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Matthew Barton Ltd European & Asian Works of Art Wednesday 20th November 2019


Auction EnquiriEs And informAtion Sale Number: Code name:

021 POMUM

Enquiries:

consultants:

Matthew Barton Henrietta Grant

Arthur Millner (Islamic, Indian, Himalayan & South East Asian) Brijeshwari Gohil (Indian Inscriptions) Peter Arney (Ceramics) Phillip Howell (Ceramics) John Culme (Silver & Vertu) Anabel Yorke (Jewellery) Max Rutherston (Netsuke) Alexis Newson-Smith (Japanese Works of Art)

Online Catalogue: www.matthewbartonltd.com www.OlympiaAuctions.com www.the-saleroom.com www.invaluable.com Live internet bidding available through:

FREE Live Online Bidding

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catalogue £15 plus postage

Matthew Barton Ltd 25 Blythe Road London W14 0PD Tel: +44 (0) 20 7806 5545 Fax: +44 (0) 20 7806 5546 Email: enquiries@matthewbartonltd.com Photography: Lee turner Front cover: Lots 33 & 374 Back cover: Lot 119


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Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART

TO BE SOLD BY AUCTION AT Matthew Barton Ltd Olympia Auctions 25 Blythe Road London W14 0PD

PUBLIC EXHIBITION Sunday 17th November 12 noon to 4pm Monday 18th November 10am to 8pm Tuesday 19th November 10am to 5pm

DAY OF SALE

Wednesday 20th November 2019 at 11am, precisely This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue.

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IMPORTANT INFORMATION FOR BUYERS Definition “Auctioneers” Matthew Barton Ltd. All lots are offered subject to the Conditions of Business reproduced on the website www.OlympiaAuctions.com, and printed at the end of the auction catalogue. A Buyer’s Premium of 25% is applicable to all lots. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all Buyers. Unless otherwise stated all lots are subject to a reserve set at the low estimate or below. Estimates are published as a guide only and are subject to review. The actual Hammer Price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. The Auctioneers will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge. Olympia Auctions are pleased to offer free online bidding directly through their website at www.OlympiaAuctions.com. Other online bidding platforms making an additional surcharge are available for this auction, please see the relevant platforms for further details. The Auctioneers may supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and where possible will endeavour to assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Olympia Auctions are not responsible for delays in delivery which might be caused by shippers or local customs.

Symbols VAT ‘‡’ ‘†’ Lots marked with the symbol ‘‡’ have been imported from outside the European Union (EU), to be sold at auction under Temporary Import Rules. When released to the Buyer within the EU, including the UK, the Buyer will become the importer and must pay VAT at the rate of 5% on the Hammer Price and 20% on the Buyer’s Premium. Lots marked with the symbol ‘†’ are subject to normal VAT rules and the standard VAT will be charged on both the Hammer Price and Buyer’s Premium. Buyers outside the EU will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request. Lots, such as books, are zero-rated for VAT in the United Kingdom. The Auctioneers will not charge VAT on either the Hammer Price or Buyer’s Premium of these lots. Ivory and Restricted Materials (CITES)

‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertake to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of the Bidder and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accept no liability for any lots which may be subject to CITES but have not been identified as such. Please note that it is not possible to post or ship ivory of any kind (including marine ivory) to the United States of America. ‘▣’ For items with No Reserve.

Cataloguing Practice PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE AND THAT ILLUSTRATIONS ARE NOT TO SCALE. Weights may only be accurate to within 5 grams. Weights shown as ‘(*oz)’ are in Troy Ounces and usually rounded down to the full ounce. It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method. Condition is not normally recorded and all lots are sold as viewed. Condition reports can be requested prior to sale. Whilst the Auctioneers are pleased to provide a general report of condition, the Auctioneers are not professional conservators or restorers and any statements made are merely subjective, qualified opinion. Prospective Buyers should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them.

Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept UK debit cards. Cash and UK registered debit card payments above £6,000 and "card holder not present" payments above £2,000 cannot be accepted. Electronic transfers may be sent directly to our bank account: HSBC Bank Plc IBAN Number: GB90HBUK40190491814001 38 High Street BIC: HBUKGB4B Dartford Sort Code: 40-19-04 Kent Account No: 91814001 DA1 1DG Account Name: Matthew Barton Ltd VAT Registration Number: 972118224

Collection and Storage On receipt of cleared funds, lots can be collected from the premises at 25 Blythe Road, London, W14 0PD. The Buyer or Buyer’s agent must bring photographic ID for collection. We require written confirmation from the Buyer if collection is made by a third party. Please note that collection may be made during working hours only, usually Monday to Friday 9.30 to 17.00. All lots should be cleared within 10 working days of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £25 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

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Sale Day: Wednesday 20th November Lots 1-586 Starting at 11am

Asian Works of Art Lots 1 to 273

2 2 A JAPANESE KAKIEMON STYLE BLUE AND WHITE DISH, EDO PERIOD, LATE 17TH CENTURY painted with a stylised riverine scene including a fisherman beside a pavilion, within a floral and leaf border, scalloped rim, underside with trailing foliate scrolls 32cm diameter £600-900

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1 A JAPANESE LACQUER SAGEJUBAKO (PORTABLE PICNIC SET), LATE EDO / MEIJI PERIOD, 19TH CENTURY the shaped oblong frame with silver handle and shelves to the top section, below to one side a rectangular four-tiered box and lid, lacquered on the exterior with various geometric grounds with foliate or bird motif mons, the cover with a mandarin duck perched on rocks above a winding stream, to the other side with a shaped oblong sake container embellished with trailing chrysanthemums on all sides on a nashiji ground, the upper shelf of the frame supporting a deep oblong tray with matching decoration, the second shallow shaped square tray lacquered with a waterside mountain scene including huts and trees below a flock of cranes flying overhead, the sides and top of the frame decorated with further trailing chrysanthemums 35 x 33 x 20cm

3 A JAPANESE ARITA VASE, EDO PERIOD, LATE 17TH CENTURY ovoid, painted with two panels each of a dragon amid cloud scrolls, with flowers between and formal borders above 29.5cm high

£800-1200

£500-700

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4 5 4 A CHINESE FLAMBE CENSER, QING DYNASTY, PROBABLY 19TH CENTURY bombé form, applied lion-head masks, the exterior covered in a deep red glaze, the interior with a crazed blue tinted glaze 24cm diameter £200-300 5 A CHINESE FLAMBE VASE, QING DYNASTY, PROBABLY 19TH CENTURY of slender ovoid form beneath a waisted neck and everted rim, covered in a deep red glaze 57cm high, restoration £200-300

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6 A CHINESE POTTERY LARGE JAR, 20TH CENTURY painted in Cizhou brown monochrome style with four barbed panels of figures in landscapes 36cm high £80-120 7 A PAIR OF CHINESE CELADON GLAZED PORCELAIN VASES, 19TH CENTURY double gourd form beneath slender slightly waited necks, the bulbous lower body of each incised with curved ribbing 20cm high £100-150 8 A CHINESE WHITE GLAZED PORCELAIN VASE, QING DYNASTY, 19TH CENTURY baluster, the waisted neck applied each side with a Buddhist lion and cub, the shoulders applied with four clambering chilong 47.5cm high £100-150

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9 A CHINESE PORCELAIN SAUCER DISH, YONGZHENG MARK AND PROBABLY OF THE PERIOD (1723-1735) the rounded sides supported on a short foot, the outer sides faintly incised with lingzhi and leafy tendrils under a celadon green glaze, the interior and underside left white, underside inscribed in underglaze blue with the six character reign mark within a double circle 15cm diameter For a smaller dish very similarly decorated with lightly incised lingzhi, see Christie’s, New York, ‘The Property of Marchant, Est. 1925’, 22/23 March 2018, lot 782. Provenance: acquired circa 1955 by Francesco Genova (Venice 1899-1962), thought to have been bought at auction in London; thence by family descent to the current vendor. £6000-8000 10 A CHINESE PORCELAIN SAUCER DISH, YONGZHENG MARK AND PERIOD, 1723-1735 the rounded sides supported on a short foot, the outer sides covered in a copperred glaze, the interior and underside left white, underside inscribed in underglaze blue with the six character reign mark within a double circle 15cm diameter

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Provenance: acquired circa 1955 by Francesco Genova (Venice 1899-1962), thought to have been bought at auction in London; thence by family descent to the current vendor. £4000-6000 11 A CHINESE YELLOW GROUND PORCELAIN BOWL, KANGXI MARK AND PROBABLY OF THE PERIOD (1662-1722) the deep rounded sides below a slightly everted rim, on a rim foot, covered in a yellow glaze, underside with six character mark within double circles and printed paper label ‘B. and V. Lake Collection’ numbered 82 in ink 16cm diameter £200-300

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12 A CHINESE POTTERY FIGURE OF A HORSE TRAINER, PROBABLY LUOYANG, HENAN PROVINCE, TANG DYNASTY (618-907) modelled with arms outstretched, one hand clenched, the other with open palm standing with one knee bent on an oblong base, with wood stand 36cm high, restoration and some minor losses (2) A similarly posed unglazed figure accompanied by a dancing horse may be seen at the City Museum, Luoyang, excavated at nearby Lanjiagou. The training of horses for extravagant shows became an elaborate art during the Tang dynasty. Provenance: acquired circa 1955 by Francesco Genova (Venice 1899-1962), thought to have been bought at auction in London; thence by family descent to the current vendor. £400-600 13 A PAIR OF CHINESE SANCAI GLAZED POTTERY FIGURES OF ATTENDANTS, MING DYNASTY (1368-1644) standing in long robes on a hexagonal bases, one holding a bowl, the other a tablet, glazed in green and ochre with separate unglazed heads 46 and 48cm high £300-400

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14 A CHINESE ‘LONGQUAN’ CELADON LARGE DISH, MING DYNASTY, 15TH CENTURY centrally incised with flowering peony, with plain steep sides and everted rim, covered in a celadon glaze excepting a russet biscuit firing band to underside, with wood stand 41cm diameter (2) Provenance: acquired circa 1955 by Francesco Genova (Venice 1899-1962), thought to have been bought at auction in London; thence by family descent to the current vendor. £600-800 15 A CHINESE ‘LONGQUAN’ CELADON LARGE DISH, YUAN / MING DYNASTY, 14TH / 15TH CENTURY centrally decorated with a foliate medallion, fluted sides, covered in a celadon glaze excepting a russet biscuit firing ring to underside, with wood stand 41cm diameter Provenance: acquired circa 1955 by Francesco Genova (Venice 1899-1962), thought to have been bought at auction in London; thence by family descent to the current vendor. £600-900

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16 16 TWO CHINESE BROWN SPLASHED ‘QINGBAI’ FIGURES OF OFFICIALS, SONG DYNASTY (960-1279) each figure standing on an hexagonal base wearing an official’s hat and long draped robe, one holding a tablet against his face, the other with a pig’s head, translucent and very pale green coloured glaze with splashes of dark iron-brown 20cm high (2)

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£1200-1800 17 A CHINESE ‘LONGQUAN’ CELADON LARGE DISH, MING DYNASTY, 15TH CENTURY centrally incised with a foliate medallion within fluted sides and an everted barbed rim all incised with peony, the underside with a further band of incised peony showing traces of gilding, covered in a celadon glaze excepting a russet biscuit firing ring to underside, with wood stand 43cm diameter (2) Provenance: acquired circa 1955 by Francesco Genova (Venice 1899-1962), thought to have been bought at auction in London; thence by family descent to the current vendor. £1000-1500 18 A CHINESE ‘LONGQUAN’ CELADON LARGE DISH, MING DYNASTY, 15TH CENTURY centrally incised with flowering peony sprays within sides incised with trailing peony to top and bottom, covered in a celadon glaze excepting a russet biscuit wide firing band to underside, with wood stand 48cm diameter (2) Provenance: acquired circa 1955 by Francesco Genova (Venice 1899-1962), thought to have been bought at auction in London; thence by family descent to the current vendor. £800-1200

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19 A CHINESE GILT-BRONZE FIGURE OF AVALOKITESVARA, MING DYNASTY, 17TH CENTURY seated in padmasana with right hand raised holding a willow stem and left hand holding a cup, wearing loosely draped robes open at the chest to reveal a swastika, the face with curly moustache and beard, surmounted by a simple circlet centred by a triangular finial 18.5cm high Provenance: acquired by the vendor’s father-in-law, Elias van Duyn de Sparwoude in China in the early 20th century. £4000-6000

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20 A CHINESE GILT-BRONZE FIGURE OF GUANYIN ON A PEDESTAL LOTUS STAND, MING DYNASTY, 16TH / 17TH CENTURY seated in padmasana balancing a willow stem in the raised right hand and a cup in the left hand, wearing long flowing robes open at the chest to reveal elaborate beaded jewellery and incised with floral scroll at the edges, the head with large earrings and hair in a top-knot behind an elaborate openwork crown, the separate stand in two parts representing a lotus flowering over a fenced pool of elongated hexagonal shape, on bracket feet 31cm high Provenance: acquired by the vendor’s father-in-law, Elias van Duyn de Sparwoude in China in the early 20th century. £3000-5000

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21 A CHINESE GILT-COPPER AND CHAMPLEVE ENAMEL FIGURE OF BUDAI, QING DYNASTY, 18TH CENTURY typically jovial, seated at ‘Royal Ease’ clutching beads at his right knee and holding a red sack to his side in his left hand, his blue robe chased with bats amid cloud scrolls, metal base and ceramic filled 13cm high Provenance: acquired by the vendor’s father-in-law, Elias van Duyn de Sparwoude in China in the early 20th century.

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£500-700 22 A CHINESE GILT-LACQUERED BRONZE FIGURE OF ANANDA, PROBABLY MING DYNASTY (1368-1644) the luohan standing on a lotus base with serene expression on his face, wearing long robes, his hands in ‘anjali mudra’ 49cm high £600-900 23 A CHINESE BRONZE FIGURE OF GUANYIN, MING DYNASTY, 16TH / 17TH CENTURY seated padmasana with left hand resting on the knee and right hand raised, with elaborate headdress, on a double lotus base, inscription to reverse 16cm high

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The inscription is for the name ‘Zhang Fu-ming’ £400-600 24 A CHINESE BRONZE FIGURE OF A WARRIOR, MING DYNASTY, 16TH / 17TH CENTURY modelled standing on a rectangular base 17.5cm high £100-200 25 A CHINESE CLOISONNE ENAMEL TRAY, CIRCA 1900 the yellow ground worked with two confronting blue dragons chasing a flaming pearl above stylised rocks and waves, the central roundel with three carp swimming on an iron-red ground, the red spandrels and yellow borders foliate filled, the yellow outer sides with Buddhist emblems, with gilt-metal rim and bracket feet 37cm square £600-900

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26 A CHINESE BRONZE FIGURE OF GUANYIN, MING DYNASTY, DATED 1577 modelled seated on a recumbent Qilin, holding a flaming pearl in her left hand, her right hand raised, with elaborate headdress, on a double lotus base, inscription to reverse of base 35cm high The inscription has been translated as: Made in Wanli fifth year [ie 1577]. Monk Wan Neng-an. £1000-1500 27 A CHINESE POLISHED BRONZE ‘GU’ VASE, 17TH CENTURY the central bulb with sinuous dragons in high relief, the upper and lower sections cast with two rows of petals 35cm high £400-600

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28 A CHINESE ARCHAISTIC BRONZE ‘HU’ VASE, PROBABLY 18TH / 19TH CENTURY pear-shape, applied with feline mask and ring handles, cast with a band of stylised birds against a leiwen ground above six lappets enclosing taotie masks 34cm high £300-500 29 A CHINESE HARDSTONE LARGE MODEL OF A BONSAI FRUITING APPLE TREE, LATE 20TH CENTURY the leaves and fruits of jade and other hardstones, composite trunk, the gravel topped terracotta base with seven trunk supports 68cm wide £100-200 30 A CHINESE LACQUERED GILT BRONZE FIGURE OF THE TANSHOU (RAISED HAND) LUOHAN, PROBABLY LATE 20TH CENTURY modelled seated, yawning and with arms raised, palms skyward, wearing loose robes 20.5cm high

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£150-200

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33 A CHINESE FAMILLE ROSE LARGE DISH, LATE 19TH / EARLY 20TH CENTURY enamelled with leafy branches of flowering peony and pomegranate extending to the underside 45cm diameter £700-1000 34 TWO CHINESE PORCELAIN PUNCH BOWLS, QIANLONG, LATE 18TH CENTURY one Mandarin palette painted with two large figural panels, the other with exterior painted with famille rose enamels of scattered flowers, the interior with tied flowers beneath a foliate and cell pattern border 25.5cm diameter £200-300 35 A PAIR OF CHINESE FAMILLE ROSE PLATES, QIANLONG (1736-1795) each painted with flowering chrysanthemum and peony in a fenced garden, the border painted with three spaced flower sprays, 23cm diameter; together with a set of three famille rose plates, Qianlong, painted with scattered flowers inside a gilt and iron-red spearhead border, 23cm diameter (5)

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£120-180 36 THREE PIECES OF CHINESE BLUE AND WHITE PORCELAIN, GUANGXU MARK AND PERIOD, 1875-1908 a teabowl delicately incised with two dragons chasing flaming pearls beneath a diaper border reserved with flower panels, 7cm diameter, a miniature teabowl painted with flower sprays, 5cm diameter, and a miniature dish painted with a central dragon medallion inside sprays of fruit and flowers, 7cm diameter, all with blue six character marks Provenance: The K.A. Johnson-Hill Collection, Hong Kong £150-250 37 A GROUP OF SEVEN CHINESE BLUE AND WHITE DISHES, PROBABLY GUANGXU, 1875-1908 each painted with a bird perched in a branch of flowering chrysanthemum within a spearhead border, blue apocryphal Kangxi four character marks 10cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong

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31 A CHINESE BLUE AND WHITE LARGE JARDINIERE, 19TH / 20TH CENTURY painted with exotic birds amidst prunus and peony blossoms between formal borders 43cm high

£300-500

£500-800 32 A SET OF THREE CHINESE BLUE AND WHITE SAUCER DISHES, GUANGXU MARK AND PERIOD, 1875-1908 each painted with three scattered flower sprays beneath a spearhead border, blue six character marks 10.5cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong £300-500

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38 38 A CHINESE FAMILLE ROSE BOWL AND COVER, GUANGXU MARK AND PERIOD, 1875-1908 shallow bowl enamelled with a phoenix and iron-red dragon amid cloud scrolls the cover with two confronting iron-red dragons chasing a flaming pearl amid further cloud scrolls, iron-red six character mark 19cm diameter, chip to bowl rim Provenance: Christie’s, London, 18 April 1996, lot 362; the K.A. Johnson-Hill Collection, Hong Kong £100-200

41 41 A GROUP OF SEVEN CHINESE BLUE AND WHITE SMALL DISHES, GUANGXU MARK AND PERIOD, 1875-1908 each painted with leaves and flowers within a double ring border, blue six character marks 8.5cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong £800-1200

39 39 A CHINESE REVERSE GLASS PAINTING OF A MANDARIN, 19TH CENTURY the young man depicted head and shoulders, fingering the beads of his chain of office, wearing embroidered silk robes and the winter season black felt official’s hat with single-eyed peacock feather moulded wood frame 45cm x 35cm £150-250 40 EDGAR GORER AND J.F. BLACKER, ‘CHINESE PORCELAIN AND HARDSTONES’, VOLS I & II, LONDON, QUARITCH, 1911 two volumes, original gilt decorated cloth, limited edition, number 10 of 1000, numerous coloured illustrations on 254 plates (2) £1200-1800

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42 A CHINESE JADE FIGURE OF A LION, 20TH CENTURY carved in the Ming style, modelled in curled recumbent pose, grey-green tone with cream/yellow/brown inclusions 8.5cm long £150-250

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43 A CHINESE HARDSTONE MOUNTAIN, 20TH CENTURY carved in 18th century style with figures amidst pavilions and trees, greenish white tone 17cm high £400-600

