boyd Sr. from the above.

Thence by descent to his daughter Irene Roosevelt Aitken.

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AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878) Virginia Partridge (Plate 76) Northern Bobwhite, Perdix Virginiana Variant 1

engraving with etching, aquatint and hand-coloring, on watermarked J Whatman Turkey Mill paper, circa 1829, with margins, framed Plate: 24º x 37√ in. (612 x 958 mm.)

Sheet: 25Ω x 38Ω in. (648 x 978 mm.) $15,000-20,000 PROVENANCE:

John E. James Auctioneer, Newport, Rhode Island, 27 July 1970.

Acquired by Russell Barnett Aitken (1910-2002) from the above.

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AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878)

AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878)

engraving with aquatint, etching and hand-coloring, on watermarked J Whatman paper dated 1831, circa 1831, with margins, framed Sheet: 38Ω x 25º in. (978 x 641 mm.)

engraving with etching, aquatint and hand-coloring, on watermarked J Whatman paper dated 1837, circa 1837, framed Sheet: 38¿ x 25¬ in. (968 x 651 mm.)

$70,000-100,000

$30,000-50,000

PROVENANCE:

PROVENANCE:

With Arader Galleries, New York.

Acquired by Irene Roosevelt Aitken from the above.

The artist.

Victor Audubon, New York.

Property of the City of New York, sold to benefit the Municipal Archives, Reference and Research Fund; Sotheby's New York, 18-19 October, 1985, lot 366. Acquired from the above in 1850.

Acquired by Russell Barnett Aitken (1910-2002) from the above.

Snowy Owl (Plate CXXI) Nyctea scandiaca

Iceland or Jer Falcon (Plate CCCLXVI) Gyrfalcon, Falco rusticolus

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AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878) Great blue Heron (Plate CCXI) Ardea herodius

engraving with aquatint, etching and hand-coloring, on watermarked J Whatman paper dated 1834, circa 1834, framed Sheet: 38æ x 26¿ in. (984 x 664 mm.) $70,000-100,000

PROVENANCE:

With Arader Galleries, 2016.

Acquired by Irene Roosevelt Aitken from the above.

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AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBER HAVELL (1793-1878) Fish Hawk (Plate 81) Osprey, Pandion haliaetus Variant 1

engraving with etching, aquatint and hand-coloring, on watermarked J Whatman paper dated 1830, circa 1830, with margins, framed Plate: 37æ in. x 25 in. (959 x 635 mm.)

Sheet: 39¿ x 26 in. (994 x 660 mm.) $40,000-60,000

PROVENANCE:

With Arader Galleries.

Acquired by Irene Roosevelt Aitken from the above.

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AN ASSEMBLED MEISSEN PORCELAIN ORNITHOLOGICAL PART DINNER SERVICE

MOST PIECES SECOND HALF 18TH CENTURY, BLUE CROSSED SWORDS MARKS, SOME WITH DOTS, A FEW WITH INCISIONS AND OUTSIDE-DECORATED, VARIOUS IMPRESSED NUMERALS Each piece painted with paired birds in branches within ozier-molded rims, the finials as putti spilling flower and fruit filled cornucopias, comprising: A circular soup tureen, cover and stand Four oval scroll-footed vegetable tureens and covers Three leaf-shaped dishes Four graduated oval platters A large circular platter Three smaller circular chargers A two-handled oval stand Eighteen plates 20¿ in. (51 cm.) long, the largest platter (41) $10,000-15,000

PROVENANCE:

James A. Lewis, New York (stickers to the leaf-shaped dishes).

The Antique Porcelain Company, London, 25 October 1967 (all but the soup tureen).

Countess Sala Collection; Parke-Bernet Galleries, New York, 17-18 November 1961, lot 159 (the soup tureen).

Acquired by Annie Laurie Aitken (1900-1984) and Russell Barnett Aitken (1910-2002) from the above.

■545

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AN AMERICAN GOLD AND SAPPHIRE-MOUNTED JADE ELEPHANT DESK CLOCK MARK OF VAN CLEEF & ARPELS, NEW YORK, CIRCA 1950, THE DIAL SIGNED BUECHE-GIROD, 18 KARAT

The base carved as an elephant with raise trunk, applied with a beaded gold band around the mid-section surmounted by a clock within a gold sunburst frame set with sapphire beads, marked on underside 18K VAN CLEEF & ARPELS NY and numbered 39312 3√ in. (9.8 cm.) high $8,000-12,000 PROVENANCE:

Annie Laurie Crawford, later Aitken (1900-1984).

■546 LEARN MORE

A CARTIER ART DECO DESK CLOCK PARIS, CIRCA 1930

Of manual movement, the square rock crystal frame set with cabochon sapphires in square diamond frames at the corners, the round dial incised with lines and set with cabochon sapphires, with diamond-set hands edged in blue enamel, with matching Roman numerals on a gold chapter ring inset with mother-of-pearl and with cabochon sapphires, with rock crystal strut support, in fitted Cartier display case, signed Cartier MADE IN FRANCE and numbered 2648 on the reverse, the dial with French hallmarks, two cabochon sapphires deficient to chapter ring 3¬ in. (9.2 cm.) wide $12,000-18,000 PROVENANCE:

Annie Laurie Crawford, later Aitken (1900-1984).

■547

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AN AMERICAN GOLD TRAVELLING DRESSING TABLE SERVICE MARK OF TIFFANY & CO., NEW YORK, SECOND QUARTER 20TH CENTURY, 18 KARAT

With beaded borders and acanthus finials, engraved throughout with either a coat-of-arms or a crest, comprising: A hand mirror A hair brush Two clothes brushes A larger cylindrical perfume bottle with screw-off cover Two smaller cylindrical perfume bottles with screw-off covers A cylindrical bottle with pierced lift-off cover An oval bottle with lift-off cover A circular box with slip-lock cover A shaped rectangular box with hinged cover A shoe horn A pair of scissors

A button hook A comb mount In a fitted black leather case by Tiffany & Co. with additional small leather storage box; Together with four shaped rectangular bottle tags on chains, engraved ASTRINGENT, ANTISEPTIC, HAND LOTION, and MOUTH WASH above monogram ALC, marked 14K on the reverses 11 in. (28 cm.) long, the hand mirror 36 oz. 18 dwt. (1,148 gr.) weighable 18K gold The arms are those of Sharp for Martha E. Sharp (1869– 1956).

(15)

$100,000-150,000 PROVENANCE:

Martha E. Sharp (1869–1956), who married Robert Nathaniel Warmack (1862–1924) in 1890, then to their daughter, Annie Laurie Warmack, later Crawford, later Aitken (1900-1984).

■548

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A CARTIER JEWELED AND ENAMELED GOLD TABLE BOX NEW YORK, 20TH CENTURY, 14 KARAT

The box rectangular, decorated overall with basketweave pattern, the hinged cover applied with a Russian epaulette ornament formed as crossed batons wrapped in berried laurels in green and red enamel, the ends with diamond laurel wreaths and imperial double headed eagles between bands of diamonds, marked on the flange Cartier 14K 4æ in. (12.1 cm.) long 8 oz. 8 dwt. (261 gr.) gross weight $10,000-15,000 PROVENANCE:

By repute, with A La Vieille Russie, New York (the epaulette ornaments).

By repute, acquired by Russell Barnett Aitken (19102002) from the above, 24 November 1972, and mounted on the Cartier box.

548

■549

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A FRENCH ART DECO JEWELED PLATINUM MOUNTED HARDSTONE VANITY CASE MARK OF VAN CLEEF & ARPELS, PARIS, CIRCA 1925

Rectangular in carnelian, the cover mounted with a band of scrolling foliage in diamonds with sapphire-set jade leaves, with borders of diamonds and lapis lazuli corners, the ends in onyx with blue enamel bosses, diamond-set thumbpiece, the interior with a mirror, pop-up lipstick holder, and powder compartment in gold, marked on interior, further signed above the mirror VAN CLEEF ARPELS PARIS and numbered 27080 3Ω in. (8.9 cm.) long $12,000-18,000 PROVENANCE:

Annie Laurie Crawford, later Aitken (1900-1984).

549

■~550 LEARN MORE

A CARTIER ART DECO CORAL, DIAMOND AND ENAMEL ROCK CRYSTAL TABLE CLOCK PARIS, CIRCA 1925

Of manual movement, the engine-turned matte silver dial with black Roman numerals and diamond-set hands, within a bezel of simulated pearls and red and black enamel bars, all set in a rock crystal octagon on a darkened metal stepped square base with coral-mounted buttresses, in a fitted Cartier display case, the dial signed CARTIER, engraved on the back Made in France and numbered 2315 5 in. (12.7 cm.) high $20,000-30,000 PROVENANCE:

Annie Laurie Crawford, later Aitken (1900-1984).

END OF DAY 3

Wednesday, 4–18 February (Lots 601-799) Offsite viewing available by appointment only

■601

■602

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A FRENCH ORMOLU PENDULE A CERCLES TOURNANTS

■603

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A REGENCY STYLE ORMOLU INKSTAND

SECOND HALF 19TH CENTURY

IN THE MANNER OF VULLIAMY & SON, POSSIBLY 19TH CENTURY AND RE-GILT

15º in. (39 cm.) high

20TH CENTURY

12Ω in. (32 cm.) high

6Ω in. (16.5 cm.) high

$8,000-12,000

■605

A GEORGE III GILTWOOD MIRROR

A PAIR OF DIRECTOIRE-STYLE GREY- AND CREAM-PAINTED FAUTEUILS

CIRCA 1755

52 in. (132.1 cm.) high, 24Ω in. (62.2 cm.) wide

■606

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33 in. (84 cm.) high

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A PAIR OF GEORGE III ENAMEL CANDLESTICKS

LONDON OR SOUTH STAFFORDSHIRE, CIRCA 1770

FIRST HALF 20TH CENTURY

$5,000-8,000

(2)

$4,000-6,000

$1,000-1,500

■604 LEARN MORE

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A PAIR OF ORMOLU-MOUNTED FLUORSPAR AND JASPER VASES

11 in. (27.9 cm.) high (2)

(2)

$2,000-3,000

$1,000-1,500

■607 LEARN MORE

■~608

A CHINESE EXPORT PORCELAIN VASE, NOW MOUNTED AS A LAMP

A GEORGE III SATINWOOD, TULIPWOOD AND INDIAN ROSEWOOD-BANDED BOOKCASE

THE PORCELAIN QIANLONG PERIOD, CIRCA 1785 10 in. (25.3 cm.) high, the porcelain $600-800

(2)

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CIRCA 1790, THE CRESTING LATER

85 in. (215.9 cm.) high, 42 in. (106.7 cm.) wide, 14º in.

(36.2 cm.) deep $8,000-12,000

■609 LEARN MORE

A GEORGE II WALNUT GATE-LEG CARD TABLE CIRCA 1730, POSSIBLY IRISH

29º in. (74.3 cm.) high, 53Ω in. (135.9 cm.) wide, 17æ in.

(45.1 cm.) deep $8,000-12,000

■610

■611 LEARN MORE

■612

A PAIR OF GEORGE III MAHOGANY ARMCHAIRS

A GEORGE III MAHOGANY BEDSIDE CUPBOARD

35 in. (88.9 cm.) high

27Ω in. (69.9 cm.) high, 21 in. (53.3 cm.) wide, 13Ω in.

(34.3 cm.) deep

A PAIR OF GEORGE III PATINATED BRONZE, ORMOLU, WHITE MARBLE AND SLATE TWO-LIGHT CANDELABRA

LEARN MORE

ATTRIBUTED TO GILLOWS, CIRCA 1790

(2)

$7,000-10,000

CIRCA 1770

$6,000-10,000

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CIRCA 1790

14Ω in. (36.8 cm.) high, 11 in. (27.9 cm.) long

(2)

$5,000-8,000

■613 LEARN MORE

■614

A GEORGE III GILTWOOD MIRROR

A PAIR OF GEORGE II STYLE GILTWOOD BRACKETS

45 in. (114.3 cm.). high, 25 in. (63.5 cm.) wide

PROBABLY 19TH CENTURY

A PAIR OF GEORGE III STYLE GILTWOOD BRACKETS

$5,000-8,000

16 in. (40.6 cm.) high, 10 in. (25.4 cm.) wide, 9Ω in. (24.1 cm.) deep (2)

17 in. (43.2 cm.) high, 7 in. (17.8 cm.) wide, 73/4 in. (19.7 cm.) deep (2)

$5,000-8,000

$2,000-3,000

■~617

■618

CIRCA 1760

■~616

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■615

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PROBABLY 19TH CENTURY

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A REGENCY ROSEWOOD AND SATINWOOD-INLAID SOFA TABLE

A PAIR OF REGENCY BRASS-INLAID ROSEWOOD SIDE CABINETS

A PAIR OF GEORGE III STYLE GILTWOOD BRACKETS

28 in. (71.1 cm.) high, 61 in. (154.9 cm.) wide (open), 24 in.

(61 cm.) deep

35æ in. (90.8 cm.) high, 40æ in. (103.5 cm.) wide, 13Ω in.

(34.3 cm.) deep (2)

20 in. (50.8 cm.) high, 10 in. (25.4 cm.) wide, 6Ω in. (16.6 cm.) deep (2)

$4,000-6,000

$4,000-6,000

$2,000-3,000

CIRCA 1800

CIRCA 1810

20TH CENTURY

■619

■620

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A PAIR OF FEDERAL BRASS ANDIRONS

ATTRIBUTED TO DANIEL KING, SR. (1731-1806) OR DANIEL KING, JR. (1757-1836), PHILADELPHIA, 17851805 27Ω in. (69.9 cm.) high (each)

(2)

■621

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A GEORGE III BRASS-BOUND MAHOGANY PLATE BUCKET

A GEORGE III ETCHED PAKTONG FENDER

12Ω in. (31.8 cm.) high, 11º in. (28.6 cm.) diameter

46 in. (116.8 cm.) long

$1,000-1,500

$3,000-5,000

■623

■624

CIRCA 1800

CIRCA 1780

$1,000-1,500

■622

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A CHINESE EXPORT BLACK AND POLYCHROME COROMANDEL LACQUER FIVE-PANEL SCREEN

LEARN MORE

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A GEORGE III MAHOGANY TRIPOD TILT-TOP TABLE

A GEORGE III MAHOGANY TRIPOD TABLE

18TH/19TH CENTURY

27Ω in. (69.9 cm.) high, 23 in. (58.4 cm.) diameter

27 in. (68.6 cm.) high, 19º in. (48.9 cm.) diameter

110 in. (279.4 cm.) high, 17Ω in. (44.5 cm.) wide (each panel)

$3,000-5,000

$3,000-5,000

■626

■627 LEARN MORE

CIRCA 1760

CIRCA 1760, ALTERATIONS

$3,000-5,000

■625

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A PAIR OF GEORGE II GILTWOOD MIRRORS CIRCA 1755

38 in. (96.5 cm.) high, 28º in. (71.8 cm.) wide $8,000-12,000

(2)

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A PAIR OF CHINESE EXPORT PORCELAIN FAMILLE VERTE VASES, NOW MOUNTED AS LAMPS

A GEORGE III SYCAMORE, MAHOGANY AND MARQUETRY TRAVELING CABINET

10 in. (25.4 cm.) high, the porcelain

18Ω in. (47cm.) high, 14Ω in. (36.8 cm.) square

THE PORCELAIN KANGXI PERIOD, CIRCA 1720 $1,200-1,800

(4)

BY WILLIAM ROBERTS, DATED 1798 $3,000-5,000

■~628

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A PAIR OF LATE GEORGE III SILVERMOUNTED, TULIPWOOD-BANDED, AND LINE-INLAID MAHOGANY KNIFE BOXES

■629 LEARN MORE

■630

A SMALL PAIR OF ENGLISH OR IRISH CUT-GLASS JARS AND TWO COVERS

A GEORGE III SATINWOOD-INLAID MAHOGANY SIDEBOARD

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CIRCA 1780

19TH CENTURY

35æ in. (90.1 cm.) high, 72 in. (182.9 cm.) wide, 24æ in.

(62.9 cm.) deep

CIRCA 1790

5æ in. (14.5 cm.) high

15Ω in. (39.4 cm.) high, 9 in. (22.9 cm.) wide, 12 in. (30.5 cm.) deep (2)

$300-500

$2,000-3,000

■631 LEARN MORE

■632

■633

A GEORGE II STYLE WALNUT STOOL

A GEORGE III ENGRAVED SATINWOOD AND MAHOGANY STICK BAROMETER

(4)

$2,000-3,000

20TH CENTURY

17 in. (43.2 cm.) high, 27Ω in. (69.9 cm.) wide, 21Ω in.

