CEFA Auction

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Centre For Early Furniture And Art Ltd. (CEFA), Swinton Park, Masham, Yorkshire HG4 4JH T. +44 (0)1765 688940 F. +44 (0)1765 501 061 E. reception@cefa.auction W. cefa.auction

Registered Address: Swinton Park, Masham, Yorkshire HG4 4JH

Registered No. 9614823

VAT Registration No. 228 7757 66

Registered in England

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Lot 187

A CHARLES II OAK CHILD’S PRESS CUPBOARD, THIRD QUARTER OF THE 17th CENTURY, LAKELAND

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THE ENGLISH COUNTRY HOUSE 1600-1900

Swinton Park ©2011-2016 Swinton Park Ltd.

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FOREWORD Oak and walnut, oils and prints, pewter and porcelain, just a very beginning to that almost endless list which forms the rich tapestry of mediums that have been used through the ages to create those objects that we have all around us, for our use and to decorate our surroundings.

Often combining function with form and beauty, it is these objects and understanding their purpose, their origins and inspiration which have taken the specialists at CEFA on wonderful and fascinating worldwide journeys through their varied careers in the art world. It is one of those journeys that has no end and few boundaries, in fact, the more one learns the more one realises how much there still is to learn. But that is one of the great pleasures and we will hope to impart this pleasure, this fascination to you when you come to look at the varied items we have in our auction.

Some of the items are rare, many are exotic and some have involved significant research which has advanced our knowledge in a particular field, notably in this sale, in the area of regional furniture and national timbers, whilst others we almost take for granted and ask no questions of them, but, in fact, those pieces still have much to say and we will try to speak on their behalf.

We hope that you will enjoy looking at the items in our printed catalogue or on-line and that you will feel tempted to visit us and take advantage of viewing them within the beautiful surroundings of Swinton Park.

We will look forward to welcoming you and talking to you and perhaps be able to help you find the perfect item for that space on the wall or in that corner of the sitting room.

©2011-2016 Swinton Park Ltd.

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PREVIEWS AT SWINTON PARK Swinton Park is the ancestral home of the Earl of Swinton, owned and run by the Cunliffe-Lister family.

Set in 200-acres of parkland on the edge of the Yorkshire Dales, the castle combines the style and elegance of a stately home with the comfort and exemplary service of a luxury hotel. ere are 31 individually-designed bedrooms – including five suites, lavishly-furnished public rooms with chandeliers and ornate fireplaces and a relaxing spa with cedar hot tub, sauna and five treatment rooms. e hotel’s location, within the 20,000-acre Swinton Estate, makes it truly unique. e estate provides the setting for a wide range of outdoor activities including golf, falconry, shooting, fishing, cycling, walking and horse riding. e estate is also the source of much of the produce used in the restaurant and cookery school. Game birds, venison and foraged ingredients such as elderflower, wild garlic and wild mushrooms come from the estate while, closer to the hotel, a 4-acre walled garden provides home-grown produce throughout most of the year.

Swinton Park’s fine dining restaurant, Samuel’s, is located in the dining room of the castle. Named after Samuel Cunliffe-Lister who built the dining room wing in 1890, following his purchase of Swinton Park in 1880, it boasts an ornate gold-leaf ceiling and sweeping views of the parkland that contribute to a memorable dining experience.

Guided by the experienced hand of Steve Bulmer, Head Chef; the style of cuisine is Modern British, focusing on seasonal, local produce with a serious commitment to a ‘gate to plate’, low-food-miles philosophy. e freshness and quality of the ingredients speak for themselves, with Samuel’s winning a host of awards – most recently the VisitEngland ‘Taste of England’ gold award for 2013.

In addition to dining at Samuel’s, non-resident visitors to the hotel are most welcome to enjoy morning coffee, light lunches and afternoon tea served in the drawing room and bar, or in the summer months on the terrace.

Details on hotel and refreshment availability during CEFA sales and preview can be found on our website www.cefa.auction

The Drawing Room at Swinton Park ©2011-2016 Swinton Park Ltd.

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DIRECTORY

PHILIP DUCKWORTH

Head of Sale +44 (0) 1765 688940 Philip.Duckworth@cefa.auction LOUISE FORSTER

Director and Senior Specialist +44 (0) 1765 688940 Louise.Forster@cefa.auction RICHARD EDWARDS

Senior Specialist +44 (0) 1765 688940 Reception@cefa.auction DAVID DALLAS

Senior Specialist +44 (0) 1765 688940 Reception@cefa.auction ALISTAIR DRENNAN

Senior Specialist +44 (0) 1765 688940 Reception@cefa.auction JASPER JENNINGS

Senior Specialist +44 (0) 1765 688940 Reception@cefa.auction

SALE INFORMATION

THE ENGLISH COUNTRY HOUSE 1600-1900 SALE

Friday 24 June at 11.00am

VENUE

Centre For Early Furniture And Art Ltd. (CEFA) Swinton Park, Masham, Yorkshire HG4 4JH

EXHIBITION VIEWING Sunday 19 June 10.00am - 5.00pm Monday 20 June 10.30am - 5.00pm Tuesday 21 June 10.30am - 5.00pm Wednesday 22 June 10.30am - 8.00pm Thursday 23 June 10.30am - 5.00pm

MARELLA DARVILL Senior Auction Administrator +44 (0) 1765 688940 Marella.Darvill@cefa.auction TOBY HINCHCLIFFE Secretary to the Director +44 (0) 1765 688940 Toby.Hinchcliffe@cefa.auction PAUL JONES Sale & Consignment Foreman +44 (0) 1765 688940 Paul.Jones@cefa.auction

Illustrations: Front cover: Inside front cover: Inside back cover: Back cover:

Lot 186 Lot 170 detail Lot 163 detail Lot 160

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THE ENGLISH COUNTRY HOUSE

1600 - 1900

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1 A FRENCH GILT BRONZE MANTLE CLOCK LATE 19th CENTURY

By A.D Mougin, Herimoncourt, France, with cupid holding a cockerel atop a fluted pedestal with an enamel dial with a vitruvian scroll below and plinth base with foliate feet. The twin-train movement numbered 1433 and striking on a bell. No pendulum or key.

38cm high

£1,500 - £2,000

SWINToN PARk, 24TH JuNE 2016

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2 A FRENCH GILT METAL MANTLE CLOCK LATE 19th CENTURY

By J. Marti & Co Paris, with a cherub beside a clock with an enamel dial on a foliate and guilloche plinth with bead feet. The twin-train movement numbered 5260 and striking on a bell. No pendulum or key.

35cm high

£400 - £600

THE ENGLISH CouNTRY HouSE

1600 - 1900

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3 A GILT METAL FOUR LIGHT CHANDELIER LATE 19th CENTURY The four rope twist supports, hung with tassles and issuing from a star mounted orb, extending to outscrolled arms and centred by a foliate wrapped urn mounted by a horn blowing cherub.

102cm high

£2,500 - £3,000

SWINToN PARk, 24TH JuNE 2016

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4 A GILT-METAL THREE BRANCH CHANDELIER MID 20th CENTURY The three spreading supports extending to outscroll branches hung with swags and centred by a downswept and simulated bronze quiver of arrows.

95cm high

£1,000 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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5 A PAIR OF GILT-BRONZE FOUR LIGHT CANDELABRA LATE 19th CENTURY In the rococo style, each elaborately cast with scrolls, shellwork and acanthus, with detachable candle cups and on shaped circular base. With two associated drip pans, stamped CR 350. (2) 49cm high

£1,200 - £1,600

SWINToN PARk, 24TH JuNE 2016

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6 A GILT BRASS HANGING LANTERN SECOND HALF OF THE 20th CENTURY With three downswept scroll supports extending to a central boss and a circular cupped glass shade.

102cm high

£300 - £500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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7 A GILT-METAL HALL LANTERN SECOND HALF OF THE 20th CENTURY Hung with bells, balls and tassles, with scroll supports extending to a circular glass panel frame with reed borders. one acorn finial missing.

64cm high

£800 - £1,200

SWINToN PARk, 24TH JuNE 2016

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8 A LARGE BRASS HALL LANTERN SECOND HALF OF THE 20th CENTURY In the George III style, the reeded standard issuing four candle arms, within a circular frame cast with acorn finials and ribbon-tied swags.

92cm high

£1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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9 A GILT BRONZE HEXAGONAL HALL LANTERN SECOND HALF OF THE 20th CENTURY With a fluted shaped and scroll-cast surmount and frame cast with sea horses and further scrolls.

77cm high

£1,500 - £2,000

SWINToN PARk, 24TH JuNE 2016

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10 A REGENCY MAHOGANY BREAKFRONT BOOKCASE CIRCA 1820 The moulded cornice above a pair of ogee arched astragal glazed doors flanked by conforming doors, spaced by leaf carved fluted pilasters and all enclosing adjustable shelves, the base with a pair of ebonised string inlaid panelled cupboard doors enclosing slides flanked by conforming doors, one enclosing drawers, the other folio divisions, on a block plinth base.

230cm high x 200cm wide x 49cm deep £8,000 - £10,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINToN PARk, 24TH JuNE 2016

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11 A REGENCY ROSEWOOD BOOKSTAND CIRCA 1820

12 A LATE VICTORIAN GILT BRASS FENDER LAST QUARTER OF THE 19TH CENTURY

With a spindle and scroll gallery and frieze drawer on bun feet. Part of one scroll missing.

in the rococo style of serpentine form, the pierced gallery cast with c-scrolls and acanthus.

25.5cm high x 38cm wide x 25.5cm deep

139cm wide

£1,000 - £1,500

The english CounTry house

1600 - 1900

£500 - £700

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13 A LATE REGENCY ROSEWOOD OPEN WATERFALL BOOKCASE CIRCA 1820 With gilt heightened mouldings, the top with a three quarter scroll pierced brass gallery, with two shelves and two frieze drawers and one adjustable shelf below on a plinth base.

With a part label to the reverse: …MANS, Ltd, …SIToRIES, …LoNDoN, S.E.13, GRIFFIN, DEC 1934.

154cm high x 113cm wide x 33cm deep. £2,000 - £2,300

SWINToN PARk, 24TH JuNE 2016

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14 Ω AN ANGLO-INDIAN IVORY INLAID HARDWOOD WORK TABLE SECOND QUARTER OF THE 19TH CENTURY, PROBABLY MONGHYR NORTH EAST INDIA The shaped octagonal box decorated with scrolls and flowerheads and opening to a fitted interior, swivelling on a spindle-carved bird cage on a carved baluster column and tripod platform with paw feet.

75cm high x 47cm wide x 27cm deep

It was normal practice to give native carpenters in India a pattern (or muster) which they would then follow, using local materials, to produce a required item of furniture. The pattern could be taken from a number of different sources but the furniture pattern books were a regular source of inspiration.

The number of different pattern books increased significantly in the early 19th century and some of these were particularly influential and in the case of this work table the source for the design of the column can be found in T.king, Specimens of Furniture in the Elizabethan and Louis Quatorze Styles of 1835 up to W.Smee and Sons. Designs for Furniture of 1850.

Literature: Furniture from British India and Ceylon. Amin Jaffer V & A Publications 2001 Special Notice Ω: We would like to draw your attention to our terms and conditions relating to the sale and import of items from endangered species.

£1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINToN PARk, 24TH JuNE 2016

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15 A GEORGE III MAHOGANY BOOKCASE CABINET CIRCA 1760 The bookcase with moulded cornice above a mirrored door with ‘Chinese’ fretwork astragals opening to reveal a shelved interior with an arrangement of base drawers, the cabinet with a pair of panelled doors enclosing three long graduated drawers, raised on cabriole legs terminating in scroll feet, bears a Norman Adams, Hans St, London trade label.

192cm high x 84cm wide x 48cm deep The fine astragal glazing bars on this cabinet offer a good indicator of the influence of pattern books on the form and decoration on English furniture particularly from the middle years of the 18th Century. The most well-known of these is, of course, Chippendale’s Director of 1754 but The universal System of Household Furniture by Ince and Mayhew issued between 1759 and 1762 also shows designs with the then fashionable tastes for French, Chinese and Gothic styles.

The similarities between these astragals and those from designs in these two works are numerous but see particularly in the Director, a China Case P.25 and in the universal System the left hand pedestal, a Bureau Dressing Table Plate XL. A mahogany china cabinet with very similar astragals is illustrated in A History of English Furniture, The Age of Mahogany, by Percy MacQuoid Fig. 673.

Norman Adams Ltd was founded in 1923 and focused on quality English furniture, gaining a reputation for supplying only the finest 18th Century pieces. It finally closed its famous showrooms at 8 – 10 Hans Road, London in 2009. £6,000 - £8,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINTON PARK, 24TH JUNE 2016

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16 A GEORGE II WALNUT TRIPOD TABLE MID 18th CENTURY Possibly Irish, the plain circular top tilting above a fluted columnar standard, raised on leaf and shell carved hipped downswept legs terminating in pad feet.

71cm high x 76cm diameter £500 - £700

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINToN PARk, 24TH JuNE 2016

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17 A GEORGE III MAHOGANY BOOKCASE ON DRESSING CHEST THIRD QUARTER OF THE 18th CENTURY, ATTRIBUTED TO WRIGHT AND ELWICK, AFTER A DESIGN BY THOMAS CHIPPENDALE The bookcase with projecting centre section beneath a moulded cornice fitted with a single door inset with a mirror within a gilt slip, flanked by banks of mahogany lined graduated cockbeaded drawers surmounted by leaf and scroll carved buttresses, the dressing chest with three cockbeaded frieze drawers, the centre drawer fitted with a dressing slide, above a recess flanked by twin banks of graduated cockbeaded drawers, raised on a block plinth. There is evidence of marks on the top of the raised centre section which could indicate that the cabinet may formerly, but not necessarily originally, have had a cresting.

186cm high x 114cm wide x 57cm deep

THE ENGLISH CouNTRY HouSE

1600 - 1900

The design for the cabinet is taken from Chippendale’s The Gentleman and Cabinet’s Maker Director of 1754, with the design being repeated in the third edition of the Director of 1762, Plate No CXIV, ‘Dressing Chest & Bookcase’.

A similar dressing chest and bookcase was sold from the catalogue WENTWoRTH, Christie’s London, 8th July 2008, Lot 70 and a second was exhibited at Temple Newsam House, Leeds, 1951,Thomas Chippendale, Cat. No. 26. Property of Lord St oswald, Nostell Priory, Yorkshire.

This dressing chest & bookcase is illustration No 261, Chippendale Furniture, Anthony Coleridge, Collector’s Book Club 1968.

It is interesting to note that the Temple Newsam Chest also has the carved spandrels flanking the centre section, apparently of a similar design, as with the present lot.

There is a suggestion that the chest at Christie’s may also have had a cresting.

It is to be noted that all three of these cabinets have seven drawers flanking either side of the central mirror in the upper section rather than the six shown in The Director.

This small group of dressing chests and bookcase has now been attributed to the Wakefield cabinetmakers, Wright and Elwick whose partnership lasted from 1747 to 1771 and the commissions that the partnership undertook would indicate that their work was considered at least to equal that of the best London cabinet-makers.

It is known that both partners subscribed to the Gentleman and Cabinet-Maker’s Director of 1754 and were almost certainly employed by Sir Rowland Winn at Nostell Priory, Leeds, immediately before Chippendale started his work there in 1766. £6,000 - £8,000

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SWINToN PARk, 24TH JuNE 2016

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18 A GEORGE III MAHOGANY OPEN ARMCHAIR LATE 18th CENTURY of Gainsborough type with downswept channelled arms, raised on square section channelled legs joined by stretchers and moving on castors. £1,500 - £2,000

19 A LATE VICTORIAN BRASS REVOLVING MAGAZINE RACK LATE 19th CENTURY With four scroll-cast divisions on a rectangular mahogany base, on hipped downswept legs joined by a shaped stretcher. Stamped Hall and Hall BM. 87cm high x 38cm wide x 26cm deep £800 - £1,200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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20 A GEORGE IV ROSEWOOD LIBRARY TABLE CIRCA 1825 The rectangular top with rounded corners, above a plain moulded frieze, raised on twin reeded tapering legs each on a leaf-carved shaped platform over bun feet.

72cm high x 167cm wide x 72cm deep £2,000 - £2,500

SWINToN PARk, 24TH JuNE 2016

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21 A MAHOGANY TRIPOD TABLE 18th CENTURY, THE TOP AND BASE POSSIBLY ASSOCIATED The circular scalloped tilt-top above a concave stem carved with urn and baluster half columns, the legs leaf-carved, joined by a shaped stretcher and terminating in scroll feet applied with flowerheads.

71cm high x 67.5cm diameter Described in 18th Century pattern books as claw tables, the source material for this table can be found in in Ince & Mayhew, The universal System of Household Furniture published between 1759 and 1762 plate XIII. £4,000 - £6,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINToN PARk, 24TH JuNE 2016

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22 A GEORGE III MAHOGANY AND BRASS BOUND CELLARETTE FIRST QUARTER OF THE 19th CENTURY of tapering form, with cut-off corners and drop handles, the hinged cover opening to a tin-lined interior, raised on ring turned tapering legs moving on castors.