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Lots 44 to 69 A SWISS PRIVATE COLLECTION OF CHINESE JADES: SOLD FOR THE BENEFIT OF MISSION BAMBINI “Mission Bambini is an independent, non-profit organisation, created in Italy by Geoffredo Modena, engineer and entrepreneur, in 2000. Our mission is to help and support children living in poverty, sickness and without education, giving them opportunity and hope of a better life. In 18 years of activities Mission Bambini has helped more than 1,350,000 children through 1,500 projects in 73 countries around the world. Our Balance sheet is public and certificated and at least 75% of funds raised are used for humanitarian work. Early in 2015 the Italian Foundation created Mission Bambini Switzerland and Friends of Mission Bambini USA.”Maria Elena Di Fazio (International Development, Mission Bambini Switzerland Foundation, March 2019) For further information, please see the charity’s website: www.missionbambini.org/en 44 A CHINESE CELADON JADE BIRD AND LINGZHI GROUP carved and pierced in high relief with a bird perched on a ‘lingzhi’ spray holding a fruiting spray in its beak, the stone of pale celadon tone 13.5cm long £400-600

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45 A LARGE CHINESE CELADON JADE ‘ARCHAISTIC DRAGON’ RUYI SCEPTRE the ruyi head carved in low relief with a ‘taotie’ mask, the long curved shaft carved with archaistic scroll work and divided by an oval central section carved in high relief with a dragon with bifurcated tail, the stone of pale celadon tone with caramel inclusions 52cm long £400-600

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46 A CHINESE CARVED CELADON JADE RECUMBENT CAMEL GROUP carved and pierced with two recumbent camels, their heads turned sharply towards each other, the stone of very pale celadon tone with caramel inclusions 13.5cm wide £600-800 47 A CHINESE GREEN-GLAZED STONEWARE SEAL of square tapering form, the face carved with four characters, covered overall save for the seal face with a dark green glaze in imitation of jade, the seal face inscribed ‘Xun Jian Zhi Yin’ which may be translated as: The Seal of Xun Jian 8cm wide

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49 A CHINESE CELADON JADE ‘LANDSCAPE’ BRUSHPOT the cylindrical body rising from a slightly recessed base, deeply carved around the exterior with figures in a river landscape filled with pavilions and pine trees issuing from rockwork and scattered with four Qianlong seal marks, underside with four character seal mark ‘shu fang zhai bao’, the stone of whitish-celadon tone 11.5cm high

£60-100 48 A CHINESE WHITE JADE ‘LINGZHI AND MONKEY’ RUYI SCEPTRE naturalistically carved as a ‘lingzhi’ with large ruyi head, the curved shaft carved and pierced in high relief with two monkeys and small leafy ‘lingzhi’ shoots, the stone of creamy-white tone 46.5cm long

The mark to the underside may be translated as: Treasure from the Shu Fang Zhai chamber. This chamber in the Forbidden City was used for royal entertainments and gatherings of officials by invitation of the Emperor. £2000-3000

£1500-2500

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50 50 A CHINESE GREY JADE PEBBLE CARVING OF A BAT carved and pierced with body and tail feathers curled and wings held open, the head with large hooked beak, the stone of mottled greyish-white tone 13.5cm long £400-600 51 A CHINESE CELADON JADE FIGURE OF GUANYIN the eight-armed deity seated in front of a lotus-shaped aureole, wearing a long flowing robe falling in deep folds over the pedestal base, the stone of pale celadon tone 21cm high £700-1000 52 A CHINESE CELADON JADE GOOSE AND GOSLING carved side by side, recumbent with legs tucked under the body and wings neatly folded back over the body, the stone of very pale celadon tone 4.5cm long

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£100-200 53 A CHINESE CELADON JADE ‘DRAGON’ SEAL the square seal surmounted by a pair of addorsed dragons, each with bulging eyes and gaping jaws, the two scaly bodies crouching back on their haunches and pierced through the centre, the face carved with four characters ‘si zhi shu wu’, the stone of pale olive-green tone 7.7cm wide £500-700 54 A CHINESE GREEN JADE ‘CHILONG’ SEAL the straight-sided rectangular seal surmounted by a high relief coiled chilong, face carved with the four-character inscription ‘tian zi zhi bao’ which may be translated as: The Treasure of the Emperor, the stone of light green tone with russet and cream inclusions 9.2cm long

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£300-500 55 TWO CHINESE ARCHAISTIC JADE BI DISCS the larger carved either side with a stylised dragons, the other plain largest 18cm diameter

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£150-200

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56 56 ~ A CHINESE FLUORSPAR, ROCK CRYSTAL AND CORAL COURT NECKLACE, QING DYNASTY, 19TH CENTURY comprised of one hundred and thirty-eight fluorspar beads spaced by coral and four large rock crystal beads, the fota suspending a flattened rock crystal pendant and terminates in a gilt-metal-mounted jade dewdrop, with three further tassels terminating in similar jade dewdrops, lacquer box 192cm long £1000-1500

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57 57 A CHINESE CELADON JADE ‘BOY AND BUFFALO’ GROUP the beast carved standing four-square with a small boy clambering on its back holding a ‘lingzhi’ spray, the stone of very pale celadon tone 6.5cm long £300-500 58 A CHINESE GREYISH-WHITE JADE CARVING OF A BOY carved standing holding a basket and wearing an animal skin on his back, the stone of very pale greyish-white tone 7.5cm high

60 A CHINESE ARCHAISTIC JADE PIG carved as a recumbent animal, the stone of olive-green tone 12.5cm long £200-300 61 A CHINESE AGATE CARVING OF A LION the beast carved recumbent with its ferocious head turned to the side and resting on the front paws, the stone of mottled warm reddish-brown tone, 9cm long; together with a pair of chinese archaistic jade figures, each carved standing on a tapering rectangular plinth with hands resting on their hips, the stone of dark green tone with cream inclusions, 17cm high (3) £100-200

59 A CHINESE ARCHAISTIC JADE BIRD carved standing with wings neatly tucked around the back, the head facing forward and with large bulging eyes and hooked beak, carved around the body in low relief with archaistic scrolls, the stone of light green tone with russet staining 14cm long

62 A CHINESE NEOLITHIC STYLE JADE SPLIT RING of circular form, one end terminating in a mythical beast head, the stone of whitish-celadon tone, 9cm diameter; together with a Chinese celadon jade inkstone, carved in the form of a flattened cicada with hollowed sections, the stone of pale celadon tone with russet inclusions, 7.5cm long; and a pair of celadon jade miniautre saucers, each with gently curved sides rising from a short straight foot, the stone of pale celadon tone, 3.2cm diameter (4)

£100-200

£120-180

£100-200

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63 63 A CHINESE CARNELIAN, AMETHYST AND JADE ‘COURT’ NECKLACE, QING DYNASTY the necklace comprised of one hundred and eight carnelian beads, spaced with three large jade beads, the lower part decorated with a jade bead suspending a flattened jade disc and a gilt metal mounted amethyst drop, with three further strings of jade beads suspending similarly mounted amethyst drops, in a lacquer doughnut-shaped box and cover 186cm long £1000-2000 64 A CHINESE CELADON JADE ‘SHOULAO’ PLAQUE the thick rectangular plaque carved to the front face with Shoulao and a small boy, the reverse with a four-line calligraphic inscription, the stone of pale celadon tone 6.3cm long £100-200 65 A CHINESE ARCHAISTIC JADE ‘DRAGON’ PENDANT the flat curved shaft terminating at both ends with a dragon head, the stone of very pale creamy-brown tone, 14.5cm; together with a Chinese archaistic jade split ring, carved as two cicadas, the stone of mottled greyish-green tone, 10cm long (2) £100-200 66 A CHINESE ROCK CRYSTAL SNUFF BOTTLE carved to each side with a stylised lotus, with agate stopper 8cm high £200-300

67 A CHINESE GREYISH-WHITE JADE WATER POT of compressed globular form, carved around the exterior in low relief with a pair of bats amidst ruyi clouds, the stone of pale greyish-white tone with dark grey inclusions 6cm diameter £100-200 68 A STUDY GROUP OF SIX CHINESE SNUFF BOTTLES comprising: a large agate bottle with jade stopper; a famille-rose porcelain snuff bottle and stopper; a yellow glass bottle and banded agate stopper; a yellow glass ‘elephant’ snuff bottle and red glass stopper; a brown glass bottle and white agate stopper; and a glass shield-shaped bottle and agate stopper largest 8.5cm £300-400 69 ~ A STUDY GROUP OF FOUR CHINESE SNUFF BOTTLES comprising: a jade bottle and jade stopper; a large agate bottle carved with ‘taotie’ mask ring handles, and a coral stopper; a mottled green and brown jade bottle and jade stopper; and a banded agate bottle with coral stopper the largest 8cm high £200-300 70 A CHINESE SILVER-MOUNTED HORN SNUFF BOTTLE, 19TH / 20TH CENTURY bulbous, the mounts with enamel decoration, with circular shoulder mount above lion-mask drop rings and straps to the base mount, horn stopper 9.5cm high £40-60

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71 72 TWO ELEMENTS FROM A WOMAN’S HEADDRESS, ZANSKAR, LADAKH, 20TH CENTURY comprising a cap and a head-cover, each decorated with applique amulet boxes, turquoises, carnelians, silver amulet boxes, jewellery elements and cowrie shells, the former with cotton lining, the latter with wool and yak hair(?) pigtails 10.5 x 21cm (cap); 76cm long (cover)

71 THREE SINO-TIBETAN BRONZE FIGURES OF MAHASIDDHAS, 19TH CENTURY each seated on a triple cushion, inscribed in Tibetan, two with beards and holding a kapala, the third clean shaven, holding kapala and a pot 16cm approx. each The inscriptions identifying the subjects have been read (from left to right in illustration): ‘Mag ba ri ba(?)’, ‘Narupa’ (a misspelling of ‘Naropa’), and ‘Jamphal Shenyen’ (Manjushrimitra in Sanskrit), respectively.

£500-700

£300-400

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73 A LONG NARRATIVE SCROLL EXTOLLING EKADASIVRATA, NEPAL, SECOND HALF 18TH CENTURY pigment on cloth, of long rectangular form, the story related in two tiers of continuous narrative, the characters depicted amongst mountains and Himalayan buildings, lines of newari script running along the length of each band 57 x 360cm This is an exceptionally long scroll, and it is notable that a similarly dated example of the same subject is made physically shorter by arranging the narrative in three tiers (see Pratapaditya Pal, ‘Art of the Himalayas: Treasures from Nepal and Tibet from the Zimmerman Collection, New York 1991, no.51). As Pal notes, the story is related to justify the important Hindu rite performed on the eleventh day of each fortnight involving fasting and worship. An earlier scroll, depicting the extolling of Manavinayaka, in a less ‘Indian’ style, with the different scenes more clearly divided, is in the Norton Simon Museum (inv. no. F.1983.27.P). £3000-5000

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75

Provenance: Private collection, Northern England

75 A MANDALA THANG-KA, TIBET, 20TH CENTURY pigment with gold on cloth, silk brocade mount, the central lotus roundel with figure of Mahakala in yab-yum with his consort, dakinis and other Buddhist deities around him, surrounded by other vignette scenes in a landscape, including events from the life of the Buddha and other deities, an enshrined figure of Avalokitesvara at the top 30.5 x 24.5cm (painting)

£250-350

£60-100

74 A THANG-KA DEPICTING MANJUSRI, TIBET, 19TH CENTURY pigment with gold on cloth, silk and cotton surround, the fourarmed bodhisattva wielding bow, arrow and sword, his primary left hand in vitarka mudra, seated on a lotus in a landscape, surrounded by smaller figures of six other bodhisattvas, three later lantsa letters on the reverse 53 x 37cm (painting); 95 x 63cm (complete hanging)

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76 A THANG-KA DEPICTING A DAKINI, TIBET, 19TH CENTURY pigment on cloth, the white figure dancing on a lotus, holding damaru and ghanta within an arched aureole, surrounded by rows of smaller figures, including Buddha, bodhisattvas, lamas, arhats, other dakinis and dharmapalas, Tibetan mantras on the reverse, silk mount 79 x 62cm ÂŁ1000-1500

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78

79

80 77 A BRACELET AND A PAIR OF FLARED CUFFS, THAILAND, ‘LATE’ PERIOD (330 BC-400 AD) bronze, the bracelet plain except for three bosses along one side, the cuffs with rope and reed designs 7.4cm diam. (bracelet); 7cm long approx. (cuffs) For similar examples formerly in the collection of Samuel Eilenberg, now in the Metropolitan Museum of Art, New York, see inv. nos. 2001.433.200 & 2001.433.184

80 A BRONZE FRAGMENT FROM A SHRINE, JAVA, INDONESIA, 13TH/14TH CENTURY in the form of a horizontal band with makara head finial at one end, its scrolling neck with srivatsa on the edge, the band pierced with two holes for fixings 10.5 x 32 x 3cm Provenance: Private collection, London £400-600

£120-150 78 TWO SOUTH-EAST ASIAN POTTERY VESSELS, CAMBODIA AND THAILAND, 12TH/13TH CENTURY AND LATER stoneware with sgraffito decoration, comprising a Khmer brown glazed ewer with zoomorphic handle, and a celadon ewer in the form of a gourd 17.5cm diam. (water container); 18cm diam. (ewer)

81 A PRIEST’S OFFERING TRAY (TALAM) JAVA, CIRCA CIRCA 13TH CENTURY of circular form, with raised turned-in rim, engraved with central roundel containing a peacock amidst scrolling foliage, surrounded by concentric bands of radiating feathers and scrolling foliage 49cm diam, 2cm high Provenance: Private collection, London

For a closely related brown-glazed ewer in the Victoria and Albert Museum, London, see inv. no. FE.130 1978

For a similar talam in the Metropolitan Museum of Art, New York, see inv. no. 2017.61.2

£200-300

£250-350

79 THREE ANCIENT SOUTH-EAST ASIAN BRONZE OBJECTS comprising a Ban Chiang anklet, 300 BC-200 AD, a Khmer elephant bell, with iron suspension loop, circa 12th century, and a Khmer flywhisk handle, circa 12th century anklet: 16cm diameter; bell: 20cm high; handle: 21.3cm

82 A KHMER BRONZE LADLE, CAMBODIA, CIRCA 12TH/13TH CENTURY with bun-shaped bowl, long ropework shaft and hook terminal 31.5cm long

For an almost identical elephant bell in the Victoria and Albert Museum, London, see inv. no. IS.178-1991

£250-350

Provenance: Private collection, London

£250-350

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86 A BRONZE FIGURE OF A GODDESS, PROBABLY GANGA, JAVA, INDONESIA, 13TH/14TH CENTURY kneeling and clasping the kalasa in her hands, wearing necklace, large earrings and bazubands on her arms, a suspension loop on the top of her head 9.8cm high Provenance: Private collection, London £250-350 87 A SMALL KHMER BRONZE FIGURE OF A FOUR-ARMED DEITY, PROBABLY VISHNU, CAMBODIA, CIRCA 12TH CENTURY wearing necklace, belt and conical headdress, mounted 11cm excluding projecting tenon underneath £150-250

83 83 A JAVANESE TERRACOTTA CORNER ANTEFIX, INDONESIA, CIRCA 10TH CENTURY in the form of a kirtimukha mask, with fierce expression, bulging eyes and flaming hair 20 x 20 x 18cm approx. Provenance: Private collection, London £400-600

88 A SMALL BRONZE BUST OF BUDDHA, BURMA, 12TH/13TH CENTURY with elongated earlobes, tightly curled hair and usnisa with bud finial, mounted 8cm Provenance: Private collection, London £300-400 89 A KHMER GREY SANDSTONE CROWNED HEAD OF BUDDHA, CAMBODIA, 12TH/13TH CENTURY wearing pendent earrings, elaborate crown and tall tiered pointed headdress, mounted 19cm high Provenance: Private collection, London £400-600 90 A SMALL SUKHOTAI FRAGMENTARY BRONZE BUST OF BUDDHA, THAILAND, CIRCA 14TH CENTURY with tightly curled hair and elongated earlobes, mounted 9cm high Provenance: Private collection, London £300-500

84 84 A MAJAPAHIT FRAGMENTARY TERRACOTTA FIGURE OF A DVARAPALA, JAVA, CIRCA 14TH CENTURY comprising two fragments mounted together, a crowned head with protruding fangs and bulging eyes, and a chest section, wearing necklace and armlet, perspex stand 13 x 12 x 6cm (head); 12 x 20 x 7cm (chest fragment) approx. (2) Provenance: Private collection, London £400-600 85 A SMALL BRONZE HEAD OF BUDDHA, PROBABLY LAOS, CIRCA 16TH CENTURY with long crescent-shaped earlobes, tightly curled hair and flame usnisa, mounted 10cm high £120-150

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91 A TERRACOTTA HEAD OF BUDDHA, LAOS OR THAILAND, CIRCA 17TH CENTURY with slanting eyes and tightly curled hair, mounted 13.5cm high £80-120 92 A MAJAPAHIT FRAGMENTARY TERRACOTTA HEAD OF A GANA, JAVA, INDONESIA, 13TH-14TH CENTURY with round grimacing face and wide eyes, his hair swept back, mounted 10cm Provenance: Private collection, London £150-250 93 A MAJAPAHIT CARVED PUMICE HEAD OF A DEITY, JAVA, INDONESIA, 13TH/14TH CENTURY the hair curled at the forehead, tied in a bun on top, wearing elaborate earrings, mounted 14.5cm Provenance: Private collection, London £200-300

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95

96

Provenance: Private collection, London

96 A BRONZE FIGURE OF PADMAPANI, JAVA, INDONESIA, CIRCA 9TH CENTURY standing in tribhanga, his right hand in varada mudra, his left raised holding the stemp fo a padma, wearing tall headdress, mounted 11cm high

£800-1200

Provenance: Private collection, London

94 AN ANGKOR WAT GILT BRONZE FIGURE OF BUDDHA, CAMBODIA, 12TH CENTURY standing on a tiered square base, wearing robes and crown with conical chignon, his hands both outstretched in vitarka mudra 13cm high

95 A MON-DVARAVATI BRONZE FIGURE OF BUDDHA, THAILAND, 8TH/9TH CENTURY standing on a double lotus, both hands raised in vitarka mudra 15.5cm high Provenance: Private collection, London £800-1200

For a very closely related figure of Padmapani from the Eilenberg Collection, now in the Metropolitan Museum of Art, New York, see inv. no. 1987.142.303 £400-600 97 A LACQUERED GILT-BRONZE FIGURE OF BUDDHA, BURMA, 14TH/15TH CENTURY seated on a raised throne, his hands in bhumisparsa and dhyana mudra, with elongated earlobes and bud-shaped usnisa 14.8cm high £1000-1500

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98 A BRONZE FEMALE DEITY, PROBABLY FROM A VAJRADHATU MANDALA, NGANJUK, JAVA, CIRCA 1000 A.D. seated in padmasana, her right hand outstretched holding a patra, her left resting on her leg, wearing elaborate crown, long pendent earrings and tall pointed headdress, mounted 7.5cm high Provenance: Private collection, London This bronze is originally from a large set, assembled to form a three dimensional mandala. Several related images from the Eilenberg Collection are now in the Metropolitan Museum, New York. 1987.142.5, 7, 8, 9. For further information, see https://www.metmuseum.org/art/collection/search/39046 £350-450

101 A PRE-ANGKOR BRONZE FIGURE OF VAJRAPANI, PROBABLY ANGKOR BOREI, CAMBODIA, 7TH/8TH CENTURY seated in padmasana, his hands clasped at his chest holding a vajra, wearing bazubands and bracelets on his arms, his tightly curled hair flowing onto his upper back, his head with domed usnisa 8cm high Provenance: Private collection, London The style of this figure shows the strong Indian influence in South-East Asia at this time with clear parallels with Gupta and Post-Gupta styles. For two sculptures in this style, see Metropolitan Museum of Art, New York, inv. no. 2005.512 & National Museum of Cambodia, Phnom Penh Inv. no. Ga.5406 £700-900

99 A LACQUER BOWL, BURMA, 20TH CENTURY lacquered split bamboo, the red ground with black and amber sgraffito animal and foliate decoration, labelled in burmese, 20cm high, 24cm diam.; together with a small betel box, Burma, 20th century, lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with black and amber engraved scrolling decoration, 11cm high, 13cm diam.; and a pair of lacquered wood grain scoops, Burma, 20th century, each with handle in the form of a peacock head, 22cm long, each (4) Provenance: Private collection, London £200-300 100 A BRONZE FIGURE OF NANDI BULL, JAVA, CIRCA 10TH/11TH CENTURY crouching on circular lotus base, with thick scrolling tail, mounted 5cm high; 6.5cm long Provenance: Private collection, London