(54.6 cm.) deep $2,000-3,000

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A PAIR OF GEORGE III MAHOGANY AND BRASS CANDLESTICKS LATE 18TH CENTURY

W. SCOT OF LAUDER, SCOTLAND, CIRCA 1780

14æ in. (37.5 cm.) high

41 in. (104.1 cm.) high

$1,000-1,500

(2)

$1,000-1,500

■634

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A PAIR OF CHINESE EXPORT PORCELAIN FAMILLE ROSE VASES AND COVERS, NOW MOUNTED AS LAMPS

$1,500-2,500

■636 LEARN MORE

A PAIR OF CHINESE EXPORT PORCELAIN VASES AND COVERS, NOW MOUNTED AS LAMPS

A GROUP OF THREE GEORGE III OVAL SILK-EMBROIDERED PICTURES

QIANLONG PERIOD, CIRCA 1785

QIANLONG PERIOD, CIRCA 1780 14Ω in. (36.7 cm.) high

■635 LEARN MORE

11º in. (28.5 cm.) high, the porcelain (5)

$1,500-2,000

EARLY 19TH CENTURY (4)

15Ω (39.4 cm.) x 12æ in. (32.4 cm.); 16æ (42.6 cm.) x 14Ω in (36.8 cm.); 12º (31.1 cm.) x 10Ω in. (26.7 cm.)

(3) $1,000-1,500

■637

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AN ENGLISH MAHOGANY SOFA

BY KITTINGER, CIRCA 1965

■638 LEARN MORE

■639

A PAIR OF ENGLISH MAHOGANY KETTLE STANDS

A GEORGE III MAHOGANY WIGSTAND

841/2 in. (214.6 xm.) long

EARLY 20TH CENTURY

$800-1,200

21æ in. (55.2 cm.) high, 11æ in. (29.9 cm.) square

■640

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A PAIR OF GEORGE III OVAL SILKEMBROIDERED PICTURES

CIRCA 1780 (2)

31Ω in. (80 cm.) high, 10æ in. (27.3 cm.) diameter

$800-1,200

$800-1,200

■641

■642

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A GEORGE I OAK CONSOLE TABLE CIRCA 1715, POSSIBLY REDUCED IN DEPTH

EARLY 19TH CENTURY

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A PAIR OF GEORGE II BRASS CANDLESTICKS

29æ in. (75.6 cm.) high, 42 in. (106.7 cm.) wide, 12º in.

(31.1 cm.) deep

CIRCA 1740

$800-1,200

$500-800

$300-500

■643

■644 LEARN MORE

■645

A LARGE CHINESE EXPORT PORCELAIN FAMILLE ROSE PUNCH BOWL

A SMALL PAIR OF CHINESE EXPORT PORCELAIN ‘FRENCH MARKET’ ARMORIAL WINE COOLERS

15¿ in. (38.3 cm.) diameter

7 in. (17.7 cm.) wide, overall

$3,000-5,000

$4,000-6,000

15Ω (39.4 cm.) x 13º in. (33.7 cm.)

(2)

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A PAIR OF CHINESE EXPORT PORCELAIN DOG-FORM CANDLESTICKS JIAQING PERIOD (1796-1820) 6¡ in. (16.1 cm.) long $2,500-3,500

QIANLONG PERIOD, CIRCA 1780 (2)

6º in. (15.9 cm.) high

(2)

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QIANLONG PERIOD, CIRCA 1775

(2)

■646

■647

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A PAIR OF CHINESE EXPORT PORCELAIN FAMILLE ROSE WINE COOLERS QIANLONG PERIOD (1736-1795) 7º in. (18.3 cm.) wide, overall

■648

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FOUR CHINESE EXPORT PORCELAIN LOTUS FORM BOWLS, COVERS AND STANDS

7√ in. (20 cm.) high

6 in. (15.2 cm.) diameter, the saucers

QIANLONG PERIOD, CIRCA 1785 (2)

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A PAIR OF CHINESE EXPORT PORCELAIN FAMILLE ROSE BOUGH POTS AND COVERS (4)

QIANLONG PERIOD (1736-1795)

$1,500-2,000

$2,000-3,000

$2,000-3,000

■649

■650

■651

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EIGHTEEEN CHINESE EXPORT PORCELAIN ARMORIAL ‘WARMING’ PLATES

A GROUP OF FOURTEEN CHINESE EXPORT PORCELAIN FAMILLE ROSE SALTS

11Ω in. (29.1 cm.) diameter, overall

$3,000-5,000

JIAQING PERIOD, CIRCA 1800

(18)

QIANLONG PERIOD (1736-1795)

(14)

$4,000-6,000

(12)

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SET OF SEVEN CHINESE EXPORT PORCELAIN ‘FRENCH MARKET’ ARMORIAL PLATES AND THREE SOUP PLATES QIANLONG PERIOD, CIRCA 1775 9Ω in. (24 cm.) diameter

(10)

$2,500-3,500

■652

■653

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■654

LEARN MORE

A LARGE PAIR OF CHINESE EXPORT PORCELAIN VASES, NOW MOUNTED AS LAMPS

SIX SMALL CHINESE EXPORT PORCELAIN ‘ENGLISH MARKET’ ARMORIAL DISHES

A GROUP OF CHINESE EXPORT PORCELAIN ‘ENGLISH MARKET’ TABLE WARES

15º in. (38.7 cm.) high, the porcelain

Four shaped rectangular dishes, 9º in. (23.5 cm.) long Two smaller shaped rectangular dishes, 8 in. (20.3 cm.) long (6)

$1,500-2,000

QIANLONG PERIOD, CIRCA 1780 $10,000-15,000

(4)

QIANLONG PERIOD, CIRCA 1785

$1,500-2,000

QIANLONG PERIOD, CIRCA 1755-1775

(4)

■655

■656

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A MENNECY PORCELAIN QUATREFOIL OVAL SUGAR BOWL, COVER AND STAND

Twelve large chargers, 12Ω in. (31.7 cm.) diameter Eleven smaller chargers, 11¡ in. (28.8 cm.) diameter

8Ω in. (21.7 cm.) long, the stand

QIANLONG PERIOD (1736-1795)

$600-800

■658

■659

TEN CHINESE EXPORT PORCELAIN FAMILLE ROSE CUSTARD-CUPS AND COVERS QIANLONG PERIOD, CIRCA 1775 2√ in. (7.2 cm.) high

(20)

CIRCA 1750 AND 1790 (3)

4 in. (10.2 cm.) high, the largest, a Mennecy example (22) $700-1,000

■660

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THREE CHINESE EXPORT PORCELAIN FAMILLE ROSE SALTS

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A PAIR OF CHINESE EXPORT PORCELAIN FAMILLE ROSE OVAL SALTS

QIANLONG PERIOD (1736-1795) 3º in. (8.2 cm.) long

LEARN MORE

AN ASSEMBLED SET OF TEN FRENCH PORCELAIN CUSTARD CUPS AND COVERS

CIRCA 1750, INCISED RESPECTIVELY D,V, AND P,3,, SCRIPT LOWERCASE F34, AND DVP

$3,000-5,000

LEARN MORE

■657

LEARN MORE

A SET OF TWENTY-THREE CHINESE EXPORT PORCELAIN FAMILLE ROSE CHARGERS

(3)

$800-1,200

$600-800

QIANLONG PERIOD, CIRCA 1785

3¡ in. (8.5 cm.) and 3º in. (8.2 cm.) long $600-800

■661 LEARN MORE

■662

THREE CHINESE EXPORT PORCELAIN INITIALED GRADUATED TANKARDS

A CHINESE EXPORT PORCELAIN ‘ENGLISH MARKET’ CRESTED MUG

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QIANLONG PERIOD, CIRCA 1770

■663

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A CHINESE EXPORT PORCELAIN ‘ENGLISH MARKET’ ARMORIAL MUG

QIANLONG PERIOD, CIRCA 1780

5¿ in. (13 cm.) high

QIANLONG PERIOD, CIRCA 1780

6¿ in. (15.5 cm.) high, 5Ω in. (14 cm.) high and 4√ in. (12.5 cm.) high (3)

$800-1,200

5Ω in. (14 cm.) high

$1,500-2,000

$600-800

(2)

■664

■665

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THREE CHINESE EXPORT PORCELAIN ARMORIAL WARES QIANLONG PERIOD (1736-1795) 5æ in. (14.5 cm.) high, the largest

■666

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FOUR CHINESE EXPORT PORCELAIN FAMILLE ROSE MUGS QIANLONG PERIOD (1736-1795) (3)

$1,200-1,800

7 in. (17.6 cm.) high, the largest

LEARN MORE

A CHINESE EXPORT PORCELAIN ARMORIAL SAUCE TUREEN, COVER AND STAND (4)

SECOND QUARTER 18TH CENTURY 7¬ in. (19.3 cm.) long, the stand

$600-800

(3)

$800-1,200

■667

■668

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THREE CHINESE EXPORT PORCELAIN ARMORIAL DISHES CIRCA 1755, 1750 AND 1804, RESEPCTIVELY

(3)

$1,200-1,800

■669

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THREE CHINESE EXPORT PORCELAIN ARMORIAL STANDS QIANLONG PERIOD, CIRCA 1747-1755

(3)

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A SET OF FIVE CHINESE EXPORT PORCELAIN ‘SCOTTISH MARKET’ TEABOWLS QIANLONG PERIOD, CIRCA 1760

$800-1,200

2√ in. (7.3 cm.) diameter $600-800

■670

■671

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A CHINESE EXPORT PORCELAIN ‘ENGLISH MARKET’ ARMORIAL PART DINNER SERVICE QIANLONG PERIOD, CIRCA 1760

17æ in. (45 cm.) long, the largest platter $8,000-12,000

■672

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A CHINESE EXPORT PORCELAIN FAMILLE ROSE ARMORIAL PART SERVICE QIANLONG PERIOD, CIRCA 1770 (78)

14Ω in. (36.7 cm.) long, the soup tureen stands $8,000-12,000

LEARN MORE

A FRENCH ORMOLU-MOUNTED SAMSON PORCELAIN FIGURE OF A MAGOT LATE 19TH/EARLY 20TH CENTURY (90)

11 in. (28 cm.) long, overall $1,500-2,500

(5)

■673

■674

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A PAIR OF FRENCH ORMOLU TWOBRANCH WALL-LIGHTS SECOND HALF 19TH CENTURY 22 in. (56 cm.) high

■675

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A PAIR OF FRENCH ORMOLU CANDLESTICKS LATE 19TH CENTURY (2)

11Ω in. (29.5 cm.) high

LEARN MORE

A PAIR OF FRENCH GILTWOOD FAUTEUILS LATE 19TH CENTURY (2)

37 in. (94 cm.) high

$3,000-5,000

$3,000-5,000

$4,000-6,000

■~676

■677

■~678

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A LATE LOUIS XV STYLE ORMOLUMOUNTED TULIPWOOD, FRUITWOOD AND MARQUETRY TABLE EN CHIFFONNIERE

LEARN MORE

(2)

LEARN MORE

A LOUIS XVI-STYLE ORMOLU AND CUT-GLASS SIXTEEN-LIGHT CHANDELIER

A LOUIS XV ORMOLU-MOUNTED KINGWOOD AND TULIPWOOD BUREAU PLAT

20TH CENTURY

40 in. (102 cm.) high

32º in. (82 cm.) high, 16 in. (41 cm.) wide, 14Ω in. (37 cm.) deep

$7,000-10,000

27æ in. (70.5 cm.) high, 39 in. (99.5 cm.) wide, 22 in. (56 cm.) deep

19TH CENTURY

CIRCA 1750, LATER MOUNTED

$6,000-9,000

$3,000-5,000

■~679

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A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, KINGWOOD AND MARQUETRY TABLE A ECRIRE

BY ADRIEN FAIZELOT-DELORME, CIRCA 1765, PARTIALLY REVENEERED AND WITH REPLACEMENTS TO MOUNTS

26Ω in. (67.5 cm.) high, 12æ in. (32.5 cm.) wide, 9º in.

(23.5 cm.) deep $4,000-6,000

■680

■681 LEARN MORE

LEARN MORE

A PAIR OF ORMOLU-MOUNTED CHINESE IMARI EXPORT PORCELAIN CACHE-POTS

AN EMPIRE ORMOLU AND PATINATED BRONZE FOUR-LIGHT CANDELABRUM

THE PORCELAIN CIRCA 1720, THE ORMOLU MOUNTS OF LATER DATE 8Ω in. (22 cm.) wide, over the ormolu shells $3,000-5,000

CIRCA 1805 (2)

27Ω in. (70 cm.) high $2,000-3,000

■682

■683

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A PAIR OF FRENCH ORMOLU CANDLESTICKS CIRCA 1900

11º in. (29 cm.) high

■684

LEARN MORE

A PAIR OF DIRECTOIRE ORMOLUMOUNTED PARIS PORCELAIN BRULES-PARFUM (2)

$2,000-3,000

CIRCA 1795

14Ω in. (37 cm.) high

(2)

$5,000-8,000

■685

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A FRENCH GILTWOOD BAROMETER 19TH CENTURY

43Ω in. (110.5 cm.) high, 11 in. (28 cm.) diameter $2,000-3,000

■~686

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A PAIR OF LOUIS XV ORMOLU AND PATINATED BRASS TWO-BRANCH CANDELABRA

LEARN MORE

A FRENCH ORMOLU-MOUNTED TULIPWOOD, SYCAMORE AND MARQUETRY TABLE A ECRIRE THIRD QUARTER 18TH CENTURY AND LATER

30æ in. (78.5 cm.) high, 17Ω in. (44.5 cm.) wide, 12æ in.

(32.5 cm.) deep

THE ORMOLU CIRCA 1740, THE FIGURES 19TH CENTURY 7º in. (18.5 cm.) wide

(2)

$3,000-5,000

■687

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A SOUTH ITALIAN GILTWOOD CONSOLE TABLE THIRD QUARTER 18TH CENTURY

32Ω in. (83 cm.) high, 49Ω in. (126 cm.) wide, 17 in. (43.5 cm.) deep $4,000-6,000

$2,000-3,000

■688

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A FRENCH GILTWOOD BERGERE LATE 19TH/EARLY 20TH CENTURY

■689 LEARN MORE

■690

A PAIR OF GERMAN GILTWOOD CONSOLE TABLES

A PAIR OF EMPIRE REVIVAL EBONIZED AND PARCEL-GILT FAUTEUILS

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37 in. (94 cm.) high

PROBABLY MID-18TH CENTURY

$2,000-3,000

31Ω in. (80.5 cm.) high, 26 in. (66.5 cm.) wide, 13º in. (34 cm.) deep (2)

LATE 19TH CENTURY

$4,000-6,000

$2,000-3,000

36Ω in. (93 cm.) high

(2)

■~691

■692

LEARN MORE

A FRENCH ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND PARQUETRY TABLE EN CHIFFONNIERE

LEARN MORE

A PAIR OF LOUIS XV GILTWOOD AND POLYCHROME-DECORATED CONSOLES D'APPLIQUE

POSSIBLY GERMAN, CONSTRUCTED FROM 18TH CENTURY ELEMENTS

THE MARQUETRY PANEL TO THE TOP LOUIS XVI, LATE 18TH CENTURY

17Ω in. (44.5 cm.) high, 28Ω in. (72.5 cm.) wide, 12Ω in.

(32 cm.) deep (2)

26Ω in. (67.5 cm.) high, 16Ω in. (42 cm.) wide, 10º in.

(26.5 cm.) deep

■693

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A FRENCH GILTWOOD TABOURET 19TH CENTURY

13Ω in. (34.5 cm.) high, 21 in. (53.5 cm.) wide, 15º in. (39 cm.) deep $1,000-1,500

$3,000-5,000

$3,000-5,000

■694

■695

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A FRENCH ORMOLU-MOUNTED BOIS SATINE AND MARQUETRY SIDE TABLE

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A LOUIS XV-STYLE ORMOLU, ROCK CRYSTAL AND CUTGLASS MOUNTED EIGHT-LIGHT CHANDELIER

19TH CENTURY

■~696

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A FRENCH ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND MARQUETRY TABLE A ECRIRE PARTS POSSIBLY 18TH CENTURY

27Ω in. (70 cm.) high, 15 in. (38.5 cm.) wide, 9 in. (23 cm.) deep

20TH CENTURY

32Ω in. (83 cm.) high, 17Ω in. (44.5 cm.) diameter

29 in. (74 cm.) high, 20Ω in. (52.5 cm.) wide, 14Ω in. (37 cm.) deep

$1,500-2,500

$3,000-5,000

$2,000-3,000

■~697

■~698

■~699

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A PAIR OF FRENCH TULIPWOOD AND MARQUETRY OCCASIONAL TABLES

BY JEAN-FRANCOIS DUBUT, CIRCA 1750

20TH CENTURY

28Ω in. (72.5 cm.) high, 17º in. (44 cm.) wide, 12º in.