60cm high x 68cm wide x 47cm deep £2,000 - £2,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINToN PARk, 24TH JuNE 2016

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23 A PAIR OF REGENCY MAHOGANY HALL CHAIRS CIRCA 1820 Each with a fan centred oval back on a waisted scroll support, the solid bowed seat with a reeded front rail on reeded sabre legs.

Restorations. (2) £600 - £800

24 A REGENCY ROSEWOOD FOUR DIVISION CANTERBURY EARLY 19th CENTURY The centre division with a pierced carrying handle, on ring turned supports and fitted with a frieze drawer on turned legs with later castors.

55cm high x 30cm wide x 37.5cm deep £1,000 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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25 A LATE VICTORIAN GILT BRONZE FENDER LAST QUARTER OF THE 19th CENTURY In the Louis XVI style with a pair of urn-form chenets cast with ram’s head handles and joined by a pierced scroll and leaf-cast central section.

140cm wide

£1,000 - £1,500

SWINTON PARK, 24TH JUNE 2016

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26 A GEORGE III FUSTIC AND MAHOGANY TRIPOD TABLE LAST QUARTER OF THE 18th CENTURY With a circular hinged top above a bird cage over a cylindrical standard with spirally-carved knop, raised on hipped downswept legs terminating in pad feet.

71cm high x 74cm diameter £700 - £900

THE ENGLISH CouNTRY HouSE

1600 - 1900

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27 A PAIR OF ROUGE GRIOTTE MARBLE TABLE LAMPS LAST QUARTER OF THE 20th CENTURY Each in the form of an urn with gilt metal mounts with satyr masks, floral swags and laurel wreaths, each on a square base. One stem formerly broken and repaired. (2) Including fitting 54cm high £2,500 - £3,000

SWINTON PARK, 24TH JUNE 2016

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28 A GEORGE IV OAK X-FRAME STOOL CIRCA 1825 In the manner of Gillows, the drop-in seat on a frame applied with bosses, joined by a ringturned baluster stretcher and raised on bun feet. £500 - £700

29 A MAHOGANY TRIPOD TABLE LATE 18th CENTURY, THE TOP AND BASE PROBABLY ASSOCIATED The octagonal top with moulded edge, over a stepped cylindrical standard, raised on hipped downswept legs.

68cm high x 38.5cm diameter £500 - £700

THE ENGLISH CouNTRY HouSE

1600 - 1900

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30 A GEORGE III MAHOGANY PEMBROKE TABLE CIRCA 1770 The rectangular hinged top with rounded corners, above a frieze drawer, raised on chamfered offset square section legs with fretwork spandrels, terminating in blocks and moving on castors.

71cm high x 97cm wide (extended) x 70.5cm deep £1,500 - £2,000

31 A REGENCY MAHOGANY TOILET MIRROR CIRCA 1820 In the manner of Gillow, the rectangular plate between channelled and reeded scroll-carved uprights, on a shaped, galleried platform carved with a reeded edge.

47cm high x 61cm wide x 28cm deep £500 - £700

32 A PAIR OF CONTINENTAL PAINTED PINE STANDS OR DESK TIDIES EARLY 19th CENTURY Each tray top with shaped rim, above a frieze drawer over a scroll-carved apron, decorated with classical motifs. (2) 19cm high x 33cm square £700 - £900

SWINToN PARk, 24TH JuNE 2016

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33 A SET OF GEORGE IV ROSEWOOD QUARTETTO TABLES CIRCA 1825 Each with rectangular top raised on twinned slender turned columnar legs on scroll-carved gilt-metal mounted trestle feet joined by a bowed stretcher.

73.5cm high x 53cm wide x 30cm deep £2,500 - £3,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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34 AN EDWARDIAN MAHOGANY DOUBLE CHAIR BACK SETTEE EARLY 20th CENTURY In the George III style, the yoked crest rail above a pair of pierced splats over a buttoned leather seat flanked by downswept arms and raised on square section tapering legs joined by stretchers.

143cm wide

£1,200 - £1,800

SWINToN PARk, 24TH JuNE 2016

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35 A SMALL REGENCY BOOKCASE CABINET CIRCA 1820 The upper section with moulded cornice above a pair of glazed doors, the base with moulded frieze applied with a pierced brass band, over a pair of panelled doors, on a block plinth.

208cm high x 102cm wide x 39cm deep £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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36 A PAIR OF GILT METAL FIVE LIGHT CANDELABRA LATE 19th CENTURY Each with sconces and flowerheads on stems issuing from a cherub decorated vase on four foliate scroll feet. (2) 65cm high

£1,200 - £1,500

SWINToN PARk, 24TH JuNE 2016

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37 A LACQUER LOW TABLE LATE 20th CENTURY WITH 19th CENTURY INSET CHINESE PANEL The rectangular top formed from a panel decorated with sages seated and standing in a garden, within a parcel gilt frame and on cabriole legs and pad feet.

43cm high x 132cm wide x 49cm deep £1,200 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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38 A GEORGE III MAHOGANY TRIPOD TABLE CIRCA 1770 The 91.5 cm (3ft) circular hinged single piece top above a bird cage on a standard with spirally carved knop, raised on pointed, hipped, downswept legs terminating in pad feet, moving on castors.

74cm high x 90cm diameter £800 - £1,200

SWINToN PARk, 24TH JuNE 2016

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39 A VICTORIAN KINGWOOD BUREAU PLAT THIRD QUARTER OF THE 19th CENTURY In the Louis XVI style and gilt metal mounted, the top inset with a panel of tooled leather, fitted with a drawer with a dummy to the reverse each with pierced scroll and leaf-cast gilt-metal mounts, the ends with parquetry panels, raised on chandelle decorated fluted circular section legs with swag-cast mounts and terminating in shaped sabots, bearing a maker’s paper label G. TRoLLoPE & SoNS. 75cm high x 119cm wide x 71cm deep George Trollope & Sons The Company has its origins in the 18th Century but was registered under this name in 1843. It was involved in house building projects, furnishing and decoration and through these was able to develop its furniture making business. They produced furniture in a number of different styles and were recorded as introducing some new decorative techniques.

They exhibited at the Great Exhibition at Crystal Palace of 1851 and, at the second international exhibition of 1862, received great acclaim and were considered to equal the quality of work of contemporary leading makers such as Holland and Son and Wright and Mansfield. £4,000 - £5,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINTON PARK, 24TH JUNE 2016

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40 A GILT BRASS AND METAL FAN SHAPED FIRESCREEN SECOND HALF OF THE 20th CENTURY With an urn finial and pierced arched folded leaves spreading to a fan on a scroll and foliate quatrefoil base.

69cm high

£400 - £600

THE ENGLISH CouNTRY HouSE

1600 - 1900

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41 A GEORGE III MAHOGANY THREE TIER STAND CIRCA 1800 The graduated galleried tiers with bowed ends, joined by channel-carved uprights and raised on downswept trestles.

99cm high x 95cm wide x 29cm deep £1,200 - £1,800

42 A KINGWOOD AND PARQUETRY TWO TIER ETAGERE SECOND HALF OF THE 20th CENTURY In the Louis XV style, the upper tier of cartouche form with removable glass tray, raised on shell and scroll-cast uprights over a conforming base fitted with carrying handles, raised on cabriole legs terminating in leaf-cast sabots, decorated throughout with trellis pattern parquetry outlined in gilt-metal.

89cm high x 88cm wide (across handles) x 49cm deep £1,200 - £1,500

SWINToN PARk, 24TH JuNE 2016

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44

43 A FRENCH MAHOGANY THREE TIER ETAGERE SECOND HALF OF THE 20th CENTURY In the Louis XVI style and gilt metal mounted, with a galleried Spanish Brocatelle marble top raised on turned circular splayed legs joined by two conforming tiers. Bearing two labels: ToSTAIN GALERIE DE LA MADELEINE and 1078.

77cm high x 39m wide The Galerie de la Madeleine is a covered arcade in the 8th arrondissement in Paris dating from the 19th century which houses luxury retailers and food shops and from where Tostain formerly operated. £1,000 - £1,200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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45

SWINToN PARk, 24TH JuNE 2016

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46

44 A NAPOLEON III KINGWOOD OVAL OCCASIONAL TABLE THIRD QUARTER OF THE 19th CENTURY Gilt metal mounted and with parquetry panels, the galleried top centred by a plaque of Sevres type painted with a ribbon-tied basket of flowers, over a frieze drawer within an apron decorated with shell-cast mounts, raised on cabriole legs joined by a galleried shelf stretcher and terminating in foliate sabots, drawer stamped 2578.

72.5cm high x 42cm wide x 32.5cm deep £1,800 - £2,200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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47

SWINToN PARk, 24TH JuNE 2016

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48

45 AN EDWARDIAN DECORATED MAHOGANY DISPLAY CABINET FIRST QUARTER OF THE 20th CENTURY Painted with floral sprays, husks and ribband tied swags and inlaid with lines, the upper part with a moulded cornice and fitted with two glass shelves enclosed by a husk carved glazed astragal door, the lower part enclosed by a pair of panel doors with musical trophies, on square tapered legs with spade feet.

With an ivorine label: W.F.GREENWooD & Sons, art dealers & furnishers, 24 SToNEGATE, YoRk. 182cm high x 82cm wide x 40cm deep W.F Greenwood & Sons are recorded as being active from about 1900 to 1947 and at 24 Stonegate York between about 1920 to 1947. £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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49

SWINToN PARk, 24TH JuNE 2016

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50

46 A FRENCH GILT BRONZE CLOCK GARNITURE LATE 19th CENTURY

By Charpentier, Paris, the clock with an urn finial and indistinctly signed enamel dial, with lions’ mask ring handles on a spreading blind fret base and shaped plinth, each five branch candelabra on a similar base, the twin-train movement numbered 440 and striking on a bell. Pendulum numbered 2276, no key. (3) The clock 50cm high £2,500 - £3,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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51

47 A LATE GEORGE III SATINWOOD BONHEUR DU JOUR EARLY 19th CENTURY Inlaid with lines, the superstructure with gilt-brass gallery above a fall front opening to a leather-lined slide-out writing surface and arrangement of drawers and cupboards, the base with shelves enclosed by open spindle cupboard doors, on square section tapering legs terminating in brass caps and castors joined by a galleried shaped shelf stretcher.

134cm high x 97cm wide x 40cm deep £3,000 - £4,000

SWINToN PARk, 24TH JuNE 2016

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52

48 A PAINTED SATINWOOD COMMODE SECOND HALF OF THE 20th CENTURY In the George III style, bowfronted with concave sides, the crossbanded top decorated with a floral cartouche above a frieze drawer and pair of cupboard doors painted with musical trophies, raised on square section tapering legs.

92cm high x 138cm x wide 52cm deep £2,500 - £3,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A PAINTED SATINWOOD COMMODE SECOND HALF OF THE 20th CENTURY

SWINTON PARK, 24TH JUNE 2016

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54

49 A PAIR OF GILT-METAL THREE-LIGHT WALL APPLIQUES SECOND HALF OF THE 20th CENTURY In the late 18th century style, each with a ribbontied surmount, issuing scrolling leaf-cast candle arms and with a grape and vine terminal. Each stamped twice C.E. (2) 69cm high

£800 - £1,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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55

SWINToN PARk, 24TH JuNE 2016

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56

50 A SET OF FOUR CARVED WALNUT DINING CHAIRS MID 20th CENTURY In the 18th century Dutch style, each with a shaped scroll marquetry back centred by a vase splat with an urn issuing a spray of flowers, with a floral needlework bowed drop-in seat on shell headed cabriole legs with claw and ball feet. (4) £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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57

51 A PAIR OF BRASS FIRE DOGS SECOND HALF OF THE 20th CENTURY Each profusely decorated with foliage, with a cup and cover on dual splayed supports centred by a cabochon. (2) 46cm high

£600 - £800

52 A PAIR OF PATINATED BRONZE MODELS OF A SPHINX SECOND HALF OF THE 20th CENTURY Each in characteristic pose and mounted on a marble plinth. (2) Length overall 22cm £800 - £1,000

SWINTON PARK, 24TH JUNE 2016

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58

53 AN ITALIAN GILT BRONZE FIGURE GROUP EARLY 20th CENTURY AFTER JOSEPH D’ASTE (1881-1945) of a shepherd and shepherdess holding a sheaf of wheat beside their sheep on a marble plinth.

The bronze marked J.D’Aste with a retailer’s mark casa vignas, the plinth with plate ‘SCENE PASToRAL par J D’Aste’.

39cm high

£3,000 - £5,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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59

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60

54 A WILLIAM IV MAHOGANY LIBRARY TABLE CIRCA 1835 The rectangular top inset with a panel of tooled leather with rounded corners and stylised leafcarved border, above a frieze fitted to three sides with a drawer, raised on leaf and gadrooncarved urn trestle legs joined by a turned stretcher and terminating in massive paw feet.

75cm high x 145cm wide x 84cm deep £1,200 - £1,800

THE ENGLISH CouNTRY HouSE

1600 - 1900

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61

SWINToN PARk, 24TH JuNE 2016

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62

55 Ω A DIEPPE CARVED IVORY WALL MIRROR LAST QUARTER OF THE 19th CENTURY The oval bevelled plate within a frame mounted with masks, lions rampant and sea creatures under an armorial surmount with Latin motto, backed in velvet.

90cm high x 57cm wide Note: The coat of arms is believed to be that of the Viscounts Arbuthnott Special Notice Ω: We would like to draw your attention to our terms and conditions relating to the sale and import of items from endangered species. £1,200 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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63

SWINToN PARk, 24TH JuNE 2016

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64

56 A CEYLANESE ROSEWOOD AND SPECIMEN WOOD TABLE FIRST QUARTER OF THE 19th CENTURY The rectangular top with rounded corners and reeded edge inlaid with a parquetry arrangement of exotic woods, above long and short frieze drawers opposed by dummies, raised on acanthus-carved lyre-shaped trestles, with turned feet moving on castors.

73cm high x 79cm wide x 57.5cm deep

For the source material for the finely carved foliate end supports of this table refer to the designs of J.C.Loudon, from the Encyclopaedia of Cottage, Farmhouse and Villa Architecture and Furniture of 1839, Figure 1948.

Loudon’s designs were highly influential in England and America and, whereas most pattern books of the time were aimed at wealthy patrons, his Encyclopaedia also included a range of more affordable types of furniture which allowed it to appeal to a much wider social spectrum. £2,500 - £3,500

THE ENGLISH COUNTRY HOUSE

1600 - 1900

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57 A CANTON FAMILLE ROSE PORCELAIN VASE 19th CENTURY Mounted as a table lamp, of bottle form, painted with alternating figural and bird and flower panels, mounted in gilt metal, on a a circular base cast in the oriental style.

42cm high (excluding fitting) £800 - £1,000

SWINToN PARk, 24TH JuNE 2016

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66

58 A PAIR OF GEORGE III MAHOGANY DINING CHAIRS CIRCA 1770 Each with a shield back and a serpentine stuffed-over seat, raised on channelled square section legs terminating in shaped spade feet.

(2) £300 - £400

THE ENGLISH CouNTRY HouSE

1600 - 1900

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67

59 A PAIR OF LARGE JAPANESE PATINATED BRONZE VASES 20th CENTURY Mounted as lamps, each of hipped baluster form, cast in high relief with birds on boughs and applied with twin scroll-cast handles. (2) 61.5cm high (excluding fitting) £1,500 - £2,000

60 A REGENCY ROSEWOOD FOUR DIVISION CANTERBURY CIRCA 1820 With spindle-carved divisions between block and baluster uprights, on a platform fitted with a frieze drawer and raised on turned legs terminating in castors.

44.5cm deep x 43cm high x 33cm wide £1,000 - £1,500

SWINTON PARK, 24TH JUNE 2016

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68

61 A GEORGE IV MAHOGANY AND CANE LIBRARY CHAIR CIRCA 1825 The bowed rectangular back above a loosecushioned seat flanked by downswept arms and raised on ring-turned baluster legs terminating in castors. £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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69

62 A GEORGE II MAHOGANY CHEST OF DRAWERS CIRCA 1750 The rectangular top with moulded edge and rounded corners above two short and three long graduated, cockbeaded drawers, raised on ogee bracket feet.

81cm high x 87.5cm wide x 47.5cm deep £2,000 - £2,500

SWINToN PARk, 24TH JuNE 2016

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70

63 A REGENCY MAHOGANY TWIN PEDESTAL DINING TABLE CIRCA 1820 The rectangular top with rounded corners and reeded edge, raised on ring-turned balusters continuing to leaf-carved fluted downswept tripods terminating in brass caps and castors, with one leaf.