100

£200-300

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102

104

102 A JAVANESE BRONZE FIGURE OF BUDDHA, INDONESIA, 10TH CENTURY the slender figure seated in sattvasana with hands in bhumisparsa and dhyana mudra on a lotus on a throne with scrolling feet 9.5cm high

104 A GILT LACQUERED BRONZE FIGURE OF BUDDHA, THAILAND, 15TH/16TH CENTURY standing with right hand in abhaya mudra, his left by his side, with long earlobes and tall pointed usnisa, mounted 33.5cm

Provenance: Private collection, London

£300-500

£600-800

103 103 A JAVANESE BRONZE BELL, INDONESIA, CIRCA 14TH CENTURY of domed form, the segmented handle with elephant finial 13.5cm high Provenance: Private collection, London £200-300

105 105 A SMALL LACQUERED AND GILT BRONZE FIGURE OF BUDDHA, BANGKOK, THAILAND, 19TH CENTURY seated in sattvasana on a tiered throne, his hands in bhumisparsa and dhyana mudra, large srivatsa on his chest, wearing elaborate crown and robes 12.7cm high The lack of usnisa on this figure suggests it may depict a monk rather than the Buddha himself. £100-150

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106 106 A BRONZE MINIATURE SHRINE, BURMA, PROBABLY 16TH/17TH CENTURY of rectangular plan, with arched openings on each side, the roof in two tiers 18.5cm high

108 THREE NIELLO LIME BOXES (HTON BU), BURMA (NOW MYANMAR), 19TH CENTURY two of oval, the third of circular form, one of the oval boxes with chased silver lid, each with copper base, the circular with inscription in Burmese script 3 x 3.2 x 4.7cm and smaller

Provenance: Private collection, London

Provenance: Private collection, London

£200-300

£250-350

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107 107 FOUR PAIRS OF IRON BETEL CUTTERS, INDONESIAN ARCHIPELAGO, 19TH CENTURY each of zoomorphic form, three with silver, copper and brass damascened decoration, the other with silver handles 15.5cm long and smaller

109 TWO BURMESE CHARACTERS, PEGU, BURMA, CIRCA 1900 bronze, depicting a drummer and a farmer with scythe, each realistically modelled, wood bases 15.5, 15cm £120-180

£200-300

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110 113 110 AN ANGLO-BURMESE DINNER GONG, CIRCA 1900 gilded and lacquered iron with black painted figural decoration, the supports of carved teak in the form of nats battling with demons, with padded cloth striker and suspension rod of bow-shaped form 42cm (diam. of metal gong); 68cm (height of figures) (5) £600-900

113 A BETEL BOX, BURMA, FIRST HALF 20TH CENTURY lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with black and orange-painted lattice design, the interior with two removable trays 11cm high; 13cm diam. Provenance: Private collection, London £150-250 114 A CARVED AND PAINTED WOOD FIGURE OF A MYTHICAL LION, POSSIBLY BARONG, BALI, INDONESIA, 19TH CENTURY with bulging eyes and protruding fangs, a separately carved figure of a devotee(?) riding on his back 32 x 36 x 13cm Provenance: Private collection, London £350-450

111

114

111 A FIGURE OF A FURNITURE MAKER, PEGU, BURMA, CIRCA 1900 bronze, seated on a bamboo stool, wearing sarong and jacket, holding a piece of rope 11cm high (2) £100-150 112 A NARRATIVE HANGING, BALI, INDONESIA, 20TH CENTURY ink and pigment on cloth, of rectangular form, depicting Hanuman, monkeys and other figures, in scenes from the Ramayana, framed 39 x 74cm (visible area) £80-120

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115 115 A BUFF SANDSTONE HEAD OF A DEITY, CENTRAL INDIA, 11TH/12TH CENTURY wearing elaborate jewelled crown, mounted 16.5cm high £700-900

117 117 A PINK SANDSTONE HEAD OF A DEITY, CENTRAL INDIA, CIRCA 11TH CENTURY with elaborate tall coiffure, mounted 22.5cm high £400-600

118 116 116 A BUFF SANDSTONE FIGURE OF AN ATTENDANT, MADHYA PRADESH, CENTRAL INDIA, 11TH/12TH CENTURY the male figure standing with body and flexed, holding a chauri in his right hand, wearing large earrings and a tall headdress, mounted, 43cm high; together with a Pink Sandstone Figure of an Attendant, Madhya Pradesh, Central India, 11th/12th century, the male figure standing with body and knee flexed, holding a staff in his right hand, wearing large earrings, necklaces and bracelets, a turban on his head, wood stand, 40cm high (2) Provenance: From the collection of the late Ken Shores, USA (1929-2014) £500-700

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118 A SMALL SANDSTONE STELE DEPICTING DURGA MAHISASURAMARDINI, CENTRAL INDIA, 14TH/15TH CENTURY carved in relief, traces of later paint, 14.5cm high Provenance: Private collection, London £300-400


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119 A PINKISH BUFF SANDSTONE FIGURE OF VISHNU, PROBABLY MADHYA PRADESH, CENTRAL INDIA, 11TH/12TH CENTURY standing erect, wearing tall faceted headddress, large earrings, necklaces and elaborate dhoti, his chest with srivatsa, mounted 44cm high Provenance: Collection of the late Bruno Cooper, acquired at a Paris art fair in the 1990s, thence by descent. Morley (Bruno) Cooper was born in the USA but came to England to pursue a successful academic career; on retirement he transformed his hobby of antique collecting into a thriving business first based in Suffolk, but he later concentrated on international antique fairs. As time went on, his interests focused increasingly on Asia and Indian sculpture in particular. He died in 2012. ÂŁ2000-3000

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120 120 THE THREE HALF BROTHERS OF RAMA, PROBABLY FROM A VISHNU SHRINE, SOUTH INDIA, 19TH CENTURY comprising figures of Shatrugna, holding two flywhisks, Lakshmana, with hands in anjali mudra and Bharata, originally holding a bow 11.2cm each Provenance: Private collection, London These figures probably come from a shrine similar to one in the Victoria and Albert Museum (inv. no. 646 I.S.) in which Vishnu and his consort Lakshmi are seated at the centre surrounded by these three brothers plus Hanuman £600-800

121

122

121 A SMALL RITUAL LAMP, SOUTHERN INDIA, 18TH/19TH CENTURY bronze, with five wick holders, the top with small lingam, cobra and figure of Nandi 6.5cm high; 9cm long

122 A BRONZE TEMPLE LAMP, SOUTHERN INDIA, 18TH/19TH CENTURY in the form of a hamsa with flared tail, a leafy tendril issuing from its mouth, on oil tray with five wick holders 12.5cm high

£120-180

£100-150

123 123 A TINNED BRASS PALANQUIN FINIAL, DECCAN, INDIA, CIRCA 19TH CENTURY in two sections comprising a sleeve and makara head finial, the head with gaping jaws and large fangs, the sleeve inscribed in kannada 32.5cm long, 11cm approx. high £500-700

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124 A BRONZE FIGURE OF GARUDA, TAMIL NADU, SOUTH INDIA, LATE 18TH/EARLY 19TH CENTURY standing on a lotus on square base, his winged arms with hands in anjali mudra, wearing large earrings and tall conical headdress with bud finial 27.5cm high Provenance: Private collection, London. Acquired by the vendor’s great-grandfather in Thailand during the 1920s-1930s. £1200-1500

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127

125 A JAIN BRASS SHRINE, WESTERN INDIA, CIRCA 17TH CENTURY of lobed arched form, with central figure of a tirthankara seated on a stepped plinth under a parasol lustrated by elephants, flanked by an ankus and crescent, surrounded by the other 23 tirthankaras and a pair of chauri bearers 18cm high

127 A JAIN BRASS SHRINE, GUJARAT, WESTERN INDIA, DATED SAMVAT 1602 (1545 AD) of pierced, arched form, with central tirthankara seated under a parasol on a lion throne, flanked by chauri bearers, musicians and elephants, inlaid with silver and copper, devanagari dedicatory inscription on the reverse including date 16cm high

It is not clear which of the twenty four tirthankaras is represented here, as the symbols of Ajitanatha (elephant goad, or ankus) and Candraprabha (crescent moon) both appear.

£700-900

£700-900

126 128

126 A JAIN BRASS SHRINE, WESTERN INDIA, CIRCA 17TH CENTURY in the form of four seated jinas arranged on each side of a square pierced base standing on splayed feet 8.8 x 9 x 9cm

128 A SMALL BRONZE FIGURE OF A JAIN TIRTHANKARA, WESTERN INDIA, LATE 19TH/EARLY 20TH CENTURY seated in padmasana on a cushion, his hands in dhyana mudra, the nude male figure with srivatsa on his chest 6cm high

£700-900

£120-150

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129 A JAIN SHRINE DEPICTING CANDRAPRABHA, GUJARAT, WESTERN INDIA, DATED SAMVAT 1494 (1437 AD) of pierced arched form, the jain tirthankara seated on a lion throne with engraved crescent symbol, flanked by further jinas, muscians and chauri bearers, a pair of elephants flanking the parasol above, inlaid with copper and silver, dedicatory inscription in devanagari on the reverse with date 17.7cm high The dating has been translated ‘Samvat 1494, Friday the 10th, a moonless night’ £1500-2000

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130 130 A BRONZE FIGURE OF ANNAPURNA, DECCAN, CIRCA 18TH CENTURY seated with legs loosely crossed on a low stool resting on raised platform, holding her ladle, with flowing hair and pointed headdress 8.2cm high Annapurna is the Hindu goddess of nourishment, especially worshipped in Varanasi (Benares). She uses her large ladle to serve food to her devotees.

132 A BRONZE FIGURE OF GANESHA, WESTERN DECCAN, INDIA, 18TH/19TH CENTURY seated on a waisted lotiform stool, the four-armed elephant headed deity holding padma, ankus, parasu and sweets which he feeds on with his trunk, with flared ears and tiered headdress 10.7cm high £600-800

£280-320

133 131 131 A BRASS SIVA MASK, WESTERN DECCAN, INDIA, 19TH CENTURY in the form of a moustachioed face of Siva, the conical headdress with bud-shaped finial and diminutive lingam at the front, wearing necklace with crescent moon pendant 25cm high For a closely related mask in the Museum of Folk and Tribal Art, Gurgaon, see Subhashini Aryan, ‘Unknown Masterpieces of Folk and Tribal Art’, Gurgaon 2005, p.63, No.113. £400-600

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133 A CAST BRASS VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY of flared form, the four-armed god depicted in relief holding various weapons and arms, flanked by diminutive figures of Daksha and Sati, sheltered by a cobra canopy at the top 21 x 16.5 x 3.5cm Daksha had offended Siva at a sacrifice and his daughter. Sati, who was Siva’s wife, felt so insulted that she threw herself on the pyre. Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. The gods pleaded for Daksha’s life but his severed head could not be found, so the head of a goat was substituted instead. £250-350

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134 A LARGE CAST BRASS SIVALINGAM, WESTERN DECCAN, INDIA, 18TH/19TH CENTURY with moustachioed face, prominent ears and pierced conical headdress with small figure of Ganga emerging with hand raised in abhaya mudra, sheltered under a separately cast seven headed cobra, its body encircling the neck 39cm high The story is told of how the river goddess, Ganga, threatened to engulf the whole earth with her torrents, but Siva caught her in his thick matted hair, as seen here. Siva’s consort Parvati was jealous of a potential rival, in some versions said to be her sister, trapped in his hair. Eventually Ganga was released and allowed to flow into the sea. £1000-1500

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135 135 A BRASS HANUMAN SHRINE, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY in three sections, the monkey headed god standing with hands in anjali mudra on pyramidal base, openwork prabha behind 27.7cm high £400-600

138 A BRASS FIGURE OF BHAIRAVI, WESTERN DECCAN, CIRCA 18TH CENTURY the four-armed goddess seated in lalitsana on a lotus stool, holding khadga, cakra, padma and mala, with long flowing hair and tall headdress, wearing large disc earrings 12cm high £500-700

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136 A BRASS FIGURE OF GANESHA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY the elephant headed deity seated on a square base, his vehicle the bandicoot at his left knee, a bowl of sweets in his right hand 6.5cm high

139 A BRONZE FIGURE OF LAKSHMI, TAMIL NADU, SOUTH INDIA, 19TH CENTURY standing on a square base, holding a padma in her raised right hand, her hair tied at the back in a bun 10.7cm

£200-300

£100-150

137 TWO SMALL BRONZE FIGURES OF GANESHA, SOUTH INDIA, 18TH/19TH CENTURY each with the elephant-headed deity holding various attributes in his four arms, wearing tall headdress with bud finial, his vehicle the bandicoot at his feet 7.5, 6cm

140 A BRONZE FIGURE OF DANCING KRISHNA, TAMIL NADU, SOUTH INDIA, 19TH CENTURY on lotus base resting on square platform, his left hand outstretched, his right holding a butter ball, his hair tied in a bun 10.5cm high £80-120

£150-250

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141 A BRASS HAKU PATRA PLAQUE, ANDHRA PRADESH, DECCAN, SOUTHERN INDIA, DATED SAMVAT 1516 (1460 AD) cast brass, of rectangular form, with cusped arched top, surmounted by kirttimukha, the front with five tiers of relief scenes, including Siva with Nandi, Durga, Ganesha and a scene of a sculpture workshop with grinding wheel and anvil, the reverse densely inscribed with 52 lines of Telugu script 27 x 13.2 x 0.6cm Provenance: Private collection, Northern England, acquired about 30 years ago The Telugu inscription comprises a mythical description of the origin of the Visvabrahmins or Visvakarmas, a community of artisans chiefly in the Southern states of India. They see themselves as descendants and followers of Visvakarma, the Hindu god who is considered architect of the universe, and are divided into five groups, each descending from one of Visvakarma’s five sons, comprising carpenters, blacksmiths, bell metalworkers, goldsmiths and stonemasons. Haku Patras are effectively grant certificates which accord rights to single persons or groups of people: this might be rights over the use of land, or to perform or provide services. They are thought to have been in use For about 500 years, which means this is an early example. As well as metal, Haku Patras are sometimes paper documents or scrolls. The main work on the subject is research undertaken by R. Thirmal Rao funded by the British Library. See http://eap.bl.uk/ (search for no.201). A similar example to this lot, in the J. LeRoy Davidson Collection, was exhibited in San Diego, at the Mingei International Museum of Folk Art. £3000-5000

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142

144 A BRONZE IMAGE OF LAKSHMINARAYANA, SOUTH INDIA, CIRCA 18TH CENTURY the hindu god Vishnu seated on a lotus stool with his consort on his left knee holding a padma, his right hand in abhaya mudra, both wearing tall headdress with bud finial 10.2cm high

142 A BRONZE FIGURE OF DANCING KRISHNA, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the infant deity on a lotus base on raised plinth, holding a butter ball in his right hand, his left hand raised, his hair tied in a bun 9.8cm high £200-300

£200-300

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143 143 A BRONZE FIGURE OF LAKSHMI, SOUTH INDIA, 15TH/16TH CENTURY standing in tribhanga on a lotus base on square platform, her right hand raised holding a padma, wearing tall tiered headdress 11.2cm £600-800

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145 A SMALL BRONZE FIGURE OF DEVI, SOUTH INDIA, 17TH/18TH CENTURY standing in tribhanga on a circular base, holding a padma in her raised right hand 8.5cm high £80-120

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148 146 A BRONZE FIGURE OF LAKSHMI, SOUTH INDIA, CIRCA 18TH CENTURY seated in lalitasana, holding a padma in her raised right hand, a mirror[?] at her left side 6cm high £200-300 147 A BRONZE FIGURE OF APPAR, TAMIL NADU, SOUTH INDIA, CIRCA 17TH CENTURY standing on a circular base, his hands in anjali mudra, with tall headdress surmounted by bud finial 8.5cm £150-200

148 A HAKU PATRA PLAQUE, TAMIL NADU, SOUTHERN INDIA, PROBABLY CIRCA 17TH CENTURY of arched rectangular form, with incised decoration and inscriptions, comprising, on one side, at the top, figures of Siva and Parvati on Nandi, flanked by figures of their sons, Ganesha on his rat, and Subrahmanya on his peacock, the other side with a devotional scene with a priest and devotee, flanked by the sun and moon, the main panels on either side densely filled with 63 and 54 lines of Tamil script, mounted in wood stand 29.9 x 22.2cm; 2mm approx. thick Provenance Private collection, Northern England, acquired about 30 years ago. For a note about Haku Patras, see lot 141. £2000-3000

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149 A BRASS FIGURE OF BHADRAKALI, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY in three sections, the four-armed Hindu goddess seated with legs loosely crossed on a diminutive bearded figure, holding khadga, patra, cakra and sankha, a foliate multi-lobed prabha behind, surmounted by cobra and kirtimukha 13.7cm high

151 A BRASS FIGURE OF A HINDU GODDESS, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY seated with legs loosely crossed on a rectangular throne, her hands on her knees holding a fruit (?) and in abhaya mudra, surrounded by a columnar prabha, wearing hoop earrings and tiered conical headdress 9.2cm

£400-600

£400-600

150 150 A BRONZE FIGURE OF NANDI, DECCAN, SOUTHERN INDIA, 17TH/18TH CENTURY crouching on a rectangular base, sheltered by a separately cast seven headed cobra, a small lingam in front 19.5cm high £500-700

152 152 A BRASS SIVALINGAM SHRINE, WESTERN INDIA, CIRCA 18TH CENTURY the yoni-lingam resting on a coiled cobra with a small figure of Nandi in front, the inscribed stand on four feet, sheltered by the separately cast flared canopy of the cobra 23.5cm high The inscription has been read: ‘The following is owned by an individual named Harna Bhai’. £600-800

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155

153 A BRONZE FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, 18TH/19TH CENTURY standing on a lotus on raised plinth, the four armed deity with primary hands in varada mudra and resting on his gada (now missing), his upper hands holding cakra and sankha, his head with tall tiered headdress 14.7cm high

155 VITHOBA AND RUKMINI, WESTERN DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY bronze, the god depicted standing on a brick, his hands on his hips, a conch in his left hand, his consort in similar pose, her right hand outstretched, holding a padma 18.2, 14cm (2)

£500-700

Vithoba is a form of Krishna worshipped particularly in the western Deccan. The brick and the god’s distinctive pose, here shown as a flat paving tile, is a reference to a story of Krishna who was told by Pundalika to wait on a brick while he attended to his aged parents. £600-800

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154 AN UNUSUAL BRONZE FIGURE OF A JINA, PROBABLY DECCAN, 17TH/18TH CENTURY seated in padmasana on a circular stool, his hands in dhyana mudra, with high domed coiffure 13.7cm high £800-1000

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156 A BRONZE FIGURE OF NARASIMHA DISEMBOWELLING HIRANYAKASIPU, WESTERN DECCAN, INDIA, 18TH/19TH CENTURY the lion-headed avatar of Vishnu seated in front of the rent pillar, tearing open the belly of the prostrate king on his lap 10.5cm high The Daitya king tormented his son, Prahlada, so Vishnu assumed the form of a lion, and burst out of a column on the palace veranda, wreaking terrible vengeance on behalf of his devotee. £800-1200

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161 A BRONZE FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, 19TH CENTURY the four-armed deity standing erect, on a raised, separately cast, pierced base, his primary hands in abhaya mudra with rosary and resting on his gada, his upper hands holding sankha and cakra, with tall headdress surmounted by conical finial 22cm high £200-300 162 A BRONZE FIGURE OF A FEMALE DEITY, WESTERN DECCAN, INDIA, 18TH/19TH CENTURY with separately cast tiered square base, wearing necklace, multiple bracelets and large disc earrings, her hands outstretched holding a ewer and cup in her palms 23.5cm high Provenance: Private collection, London £300-400

157 157 A BRONZE DOUBLE TEMPLE BELL, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY the twin bowls attached at the top with trilobed arch, surmounted by a trio of figures of Nandi, iron clappers 22.5cm high; 29.5cm long; 13.5cm deep £500-700