(31.5 cm.) deep $1,000-1,500

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A LOUIS XV ORMOLU-MOUNTED KINGWOOD TABLE A ECRIRE 27 in. (69 cm.) high, 16æ in. (43 cm.) wide, 12Ω in. (32 cm.) deep (2)

$3,000-5,000

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A FRENCH ORMOLU-MOUNTED TULIPWOOD, FRUITWOOD, BURR BIRCH AND MARQUETRY TABLE A ECRIRE 19TH CENTURY

28Ω in. (72.5 cm.) high, 19º in. (49 cm.) wide, 12æ in.

(32.5 cm.) deep $3,000-5,000

■700

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A FRENCH ORMOLU-MOUNTED MAHOGANY VITRINE LATE 19TH/EARLY 20TH CENTURY

67º in. (171 cm.) high, 26Ω in. (67.5 cm.) wide, 13æ in. (35 cm.) deep $3,000-5,000

■701 LEARN MORE

■702

A LOUIS XVI BRASS-MOUNTED MAHOGANY SECRETAIRE A ABATTANT

A LOUIS XVI GREY-PAINTED BERGERE

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BY JEAN-BAPTISE LELARGE, CIRCA 1775

LATE 18TH CENTURY

37Ω in. (95.5 cm.) high

55º in. (140.5 cm.) high, 37Ω in. (95.5 cm.) wide, 16 in.

(41 cm.) deep

$3,000-5,000

$2,000-3,000

■~703

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A LOUIS XV ORMOLU-MOUNTED KINGWOOD AND TULIPWOOD COMMODE

BY JEAN DEMOULIN, CIRCA 1745

32 in. (81.5 cm.) high, 36Ω in. (93 cm.) wide, 20 in. (51 cm.) deep

■~704

■705 LEARN MORE

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A LOUIS XV ORMOLU-MOUNTED TULIPWOOD COMMODE

A PAIR OF GERMAN PARCEL-GILT AND CREAM AND POLYCHROMEDECORATED FAUTEUILS

CIRCA 1745

34Ω in. (88 cm.) high, 43Ω in. (110.5 cm.) wide, 23 in.

(58.5 cm.) deep

POSSIBLY POTSDAM, MID-18TH CENTURY

$3,000-5,000

$5,000-8,000

■707

■708

35æ in. (91 cm.) high

(2)

$3,000-5,000

■~706

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A LOUIS XV ORMOLU-MOUNTED TULIPWOOD AND MARQUETRY ARMOIRE

BY JEAN-CHARLES ELLAUME, CIRCA 1765, THE MOUNTS AND MARQUETRY LATER

44Ω in. (113.5 cm.) high, 31æ in. (81 cm.) wide, 15Ω in.

(39.5 cm.) deep $3,000-5,000

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A PAIR OF GEORGE III GRAYPAINTED FAUTEUILS EN CABRIOLET CIRCA 1760

$2,000-3,000

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A PAIR OF LOUIS XV ASH AND BEECHWOOD FAUTEUILS MID-18TH CENTURY (2)

35Ω in. (90.5 cm.) high $2,000-3,000

(2)

■709

■710

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A LOUIS XVI-STYLE ORMOLU THREE-LIGHT BOUILLOTTE LAMP

LEARN MORE

A ORMOLU-MOUNTED CHANTILLY PORCELAIN TOBACCO JAR

19TH/20TH CENTURY

CIRCA 1730-1735, THE MOUNTS PROBABLY OF A LATER DATE

26æ in. (68 cm.) high $1,000-1,500

■711

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A LATE LOUIS XVI ORMOLUMOUNTED CHINESE WUCAI PORCELAIN JARDINIERE

7Ω in. (19.5 cm.) high

THE PORCELAIN QING DINASTY, 18TH CENTURY, THE ORMOLU LATE 18TH CENTURY

$2,000-3,000

9Ω in. (24.5 cm.) diameter $3,000-5,000

■712

■713

LEARN MORE

A PAIR OF CHARLES X ORMOLU AND PATINATED BRONZE TWOLIGHT CANDELABRA

CIRCA 1825, ALTERATIONS AND POSSIBLE REPLACEMENTS TO LOWER ELEMENTS, INCLUDING THE GLOBES 18æ in. (48 cm.) high $3,000-5,000

■715

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A FRENCH ORMOLU FIGURE OF SILENUS HOLDING THE INFANT BACCHUS, NOW MOUNTED AS A LAMP 19TH CENTURY, THE LAMP FITTINGS 20TH CENTURY 23º in. (59.5 cm.) high, overall $2,000-3,000

(2)

LEARN MORE

AN EMPIRE ORMOLU AND PATINATED BRONZE BRULEPARFUM

POSSIBLY NORTH EUROPEAN, EARLY 19TH CENTURY 11º in. (29 cm.) high

■714

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A NEAR PAIR OF LOUIS XVI-STYLE ORMOLU BOUILLOTTE LAMPS 20TH CENTURY

26Ω in. (67.5 cm.) high

(2)

$2,000-3,000

$1,000-1,500

■716

LEARN MORE

A LOUIS XVI-STYLE ORMOLU AND CUT GLASS EIGHT-LIGHT CHANDELIER

■717 LEARN MORE

A PAIR OF LOUIS XVI GILTWOOD FAUTEUILS

BY GEORGES JACOB, CIRCA 1785

20TH CENTURY

36º in. (92.5 cm.) high

43æ in. (111.5 cm.) high

$5,000-8,000

$4,000-6,000

(2)

■718

LEARN MORE

A NORTH GERMAN ORMOLU AND WHITE-MARBLE MOUNTED MAHOGANY VITRINE TABLE BERLIN, LATE 18TH CENTURY, PROBABLY FORMERLY WITH A FIXED TOP AND A FRIEZE DRAWER

29æ in. (76 cm.) high, 32º in. (82 cm.) wide, 26Ω in.

(67.5 cm.) deep

■~719

LEARN MORE

A LOUIS XV-STYLE TULIPWOOD, AMARANTH AND MARQUETRY POUDREUSE

■720

LEARN MORE

A DIRECTOIRE ORMOLU THREELIGHT BOUILLOTTE LAMP

CIRCA 1795, THE NOZZLES AND SHADE ASSOCIATED

LATE 19TH/EARLY 20TH CENTURY

24Ω in. (62.5 cm.) high

28º in. (72 cm.) high, 35Ω in. (90.5 cm.) wide, 16 in. (41 cm.) deep

$2,000-3,000

$2,000-3,000

$2,000-3,000

■721 LEARN MORE

■~722

A FRENCH ORMOLU-MOUNTED AMBOYNA AND AMARANTH GUERIDON

A LOUIS XV ORMOLU-MOUNTED TULIPWOOD TABLE A ECRIRE

A LOUIS XVI-STYLE ORMOLU THREE-LIGHT BOUILLOTTE LAMP

AFTER THE MODEL BY ADAM WEISWEILER, 19TH CENTURY

28º in. (72 cm.) high, 23æ in. (60.5 cm.) wide, 14º in.

(36.5 cm.) deep

20Ω in. (52.5 cm.) high

29Ω in. (75 cm.) high, 14æ in. (37.5 cm.) diameter

$2,000-3,000

LEARN MORE

BY JACQUES DUBOIS, CIRCA 1765

■723

LEARN MORE

20TH CENTURY $1,000-1,500

$3,000-5,000

■724

LEARN MORE

A CHARLES X ORMOLU VASE, NOW MOUNTED AS A LAMP

■725

LEARN MORE

■726 LEARN MORE

A CHINESE GILT-DECORATED DARK BROWN AND POLYCHROME LACQUER TABLE

23æ in. (60.5 cm.) high

19TH CENTURY

A CHINESE DEHUA PORCELAIN BOTTLE VASE, NOW MOUNTED AS A LAMP

$1,000-1,500

18Ω in. (47 cm.) high, 23º in. (59.5 cm.) wide, 19º in. (49 cm.) deep

25æ in. (65.5 cm.) high, overall

CIRCA 1825

$1,000-1,500

THE PORCELAIN QING DYNASTY, 18TH/19TH CENTURY $1,000-1,500

■727

■728

LEARN MORE

■729 LEARN MORE

LEARN MORE

A LOUIS XVI STYLE ORMOLU THREE-LIGHT BOUILLOTTE LAMP

A PAIR OF LOUIS XV BEECHWOOD TABOURETS

A REGENCE BEECHWOOD TABOURET

27 in. (69 cm.) high

21 in. (53.5 cm.) high, 16º in. (41.5 cm.) wide, 16º in. (41.5 cm.) deep (2)

16æ in. (43 cm.) high, 14æ in. (37.5 cm.) wide, 20º in.

(51.5 cm.) deep

$2,000-3,000

$800-1,200

■731

■732

20TH CENTURY

CIRCA 1740

$1,000-1,500

■730

LEARN MORE

A FRENCH BRASS-MOUNTED AND INLAID MAHOGANY CABINET

CIRCA 1720

LEARN MORE

AN ORMOLU-MOUNTED MEISSEN PORCELAIN FIGURAL POT-POURRI CENTERPIECE AND COVER

INCORPORATING 18TH CENTURY ELEMENTS

THE PORCELAIN MID-18TH CENTURY, FAINT BLUE CROSSED SWORDS MARK TO SIDE OF BASE, THE ORMOLU OF A LATER DATE

35æ in. (91 cm.) high, 17º in. (44 cm.) wide, 13 in. (33.5 cm.) deep $800-1,200

18Ω in. (47 cm.) high

LEARN MORE

A PAIR OF RESTAURATION ORMOLU AND PATINATED BRONZE CANDLESTICKS POSSIBLY NORTH EUROPEAN, CIRCA 1820-1840 4æ in. (12.5 cm.) high

(2)

(2)

$1,000-1,500

$6,000-8,000

■733

■734

LEARN MORE

A PAIR OF FRENCH ORMOLU CANDLESTICKS

AFTER THE MODEL BY ROBERT-JOSEPH AUGUSTE, 20TH CENTURY 11æ in. (30 cm.) high $3,000-5,000

(2)

■735

LEARN MORE

A FRENCH FAIENCE VASE, NOW MOUNTED AS A LAMP 19TH/20TH CENTURY

11Ω in. high, the porcelain $200-300

LEARN MORE

A LOUIS XV BEECHWOOD TABOURET CIRCA 1750 (2)

18Ω in. (47 cm.) high, 19º in. (49 cm.) wide, 16 in. (41 cm.) deep $800-1,200

■~736

LEARN MORE

A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND MARQUETRY TABLE A ECRIRE

MID-18TH CENTURY, THE MARQUETRY PROBABLY LATER

■~737

LEARN MORE

A FRENCH ORMOLU-MOUNTED TULIPWOOD, AMARANTH AND MARQUETRY TABLE EN CHIFFONNIERE 19TH/20TH CENTURY

28 in. (71.5 cm.) high, 16æ in. (43 cm.) wide, 12º in. (31.5 cm.) deep

29æ in. (76 cm.) high, 17Ω in. (44.5 cm.) wide, 13Ω in.

(34.5 cm.) deep

$2,000-3,000

$2,000-3,000

739

740

LEARN MORE

GEORGE ROMNEY (DALTON-INFURNESS, LANCASHIRE 1734-1802 KENDAL, CUMBRIA)

Portrait of George Henry Fitzroy (17601844), Earl of Euston, later 4th Duke of Grafton, three-quarter-length, in a black coat, with a landscape beyond

LEARN MORE

JOHN HOPPNER, R.A. (LONDON 17581810)

Portrait of the Honorable Arabella Bouverie, later Talbot, née Ogle (17621855), half-length, in a white dress, before a red curtain $12,000-18,000

$12,000-18,000

742

LEARN MORE

CIRCLE OF JOHN HOPPNER, R.A. (LONDON 1758-1810)

Portrait of the Hon. Frances Anne Freeman Thomas, née Broderick (17821858), half-length, seated, in a white dress $10,000-15,000

738

LEARN MORE

CIRCLE OF BARON FRANÇOIS PASCAL SIMON GÉRARD (ROME 1770-1837 PARIS)

Portrait of a young man, bust-length, in a green coat, before a landscape $5,000-7,000

741

LEARN MORE

JAMES FROTHINGHAM (CHARLESTON 1786-1864 NEW YORK), AFTER GILBERT STUART

Portrait of General Matthew Clarkson (1758-1825), half-length, in a blue military coat with the ribbon of the order of the Cincinnati $10,000-15,000

743 LEARN MORE

744

AFTER GEORGE ROMNEY

FRANÇOIS DE TROY (TOULOUSE 1645-1730 PARIS)

Portrait of Major General Thomas Dundas (1750-1794), bust-length, in uniform $2,000-3,000

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Portrait of a lady, half-length in a blue gown $10,000-15,000

745 LEARN MORE

746 LEARN MORE

747

ATTRIBUTED TO HENRY WYATT (THICKBROOM, STAFFORDSHIRE 1794-1840 PRESWICH), AFTER SIR THOMAS LAWRENCE, P.R.A.

JOHN EMMS (BRITISH, 1841-1912)

RAOUL MILLAIS (BRITISH, 1901-1999)

$20,000-30,000

$3,000-5,000

749 LEARN MORE

750 LEARN MORE

BENJAMIN WILLIAMS LEADER, R.A. (BRITISH, 1831-1923)

JEAN-BAPTISTE HUET (PARIS 17451811)

English Setters with a Brace of Partridge

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The Spaniels

Portrait of Frederick Augustus (17631827), Duke of York and Albany, halflength, wearing the Order of the Garter $1,500-2,000

748

LEARN MORE

FÉLIX ZIEM (FRENCH, 1821-1911)

Gondole devant les jardins français $15,000-20,000

Twilight on the Thames $8,000-12,000

A shepherd, shepherdess and children with cattle and sheep in a woodland clearing; and A shepherdess and children eating fruit in a clearing $6,000-8,000

751 LEARN MORE

752

AFTER JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS)

FOLLOWER GABRIEL-JACQUES DE SAINT-AUBIN (1724-1780)

The cavalcade $2,000-3,000

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Portrait of a lady, bust-length, in profile to the right $2,000-3,000

753

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JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM)

Portrait of Eliza Pulleine, daughter of Henry Pulleine of Carleton Hall, small half-length, in a black dress and hat with black and white ostrich feathers $2,000-3,000

754

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JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM)

Portrait of Mary Seawell of Great Bookham, half-length, in a white dress, red coral earrings and choker

755 LEARN MORE

756

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM)

JOHN DOWNMAN, A.R.A. (RUABON, WALES 1750-1824 WREXHAM)

Portrait of Captain Keppel, small halflength, in uniform

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Portrait of Mrs Fortescue, seated, half-length, seen in profile to the right, holding a letter

$1,500-2,500

$1,500-2,500

$1,500-2,500

757 LEARN MORE

758

AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878)

AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878)

AFTER JOHN JAMES AUDUBON (1785-1851)

BY ROBERT HAVELL (1793-1878)

$2,000-3,000

$800-1,200

■761

■762

Barnacle Goose (Plate CCXCVI) Branta leucopis $2,000-3,000

■760

LEARN MORE

A PAIR OF ENGLISH PORCELAIN RECTANGULAR PLAQUES OF PASTORAL VIEWS

Pied Duck (Plate CCCXXXII) Labrador Duck, Camptorhynchus labradorius

Great Marbled Godwit (Plate CCXXXVIII) Marbled Godwit, Limosa fedoa

LEARN MORE

A PAIR OF PLYMOUTH PORCELAIN MODELS OF PHEASANTS 8 in. (20.3 cm.) high

6Ω in. (16.5 cm.) high, 8Ω in. (21.5 cm.) wide, excluding the birdseye maple veneered wooden frames (2)

$5,000-7,000

LEARN MORE

A SET OF FOURTEEN PARIS (ROUARD) PORCELAIN ORNITHOLOGICAL PLATES

CIRCA 1770

19TH CENTURY

$1,000-1,500

759 LEARN MORE

LEARN MORE

(2)

EARLY 20TH CENTURY, IRON-RED AND GILT ROUARD, 34 RUE DE L’OPERA, PARIS MARKS 9æ in. (24.7 cm.) diameter $2,000-3,000

(14)

■763 LEARN MORE

■764

A SMALL PAIR OF SPODE PORCELAIN COBALT-BLUE GROUND SPILL VASES

A PAIR OF FRANKENTHAL PORCELAIN GLASS COOLERS MOUNTED WITH TOLE AND PORCELAIN BOUQUETS

CIRCA 1820, IRON-RED PAINTED SPODE MARK AND PATTERN NO. 2575 3¿ in. (8 cm.) high

(2)

$400-600

■765 LEARN MORE

LEARN MORE

TWO VIENNA PORCELAIN COFFEEWARES CIRCA 1770, BLUE BINDENSCHILD MARKS

(4)

$250-400

THE COOLERS CIRCA 1760, BLUE RAMPANT LION MARKS; THE CONTINTENAL FLOWERS 18TH CENTURY OR LATER, THE TOLE LATER 13 in. (33 cm.) high and 12 in. (30.5 cm.) high

(4)