71cm high x 201cm wide (extended) x 119cm deep £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A REGENCY MAHOGANY TWIN PEDESTAL DINING TABLE CIRCA 1820

SWINToN PARk, 24TH JuNE 2016

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64 A PAIR OF GILT BRONZE FOUR LIGHT CANDELABRA LATE 19th CENTURY one with a cherub, one with a faun, each supporting foliate candle arms on a chandelle decorated fluted column with a rouge marble plinth and toupie feet. (2) 52cm high

£2,500 - £3,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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65 A GILT-METAL HALL LANTERN MID 20th CENTURY With shaped foliate scroll supports and serpentine glazed arched panels with pierced crestings.

66cm high

£800 - £1,200

SWINToN PARk, 24TH JuNE 2016

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66 A FRENCH GREEN PATINATED BRONZE FIGURE GROUP EARLY 20th CENTURY AFTER ETIENNEMAURICE FALCONET (1716-1791) of two winged putti tussling over a lost heart, a quiver of arrows at their feet, on an oval rouge marble plinth.

46cm high

£2,500 - £3,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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75

67 A REGENCY CARVED GILTWOOD AND GESSO CONVEX MIRROR EARLY 19th CENTURY The plate within an ebonised reeded slip and scroll and floral moulded frame, beneath a twinned dolphin crest and with bold acanthus pendant.

127cm high

£1,500 - £2,000

SWINToN PARk, 24TH JuNE 2016

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68 A HARDWOOD COLLECTOR’S CABINET EARLY 19th CENTURY The rectangular top with moulded edge above a pair of doors enclosing an interior fitted with ten drawers, the stand with shaped apron and boldly outscrolled legs.

78cm high x 53cm wide x 32cm deep £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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69 A GEORGE III CARVED GILTWOOD AND GESSO WALL MIRROR MID 18th CENTURY of assymetrical outline, the later plate bordered by scrolling foliate fronds and flowerheads rising to a ribband-tied scroll cresting.

97cm high x 53cm wide. £700 - £900

SWINToN PARk, 24TH JuNE 2016

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70 A CHARLES X MAHOGANY CONSOLE TABLE CIRCA 1825 The marble top with a moulded edge, fitted with a frieze drawer on lotus and reeded scroll supports and paw feet, with a mirror back on a curved inswept plinth base.

125cm high x 145cm wide x 51cm deep £1,800 - £2,500

THE ENGLISH COUNTRY HOUSE

1600 - 1900

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SWINTON PARK, 24TH JUNE 2016

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80

71 A MATCHED SET OF EIGHT GILT METAL WALL APPLIQUES MID 20th CENTURY Each with a ribband tied back-plate and issuing two scroll candle arms. one damaged. (8) 64cm high

£1,200 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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72 A PAIR OF LARGE JAPANESE BRONZE VASES MEIJI PERIOD of baluster form, cast in high relief with a dragon encircling the body, claws extended, amidst stylised waves, circular foot with a lappetengraved band. (2) 46cm high

£800 - £1,200

73 A PAIR OF JAPANESE PATINATED BRONZE VASES EARLY 20th CENTURY Each with lobed cylindrical body and elongated neck, cast in relief with birds amidst flowering boughs, with a dragon to the neck. (2) 46.5cm high £600 - £800

SWINToN PARk, 24TH JuNE 2016

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82

74 A FRENCH GILTWOOD AND GESSO FAUTEUIL A OREILLES LATE 19th CENTURY In the Louis XV style, the winged back with outswept arms flanking a bowed seat, the conforming seat rail moulded with a mask and foliage, on cabriole legs terminating in scroll feet. £1,200 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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83

SWINToN PARk, 24TH JuNE 2016

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84

75 A REGENCY GILTWOOD CONVEX GIRANDOLE MIRROR EARLY 19th CENTURY The plate within an ebonised reeded slip and ropetwist frame, surmounted by an eagle crest and issuing a pair of shell carved candle arms.

With labels to the reverse, one covering the other. one, CICERI & Co., Carvers and Gilders Mirror Manufacturers & Plate Glass Merchants.

Dealers in Pictures and Articles of Virtue. 57 Frederick Street, Edinburgh and part label AM..... Archer, Cowley Depository.

94cm high

THE ENGLISH CouNTRY HouSE

1600 - 1900

Ciceri and Co are known to have been active between about 1860 – 1880 and are recorded at this address in 1880.

The company is recorded, also under its earlier name of Ciceri, Pini & Co in: A Dictionary of Edinburgh Wrights and Furniture makers 1660 – 1840. Francis Bamford, Furniture History Society Journal 1983. £1,000 - £1,500

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85

SWINToN PARk, 24TH JuNE 2016

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86

76 Ω A ROSEWOOD BREAKFRONT LOW BOOKCASE SECOND HALF OF THE 20th CENTURY In Regency style, fitted with brass trellis glazed doors and raised on a plinth base.

94cm high x 228cm wide x 44cm deep Special Notice Ω: We would like to draw your attention to our terms and conditions relating to the sale and import of items from endangered species. £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A ROSEWOOD BREAKFRONT LOW BOOKCASE SECOND HALF OF THE 20th CENTURY

SWINToN PARk, 24TH JuNE 2016

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88

77 A PAIR OF ITALIAN PAINTED AND PARCEL GILT CHAIRS THIRD QUARTER OF THE 18th CENTURY Each with carved and moulded frame, drop-in back and seat and raised on stop-fluted tapering legs, one bearing old paper inventory label to the seat rail. (2). one stamped M.R, the other partially stamped. one with a part label PAL...DI MoDE...

INVENTARIo GENERALE No 390 (in ink) Provenance: Palazzo di Modena.

The Baroque Ducal Palace of Modena, Italy, was the residence of the Este Dukes of Modena between 1452 and 1859. Part of the Palazzo is now home to the Italian Military Academy. £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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89

SWINToN PARk, 24TH JuNE 2016

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90

78 A PAIR OF GILT BRONZE THREE LIGHT WALL APPLIQUES SECOND HALF OF THE 20th CENTURY In the late 18th century style, each with urntopped, ribbon-tied swag and fluted backplate issuing leaf-cast scrolling candle arms terminating in fluted cups. (2) 60cm high

£1,500 - £1,800

THE ENGLISH CouNTRY HouSE

1600 - 1900

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91

79 A FLEMISH CARVED OAK SIDEBOARD AND RACK LATE 19th CENTURY The rack with moulded cornice above three caryatids spaced by fielded panels, the base with two frieze drawers between foliate masks over panelled doors carved with portrait roundels, on a moulded plinth.

169cm high x 179cm wide x 62cm deep £800 - £1,200

SWINTON PARK, 24TH JUNE 2016

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92

80 part

80 MATHYS SCHOEVAERDTS (BRUSSELS 1665-1702) A PAIR: A LANDSCAPE AND FISHERMEN An extensive wooded river landscape with travellers and beggars near a ruined arch, with a drover and his flock of sheep and cattle; and fishermen dragging a large net near sailing barges in the middle distance with hills in the distance. oil on panel. (2) Each 26cm high x 39cm wide

THE ENGLISH CouNTRY HouSE

1600 - 1900

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93

80 part

Provenance: William Smith (Attorney of Scarborough) Bought at his sale october 14th 1852 by R. H. (according to an old label on reverse) and companion piece.

A private collection Yorkshire. £10,000 - £15,000

SWINToN PARk, 24TH JuNE 2016

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81 BENJAMIN WILLIAMS LEADER R.A. (BRITISH 1831-1923)

AN EXTENSIVE HEATHLAND SCENE AT SUNSET With travellers on a water-logged cart track in the foreground and thatched cottages beyond.

Signed and dated 1893.

65cm high x 10.5cm wide Exhibited: Probably R.A., 1894, No. 164: ‘A Wet Roadside’. £4,000 - £6,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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95

82 MARTIN RICO Y ORTEGA (SPANISH 1833 - 1908)

A RIVER LANDSCAPE ON A HOT SUMMER’S DAY With figures fishing from a boat in the foreground and a scattered village beyond.

Signed.

40.5cm high x 70.5cm wide Provenance: A private collection Yorkshire. £5,000 - £7,000

SWINToN PARk, 24TH JuNE 2016

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83 JAMES THOMAS LINNELL (BRITISH 1820-1905) ‘OPEN COUNTRY’

An extensive landscape with numerous figures, sheep and donkeys in the foreground, a wheatfield beyond them and heathland in the distance.

Signed and dated 1870. oil on canvas.

101cm high x 156cm wide £2,000 - £3,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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97

84 CIRCLE OF JOHN BERNEY LADBROKE (1803-1879)

A WOODED LANDSCAPE WITH CATTLE AND FISHERMEN BY A POND oil on canvas.

44cm high x 37cm wide £1,000 - £1,500

SWINToN PARk, 24TH JuNE 2016

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98

85 JEAN LOUIS DEMARNE (FRENCH 1752-1829)

A MEDITERRANEAN HARBOUR SCENE AT SUNSET With a Turkish and a Russian merchant selling fabrics and other objects to an European family with ships at anchor beyond. oil on canvas.

37.5cm high x 45cm wide

THE ENGLISH CouNTRY HouSE

1600 - 1900

Provenance: J Motts sale, The Close, Lichfield, 22nd April 1869 (according to an old label on reverse). £4,000 - £6,000

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99

86* GEORGE EDWARD LODGE (BRITISH 1860 - 1954)

87* GEORGE EDWARD LODGE (BRITISH 1860 - 1954)

Pencil and watercolour heightened with white

Pencil and watercolour heightened with white.

Signed.

25.5cm high x 19cm wide

24.5cm high x 17cm wide

Provenance: A private collection Yorkshire.

STUDY OF A MERLIN ON A LYCHEN COVERED ROCK

Provenance: A private collection Yorkshire. * Subject to Artist’s Resale Right. £1,000 - £1,500

STUDY OF A HOBBY PERCHING ON A BRANCH

* Subject to Artist’s Resale Right. £1,000 - £1,500

SWINToN PARk, 24TH JuNE 2016

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100

88* GEORGE EDWARD LODGE (BRITISH 1860 - 1954)

STUDY OF A SNIPE IN A REED BED Pencil and watercolour heightened in white.

Signed.

24cm high x 34cm wide.

Provenance: A private collection Yorkshire. * Subject to Artist’s Resale Right. £1,000 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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89 A VICTORIAN ENGRAVING THE NEWBUS OX

Entitled to the Right Honourable Lord Dundas, This Plate of the Newbus Ox, mounted and within a deep giltwood frame.

44cm high x 58 cm wide £250 - £350

90 A PRINT, AFTER W.B. DAVIS

PRINTED BY C HULLMANDEL Entitled ‘The Hereford Prize Ox; 1837’, the property of Mr J.T. Smith, Postland, Lincolnshire....’

49cm high x 63cm wide £150 - £250

SWINToN PARk, 24TH JuNE 2016

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102

91 A JAPANESE BRONZED METAL STANDARD LAMP SECOND HALF OF THE 19th CENTURY The turned column with birds and flowering branches, surmounted by an urn and cover on an expanding shaft below and pierced plinth.

138cm high

£800 - £1,200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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103

SWINTON PARK, 24TH JUNE 2016

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104

92 A LARGE JAPANESE IMARI PORCELAIN BOTTLE VASE LATE 19th CENTURY The fluted body with elongated neck painted with a pair of phoenix birds, pheasants, flowers and foliage (repair to the neck).

64cm high

£400 - £600

93 A PORCELAIN VASE AND COVER IN THE CHINESE STYLE LATE 19th CENTURY Possibly Samson of Paris, of baluster form, the domed cover with gilt lion-dog finial, the body painted in white with flowers and foliage against an iron red ground and highlighted with green.

61cm high

£700 - £900

THE ENGLISH CouNTRY HouSE

1600 - 1900

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94 A LARGE JAPANESE IMARI VASE LATE 19th CENTURY Of baluster form, with boldly everted rim, painted with a pair of panels of scholar and pupil spaced by panels enclosing flower-filled vases.

63cm high

£1,000 - £1,200

95 A CHINESE CARVED HARDWOOD HEXAGONAL PEDESTAL TABLE SECOND HALF OF THE 20th CENTURY Profusely carved with prunus blossom, the top inset with a panel of marble on 6 cabriole legs joined by a pierced undertier. Losses.

80cm high x 38cm wide £600 - £800

SwintOn Park, 24th June 2016

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96 A JAPANESE IMARI PORCELAIN JARDINIERE CIRCA 1900

97 A PAIR OF JAPANESE IMARI DISHES EARLY 20th CENTURY

of shouldered form, with everted rim and painted with panels of exotic birds amidst blossoming trees.

Each with fluted scalloped rim, painted to the well with panels enclosing phoenix birds, flowering boughs and diaper patterns, within a floral border. (2)

23.5cm high x 31.5cm diameter £200 - £300

25.25cm diameter £100 - £150

98 A PAIR OF JAPANESE IMARI DISHES EARLY 20th CENTURY Each with fluted scalloped rim, painted to the well with a floral band within a panelled border decorated with flowerheads and floral sprays. (2) 24.5cm diameter £100 - £150

THE ENGLISH CouNTRY HouSE

1600 - 1900

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99 A CHINESE CARVED ROSEWOOD SOFA LATE 19th CENTURY Profusely carved with pierced decoration of entwined foliate stems and vines, the padded back with a pierced top-rail with an entwined dragon and flanked by a stylised dog of fo, with padded scroll arms and seat on bold foliate headed scroll feet.

197cm wide

£5,000 - £7,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINToN PARk, 24TH JuNE 2016

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100 A PAIR OF JAPANESE IMARI VASES AND COVERS CIRCA 1900 Each of baluster form, painted with cartouches of flower-filled vases amidst characteristic flowers and foliage, with domed cover and highlighted with gilding. (2) 29cm high

£200 - £400

101 A PAIR OF IMARI VASES EARLY 20th CENTURY Each of shouldered ovoid form, with wide rim, painted with trellised bridges amidst characteristic flowers and foliage (each drilled).

(2) 24.5cm high £300 - £500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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102 A CHINESE CARVED ROSEWOOD PEDESTAL TABLE LATE 19th/EARLY 20th CENTURY The circular top inset with a panel of marble and with a pierced foliate frieze, on a dragon entwined column and splayed tripod supports terminating in claw feet.

81cm high x 56cm diameter. £2,500 - £3,000

SWINToN PARk, 24TH JuNE 2016

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103 A PAIR OF JAPANESE IMARI VASES AND COVERS 19th CENTURY Each of baluster form, with domed cover surmounted by seated karashishi finial, painted with pheasants perched in flowering boughs against a dense foliate ground. (2) 58cm high

£1,200 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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104 A LARGE CHINESE MARBLE-INSET JARDINIERE STAND LATE 19th CENTURY The lobed circular top carved with a band of foliate scrolls, raised on square section legs with leaf carved shoulders, joined by an undertier and raised on paw feet.

81cm high x 59cm wide £1,500 - £2,000

SWINToN PARk, 24TH JuNE 2016

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105 A CHINESE HARDWOOD ARMCHAIR 21st CENTURY The back of lattice type composed of horizontal rods with carved terminals, above a panelled seat and raised on square section legs. £800 - £1,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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106 A LARGE CANTON FAMILLE ROSE PORCELAIN BOWL 19th CENTURY Painted to the interior and exterior with alternating panels of figures in pavilions and floral sprays with birds and insects.

34.5cm diameter £500 - £700

SWINToN PARk, 24TH JuNE 2016

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107 A CHINESE CARVED AND STAINED ARMCHAIR MID 20th CENTURY The arched solid back with dragons and clouds extending to dragon arm supports, with a solid serpentine seat with a cloud band apron on cabriole legs. £1,000 - £1,500

108 A CHINESE CARVED AND STAINED ARMCHAIR MID 20th CENTURY The pierced arched back with entwined dragons extending to dragon terminals, with a solid serpentine seat on cabriole legs with scroll feet. £800 - £1,200

THE ENGLISH COUNTRY HOUSE

1600 - 1900

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109 A CHINESE HARDWOOD OCCASIONAL TABLE LATE 19th CENTURY Inlaid with mother of pearl and decorated with butterflies, foliate scrolls and exotic shapes, the circular hinged top on a turned column and splayed tripod supports, each with a dragon.

73cm high x 86cm diameter £1,500 - £2,000

SWINToN PARk, 24TH JuNE 2016

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110 AN EDWARDIAN LACQUERED TRAY ON LATER STAND THE TRAY FIRST HALF OF 20th CENTURY, THE STAND LATE 20th CENTURY The rectangular tray painted with floral sprays, on a stand with faux bamboo ebonised and gilt splayed legs joined by an x-form stretcher.