163 A BRONZE FIGURE OF DIPALAKSHMI, WESTERN INDIA, 18TH/19TH CENTURY standing on tiered separately-cast circular base, holding a lamp bowl in front, wearing multiple necklaces and large earrings, indistinct inscription on upper part of base 27cm high Provenance: Private collection, London £400-600

158 A BRONZE FIGURE OF NANDI BULL, DECCAN, SOUTHERN INDIA, 16TH/17TH CENTURY crouching on a rectangular base, with pronounced hump, wearing blanket and trappings, a small yoni-lingam in front 8.3cm high; 10.8cm long

164 A BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, DECCAN, 19TH CENTURY OR EARLIER the four armed (one now missing) goddess, pressing on the buffalo with her foot while spearing it with her javelin, on rectangular base 13.2cm

£400-600

£150-200

159 A BRONZE TEMPLE BELL, DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY with iron clapper, the suspension loop above with ropework design 13.5cm high

165 TWO BRASS FIGURES OF GODDESSES, DECCAN, INDIA, 18TH/19TH CENTURY depicting Durga Mahisasuramardini and Sri Devi 10.5; 8.5cm

£180-220

£60-80

160 A BRONZE FIGURE OF NANDI BULL, WESTERN DECCAN, INDIA, 18TH/19TH CENTURY the bull vehicle of Siva crouching on a rectangular waisted base, with long pointed horns, a lingam in front 13.5cm high

166 A BRONZE FIGURE OF A FEMALE DANCER, NEPAL, LATE 19TH CENTURY holding a drum at her waist, her right hand raised, her hair tied in a loose bun 14cm

Provenance: Private collection, London

£100-150

Provenance: Private Collection, Northern England

£200-300

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167 167 A SINHALESE LIME-BOX, SRI LANKA, 19TH CENTURY copper with brass mounts and silver inlay, of circular cushionshaped form, with hinged lid 10.5cm max. diam. For two related lime-boxes, see Henry Brownrigg, ‘Betel Cutters’, Stuttgart 1991, p.129. £80-120

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168 168 A MUGHAL BRASS EWER, NORTHERN INDIA, CIRCA 18TH CENTURY of bulbous form, on four short feet, with straight faceted spout and scrolling makara handle, sides with engraved repeated leaf designs 26cm high

169 A QAJAR BRASS STANDARD LAMP, PERSIA, 19TH CENTURY engraved and pierced brass, in three sections, with flared base, cylindrical shaft and tulip shaped finial, profusely decorated with openwork floral arabesques and calligraphy 159cm high £700-900

£150-250

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170 AN OTTOMAN TOMBAK EWER, WESTERN ANATOLIA, 18TH CENTURY of bulbous form, with waisted, ridged neck, crescent shaped spout, serpentine handle and domed, hinged lid, with repoussé spiral design around the lower body, decorated with engraved floral motifs 32cm high For a related tombak ewer in the Sadberk Hanim Museum, Istanbul, inv. no. 104-3707, see Fulya Bodur, ‘The Art of Turkish Metalworking’, Istanbul 1987, no.A97, p.131. For an example in the Victoria and Albert Museum, see inv. no. 379 1897. £3000-4000

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175 A HAWKING DRUM, MIDDLE EAST, 17TH/18TH CENTURY bronze, of bell shaped form, the sides engraved with calligraphy amidst arabesque motifs, the hide strung over pointed projections around the outer edge 12cm high, 18cm max. diam. Drums of this type were used to disturb and expose the prey in falconry. For a Persian example in the Victoria and Albert Museum, London, see inv. no. 1060-1869. £400-600 176 A MORADABAD BRASS VASE, NORTHERN INDIA, CIRCA 1900 engraved, tinned and inlaid with black lac, the sides with floral trellis design, scrolling leafy borders above and below 19.3cm high

171 171 A CARVED COCONUT SHELL, SOUTH INDIA, CIRCA 1900 the sides decorated with a series of arched niches in relief containing animals and deities, the silver feet in the form of apsarases, the interior lined with silver 14.5cm high £120-180 172 THREE BRASS OBJECTS, INDIA, 19TH CENTURY comprising Saivite pendant, a puja container and a cylindrical incense burner 17cm long (incense burner) and smaller Provenance: Private collection, Northern England £80-120 173 A CAUCASIAN SILVER BELT, PROBABLY DAGESTAN 1930s composed of a row of elements with niello arabesque decoration, fringed with filigree, each with projecting boss, the buckle with large similarly decorated circular boss, threaded with leather, most pieces embossed with maker’s mark ‘OK’, Soviet 875 standard marks for Tbilisi assay office 1927-1958 93.5cm long (opened) £400-600 174 A BRASS SPOUTED WATER POT (LOTA), DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY the bulbous ribbed body on rim foot, the waisted neck with overhanging rim, ithyphallic spout 16.5cm high

Moradabad was the chief centre for this distinctive ware which was thought to be a local imitation of ‘bidri’ and was described as such at the time, even though the techniques are different. For an illustration of a similarly decorated Moradabad huqqa base, exhibited in Delhi in 1903, see George Watt, ‘Indian Art at Delhi’, Calcutta 1904, pl.5A £400-600 177 A CARNELIAN-SET RING AND BRACELET, INDIA, CIRCA 19TH CENTURY each inscribed, the ring with drop shaped bezel, the bracelet oval, with inscription in nastaliq and European silver mark reading 92[..] 2.5; 7cm max diam. (2) £100-150 178 A SILVER FILIGREE WOMEN’S BELT BUCKLE, OTTOMAN EMPIRE, EARLY 19TH CENTURY of openwork floral design, in three sections, one held by removable pin attached to multiple small chains 11.5 x 19cm Provenance: Theodore Dablin, France (1781-1861) £500-700 179 A KOFTGARI ARCHER’S RING, NORTHERN INDIA, LATE 19TH CENTURY iron with gold damascened floral decoration, of egg-shaped form with rectangular projection at the back 4.6cm long £600-800

The phallic form of the spout indicates this vessel’s ritual use in the cult of Siva £200-300

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180 A QAJAR POLYCHROME-GLAZED CUERDA SECA TILE, PERSIA, 19TH CENTURY of square form, depicting the lower half of a woman and scrolling leafy border 20.5cm square

182 A DAMASCUS TILE, OTTOMAN SYRIA, 18TH CENTURY underglaze painted fritware, of square form, with central eight pointed floral star in blue, turquoise and manganese on white ground 22.5cm square Provenance: Private collection, Scotland. Formerly part of decoration lining a fireplace in Garth House, Fortingall, Perthshire. For an almost identical example, see Arthur Millner, ‘Damascus Tiles’, London 2015, fig.4.61, p.169 £300-400

£200-300

183 ~ A MUGHAL IVORY PEN BOX, NORTHERN INDIA, LATE 18TH CENTURY of rectangular form, with tiered lid, silver acanthus mounts and claw feet, the interior with removable pen tray and three silver ink reservoirs 10.5 x 28.5 x 11cm £2000-3000 184 ~ A VIZAGAPATAM IVORY VENEERED WORKBOX, SOUTH INDIA, MID-19TH CENTURY sandalwood with ivory veneer, engraved and inlaid with black lac vine decoration, of sarcophagus form on four amalakha feet, the hinged lid with inner compartment, the interior with removable tray holding various compartments 16 x 25.5 x 20cm £800-1000

181 181 A TOPHANE TEA SET, ISTANBUL, TURKEY, LATE 19TH CENTURY burnished red terracotta, comprising a tray, two cups and saucers, a sugar bowl and lid and teapot and lid, with embossed repeated leaf design highlighted with gold, each stamped with maker’s mark 35.5cm diameter of tray (9) Tophane pottery was made in the district of Istanbul of that name and became very popular in the last decades of the Ottoman period; most examples were produced in the distinctive orangered clay seen here. £300-400

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185 ~ AN EBONY DRESSING BOX, NAGINA, NORTHERN INDIA, 1880-1900 of rectangular form, the hinged lid with attached mirror on the inside, the interior with bone inlaid decoration and various compartments with removable trays, with exterior with carved stylised floral designs in low relief 10 x 28 x 22cm (closed) For two Nagina boxes dated 1866 and signed by the maker Muhammad Abdullah in the Victoria and Albert Museum, London, see inv. no. 01168 & 01169 (IS). A group of related trays and other Nagina items exhibited in Delhi in 1903 are also illustrated in George Watt, ‘Indian Art at Delhi’, Calcutta 1903, pl.24. As Watt notes, it was striking that the muslim craftsmen produced such fine quality objects in a small poverty-stricken village, far from a large city, wealthy patrons and raw materials. £800-1200

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184 185

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186 ~ A MUGHAL IVORY BOX, NORTHERN INDIA, 18TH CENTURY with hinged lid, carved in low relief with a design of floral cartouches, silver handle and mounts 4.5 x 11 x 6cm £1000-1500

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187 A CARVED SANDALWOOD BOX, BOMBAY, WESTERN INDIA, EARLY 20TH CENTURY of rectangular form, the hinged lid with three roundels containing Hindu deities in relief surrounded by scrolling foliage, the sides with peacocks amidst similar foliage 7.5 x 30.5 x 12.5cm £250-350

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191 188

188 A JADE ARCHER’S RING, NORTHERN INDIA, 19TH CENTURY of egg-shaped form, the convex outer surface carved with scrolling foliage, with central gem set flower head 5cm long £1200-1500

191 A LARGE QAJAR LACQUERED PEN BOX, PERSIA, 19TH CENTURY polychrome papier mache, of long oval form, with sliding tray, the convex top painted with a battle scene, the flared sides with a repeated series of young couples 8.5 x 40 x 9.5cm £200-300

192 189 189 A GROUP OF KASHMIR LACQUER OBJECTS, NORTHERN INDIA, 19TH CENTURY comprising three small dishes, each polychrome painted with three figures amidst profuse foliage with birds and other animals and two small lidded bowls, painted with mythical figures and animals amidst foliage Dishes: 14cm diam. approx. each; Bowls: 12, 11cm high

192 A LACQUERED STATIONERY BOX, KASHMIR, CIRCA 1900 wood, with polychrome and gold painted floral and gul-o-bulbul decoration, with vaulted lid and blue painted interior divided into three compartments 16 x 24.5 x 10.5cm

£300-500

193 A SMALL SINHALESE WOOD CHEST, SRI LANKA, CIRCA 18TH CENTURY of rectangular form, with decorative brass mounts, the hinged lid with handle at the centre and catch at the front 16 x 33.5 x 26cm

190 A TRIBAL DOWRY BOX, WESTERN INDIA, 19TH CENTURY carved wood with iron mounts, on four baluster feet, the pitched top with small hinged lid, the exterior decorated with a series of carved radiating roundels framed by chevron borders 36 x 56 x 32cm Provenance: Private collection, Northern England £60-80

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£300-400

Provenance: Private collection, London £80-120

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197 194 ~ A CARVED EBONY CARD CASE, NAGINA, NORTHERN INDIA, 19TH CENTURY of rectangular form, each side with three panels depicting animals and a floral roundel, cross-hatched edges 13.2 x 9 x 2cm For a note on Nagina work, see lot 185. £70-100 195 ~ A SINHALESE EBONY WATCH HOLDER, SRI LANKA, CIRCA 1840-50 on bun feet, the central holder flanked by a pair of fluted acanthus columns, on bun feet, together with a Swiss silver pocket watch, circa 1900 24.5cm high £250-400

196 ~ A SADELI WORK STATIONERY FOLDER, BOMBAY OR CALCUTTA (NOW MUMBAI AND KOLKATA), INDIA 1850-60 velvet lined wood, in the form of a book, with hinged covers, the exterior with micromosaic parquetry decoration in ivory, silver and wood 25.5 x 21.5 x 2.5cm Bombay was the main centre for this type of work in British India, but similar articles were also made in Calcutta. For a similarly decorated knitting box in the Victoria and Albert Museum, London, made in Calcutta probably for the Paris International Exhibition of 1855, see inv. no. 01157 (IS) £200-300 197 A CARVED SANDALWOOD PANEL, MYSORE, SOUTH INDIA, CIRCA 1880 originally a lid from a casket, of rectangular form, the central panel depicting Siva on Nandi flanked by female dancers and princely figures riding on chariots, surrounded by floral bands, the outer with including birds and deities 20 x 36 x 3cm This exceptionally fine example of Mysore sandalwood carving, a tradition which is thought to have been inspired by the intricate stone temple carvings of the Hoysala dynasty in the same part of the Deccan. For other examples of this work, including complete caskets, exhibited in Delhi in 1903, see George Watt, ‘Indian Art at Delhi’, pls.35 & 36A. There are several examples in the Victoria and Albert Museum, London, such as inv. no. 02306-1 (IS), acquired in 1867 and recorded as being made by a carver called ‘Coompta’. £500-700

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198 198 A SINHALESE BRASS MOUNTED CHEST, SRI LANKA, CIRCA 18TH CENTURY with moulded hinged lid, openwork foliate mounts and escutcheon and twin crescent handles, the interior with various compartments 18 x 54 x 36cm Provenance: Private collection, London £300-500

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199 A POLYCHROME PAINTED WOOD CASKET, NORTHERN INDIA, EARLY 20TH CENTURY the sides painted with peacocks, a European with a horse and Balakrishna, with hinged convex lid and brass and iron mounts 16 x 26 x 15.2cm (excluding handle) £120-150 200 THREE BOOKS ON INDIAN ART, 1903 AND LATER comprising Sir George Watt: ‘Indian Art at Delhi, 1903; Ananda Commaraswamy: ‘The Arts and Crafts of India & Ceylon’, 1913 and Thomas Holbein Hendley: ‘Memorials of the Jeypore Exhibition 1883’ (facsimile edition, Mapin 2011) together with A Copy of ‘The Sphere’ Magazine, Indian Princes Number, May 28, 1938 36 x 25cm and smaller (4) Provenance: Property of a Deceased Estate, sold by order of the Executors. £60-80

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201 THE JOURNAL OF INDIAN ART AND INDUSTRY, VOLUMES I, II, IV & VI W. Griggs, London, 1886-1896 comprising nos. 1-16, 17-24, 33-37 & 46-53 respectively, each volume bound in gold embossed green buckram, with colour and black and white plates 36.7 x 26.5cm (4) Provenance: Property of a Deceased Estate, sold by order of the Executors. Although it was relatively shortlived, only lasting for thirty years, The Journal of Indian Art was a landmark publication for British appreciation of Indian Arts and Crafts, both antique and modern. Major specialists of the day, such as B.H.Baden Powell, Edmund Smith, E.B. Havell, Thomas Holbein Hendley, Sir George Birdwood and John Lockwood Kipling were among the contributors, writing on subjects including architecture, metalwork, textiles, jewellery and ceramics. £400-600

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202 THOMAS HOLBEIN HENDLEY: ‘ULWAR AND ITS ART TREASURES’ W. Griggs, London, 1888 bound in gilt embossed red and black buckram, gilt edged top of pages, 79 plates, ex-libris label ‘R. J. Wigington, and stamped ‘The Palace Library Alwar 1901’ 37 x 28cm (pages) Provenance: Property of a Deceased Estate, sold by order of the Executors. £60-80

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203 203 THE RELIEF OF LUCKNOW, CHARLES G. LEWIS AFTER THOMAS JONES BARKER, LONDON 1860 monochrome mezzotint, framed 78 x 145cm approx. This image, the full title of which is ‘The Relief of Lucknow, a Triumphant Meeting of Havelock, Outram and Sir Colin Campbell’, records the aftermath of one of the most traumatic episodes of the British involvement in India, when a siege that had lasted four months was finally lifted. The original version in oils is now in the National Portrait Gallery, London (NPG5851). £800-1200

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204 part

206 part

204 A MISCELLANEOUS COLLECTION OF PHOTOGRAPHS AND PAINTINGS FROM INDIA, 19TH CENTURY AND LATER comprising two views of monuments of Agra, a British function in Peshawar, three scenes in Bangalore, a police parade, twelve Ceylanese postcards, six of animals and a tree from Ceylon, together with two modern miniature pichhavais on cloth 42 x 25.5cm (paintings) and smaller, in modern folder

206 VIEWS OF BURMA: THIRTEEN GELATIN PRINTS AND SEVEN FOLDERS OF NEGATIVES, THE FOLDERS EACH SIGNED J.E.GILLIES (INDIAN CIVIL SERVICE), AND DATED 1917-30 the prints framed, depicting various scenes including a group of villagers, rivers and landscapes, a railway bridge, a palace and pagodas, the negatives depicting similar scenes as well as scenes from the photographer’s later life, taken in Europe and his Scottish homeland 12.5 x 21.5cm (20)

£200-300

£200-300

205 part

205 A COLLECTION OF PHOTOGRAPHS DEPICTING SCENES AND CHARACTERS OF BURMA, BRITISH COLONIAL PERIOD, CIRCA 1920-30 38 black and white prints, of which two colour-tinted, comprising portraits of tribespeople, scenes of events including boat races and a wedding 22.5 x 16cm average size, in modern folder £250-350

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207 part 207 THREE INDIAN PORTRAIT PHOTOGRAPHS, EARLY 20TH CENTURY one depicting a Tibetan woman, labelled ‘Darjeeling’, another depicting a young prince, posing by a table and chair, and two young men, possibly brothers, each mounted, the latter framed 26 x 18.2cm and smaller £100-150

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208

209 part

208 COLONEL MORDAUNT’S COCK MATCH, RICHARD EARLON AFTER JOHANN ZOFFANY, LONDON 1794 coloured mezzotint, mounted and framed 53 x 68cm approx.

209 FOUR PORTRAITS OF MAHARAJAS, INDIA, CIRCA 1915-21 carbon, platinum and gelatin silver prints, mounted, including Bhupal Singh, signed in ink on image, Umaid Singh of Jodhpur during his wedding celebrations, and the Maharaja of Khallikote(probably Calicut), photographers’ credits to bottom right hand corners of 3 mounts 28 x 21.5cm (average size, images)

This image, one of the most celebrated from the days of the East India Company, was originally painted in oils by Zoffany around 1786, and he produced two versions, one of which belonged to the Nawab of Oudh before being lost in the uprising of 1857, and the other is now in the Tate Gallery, London (T06856). Several print versions were published, and this example dates from the late 18th century. For a note about the subject matter, see https://www.tate.org.uk/art/artworks/zoffany-colonel-mordauntscock-match-t06856

Provenance: Property of a Deceased Estate, sold by order of the Executors. Acquired Bonhams, 13 April 2010, lot 218. £120-150 210 ~ VIEW OF THE TAJ MAHAL AGRA, COMPANY SCHOOL, DELHI, 1870-80 gouache on ivory, of oval form 13.3 x 19.7cm

£400-600

£400-600

210 57


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211 part

213 part

211 THREE SHADOW PUPPETS, DECCAN, INDIA, 19TH CENTURY painted, cut and pierced vellum, one with remaining split bamboo handle, each depicting forms of Vishnu, one seated with his consort, inscriptions in kannada 73 x 50cm approx. each Provenance: Private collection, Northern England For a closely related puppet in the Museum of Folk and Tribal Art, Gurgaon, near Delhi, see Subhashini Aryan, Unknown Masterpieces of Indian Folk and Tribal Art, Gurgaon 2005, p. 83, no. 152.