$3,000-5,000

■766 LEARN MORE

■767

AN ASSEMBLED HEREND PORCELAIN PART DINNER SERVICE

A WORCESTER (FLIGHT, BARR & BARR) PORCELAIN PINK-GROUND ARMORIAL PART SERVICE

20TH CENTURY, BLUE PAINTED CROWNED SHIELD MARKS, MANY WITH CROSSED PAINTBRUSHES BELOW, VARIOUS IMPRESSED AND INCISED NUMERALS 16º in. (41.2 cm.) long, the platter

(96)

■768

LEARN MORE

CIRCA 1813-1819, IRON-RED CROWNED ROYAL PORCELAIN WORKS AND IMPRESSED MONOGRAM MARKS 16º in. (41.2 cm.) long, the largest platter

(76)

$4,000-6,000

$8,000-12,000

■769 LEARN MORE

■770

FOURTEEN ROYAL CROWN DERBY PORCELAIN IMARI COFFEE-CUPS AND SAUCERS

A ROYAL CROWN DERBY PORCELAIN IMARI PART SERVICE

DATE CYPHERS FOR 1965-1978 TO MOST, IRON-RED CROWNED D MARKS

MID-20TH CENTURY, IRON-RED CROWNED D’S MARKS AND VARIOUS DATE CYPHERS, PATTERN NO. A720

4Ω in. (11.4 cm.) diameter, the saucers

10Ω in. (26.6 cm.) diameter, the dinner plates

$600-800

(28)

A DERBY PORCELAIN IMARI PART DINNER SERVICE CIRCA 1820, IRON-RED CROWNED CROSSED BATONS AND D MARKS, VARIOUS IRON-RED NUMBERS, INCLUDING 19, 29 AND 89

(49)

$4,000-6,000

■771 LEARN MORE

LEARN MORE

$600-800

LEARN MORE

A PAIR OF WORCESTER PORCELAIN ‘BLIND EARL’ PATTERN SMALL PLATES CIRCA 1770

(56)

7¬ in. (19.3 cm.) diameter $800-1,200

(2)

■772 LEARN MORE

■773 LEARN MORE

■774

TWELVE BERLIN (K.P.M.) PORCELAIN RETICULATED PLATES AND TWO OVAL PLATTERS

A NYPHENBURG PORCELAIN PART TEA AND DESSERT SERVICE

THREE MENNECY PORCELAIN TABLE WARES

LATE 19TH/20TH CENTURY, BLUE SCEPTRE AND IRON-RED ORB MARKS, VARIOUS IMPRESSED CYPHERS 8√ in. (22.5 cm.) diameter, the plates 15Ω in. (39.3 cm.) long, the platters

THIRD QUARTER 20TH CENTURY, GREEN PRINTED CROWNED SHIELD AND WESTERN GERMANY MARK, IMPRESSED SHIELD, PATTERN NO. 5978 7¡ in. (18.6 cm.) diameter, the cake plates

(14)

LEARN MORE

CIRCA 1760-1765, INCISED D.V. MARKS TO ALL

(5)

$1,000-1,500

(42)

$600-800

$1,500-2,000

■775

■776

LEARN MORE

A LOWESTOFT PORCELAIN BLUE AND WHITE GUGLET AND BASIN

A PAIR OF ENGLISH PORCELAIN BLUE AND WHITE SAUCEBOATS

CIRCA 1770

10º in. (26 cm.) diameter, the basin

(2)

$2,500-3,500

■778

LEARN MORE

A WORCESTER PORCELAIN BLACK TRANSFER PRINTED ‘KING OF PRUSSIA’ MUG

DATED 1757, BLACK PRINTED WORCESTER AND RH FOR ROBERT HANCOCK TO THE SIDE 4Ω in. (11.3 cm.) high $300-500

■777

LEARN MORE

A PAIR OF WORCESTER PORCELAIN BLUE AND WHITE WALL POCKETS

CIRCA 1775, HATCHED BLUE CRESCENT MARKS PROBABLY FOR LOWESTOFT 7Ω in. (19 cm.) long

CIRCA 1760, BLUE WORKMAN’S MARK TO ONE (2)

$400-600

■779

LEARN MORE

A GROUP OF WORCESTER PORCELAIN BLUE AND WHITE TABLE WARES

LEARN MORE

9¿ in. (23.1 cm.) long $600-800

■780

LEARN MORE

A WORCESTER PORCELAIN BLUE AND WHITE GUGLET CIRCA 1770, BLUE SCRIPT W MARK

CIRCA 1765-1780, MOST WITH CRESCENT MARKS (10)

8æ in. high

$1,500-2,000

$500-800

(2)

■781 LEARN MORE

■782

A PAIR OF WORCESTER PORCELAIN BLUE AND WHITE LEAF-SHAPED DISHES

A GROUP OF WORCESTER PORCELAIN BLUE AND WHITE TEAWARES

CIRCA 1765, BLUE OPEN CRESCENT MARKS 9Ω in. (24.1 cm.) long

(2)

■783

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CIRCA 1770-1780, BLUE CRESCENT MARKS TO ALL (15)

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TWO WORCESTER PORCELAIN BLUE AND WHITE RETICULATED BASKETS CIRCA 1775, BLUE CRESCENT MARKS

8æ in. (22.2 cm.) and 8º in. (21 cm.) long

$400-600

$700-1,000

$600-800

■784 LEARN MORE

■785

■786 LEARN MORE

A CAUGHLEY PORCELAIN BLUE AND WHITE CHESTNUT BASKET, RETICULATED COVER AND STAND

A GROUP OF ENGLISH PORCELAIN CHINOISERIE BLUE AND WHITE TEAWARES

CIRCA 1780, BLUE C MARKS

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LATE 18TH CENTURY

10Ω in. (26.7 cm.) long, the stand

(2)

SIX ENGLISH CUT-GLASS RINSERS 19TH CENTURY (7)

5Ω in. wide, overall

(6)

$800-1,200

$300-500

$600-800

■787 LEARN MORE

■788 LEARN MORE

■789

SIX IRISH CUT-GLASS RINSERS

THIRTEEN IRISH CUT-GLASS RINSERS

GROUP OF BRITISH HISTORIES

19TH CENTURY $600-800

(6)

VARIOUS, 18TH–19TH CENTURIES

19TH CENTURY

5Ω in. (14 cm.) wide $600-800

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(13)

$1,000-2,000

(50)

■790

■791 LEARN MORE

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COLLECTION OF FRENCH ROYAL AND ARISTOCRATIC BINDINGS VARIOUS, 18TH CENTURY

GROUP OF POETRY

VARIOUS, 19TH–20TH CENTURIES (5)

■792 LEARN MORE (20)

VARIOUS, 16TH–19TH CENTURIES

$500-1,000

$3,000-5,000

VARIOUS, 18TH–19TH CENTURIES

(44)

$2,000-3,000

■793 LEARN MORE

GROUP OF BRITISH LITERATURE

GROUP OF FRENCH AND CONTINENTAL LITERATURE

■794 LEARN MORE (28)

$1,000-2,000

■795 LEARN MORE

GROUP OF AMERICAN LITERATURE VARIOUS, 19TH–20TH CENTURIES

(19)

$500-1,000

COLLECTION OF THREE FRENCH ROYAL AND ARISTOCRATIC BINDINGS VARIOUS, 17TH–18TH CENTURIES

(3)

$2,000-3,000

■796

■797

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MINIATURE LIBRARY

VARIOUS, 18TH–20TH CENTURIES $2,000-3,000

(31)

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■798

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LE SACRE ET COURONNEMENT DE LOUIS XVI

POMPADOUR BINDING – LES MILLE ET UNE FAVEURS

$10,000-15,000

$5,000-6,000

[LOUIS XVI], 1775

MARGUERITE, QUEEN OF NAVARRE, 1740

(8)

■799

LEARN MORE

POMPADOUR – GROUP OF THREE FALSE BOOKS AND TWO FOLDERS VARIOUS, 18TH–20TH CENTURIES $500-800

Wednesday, 4–18 February (Lots 901-1089) Offsite viewing available by appointment only

■901

■902

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A SET OF SIX AMERICAN ENAMEL MOUNTED GOLD MATCHBOX HOLDERS

2¿ in. (5.4 cm.) long (8)

(4)

(5)

$15,000-20,000

■905

LEARN MORE

A GROUP OF SEVEN AMERICAN GOLD MATCHBOX COVERS AND PILL BOXES VARIOUS MAKERS, MID-2OTH CENTURY

2¡ in. (6 cm.) long, the Art Deco matchbox cover

MARK OF CARTIER, NEW YORK, CIRCA 1932, 14 KARAT 6¡ in. (16.2 cm.) long, the cigarette box

$8,000-12,000

$15,000-20,000

■904

LEARN MORE

AN AMERICAN JEWELED GOLD CIGARETTE BOX AND FOUR MATCHING MATCHBOX HOLDERS

MAKER'S MARK GB, CIRCA 1967, RETAILED BY CARTIER, NEW YORK, 14 KARAT

MARK OF CARTIER, NEW YORK, CIRCA 1950, 14 KARAT 2¿ in. (5.4 cm.) long

■903

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A SET OF FOUR AMERICAN GOLD MATCHBOX COVERS

(7)

$2,500-3,500

■906

LEARN MORE

A JEWELED GOLD LIPSTICK HOLDER WITH CONCEALED WATCH, AND SIMILAR JEWELED GOLD LIPSTICK HOLDER AND LIGHTER

A GROUP OF GOLD ACCESSORIES

VARIOUS MAKERS INCLUDING TIFFANY & CO. AND VAN CLEEF & ARPELS, 20TH CENTURY 2º in. (5.7 cm.) high, the lighter by Tiffany & Co.

VARIOUS MAKERS INCLUDING CARTIER, CIRCA 1935 2√ in. (7.3 cm.) long, the lighter

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(4)

$800-1,200

(3)

$2,500-3,500

■907

■908

LEARN MORE

A GROUP OF FOUR AMERICAN GOLD AND GOLD-MOUNTED ACCESSORIES

$2,500-3,500

(4)

5º in. (13.3 cm.) long, the longest $600-800

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TWO SIMILAR GOLD AND ENAMEL TABLE LIGHTERS

VARIOUS MAKERS, EARLY 20TH CENTURY

VARIOUS MAKERS INCLUDING CARTIER, FIRST HALF 20TH CENTURY 2√ in. (7.4 cm.) diameter, the compact

■909

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A GROUP OF EIGHT CIGARETTE HOLDERS

BY CARTIER, NEW YORK, CIRCA 1935 (8)

3¬ in. (9.2 cm.) high $2,000-3,000

(2)

■910

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A FRENCH ART DECO JEWELED AND HARDSTONE GOLD AND SILVER MOUNTED SMOKER'S COMPANION

■911 LEARN MORE

■912 LEARN MORE

AN AMERICAN GOLD CIGARETTE CASE AND MATCHING LIGHTER

A FRENCH ENAMELED GOLD CIGARETTE CASE AND MATCHING LIGHTER

MARK OF TIFFANY & CO., NEW YORK, FIRST HALF 20TH CENTURY, 14 KARAT 3¬ in. (9.2 cm.) long, the cigarette case

PROBABLY BY STRAUSS ALLARD & MEYER, PARIS, CIRCA 1930 3¬ in. (9.2 cm.) high

MARK OF OSTERTAG, PARIS, CIRCA 1935 (2)

4¡ in. (11.2 cm.) long, the cigarette case

$7,000-10,000

$7,000-10,000

■914

■915

$3,000-5,000

■913

LEARN MORE

A GROUP OF THREE GOLD LIGHTERS

TWO MARK OF DUNHILL, LONDON, ONE MARK OF RONSON, SOMERSET, NEW JERSEY, 20TH CENTURY 2¬ in. (6.7 cm.) high, the tallest

(4)

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AN AMERICAN GOLD AND GLASS ASHTRAY

A JEWELED GOLD-MOUNTED AGATE DISH

MARK OF VAN CLEEF & ARPELS, NEW YORK, MID20TH CENTURY, 18 KARAT

MID-20TH CENTURY, RETAILED BY CARTIER, NEW YORK

3√ in. (9.8 cm.) square

4º in. (10.8 cm.) diameter

$500-800

$4,000-6,000

$4,000-6,000

■916

■917

■918

LEARN MORE

AN AUSTRIAN ENAMELED AND ANTLER-MOUNTED SILVER CIGARETTE CASE AND A SILVER MINAUDIERE

MARK OF OSTERTAG, PARIS, MID-20TH CENTURY

THE CIGARETTE BOX SALTZBURG, CIRCA 1930, THE MINAUDIERE CIRCA 1958, RETAILED BY OTTOKAR MUSNER, VIENNA 5¡ in. (13.6 cm.) long, the cigarette case $600-800

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A FRENCH JEWEL-SET GOLD 'SOUVENIR' CIGARETTE CASE

(2)

3√ in. (9.9 cm.) long $5,000-8,000

LEARN MORE

AN AMERICAN JADE AND TURQUOISE-MOUNTED SILVER CIGAR BOX

MARK OF EDWARD I. FARMER, NEW YORK, CIRCA 1920 7¬ in. (19.4 cm.) long $4,000-6,000

(2)

■919

LEARN MORE

AN AMERICAN JADE-MOUNTED SILVER CIGAR BOX AND SIMILAR MATCHBOX HOLDER

■921

AN AMERICAN PARCEL-GILT SILVER PRESENTATION CIGARETTE BOX

A GEORGE VI SILVER 'SCRAPBOOK' CIGARETTE BOX

MARK OF GORHAM MFG. CO., PROVIDENCE, RHODE ISLAND, CIRCA 1958

MARK OF EDWARD I. FARMER, NEW YORK, CIRCA 1930 7 in. (17.8 cm.) long, the cigar box

■920 LEARN MORE

MARK OF TIFFANY & CO., LONDON, 1939 3æ in. (9.5 cm.) square

6 in. (15.3 cm.) long (2)

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$2,000-3,000

$2,000-3,000

$4,000-6,000

■922

■923

LEARN MORE

A GROUP OF NINE AMERICAN GOLD, SILVER, AND METAL PENS

AN AMERICAN HARDSTONEMOUNTED SILVER PHOTOGRAPH FRAME

MARK OF TIFFANY & CO., NEW YORK, MID-20TH CENTURY 5º in. (13.3 cm.) long, the longest silver pen

■924

LEARN MORE

(10)

AN AMERICAN JADE-MOUNTED GOLD PHOTOGRAPH FRAME

MARK OF UDALL & BALLOU, NEW YORK, FIRST QUARTER 20TH CENTURY, 14 KARAT

MARK OF GROGAN COMPANY, PITTSBURGH, PENNSYLVANIA, FIRST QUARTER 20TH CENTURY

10Ω in. (26.7 cm.) high

11Ω in. (29.2 cm.) high

$300-500

LEARN MORE

$7,000-10,000

$1,000-2,000

■925

■926

LEARN MORE

A SUITE OF THREE AMERICAN GOLD PHOTOGRAPH FRAMES MARK OF CARTIER, NEW YORK, MID-20TH CENTURY, 14 KARAT 7æ in. (19.7 cm.) high, the larger $8,000-12,000

■927

LEARN MORE

THREE AMERICAN GOLD PHOTOGRAPH FRAMES

VARIOUS MAKERS, FIRST HALF 20TH CENTURY (3)

7¡ in. (18.7 cm.) high, the largest $7,000-10,000

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A GROUP OF AMERICAN PHOTOGRAPH FRAMES (3)

MARK OF CARTIER, NEW YORK, MID-20TH CENTURY 13Ω in. (34.3 cm.) high, the larger 14k gold example $12,000-18,000

(7)

■928

■929

LEARN MORE

THREE AMERICAN SILVERMOUNTED BRUSHES AND A COMB MOUNT MARK OF TIFFANY & CO., NEW YORK, MID-20TH CENTURY 6√ in. (17.4 cm.) long, the longer brush

(3)

$200-300

MARK OF R. BLACKINTON & CO., NORTH ATTLEBORO, MASSACHUSETTS, SECOND QUARTER 20TH CENTURY, RETAILED BY CARTIER, NEW YORK, 14 KARAT 5º in. (13.3 cm.) long

■932

A FRENCH JEWELED GOLD COMPACT

A FRENCH JEWELED GOLD COMPACT AND AN AMERICAN GOLD PILL BOX

MARK OF OSTERTAG, PARIS, CIRCA 1935, 18 KARAT $12,000-18,000

(2)

AN AMERICAN GOLD SMALL BEAKER

MAKER'S MARK UNIDENTIFIED, MID-20TH CENTURY, 14 KARAT 2Ω in. (6.4 cm.) high $2,000-3,000

$600-800

■931 LEARN MORE

3 in. (7.6 cm.) long

■930 LEARN MORE

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A PAIR OF AMERICAN GOLD BRUSHES

■933

LEARN MORE

AN AMERICAN JEWELED AND ENAMELED GOLD COMPACT FIRST QUARTER 20TH CENTURY, 14 KARAT

MARK OF VAN CLEEF & ARPELS, PARIS AND NEW YORK, 1960S, 18 KARAT 3º in. (8.3 cm.) diameter, the compact