55cm high x 77.5cm wide x 56.5cm deep £800 - £1,200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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111 A SET OF TWELVE JAPANESE IMARI DISHES LATE 18th CENTURY Each with scalloped rim, the well painted with a house within a flower-filled landscape, the border with flowering boughs. (12) 20.25cm diameter £800 - £1,000

112 FOUR CHINESE EXPORT IMARI PORCELAIN DISHES LATE 18th/EARLY 19th CENTURY Three of shallow bowl form, painted with fence and peonies, the fourth a plate with scalloped rim, the well and border painted with floral sprays. (4) 22.75cm diameter £300 - £400

SWINToN PARk, 24TH JuNE 2016

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113 A BURMESE CARVED HARDWOOD TRIPOD TABLE THIRD QUARTER OF THE 19th CENTURY The lobed circular hinged top with floral carved band and pierced foliate apron, on a boldly leafcarved baluster standard supported on a pierced foliate base with scroll feet.

79cm high x 56cm wide £600 - £800

THE ENGLISH CouNTRY HouSE

1600 - 1900

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114 A LARGE CANTON FAMILLE ROSE PORCELAIN VASE CIRCA 1900 of baluster form, with lobed, everted rim, painted with alternating panels of figures at leisure in a garden and birds and flowers, applied with gilt chilong to the shoulder and lion and cub handles.

of baluster form, with lobed, everted rim, painted with alternating panels of figures at leisure and birds and flowers, applied with gilt chilong to the shoulder and with lion and cub handles (drilled).

46cm high

£400 - £600

45.5cm high £500 - £700

THE ENGLISH CouNTRY HouSE

115 A CANTON FAMILLE ROSE PORCELAIN VASE CIRCA 1900

1600 - 1900

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116 A PAIR OF CANTON FAMILLE ROSE PORCELAIN VASES 19th CENTURY Each of baluster form, with everted rim, painted with panels of figures in pavilions alternating with panels enclosing butterflies, birds and flowers, applied with gilt chilong to the shoulder and with zoomorphic handles. (2) 36cm high

£1,000 - £1,200

SWINToN PARk, 24TH JuNE 2016

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117 A PAIR OF CHINESE EXPORT IMARI PORCELAIN PLATES QIANLONG PERIOD Each painted to the well with peony and chrysanthemum in a fenced garden, within a border decorated with floral sprays. (2) 22.5cm diameter £100 - £150

118 A PAIR OF IMARI PORCELAIN DISHES CIRCA 1900 Each with reticulated scalloped rim, painted with a pine tree and flowers and foliage. (2) 24.25cm diameter £200 - £300

119 A PAIR OF LARGE IMARI PORCELAIN CHARGERS LATE 19th CENTURY Each painted to the centre with a roundel enclosing a flower-filled vase within a panelled border including figures in a garden, the underside painted with symbols in underglaze blue (one charger damaged). (2) 61cm diameter

£800 - £1,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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120 A GEORGE III OAK LINEN PRESS 18th CENTURY With moulded cornice above a pair of ogee twin panelled doors, the base with an arrangement of nine drawers and raised on bracket feet. Top drawers adapted.

187cm high x 129cm wide x 52cm deep £300 - £500

SWINToN PARk, 24TH JuNE 2016

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121 A GEORGE II WALNUT CHEST ON CHEST CIRCA 1740 The upper section with a moulded cornice above three short and three long graduated drawers, each feather and crossbanded, the base with dressing slide over three long graduated drawers, also feather and crossbanded, raised on bracket feet.

178cm high x 104cm wide x 55cm deep £500 - £700

THE ENGLISH CouNTRY HouSE

1600 - 1900

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122 A PAIR OF CARVED LIMEWOOD PENDANT SWAGS LATE 17th/EARLY 18th CENTURY Possibly Irish, each boldy and naturalistically carved with flowerheads, seed pods and corn husks.

139cm long

£1,000 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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detail

123 A SET OF SIX OAK DINING CHAIRS MID 18th CENTURY, LAKELAND

These chairs are undergoing further research and will be included in our sale in November.

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A SET OF SIX OAK DINING CHAIRS MID 18th CENTURY

SWINToN PARk, 24TH JuNE 2016

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124 A SET OF VICTORIAN PAINTED OAK AND LEATHER BELLOWS LAST QUARTER OF THE 19th CENTURY

124A A VICTORIAN STAG HORN AND BAMBOO LONG-ARM LATE 19th CENTURY

The front panel polychrome painted and carved in relief with the image of a standing hound, applied with studded leather straps.

With a stag horn handle on a long bamboo shaft terminating in a steel scissor-action grab.

Length 53cm

£500 - £700

£400 - £500

THE ENGLISH CouNTRY HouSE

1600 - 1900

167cm long

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125 W J. SHAYER (BRITISH (1811-1892)

‘THE DOVER TO LONDON ROYAL MAIL’ A crowded coach with a team of four bay horses gallops through a landscape with chalky downland beyond. oil on canvas.

68cm high x 90cm wide £2,000 - £3,000

126 AN ASH AND BEECH CRICKET TABLE OR STOOL 19th CENTURY The circular dished top raised on baluster turned legs with collars joined by a t-shaped stretcher. one later stretcher.

51cm high by 29cm diameter £120 - £180

SWINToN PARk, 24TH JuNE 2016

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127 A CHINESE EXPORT BLUE AND WHITE PORCELAIN STRAINER 19th CENTURY oval, the centre painted with a pagoda landscape.

32.5cm wide £100 - £150

128 A CHINESE EXPORT BLUE AND WHITE DISH QIANLONG PERIOD of shaped oval form, the well decorated with floral sprays within a diaper and floral border.

30cm wide

£200 - £300

129 A CHINESE EXPORT PORCELAIN SOUP TUREEN ON STAND EARLY 20th CENTURY The tureen of shaped oval form, with shallow domed cover and applied with boar’s head handles, painted in blue and white with a river landscape and pavilions, the shaped octagonal stand painted en suite.

21cm high (including stand) x 39cm wide £400 - £600

THE ENGLISH CouNTRY HouSE

1600 - 1900

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AN EARLY 18th CENTURY OAK DRESSER BASE

130 AN OAK DRESSER BASE EARLY 18th CENTURY The top with a moulded edge, fitted with three frieze drawers, on turned baluster front supports and block feet.

80.5cm high x 212cm wide x 48cm deep £1,500 - £2,000

SWINToN PARk, 24TH JuNE 2016

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131 A GEORGE III OAK LINEN PRESS THIRD QUARTER OF THE 18th CENTURY, POSSIBLY NORTH COUNTRY With a moulded cornice above a pair of ogee fielded panel doors, the base with three square fielded panels above two frieze drawers and raised on block feet.

181cm high x 130cm wide x 49cm deep £400 - £600

THE ENGLISH CouNTRY HouSE

1600 - 1900

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132 A GEORGE II OAK DROP-LEAF DINING TABLE CIRCA 1750 With an oval hinged top and frieze drawer on turned tapered legs with pad feet.

71cm high x 138cm wide (extended x 122cm deep £300 - £500

SWINToN PARk, 24TH JuNE 2016

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133 A PRIMITIVE ASH HOOP BACK WINDSOR CHAIR LATE 18th/EARLY 19th CENTURY AFTER A DESIGN BY GILLOWS With a spindle back and shaped sycamore seat on front outswept ring turned legs joined by a curved stretcher. The underside of the seat with 1879 in paint

other makers were sought and in 1774 they employed a John Rumney of Dalton, Ulverston, and paid him five shillings each for twelve Windsors. Richard Gillow had written to Rumney to agree to take all he could make, and required him not to “pinch the bottoms in length or at the hips” to aid their comfort.

The use of the relatively expensive cherry wood shown in the original specification seems to have been dropped, since the chairs sold in England were subsequently painted green, and apart from practical reasons, the woods were therefore irrelevant. This is seen in Gillows search for suppliers of chair bottoms (eats) made from ‘Plane’, a misnomer for Sycamore, and they found suppliers for the wood from as far away as Dumfries in Scotland, and more locally from Wray, a village near Hornby, close to Lancaster.

Other seat timbers included Ash, Elm, and Beech, and invariably the legs, stretchers, and back parts were made in Ash, with Oak wedges fitted across the end grain of the spindles to secure them. In addition to green-painted chairs, however, a record in the Gillows Archive by Robert Gillow to an overseas merchant states that these chairs could be stained to look like Cherry, and thus required no painting.

During the 18th and 19th centuries, a unique form of Windsor chair was designed by the distinguished firm of Gillows of Lancaster, and made by a small group of makers who were employed as ‘out’ workers. The evidence for this is found in two drawings made in the firm’s Estimate Sketch Books, now in Westminster Library. The first is dated 1798 (cat.no. 24) 344/98.p.1490. This is included here, and includes a cost analysis which informs us that a local chair maker, John Harrison, made it for four shillings, and that the total cost, including Cherry, Elm, and nails (‘incidents’) was nine shillings.

The second closely similar drawing was made in 1806 (344/99A.p1804) and Gillows’ records show a self employed furniture maker and Innkeeper of the Punch Bowl Hotel, Lower Bentham, named James Wilcock, to have made this example, costing six shillings and ninepence halfpenny. This was itemised to be painted in green. James Wilcock senior and James junior were the major makers of Gillows Windsors during the 18th century.

Although these makers were initially the main suppliers of Windsors and other common chairs to Gillows, such was the demand for them that

THE ENGLISH COUNTRY HOUSE

1600 - 1900

Gillows developed a flourishing trade for their Windsors after the American War of Independence (1776-83) and their records show that they sent considerable numbers to the West Indies, including Jamaica; usually unassembled to maximise space, and probably not painted in order to avoid scuffing the surfaces.

The chair illustrated here for sale is a remarkably intact and original Gillows Windsor dating from the late 18th century, except that its original paint has largely been cleaned off. It conforms perfectly with Gillows’ drawings, with a characteristic shallow curved front leg stretcher, long supports to the rear and elegantly turned front legs. The posture of the chair is striking, with splayed out legs giving maximum stability.

The thin arm and top bows are pierced to allow the back spindles to pass through, and with Oak wedges inserted to hold them tightly in place. In contrast, the legs are fitted into the seat and residues of the animal glue used to hold them in place is visible. This was a feature which was evidently changed between makers, since amongst the rare survivors of these chairs are examples which have legs which are morticed and tenoned through the seat. Although the maker was clearly an expert turner, the front leg stretcher, arm supports and back spindles show

facets on their surfaces indicating that cleft segments were shaped into a round with a draw knife. The entry point of the spindle tenons into the seat and back bows show that a chisel was used to shape them to an approximate round shape and then a small head rounder was probably used to create a precise tenon. The back and leg stretchers are made in Ash throughout (with small Oak wedges), and the seat is made of Sycamore.

Underneath the seat is the visual history of the chair’s surface painting. Around each leg the residues of paint show that it was originally painted with verdigris based paint over a coat of white grain filler (probably white lead), patches of which can be seen particularly on the upper surface of the seat. The date 1879 is roughly painted in light green under the seat, suggesting that it may have been repainted, or that this was a later coat over an unpainted chair. Over this, it has a coat of black varnish made fashionable in the 19th century following the death of Prince Albert, Queen Victoria’s husband, in the mid 19th century.

The whole visible surface of the chair has been cleaned of these paint layers, with the exception of the seat which has retained clear paint areas.

For further information see S.Stuart, RFS Journal 2010. Pp 83-120 Dr B. D. Cotton. June 2016 £800 - £1,200

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A GEORGE III OAK BOX SETTLE THIRD QUARTER OF THE 18th CENTURY

134 A GEORGE III OAK BOX SETTLE THIRD QUARTER OF THE 18th CENTURY The back with an arrangement of fielded panels above a plank seat flanked by downswept arms over four cockbeaded drawers and raised on shallow bracket feet.

130cm high x 217cm wide x 55cm deep £5,000 - £7,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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135 A PAIR OF CHINESE EXPORT BLUE AND WHITE DISHES QIANLONG PERIOD In the Fitzhugh pattern, oval. (2) 28.5cm wide

£800 - £1,000

SWINToN PARk, 24TH JuNE 2016

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136 AN OAK FARMHOUSE REFECTORY TABLE 18th CENTURY The rectangular top with cleats to each end above a shallow frieze and raised on square section tapering legs joined by an h-form stretcher.

73.5cm high x 177cm wide x 75cm deep £2,000 - £2,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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137 A HARLEQUIN SET OF EIGHT SPINDLE BACK CHAIRS EARLY 19th CENTURY AND LATER The ash and elm chairs of characteristic form, raised on cylindrical legs joined by a turned stretcher. (8) £1,000 - £1,500

SWINToN PARk, 24TH JuNE 2016

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138 A GEORGE III OAK DRESSER AND RACK LAST QUARTER OF THE 18th CENTURY The rack with moulded cornice above an arrangement of shelves and drawers, the dresser with moulded edge top above three cockbeaded frieze drawers over a recess carved with fretwork spandrels and flanked by two cockbeaded drawers, raised on turned baluster legs supported on a pot board with bracket feet.

204cm high x 197cm wide x 45cm deep This is a superior example of a dresser design from Cardiganshire (Ceredigion) in west Wales, centred on the thriving town of Aberystwyth, in the late 18th and early 19th centuries. A number of different designs were made here, but the most common form is characterised in having four turned legs supporting a lower section with three drawers above and two outer drawers below, with a rack of shelves above. The central legs mortice into a low shelf or ‘pot-board’ and

THE ENGLISH CouNTRY HouSE

1600 - 1900

the outer ones continue to the floor and support bracket feet. The space between the two outer drawers may be defined as a simple geometric shape, or, as in the case of this dresser, have decorative pierced spandrels.

This dresser has refinements which create greater design detail than usual in having fruitwood veneered intervals between the drawers, where both the brown heartwood and yellow sapwood of either Apple or Plum wood are utilised decoratively. Turned Mahogany quarter columns are fitted at each end of the base. Many dressers in this regional group have turned black wooden handles with mother-ofpearl centres on the drawers, but this example has original oval brass handles and escutcheons dating to circa 1820. The drawers have an added refinement of cock-beading around the edges of the drawers (probably in pearwood) which has been stained or painted to simulate ebony. This dresser also has a rare added refinement in having two small drawers fitted each side of the lower shelves

The three shelf configuration to the rack varies in different examples, with the large shelf space being either in the middle or, as in this case, at the top of the rack. In either case, the particularly wide space is perplexing unless it is seen ‘dressed’ in its traditional context, where four or five oval meat platters were used in an upright position as a tour-de-force of decoration.

Traditionally, dressers were hung with jugs on hooks from the edges of the shelves, facing away from the nearest window or door in order, as Welsh mythology believed, ‘to stop the luck flying out.’

Dr B.D. Cotton. June 2016. £5,000 - £7,000

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139 AN OAK DRESSER BASE SECOND HALF OF THE 18th CENTURY With a moulded edge top on two sides above three banded frieze drawers, on shallow cabriole legs terminating in pointed pad feet.

Constructed in the 18th century using 17th century timbers.

89cm high x 246cm wide x 47cm deep £5,000 - £7,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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AN OAK DRESSER SECOND HALF OF THE 18th CENTURY

SWINTON PARK, 24TH JUNE 2016

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140 AN OAK AND ELM GATELEG TABLE LATE 17th/EARLY 18th CENTURY, POSSIBLY EAST ANGLIA The oval top above a single frieze drawer, raised on turned block and baluster legs joined by stretchers.

71cm high x 107cm wide x 98cm deep Provenance: Reputedly purchased Penrith, Farmers’ & kidd’s auctioneers, Property of Beatrice Potter. £800 - £1,200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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141 CIRCLE OF SIR T. LAWRENCE (BRITISH (1769-1830)

A PORTRAIT OF CROPLEY ASHLEY COOPER 6th Earl of Shaftesbury, half length wearing a dark brown coat with a fur collar. oil on canvas.

75cm high x 61.5 cm wide in an 18th century carved and giltwood frame.

Provenance: Anon sale Christie’s July 2nd 1935.

This picture is based on Lawrence’s half length portrait of the 6th Earl of Shaftesbury, Painted c.

1810, and mezzotinted by C. Turner in 1812.

The Earl of Shaftesbury sold this painting at Christie’s on 27th June 1980, Lot 162 and its whereabouts are currently unknown. £1,000 - £1,500

SWINToN PARk, 24TH JuNE 2016

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142 A LARGE CHINESE BLUE AND WHITE PORCELAIN VASE 19th CENTURY Mounted as a lamp, of baluster form, moulded with lion and cub handles and painted to the front with a pair of peacocks flanking a flower, mounted on a gilt-metal base with paw feet.

67cm high overall (excluding fitting) £400 - £600

143 A SET OF FOUR CHINESE EXPORT BLUE AND WHITE PLATES CIRCA 1800 In the Fitzhugh pattern. (4) 19.75cm diameter £200 - £300

144 TWO DELFT BLUE AND WHITE PLATES LATE 18th CENTURY one painted to the well with a flowerhead within a ‘feathered’ geometric band, the other with floral sprays. (2) Each 23cm diameter £100 - £150

THE ENGLISH CouNTRY HouSE

1600 - 1900

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145 AN ENGLISH OAK CUPBOARD OR HUTCH LATE 17th CENTURY The rectangular top with moulded edge above a single door flanked by panels, the stiles continuing to feet with later aspects.