213 TWO TANTRIC PATAKAS, RAJASTHAN, INDIA, 18TH/19TH CENTURY ink and gouache on paper, each with yantra inscribed with mantras in devanagari script, one in the form of a lotus with figures of Ganesha, Durga and others, the other a diagrammatic roundel 51 x 53cm; 50 x 52cm £300-400

The style of the imagery, the figures with distinctive bulging eyes, is closely related to the ‘Paithan’ type of painting, several examples of which can been seen in the Victoria and Albert Museum (inv. nos. IS.18-29. 1991). It is now believed that these paintings were in fact produced in several centres further south, something underlined by the kannada inscriptions. £400-600

214 part

215

214 A COLLECTION OF MISCELLANEOUS MANUSCRIPT FOLIOS, INDIA, 17TH-20TH CENTURIES ink on paper, of horizontal rectangular format, mostly comprising parts of Jain sutras, the devanagari script mostly in black, some with punctuation and significant phrases in red ink 12.5 x 27cm average size (a lot)

212

Provenance: Private collection, Northern England £120-150

212 AN ILLUMINATED FOLIO FROM A HINDU MANUSCRIPT, KASHMIR, 19TH CENTURY ink, gouache and gold on paper, the horizontal leaf with eleven lines of devanagari script in red and black ink, the central illustration depicting a couple seated under a tree with attendants, framed 16 x 31.5cm (folio, inside mount)

215 A FOLIO OF NASTALIQ CALLIGRAPHY, MUGHAL, INDIA, CIRCA 1800 ink with gouache on paper, laid on card, written diagonally, floral decoration and borders, mounted 20.5 x 12.3cm (main panel)

Provenance: Formerly in a German private collection

Provenance: Formerly in a German private collection

£250-350

£200-300

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218

216 216 A FOLIO FROM A JAIN MANUSCRIPT, WESTERN INDIA, 19TH CENTURY ink and gouache on paper, one side with ten lines of devanagari script and illustration depicting three shrines, the other with stylised depiction of seven jinas in shrines in a garden setting, framed 10.5 x 24cm inside mount

218 AN ILLUSTRATED FOLIO FROM A JAIN MANUSCRIPT, WESTERN INDIA, CIRCA 18TH CENTURY ink and gouache on paper, six lines of devanagari script in two sizes along one side, the illumination depicting six male figures gathering fruit from a tree 11 x 24.5cm (folio)

Provenance: Formerly in a German private collection

£300-500

Provenance: Formerly in a German private collection

£400-600

217 detail

219 detail

217 A NARRATIVE SCROLL DEPICTING SCENES FROM THE RAMAYANA, WESTERN INDIA, EARLY 20TH CENTURY gouache with silver paint on paper, of long rectangular form with a series of scenes vertically arranged, including Ravana, King of Lanka, Hanuman, and Vishnu on the serpent raft 323 x 34cm

219 A NARRATIVE SCROLL DEPICTING SCENES FROM THE RAMAYANA, WESTERN INDIA, EARLY 20TH CENTURY gouache with silver paint on paper, of long rectangular form with a series of scenes vertically arranged, including Ravana, King of Lanka, Hanuman, and Vishnu on the serpent raft 376 x 33.5cm

£120-180

£150-250

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220

221

220 A FOLIO FROM A DISPERSED MANUSCRIPT, PROVINCIAL MUGHAL, LATE 17TH CENTURY gouache with ink on paper, comprising verses Persian poetry written in four columns of nastaliq script, the unrelated illustration laid on one side, depicting a ruler with a river flotilla, framed 24 x 17cm (inside margins) Provenance: Property of a Deceased Estate, sold by order of the Executors. £120-150 221 A PORTRAIT OF JEHANGIR, MUGHAL INDIA, LATE 18TH CENTURY gouache with gold on paper, laid on a folio, the ruler seated on a throne holding a falcon, an attendant behind him, erroneous label on lower margin reading Akbar Padshah, old auction label on the reverse dated 1st July 1969. 27 x 18cm

223

224

223 TWO SICK MEN BEING TENDED BY PHYSICIANS, PROVINCIAL MUGHAL, NORTHERN INDIA, 18TH CENTURY OR LATER gouache with gold on paper, laid on card 23 x 15.3cm Provenance: Private collection, Northern England £250-350 224 A MEWAR PAINTING OF DEVOTEES OF VISHNU, UDAIPUR, RAJASTHAN, INDIA, LATE 18TH CENTURY gouache with gold on paper, the god standing in a domed shrine, sheltered by the Nagaraja Anantashesha, in a wooded landscape, flanked by a pair of rulers paying respects, standing on a floral carpet, indistinct part inscription in devanagari on the reverse 26 x 15.8cm Provenance: Private collection, Northern England £400-600

Provenance: Property of a Deceased Estate, sold by order of the Executors. Acquired Bonhams, London, 5 July 2006, lot 224. £250-350

222 part

222 INDIAN CHARACTERS AND TRADES, COMPANY SCHOOL, INDIA, LATE 19TH CENTURY twelve gouache paintings on mica, eight from Patna, four from Trichinopoly depicting various trades including vendors, servants, a textile printer and dancers 11 x 7cm approx. each and smaller (12) £80-120

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225

225 AN ELEPHANT FIGHT, MUGHAL, NORTHERN INDIA, 18TH CENTURY gouache with gold on paper, laid on card with unrelated manuscript illumination, partial inventory stamp on margin 9.5 x 14.5cm (image) Provenance: Private collection, Northern England £500-800

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226 226 A LARGE PAINTING DEPICTING SIKH MEN GATHERING FOR BASANT PANCHMI, PUNJAB, INDIA, MID-19TH CENTURY gouache on paper, gold flecked red border, the ten men flanking a guru, all dressed in yellow seated on a terrace, fields of yellow and orange flowers in the background 41.5 x 26.5cm For another depiction of the same subject, see Christie’s London, 16 October 2011, lot 418. Basant Panchmi marks the start of the forty day transition to Spring in the Indian Subcontinent, which culminate in the riotous holi celebrations. Although it is originally a Hindu festival it is celebrated to greater or lesser extent and in various differing ways by all the major religious communities. The yellow colour is particularly associated with Sikh celebrations and represents the mustard flower which blossoms in Punjab at that time of year. £3000-4000

227 227 TWO PORTRAITS OF YOUNG PRINCES, GWALIOR, CENTRAL INDIA, MID-19TH CENTURY gouache with gold and silver on paper, each seated against a bolster on a terrace, wearing the traditional Scindia headdress 32 x 25cm approx. each £2000-3000

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228 A PICHHAVAI DEPICTING ANNAKUTA UTSAVA, NATHDWARA, RAJASTHAN, INDIA, CIRCA 1900 pigment on cloth, of rectangular form, depicting Sri Nath Ji in a shrine, with baskets of food flanked by priests in front, further scenes in the foreground with cattle with gopas and figures including Krishna by the river Yamuna 190 x 158cm For a similar example in the Calico Museum, Ahmedabad, see Kay Talwar and Kalyan Krishna: ‘Indian Pigment Paintings on Cloth’, Ahmedabad 1979, no.35, p.38 & pl.41 Annakuta (Mountain of Food Festival) is a major celebration of the harvest for Hindus, marking the villagers dedicated their harvest to Mount Govardhan. £1200-1500

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229 A PICHHAVAI DEPICTING ANNAKUTA UTSAVA, NATHDWARA, RAJASTHAN, CIRCA 1900 pigment with silver and gold paint on cloth, of rectangular form, depicting Sri Nath Ji in a shrine, with jars of produce flanked by priests in front, cows with gopas in the foreground and by the river Yamuna, further Sri Nath Ji images around the sides surrounded by a scrolling rose border, lined 168 x 125cm See footnote to the previous lot. £800-1200

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230 SEVEN HANDWRITTEN BOOKS, NORTHERN INDIA, 18TH/19TH CENTURY ink on paper, each with string binding, one with card cover, each with devanagari text in black, four with significant phrases and punctuation in red, two with various illustrations of yantras, animals, princely figures and deities 17 x 13cm average size Provenance: Private collection, Northern England £120-150

233

231

231 KRISHNA ON A PALANQUIN FORMED BY WOMEN, COMPANY SCHOOL, TRICHINOPOLY, SOUTH INDIA, MID-19TH CENTURY gouache on mica, framed 13.5 x 18.5cm

233 A MAIDEN AT HER TOILET WITH AN ELDERLY COMPANION, PROVINCIAL MUGHAL, 19TH CENTURY gouache with gold on paper, the young woman dressing under a tree watched by her companion, red and yellow borders, devanagari inscriptions on the reverse 20.7 x 12.6cm £800-1200

For a closely related mica painting in the Victoria and Albert Museum, London, see inv. no. 4662:16 IS £250-350

232

234

232 A SCENE FROM THE DEVIMAHATMYA, JAIPUR, RAJASTHAN, INDIA, MID-19TH CENTURY gouache with gold on paper, the eight armed goddess depicted wielding various weapons as she rides on her tiger to face the grotesque demon 18.2 x 28cm (image)

234 RAMA AND SITA WITH HANUMAN AND LAKSHMAN, LUCKNOW, INDIA, SECOND HALF 19TH CENTURY gouache with gold on paper, the divine couple seated on a large throne in front of a palace, with the monkey god Hanuman paying his respects, a chauri-bearer in attendance 23 x 14cm (image)

£600-800

£600-800

64

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235 235 A MAIDEN RESTS IN A PAVILION LOOKED AFTER BY HER ATTENDANTS, PAHARI, INDIA, MID-19TH CENTURY gouache with gold on paper, scrolling floral border 19.7 x 29cm £800-1200

236 236 A DRAWING PROBABLY DEPICTING RAM SINGH II OF KOTAH IN PROCESSION, RAJASTHAN, INDIA, MID-19TH CENTURY ink on paper, laid on a lining sheet, with some areas of gouache, inscriptions in devanagari, 27.5 x 33cm The first part of the inscription states that the king is shown heading out to battle. Maharao Ram Singh II reigned at Kotah between 1827-1866. £1200-1500

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237 A PAINTED CLOTH HANGING (PICCHAVAI) DEPICTING GOPASHTAMI UTSAVA, NATHDWARA, RAJASTHAN, MID-19TH CENTURY pigment with silver and gold on cotton, of rectangular form, depicting Sri Nath Ji in a domed shrine, flanked by gopis bearing pots and male devotees, deities riding in celestial chariots above the verdant forest in the background, a further scene below depicting a herdsman with his cows and Krishna with the gopis and herdsmen by the Jumna at Vrindavan, surrounded by a register of small panels depicting Sri Nath Ji and Hindu ascetics, surrounded by a floral border, lined 168 x 90cm excluding lining Provenance: Private collection, London Gopashtami is the festival celebrating Krishna’s maturity as a cow herd, and cows always feature prominently on depictions of this theme. £4000-6000

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238 A PAINTED CLOTH HANGING (PICCHAVAI) DEPICTING GOPASHTAMI UTSAVA, NATHDWARA, RAJASTHAN, MID-19TH CENTURY pigment on cotton, of rectangular form, depicting Sri Nath Ji enshrined, flanked by dancing gopis and priestly attendants, deities riding in celestial chariots above the verdant forest in the background, two further panels below depicting Krishna with the gopis by the Yamuna at Vrindavan and a herdsman with his cows, surrounded by a register of small panels depicting Sri Nath Ji, other forms of Krishna and Hindu ascetics, surrounded by a floral border 132 x 88cm Provenance: Private collection, London See note to the previous lot. ÂŁ1500-2500

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239 part 239 TWO PATAKAS, RAJASTHAN, INDIA, 18TH/19TH CENTURY gouache with ink on paper, one depicting a ‘snakes and ladders’ chart, the other a yantra, the latter laid on cloth 66cm square approx. and smaller £250-350

240 240 TWO FOLIOS FROM A JAIN ‘HEAVEN AND HELL’ SERIES, RAJASTHAN, INDIA, 18TH/19TH CENTURY gouache on paper, depicting evildoers facing punishments administered by demons, framed together 12.5 x 26cm approx. each Provenance: Formerly in a German private collection Scenes of this type were included in Jain manuals as a warning against doing evil. For some other similar paintings in the Museum of Folk Art, Gurgaon, see Subhashini Aryan: ‘Unknown Masterpieces of Indian Folk and Tribal Art, Gurgaon 2005, p.119. £500-700 241 SEVEN FRAGMENTARY TANTRIC PATAKAS, RAJASTHAN, INDIA, 18TH/19TH CENTURY ink and gouache on paper, each inscribed with mantras in devanagari script, painted with deities, symbols and yantras 89cm square and smaller £250-350

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242 242 A HINDU NARRATIVE SCROLL, BENGAL, PROBABLY CALCUTTA, INDIA, EARLY 20TH CENTURY gouache on paper, of long vertical rectangular form, the design composed of a series of scenes from the story of Jagannath and his siblings Balabhadra and Subhadra 172 x 40cm Provenance: Private collection, Northern England Jagannath is a form of Krishna worshipped at Puri in Orissa. who, along with his brother, Balabhadra, and their sister, Subhadra, is worshipped as a trio, always depicted with large round eyes and often handless arms. See also lot 244. £200-300

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243 A CLOTH BANNER DEPICTING A TIGER, KOTAH, RAJASTHAN, INDIA, EARLY 20TH CENTURY pigment on cotton, with two devanagari inscriptions 90 x 111cm The top inscription reads ‘glory to the goddess’, the lower inscription is probably the name of the artist, ‘Moosar Chotulal’. For a larger version of the same subject, see Bonhams London, 6 October 2015, lot 176. £1000-1500

243

244 TWO PAINTINGS OF THE JAGANNATH DEITIES, PURI, ORISSA (NOW ODISHA), EASTERN INDIA, CIRCA 1900 gouache with gesso on cloth (patachitra), of rectangular form, one depicting the trio, Jagannath, Balabhadra and Subhadra, within the Puri temple shrine, surrounded by numerous small panels with scenes depicting further images of the same and other deities and devotees surrounded by a rosette border, the other depicting the three iconic deities flanked by other Hindu gods paying respects, surrounded by a similar border, each framed 57 x 77cm; 58 x 74cm Jagannath is the ‘Lord of the World’, a form of Krishna worshipped at the famous shrine at Puri. He and his brother Balabhadra and their sister Subhadra are worshipped as a trio, always depicted with large round eyes and often handless arms. The cult is an example of the characteristic ability of Hinduism to absorb popular local cults into the mainstream. It is likely that the link between Jagannath and Vishnu occurred after the cult was well established, and simple village origins are suggested by the form of the deities. Paintings of this type were produced as mementoes for pilgrims visiting the famous temple in the seaside town, built in the 12th century by Anantavarman Codagangadeva. For similar paintings on cloth in the British Museum, acquired in 1880, see inv. nos. 1894,0613,0.47 & 1880,0.301. See also lot 242.

244 part

£800-1200

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245

245 AN ELEPHANT FIGHT, PROVINCIAL MUGHAL, NORTHERN INDIA, 18TH CENTURY gouache and ink on paper, the two elephants with mahouts being goaded by six men with javelins, three lines of devanagari script on the reverse 12 x 17.3cm (image) Provenance: Private collection, Northern England £300-400

248

248 NATH YOGIS AT A SHRINE, JAIPUR, RAJASTHAN, INDIA, SECOND HALF 19TH CENTURY gouache with gold on paper, the male figures wearing orange robes, wooden disc earrings and ‘horn’ pendants, seated in a circle with their characteristic black hats, framed 21.3 x 14.5cm

246 246 THREE SMALL DRAWINGS OF INDIAN CHARACTERS, PATNA, MID-19TH CENTURY ink with gouache on paper, comprising a woman holding a tray, a man offering a fruit to his companion and a man holding a staff, mounted together 8 x 7.5cm (inside mount, and smaller)

Nath yogis are a Saivite sect of monks who established themselves in the 13th century and remain an important bulwark of Siva worship in many parts of rural Northern India. £400-600

£300-400

247

247 A SMALL PAINTED COTTON COVER (KHANDAPATA), RAJASTHAN, CIRCA 1900 in the form of a small Nathdwara pichhavai, the rectangular panel depicting Krishna dancing on a hexagonal platform in the forest by the river teeming with fish, flanked by a pair of cows, surrounded by a border of rambling roses, the corners stitched 46 x 51cm (opened out) Provenance: Private collection, Northern England A khandapata is a cloth covering for the small side tables placed next to the Sri Nath Ji shrine, for further images of Krishna. The name is also used for the table itself. For a khandapata in the Calico Museum, Ahmedabad, see Kay Talwar and Kalyan Krishna, Indian Pigment Paintings on Cloth, Ahmedabad 1979, pl.22. £120-150

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249 249 A PORTRAIT OF A RULER, RAJASTHAN, INDIA, CIRCA 1900 gouache with gold, gesso and mica(?) on paper, the figure depicted at a balcony, holding his shield, wearing jewellery and domed headdress, inscribed in white devanagari on top margin 33.3 x 24.2cm Provenance: Private collection, Northern England £300-400

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250 KRISHNA IS LED TO HIS BEDCHAMBER IN THE EVENING, PAHARI, INDIA, MID-19TH CENTURY gouache with gold on paper, the scene painted within an oval medallion floral spandrels and border, speckled pink outer edge 27.5 x 19.7cm An unusual feature of this scene is the appearance of a European-style chair in the foreground. For a similar image attributed to Mandi, see Bonhams New York, 18 September 2013, lot 185. £2000-3000

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251 251 PRINCELY LOVERS ON A TERRACE, PROBABLY ALWAR, LATE 19TH CENTURY gouache with gold on card, scrolling rose border 24.5 x 16cm £500-700

253

253 LADIES AT A POND, MEWAR, INDIA, MID-19TH CENTURY gouache with gold on card 38.5 x 27cm (image) £1200-1800

252 252 A PRINCE WITH A WATER-POT, KISHANGARH, RAJASTHAN, INDIA, 19TH CENTURY gouache with gold on paper, the figure standing by a balcony in a richly decorated palace, a garden with evening sky outside, three lines of devanagari on the reverse, mounted 20.6 x 13.3cm

254

Provenance: Formerly in a German private collection The inscription on the reverse has been translated as ‘painted by the Rajput Shri Sajan Singhji of Geejgarh in Rajputana’. Geejgarh is a town situated between Jaipur and Agra, although the style of this painting is characteristic of Kishangarh, west of Jaipur.

254 A RULER ON HORSEBACK, PAHARI, INDIA, FIRST HALF 19TH CENTURY gouache with gold on paper, wearing pink coat, the piebald horse with floral blanket, scrolling floral border and cartouche at the top 19.2 x 14cm (image)

£300-500

£1200-1500

72

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255 A MEETING OF SUFI SAINTS WITH GURU NANAK, PUNJAB, INDIA, MID-19TH CENTURY gouache with gold on paper, seated on a terrace under a canopy, most labelled in nastaliq, a fountain in the foreground, red and yellow borders, mounted 23.5 x 17cm (image) The figures have been identified as follows: Khwaja Moinuddin (in yellow, upper left), Guru Nanak Sahib (in green, upper right), Hazrat Khuja Ali Qalander (in red on left), Hazrat Mehboob Subhani (in pink, second left), Bu Ali Shah (in white on right, looking away), Farid Ganj Shakar (in floral green coat on right), Khwaja Nizamuddin (red coat, lower left) & Khwaja Qutub Uddin (white coat, lower left). £1200-1500

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256

256 A DOUBLE PORTRAIT: GAJ SINGH OF JODHPUR AND ANUP SINGH JI OF BIKANER, RAJASTHAN, INDIA, 18TH CENTURY ink and gold with gouache with paper, the two rulers depicted wearing Mughal coats, identified by devanagari inscriptions on the reverse, thin silver border, mounted 20.7 x 14.7cm

258

Gaj Singh of Jodhpur was the first to be given title Maharaja and ruled 1619-1638; Anup Singh Ji of Bikaner was born the same year as Gaj Singh’s death and ruled his kingdom 1669-1698.

258 A FEMALE DANCER, KOTAH, RAJASTHAN, INDIA, FIRST HALF 19TH CENTURY gouache with gold and silver on paper, the young woman with hands raised and flared skirt, dancing on a terrace under a night time sky 28.7 x 18.3cm (image)

£700-900

£800-1200

257

259

The inscription reads ‘Raja of Kishangarh’.