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3º in. (8.3 cm.) long (2)

$3,000-5,000

$8,000-12,000

■934

LEARN MORE

AN ITALIAN RUBY-SET SILVER VANITY CASE FLORENCE, 1944-1968

■935

■936

LEARN MORE

A CARTIER ENAMELED GOLD CIGARETTE CASE AND MATCHING LIGHTER

4æ in. (12.1 cm.) long

NEW YORK, CIRCA 1936, 14 KARAT

$800-1,200

3√ in. (9.8 cm.) long, the cigarette case $7,000-10,000

LEARN MORE

A VAN CLEEF & ARPELS GOLDMOUNTED LEATHER NOTEPAD AND A CARTIER GOLD PEN AND PENCIL SET (2)

PARIS AND NEW YORK, 20TH CENTURY 7Ω in. (19 cm.) long, the notepad $400-600

(3)

■937

■938

LEARN MORE

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■939

LEARN MORE

A GROUP OF AMERICAN GOLD AND GOLD-MOUNTED ITEMS

AN ITALIAN GOLD BOX

AN ITALIAN GOLD BILLFOLD

4¡ in. (11.1 cm.) long, the bookmark

VARIOUS MAKERS, 20TH CENTURY

20TH CENTURY, RETAILED BY VAN CLEEF & ARPELS, NEW YORK

MARK OF MARIO BUCCELLATI, MILAN, CIRCA 1960, 18 KARAT

5√ in. (14.9 cm.) long

3¡ in. (8.5 cm.) long

$2,000-3,000

$20,000-30,000

$4,000-6,000

■940

■~941

■~942

(10)

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A GROUP OF TWELVE GOLD PENS AND PENCILS

AN AMERICAN ART DECO TABLE CLOCK

MOST AMERICAN, VARIOUS MAKERS, 20TH CENTURY 5¡ in. (13.7 cm.) long, the largest

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BY GROGAN COMPANY, PITTSBURGH, PENNSYLVANIA, CIRCA 1930 (12)

$500-800

8Ω in. (21.6 cm.) high $15,000-20,000

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A CARTIER ART DECO GILT-METAL AND CORAL-MOUNTED NEPHRITE PAPERWEIGHT CLOCK AND CALENDAR PARIS, LATE 1920S

4º in. (10.8 cm.) long $4,000-6,000

■943

■944

LEARN MORE

AN AMERICAN GOLD TRAVEL CLOCK AND PIN TRAY

MARK OF CARTIER, NEW YORK, FIRST HALF 20TH CENTURY 2æ in. (7 cm.) diameter, the pin tray $1,500-2,500

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AN AMERICAN GOLD POCKET WATCH MOUNTED AS A TRAVEL CLOCK (4)

THE POCKET WATCH BY HOWARD WATCH COMPANY, BOSTON, MASSACHUSETTS, CIRCA 1909, THE FRAME MARK OF CARTIER, NEW YORK, 14 KARAT 3 in. (7.6 cm.) long, closed $1,200-1,800

■945

LEARN MORE

A GROUP OF SEVEN TRAVEL AND DESK CLOCKS

VARIOUS MAKERS INCLUDING CARTIER AND VAN CLEEF & ARPELS, 20TH CENTURY 5 in. (12.7 cm. high), the example by Cowell & Hubbard (7) $4,000-6,000

■946

LEARN MORE

■947

LEARN MORE

PIAGET, WELL-PRESERVED AND ATTRACTIVE YELLOW GOLD 'POLO' WITH BRACELET, REF. 7131 C 701

JAEGER-LECOULTRE, YELLOW GOLD ALARM 'MEMOVOX' WITH DATE, REF. E855

$3,000-5,000

$3,000-5,000

■948

LEARN MORE

VACHERON CONSTANTIN, VERY RARE AND DESIRABLE PINK GOLD RECTANGULAR-SHAPED 'PINK ON PINK' WRISTWATCH WITH SUBSIDIARY SECONDS $2,000-4,000

■949

■950 LEARN MORE

■951

AN AMERICAN GOLD HUNTER CASE KEYLESS LEVER POCKET WATCH

A FRENCH JEWELED GOLD NOVELTY WATCH CASE

A SWISS ENAMELED GOLD PENDANT WATCH AND SCENT FLASK

3 in. (7.6 cm.) long, over suspension ring

1√ in. (4.8 cm.) high, closed

3¬ in. (9.2 cm.) high

$200-300

$2,000-3,000

$4,000-6,000

■952

■953

■954

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MARK OF ELGIN NATIONAL WATCH CO., CHICAGO, ILLINOIS, CIRCA 1890, 14 KARAT

LEARN MORE

A SWISS ROYAL JEWELED ENAMELED GOLD POCKET WATCH THE CASE, GENEVA, CIRCA 1860; THE MOVEMENT

BY BREGUET, CIRCA 1890 2√ in. (7.3 cm.) long, over suspension ring $3,000-5,000

MARK OF GEORGE L'ENFANT, PARIS, CIRCA 1960, RETAILED BY TIFFANY & CO., NEW YORK, 18 KARAT

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JEAN-BERTRAND ANDRIEU (BORDEAUX, 1761-1822, PARIS)

A PAIR OF PORTRAIT MEDALS OF EMPRESS JOSEPHINE AND EMPEROR NAPOLEON I $2,000-3,000

LEARN MORE

CIRCA 1800

LEARN MORE

A HARDSTONE MODEL OF A DUCK POSSIBLY AMERICAN, 20TH CENTURY 2æ in. (7 cm.) long $500-800

■955

LEARN MORE

A CONTINENTAL SILVER AND DIAMOND-MOUNTED NOVELTY FIGURAL RHODONITE BOX

■956

■957

LEARN MORE

LEARN MORE

TWO CONTINENTAL GEM-SET ROSE QUARTZ BELLPUSHES

A GOLD-MOUNTED COWRIE SHELL SNUFF BOX

POSSIBLY RUSSIAN, 20TH CENTURY

3º in. (8.3 cm.) long, the larger

2√ in. (7.3 cm.) long

2Ω in. (6.3 cm.) diameter

$500-800

$2,000-3,000

■959

■960

POSSIBLY FRENCH, FIRST HALF 20TH CENTURY

(2)

POSSIBLY AMERICAN, LATE 18TH CENTURY

$1,200-1,800

■958

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AN AMERICAN JEWELED HARDSTONE MODEL OF A HEDGEHOG

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A GEORGE II GOLD-MOUNTED BLOODSTONE NÉCESSAIRE

A GEORGE III GOLD AND ENAMEL ETUI A TABLETTES

BY VERDURA, NEW YORK, CIRCA 1970

3√ in. (9.8 cm.) long

2º in. (5.7 cm.) long

4 in. (10.1 cm.) long

$1,200-1,800

$2,000-3,000

■962

■963

LONDON, CIRCA 1750

LONDON, CIRCA 1780-90

$3,000-5,000

■961

LEARN MORE

A GEORGE III ENAMELED GOLDMOUNTED ROCK CRYSTAL SCENT BOTTLE LONDON, CIRCA 1760 3¿ in. (7.9 cm.) high $800-1,200

LEARN MORE

A SET OF THREE CONTINENTAL JEWELED AND ENAMELED GOLDMOUNTED CUT GLASS COSMETIC CONTAINERS PROBABLY ITALIAN OR AUSTRIAN, EARLY 20TH CENTURY 5 in. (12.7 cm.) high, the bottles $4,000-6,000

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A CHELSEA PORCELAIN JANUSHEADED MASKED SCENT-BOTTLE AND A GILT-METAL MOUNTED CONTINENTAL BONBONNIERE

THE FIRST CIRCA 1760, THE SECOND 19TH CENTURY (3)

3æ in. high, the scent bottle 2æ in. high, the bonbonniere $2,500-3,500

(2)

■964

■965

LEARN MORE

TWO ENGLISH ENAMEL CASKETS 19TH CENTURY

8¿ in. (20.1 cm.) long, the larger

(2)

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A GROUP OF FOUR SCENT FLASKS VARIOUS MAKERS, LATE 19TH/EARLY 20TH CENTURY 5æ in. (14.6 cm.) long, the double scent flask

(4)

$800-1,200

LEARN MORE

A GEORGE III GILT-METAL MOUNTED ENAMEL SCENT BOTTLE

LONDON OR SOUTH STAFFORDSHIRE, CIRCA 1770 5Ω in. (14 cm.) diameter, the circular boxes

$2,000-3,000

■967

■966

LEARN MORE

A GROUP OF GEORGE III ENAMEL WARES

PROBABLY SOUTH STAFFORDSHIRE, CIRCA 1760-65 (9)

3√ in. (9.8 cm.) high

$4,000-6,000

$300-500

■968

■969

LEARN MORE

A GEORGE III ENAMEL HEARTSHAPED NÉCESSAIRE, NOW FITTED AS A LIGHTER POSSIBLY SOUTH STAFFORDSHIRE OR BILSTON, CIRCA 1765 AND LATER 4º in. (10.8 cm.) high

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A GEORGE III GILT-METAL MOUNTED ENAMEL NECESSAIRE

SOUTH STAFFORDSHIRE OR BILSTON, CIRCA 1770 4 in. (10.1 cm.) high $800-1,200

$300-500

■970

LEARN MORE

A GOLD-MOUNTED GERMAN PORCELAIN SNUFF-BOX AND A COVER

THE BOX CIRCA 1740 AND MEISSEN, THE TOP 19TH CENTURY 2¬ in. (6.7 cm.) high $1,500-2,000

■971

LEARN MORE

A FRENCH JEWELED AND ENAMELED GOLD SNUFF-BOX PARIS, CIRCA 1880-1890 3¿ in. (7.9 cm.) long $7,000-10,000

■972

LEARN MORE

A CONTINENTAL ENAMEL AND GILT-METAL MOUNTED LEATHER PURSE POSSIBLY GERMAN, LATE-19TH/EARLY 20TH CENTURY 5Ω in. (14 cm.) long $200-300

■973

LEARN MORE

■974

■975 LEARN MORE

LEARN MORE

A GOLD OR SILVER-GILT MOUNTED MEISSEN PORCELAIN ELONGATED OVAL SNUFF-BOX AND COVER

A GOLD-MOUNTED MEISSEN PORCELAIN DOUBLE SNUFF-BOX AND COVERS CIRCA 1745-1750

4º in. (10.7 cm.) high, the Meissen example

3¬ in. (9.1 cm.) long

3¬ in. (9.2 cm.) long

$1,500-2,000

$3,000-5,000

$4,000-6,000

■976

■977

CIRCA 1760

LEARN MORE

THREE GERMAN PORCELAIN NECESSAIRES AND COVERS 18TH AND 19TH CENTURY

■978

LEARN MORE

A GOLD-MOUNTED GERMAN PORCELAIN RECTANGULAR SNUFFBOX AND COVER

A GOLD-MOUNTED MEISSEN PORCELAIN OVAL SNUFF-BOX AND COVER

3¿ in. (8 cm.) long

3¿ in. (7.9 cm.) long

$2,000-3,000

$1,500-2,000

■979

■980

CIRCA 1770-1775, PROBABLY BERLIN (K.P.M.)

LEARN MORE

19TH CENTURY

TWO GILT-METAL MOUNTED GERMAN PORCELAIN TOBACCO BOXES AND COVERS

3º in. (8.2 cm.) long

6Ω in. (16.5 cm.) long

$3,000-5,000

$1,000-1,500

CIRCA 1745

LEARN MORE

A GILT-METAL MOUNTED GERMAN PORCELAIN SNUFF-BOX AND COVER SECOND HALF 18TH CENTURY, POSSIBLY WÜRZBURG 2æ in. (6.9 cm.) long $1,000-1,500

■981

LEARN MORE

A SILVER-GILT MOUNTED MEISSEN PORCELAIN MOUSE-FORM SNUFFBOX AND COVER

(3)

LEARN MORE

A GOLD-MOUNTED MEISSEN PORCELAIN RECTANGULAR TOBACCO-BOX AND TAMPER

19TH CENTURY

PROBABLY MID-18TH CENTURY (2)

6º in. (15.8 cm.) long $3,000-5,000

(2)

■982

LEARN MORE

■983

LEARN MORE

■984

LEARN MORE

A GOLD-MOUNTED MEISSEN PORCELAIN SNUFF-BOX AND COVER

A GOLD-MOUNTED GERMAN PORCELAIN ‘CARNET DE BAL’

CIRCA 1750

PROBABLY 2ND QUARTER 19TH CENTURY, POSSIBLY MEISSEN

3¿ in. (8 cm.) long

3æ in. (9.4 cm.) high

3¿ in. (7.9 cm.) long

$2,500-3,500

$800-1,200

$2,000-3,000

■985

■986

■987

LEARN MORE

LEARN MORE

A GOLD-MOUNTED GERMAN PORCELAIN RECTANGULAR SNUFFBOX AND COVER CIRCA 1750

LEARN MORE

A SILVER-GILT MOUNTED MEISSEN PORCELAIN 'BLUE-SCALE' RECTANGULAR TOPOGRAPHICAL SNUFF-BOX AND COVER

A GOLD-MOUNTED MEISSEN STYLE PORCELAIN SNUFF-BOX AND COVER

CIRCA 1755

19TH CENTURY, BLUE CROSSED SWORDS AND SPURIOUS K.P.M. MARK TO THE INTERIOR

A GOLD-MOUNTED MEISSEN STYLE PORCELAIN SNUFF-BOX AND COVER

3¿ in. (8 cm.) long

2æ in. (7 cm.) long

2¬ in. (6.6 cm.) long

$2,000-3,000

$700-1,000

$600-800

■988

■989 LEARN MORE

■990

A GOLD-MOUNTED GERMAN PORCELAIN SHAPED SNUFF-BOX AND COVER

A GOLD-MOUNTED GERMAN PORCELAIN SNUFF-BOX AND COVER

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A GOLD-MOUNTED GERMAN PORCELAIN CIRCULAR SNUFF-BOX AND COVER

THIRD QUARTER 18TH CENTURY, PROBABLY FÜRSTENBERG, THE COVER POSSIBLY ASSOCIATED 2√ in. (7.2 cm.) diameter $1,000-1,500

19TH CENTURY

3¡ in. (8.5 cm.) long $500-700

19TH CENTURY, BLUE CROSSED SWORDS AND SPURIOUS K.P.M. MARK TO THE INTERIOR

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19TH CENTURY, FAINT BLUE CROSSED SWORDS MARK TO THE UNDERSIDE, POSSIBLY VOLKSTEDT 2æ in. (7 cm.) long $500-700

■991

LEARN MORE

■992

■993 LEARN MORE

LEARN MORE

A SILVER-GILT MOUNTED GERMAN PORCELAIN RECTANGULAR SNUFFBOX AND COVER

A GOLD-MOUNTED MEISSEN PORCELAIN OVAL SNUFF-BOX AND COVER

A GILT-METAL MOUNTED ENGLISH OR CONTINENTAL ENAMEL OVAL SNUFF-BOX AND COVER

3¿ in. (8 cm.) wide

3 in. (7.5 cm.) long

4 in. (10.1 cm.) long

$1,500-2,000

$600-800

$1,000-1,500

■994 LEARN MORE

■995

■996 LEARN MORE

A GOLD AND SILVER MOUNTED CONTINENTAL PORCELAIN OVAL SNUFF-BOX AND COVER

A SILVER-GILT MOUNTED MEISSEN PORCELAIN 'BLUE-SCALE' CYLINDRICAL ETUI AND COVER, NOW MOUNTED AS A LIGHTER

LATE 18TH CENTURY, POSSIBLY MEISSEN

19TH CENTURY

19TH CENTURY

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3¿ in. (7.9 cm.) long

THE PORCELAIN CIRCA 1755

$400-600

5Ω in. (14 cm.) long

18TH/19TH CENTURY

A SMALL GOLD-MOUNTED GERMAN PORCELAIN BASKETFORM SNUFF-BOX AND COVER 19TH CENTURY

2º in. (5.7 cm.) long (2)

$500-700

$800-1,200

■997

LEARN MORE

A GOLD-MOUNTED MEISSEN PORCELAIN CIRCULAR SNUFF-BOX AND COVER 19TH CENTURY

3º in. (8.3 cm.) diameter $700-900

■998

LEARN MORE

GROUP OF PLACEMATS WITH ASSORTED NAPKINS 20TH CENTURY $800-1,200

■999

LEARN MORE

A LINEN APPLIQUE TABLECLOTH WITH COORDINATING MONOGRAMMED NAPKINS 20TH CENTURY

Tablecloth: 122 x 62 in.

12 dinner napkins: 21Ω x 21Ω in.