84cm high x 112cm wide x 50cm deep £3,000 - £4,000

SWINToN PARk, 24TH JuNE 2016

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146 A MATCHED SET OF EIGHT ASH LADDER-BACK CHAIRS MID 19th CENTURY, BILLINGE WIGAN, LANCASHIRE Each with bowed crest rail, rush seat, and raised on cylindrical tapering legs joined by boldly turned stretchers. Later replacements. (8) This strikingly original regional design of rush-seated chair was made in the mining town of Billinge, near Wigan in Lancashire during the late 18th and 19th centuries. These large, robust chairs in many ways represent a pinnacle of turned chair making within the North West of England tradition where, by the end of the 18th century, an enormous range of different rushseated chair designs were made to supply the needs of the growing industrial towns of the area.

The strength and durability of these chairs has meant that many have survived, in some cases, for up to two centuries of use. The craft skills involved in their manufacture show great expertise and care, and include turnery refinements and the fitting of unique edging strips with concave faces to fit around the seats to protect the rush from wear. The strong nature of these chairs meant that a great deal of power was needed to turn the straight grained Ash, and it is likely that others were employed to undertake the necessary ‘leg’ power to operate the lathe.

In addition to the side chairs shown here, two other chair designs were made by this small group of Billinge chairmakers, including substantial arm chairs with elaborate heavy top rails; and others made with low arms and low seats which were usually fitted with rockers, as fireside chairs.

Dr B.D. Cotton. June 2016. £3,000 - £5,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A MATCHED SET OF EIGHT ASH LADDER-BACK CHAIRS MID 19th CENTURY, BILLINGE WIGAN, LANCASHIRE

SWINToN PARk, 24TH JuNE 2016

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147 A MATCHED SET OF TEN YEW WOOD WINDSOR ARMCHAIRS 19th CENTURY Each low back chair with central pierced splat above a dished elm seat and supported on ringturned baluster legs joined by a ‘crinoline’ stretcher with later replacements, restoration and conservation. (10) £5,000 - £7,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A MATCHED SET OF TEN YEW WOOD WINDSOR ARMCHAIRS 19th CENTURY

SWINTON PARK, 24TH JUNE 2016

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148 A GEORGE II OAK BOX TABLE CIRCA 1740 The three plank lift-off top above a well fronted by a dummy drawer fitted with turned wooden pulls, raised on turned columnar legs with blocks joined by stretchers.

70cm high x 91cm wide x 59cm deep £600 - £800

THE ENGLISH CouNTRY HouSE

1600 - 1900

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148A A CHARLES II OAK CHEST WITH DRAWER THIRD QUARTER OF THE 17th CENTURY The hinged rectangular top with moulded edge above a pair of shaped octagonal fielded panels, over a single deep drawer, raised on ring-turned tapering legs.

75cm high x 76.5cm wide x 53.5cm deep £1,000 - £1,200

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149 A CHINESE EXPORT BLUE AND WHITE DISH QIANLONG PERIOD The well painted with floral sprays within a diaper border, the rim decorated with four floral sprays.

31.5cm diameter £200 - £300

150 A CHINESE EXPORT DISH IN THE NANKING STYLE CIRCA 1800 Decorated in blue and white with a pagoda landscape within a diaper and floral border.

29.5cm diameter £200 - £300

THE ENGLISH CouNTRY HouSE

1600 - 1900

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151 A PAIR OF OAK SIDE CHAIRS EARLY 18th CENTURY Displaying Chinese influence, each with shaped moulded crest rail and frame enclosing a vasiform splat, above a panelled seat and raised on cabriole legs joined by turned baluster and block stretchers and terminating in pointed pad feet. (2) £800 - £1,200

SWINTON PARK, 24TH JUNE 2016

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152 A SMALL ELM AND OAK TRIPOD TABLE EARLY 18th CENTURY The two-piece octagonal top with moulded edge, raised on a boldly turned baluster stem on a downscrolled tripod base.

62cm high x 36cm diameter The table is accompanied by a purchase invoice for £1,150 from Boardman Fine Art Auctioneers.

Lot 479, 5th July 1995. £2,000 - £3,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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153 A WILLIAM AND MARY WALNUT ARMCHAIR FRAME LATE 17th CENTURY With pierced carved seat rail above legs terminating in paw feet and joined by a block and baluster h-form stretcher (lacking upholstery and squab seat). With restoration, conservation and later additions. £3,000 - £5,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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154 AN OAK HANGING WALL CUPBOARD LATE 17th CENTURY With a single twin-panelled door, each panel applied with geometric mouldings.

48cm high x 86cm wide x 29cm deep £600 - £800

155 A CHARLES II BOARDED OAK DESK BOX THIRD QUARTER OF THE 17th CENTURY With a hinged lid enclosing an interior with a side compartment, the front with punch heightened stylised foliate lunette decoration and initials M.W. The latch part missing.

26cm high x 65cm wide x 40cm deep £400 - £600

156 AN ELM SIDE CHAIR EARLY 18th CENTURY The hipped vasiform splat within a moulded frame, above a plank seat, raised on block turned legs joined by a baluster turned stretcher, on pad feet. £200 - £300

THE ENGLISH COUNTRY HOUSE

1600 - 1900

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157 A WALNUT OPEN ARMCHAIR LATE 19th CENTURY In the Charles II style, the arched crest rail centred by a flaming urn within pierced scrollwork, above a shaped caned back flanked by fluted turned uprights, the caned seat between outswept downscrolled arms, on scroll carved legs terminating in pad feet and joined by a scroll and leaf carved arched stretcher. £500 - £700

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158 A GEORGE I WALNUT CANDLE STAND CIRCA 1720 The oval tilt top with moulded edge above a scroll carved frame enclosing the block, supported on a faceted baluster standard on a stepped graduated base issuing downswept legs terminating in scroll feet.

31.5cm high x 50cm wide x 37cm deep £2,500 - £3,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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159 A WILLIAM AND MARY FLORAL MARQUETRY MIRROR CIRCA 1690 The later rectangular bevelled plate within a moulded walnut slip, with a shaped arched removable cresting and cushion surround decorated with birds, tulips, carnations, flowers and foliage with an urn above and below.

108cm high x 73.5cm wide Provenance: The Collection of Nikki & Joe Gregory, Sotheby's New York 24th october 2013 Lot 18. The sale of this mirror in this auction should be viewed in conjunction with the Sotheby's condition report produced at the time.

THE ENGLISH CouNTRY HouSE

1600 - 1900

Floral marquetry was introduced from France after the restoration of the monarchy in 1660. It can be found, typically, on case furniture and on cushion mirrors such as this good present example and reached the height of its popularity at the end of the 17th century and in the early years of the 18th century.

The variety of colours would have been far more vivid when first made with the effect being produced by staining and a shading technique which involved placing the required cut marquetry into hot sand.

Literature: English Furniture 1660-1714. From Charles II to Queen Anne, Adam Bowett. Antique Collector’s Club, 2002. £8,000 - £12,000

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160 A RARE CHARLES II OAK DRESSER BASE CIRCA 1660 With canted corners, the top with a moulded edge, fitted with three frieze drawers, each with twin moulded fielded panels flanked by dummies to the canted corners, above a pair of panelled doors, each with geometric mitred mouldings, flanking a conforming panel, between similarly moulded corner panels, on a moulded plinth over block feet.

81cm high x 178cm wide x 47cm deep It is rare to find a dresser of this design in English furniture with its canted or cut angles at the sides and draws its influence from Renaissance Italy where the item of furniture, known as a credenza, was relatively common in this form. A number of Italian examples in walnut are known and this present lot mirrors those designs very closely. £10,000 - £12,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A RARE CHARLES II OAK DRESSER BASE CIRCA 1660

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161 A JOINED OAK FOLDING TABLE SECOND HALF OF THE 17th CENTURY The semi-circular top raised on three block and baluster turned legs joined by stretchers and terminating in blocks and with hinged leaf moving on a gateleg.

62cm high x 59cm wide x 61cm deep (open) £1,600 - £1,800

THE ENGLISH CouNTRY HouSE

1600 - 1900

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162 AN INLAID JOINED OAK CHEST OF DRAWERS LATE 17th CENTURY The moulded edge top above four long chequer veneered and quartered drawers, each with mitred mouldings and brass drop handles, raised on stile feet.

74cm high x 80cm wide x 52cm deep £6,000 - £7,000

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163 ENGLISH SCHOOL CIRCA 1611

PORTRAIT OF A GENTLEMAN CALLED LEONARD BILSON (D.1631) Bust length wearing a black doublet and an elaborately decorated gorget, with a white lace collar. Dated 1611. inscribed upper left: ‘In amare / Nil amari and dated upper right: ‘AN.° 1611· / AE.T SVÆ / 59 :’ oil on panel.

47.5cm high x 43.5cm wide £7,000 - £10,000

Provanance: Private Collection, essex, since the early 1900s The sitter in this Jacobean portrait is most likely to be leonard Bilson (d.1631), the youngest of the three sons of harman Bilson, an alderman of Winchester. The family was originally from germany and the coat of arms inscribed upper left, which was transcribed on 10 october 1582, appears to be a confirmation of an earlier continental grant. leonard Bilson was a man of significant wealth, owning property in Berkshire, and his older brother, Thomas, was Bishop of Winchester from 15971. in this portrait leonard is shown wearing a heavily decorated gorget, a piece of armour originally designed to protect the throat. Due to the elaborate nature of the metal-work engraving, which includes pomegranates, part of the Bilson arms and a symbol of the unity of many under one authority, as well as an image of st george killing the dragon, it is probable that this gorget was part of a tournament armour.

Tournaments were a popular entertainment at both the elizabethan and Jacobean court, and a chance to display one’s wealth and loyalty to the monarchy. Bilson must have chosen to be painted wearing this gorget to celebrate the glories of his youth. his tournament armour was certainly a prized possession because in his will he granted his cousin, John Bacon, the use of his armour for life2.

1

W. h. Challen, ‘Thomas Bilson, Bishop of Winchester, his family, and their hampshire, sussex, and other connections’, Papers and proceedings of the hampshire Field Club and Archaeological society XiX (1957), pp. 35 – 46.

2

ibid, p. 39.

The english CounTry house

1600 - 1900

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164 AN OAK WAINSCOT ARMCHAIR MID-17th CENTURY AND LATER With chip-carved crest rail above a panelled back between uprights carved with bands of stylised guilloche, the panel seat between arms supported on baluster turned uprights over a scroll-carved apron and raised on well turned baluster legs with blocks joined by stretchers. £600 - £800 165 No lot

THE ENGLISH CouNTRY HouSE

1600 - 1900

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166 AN EASEL FRAME MIRROR 20th CENTURY WITH 17th CENTURY EMBROIDERED APPLIQUE In the 17th century style, the rectangular bevelled plate with an arched cresting and border lined with red velvet and applied with 17th century embroidered panels with stylised entwined floral stems with strapwork.

72cm high x 53.5cm wide £500 - £800

THE ENGLISH CouNTRY HouSE

1600 - 1900

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167 A VICTORIAN LEATHER BOOK FOLIO BOX LATE 19th CENTURY The gilt-tooled spine and cover inscribed ‘Liber Studiorum 1.’, the spine also inscribed J.M.W. Turner, with hinged cover opening to a (distressed) watered silk-lined interior.

11cm high x 52cm wide x 64cm deep The Liber Studorium is a collection of landscape and seascape prints that J,M.W.Turner published between c1807 and c1824. £300 - £500

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168 AN OAK LOW DRESSER LATE 17th CENTURY The top with moulded edge over three frieze drawers, each with a pair of geometric mitre moulded panels and brass drop handles, raised on block and baluster turned legs terminating in ball feet.

88cm high x 206cm wide x 49cm deep £7,000 - £10,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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AN OAK LOW DRESSER LATE 17th CENTURY

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169 A QUEEN ANNE OAK CHILD'S CHAIR CIRCA 1705 With pierced scroll-carved crest rail above a slatted back with stiles carved in relief with sscrolls, over a plank seat flanked by outswept arms, the serpentine seat rail relief-carved with scrollwork, raised on turned block and columnar legs joined by stretchers, stamped AWC three times on the back.

It is probable that the initials branded onto this chair are those of the owner and were applied when an inventory was being made.

It is to be noted that it became quite customary for chairs from those of the high back walnut type at the end of the 17th century, to chairs made by turners up to the end of the 19th century to be marked with initials which identified an individual workman. £4,000 - £6,000

THE ENGLISH COUNTRY HOUSE

1600 - 1900

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170 ENGLISH PROVINCIAL SCHOOL, MID 17th CENTURY

ANNE (d. 1689), PHILADELPHIA (1655-1722) AND THEIR BROTHER THOMAS WHARTON (1648-1715), LATER 5th LORD WHARTON only recently discovered, this painting probably depicts three children of the aristocratic Wharton family, Anne (d. 1689), Philadelphia (1655-1722) and their brother Thomas Wharton (1648-1715), later 5th Lord Wharton.

Inscribed lower right, in the script with which 4th Lord Wharton had all the portraits in his collection inscribed: ‘Anne eldest daughter of…’ and is in the script which the Lord 4th Wharton had all his portraits inscribed. oil on canvas.

153cm high x 169cm wide See footnote overleaf £10,000 - £15,000

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ENGLISH PROVINCIAL SCHOOL, MID 17th CENTURY

ANNE (d. 1689), PHILADELPHIA (1655-1722) AND THEIR BROTHER THOMAS WHARTON (1648-1715), LATER 5th LORD WHARTON The painting was most likely commissioned by the sitters’ father, Philip, 4th Lord Wharton (1613-1696), son of Sir Thomas Wharton of Easby, Yorkshire, and Philadelphia Carey, daughter of the 1st Earl of Monmouth. on the death of his grandfather in 1625 he inherited the baronetcy of Wharton as well as extensive estates in North Yorkshire which included profitable lead mines. Through his second marriage on 7th September 1637 to Jane Goodwyn, the only daughter and heiress of Arthur Goodwyn, he acquired the additional estates of Wooburn and upper Winchendon1.

This combined wealth enabled Wharton to build up one of the largest and most renowned collections of art in England, next to the king’s, including notable works by Sir Anthony van Dyck and his studio as well as sequels produced for Wharton by Sir Peter Lely2. The collection was built up over a period of fifty years, spanning the years of the Commonwealth and Restoration, and included royal portraits as well as portraits of Wharton’s own family, friends and contemporaries3. As the collection grew, Wharton commenced a major rebuilding of Wooburn Manor House, to include a long picture gallery for his collection of portraits. At first the collection hung at Wooburn but was later transferred to upper Winchendon by his son, Thomas, 5th Lord Wharton, seen standing to the right-hand-side of our portrait.

The identification of the sitters was based on recognition of the very distinctive script lower right which reads, ‘Anne eldest daughter of …’

The 4th Lord Wharton had all the portraits in his collection inscribed in this manner, each painting bearing this unique identifying inscription naming the sitters, which oliver Millar describes as, “… by the same hand: in a rounded script, in white paint, with a consistent set of quirks in the formation of letters and abbreviations.”4 The artist of our painting remains unidentified at present, but is clearly working in the manner of Sir Anthony van Dyck (1599-1641), using comparable graceful postures and shimmering drapery. The artist pays particular attention to the play of light upon the sitters, noting with precise highlights how this falls upon the silk folds of their clothing. However, the composition of the painting appears somewhat stiff and Lot 170 detail

THE ENGLISH CouNTRY HouSE

1600 - 1900

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awkward in comparison to van Dyck's dashingly fluid and energetic work. With baby Philadelphia as the focal point and her two older siblings standing either side, the children are positioned in front of the column of a portico draped with a red velvet curtain, and extensive landscape behind. They are dressed in rich but demure costumes as befitting the rather pious nature of their parents: Anne wears a rich-red silk gown, with outer-sleeves pinned back at the elbows to reveal white under-sleeves; baby Philadelphia wears a lace-trimmed white cap and white satin gown with lace-trimmed collar and cuffs; and the seven-year-old Thomas is shown in a relaxed contrapposto stance, leaning against a column in a rather dreamy, melancholy fashion. He is dressed in a blue satin ensemble of doublet and breeches, offset by starched linen collar and cuffs and a matching cloak draped across the boy’s body and over his left arm. The column and curtain are rather theatrical props, designed to accentuate the boy’s aristocratic status, whilst Anne’s delicate hold of her young sister’s arm accentuates her feminine attributes. our painting can be placed within a series of family group portraits by the same artist which consists of a triple portrait of ‘Philip, 4th Lord Wharton (1613-1695/6), Lady Jane Wharton (1618-1658) and their infant son Henry Wharton,’ now in the Wycombe Museum, Buckinghamshire, as well as a set of four small oval portraits by the same artist of Anne (?-1689) and three of her other siblings, Mary (1649-1699), Margaret (1646-1730), and Goodwin (1652-1704), now in the PenningtonMellor-Munthe Trust at Southside House, London. oliver Miller considers that the four small oval portraits are copies of heads from existing portraits and indeed the small version of Anne Wharton (?-1689) is virtually a mirror image of our large portrait 5. It is also possible to consider that our triple portrait could be one of a set of three large family group portraits painted by the same artist, as the triple portrait of ‘Philip, 4th Lord Wharton (1613-1695/6), Lady Jane Wharton (1618-1658) and their infant son Henry Wharton’ is of similar dimensions (154 x 163 cm.) to our triple portrait, raising the question of the possibility of the existence of a third portrait of similar dimensions showing the remaining siblings, that is, Margaret (1646-1730), Mary (1649-1699), Goodwin (1652-1704) and Frances (1654-1656).