259 A SEATED RULER WITH ATTENDANTS OUTSIDE A PALACE, NAGAUR, RAJASTHAN, INDIA, MID-19TH CENTURY gouache with silver and gold on card, the ruler seated on a terrace smoking a huqqa, two servants in attendance, each wearing characteristic tall turban 36 x 25cm (image)

£300-500

£800-1200

257 A PORTRAIT OF A PRINCE, KISHANGARH, RAJASTHAN, INDIA, FIRST HALF 19TH CENTURY gouache with gold on paper, wearing an elaborate jewelled turban, inscription in devanagari along the top 19 x 12.4cm

74

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260

260 A SADHU, RAJASTHAN, PROBABLY JAIPUR, INDIA, LATE 19TH CENTURY gouache on paper, the bearded figure on a canopied charpoy sprinkling puja powder into a pottery jar, while his assistant prepares coals for his huqqa, watched by dogs, mounted 25.5 x 20.5cm

262

262 A LADY WITH HER ATTENDANT AND DOG RESTING ON A CHARPOY ON A TERRACE, PROVINCIAL MUGHAL, NORTHERN INDIA, LATE 18TH CENTURY gouache with gold on paper, 20 x 16.5cm (image) £800-1200

Provenance: Formerly in a German private collection £400-600

261 261 GANESHA RIDING A HORSE, JAIPUR, RAJASTHAN, INDIA, CIRCA 1900 gouache with gold on card, the elephant headed deity riding in a hilly landscape, wielding various weapons in his eight hands, a tantric chart in the top left corner 31 x 23.5cm (image) Ganesha is not traditionally depicted on horseback, his bandicoot or rat being his usual vehicle, but in Western India the image is seen in connection with the horse riding form of his father Siva, known as Khandoba.

263 263 WORSHIPPERS AT THEIR DEVOTIONS, KOTAH, RAJASTHAN, INDIA, MID-19TH CENTURY gouache with gold on paper, the two shaven-headed figures lustrating a small image of Sri Nath Ji from a conch, two further images placed on a throne behind, plain yellow and red borders, two lines of devanagari script on the reverse, mounted 20.5 x 16.7cm The inscription refers to lessons in Sanskrit scriptures. £800-1200

£600-800

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264 264 AN EMBROIDERED, APPLIQUE AND SEQUINNED VELVET HANGING (KALAGA), BURMA, 20TH CENTURY of horizontal rectangular form, embroidered with coloured and metal thread, with mirror glass bead applique, the quilted figural design comprising a procession of elephants, with attendants and riders, surrounded by a border of panels containing figures, probably of nats, lined, with loops at the top for hanging 118 x 240cm (excluding lining)

265

Provenance: Private collection, London £250-350 265 A COTTON WARP IKAT, ROTI ISLAND, INDONESIA, FIRST HALF 20TH CENTURY of rectangular form, composed of two pieces stitched together, decorated with stylised foliate horizontal bands on blue-black ground 161 x 115cm Provenance: Private collection, London For a note on Roti ikats, see Jack Lenor Larsen, ‘The Dyer’s Art: Ikat, Batik, Plangi’, New York 1976. £150-250 266 A COTTON WARP IKAT, ROTI ISLAND, INDONESIA, FIRST HALF 20TH CENTURY of rectangular form, composed of two pieces stitched together and then sewn again into a ‘tube’, decorated with stylised foliate horizontal bands on blue-black ground 165 x 59cm (half width, laid flat) Provenance: Private collection, London For a note on Roti ikats, see previous lot. £150-250 267 A PRINTED ‘KASHMIR’ SHAWL, PROBABLY FRANCE, LATE 19TH CENTURY polychrome silk, of rectangular form, with intricate interwoven boteh design, tasselled ends 366 x 176cm £120-150

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268

269 268 TWO QAJAR DERVISH CAPS, PERSIA, CIRCA 1900 white felt, with black embroidered arabesque panels filled with invocations in nastaliq script 21cm high each approx. £800-1200

270

271 270 AN UZBEK SUSANI, CIRCA 1900 of rectangular form, silk embroidered cotton, the plain cream field of double-mihrab form, surrounded by polychrome floral borders and similarly decorated spandrels, later lining 184 x 108cm £300-400

269 AN EMBROIDERED VELVET PANEL, PERSIA, CIRCA 1800 of rectangular form, the design worked in silver thread comprising central ogival floral arabesque medallion within a serpentine cartouche, surrounded by three concentric scrolling floral borders, on alternating green and maroon ground 140 x 98cm approx.

271 AN UZBEK SUSANI, CENTRAL ASIA, CIRCA 1900 of rectangular form, polychrome embroidered ochre ground, with central floral medallion amidst floral stars and stylised foliage, surrounded by broad border with similar decoration 255 x 175cm

£500-700

£250-350

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272 part 272 THREE INDIAN EMBROIDERIES, PUNJAB AND RAJASTHAN, EARLY 20TH CENTURY comprising a phulkari, of rectangular form, decorated with floss silk stylised floral bands on russet cotton ground, and two square embroidered and applique mirrorwork hangings 255 x 145cm (phulkari); 71, 70cm square approx £120-180

273 TWO LARGE CLOTH PANELS, GUJARAT, WESTERN INDIA, 20TH CENTURY embroidered polychrome cotton with mirror glass applique, each of rectangular form, comprising a shelf cover(?) with stylised animal and floral designs, and a cover or hanging with stylised foliate, animal and geometric designs, each lined 145 x 80cm; 233 x 114cm Provenance: Private collection, Northern England £120-150

273 part 78

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European Works of Art Lots 274 to 586 Lots 274 to 294 A PRIVATE COLLECTION OF MEISSEN FIGURES The collection started by Sir Thomas Dalmahoy Barlow, GBE (1883-1964), banker and industrialist, also known as an art collector and historian; added to by his son Basil Stephen Barlow (1918-1991); thence by family descent.

274 274 A MEISSEN FIGURE OF A EWE, MID 18TH CENTURY modelled by Peter Reinicke (1715-1768), the sheep’s curled wool painted with pale brown markings, the oblong tree trunk mound base applied with branches, leaves and flowers, underglaze blue crossed swords mark to rear of base 10cm high, some restoration £400-600

275

276

275 A MEISSEN FIGURE OF A RAM, MID 18TH CENTURY modelled recumbent and painted with brown markings, the oval base applied with flowers and leaves 6.5cm high

276 A MEISSEN GROUP OF A SHEPHERD TENDING HIS FLOCK, CIRCA 1755 the young man leaning against a tree stump serenading his sheep on a flute, the flock of two butting rams amid four ewes, a dog listening at his feet, the naturalistic oblong base applied with flowers and leaves, underglaze blue crossed swords mark 18cm high, some losses and restoration

Provenance: Dr. S. Ducret, Christie’s, Geneva, 13 May 1985, lot 131

£800-1200

£300-400

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278 A MEISSEN FIGURE OF A HUNTING DOG, CIRCA 1750 modelled by Johann Joachim Kändler (1706-1775), the seated hound perhaps representing a long haired pointer or setter, finely painted with black markings to his fur 16cm high, some restoration Literature: Michael Newman, ‘Die deutschen PorzellanManufakturen’, Braunschweig, 1977, Vol.1, p.109 £1200-1800

278 279 A MEISSEN FIGURE OF A LEOPARD, CIRCA 1750 the snarling cat seated on a flower applied mound base, underglaze blue crossed swords mark to rear base 13.5cm high, some restoration Leopards are mentioned in the 1753 Brühl inventory: ‘6 Leoparden’. For the apparent pair to this present figure see the Ernst Schneider collection, Schloß Lustheim, near Munich, illustrated in Rainer Rückert, ‘Meissener Porzellan 1710-1810’, Munich, 1966, p.191, no.1052, pl.260. Also see the pair sold Christie’s, London, 2 November 2016, lot 156. £1200-1800

279

277 A MEISSEN GROUP OF A DONKEY WITH SUCKLING FOAL, CIRCA 1750 modelled by Johann Joachim Kändler (1706-1775), naturalistically painted, the mound base applied with flowering foliage 15cm high, restoration Literature: Michael Newman, ‘Die deutschen PorzellanManufakturen’, Braunschweig, 1977, Vol.1, p.106 Provenance: Newman & Newman Ltd., London, (label to underside) £600-900

277

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280

280 A MEISSEN FIGURE OF A PUG, CIRCA 1750 modelled by Johann Joachim Kändler (1706-1775), the dog with a red ribbon tied in a bow and seated on a pink cushion with black sprigged decoration and yellow tassels 16cm high, some restoration For a similar models see Ulrich Pietsch, ‘Die figürliche Meißner Porzellanplastik von Gottlieb Kirchner und Johann Joachim Kaendler: Bestandskatalog der Porzellansammlung Staatliche Kunstsammlungen Dresden’, Munich, 2006, p.197, nos.307-308 £2500-3500

281

281 A MEISSEN FIGURE OF A PUG, CIRCA 1750 modelled by Johann Joachim Kändler (1706-1775), the bitch with a yellow bordered puce ribbon tied in a bow and seated on a grey cushion with black sprigged decoration and puce tassels, faint blue crossed swords mark to underside 15.5cm high For a similar models see Ulrich Pietsch, ‘Die figürliche Meißner Porzellanplastik von Gottlieb Kirchner und Johann Joachim Kaendler: Bestandskatalog der Porzellansammlung Staatliche Kunstsammlungen Dresden’, Munich, 2006, p.197, nos.307-308 £2500-3500

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283

283 TWO MEISSEN FIGURES OF HORSES, MID 18TH CENTURY modelled by Johann Joachim Kändler (1706-1775) rearing up on scrolling cloud bases, in the white excepting gilt details to the harnesses and some pastel colouring to the clouds, underglaze blue crossed swords to the shaped base edges tallest 19cm A similar pair of horses feature in the allegorical group of Mars, where these models are seen pulling the god’s chariot, modelled by Kändler for part of an elaborate gift to Catherine the Great, the so-called ‘Great Russian Order’. Also see Len and Yvonne Adams, ‘Meissen Portrait Figures’, London, 1987, p.83, and Rainer Rückert, ‘Meissener Porzellan 1710-1810’, Munich, 1966, p.202, no.1174, pl.287. £1000-1500

282 282 A MEISSEN GROUP OF A REARING STALLION AND MOORISH GROOM, CIRCA 1900 after the Kändler model, the groom holding the horse by the reins, wearing a yellow tunic and plumed puce and stiped turban, underglaze blue crossed swords mark, incised A.51X, indistinct impressed numerals 23.5cm high The model is probably that listed by the Parisian marchand-mercier LazareDuvaux in June 1753 as ‘un cheval de porcelaine de Saxe avec une figure à côté’. A ‘Mohr mit Pferd’ is also mentioned in the ‘Konditorei’ of Count von Brühl the same year. Also see Ulrich Pietsch, ‘Meißner Porzellanplastik von Gottlieb Kirchner und Johann Joachim Kaendler’, 2006, p.30, cat. No.26.

284 A CONTINENTAL PORCELAIN FIGURE OF A BOAR, PROBABLY EARLY 19TH CENTURY in the white, modelled standing open mouthed, mound base moulded with leaves 8.5cm long, minor restoration £120-180 285 A MEISSEN FIGURE OF A FOX, LATE 18TH CENTURY in the white, modelled cowering and with finely incised fur markings, underglaze blue crossed swords mark 17cm long, restoration to both ears and hind leg £100-200

£500-800

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286

287

286 A MEISSEN MODEL OF A HORSE, THIRD QUARTER 18TH CENTURY modelled rearing, painted with blue blanket, pink saddle and grey marking, the tree trunk mound base applied with flowers and leaves, underglaze blue crossed swords mark to rear base 11cm high, some restoration Michael Newman, ‘Die deutschen Porzellan-Manufakturen’, Braunschweig, 1977, Vol.1, p.105, pl.103. £600-800 287 A MEISSEN FIGURE OF A HORSE IN HARNESS, THIRD QUARTER 18TH CENTURY modelled with a raised foreleg, painted with grey marking, the gilt-edge scroll base with flowerheads and leaves 11cm high Amidst the farm animals and farmer figures probably modelled by Reinecke and Kändler, Count Brühl’s 1765 list records a ‘Pferde angeschirrt ohne Bauer’ (harnessed horse without farmer). Also see Michael Newman, ‘Die deutschen PorzellanManufakturen’, Braunschweig, 1977, Vol.1, p.104, pl.102. £600-800

288

288 A MEISSEN FIGURE OF A PILGRIM, CIRCA 1750 modelled standing holding a staff in her left hand, wearing a pale yellow hat, pink bodice and white skirt painted with ‘indianische Blumen’, underglaze blue crossed swords mark to rear of base, underside impressed ‘9.’ 13.5cm high, some restoration £300-400 289 A THURINGIAN ‘CRIS DE PARIS’ SERIES PORCELAIN FIGURE OF A HURDY-GURDY PLAYER, LATE 18TH CENTURY after the Meissen original modelled by Peter Reinicke (1715-1768), the young woman playing the instrument wearing a white headscarf, yellow bodice, mauve apron and striped skirt, gilt-edged scroll moulded base, underglaze blue crossed swords mark to rear of base, incised Z0 14cm high The Reinicke model after the 1753 drawings by Christophe Huet (1700-1759) for ‘Cris de Paris’ figures, the drawings still held by the Meissen archive, see Martin Eberle, ‘Cris de Paris-Meissener Porzellanfiguren des 18.Jahrhunderts’, Leipzig, 2001. £300-400

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290

291

290 A MEISSEN ‘CRIS DE ST PETERSBOURG’ SERIES FIGURE OF A DRINKS SELLER, MID 18TH CENTURY probably modelled by Peter Reinicke (1715-1768) as a bearded man holding a tray of vessels on his head in one hand and carrying a black jug in the other, wearing a pale brown coat and burnt orange trousers, underglaze blue crossed swords mark to rear base 15.5cm high, some restoration

291 A MEISSEN FIGURE OF A DANISH HOUND, CIRCA 1750 modelled by Johann Joachim Kändler (1706-1775), modelled seated, finely painted with brown markings to his fur, faint blue crossed swords mark to underside 16cm high, restoration to his right foreleg

The St Petersburg series is supposed to be based on figures after Jean Baptiste Le Prince (1733-1781), who travelled to Russian in 1758, returning to Paris in 1763 with a large number of drawings of Russian subjects. Len and Yvonne Adams in ‘Meissen Portrait Figures’, London, 1987, p.138, suggest that the vendor is hawking ‘Sbiten’, a honey drink more popular than tea and coffee at the period.

£800-1200

Literature: Michael Newman, ‘Die deutschen PorzellanManufakturen’, Braunschweig, 1977, Vol.1, p.108

£1800-2200

292 A GERMAN ‘CRIS DE PARIS’ SERIES PORCELAIN FIGURE OF A GRAPE SELLER, SECOND HALF 18TH CENTURY after the model by Peter Reinicke (1715-1768) standing against a tree stump holding a basket of grapes in one hand and scales in the other, wearing a grey tricorn and pink jacket and breeches, on a gilt-edged scroll moulded base, underglaze blue crossed swords mark, blue painted mark reading ‘3’ or perhaps ‘CV’ 14cm high, some restoration The Reinicke model after the 1753 drawing by Christophe Huet (1700-1759) For a ‘Cris de Paris’ figure, inscribed ‘Nr 10 Ch - ein Bauer mit grauem Hut, welcher Weintrauben nach Gewicht verkauft. N 18 1753’ [...a farmer with grey hat, who sells grapes by weight...]. Another example is illustrated in Martin Eberle, ‘Cris de Paris-Meissener Porzellanfiguren des 18.Jahrhunderts’, Leipzig, 2001, No.42. £300-400

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293 A MEISSEN ALLEGORICAL GROUP OF EUROPE AND AFRICA, CIRCA 1760 modelled by Friedrich Elias Meyer (circa 1723-1785) as two putti perched on a recumbent lion, Africa with elephant headress and holding a red ribbon to the lion in one hand and a branch of coral in the other, Europe flanked by gilt detailed rocaille and holding a flambeau in one hand and a crescent in the other, underglaze blue crossed swords mark to underside 22.5cm high, some restoration £1000-1500

293

294

294 A FRENCH POTTERY GROUP OF ‘CHRIST AND THE SAMARITAN WOMAN AT THE WELL’, PROBABLY AVON (NEAR FONTAINEBLEAU), EARLY 17TH CENTURY of Palissy type, modelled with the seated Christ flanking the well embellished with a winged angel head, the standing Samaritan woman to the other side holding a vessel on its edge 17cm high For a very similar example see The Metropolitan Museum of Art, New York, No.53.225.40, on view in Gallery 532. £800-1200

295 AN ITALIAN MAIOLICA GROUP OF ‘THE REST ON THE FLIGHT TO EGYPT’, URBINO, LATE 16TH / EARLY 17TH CENTURY Joseph sheltering Mary and the Christ Child flanked by a fruiting tree and a well applied with a winged angel head, a palm tree under which the donkey feeds to the other side 31cm wide £800-1200

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296

298

296 TWO ITALIAN PORCELAIN GROUPS, PROBABLY NOVE, LATE 18TH CENTURY in the white, each modelled with a young couple, one with a lady showing a letter to a seated gentleman with a tree between them, the other with a peasant holding a fowl and his seated companion with a basket of grapes, the mound bases on drum socles moulded with Neo-classical swags 22cm highest

298 A PAIR OF MEISSEN FOUR-LIGHT CANDELABRA, LATE 19TH CENTURY the shaped square bases painted with birds and insects, the stem modelled with either a young man or an opposing woman holding a child balancing on their thighs, the flower encrusted branches each of three scroll arms and central light, underglaze blue crossed swords mark, incised D176 and D177 48cm high, damage to one set of branches

£500-700

£400-600

297 A MATCHED PAIR OF MEISSEN FIGURAL SWEETMEAT DISHES, LATE 19TH CENTURY each modelled as a recumbent young man and a woman holding a flower encrusted basket, on scroll moulded base edged in turquoise, puce and gilding, blue crossed swords marks 17.5cm long, restoration

299 A MEISSEN FIGURE OF A GIRL, LATE 19TH CENTURY modelled standing in 18th century costume about to fire an arrow, her left arm resting on a truncated column and supporting a basket full of arrows and her quiver, gilt scroll moulded circular base, underglaze blue crossed swords mark, incised J.32, impressed ‘40’ and ‘53’ 15cm high, repairs and losses

£100-150

£80-120

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300 300 A MEISSEN NODDING ‘PAGODA’ FIGURE, CIRCA 1860 modelled as a grinning Chinoiserie figure seated cross-legged in pale blue and yellow lined floral robes hanging off his shoulders revealing his gilt diapered body, with articulated tongue, head and hands, underglaze blue crossed swords mark to interior 15.5cm high, loss of small finger to right hand £700-1000

301 A MEISSEN BOWL AND TEABOWL, CIRCA 1740 creamy-yellow ground, each with two quatrelobe panels, the bowl painted with scenes in puce camaieu of figures in a landscape and figures skating, with sprays of indianische Blumen between, a further harbour view to the interior, with gilt-edged rim, the matching teabowl with figures in a barge beside a towering riverbank and view of a fortified harbour, interior with a scene of figures on a bridge, underglaze blue crossed swords and iron-red painter’s marks ‘7’ bowl 18cm diameter, both cracked and glued (2)

302 THREE DERBY PORCELAIN FIGURES OF PUTTI FROM A SET OF THE SEASONS, CIRCA 1760 each seated on a rocky mound, Spring holding a basket of flowers, Summer with sheaves of corn and a sickle, Autumn with a basket of grapes on his lap each approx. 14.5cm high, some restoration and minor losses (3) £200-300

£100-200

302

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304 304 A PAIR OF WEDGWOOD BLUE JASPER VASES AND COVERS, CIRCA 1900 each ovoid body sprigged in white with a frieze of Apollo and the Nine Muses and set with a pair of upright fluted handles, each raised on a spreading circular foot and square plinth base, the lightly concave covers with vase finials, with Neo-classical borders each of a different motif throughout, impressed mark WEDGWOOD / ENGLAND 26cm high, some restoration

303 303 A DOULTON LAMBETH FAIENCE DISH, PAINTED BY LINNIE WATT, CIRCA 1880 painted with vernal scene of a pair of young lovers seated under a tree beside a river with a rustic bridge behind, signed with artist’s monogram lower left, with a daisy-filled deep blue ground border, underside with impressed DOULTON / LAMBETH mark and painted artist’s monogram 37cm diameter

The shape, 1316, is based on a lebes gamikos, an ancient Greek marriage vase. The frieze combines figures from an earlier set of Apollo and three muses, with six further figures supplied by John Flaxman to Wedgwood in 1777. Associated literature: Robin Reilly, ‘Wedgwood’, London, 1989, Vol.II, Fig.912. £150-250