All counts and dimensions approximate $800-1,200

■1000

■1001

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NET LACE CUT WORK TABLECLOTH WITH ASSORTED NAPKINS

LEARN MORE

■1002

LEARN MORE

TWO ITALIAN NEEDLE LACE TABLECLOTHES WITH ASSEMBLED NAPKINS

A LINEN AND NEEDLELACE TABLECLOTH WITH ASSOCIATED NAPKINS

$1,000-1,500

$1,000-1,500

■1003 LEARN MORE

■1004 LEARN MORE

■1005

AN ASSORTED GROUP OF NAPKINS OF VARIOUS SHAPES, SIZES AND MATERIALS

A GROUP OF VARIOUS SETS OF NAPKINS

TWO SETS OF PLACEMATS AND NAPKINS

$700-900

$800-1,200

20TH CENTURY

20TH CENTURY

$800-1,200

20TH CENTURY

(230)

20TH CENTURY

20TH CENTURY

LEARN MORE

20TH CENTURY

$1,000-1,500

■1006

LEARN MORE

■1007

LEARN MORE

A LINEN NEEDLE LACE TABLECLOTH WITH ASSOCIATED NAPKINS

A LINEN AND NEEDLE LACE TABLECLOTH WITH ASSOCIATED NAPKINS

$1,000-1,500

$700-900

20TH CENTURY

20TH CENTURY

■1008

LEARN MORE

A SET OF MONOGRAMED CUT WORK TABLE LINENS 20TH CENTURY $800-1,200

■1009

LEARN MORE

TWELVE DUCK DECOY PLACEMATS LERON, 20TH CENTURY

■1010 LEARN MORE

■1011

TWO PARTIAL BOLTS OF GREEN SILK DAMASK

A PARTIAL BOLT OF RUSSET SILK VELVET

12 placemats: 18 in. x 13 in. including fringe 12 cocktail napkins 8 in. x 6º in.

SCALAMANDRE, MODERN

$1,000-1,500

$1,000-1,500

52 in. wide

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MODERN (2)

52 in. wide (the velvet) 51 in. wide (the damask)

(2)

$1,000-1,500

■1012

■1013

LEARN MORE

THREE PARTIAL ROLLS OF SILK DAMASK FURNISHING FABRIC

WOVEN ON 18TH CENTURY LOOMS, 20TH CENTURY The rolls each 22 in. wide

(4)

$1,000-2,000

■1014

LEARN MORE

LEARN MORE

A BOLT OF VIBRANT YELLOW DAMASK

FOUR PARTIAL BOLTS OF SILK DAMASK

51 in. wide

50 in. wide (the yellow) 51 in. wide (the blue) 52 in. wide (the ivory)

MODERN

SCALAMANDRE, MODERN

$1,000-1,500

(3)

$1,000-1,500

■1015

■1016

LEARN MORE

A QUANTITY OF VARIOUS PASSEMENTERIE 20TH CENTURY $1,000-2,000

(6)

■1017

LEARN MORE

FOUR PAIRS OF IVORY SILK DAMASK CURTAINS MODERN

120 x 33 in. (the curtains excluding tassels) 15 x 51Ω x 5Ω in. (the valances) 119 x 30Ω in. (the liners) $2,000-3,000

LEARN MORE

A SET OF FOUR ENGLISH PORCELAIN PLATES FRAMED AS ROUNDELS FIRST HALF 19TH CENTURY (20)

6Ω in. (16.5 cm.) diameter, the plates, excluding the giltwood frames $1,000-1,500

(4)

■1018

LEARN MORE

A PAIR OF ENGLISH PORCELAIN RECTANGULAR PLAQUES FIRST HALF 19TH CENTURY

5æ in. (14.6 cm.) high, 6¬ in. (16.8 cm.) wide, excluding the giltwood frames (2) $800-1,200

■1021

LEARN MORE

A PAIR OF ENGLISH PORCELAIN CIRCULAR ROUNDELS FIRST HALF 19TH CENTURY

5º in. (13.3 cm.) diameter, excluding the cream silk matte and giltwood frame (2) $600-800

■1019

LEARN MORE

■1020 LEARN MORE

AN ENGLISH PORCELAIN RECTANGULAR PLAQUE OF A STILLLIFE

AN ENGLISH PORCELAIN RECTANGULAR PLAQUE OF A STILLLIFE

10º in. (26 cm.) high, 7æ in. (19.6 cm.) wide, excluding the giltwood frame

8√ in. high (22.5 cm.), 7 in. (17.7 cm.) wide, excluding the giltwood frame

$800-1,200

$700-1,000

■1022

■1023

FIRST QUARTER 19TH CENTURY

LEARN MORE

AN ENGLISH PORCELAIN RECTANGULAR PLAQUE OF A STILL-LIFE FIRST HALF 19TH CENTURY

9Ω in. (24.1 cm.) high, 8 in. (20.3 cm.) wide, excluding the giltwood frame

FIRST QUARTER 19TH CENTURY

LEARN MORE

A PAIR OF SMALL ENGLISH PORCELAIN ROUNDELS FIRST HALF 19TH CENTURY

4º in. (10.7 cm.) diameter, excluding the giltwood frame (2) $400-600

$500-700

■1024 LEARN MORE

■1025

AN ENGLISH PORCELAIN PLAQUE

AN ENGLISH PORCELAIN OVAL PLAQUE OF A STILL-LIFE

A SMALL ENGLISH PORCELAIN OVAL PLAQUE OF A STILL-LIFE

FIRST HALF 19TH CENTURY

LEARN MORE

■1026

LEARN MORE

7¡ in. (18.7 cm.) high, 6 in. (15.1 cm.) wide, excluding the giltwood frame

FIRST HALF 19TH CENTURY

6¬ in. (16.8 cm.) wide, excluding the giltwood frame

FIRST HALF 19TH CENTURY

4Ω in. (11.3 cm.) wide, excluding the giltwood frame

$400-600

$300-500

$200-300

■1027

■1028

LEARN MORE

AN ASSEMBLED MEISSEN PORCELAIN PART DINNER SERVICE CIRCA 1750 AND LATER

15¿ in. (38.4 cm.) long, the tureen stands

(72)

$12,000-18,000

■1029

LEARN MORE

AN ASSEMBLED MEISSEN PORCELAIN ORNITHOLOGICAL PART TEA AND COFFEE SERVICE

18TH CENTURY, BLUE CROSSED SWORDS MARKS, SIX TEACUPS AND FIVE SAUCERS WITH DOT MARKS 8√ in. (22.5 cm.) high, the coffee-pot

(46)

$5,000-8,000

LEARN MORE

A SET OF SEVENTEEN MEISSEN PORCELAIN (OUTSIDE-DECORATED) ORNITHOLOGICAL DESSERT PLATES THE PORCELAIN LATE 19TH/EARLY 20TH CENTURY, BLUE CROSSED SWORDS MARKS; THE DECORATION ALMOST CERTAINLY OUTSIDE THE FACTORY AND LATER 9Ω in. (24 cm.) diameter

(17)

$2,500-3,500

■1030

LEARN MORE

A MEISSEN PORCELAIN PART CABARET SERVICE

CIRCA 1765, BLUE CROSSED SWORDS AND DOT MARKS, VARIOUS IMPRESSED MARKS AND NUMERALS 12æ in. (32.4 cm.) long, the tray

(11)

$2,500-3,500

■1031 LEARN MORE

■1032

A SMALL ORMOLU-MOUNTED MEISSEN PORCELAIN ORNITHOLOGICAL VASE AND COVER

AN ORMOLU-MOUNTED MEISSEN PORCELAIN TUREEN AND COVER

THE PORCELAIN CIRCA 1738, BLUE CROSSED SWORDS MARK WITH INCISION, THE DECORATION OUTSIDE THE FACTORY AND OF LATER DATE, THE MOUNTS LATE 19TH CENTURY

THE PORCELAIN CIRCA 1735, BLUE AR MARK FOR AUGUSTUS REX, DREHER’S XII TO FOOTRIM, THE ORMOLU BASE OF A LATER DATE 9¿ in. (23.2 cm.) high, overall

LEARN MORE

12æ in. (32.4 cm.) high (2)

(2)

$2,000-3,000

$3,000-5,000

■1033

LEARN MORE

AN ORMOLU-MOUNTED MEISSEN PORCELAIN FIGURE GROUP OF 'THE BETROTHAL'

THE PORCELAIN GROUP CIRCA 1747, MODELED

BY J.J. KÄNDLER; THE PORCELAIN FLOWERS 18TH CENTURY AND LATER, THE ORMOLU BASE MID18TH CENTURY 13Ω in. (34.2 cm.) high, overall $4,000-6,000

■1034

LEARN MORE

A MEISSEN PORCELAIN CHINOISERIE BEAKER

CIRCA 1730, BLUE CROSSED SWORDS MARK 2√ in. (7.3 cm.) high $800-1,200

■1035

LEARN MORE

A MEISSEN PORCELAIN BEAKER AND COVER CIRCA 1728, BLUE ENAMEL CROSSED SWORDS MARK, WORN GILDER’S F. TO BOTH 6¬ in. (16.7 cm.) high $2,000-3,000

(2)

■1036 LEARN MORE

■1037

A MEISSEN PORCELAIN TEAPOT AND COVER

A MEISSEN PORCELAIN EWER AND A COVER

MID-18TH CENTURY, BLUE CROSSED SWORDS MARK

■1038

LEARN MORE

CIRCA 1735-1740, BLUE CROSSED SWORDS MARK

7º in. (18.4 cm.) long, overall

(2)

$2,500-4,000

6¡ in. (16.2 cm.) high

(2)

$400-600

LEARN MORE

A GROUP OF MEISSEN PORCELAIN DRINKING WARES

THE CUPS AND PAIR OF SAUCERS CIRCA 1725-1730, BLUE ENAMELED CROSSED SWORDS MARKS, GILDER’S Z. TO THE CUPS, GILDER’S IZ TO THE SAUCERS; THE SINGLE SAUCER CIRCA 1740, BLUE CROSSED SWORDS MARK, GILDER’S I. 5 in. (12.5 cm.) diameter, the pair of saucers

(5)

$1,200-1,800

■1039

■1040

LEARN MORE

A MEISSEN PORCELAIN YELLOWGROUND TEACUP AND SAUCER

A SMALL PAIR OF SAMSON PORCELAIN MODELS OF PARROTS

CIRCA 1735-1740, BLUE CROSSED SWORDS MARKS 4¡ in. (11.1 cm.) wide, the saucer

(2)

$400-600

■1042

LEARN MORE

A SET OF TWELVE AMERICAN SILVER PLACE PLATES

MARK OF GORHAM MFG. CO., PROVIDENCE, RHODE ISLAND, FIRST HALF 20TH CENTURY, RETAILED BY GROGAN COMPANY, PITTSBURGH, PENNSYLVANIA 11Ω in. (29.2 cm.) diameter $8,000-12,000

■1041

LEARN MORE

MARK OF TIFFANY & CO., NEW YORK, SECOND HALF 20TH CENTURY (2)

1¡ in. (3.5 cm.) high

$600-800

$1,000-1,500

■1043 LEARN MORE

■1044

AN AMERICAN SILVER TABLE SERVICE

AN AMERICAN SILVER DINNER SERVICE

MARK OF GORHAM MFG. CO., PROVIDENCE, RHODE ISLAND, CIRCA 1918 $10,000-15,000 (12)

A SET OF FOURTEEN AMERICAN SILVER PLACECARD HOLDERS

LATE 19TH CENTURY, ONE INCISED E THE OTHER WITH SMALL INCISED SQUARE 5Ω in. (14 cm.) high

LEARN MORE

(239)

(14)

LEARN MORE

MARK OF GORHAM MFG. CO., PROVIDENCE, RHODE ISLAND, 1916-1920 21 in. (53.3 cm.) long, the largest meat dish $10,000-15,000

(50)

■1045

LEARN MORE

AN AMERICAN SILVER NINE-PIECE TEA AND COFFEE SERVICE AND TRAY MARK OF GORHAM MFG. CO., PROVIDENCE, RHODE ISLAND, CIRCA 1918

12¡ in. (31.4 cm.) high, over handle, the kettle on lamp stand; 25¡ in. (64.4 cm.) long, over handles, the tray (10) $7,000-10,000

■1048

TWO AMERICAN SILVER SERVING DISHES AND A SMALL BOWL

12¿ in. (30.8 cm.) high, over handle, the kettle on lamp stand; 24º in. (61.5 cm.) long, over handles, the tray (8) $6,000-9,000

14¡ in. (36.5 cm.) diameter, the larger dish

(3)

■1050 LEARN MORE

LEARN MORE

A PAIR OF GEORGE III SILVER WINE COASTERS

PARIS, EARLY 20TH CENTURY, TWO MARK OF VAGUER AND TWO POSSIBLY MARK OF EDMOND ECKARD

MARK OF GEORGE ASHFORTH & CO., LONDON, 1804 (5)

5¬ in. (14.3 cm.) diameter

A GEORGE II IRISH SILVER SALVER MARK ATTRIBUTED TO RICHARD WILLIAMS SR., DUBLIN, CIRCA 1755 16Ω in. (41.9 cm.) diameter

(2)

$3,000-5,000

$1,000-1,500

■1051 LEARN MORE

■1052

A GEORGE IV SILVER MEAT DISH

AN ASSEMBLED ENGLISH SILVER TABLE SERVICE

MARK OF PAUL STORR, LONDON, 1820

LEARN MORE

THE DISHES MARK OF DURHAM SILVER CO., NEW YORK, AND INTERNATIONAL SILVER CO., MERIDEN, CONNECTICUT, THE BOWL MARK OF MANCHESTER SILVER CO., PROVIDENCE, RHODE ISLAND, FIRST HALF 20TH CENTURY

MARK OF TIFFANY & CO., NEW YORK, CIRCA 1930

■1049

A GROUP OF FIVE FRENCH SILVER WINE TASTERS

$300-500

■1047

AN AMERICAN SILVER SEVENPIECE TEA AND COFFEE SERVICE AND TRAY

$1,000-1,500

LEARN MORE

4Ω in. (11.4 cm.) long, the largest

■1046 LEARN MORE

■1053

LEARN MORE

21æ in. (55.2 cm.) long

VARIOUS MAKERS, MOST LONDON, 1713-1779

$8,000-12,000

$4,000-6,000

LEARN MORE

A WILLIAM IV SILVER SAUCE BOAT MARK OF PAUL STORR, LONDON, 1836 (131)

8º in. (21 cm.) long, over handle $1,200-1,800

■1054

■1055

LEARN MORE

A PAIR OF VICTORIAN SILVER SAUCE BOATS AND TWO ELIZABETH II SILVER SAUCE LADLES MARK OF CARRINGTON & CO., BIRMINGHAM, 1883, THE SAUCE LADLES MARK OF TIFFANY & CO., LONDON, 1971 9º in. (23.5 cm.) long, over handle, the sauce boats

■1056

LEARN MORE

A SET OF THREE GEORGE II SILVER CASTERS MARK OF SAMUEL WOOD, LONDON, 1744 6º in. (15.9 cm.) high, the larger

(3)

$1,000-1,500

LEARN MORE

THREE ENGLISH SILVER CASTERS

ONE MARK OF JABEZ DANIEL AND JAMES MINCE, LONDON, 1771, TWO MARK OF WILLIAM WALTER ANTIQUES LIMITED, LONDON, 1967 5 in. (12.7 cm.) high, the taller

(3)

$700-1,000

(2)

$500-800

■1057

■1058

LEARN MORE

TWO PAIRS OF GEORGE III SILVER SALT CELLARS

MARK OF DAVID HENNELL I AND ROBERT HENNELL I, LONDON, TWO 1764 AND TWO 1765 3¡ in. (8.6 cm.) diameter

(12)

$600-900

■1060

LEARN MORE

A GEORGE VI SILVER FOUR-PIECE BREAKFAST COFFEE SERVICE

MARK OF ROCHARD COMYNS, LONDON, 1929-1932 8º in. (21 cm.) high, the coffee pot

(4)

LEARN MORE

A GEORGE IV SILVER BREAKFAST COFFEE SERVICE

MARK OF JOHN CHARLES LOWE, LONDON, 1954 6æ in. (17.2 cm.) high, the coffee pot

$2,000-3,000

$800-1,200

■1061

■1062

LEARN MORE

A GROUP OF ENGLISH SILVER FLATWARE

A GEORGE V SILVER THREE-PIECE COFFEE SERVICE

$500-800

7¡ in. (18.7 cm.) high, the coffee pot

VARIOUS MAKERS, LONDON AND NEWCASTLE, 1809-1936 (15)

■1059

LEARN MORE

LEARN MORE

AN ASSEMBLED GEORGE III SILVER DESSERT SERVICE

MARK OF HORACE WOODWARD & CO, BIRMINGHAM, 1921 $800-1,200

(3)

MARK OF MOSES BRENT AND OTHERS, LONDON, 1786-1814 (61) (3)