Considering the quality of the paintings in his collection, it is curious that Wharton should have commissioned these family group portraits from a painter who remains anonymous: however it may be that family events precipitated this commission, as the year 1656 proved to be an eventful time for the Wharton family, comprised of both great joy and sorrow: in the portrait of ‘Philip, 4th Lord Wharton (1613-1695/6), Lady Jane Wharton (1618-1658) and their infant son Henry Wharton’ baby Henry (1656-1687) sitting on his mother’s knee appears to have been born just nine months after his sister Philadelphia, the baby in our portrait. Sadly, this was also the year that their sister Frances Wharton, aged but 2 years old, died and was buried on 13th May 1656.

These events may explain why Anne Wharton is holding a small posy of roses in front of baby Philadelphia: an emblem of marriage, the thorny rose is considered symbolic of the pleasures and pains of love, of beauty and mortality6.

Anne married a William Carr, son of the Hon. Sir William Carr, Baron of the Exchequer.

Philadelphia married firstly, on 2nd September 1678 to Sir Geoffrey Lockhart, knight of Carnwarth, and secondly, to Capt. John Ramsey, son of The Bishop of Rosse in Scotland. Thomas, 5th Lord Wharton, succeeded to the title in 1696 and was later created Earl (1706) and Marquess (1715) of Wharton. The new Lord Wharton was reputed to be a very different character to his rather prudent father, a Calvinist and a pious man, who nevertheless had a love of music, dance, poetry and art. Thomas, on the other hand was in his younger days a noted rake, a celebrated duellist and a lavish patron of the turf.

However he matured to become an immensely influential political figure, and inherited his father’s tastes as well as his gardens and art collections. He married first, Anne Lee (1659– 1685), daughter and co-heir to the extensive properties of her father, Sir Henry Lee7. His second marriage, in July 1692, was to the Hon. Lucy (1669/70–1717), daughter and sole heir of Adam Loftus, Viscount Lisburne8.

his profligate ways caused the estate to be broken up, forcing him to sell the Van Dycks to Sir Robert Walpole in 1725, just before his estates were forfeited 9.

1

Wheals, B.B. (1984) ‘Theirs Were But Human Hearts.

A Local History of Three Thameside Parishes: Wooburn, Lilttle Marlow and Hedsor,’ p. 77. H.S. Publishing

2

In 1713 Arnold Houbraken recorded seeing the van Dycks in the gallery at upper Winchendon. Cited by, Millar, o.

(1994) Philip, Lord Wharton, and His Collection of Portraits, The Burlington Magazine, Vol. 1, 1097, p 522

3

For more information on Wharton’s collection see Millar, o.

(1994) Philip, Lord Wharton, and His Collection of Portraits, The Burlington Magazine, Vol. 1, 1097, pp 517-530

4

See, Millar, o. (1994) Philip, Lord Wharton, and His Collection of Portraits, The Burlington Magazine, Vol. 1, 1097, p 517

5

Millar (1994), p520

6

Rogers, M. (1999) Van Dyck in England. In, Brown, C. and Vlieghe, H. ‘Van Dyck 1599-1641’, p.88. exhibition Catalogue: Royal Academy Publications

7

Anne, was born on 20 July 1659, four months after the death of her father and a few days before the death of her mother. Her guardian was her paternal grandmother, the dowager countess of Rochester. It was the countess and Sir Ralph Verney, a trustee of Anne's estate and a long-time neighbour of the Whartons, who arranged the match.

The set-tlement gave Wharton £8000 in cash and an annual income of about £2000 and enabled him to pursue his interests in politics and horse-racing. Wharton's devotion to horses and racing became legendary. Ref: oDNB

8

Lisburne, who had died in the Irish war, on 15 September 1691, left his daughter, then twenty-one, estates worth about £5000 per year. They included Rathfarnham Castle in Ireland.

9

Between 1723 and 1730 all his estates were sold off to pay debts and Wooburn House, together with the extensive art collection it had contained, was sold in 1728. See: Wheals (1984) p. 79

In 1715 the collection of paintings was inherited

by Thomas’s son, Philip, Marquess of Wharton (1699-1731), Malmesbury and Catherlough, created Duke of Wharton in 1718. unfortunately,

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171 A BRASS ALMS DISH, PROBABLY GERMAN CIRCA 1600 The well centred by a gadrooned roundel within a band of Gothic script and further punched foliate band, the rolled rim with concentric bands of punched decoration.

43cm diameter Exhibited TEFAF Maastricht 1996 £1,000 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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172 A PAIR OF BAROQUE SILVERED WOOD WALL SCONCES EARLY 18th CENTURY Probably Italian, each with scroll and foliate carved backplate issuing a scroll and leaf carved arm with fluted cup and iron pricket. (2) 57cm high x 50cm deep £1,200 - £1,800

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173 A CHARLES II OAK CUPBOARD THIRD QUARTER OF THE 17th CENTURY, BRADFORD/HALIFAX The moulded edge top above a pair of panelled doors with iron butterfly hinges and geometric and scroll chip carving flanking a similarly carved panel, over a pair of panelled doors each with a band of stylised foliate carving, all between channelled stiles continuing to legs.

142cm high x 146cm wide x 51cm deep The cupboard is accompanied by a purchase invoice for £8,600 from Boardman Fine Art Auctioneers, Lot 498, 5th July 1995. £2,500 - £4,000

174-177 No lots

THE ENGLISH CouNTRY HouSE

1600 - 1900

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178 A WALNUT CHAIR IN THE MANNER OF DANIEL MAROT LATE 17th CENTURY The back with acanthus and scroll-carved crest above a scroll and leaf carved splat flanked by turned uprights, over an upholstered seat raised on boldly turned legs joined by a shaped x-form stretcher with urn surmount and supported on flattened bun feet. £1,000 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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179 A COMMONWEALTH CARVED OAK “GREAT CHEST”, EAST DEVON CIRCA 1650 The plank top enclosing an interior with a moulded back and punch decorated rim above three panels, each carved with birds amidst flower-filled urns, all within bands of scrolling stylised strapwork, the stiles continuing to legs.

86.5cm high x 156cm wide x 59.5cm deep It is typical both in construction and decoration of a group of Chests and Boxes that must have been made in local workshops in that area of the Devon. Some people attribute them to the workshop of William Searle and Bill Dennis.

However there is insufficient hard evidence to support this unequivocally. It was normal to use the Oak “in the Green” for construction at this time and the lovely waney line of the back rail is a typical consequence of this practice. The high price of timber resulted in a characteristic in this group of Chests whereby very spare, or thin, timber was used with the resulting splitting and cracking as the wood dried out and shrank and warped. The decoration is instantly recognisable as from this area, with its classical urn out of which sprouts stylised Trees of Life, but this Chest is enhanced by the very rare inclusion of a pair of birds eating fruit within the Spandrels. The leading edges have been decorated with punched motifs, which is another common feature of furniture made in this region in the middle of the seventeenth century. This Chest would originally have been painted, and there are significant traces of a range of pigments ranging from the white background to plentiful remains of red, and lesser amounts of blue and green.

The feet have rotted at some time and have been tipped accordingly. The warping on the back rail has broken two of the original ring hinges, and only one has been replaced with a later strap. £3,000 - £5,000

THe enGLISH COunTry HOuSe

1600 - 1900

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A CARVED OAK ‘GREAT CHEST’, DEVON CIRCA 1650

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180 ENGLISH SCHOOL CIRCA 1560

PORTRAIT OF A GENTLEMAN, HISTORICALLY IDENTIFIED AS A MEMBER OF THE DODDING FAMILY Half length, wearing a black fur-trimmed cloak, white lace collar and cuffs, a black cap and holding a pair of buckskin gloves. Dated 1560 and inscribed with the sitters age, 47. oil on panel.

68cm high x 53cm wide Provenance: This portrait formed a part of the collection of Conishead Priory, formerly an Augustinian Priory founded in 1160 by Gamelde Pennington, near ulverston in Cumbria. Edward II settled a bitter dispute between the Priory and Furness Abbey in 1338 by bestowing a Royal Charter upon Conishead but the Priory was seized by the Crown in 1537 under the Act of Suppression. ownership passed subsequently through the families of Lord Mounteagle, Paget and Machell before William Sandys of Colton Hall acquired it in 1548. As ‘Receiver General of Furness’, Sandys fell victim to the antagonism towards the crown in the region and in 1558 he was ‘very riotously and murdered at Conishead’. The estate then passed to the Phillipsons and not long after to the Dodding family. In 1638, Sarah Dodding married John Braddyll of Portfield thus conveying Conishead to the Braddylls who made it their seat for almost two centuries.

THE ENGLISH CouNTRY HouSE

1600 - 1900

Prior to restoration, the portrait had a later added inscription (now removed), recording it as ‘AN DNI/1560/AETA SVE/47’, and with the coat-ofarms of the Dodding family 1, and an attribution to ‘SIR A. MORE’. Such an addition to the painting was not an unusual practise in the 18th and 19th Centuries, and presumably was intended to cement family history within its own collection. The identification to the Dodding family is, however, incorrect. A clue to the sitter’s identity could, instead, be found in his ring, which shows arms ‘beblazoned’ as or six Fleurs de Lys Sable. This coat of arms appears in several 15th and 16th College of Arms manuscripts for the name Mortimer. However, none of these manuscripts specify which family of Mortimer, and it is not a name obviously associated with the key families of Conishead Priory 2.

1

Azure in Chief two Estoiles & in base acrescent.

2

Blazons for the main families at Conishead are as follows: Paget – a cross engrailed between 4 eagles 5 lions; Sandys - a Fess dancetty between three Cross crosslets fitchy; Philipson - Gules between three boars or bats’ heads; Braddyl - Argent a Cross Vert overall a bend compony; Dodding - Azure in Chief two Estoiles & in base acrescent; Machel - Sable three Greyhounds; Pennington - or fusils in fess; and Stanley, Earls of Mounteagle - on a Bend three Bucks Heads caboshed.

Conishead Priory, presumably by descent in the family of the sitter to Captain L. W. Neeld, kelston Park, near Bath; his deceased sale, Christie’s, London, 2 May 1958, lot 70; and by descent in the family until 2011. £7,000 - £10,000

Lot 181 No lot

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182 AN OAK REFECTORY TABLE LATE 17th CENTURY of joined form, the three plank top with cleated ends above a plain frieze with scroll carved corner brackets, raised on tapering columnar legs terminating in blocks joined by stretchers.

Possibly reduced from a larger table.

76cm high x 187cm long x 74cm wide £2,500 - £3,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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AN OAK REFECTORY TABLE, LATE 17th CENTURY

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183 A CHARLES II OAK CHILD’S WAINSCOT CHAIR THIRD QUARTER OF THE 17th CENTURY With scroll and leaf carved crest rail above a panelled back, chip carved and inscribed with the date 1668, within a chevron inlaid border, the panel seat flanked by splayed downswept arms above a channelled seat rail, raised on turned legs terminating in blocks joined by stretchers.

Seat later. £2,500 - £3,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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184 A RARE SET OF FIVE ELIZABETH I ROUNDEL TRENCHERS LAST QUARTER OF THE 16th CENTURY The roundels inscribed to the centre with a verse within a band of pink and green scrolling flowers and with gilt-highlighted rim, each bearing paper label verso inscribed ‘bt at Christie’s May 28 89, one of a set of old English roundel trenchers in original box’. (No box present). (5) 13cm diameter

Provenance: Christie’s El-Helou Collection,19th May 1999, lot 786.

Bonhams, New Bond Street, Fine English Furniture, 6th March 2013 Part Lot 6 Roundels of this type were used towards the end of a meal to be used by a diner who ate delicacies off the undecorated side before turning the roundel over to reveal painted images or verses which could be sung or recited.

Literature: Edward H. Pinto, Treen and other Wooden Bygones, 1969, pl. 77.

Jonathan Levi, Treen for the Table, 1998.

£4,500 - £6,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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185 AN ELIZABETH I BEECH TRENCHER BOX CIRCA 1600 The turned box with a naively carved lid decorated with fish and fowl within quarters, with Christie’s lot label to the underside.

15.5cm diameter

Provenance: Christie’s El-Helou Collection,19th May 1999, lot 786.

Bonhams, New Bond Street, Fine English Furniture, 6th March 2013 Part Lot 6 Literature: Edward H. Pinto, Treen and other Wooden Bygones, 1969, pl. 77.

Jonathan Levi, Treen for the Table, 1998.

£2,000 - £3,000

SWINToN PARk, 24TH JuNE 2016

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186 A CHARLES II OAK DRESSER CIRCA 1680 The moulded edge top above three frieze drawers, each with geometric moulded front and brass drop handles, raised on baluster turned and block legs.

83cm high x 206cm wide x 54cm deep £8,000 - £12,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A CHARLES II OAK DRESSER, CIRCA 1680

SWINToN PARk, 24TH JuNE 2016

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187 A CHARLES II OAK CHILD’S PRESS CUPBOARD THIRD QUARTER OF THE 17th CENTURY, LAKELAND The moulded top above a frieze carved with stylised foliate s-scrolls and centred by carved initials and the date 1673, flanked by turned pendant finials above a pair of recessed cupboard doors each with central interlaced foliate scroll carved panel and fitted with iron butterfly hinges, between uprights carved with a line of guilloche, the base with a central panelled cupboard door, flanked by further panels, between channelled uprights continuing to legs.

106cm high x 99cm wide x 47cm deep In the context of a relatively stable and prosperous farming region, cupboards formed the most glorious and prestigious items of regional furniture in the farmhouses of North West England during the 17th century. This large area is today referred to as the county of Cumbria (which also includes the Lake District), and includes the old counties of Westmorland, Cumberland, and Northern Lancashire. Each of these counties had its own styles of cupboards, and their embellishment in terms of carving designs, is distinctive. The exquisite small cupboard shown here has the form and carving devices typical of the Lake District, where such pieces formed essential parts of the furnishings of substantial farmhouses, albeit with variant designs.

They typically formed part of the architecture of the house, often being located and fixed in place as part of a wall, normally made of muntin and plank construction, which divided the fire house from the parlour and buttery. Today these cupboards are often known as ‘Court’ cupboards, an incorrect term historically, since contemporary inventories name them simply as cupboards or sometimes as Press cupboards.

THE ENGLISH CouNTRY HouSE

1600 - 1900

Because of the method of attaching the cupboards to the fabric of the house, they were made without backs and simply incorporated into the wall. When removed from the house, backs were often added later. In the case of this example, although old boards are clearly evident, it may be that they were added at a later stage. Free standing cupboards were made, presumably for wealthy homes where they stood perhaps in panelled rooms. However, close examination of cupboard backs is needed to ascertain if they are original to the piece.

This iconic form of Lakeland furniture, historically used for domestic storage, was the place for keeping clapbread, unleavened flat loaves baked on a girdle or griddle, a month’s supply often made at one time. Families’ valuables, such as pewter, silver, and smuggled rum (from which the delicacy of rum butter was made for nursing mothers), would also be stored in these cupboards.

The carving devices on Lakeland cupboards fall into four distinctive groups, and in combination with the door and panel configuration allow their regional identification. Two doors in the upper section is usual, with one central cupboard below, as in the case of this small cupboard, when cupboards have only one lower stage. on taller cupboards with three tiers, the lower one typically has two outer cupboards.

The iconography of the free style and vigorous carving may include floral, interlaced and feather motifs, ‘S’ scrolls and zoomorphic details as well as lozenges and other geometric devices. In this example ‘S’ scrolls decorate the upper and central friezes, with guilloche carving down the outer uprights. The upper doors have the characteristic knot work patterns which seem to reflect early Viking devices found on masonry carving in Cumbria. Whether this is a survival or renewal of these devices is not clear, but certainly these interlaced devices were very commonly used on 17th century furniture in this region.