Exhibited: Richard Dennis, ‘Doulton Pottery Exhibition’, 1975, part II, No.38 (with paper label) Linnie Watt (exhibited 1874-1908) started using Doulton Lambeth faience chargers in 1875. Shown at International Exhibitions in Philadelphia and Paris, she also exhibited her paintings at the Royal Academy between 1877-1901 and was a member of the Society of Lady Artists from 1874. John Sparkes, the principal of the Lambeth School of Art, sang her praises: “She has a most distinguished gift for conveying the impression of a picturesque scene with rustic figures, in excellent colour, and with artistic breadth of effect, quite admirable in its truth.” It is likely that the present lot was shown at one of Howell & James’s exhibitions, where she was a regular prize winner. As John Culme writes in his blog for Olympia Auctions (9th May 2018): “Howell & James, the department store with an established reputation for selling the best in up-to-date jewellery, clocks, ceramics, dressing cases and art metalwork came to the fore in promoting painting on china following the 1875 fire which destroyed the Mintons Art Pottery Studio in Kensington Gore. The management at H&J decided to display such work executed by amateur and professional artists. These annual three-month exhibitions, patronised by royalty, were a success. In 1878, just two years into the series, visitors topped ten thousand and the number of exhibits were around 1,700. Flowers, children, animals and birds were favourite subjects for painted plaques.” For another Linnie Watt painted Doulton faience piece, with a Howell & James label, see ‘Richard Dennis - A Potted History’, Bonhams, London, 12 March 2008, lot 270. £500-700

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306

305 A PAIR OF PARIAN MOTHER AND CHILD FIGURES, CIRCA 1870 modelled opposing, each mother standing in loose robes gently holding her child to her shoulder, one gazing at her attentive child while clutching her robes in the other hand, the other figure supporting her sleeping child and holding to her side a bundle of corn 37cm high, loss to corn £100-200 306 A MINTON PARIAN FIGURE OF ‘THE ROSE OF ENGLAND’, CIRCA 1850 modelled as a young woman standing barefoot holding a rose to her chest, on a stepped shaped circular base, incised ermine mark 36cm high See Richard Dennis, ‘The Parian Phenomenon’, Shepton Beauchamp, 1989, p.103, Fig.280. £80-120

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307 307 A SET OF FOUR MEDIEVAL ‘ENCAUSTIC’ FLOOR TILES, ENGLISH, 14TH / 15TH CENTURY together forming a chequer patterned roundel with leaf motif spandrels each tile 12cm square £300-400

309 309 A GEORGIAN DARK STAINED FRUITWOOD CAT (OR BOWL STAND), 18TH / 19TH CENTURY on three downswept legs and a spiral fluted knop below the swiveling top section with further fluting and three spindle turned supports and central finial, 37cm high; together with a Chinese blue and white bowl, Qianlong period (1736-1795), painted with peony and chrysanthemum, with later brass bound rim and rivetting, 24cm diameter (2)

308

£300-400

308 A GILTWOOD FIGURE OF AN ANGEL, 17TH CENTURY AND LATER the standing winged figure with one arm raised 39.5cm high £300-400

310 THREE LIGNUM VITAE STRING BOXES, 18TH / 19TH CENTURY all of typical cylindrical form with screw-on lids, one with stepped domed lid with central string aperture, one with turned finial and one with central string cutter tallest 19.5cm £200-300 311 A VICTORIAN WALNUT BOX, SECOND HALF 19TH CENTURY rounded rectangular, with moulded rim and base, lid with a vacant brass oval, blue silk lined interior, 21.5cm wide; together with a Victorian walnut jewellery box, of book form, with flush fitting lid and green velvet lined interior, 14.5cm wide; and a burr wood card box, 18th/19th century, rectangular, with sliding cover, 12.5cm wide (3)

311

310

£100-200

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312

313

316

317

312 ~ AN AMERICAN ROSEWOOD DRESSING / WRITING BOX, NATHAN STARKEY, PHILADELPHIA, 1843-55 rectangular, with brass line inlay, lid with flush-hinged handle inscribed ‘M.S. Connell’, interior lid fitted with a detachable leather backed mirror hiding the trade label, the base with compartments, three with covers, and a tray lifting out to reveal two inkwells, pen depression and further compartments, with key 27.5cm long

316 ~ A CONTINENTAL PARQUETRY BOX, PROBABLY DUTCH, 17TH / 18TH CENTURY rectangular, geometrically veneered in rosewood, calamander and thuya woods between ebony borders, with associated English brass handle to top, the interior later baize lined and with a parquetry hinged panel revealing two fitted drawers, one hiding a secret drawer, oak carcass 43cm wide

The trade label reads: N. STARKEY, / Manufacturer of Portable Desks, / Dressing Cases, Medicine Chests, / and / Ladies Work Boxes, / 66 SOUTH FOURTH STREET, / PHILADELPHIA. / Cabinet Furniture of every description.

£300-400

Nathan Starkey (1807-1864), was recorded at various addresses in Philadelphia as a portable desk maker, operating from 66 South 4th Street between 1843-1855. £400-600 313 A GEORGE III YEW WOOD TEA CADDY, CIRCA 1765 rectangular, moulded lid, on bracket feet, with brass swing handle and brass escutcheon, the interior fitted with two tin cannisters with later glass stoppers flanking a void 26cm wide

317 A REGENCY TUNBRIDGE WARE WRITING SLOPE, EARLY 19TH CENTURY rectangular, with partridge wood sides, the canted top parquetry inlaid with illusionary perspective cubes, the interior fitted with two glass inkwells flanking a pen depression and compartments, the leather-set surface concealing a void and another loose panel above a further void 34cm wide £300-400

£150-200 314 A FRENCH MAHOGANY COLLECTOR’S CABINET, EARLY 19TH CENTURY rectangular, surmounted by a bronze mythological figure holding a dagger and standing on twin snakes, the hinged canted top allowing the front fall to reveal four sliding shelves 29cm wide £200-300 315 ~ A GEORGE III PARTRIDGE WOOD BOX, CIRCA 1790 rectangular, rosewood crossbanded with sycamore stringing, the lid hinging open to a vacant interior and hinged panel to the lid, with opposing side drawers below, each compartmented 28.5cm wide

314

£100-200

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319

318

318 A GEORGE I LEATHER COVERED CASKET, CIRCA 1720 domed rectangular, stamped with fleur-de-lys and stylised foliate motifs within running borders centred by the Royal cypher GR beneath a crown, with iron handle above and an iron clasp and lock to front 26cm long

321

£150-250 319 A VICTORIAN LEATHER ‘EGYPTIANESQUE’ STATIONERY BOX, ALEXANDER JONES & CO., LONDON, LATE 19TH CENTURY of pylon form, the black leather stamped with broad hieroglyph filled borders, the lid stamped ‘THEOBALDS MUSEUM’, the black watered silk-lined interior with cream dividers, with stamp by hinge ‘Alex. Jones & Co. 154 Regent St’ 27cm wide

321 A PAINTED BIRCH MINIATURE COMMODE, SCANDINAVIAN OR NORTH GERMAN, 19TH CENTURY the chest with three serpentine fronted drawers with bun handles and feet, the top set with a coffer with domed lid, delicately painted overall with flowers and birds 24.5cm wide £400-600

The Theobalds Museum was a large collection of Egyptian antiquities, amassed by the colourful Valerie Lady Meux (18471910). The British Musuem’s Egyptologist, Walter Budge, catalogued over 1700 artefacts in the collection. The museum turned down her bequest of the collection however, so it was sold following her death. Apparently Valerie Susan Langdon (otherwise Val Reece) met the brewery millionaire Sir Henry Meux at the Casino de Venise in Holborn, where she entertained the clientele with her banjo playing and singing (more scurrilous gossips inferring that she was also entertained gentlemen privately). Marrying in secret in 1878, the couple enlarged their 18th century mansion, Theobalds, near Waltham Cross, including such improvements as a swimming pool and indoor skating rink. Although shunned by much of society, the Prince of Wales (Edward VIII) and Winston Churchill visited; entertained in the banqueting room of Christopher Wren’s Temple Bar, which had been transported from London and re-erected as the estate’s gatehouse. Twice painted by Whistler, a third unfinished portrait was supposedly destroyed by the artist following a falling-out with Lady Meux.

322

£100-150 320 A BRASS SABBATH CANDELABRUM, GERMAN, 19TH CENTURY with Prussian eagle finial flanked by four vase shaped sconces on openwork scroll support centred by a Lion of Judah figure, knopped stem with leaf borders, broad circular base with four lion masks 52cm high Provenance: Collection of Dr Richard Teltscher (1888-1974), London £30-50

322 A VICTORIAN BRASS-MOUNTED COROMANDEL WOOD SMOKER’S COMPENDIUM, CIRCA 1885 rectangular, with bold brass mounts, the central handle applied with a silvered monogram below and flanked by sprung lids for ‘CIGARS’ and ‘CIGARETTES’, with opposing drawers to the sides for ‘LIGHTS’, cedar lined, underside with maker’s stamp ‘J.C.B’ and P.O.D.R. number for 1885 24cm long £400-600

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323 ~ A VICTORIAN SILVER FITTED BRASSBOUND EBONY DRESSING CASE, RETAILED BY F. WEST, LONDON, 1860 the silver fittings all engraved with the monogram MT on a roundel surrounded by scroll foliage, hallmarked for Brownett & Rose, London, 1860, complete with a silver beaker, three cut-glass bottles in sizes with screw-on silver covers and nine cut-glass jars or boxes in sizes with silver covers, together with five mother-of-pearl mounted implements (one lacking) and an associated silver medicine spoon similarly monogrammed and a lead case, the ebony case brass inlaid with the same monogram and with flush handles, the blue velvet lined fitted interior with a lift out tray above a void and a sprung drawer to the base fitted for jewellery with push release by the Bramah lock (with key), the interior lid fitted with a gilt-tooled hinged stationery pouch concealing a leather hand mirror, with brass plaque by the hinge reading: ‘F. WEST / MANUFACTURER TO HER MAJESTY / PRINCE CONSORT & THE ROYAL FAMILY / 1 ST. JAMES’S STREET’, in its distressed leather outer case stamped M. T. case 37.5cm wide Fritzmaurice West, cutlery, needle and dressing case manufacturers to Her Majesty Queen Victoria, Prince Albert and other members of the Royal Family, succeeded G. Palmer at 1 St James’s Street in 1844. They moved to 2 St James’s Street in 1877, then to 9 King Street in 1883. Usually trading as ‘F. West’, the firm exhibited at the 1862 Exhibition.

323

£800-1200

324 A COLLECTION OF FOUR TUNBRIDGE OR BRIGHTON WARE MINIATURE SEWING BOXES, CIRCA 1820-1865 all rectangular with canted sides and swing handle, the smallest penwork decorated with foliage to the lid and geometric borders, one painted with flowers to the lid, another applied with a printed view of the Royal Pavillion on a green and black striated ground, the last applied with a printed view of the ‘New Grand Hotel and Promenade’ (according to label to interior) lengths 9cm to 11cm excluding handles See footnote to lot 325. £180-220

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325 326

325 TWO TUNBRIDGE OR BRIGHTON WARE SOUVENIR BOXES, SECOND QUARTER 19TH CENTURY both rectangular, one applied with a print of the Brighton seafront with the Chain Pier within a gilt and black border on a burr veneer ground and with parquetry outer border, the pink paper lined interior with compartments and two glass inkwells with stamped gilt-metal covers, 14cm long, the other applied with a printed view of the Royal Pavilion titled ‘PALACE. BRIGHTON.’, black line borders and pink paper lined compartmentalised interior, 12.5cm long (2) Brighton’s popularity as a resort led to a flourishing trade in mementos. Boxes made in sycamore or birch, penwork decorated and often embellished with prints of local views were produced in the Regency period both locally and in Tunbridge Wells and other towns in the South East. Later decades saw Tunbridge Wells and Tonbridge specialise in the characteristic mosaic inlays for which they are better known today; transfer-printed souvenirs becoming a speciality of Mauchline in Ayrshire. £150-250 326 THREE TUNBRIDGE OR BRIGHTON WARE SOUVENIR BOXES, SECOND QUARTER 19TH CENTURY all rectangular, applied with printed views of the Royal Pavilion and with pink paper lined interiors, one scorched in imitation of tortoiseshell lengths 17cm to 20.5cm £250-350

328 327 327 A FRENCH BRONZE-MOUNTED SIENA MARBLE INKSTAND, PARIS, LATE 19TH CENTURY oblong, on gilt-bronze button feet, with pen depression before the inkwell and socle mounted with a patinated bronze bust of Diana after Jean-Alexander Joseph Falguière (1831-1900) signed in the bronze and inscribed for the foundry Thiébaut Frères 25cm long

328 A BRONZE FIGURE OF THE BORGHESE GLADIATOR, PROBABLY FRENCH OR ITALIAN, LATE 19TH CENTURY modelled after the Antique, additionally with a sword in his right hand, on a Breccia marble short pedestal bronze 25.5cm high £500-700

£150-250

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329 329 THOMAS FRANCOIS CARTIER (1879-1943): COMBAT DE CERFS (RUTTING STAGS) a French patinated bronze group, Paris, early 20th century, realistically modelled on a naturalistic base, signed in the bronze, on its oval Breccia marble base bronze 56cm long Literature: Pierre Kjellberg, ‘Bronzes of the 19th Century’, Atglen, 1994, p.195, fig.1. The animalier sculptor, Thomas Cartier, primarily known for his figures of hunting dogs, wolves and big cats, trained under Georges Gardet and in the early 20th century participated in the Salon des Artists Français and the Salon d’Automne. £800-1200

330 330 ~ ANTON ENDSTORFER (1880-1961): DANCING YOUNG WOMAN an Austrian patinated bronze figure with carved ivory head, Vienna, early 20th century, modelled stepping forward and holding up one side of her flowerhead bordered dress, signed and monogrammed in the bronze to reverse, on a red marble rectangular base 17cm high £150-250 331 RUDOLF MARCUSE (1878-1940): DEFENDING THE FAMILY a German dark patinated bronze group, early 20th century, modelled as a young barefoot man with a hammer defending his kneeling wife and child, signed in the bronze 30cm high excluding wood base £400-600

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332 ~ AN IVORY BUST OF A GENTLEMAN MOUNTED ON A DESK THERMOMETER, ENGLISH, CIRCA 1830 the head and shoulders bust perhaps depicting Lord Chesterfield in Antique style with draped robes, a medal to his left breast and holding a rolled-up letter in his right hand, the thermometer (glass damaged) mounted on a fluted column turned with a variety of borders probably on a Holtzapfel lathe 20cm high £300-400

332

333

334

333 CARL HENRIK WREDE (1890-1924): YOUNG WOMAN STRETCHING a patinated bronze figure stretching up from the hips, probably 1920s, signed in the bronze 21cm long The Finnish sculptor Carl Henrik Wrede af Elimä attended the Finnish Art Society’s drawing school in 1911-12 and then studied in Paris at the Académie de la Grande Chaumière 1912-1913 (coming under the influence of Rodin and Antoine Bourdelle) and in Rome 1919-1920. Most of his production consisted of portrait busts, including one of Pope Benedict XV (1920, the bronze original apparently in the Vatican collections) until his early death from meningitis. A member of the Swedish/Finnish noble Wrede family, a collection of sixty of his pieces were donated by the family to be displayed at a former family seat, Anjala Manor, from 1972 up to the museum’s closure in 2014. £200-300 334 L. GOYEAU (ACTIVE 1895-1920): ‘PIPING HOT’ a French patinated bronze figure, circa 1909, modelled as a peasant girl holding a bowl to her mouth, titled to front base, stamped to rear base ‘ART UNION OF LONDON / 1909’, signed in the bronze 21cm high £150-250 335 AN ARTIST’S MANNEQUIN, PROBABLY CONTINENTAL, 19TH CENTURY typically articulated in carved pine 48cm high £400-600

335

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336 AN ITALIAN SCAGLIOLA PANEL, ATTRIBUTED TO THE WORKSHOP OF ENRICO HUGFORD, PERHAPS LAMBERTO CRISTIANO GORI, FLORENCE, CIRCA 1760 rectangular, depicting a harbour scene with boats and figures, in later giltwood frame panel 13cm x 17cm Don Ferdinando Enrico Hugford O.S.B. (16961771), Florentine born of English parentage, is credited with bringing the art of scagliola to its highest pitch of excellence in the mid 18th century at his monastery of Vallombrosa, east of Florence. Amongst his pupils number Pietro Belloni (1690-1771) and Lamberto Cristiano Gori (1730-1801), who along with Hugford, are known to have supplied scagliola to the wealthy on the ‘Grand Tour’. For a pair of harbour scenes with similar treatment of the water and buildings, signed by Lamberto Gori, see the Collection of Prince and Princess Henry de la Tour d’Auvergne Lauraguais, sold Sotheby’s, London, 3 May 2012, lot 39. £600-800

336 337 ~ A PAIR OF ITALIAN PIETRA PAESINA PANELS, PROBABLY FLORENTINE, 17TH CENTURY each rectangular black marble panel inset with a ‘ruin stone’ oval surrounded by geometric pietra dura inlays, ebony ripple moulded frames frames 13cm x 16cm £200-300 338 A BURMESE SILVER BOWL AND COVER ON WOOD STAND, RANGOON, 1920s the circular bowl and cover richly chased all over with figural vignettes in arabesque panels amidst foliage on a matted ground, the underside engraved with facsimile signatures and presentation inscription, the ebonised wood stand carved with central support on a triform base set with three chinthes (Burmese guardian lion figures) 20cm high overall £150-250

337

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339

339 ~ A BOXED CHINESE SILVER THREE-PIECE TEA SET AND SUGAR TONGS, MARKED W.A (UNDOCUMENTED), CANTON, SECOND HALF 19TH CENTURY each bulbous body chased with a dragon, the handles simulating bamboo, the teapot with ‘bamboo’ spout and detachable cover with lobed knop, the milk jug and sugar bowl with gilt interiors, the pair of tongs cast with dragons, underside of bodies stamped W.A and a two character mark, tongs with two character mark only, all in the original blue silk lined fitted wood box with sliding cover teapot 20cm long; 795gr (25oz) including ivory insulators to teapot handle See H.A. Crosby Forbes, Chinese Export Silver, 1785 to 1885, p.140, nos. 219221 for silver stamped with the W.A mark where the author notes that it is rare to find silver with this mark and suggests a date for this maker of the second half of the nineteenth century. Also see Adrien von Ferscht, Chinese Export Silver [Silver of the Qing Dynasty] 1685-1940, (http://chinese-exportsilver.com.gridhosted.co.uk downloadable pdf catalogue) for further discussion of this mark. This lot is being sold for the benefit of Catwel (Cardiff, Registered Charity No.1086255).