$800-1,200

■1063

■1064

LEARN MORE

LEARN MORE

■1065

LEARN MORE

AN ASSEMBLED ENGLISH SILVERGILT DESSERT SERVICE

A CHINESE GILT-BRONZE FIGURE OF AMITAYUS 18TH CENTURY

8Ω in. (21.6 cm.) high, hardwood stand, jade finial

$800-1,200

6Ω in. (16.5 cm.) high, softwood stand

$1,000-1,500

VARIOUS MAKERS, LONDON, 1791-1908

(37)

A CHINESE GE-TYPE LOBED VASE 18TH-19TH CENTURY

$3,000-5,000

■1066

■1067

LEARN MORE

A PAIR OF CHINESE ROSE QUARTZ CARVINGS OF PARROTS (2)

LEARN MORE

A CHINESE GREENISH-WHITE JADE FIGURE OF A FEMALE IMMORTAL

$2,000-3,000

10 in. (25.4 cm.) high

$700-900

■1069

■1068

A CHINESE LAVENDER AND GREEN JADEITE FIGURE OF GUANYIN 6Ω in. (16.5 cm.) high, hardstone stand

20TH CENTURY

Each: 7 in. (17.8 cm.) high, teak stands

LEARN MORE

20TH CENTURY $1,000-1,500

LEARN MORE

A PAIR OF CHINESE SPINACHGREEN JADE CARVINGS OF PHOENIXES Each: 14Ω in. (36.8 cm.) high, hardwood stands $400-600

(2)

■1070 LEARN MORE

■1071

A CARVED GREY AND WHITE JADE WASHER

A PAIR OF CHINESE HARDSTONE 'LOTUS' VASES AND COVERS

13º in. (33.7 cm.) across handles, hardwood and softwood stand $2,000-3,000

LEARN MORE

LATE QING-EARLY 20TH CENTURY

Each: 8º in. (21 cm.) high, softwood stands $1,500-2,500

■1072

■1073

LEARN MORE

A CHINESE GREEN JADE VASE AND COVER 20TH CENTURY

7º in. (18.4 cm.) high, teak stand

20TH CENTURY

The larger: 7 in. (17.7 cm.) wide (2)

■1074

LEARN MORE

TWO OVAL AGATE BOWLS (2)

$1,200-1,800

$2,000-3,000

LEARN MORE

THREE CHINESE HARDSTONE SNUFF BOTTLES WITH MARQUET MOUNTS 19TH-20TH CENTURY

The largest: 2æ in. (7 cm.) high, glass and stone stoppers, metal spoons (3) $2,000-3,000

■1075

■1076

LEARN MORE

LEARN MORE

■1077

LEARN MORE

THREE SCOTTISH GLASS-PASTE PORTRAIT MINIATURES

THREE SCOTTISH GLASS-PASTE PORTRAIT MINIATURES

THREE SCOTTISH GLASS-PASTE PORTRAIT MINIATURES

5√ (14.9 cm.) x 4æ in (12 cm.).; 5æ (14.6 cm.) x 4√ in. (12.4 cm.) and 6 in. (15.2 cm.) x 4æ in. (12.1 cm.) (overall) (3)

5√ (14.9 cm.) x 4√ in. (12.4 cm.); 5æ (14.6 am.) x 4√ in.

(12.4 cm.) and 5¬ (14.3 cm.) x 4Ω in. (11.4 cm.) (overall) (3)

5¡ (13.7 cm.) x 4º in. (10.8 cm.); 5º (13.3 cm.) x 4º in.

910.8 cm.); and 3æ in. (9.5 cm.) diameter (overall) (3)

$1,500-2,500

$1,500-2,500

$1,500-2,500

■1078

■1079

■1080

BY JAMES TASSIE, LATE 18TH CENTURY

BY JAMES TASSIE, DATED LATE 18TH CENTURY

LEARN MORE

TWO SCOTTISH GLASS-PASTE PORTRAIT MINIATURES

BY JAMES TASSIE, LATE 18TH CENTURY

7 in. (17.8 cm.) x 5Ω in. (14 cm.) (overall, the first) $1,000-1,500

LEARN MORE

LEARN MORE

A SCOTTISH GLASS-PASTE PORTRAIT MINIATURE

A SCOTTISH GLASS-PASTE PORTRAIT MINIATURE

8 (20.3 cm.) x 61/4 in. (15.9 cm.) (overall)

6¬ in. (16.8 cm.) x 5Ω in. (14 cm.) (overall)

$500-800

$500-800

BY JAMES TASSIE, DATED 1799 (2)

BY JAMES TASSIE, LATE 18TH CENTURY

BY JOHN HENNING, DATED 1804

■1081

LEARN MORE

■1082

LEARN MORE

■1083

LEARN MORE

A SCOTTISH GLASS-PASTE PORTRAIT MINIATURE

A GROUP OF 12 WADDESDON & WRIGHTSMAN CATALOGUES VARIOUS, 20TH CENTURY

13º x 11 x 1Ω in. (the largest)

6 in. (15.2 cm.) x 4√ in. (12.4 cm.) (overall)

12 x 9Ω x 2 in. (the largest)

$800-1,200

$500-800

$800-1,200

BY JAMES TASSIE, DATED 1785

■1084

LEARN MORE

A GROUP OF 25 ENGLISH FURNITURE AND COUNTRY HOUSE BOOKS

■1085

LEARN MORE

A GROUP OF 9 AMERICAN BOOKS VARIOUS, 20TH-21ST CENTURIES

■1086

LEARN MORE

A GROUP OF 21 MUSEUM COLLECTION BOOKS

A GROUP OF 38 FRENCH FURNITURE BOOKS

VARIOUS, 20TH-21ST CENTURIES

12Ω x 10 x 1 in. (the largest)

$800-1,200

$800-1,200

$800-1,200

■1087

■1088

LEARN MORE

VARIOUS, 20TH-21ST CENTURIES

LEARN MORE

A GROUP OF 14 PORCELAIN BOOKS

A GROUP OF 35 FINE ART BOOKS

15 x 12Ω x 1æ in.

$800-1,200

VARIOUS, 20TH-21ST CENTURIES $800-1,200

VARIOUS, 20TH-21ST CENTURIES

VARIOUS, 20TH-21ST CENTURIES

■1089

LEARN MORE

A GROUP OF 9 RUSSIAN AND GOLD BOXES BOOKS VARIOUS, 20TH CENTURY

14 x 11Ω x 3 in. Box Set (the largest) $800-1,200

CONDITIONS OF SALE • BUYING AT CHRISTIE’S CONDITIONS OF SALE These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which are available in Appendix A herein. For the sale of Non-Fungible Tokens, to the extent there is a conflict between the “New York Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

Unless we own a lot in whole or in part, Christie’s acts as agent for the seller.

A BEFORE THE SALE 1 DESCRIPTION OF LOTS

(a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed “Important Notices and Explanation of Cataloguing Practice” which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called “Symbols Used in this Catalogue”. (b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions, or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

3 CONDITION

(a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller. (b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot. Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason condition reports are not an alternative to examining a lot in person or seeking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

4 VIEWING LOTS PRE-AUCTION

(a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition. We recommend you get your own advice from a restorer or other professional adviser. (b) Pre-auction viewings are open to the public free of charge.

Our specialists may be available to answer questions at preauction viewings or by appointment.

5 ESTIMATES

Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose.

Estimates do not include the buyer’s premium or any applicable taxes.

6 WITHDRAWAL

Christie’s may, at its option, withdraw any lot from auction at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

218

7 JEWELLERY

(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time. (b) It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available. (c) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report. (d) Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact. (e) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment, or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot. (f) For jewellery sales, estimates are based on the information in any gemmological report, or if no report is available, assume that the gemstones may have been treated or enhanced.

8 WATCHES & CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use.

Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(f).

B REGISTERING TO BID 1 NEW BIDDERS

(a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction begins to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following: (i) for individuals: Photo identification (driver’s licence, national identity card, or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement); (ii) for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements. (b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Client Services Department at +1 212-636-2000.

2 RETURNING BIDDERS

As described in paragraph B(1) above, we may at our option ask you for current identification, a financial reference, or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms within the last two years or if you want to spend more than on previous occasions, please contact our Client Services Department at +1 212-636-2000.

3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

4 BIDDING ON BEHALF OF ANOTHER PERSON

If you are bidding on behalf of another person, that person will need to complete the registration requirements above before you can bid and supply a signed letter authorising you to bid for him/ her. A bidder accepts personal liability to pay the purchase price and all other sums due unless it has been agreed in writing with Christie’s, before commencement of the auction, that the bidder is acting as an agent on behalf of a named third party acceptable to Christie’s and that Christie’s will only seek payment from the named third party.

5 BIDDING IN PERSON

If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction.

You may register online at www.christies.com or in person.

For help, please contact the Client Service Department on +1 212-636-2000.

6 BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission, or breakdown in providing these services. (a) Phone Bids Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale. (b) Internet Bids on Christie’s LIVE™ For certain auctions we will accept bids over the Internet. For more information, please visit https://www.christies.com/ buying-services/buying-guide/register-and-bid/. As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at https:// www.christies.com/LiveBidding/OnlineTermsOfUse.aspx. (c) Written Bids You can find a Written Bid Form at any Christie’s office, or by choosing the sale and viewing the lots online at www. christies.com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.

C CONDUCTING THE SALE 1 WHO CAN ENTER THE AUCTION

We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

2 RESERVES

Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without a reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid.

Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol °◆.

3 AUCTIONEER’S DISCRETION

The auctioneer can at their sole option: (a) refuse any bid; (b) move the bidding backwards or forwards in any way they may decide, or change the order of the lots; (c) withdraw any lot; (d) divide any lot or combine any two or more lots; (e) reopen or continue the bidding even after the hammer has fallen; and (f) in the case of error or dispute related to bidding and whether during or after the auction, continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith.

If the auctioneer, in the exercise of their discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, they will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in paragraphs B(3), E(2)(i), F(4), and J(1).

4 BIDDING

The auctioneer accepts bids from: (a) bidders in the saleroom; (b) telephone bidders; (c) internet bidders through Christie’s LIVE™ (as shown above in paragraph B6); and (d) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at their sole option, bid on behalf of the seller, including where the seller is the auctioneer, up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders.

The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at their sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 BID INCREMENTS

Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at their sole option where the bidding should start and the bid increments.

7 CURRENCY CONVERTER

The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as US dollars. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

8 SUCCESSFUL BIDS

Unless the auctioneer decides to use their discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS

You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.

D THE BUYER’S PREMIUM AND TAXES 1 THE BUYER’S PREMIUM

In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 27% of the hammer price up to and including US$1,500,000, 22.0% on that part of the hammer price over US$1,500,000 and up to and including US$8,000,000, and 15.0% of that part of the hammer price above US$8,000,000.

2 TAXES

The successful bidder is responsible for any applicable taxes including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/ or any other charges related to the lot.

For lots Christie’s ships to or within the United States, a sales or use tax may be due on the hammer price, buyer’s premium, and/or any other charges related to the lot, regardless of the nationality or citizenship of the successful bidder. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped. Christie’s shall collect New York sales tax at a rate of 8.875% for any lot collected from Christie’s in New York.

In accordance with New York law, if Christie’s arranges the shipment of a lot out of New York State, New York sales tax does not apply, although sales tax or other applicable taxes for other states may apply. If you hire a shipper (other than a common carrier authorized by Christie’s), to collect the lot from a Christie’s New York location, Christie’s must collect New York sales tax on the lot at a rate of 8.875% regardless of the ultimate destination of the lot.

If Christie’s delivers the lot to, or the lot is collected by, any framer, restorer or other similar service provider in New York that you have hired, New York law considers the lot delivered to the successful bidder in New York and New York sales tax must be imposed regardless of the ultimate destination of the lot. In this circumstance, New York sales tax will apply to the lot even if Christie’s or a common carrier (authorized by Christie’s that you hire) subsequently delivers the lot outside New York.

Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot or within 90 days after the sale, whichever is earlier. For shipments to those states for which Christie’s is not required to collect sales tax, a successful bidder may have a use or similar tax obligation. It is the successful bidder’s responsibility to pay all taxes due. Christie’s recommends you consult your own independent tax advisor with any questions.

E WARRANTIES 1 SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller: (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. (c) If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 OUR AUTHENTICITY WARRANTY

We warrant, subject to the terms below, that the lots in our sales are authentic (our “authenticity warranty”). If, within 5 years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows: (a) It will be honored for claims notified within a period of 5 years from the date of the auction. After such time, we will not be obligated to honor the authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the “Heading”). It does not apply to any information other than in the Heading even if shown in UPPERCASE type. (c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed “Important Notices and Explanation of Cataloguing Practice”.

For example, use of the term “ATTRIBUTED TO…” in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding. (d) The authenticity warranty applies to the Heading as amended by any Saleroom notice.

(e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot. (g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else. (h) In order to claim under the authenticity warranty you must: (i) give us written notice of your claim within 5 years of the date of the auction. We may require full details and supporting evidence of any such claim; (ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses. (j) Books. Where the lot is a book, we give an additional warranty for 21 days from the date of the auction that if any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms: (a) This additional warranty does not apply to: (i) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration; (ii) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; (iii) books not identified by title; (iv) lots sold without a printed estimate; (v) books which are described in the catalogue as sold not subject to return; or (vi) defects stated in any condition report or announced at the time of sale. (b) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 21 days of the date of the sale. (k) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.

In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s Authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the property is a forgery in accordance with paragraph E2(h)(ii) above and the property must be returned to us in accordance with paragraph E2(h)(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories. (l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).

In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “Subheading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the Subheading.

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3 NO IMPLIED WARRANTIES EXCEPT AS SET FORTH IN PARAGRAPHS E1 AND E2 ABOVE, NEITHER THE SELLER NOR THE CHRISTIE’S GROUP MAKE ANY OTHER WARRANTY, EXPRESS OR IMPLIED, ORAL OR WRITTEN, WITH RESPECT TO THE LOT, INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, EACH OF WHICH IS SPECIFICALLY DISCLAIMED.

4 YOUR WARRANTIES

(d) You must quote the sale number, your invoice number and client number when making a payment. All payments sent by post must be sent to: Christie’s Inc. Post-Sale Services, 20 Rockefeller Center, New York, NY 10020. (e) For more information please contact our Post-Sale Services by phone at +1 212 636 2650 or fax at +1 212 636 4939 or email PostSaleUS@christies.com.

(a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.

2 TRANSFERRING OWNERSHIP TO YOU

(b) Where you are bidding on behalf of another person, you warrant that:

3 TRANSFERRING RISK TO YOU

(i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, consent to us relying on this due diligence, and you will retain for a period of not less than 5 years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for settlement are connected with, the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation, or have been charged with or convicted of money laundering, terrorist activities or other crimes.

F PAYMENT 1 HOW TO PAY (a) Immediately following the auction, you must pay the purchase price being: (i) the hammer price; and (ii) the buyer’s premium; and (iii) any applicable duties, goods, sales, use, compensating or service tax, or VAT. Payment is due no later than by the end of the 7th calendar day following the date of the auction (the “due date”). (b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence. (c) You must pay for lots bought at Christie’s in the United States in the currency stated on the invoice in one of the following ways: (i) Wire transfer JP Morgan Chase Bank, N.A., 270 Park Avenue, New York, NY 10017; ABA# 021000021; FBO: Christie’s Inc.; Account # 957-107978, for international transfers, SWIFT: CHASUS33. (ii) Credit Card We accept Visa, MasterCard, American Express and China Union Pay. Credit card payments at the New York premises will only be accepted for New York sales. Christie’s will not accept credit card payments for purchases in any other sale site. (iii) Cash We accept cash payments (including money orders and traveller’s checks) for sales in New York, subject to a maximum aggregate limit of US$500 per buyer per year. (iv) Bank Checks You must make these payable to Christie’s Inc. and there may be conditions. Once we have deposited your check, property cannot be released until five business days have passed. (v) Checks You must make checks payable to Christie’s Inc. and they must be drawn from US dollar accounts from a US bank. (vi) Cryptocurrency With the exception of clients resident in Mainland China, payment for a lot marked with the symbol ❖ may be made in a cryptocurrency or cryptocurrencies of our choosing. Such cryptocurrency payments must be made in accordance with the Additional Conditions of Sale - Nonfungible Tokens set out at Appendix A to these Conditions of Sale.

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You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to you.

The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) When you collect the lot; or (b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you.

4 WHAT HAPPENS IF YOU DO NOT PAY (a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law): (i) we can charge interest from the due date at a rate of up to 1.34% per month on the unpaid amount due; (ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale; (iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts; (iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law; (v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us); (vi) we can, at our option, reveal your identity and contact details to the seller; (vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (viii) we can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate. (b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

5 KEEPING YOUR PROPERTY If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law.

We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe.