It is tempting to think of this enchantingly small oak cupboard, dated 1673, as a piece made for a favoured child, and although further research is needed to confirm a definite connection, evidence published in a survey of cupboards from the Lake District by staff members of the National Trust (RFS Journal 2010) highlights a press cupboard dated 1661 at Causeway Farm, Windermere which has the same initial carving (I P M and the date 1661) along the top frieze to that on the small cupboard. Above the Causeway Farm fireplace, a plasterwork cartouche, with, again, the same initials, the date 1658, and the additional initial ‘B’. The initials IPM on the Causeway Farm cupboard refer to the farmers, John and Mary Philipson, and ‘B’ refers to their son, Brian. on his marriage, John also installed an initialled bed and a long oak table at the farm, and this, with his considerable land-holding, mark him out as a farmer of considerable wealth, and for whom a child’s cupboard may have seemed a suitable gift.

Dr B.D. Cotton. May 2016 £8,000 - £12,000

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A CHARLES II OAK CHILD’S PRESS CUPBOARD THIRD QUARTER OF THE 17th CENTURY, LAKELAND

SWINToN PARk, 24TH JuNE 2016

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188 THREE CARVED OAK PANELS 16th CENTURY Possibly French, each rectangular, two carved with winged angel heads above strapwork scrolls, one with pendant fruit, the third with mask crowned with a feathered/foliate headdress and also with strapwork scrolls. (3) Each 44cm high x 27cm wide £500 - £700

THE ENGLISH CouNTRY HouSE

1600 - 1900

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189 A PAIR OF LARGE ELM FIGURAL BRACKETS OR CORBELS 17th CENTURY Each carved as a crouching satyr beneath a leaf-carved scroll, holding a vacant oval cartouche and supported on a further fluted carved scroll. (2) 115cm long

£2,000 - £4,000

SWINToN PARk, 24TH JuNE 2016

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190 TWO CARVED OAK FIGURAL TERMS 17th CENTURY Possibly Yorkshire, one carved as a caryatid, the other an Atlante, each further scroll and leaf carved.

50cm long

£300 - £500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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191 A LARGE SOUTH YORKSHIRE CARVED BACKSTOOL CIRCA 1670, YORKSHIRE The scroll carved uprights applied with split baluster ornament joined by a pair of crescentshaped splats, the upper carved with paired serpents, above a framed seat and raised on block and baluster turned legs joined to the front by a bobbin turned stretcher. The vertical splats formerly with pendants.

The carved serpents are a striking feature possibly associated with the Leeds Workshop.

See Bonhams, The oak Interior, 30th September 2015, lot 362 for a court cupboard of similar date illustrated in Chinnery, oak Furniture: The British Tradition (1993) p. 471, figs.

4:118,119 & 120 which incorporates very similar carved serpent decoration.

The back of the chair also has the more uncommon feature of the outward facing scroll finials. £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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192 THREE CARVED OAK PEW ENDS LATE 15th CENTURY, EAST ANGLIAN Each of lancet form, with stylised poppy head finial, one carved to the arm with a muzzled bear, the second with a finely detailed swan above a swagged banner, the third with finely carved bat, the creature with hair which probably framed a human face. (3) Tallest 99cm

£3,000 - £5,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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193 TWO WROUGHT-IRON FLOOR STANDING PRICKET STICKS LATE 15th/EARLY 16th CENTURY, PROBABLY SPANISH Each pricket within a shaped bracket surmounted by a candle sleeve, on a twisted standard and supported on a flattened tripod base. (2) Tallest 109cm

£4,000 - £6,000

SWINToN PARk, 24TH JuNE 2016

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194 AN OAK CARVING, PROBABLY FLEMISH LATE 19th, EARLY 20th CENTURY In the 17th century style,depicting the figures of Christ with Pontius Pilate and Roman soldiers within an architectural setting.

49cm high x 40cm wide £400 - £600

THE ENGLISH CouNTRY HouSE

1600 - 1900

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195 A CARVED OAK CUPBOARD LATE 17th/EARLY 18th CENTURY, PROBABLY LUNEBURG LOWER SAXONY, GERMANY The mitred top with scroll-carved backboard supported on a pair of baluster turned columns flanking a central panel carved with an angel tassel beneath a sunburst halo with cross surmount, flanked by a pair of fielded panel doors fitted with bronze drop pulls, the base with a pair of triple panelled doors carved with bands of guilloche, fitted with pulls en suite and flanked by a further pair of baluster turned columns, on a dentil-carved plinth.

162cm high x 121cm wide x 62cm deep £4,000 - £6,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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A CARVED OAK CUPBOARD LATE 17th/EARLY 18th CENTURY, PROBABLY LUNEBURG LOWER SAXONY, GERMANY

SWINTON PARK, 24TH JUNE 2016

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196 AN ITALIAN WALNUT CASSONE LATE 18th/EARLY 19th CENTURY In the 17th Century style, the hinged top with dentil-carved band opening to an interior fitted with a candle box, above a three panel carcass carved with a frieze of guilloche, raised on scrollcarved bracket feet.

63cm high x 161cm long x 55cm deep £1,000 - £1,500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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197 A CHARLES I JOINED OAK CHEST EARLY 17th CENTURY The planked top above a part guilloche carved frieze, over three panels and raised on channel moulded stiles.

60cm high x 100cm wide x 58cm deep £500 - £700

SWINToN PARk, 24TH JuNE 2016

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198 A MATCHED PAIR OF GERMAN BRASS ALMS DISHES CIRCA 1600 Each well centred by a stylised gadroon boss within a band of Gothic script, the border of each with similar punched decoration within a rolled rim. (2) 39cm and 39.5cm diameter £1,200 - £1,800

THE ENGLISH CouNTRY HouSE

1600 - 1900

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199 A FLEMISH CARVED OAK SCULPTURE OF A FEMALE SAINT CIRCA 1500 Modelled holding a book in her right hand, with long flowing hair and robe falling in deep folds.

75cm high

£3,000 - £4,000

SWINToN PARk, 24TH JuNE 2016

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200 AN OAK CARVING OF ST. CATHERINE 19th CENTURY In the Netherlandish style.

43cm high

£300 - £500

THE ENGLISH CouNTRY HouSE

1600 - 1900

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201 A PAIR OF GOTHIC REVIVAL BRASS CANDLESTICKS MID-19th CENTURY In the manner of Pugin, each with castellated drip pan above a spirally cast stem with bladed knop set with hardstone cabochons, on an engraved tapering circular base similarly set with cabochons, raised on paw feet, possibly the work of Jones & Willis. (2) 46cm high Jones & Willis were founded in Birmingham in the 18th century but by the 1840’s were re-founded as a supplier of ecclesiastical fittings. By the end of the 19th century they had workshops in London and Liverpool and were describing themselves in 1899 as ‘Church Furnishers to Her Most Gracious Majesty’. £2,500 - £3,500

202 A PAIR OF BRONZE CANDLESTICKS, PROBABLY FLEMISH LATE 17th CENTURY Each with waisted candle cup above a circular drip pan on a knopped baluster stem, raised on a stepped triangular base cast with stylised paw feet. (2) 54cm high

£2,000 - £3,000

SWINToN PARk, 24TH JuNE 2016

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203 A PAIR OF BRONZE PRICKET STICKS 16th CENTURY Each with an iron spike within a circular drip pan, on a triple knopped stem raised on a stepped circular foot. (2) 47cm high Exhibited TEFAF Maastricht 1996 £5,000 - £7,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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204 A TUSCAN WALNUT DROP-LEAF TABLE LATE 16th/EARLY 17th CENTURY The oval top with twin leaves supported on hinged scroll-carved brackets, above opposing drawers to the vasiform trestles, joined by stretchers and supported on shaped plinth feet, with a marque au feu on one trestle VM within a circle.

79.5cm high x 132cm (extended) x 157cm deep £5,000 - £7,000

SWINToN PARk, 24TH JuNE 2016

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205 A SWISS WALNUT CIRCULAR TABLE 18th CENTURY The circular top inset with a slate panel above a frieze drawer and raised on splayed turned baluster legs joined by an h-form stretcher.

76cm high x 127cm diameter £5,000 - £7,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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206 A SPANISH WALNUT AND PARQUETRY CREDENZA LATE 17th CENTURY The top with moulded edge above two frieze drawers flanking a drawer with carved corbel pull over three long drawers, between a pair of cupboard doors enclosing shelves and raised on a stepped moulded plinth base.

121cm high x 224cm wide x 74cm deep Exhibited at The European Fine Arts Fair (TEFAF) at Maastricht March 1996. £8,000 - £10,000

SWINToN PARk, 24TH JuNE 2016

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207 A CARVED LIMESTONE CAPITAL IN THE 14th/15th CENTURY STYLE of tapering form, with geometric decoration and inscribed with Latin text believed to be from Revelations Chapter 2, verse 10.

36cm x 26cm

£1,200 - £1,800

208 A CARVED STONE BLOCK WITH THE MASK OF A GREEN MAN POSSIBLY 16th/17th CENTURY In high relief, with intricately detailed hair and beard and portrayed with gaping mouth.

32cm x 23cm £700 - £900

THE ENGLISH CouNTRY HouSE

1600 - 1900

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209 A CARVED WALNUT ROUNDEL LATE 17th CENTURY Possibly Italian, carved in high relief with the bust of a bearded figure in winged helmet, the shoulders in Classical drapery.

51cm diameter £800 - £1,200

210 A BRONZE PRICKET STICK 16th CENTURY The iron spike set within a circular drip pan over a knopped cylindrical stem, raised on a stepped circular foot.

46cm high Exhibited TEFAF Maastricht 1994 £1,500 - £2,000

SWINToN PARk, 24TH JuNE 2016

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211 A FRENCH CARVED YEW WOOD COFFER FRONT 17th CENTURY Carved with arcades and a band of guilloche enclosing stylised floral and foliate panels, flanked by the figures of a mitred bishop and crowned female saint in relief, each within a niche, scratch numbered in reverse 4661 under the lock aperture (lock lacking). Three indistinct labels to the reverse: two for carriage, one handwritten ‘marine nationale. Capitaine de Corvette GLAIZoT. Aeronautique Naval’ 70cm high x 133cm wide £1,500 - £2,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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212 A CARVED POLYCHROME GROUP OF THE VIRGIN AND CHILD CIRCA 1500 Possibly South German, she veiled, her robe falling in deep folds, the Christ Child with hand raised in benediction.

90cm high

£4,000 - £5,000

213 A TERRACOTTA GROUP OF ST. ANNE AND THE VIRGIN 18th CENTURY In characteristic pose, polychrome.

18cm high

£300 - £500

SWINToN PARk, 24TH JuNE 2016

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214 A TAPESTRY UPHOLSTERED SETTEE CIRCA 1900 In the William and Mary style, walnut-framed, the back and seat upholstered in verdure tapestry, the rectangular back above a stuffed-over seat flanked by outswept arms, raised on cabriole legs joined by scroll and leaf carved stretchers.

117cm high x 167cm wide x 83cm deep £1,000 - £1,500

215 A KNOLE SOFA EARLY 20th CENTURY of characteristic form, the back and drop-ends with urn finials, enclosing a three loosecushioned seat, upholstered in green velvet.

109cm high x 195cm wide x 88cm deep £1,500 - £2,000

The englIsh CounTry house

1600 - 1900

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216 A FAUX MARBLE OAK FIRE SURROUND SECOND HALF OF THE 18th CENTURY The fluted pilaster uprights surmounted by carved square paterae joined by a fluted frieze, with its original mottled rouge faux marble painted finish.

107cm high x 126cm wide £400 - £600

SWINTON PARK, 24TH JUNE 2016

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217 A CHARLES II OAK CHEST OF DRAWERS ON STAND CIRCA 1680 The rectangular moulded edge plank top above three long graduated drawers, each triple panelled, the carcass applied with split baluster and cabochon ornament, raised on an integral stand with turned legs spaced by arches and supported on block and pad feet joined by stretchers. Some ornament later.

85cm high x 89cm wide x 49cm deep

£1,400 - £1,800

218 A CHARLES II OAK CHEST THIRD QUARTER OF THE 17th CENTURY The twin plank top with moulded edge above three fielded panels, two centred by a cabochon applique, flanking a geometric moulded panel, the stiles continuing to legs. one cabochon later.

Each front style stamped IB. 66cm high x 126cm wide x 55cm deep The chest is accompanied by a purchase invoice for £550 from Dukeries Antiques, 3rd June 1995. £150 - £200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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219 AN INDO-PERSIAN GAUNTLET SWORD 17th/18th CENTURY The 97cm straight double-edged blade with shallow fuller, engraved decoration to one side and shaped strengthening bar to both sides, the gauntlet hilt with a ridge at the wrist and raised pointed cuff, and with curved bracelet fastening and single bar grip. £500 - £700

SWINToN PARk, 24TH JuNE 2016

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220 A CARVED WALNUT GROUP OF A MOUNTED KNIGHT 19th CENTURY Probably French, the warrior in chain mail and breast plate and wearing a coroneted helmet, mounted on a caparisoned war horse modelled with raised foreleg, on an integral plinth.

33cm high x 35cm long £500 - £700

THE ENGLISH CouNTRY HouSE

1600 - 1900

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221 A CARVED PINE SCULPTURE OF A MONK SAINT PROBABLY 14th CENTURY Southern European, modelled standing, his tonsured head resting in his right hand, the left holding a Bible, the robe falling in deep folds, traces of polychromy with possible later carving, restoration and conservation.

138cm high

£8,000 - £10,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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222 A CARVED PINE SCULPTURE OF A HORSE 19th CENTURY, PROBABLY A CAROUSEL HORSE Modelled with right foreleg raised, carved with saddle and harness and mounted on a modern stand.

133cm high (including stand) x 104cm long £800 - £1,200

THE ENGLISH CouNTRY HouSE

1600 - 1900

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SWINTON PARK, 24TH JUNE 2016

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223 A LARGER THAN LIFE SIZE OAK SCULPTURE OF A LAMB 17th/18th CENTURY Modelled in animated pose.

70cm high x 88cm length £3,000 - £5,000

THE ENGLISH CouNTRY HouSE

1600 - 1900

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NoTES

T H E E N G L I S H CouNTRY HouSE

1600 - 1900

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NoTES

SWINToN P A R k , 2 4 T H J u N E 2 0 1 6

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NOTICE TO BIDDERS e following notes are intended to assist buyers at our auctions, but our staff will always be happy to help if there is anything that you do not fully understand.

1.

Our Role All sales are conducted according to our Conditions of Sale which are readily available for inspection and printed at the back of the catalogue. As auctioneers we usually act as agents for the seller and the contract for the sale of the property is, therefore, made with the seller.

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Catalogue Our catalogue can also be viewed on our website: www.cefa.auction/catalogues

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4.

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Condition of Lots and Condition Reports We will be happy to provide you with further information concerning any lot in the sale, such as a condition report which provides more detailed information on a lot than given in the catalogue description. is report can be accompanied by further digital images if required.

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Estimates Estimates are published as a guide only and as they are prepared some time before the sale may subsequently be altered by announcement. Any reserve will not be above the lower estimate and the estimates do not include the buyer’s premium or VAT (where chargeable). e eventual hammer price of a lot may well be higher or lower than the range of estimate figures that have been given.

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For lots imported from outside the EU, the following VAT symbols are used:

††

e nature of the lots sold in our auctions is such that they will rarely be in perfect condition and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to a condition in a catalogue entry will not amount to a full description as to condition. In describing lots, our staff will assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise is given honestly and with appropriate care. However, CEFA staff are not professional restorers or trained conservators and, accordingly, any such statement will not be exhaustive. We, therefore, recommend that you always view property personally, and particularly in case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

5.

7. †

For items over 100 years old an import VAT of 5% is payable on the hammer price (a further 20% is payable on the premium).

††† For items under 100 years old an import VAT of 20% is payable on the hammer price (a further 20% is payable on the premium).

8. Ω

Cites Property incorporating materials from endangered and other protected species.

Lots which require an export licence issued from the Department for the Environment are denoted with this symbol and may include, among other things, ivory, tortoiseshell and rhinoceros horn.

A separate import licence may also be required by the destination country and it would be prudent to check this with the relevant authorities.

9.

Droit de Suite (Artist’s Resale Right) Since the 1st January 2012 Droit de Suite has extended to the estates of artists deceased for up to 70 years.

*

If a lot is affected by this right it will be identified with this symbol next to the lot number. e buyer agrees to pay CEFA an amount equal to the resale royalty and we will pay such amount to the artist’s collecting agent. Resale royalty applies where the hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot e amount is calculated as follows: Royalty for the portion of the Hammer price (in Euro) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling / Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

10. Electrical Goods ese are sold as ‘antiques’ only and if bought for use must be checked for compliance with safety regulations first by a qualified electrician.

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11. Bidding If you have not previously bid or consigned with CEFA then please attach copies of (i) photo ID (ii) proof of address (ie.utility bill) or, if a company, a copy of the certificate of incorporation. Other business entities such as off-shore companies, trusts or partnerships are asked to call our office on +44(0)1765 688940 for advice on the requisite identification documentation required to submit a bid.

If you are registering to bid on behalf of a third party then you will have to provide the copy documents referred to above for that third party and a signed letter of authorisation to so bid. We may ask for a bank reference from you if you have not bid before at any CEFA sale, have not bid for two years or significantly increase your maximum bid if you are an existing buyer with CEFA. If you are unable to attend the sale and bid in person you may leave a commission or absentee bid, bid on the internet and or bid by telephone.

12. Commission or Absentee Bidding We will be pleased to execute a bid on your behalf if you are unable to attend the sale and for which we would ask you to complete the ‘Bidding Form’ indicating the maximum amount to be bid excluding the buyer’s premium. All bids must be submitted in writing in good time and lots will always be purchased for you as cheaply as possible, having regard for the reserve and competing bids. e service is offered free of charge. Please see our Conditions of Sale for further information.

13. Internet Bidding You can bid at our sales through our website: www.cefa.auction/buying-online You will need an internet connection, but through live internet bidding you will be able to follow and watch the progress of the auction as it happens from anywhere in the world and place bids as lots come up for sale.

You will need to register by following the steps of the link, where you can find instructions on the process which are easy to follow. ere is a 3% charge, plus VAT, when using this facility.

PLEASE NOTE: Registering with our online bidding service provider does not automatically register you with us.

14. Telephone Bidding If you wish to bid by telephone, please complete the ‘Bidding Form’ at the rear of the catalogue. Please return this to the office 24 hours in advance of the sale. It is a discretionary service and will not necessarily be available for bids on all lots.

It is your responsibility to check your bid has been received. Please see our Conditions of Sale for further information.

PLEASE NOTE: We wish to remind our bidders that because we are based in a rural area, we occasionally experience technical failings on our telephones and internet connection. CEFA will not be responsible for any failings in the preview, exhibition and/or sale of a lot resulting from any technical failings on telephone and/or internet connections.

15. Methods of Payment Successful purchasers will be sent an invoice the day after the sale. at invoice should be paid upon receipt to allow us to receive cleared funds within seven days of the sale. At the time of settlement of the invoice it is important that you advise us when you intend to collect your purchase. If payment is not received within seven days from the date of the sale, interest will be charged at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale.

If you wish to collect your purchase on the day of the sale, it must be paid for in full.

We accept payment by: •

Cash. Payments of up to £10,000 can be made at the cashier’s office, either during or after the sale.

•

Cheque. All sterling cheques should be drawn on a UK bank and made payable to CEFA Ltd. A cheque will need to have cleared before the removal of the goods is permitted.

•

Debit and Credit Cards. Payments can be made by Switch, MasterCard and Visa cards. If the purchaser is unknown to us and wishes to pay with one of these cards they must present suitable photographic identification. (Credit card payments will be subject to a surcharge of 3.5% of the total amount payable.)

•

Bank Transfer, either BACS or Swift payment if abroad.

16. Shipment CEFA is able to offer advice on the delivery and shipment of purchases. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. e denial of any licence required or delay in obtaining such a licence cannot justify the cancellation of the sale or any delay in making payment of the total amount due.

17. Collection and Storage Please note the terms in our Conditions of Sale for collection and storage. It is important that goods are paid for and collected promptly since any delay may involve the buyer in paying our removal and storage charges.

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TERMS & CONDITIONS OF SALE A.

CEFA as Agent 1.Except as otherwise stated CEFA acts as agent for the Seller. e contract for the sale of the property is, therefore, made between the Seller and the Buyer.

B.

Catalogue Description and Condition Lots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis. We wish to inform Buyers that CEFA bears no liability on the condition of the lots, once purchased, and it is for the Byers to satisfy themselves of the lot’s condition before purchase.

1.

2.

3.

Condition e nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to a condition in a catalogue entry will not amount to a full description as to condition.

Condition reports are usually available on request and will supplement the catalogue description. In describing lots our staff will assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition reports or otherwise is given honestly and with appropriate care. However CEFA staff are not professional restorers or trained conservators and, accordingly, any such statement will not be exhaustive. CEFA does not accept liability for any material difference between the description of a lot in the auction catalogue and the actual condition of the lot following purchase and, therefore, recommend that you always view property personally, and particularly in case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

Attribution Any statements made by CEFA about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of opinion or belief. Our opinions or beliefs are formed honestly and with the standard of care of an Auction House of our standing, due regard having been had to the value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind carried out by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant value, you seek advice on such matters from your own professional advisers.

Estimates of price Estimates of the selling price should not be relied upon as a statement that this is the price at which the item will sell or its value for any other purpose.

4.

Fitness for purpose or use Lots sold vary in age, category and condition; consequently they may be purchased for a variety of purposes or usage. Unless otherwise specifically agreed, no promise is made that a lot is for any particular purpose or use.

5.

Electrical Goods ese are sold as 'antiques' only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

6.

Soft Furnishings e sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

C.

At the Sale

1.

Refusal of admission CEFA has the right, at our complete discretion, to refuse admission to any auction in any premises and to reject any bid.

2.

Registration before bidding Prospective Buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective Buyers must complete and sign a registration form with his or her name and registered address, and provide identification before bidding. We may require the production of Bank Details from which payment will be made or other financial references.

3.

Bidding as principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the Buyer’s premium and all applicable taxes and charges, unless it has been expressly agreed in writing with CEFA before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to CEFA and that CEFA will, in those specific circumstances, hold that identified third party liable to pay the said purchase price.

4.

Absentee Bids We will use reasonable efforts to carry out written bids delivered to us prior to the sale, for the convenience of the clients who are not present in person at the auction, by an agent or by telephone. In this respect please refer to the relevant section of the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for an identical amount, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received first. Execution of bids is a free service. Such undertaking as we carry out in respect of written bids is subject to other commitments at the time of the sale and the volume of sale and non-sale goods is such that we cannot accept any liability for failing to execute a written bid or from errors and/or omissions in circumstances beyond our control. We will seek to carry out the execution of written bids in the aforesaid circumstances with reasonable care.

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5.

Telephone Bids If a prospective Buyer makes arrangements with us prior to the commencement of a sale, we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone, but we do not accept liability for any failure to do so or for errors or omissions arising from or out of telephonic bidding which may be caused by circumstances outside our reasonable control or for any technical reason relating to the telephonic communication whatsoever. We wish to remind our bidders that because we are based in a rural area, we occasionally experience technical failings on our telephones and internet connection. CEFA will not be responsible for any failings in the preview, exhibition and/or sale of a lot resulting from any technical failings on telephone and/or internet connections.

6.

Currency converter At some auctions a currency converter may be operated. Errors may arise in connection with the currency converter, where they do so we accept no responsibility for such errors arising outside our reasonable control. We do not accept liability to bidders who follow the currency converter rather than the actual bidding in the room.

7.

Video or digital images At some auctions a currency converter may be operated. Errors may arise in connection with the currency converter, where they do so we accept no responsibility for such errors arising outside our reasonable control. We do not accept liability to bidders who follow the currency converter rather than the actual bidding in the room.

8.

Reserves Unless otherwise indicated all lots are sold with a reserve, which is the confidential minimum below which the lot will not be sold. e reserve will not exceed the low estimate printed in the catalogue. e auctioneer may open the bidding on any lot below the reserve by placing the bid on behalf of the Seller. e auctioneer may continue to bid on behalf of the Seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

9.

Auctioneers discretion e auctioneer has the right to refuse any bid, advancing the bidding in any manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive.

10. Successful bid and passing of risk Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the Buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the Buyer at the expiration of seven calendar days from the date of the sale, or on collection by the Buyer, if earlier.

D.

After the Sale

1.

Buyers Premium In addition to the hammer price the Buyer agrees to pay to us the Buyer’s premium as well as any applicable VAT. e Buyer’s premium is 20% of the hammer price on each lot.

2.

Artist Re-sale Right If the Artist Resale Right Regulations 2006, or any subsequent lawful amendment thereto, apply to the lot, the Buyer also agrees to pay to us an amount equal to the resale royalty provided for in the Regulations, or any subsequent amendment thereto. Lots affected by this will be marked with the symbol * immediately preceding the lot number.

3.

Payment and Ownership e Buyer must pay the full amount due (comprising the hammer price, Buyer’s premium and any applicable taxes) immediately after the sale. is applies even if the Buyer wishes to export the lot and an export licence is, or may be, required. e Buyer will not acquire title to the lot until all amounts due to us from the Buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the Buyer.

4.

Collection of purchases We shall be entitled to retain items sold until all amounts due to us or any of our affiliates, subsidiaries or related bodies or companies have been received in full in cleared funds or until the Buyer has performed any other outstanding obligation as we, in our sole discretion, shall require. ose obligations may include but are not limited to, completing any anti-money laundering or anti-terrorism checks which are currently required by the law where the contract of sale is formed but shall, in any event, include such checks as are required by the prevailing law of England and Wales. In the event the Buyer fails to complete any such anti-money laundering or antiterrorism checks CEFA reserve the right to regard the contract of sale as cancelled on the expiration of 7 days from the request for such checks being made, subject to a separate agreement between us and the Buyer being reached in respect of the period required for the completion of such checks. Subject to this the Buyer shall collect purchased lots within two calendar days from the date of the sale unless agreed between us and the Buyer.

5.

Packing handling and shipping and insurance (a) In relation to the packing, handling, storage and shipping of any purchased lot, we are not responsible nor may we be held liable for any acts or omissions of any such third party which may lead to any loss or damage whatsoever to any purchased lot, nor are we responsible for any such loss or damage to any purchased lot which may be occasioned by any act or omission out of our reasonable control. (b) We, as the Seller’s agent, shall provide such reasonable and proportionate insurance cover, in relation to all lots submitted to us and under our physical control, which may be required in the day to day operation of our business. Our liability, under any insurance cover as we provide as aforesaid, in relation to submitted lots under our physical control, shall be limited in relation to any individual lot to the lower auction estimate.

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(i) To exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. e Buyer will be deemed to have granted such security to us and we may retain such property as collateral security for the discharge of the outstanding obligations of the Buyer to us;

(c) If the Seller wishes to obtain insurance cover above the amount in 5 (b) above, then it is the responsibility of the Seller to obtain that insurance cover for the submitted lot in question. We can, by separate agreement and payment of the appropriate premium, provide insurance cover in respect of any specific submitted lot. (d) If the Buyer wishes to obtain insurance cover above the amount in 5 (b) above then it is the responsibility of the Buyer to obtain that insurance cover for the submitted lot in question. We can, by separate agreement and payment of the appropriate premium, provide insurance cover in respect of any specific submitted lot.

6.

Storage and Export Licence Unless otherwise agreed with us in writing, the fact that the Buyer wishes or has to apply for an export licence does not affect his obligation to make payment after the sale nor our right to charge interest or storage charges on late payment. If the Buyer requests us to obtain an export licence on his behalf then if so provided we will be entitled to make a charge for this service which shall include any such third party payment required in the obtaining of any such export licence.

7.

Remedies for non-payment If the Buyer fails to make payment in full in cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. ese include, but are not limited to, the following:

(j) To take such other action as we deem necessary or appropriate so to do in all the circumstances (k) If we exercise our right to resell as referred to under paragraph 7(d) above, the defaulting Buyer shall be liable to pay us the deficiency between the resale price and the original price due to us as well as all our reasonable costs, expenses, legal fees, commissions and premiums payable as a result of any re-sale(s) necessitated by the default of the Buyer. If we pay an amount to the Seller in accordance with paragraph (e) above, the Buyer acknowledges the right of CEFA to pursue all such claims and hold all such rights as if it were the Seller in relation to the defaulting Buyer.

8.

Failure to collect purchases Where purchases are not collected within two calendar days form the date of sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the Buyer’s expense, and only release the items after payment in full has been made in respect of removal, handling and storage costs howsoever reasonably incurred by us as well as payment of any other outstanding sums owed to us by the Buyer.

9.

Selling Property at CEFA In addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon value of property sold by the consignor at CEFA in a calendar year.

Commissions are charged on a lot by lot basis.In addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon value of property sold by the consignor at CEFA in a calendar year. Commissions are charged on a lot by lot basis.

(a) To charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (b) To hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted by applicable law; (c) To cancel the sale; (d) To resell the property publicly or privately on such terms as we shall think fit; (e) To pay to the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (f ) To set off against any amounts which we or any affiliates, subsidiaries or related companies may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (g) Where several amounts are owed by the Buyer to us or any of our affiliates, subsidiaries or related companies to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (h) To 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;

10. VAT A † (dagger) symbol indicates that VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as being an element in the buyer’s premium. is imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. e †† (double dagger) symbol indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5.0%) on the hammer price and 20% on the buyer’s premium. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. is is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

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E.

(a)

Limited Warranty In addition to our liability to Buyers set out in these conditions but subject to the terms and conditions of this paragraph, CEFA warrants for a period of 5 years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. having all capital-letter type) in this catalogue ( as such may be amended by any saleroom notice or other announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. e term author or authorship refers to the creator of a property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in the catalogue. For the avoidance of doubt only UPPER CASE headings of lots in this catalogue indicate what is being warranted by CEFA. Any such errors or omissions in the catalogue material which have been caused by matters outside the reasonable control of CEFA do not create any warranty as a result. e warranty does not apply to any heading which stated to represent a qualified opinion. e warranty is subject to the following:

F.

COPYRIGHT Te copyright in all images, illustrations and written material produced by or for CEFA relating to a lot including the contents of this catalogue, is and at all times shall remain the property of CEFA and shall not be used by the Buyer, nor by anyone else, without prior written consent. CEFA and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

G.

SEVERABILITY If any part of these conditions of sale is found by any court of competent jurisdiction to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

H.

APPLICABLE LAW AND JURISDICTION If any part of these conditions of sale is found by any court of competent jurisdiction to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

It does not apply where (i) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (ii) correct identification of a lot can be demonstrated only by means of either, a scientific process not generally accepted for use until after publication of the catalogue, was unreasonably expensive or impractical or likely to have caused damage to the property.

(b) e benefits of the warranty are not assignable and shall apply only to the original Buyer of the lot as shown on the invoice originally issued by CEFA when the lot was sold at auction. (c)

e original Buyer of the lot must have remained the owner of it without disposing of any interest in it to any third party.

(d) e Buyer’s sole and exclusive remedy against CEFA and the Seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither CEFA nor the Seller will be liable for any special, incidental or consequential damages including without limitations, loss of profits nor for interest. (e)

e Buyer must give written notice of claim to us within 5 years from the date of the sale. CEFA shall have the right to require the Buyer to obtain the written opinion of two recognised experts in the relevant field, mutually acceptable to CEFA and the Buyer, before CEFA decides whether or not to cancel the sale under warranty.

(f )

e Buyer must return the lot to an appropriate saleroom nominated by CEFA if not their own.

TECHNICAL NOTICE FOR BIDDERS: We wish to remind our bidders that because we are based in a rural area, we occasionally experience technical failings in relation to our telephones and/or internet connections. CEFA will not be responsible for any such technical failings in the preview, exhibition and/or sale of a lot.

We apologise if any inconvenience is caused.

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ABSENTEE AND TELEPHONE BIDDING FORM SALE: THE ENGLISH COUNTRY HOUSE 1600-1900

DATE: FRIDAY 24 JUNE

This sale is conducted in accordance to CEFA’s Terms of Business. Please read the Conditions in conjunction with our ‘Notice to Bidders’, so you are aware of the charges payable by you on the purchases you make TELEPHONE OR ABSENTEE (T/A)

LOT NO.

DESCRIPTION

MAXIMUM BID (Excl. Premium)

COVERING BID*

£

£

£

£

£

£

£

£

£

£

£

£

£

£

£

£

£

£

I authorise CEFA to bid on the above listed lot(s) on my behalf. I understand that by submitting this bid, I have entered into a bidding contract to purchase the individual lots, if my bid is successful. I understand that I will be obliged to pay the purchase price, including the Buyer’s premium and all applicable taxes and charges.

SIGNATURE

DATE

If we receive written bids on a particular lot for an identical amount, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received first.

* Covering Bid: This is a maximum bid (exclusive of Buyer’s Premium and VAT) which will be executed by CEFA only if we are unable to contact you by telephone, or should the connection be lost during bidding.

PRINT NAME (IN BLOCK LETTERS) ADDRESS

CITY

STATE/COUNTRY/PROVINCE

ZIP/POSTAL CODE

COUNTRY

PRIMARY TEL. NO.

SECONDARY TEL. NO.

FAX NO.

EMAIL ADDRESS

Notice to bidders: Please attach a copy of identification - Passport/Driving Licence and proof of address in the form of a utility bill or bank statement issued within the last six months. Failure to comply may result in your bids not being processed.

To allow time for the processing of bids, bids must be received at least 24 hours prior to the sale. If you have not received a confirmation by e-mail within one working day please contact the bid department on T. 01765 688940.

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