However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

G COLLECTION AND STORAGE

(a) You must collect purchased lots within seven days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us). (b) If you do not collect any lot within 90 days following the auction we may, at our option (i) charge you storage costs at the rates set out at www. christies.com/en/help/buying-guide/storage-fees. (ii) move the lot to another Christie’s location or an affiliate or third-party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs. (iii) sell the lot in any commercially reasonable way we think appropriate. (c) The Storage conditions which can be found at www.christies. com/en/help/buying-guide/storage-conditions will apply. (d) If you do not collect the lot within 90 calendar days of the auction and Christie’s exercises its rights under paragraph G(b) above, the lot will be deemed delivered in New York and therefore subject to New York state and local sales tax.

For shipments booked and paid for prior to 90 calendar days of the auction, sales tax will be determined based on the guidance set forth in paragraph D(2). (e) Nothing in this paragraph is intended to limit our rights under paragraph F4.

H TRANSPORT AND SHIPPING 1 SHIPPING

We would be happy to assist in making shipping arrangements on request. You must make all transport and shipping arrangements.

However, we can arrange to pack, transport, and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing.

We may also suggest other handlers, packers, transporters, or experts if you ask us to do so. For more information, please contact Christie’s Post-Sale Services at +1 212 636 2650. See the information set out at https://www.christies.com/buyingservices/buying-guide/ship/ or contact us at PostSaleUS@ christies.com. We will take reasonable care when we are handling, packing, transporting, and shipping. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act, or neglect.

2 EXPORT AND IMPORT

Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. (a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Post-Sale Services Department at +1 212 636 2650 and PostSaleUS@christies.com.

See the information set out at https://www.christies. com/buying-services/buying-guide/ship/ or contact us at PostSaleUS@christies.com. (b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other government-imposed charges, you agree to refund that amount to Christie’s. (c) Endangered and protected species Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, whalebone, certain species of coral, Brazilian rosewood, crocodile, alligator and ostrich skins. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. Handbags containing endangered or

protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below.

We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material. (d) Lots containing Ivory or materials resembling ivory If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) you may be prevented from exporting the lot from the US or shipping it between US States without first confirming its species by way of a rigorous scientific test acceptable to the applicable Fish and Wildlife authorities. You will buy that lot at your own risk and be responsible for any scientific test or other reports required for export from the USA or between US States at your own cost. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or shipped between US States, or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to interstate shipping, export or import of property containing such protected or regulated material. (e) Lots of Iranian origin Some countries prohibit or restrict the purchase, export and/or import of Iranian-origin “works of conventional craftsmanship” (works that are not by a recognized artist and/ or that have a function, (for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import and export of this type of property without a license issued by the US Department of the Treasury, Office of Foreign Assets Control. Other countries, such as Canada, only permit the import of this property in certain circumstances.

As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you. (f) Gold Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’. (g) Watches Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol Ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within 1 year of the date of the auction. Please check with the department for details on a particular lot. (h) Handbags A lot marked with the symbol ≈ next to the lot number includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to an address within the country of the sale site or personally picked up from our saleroom. Please note, Christie’s cannot facilitate the shipment of any lot containing python, alligator or crocodile into the State of California.

The term “hardware” refers to the metallic parts of the handbag, such as the buckle hardware, base studs, lock and keys and/or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware”, etc. refer to the tone or colour of the hardware and not the actual material used. If the handbag incorporates solid metal hardware, this will be referenced in the catalogue description.

For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots.

I OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties. (b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these conditions of sale; and (ii) we

do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph. (c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services. (d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (e) If, in spite of the terms in paragraphs I(a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, other damages, or expenses.

J OTHER TERMS 1 OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if : (i) any of your warranties in paragraph E4 are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2 RECORDINGS

We may videotape and record proceedings at any auction.

We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3 COPYRIGHT

We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot.

4 ENFORCING THIS AGREEMENT

60 days from the date when mediation is initiated, then the Dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the Dispute involves a non-U.S. party, the JAMS International Arbitration Rules. The seat of the arbitration shall be New York and the arbitration shall be conducted by one arbitrator, who shall be appointed within 30 days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the Dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

10 REPORTING ON WWW.CHRISTIES.COM

Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com.

K GLOSSARY

auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of: (i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer; (ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or (iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material. authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in paragraph E2 of this agreement. buyer’s premium: the charge the buyer pays us along with the hammer price.

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.

5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

condition: the physical condition of a lot.

You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6 TRANSLATIONS

If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

7 PERSONAL INFORMATION

We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/aboutus/contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https://www.christies.com/about-us/contact/ccpa.

8 WAIVER

No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

9 LAW AND DISPUTES

This agreement, and any non-contractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot (the “Dispute”) will be governed by the laws of New York. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), we agree we will each try to settle the Dispute by mediation submitted to JAMS, or its successor, for mediation in New York. If the Dispute is not settled by mediation within

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group. due date: has the meaning given to it paragraph F1(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group). other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law. purchase price: has the meaning given to it in paragraph F1(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the paragraph headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned. subheading: has the meaning given to it in paragraph E2.

UPPER CASE type: means having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

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IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE IMPORTANT NOTICES

EXPLANATION OF CATALOGUING PRACTICE

º Minimum Price Guarantees

Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a catalogue or lot description as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Written condition reports are usually available on request.

On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee.

Where Christie’s holds such financial interest we identify such lots with the symbol º next to the lot number. º ♦ Third Party Guarantees/Irrevocable bids Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s sometimes chooses to share that risk with a third party who agrees prior to the auction to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º ♦.

A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

PICTURES, DRAWINGS, PRINTS AND MINIATURES Name(s) or Recognised Designation of an artist without any qualification: in Christie’s opinion a work by the artist.

In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may continue to bid for the lot above the irrevocable written bid.

QUALIFIED HEADINGS

Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot.

“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing his influence.

⇔ Financial Interest/Irrevocable bids Where Christie’s has a financial interest in a lot, Christie’s is at risk of making a loss if the lot fails to sell. As such, Christie’s may share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot and may receive compensation from Christie’s. Christie’s requires the bidding party to disclose to anyone they are advising of their financial interest in the lot. ¤ Bidding by interested parties When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.

Post-catalogue notifications If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or prelot announcement.

Other Arrangements Christie’s may enter into other arrangements not involving bids.

These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

“Attributed to …”: in Christie’s qualified opinion probably a work by the artist in whole or in part.

“Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Follower of… ”: in Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.

In Christie’s qualified opinion, this object could be dated to the Kangxi period but there is a strong element of doubt. e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND POSSIBLY OF THE PERIOD JEWELLERY “Boucheron”: when maker’s name appears in the title, in Christie’s opinion it is by that maker.

“Mounted by Boucheron”: in Christie’s opinion the branded jeweller (e.g. Boucheron) set the stone into the mount using stones originally supplied to the jeweller by their client.

QUALIFIED HEADINGS “Attributed to”: in Christie’s qualified opinion is probably a work by the jeweller/maker but no warranty is provided that the lot is the work of the named jeweller/maker.

Other information included in the catalogue description “Signed Boucheron / Signature Boucheron”: in Christie’s qualified opinion has a signature by the jeweller.

“With maker’s mark for Boucheron”: in Christie’s qualified opinion has a mark denoting the maker.

Periods Art Nouveau 1895-1910 Belle Epoque 1895-1914 Art Deco 1915-1935

“After …”: in Christie’s qualified opinion a copy (of any date) of a work of the artist.

WATCHES

“Signed …”/“Dated …”/ “Inscribed …”: in Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.

“With signature …”/“With date …”/ “With inscription …”: in Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

Retro 1940s Removal of Watch Batteries A lot marked with the symbol ⊕ next to the lot number incorporates batteries which may be designated as “dangerous goods” under international laws and regulations governing the transport of goods by air freight. If a buyer requests shipment of the lot to a destination outside of the country in which the saleroom is located, the batteries will be removed and retained by us prior to shipment. If the lot is collected from the saleroom, the batteries will be made available for collection free of charge.

FABERGÉ

CHINESE CERAMICS AND WORKS OF ART

QUALIFIED HEADINGS

When a piece is, in Christie’s opinion, of a certain period, reign or dynasty, its attribution appears in uppercase letters directly below the Heading of the description of the lot.

“Marked Fabergé, Workmaster …”: in Christie’s qualified opinion a work of the master’s workshop inscribed with his name or initials and his workmaster’s initials.

e.g. A BLUE AND WHITE BOWL 18TH CENTURY

“By Fabergé …”: in Christie’s qualified opinion, a work of the master’s workshop, but without his mark.

If the date, period or reign mark mentioned in uppercase letters after the bold type first line states that the mark is of the period, then in Christie’s opinion, the piece is of the date, period or reign of the mark.

“In the style of …”: in Christie’s qualified opinion a work of the period of the master and closely related to his style.

e.g. A BLUE AND WHITE BOWL KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1662-1722) If no date, period or reign mark is mentioned in uppercase letters after the bold description, in Christie’s opinion it is of uncertain date or late manufacture. e.g. A BLUE AND WHITE BOWL QUALIFIED HEADINGS

e.g. A BLUE AND WHITE MING-STYLE BOWL; or The Ming-style bowl is decorated with lotus scrolls…

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e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND PROBABLY OF THE PERIOD

“Manner of… ”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date.

When a piece is, in Christie’s opinion, not of the period to which it would normally be attributed on stylistic grounds, this will be incorporated into the first line or the body of the text of the description.

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In Christie’s qualified opinion this object most probably dates from Kangxi period but there remains the possibility that it may be dated differently.

“Bearing marks …”: in Christie’s qualified opinion not a work of the master’s workshop and bearing later marks.

HANDBAGS Condition Reports The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Condition reports and grades are provided free of charge as a courtesy and convenience to our buyers and are for guidance only. They offer our honest opinion but they may not refer to all faults, restoration, alteration or adaptation. They are not an alternative to examining a lot in person or taking your own professional advice. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty as to condition by Christie’s or by the seller.

Grades in Condition Reports We provide a general, numeric condition grade to help with overall condition guidance. Please review the specific condition report and extra images for each lot before bidding.

Grade 1: this item exhibits no signs of use or wear and could be considered as new. There are no flaws. Original packaging and protective plastic are likely intact as noted in the lot description.

Grade 2: this item exhibits minor flaws and could be considered nearly brand new. It may never have been used, or may have been used a few times. There are only minor condition notes, which can be found in the specific condition report.

Grade 3: this item exhibits visible signs of use. Any signs of use or wear are minor. This item is in good condition.

Grade 4: this item exhibits wear from frequent use. This item either has light overall wear or small areas of heavy wear. The item is considered to be in fair condition.

Grade 5: this item exhibits normal wear and tear from regular or heavy use. The item is in good, usable condition but it does have condition notes.

Grade 6: this item is damaged and requires repair. It is considered in fair condition.

Any reference to condition in a catalogue entry will not amount to a full description of condition, and images may not show the condition of a lot clearly. Colours and shades may look different in print or on screen to how they look in real life. It is your responsibility to ensure that you have received and considered any condition report and grading.

References to “HARDWARE” Where used in this catalogue the term “hardware” refers to the metallic parts of the bag, such as the buckle hardware, base studs, lock and keys and /or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold

Hardware”, “Silver Hardware”, “Palladium Hardware” etc. refer to the tone or colour of the hardware and not the actual material used. If the bag incorporates solid metal hardware this will be referenced in the lot description.

POST 1950 FURNITURE All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or sold as collector’s items. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989, 1993 and 2010, the “Regulations”).

Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

SYMBOLS USED IN THIS CATALOGUE The meaning of words coloured in bold in this section can be found in paragraph K, Glossary, of the section of the catalogue headed ‘Conditions of Sale’.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

º

≈

º♦

∝

Christie’s has provided a minimum price guarantee and has a direct financial interest in the lot. See Important Notices in the Conditions of Sale for further information Christie’s has provided a minimum price guarantee and has a direct financial interest in the lot. Christie’s has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.

⇔

A party has provided Christie’s with a bid to cover all or part of Christie’s financial interest in the lot and may benefit financially from such bid. See the Important Notices in the Conditions of Sale for further information.

Handbag lot incorporates material from endangered species. International shipping restrictions apply. See paragraph H2 of the Conditions of Sale for further information.

Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.

Ψ

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale. See paragraph H2(h) of the Conditions of Sale for further information.

➤

Lot is a Non Fungible Token (NFT). Please see Appendix A – Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.

¤

◗

•

■

A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot.

Lot offered without reserve.

~

Lot incorporates material from endangered species which could result in export restrictions. See paragraph H2(c) of the Conditions of Sale for further information.

Lot contains both a Non Fungible Token (NFT) and a physical work of art. Please see Appendix A – Additional Conditions of Sale – Non-Fungible Tokens in the Conditions of Sale for further information.

See Storage and Collection pages in the catalogue.

❖

With the exception of clients resident in Mainland China, you may elect to make payment of the purchase price for the lot via a digital wallet in the name of the registered bidder, which must be maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; or Paxos Trust Company, LLC. Please see the lot notice and Appendix B – Terms for Payment

by Buyers in Cryptocurrency in the Conditions of Sale for further requirements and information

φ

Please note that this lot is subject to an import tariff.

The amount of the import tariff due is a percentage of the final hammer price plus buyer’s premium. The buyer should contact Post Sale Services prior to the sale to determine the estimated amount of this import tariff. If the buyer instructs Christie’s to arrange shipping of the lot to a foreign address, the buyer will not be required to pay an import tariff, but the shipment may be delayed while awaiting approval to export from the local government. If the buyer instructs Christie’s to arrange the shipment of the lot to a domestic address, if the buyer collects the property in person, or if the buyer arranges their own shipping (whether domestically or internationally), the buyer will be required to pay the import tariff. For the purpose of calculating sales tax, if applicable, the import tariff will be added to the final hammer price plus buyer’s premium and sales tax will be collected as per The Buyer’s Premium and Taxes section of the Conditions of Sale.

© Christie, Manson & Woods Ltd. (2025)

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STORAGE AND COLLECTION PAYMENT OF ANY CHARGES DUE

SHIPPING AND DELIVERY

Specified lots (sold and unsold) marked with a filled square (■) not collected from Christie’s by 5.00pm on the day of the sale will, at our option, be removed to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Christie’s will inform you if the lot has been sent offsite.

Christie’s Post-Sale Service can organize domestic deliveries or international freight.

Please contact them on +1 212 636 2650 or PostSaleUS@christies.com.

If the lot is transferred to Christie’s Fine Art Storage Services, it will be available for collection after the third business day following the sale.

Please contact Christie’s Post-Sale Service 24 hours in advance to book a collection time at Christie’s Fine Art Services. All collections from Christie’s Fine Art Services will be by pre-booked appointment only.

Please be advised that after 50 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection.

Tel: +1 212 636 2650 Email: PostSaleUS@christies.com Operation hours for both Christie’s Rockefeller and Christie’s Fine Art Storage are from 9:30 am to 5:00 pm, Monday – Friday.

COLLECTION AND CONTACT DETAILS Lots will only be released on payment of all charges due and on production of a Collection Form from Christie’s. Charges may be paid in advance or at the time of collection. We may charge fees for storage if your lot is not collected within ninety days from the sale. Please see paragraph G of the Conditions of Sale for further detail.

Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality.

Please contact CFASS New York for details and rates: +1 212 636 2070 or storage@cfass.com CHRISTIE’S ROCKEFELLER CENTER 20 Rockefeller Plaza, New York 10020 Tel: +1 212 636 2000 PostSaleUS@christies.com Main Entrance on 49th Street Receiving/Shipping Entrance on 48th Street Hours: 9.30 AM - 5.00 PM Monday-Friday except Public Holidays

CHRISTIE’S FINE ART STORAGE SERVICES (CFASS) 62-100 Imlay Street, Brooklyn, NY 11231 Tel: +1 212 974 4500 PostSaleUS@christies.com Main Entrance on Corner of Imlay and Bowne St Hours: 9.30 AM - 5.00 PM Monday-Friday except Public Holidays

Tel: +1 212 636 2650 Email: PostSaleUS@christies.com

18/12/2024

Identity Verification Anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact.

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Private Individuals

Organisations

• A copy of your passport or other government-issued photo ID. • Proof of your residential address (such as a bank statement or utility bill) dated within the last three months.

• Formal documents showing the company’s incorporation, its registered office and business address, and its officers, members and ultimate beneficial owners.

• A passport or other government issued photo ID for each beneficial owner and authorised user.

Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profile’.

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Our Sustainability Pledge Christie’s is printing fewer catalogues as our business and client needs evolve.

When we do print, we uphold the highest sustainable standards. Our catalogues are printed on fully recycled paper, with vegetable-based ink and biodegradable laminates.

‘Five years ago we made a decision to create a more sustainable future for Christie’s.

With a 69% reduction in our carbon emissions since 2019, we have shown it is possible and in doing so have driven change in the art market. Art is a source of personal joy and enrichment and that should not come at the expense of the environment.’

Bonnie Brennan Chief Executive Officer

Scan to learn more about our sustainability goals and projects VINCENT VAN GOGH (1853-1890) Coin de jardin avec papillons Price realised: $33,185,000 Christie’s New York, May 2024

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