340

340 A SILVER EWER, PROBABLY CUTCH, GUJARAT, WESTERN INDIA, CIRCA 1900 of bulbous form, with serpentine floral handle and spout, flared rim foot and small domed lid with bud finial, the sides profusely decorated with chased bands of scrolling foliage 22.5cm high; 605gr £700-900

£2000-3000

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341

341 THREE OTTOMAN SILVER DISHES, TURKISH, MID 19TH CENTURY in sizes, each naturalistically chased as a leaf, with curled sides, all stamped with Tughra mark and largest also with Sah mark lengths 21cm, 15cm and 13cm £600-800 342 A NIELLO BOX, PERSIA, PROBABLY TABRIZ, CIRCA 1900 of truncated oval form, standing on four bracket feet, with twin handles and convex lid with knop handle, the exterior richly decorated with rose motifs, the underside with embossed Persian and Armenian stamps 8.5 x 18 x 7.5cm

342

£500-700 343 A SILVER SALVER, PERSIA, PROBABLY ISFAHAN, EARLY 20TH CENTURY on raised rim foot, with floral serpentine rim, with engraved and repousse leafy arabesque decoration, indistinct embossed mark on the underside 22.5cm max diam., 351gr £300-400 344 A SILVER LIME BOX, THAILAND, 19TH CENTURY in the form of a resting antelope, with chased and repousse stippled and scrolling floral decoration 8cm long £180-220 345 A SILVER FILIGREE BOX, PROBABLY KARIMNAGAR, DECCAN, INDIA 18TH CENTURY of oval form, the openwork design, the hinged lid and sides decorated with dense scrolling openwork foliage 3.5 x 8.5 x 5.7cm

343

344

98

345

For a closely related, slightly larger, box, see Christie’s London, 11 October 2013, lot 578. A casket in the same technique, thought to have been in the collection of Tipu Sultan (d.1799) is in the Victoria and Albert Museum, London. See inv. no. IS 42013. £300-400

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346 346 A SILVER LIMEBOX, BURMA, 19TH CENTURY of flattened spherical form, the lid and body with dense chased and repousse decoration composed of concentric bands of acanthus leaves, scrolling foliage, repeated stylised florets and convex medallions, traces of writing in Burmese on underside 9cm high; 10.5cm diam. Provenance: Private collection, London £250-350

350

348

347

350 A SPANISH SILVER-MOUNTED GLASS ‘OWL’ CLARET JUG, PLATERIA D. GARCIA, MADRID, CIRCA 1972 the ovoid red glass body cut with stylised wings by the handle, the silver hinged head chased with feathers and set with yellow glass eyes, on cast silver claws, import marked for Israel Freeman & Son Ltd., London, 1972 28cm high £200-300

347 TWO SILVER BOXES, SRI LANKA, 19TH CENTURY each with chased decoration, separate convex lid, one of cylindrical, the other of oval form, the former with design of mythical lions amidst scrolling foliage, the other with scrolling leaves around a central rosette Cylindrical box: 8.3cm high, 7.3cm diam.; oval box: 4cm high, 9.5cm max. diam. £150-250 348 TWO ANGLO-INDIAN SILVER SUGAR BOWLS, CIRCA 1900 each with chased and repousse decoration, the larger on claw feet decorated with fish and angel motifs, the other with lotus petal panels filled with scrolling foliage 7cm high; 11.5cm diam. and smaller; 215g (together)

351

349 FOUR ANGLO-INDIAN SILVER MENU HOLDERS, CIRCA 1910-1920 each in the form of a peacock with flared feathers, on circular base, together with a silver figure of a stock, a pearl in its beak 7cm each (holders); 12.5cm (stork) (5)

351 A GERMAN SILVER TEA CADDY AND COVER, PROBABLY HANAU, CIRCA 1895 the waisted body of square outline with Chinoiserie scenes within scrolls, with slide-in base, the shaped cover with lion finial, pseudo marks and import marked for William Moehring, London, 1896 15.5cm high, 295gr (9oz)

£70-100

£200-300

£120-150

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352

352 A SILVER-GILT FRAME, UNMARKED, PROBABLY ITALIAN CIRCA 1700, WITH CANDLE LIGHT ADDITIONS BY R. & S. GARRARD, LONDON, 1852 cartouche form, chased around a circular aperture with cherubs and scrolling acanthus on a matted ground below a nobleman’s coronet, applied with two winged cherubs holding floral and foliate swags, perhaps adapted from a holy water stoup or Carta Gloria frame with four scroll leaf embellished branches springing from a winged cherub’s head and terminating in cast leafy drip pans and sconces, with mahogany backing 55cm high including suspension loop £1500-2500

353

100

353 A GERMAN SILVER TUMBLER CUP, PAUL SOLANIER, AUGSBURG, CIRCA 1700 typical form, engraved to the rim between reeded borders with hatched initials ‘MSW’ and numbered below ‘2’ 7cm diameter £500-700

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354 A FRENCH SILVER-GILT-MOUNTED LUSTRE CLARET JUG, CLEMENT MASSIER EARTHENWARE, GOLFE JUAN (ALPES MARITIME), SILVER BY MAISON BOIN-TABURET, PARIS, CIRCA 1890 the baluster jug moulded with a girdle at the shoulder covered in a burnt orange glaze with gilt highlights, gilt painted marks ‘C.M / GOLFE JUAN / (AM)’, the mounts cast in foliate openwork Rococo style, the lid with cast flower finial, maker’s mark Georges Boin, 950 standard, in its chamois and silk lined green box 27cm. high Clément Massier (1844-1917), from an established family of potters in Vallauris, started his gallery / workshop ‘La Poterie du Golfe Juan’ in 1883. Famous for the metallic lustre glazes he developed, his premises became a destination for wealthy visitors to the French Riviera. At the same time Rococo style silver was enjoying a revival: the magazine ‘Le Temps’ of 11 January 1889 citing (in translation) ‘It is perhaps M. Boin-Taburet, more than any other silversmith, who has contributed to this return to Louis XV.’ For another Massier claret jug with Rococo style silver mounts, with marks for Karl Fabergé, see Sotheby’s, New York, 12 April 2011, lot 279. The inspiration for this claret jug may have been one of a handful of 18th century jasper ewers with Rococo mounts. A gold-mounted example, Paris, circa 1734/35, is in the Museu Gulbenkian, Lisbon. Although the design has long been attributed to François Boucher (1703-1770), Peter Fuhring more recently has suggested that it may have been the work of Juste-Auréle Meissonier (1695-1750). Another example, with gilt bronze mounts of the same design, formerly in the collection of Baron Edmond de Rothschild (1845-1934), was sold at Sotheby’s, London, 8 July 2015, lot 15. £800-1200

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355 355 A GERMAN SILVER-GILT DISH, MASTER OF THE ‘B & ANCHOR’ MARK, PROBABLY HANAU, THIRD QUARTER 19TH CENTURY in Renaissance style, oval, relief chased in fine detail with the ‘Judgement of Paris’, the rim also richly chased with fruits and foliage interrupted by four heads, pseudo marks of a B and anchor conjoined, an animal’s head facing, a fruit and an eagle displayed 26cm, 272gr (8oz) £200-300

357 357 A GERMAN SILVER TAZZA, PROBABLY MASTER OF THE ‘B & ANCHOR’, HANAU, MID 19TH CENTURY the circular dish finely relief chased with a Renaissance ‘par force’ boar hunt, the mounted hunter in a rural enclosure about to pierce a beast with his sword, the rim also richly chased with foliage and animals including deer and goats, the openwork stem of three stag heads and antlers on a trunk, the domed base foliate chased and applied figures of swine, a lion, a cow, a bird and a beetle, the fluted base rim with an engraved border, mark of an animal’s head facing and 13 flanked by lion rampant 13cm high, 465.5gr

356

Although only one mark is present here of those pseudo marks usually found on ‘B and anchor conjoined’ pieces, the historismus style of this tazze makes for a reasonably firm attribution to the Master of the B & Anchor.

356 A GERMAN SILVER DISH, MASTER OF THE ‘B & ANCHOR’ MARK, PROBABLY HANAU, THIRD QUARTER 19TH CENTURY in Renaissance style, oval, relief chased in fine detail with Diana and three nymphs in a landscape flanked by city walls and a windmill, the rim also richly chased with fruits and matted foliage, pseudo marks of a B and anchor conjoined, an animal’s head facing, a fruit, and an eagle displayed 22.5cm, 191gr (6oz) £100-200

£350-450 358 A GERMAN SILVER SWEETMEAT BOWL, IMPORTER’S MARK M?, LONDON, 1892 cast boat-shaped with scrolls, flowers and rocaille above four supports 16cm wide, 223gr (7oz 3dwt) £70-100 359 A SILVER-GILT PLAQUETTE, PROBABLY DUTCH, SECOND HALF 19TH CENTURY oval, finely chased in relief after a print of Jacob Jordaens’ painting below its title ‘Soo D’oude Songen Soo Pepen De Jongen’ (As the old sing, so the young pipe), the broad rim chased with tulips and fruits interrupted by grotesque masks, French ‘ET’ mark and two indecipherable marks 29cm long, 354gr (11oz) Jacob Jordaens (1593-1678) painted a number of versions based on this moralistic proverb; the earliest from 1638, preserved in the Koninklijk Museum voor Schone Kunsten, Antwerp, inv.no.67. £200-300

359 102

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360

363

360 A SILVER TRAY, APPARENTLY UNMARKED, PROBABLY GERMAN, LATE 19TH CENTURY oval, chased in relief with three children and a goat in a riverside garden with a ruin amidst hills to the background, within a fluted border and corded rim 38cm long, 697gr (22oz) £200-300

363 A GERMAN SILVER SUGAR BOX, FRIEDRICH JACOB STOLTZ, BERLIN, CIRCA 1770 oval, the lid with an applied foliate thumbpiece and chased with a leafy floral spray, the baluster sides with further flowers on ribbon swags, on four shell pad feet, zigzag assay, maker’s and 13 loth marks 12cm long, 171gr (5oz) £400-600

361 361 A GERMAN SILVER SMALL TRAY, JOHANN MARTIN SATZGER, AUGSBURG,1765-67 shaped oval, chased below the moulded rim with birds in fruiting branches 15cm long, 92gr (2oz 18dwt) £200-300

364 362 362 A FRENCH PROVINCIAL SILVER TASTEVIN, MAKER’S MARK IC BELOW A STAR, ORLEANS, 1798-1809 of typical form with snake form ring handle, engraved to the rim ‘JES MATONNIERE’ 12cm long £300-400

364 A FRENCH PROVINCIAL SILVER STAND, PIERRE TUDIER II, BEZIERS, CIRCA 1755 shaped oval, with a band of short lobes above another of flutes, the Rococo scroll and foliate decoration cast to the base and bottle top supports and pierced and chased to the bottle holders, engraved with a coat of arms between, full marks to underside, discharge marks only to bottle holders 31.5cm long, 1041gr (33oz) excluding associated blue glass inkwells £400-600

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367 366 A PAIR OF ITALIAN SILVER CANDLESTICKS, MAKER’S MARK A?, NAPLES, CIRCA 1850 in Neo-classical style with milled borders, circular bases, tapering cylindrical stems and campana shaped sconces, 834 standard 24.5cm high, 574gr (18oz) (2)

366

£200-300 367 A DUTCH SILVER TEA CADDY, THEODORUS GERARDUS BENTVELD, AMSTERDAM, 1823 plain tapering oblong, the curved hinged lid with applied reeded border 10cm high, 319gr (10oz 5dwt) The manufacturing silversmith, Bentveld, is known to have supplied silver for retail by the well known firm of Bennewitz & Bonnebacker, as well as their successor businesses. £300-400

365 365 A SWISS SILVER SALVER, REHFUES & CO., BERN, CIRCA 1840 shaped circular, with reeded rim, 28.5cm diameter; together with a German silver dish, Bruckmann & Söhne, Heilbronn, late 19th century, shaped circular, the broad rim chased with fruits and foliage on a matted ground around three vacant ovals, 835 standard, 26cm diameter 826gr (26oz) (2) Rehfues & Co. (often also found as ‘Rehfuss’) was the biggest silversmith in Bern, established by Georg Adam Rehfues in 1808, known particularly for Empire style wares, the business handed over to his son Philipp Rudolph in 1855 and continuing until the latter’s death in 1866.

368 AN ITALIAN TRAY, SECOND HALF 20TH CENTURY rectangular, ropework border, glass liner, 31cm wide; together with the following: a matching circular dish, 6.2cm diameter; a small baluster hot-milk jug, 15.5cm high; and a pair of small circular coasters with pierced gallery borders, 9.7cm diameter, all stamped ‘800’ 1134gr (6) £350-450 369 AN ITALIAN BOWL, BRONDINO, VENICE, SECOND HALF 20TH CENTURY fluted circular, flared lip, 14.5cm diameter; together with an Italian dish, shallow circular on three supports, swirl fluted below an embossed and chased border of roses and scrolls, 27.7cm diameter; both stamped ‘800’ 707gr (2) £200-300

£200-300

104

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370

370 AN ITALIAN LEMON SQUEEZER BOAT, LUIGI SFRISO, VENICE, SECOND HALF 20TH CENTURY oval, planished, applied ropework lip, handle and spout grille, with ribbed squeezer, stamped ‘800’ 21cm long, 363gr

371

£200-300

371 AN ITALIAN TEA KETTLE, PROBABLY LUCA MORONI, VENICE, SECOND HALF 20TH CENTURY the plain cube-shaped body on four bracket supports, domed lid, swing handle with turned wood grip 21.5cm overall height, 862gr all in £250-350

372 AN ITALIAN ‘JOHN BULL’ TOBY JUG, SECOND HALF 20TH CENTURY cast with a jolly face under a top hat, with title to his nape, the malacca mounted handle as a walking stick, gilt interior, underside stamped ‘BR’ and ‘800’ 13cm high, 757gr all in

372

£200-300

373 A SET TWELVE NORWEGIAN ‘VIKING DRINKING HORN’ PEPPERETTES, PROBABLY THEODORE OLSEN SILVERSMITHS, BERGEN, SECOND HALF 20TH CENTURY decorated with ‘Viking’ interlacing, engraved with initials, retailed by Rino Greggio, Selvazzano Dentro, Italy, 7cm long, 273gr; together with nineteen stag’s head menu holders, German, mid 20th century, each on a circular ebonized wood base, 4.5cm high (31) £500-700

373

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374

374 A PAIR OF GERMAN ELECROPLATE INDIAN ELEPHANTS, J.P. KAYSER SOHN, KREFELD, CIRCA 1900 probably after models by Wilhelm Zwick (1839-1916), in trumpeting pose, each stamped KAYSER / KREFELD under one foot 39cm long J. P. Kayser Sohn (1862-1925) was one of the leading pewter manufacturers in Germany. In 1894, Engelbert Kayser (18401911) established a studio in Cologne, providing pewter designs for the foundry in Krefeld. Largely Art Nouveau and Jugenstil in style, the company’s aim was to artistically design objects that were accessible to the wider public through the methods of mass production. £2000-3000

375 ~ A PAIR OF GERMAN PARCEL-GILT-SILVER FIGURES OF MONARCHS, L. NERESHEIMER & CO., HANAU, EARLY 20TH CENTURY modelled after the statues of Clovis I, King of the Franks and Ferdinand I, King of Portugal, with carved ivory faces, each with detachable sword and his heraldic shield, Clovis with spiked crown and full beard, Ferdinand with hinged visor to his helmet, each on a cut-cornered square plinth with openwork cast foliate sides, stamped ‘925’, Reichsmark and maker’s mark 24.5cm high The original statues of 1509 are part of an extraordinary set of twenty-eight early 16th century larger-than-life bronzes by a number of artists, which surround the cenotaph of the Holy Roman Emperor Maximilian I at the Hofkirche in Innsbruck. The story goes that there was no known portrait of Ferdinand, hence the visor. £1000-1500

375 106

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376

376 A SET OF FOUR GERMAN SILVER TRAYS, MAKER’S MARK RC CROWNED, HANAU, 20TH CENTURY in sizes, two-handled, the raised borders pierced with ovals below applied beading, pseudo marks 56.7, 51.7, 49 and 45.4cm over handles, 5136gr all in (165oz) (4) £1500-2500

377 AN ITALIAN SILVER TWO-HANDLED TEA TRAY, VENICE, EARLY 20TH CENTURY oval, the raised border pierced with stylized leaves 63cm long over handles, 1951gr (62oz)

377

£600-800

378 A SET OF ELEVEN ITALIAN SMALL DISHES, SANDONA ARGENTERIE, TREVISO, SECOND HALF 20TH CENTURY oblong, applied stiff leaf borders, stamped ‘800’ 13.5cm long, 1038gr £300-400

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379

379 A NORWEGIAN PARCEL-GILT-SILVER SPOON, UNMARKED, PROBABLY BERGEN, CIRCA 1580 engraved to the top rim of the fig-shaped bowl with the inscription ‘JESUS*MARIA*ANNO 1579’ on a scroll, the base of the faceted stem with a grotesque mask and formal foliage, with double sided cherub mask finial 15cm long, 39gr £600-800 380 A SET OF SIX AUSTRALIAN OPAL-SET SILVER TEASPOONS AND SIX COFFEE SPOONS, PROUDS, SYDNEY, EARLY 20TH CENTURY each with beaded scroll stem below the oval opal terminal, stamped ‘PROUDS / STERLING SILVER’, in fitted case with retailer’s label ‘T. GAUNT & CO. PTY. LTD / MELBOURNE’ and presentation plaque to lid; together with two Australian Arts and Crafts silver spoons, one with lozenge shaped finial encasing an oval opal, the other with pointed bowl spoon and openwork flower handle, both incuse stamped ‘AS / ST.SIL’ 151gr (4oz 17dwt) all in (15)

382 A PAIR OF GEORGE IV SILVER GRAPE SHEARS, WILLIAM ELEY, LONDON, 1824 Thread and Shell pattern, 16cm long; together with a George III silver caddy spoon, James Phipps, London, 1792, shell bowl, handle with bright-cut wrigglework surrounding scrolling initials; a George V silver serving spoon and a preserve spoon, Liberty & Co., Birmingham, 1925/26, in Arts & Crafts taste, the serving spoon with pellet and lozenge patterned handle and gilt bowl, the preserve spoon with arched designs and trefid terminal, serving spoon 20cm long; and the following miscellaneous table silver: a pair of Continental silver marriage spoons with wrythen stems and saint terminals, Dutch or German, later 19th century and seven silver tea or coffee spoons and a silver tea fork 430gr (13oz 16dwt) (14) £150-250 383 A PAIR OF DANISH SILVER-HANDLED GRAPE SHEARS, GEORG JENSEN, COPENHAGEN, CIRCA 1967 with stainless steel blades, design number 143, import marks for Georg Jensen, London, 1967, also stamped STERLING DENMARK 925 and maker’s mark 13cm long £50-70

£100-200 381 A SET OF FOUR RUSSIAN SILVER-GILT TEASPOOMS, S. STOGANOV, MOSCOW, 1856 the bowl backs with niello scrolling tendrils on a matted ground, the tapering cylindrical stems with engraved swirled reeding below octagonal knops 12cm long, 107gr (3oz)

384 A GEORGIAN SILVER MOTE SPOON, MAKER’S MARK ONLY ‘WT’ (UNRECORDED), LONDON, MID 18TH CENTURY typical form with pierced bowl and slender long stem with pointed end initialled ‘W’ 13.5cm long £100-150

£60-90

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381

380

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385 A CANTEEN OF GEORGE V TABLE SILVER, ATKIN BROTHERS, SHEFFIELD, 1918 Hanoverian Rat-tail pattern, comprising: twelve tablespoons twelve table forks twelve soup spoons twelve dessert spoons eleven dessert forks eighteen teaspoons (one teaspoon Goldsmiths & Silversmiths Co. Ltd, London 1938) four salt spoons a butter knife, a sugar spoon, a mustard spoon, two sauce ladles, a gravy spoon, a soup ladle, a sugar sifter and a pair of sugar tongs, all fitted and labelled in its oak box with top compartment and frieze drawer, with key 5092gr (163oz) (65)

385

£1800-2200 386 VICTORIAN TABLE SILVER, CHARLES BOYTON OR CHAWNER & CO., LONDON, 1862-64 Queens pattern, comprising: six tablespoons six table forks seven dessert spoons six dessert forks and a pair of sauce ladles; together with a set of six teaspoons, Francis Higgins, London, 1860, single struck Queens pattern 2230gr (71oz 13dwt) (33) £800-1200 387 FIVE GEORGE III HANOVERIAN PATTERN TABLESPOONS, VARIOUS MAKERS, LONDON, 1764 TO 1774 the terminals variously engraved, including one ‘I.D 1769,’ another ‘B+D May ye 26 1774,’ bottom marked 324gr (10oz 8dwt) (5)

386

£100-200

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388 A SET OF AUSTRO-HUNGARIAN TABLE SILVER, JOSEPH REINER, VIENNA, 1863 Fiddle pattern, each engraved with initials EMS, comprising twelve of each of the following: tablespoons table forks table knives with steel blades dessert knives with steel blades teaspoons and a pair of gravy spoons and a soup ladle, all in a fitted leather case; together with twelve silver dessert forks, matching pattern and initials, J.C. Klinkosch, Vienna, late 19th century; all 800 standard 2970gr (95oz) excluding knives (75) £700-1000

388

389 FIDDLE PATTERN TABLE SILVER, VARIOUS DATES AND MAKERS, LONDON AND PROVINCIAL, 1814-1907 the terminals variously initialled, crested or plain, comprising: four tablespoons, eight table forks, twelve dessert spoons, six dessert forks, six teaspoons and a pair of sugar tongs 1875gr (60oz 5dwt) (37) £700-900

389

390 GEORGIAN SILVER DESSERT SPOONS AND FORKS, VARIOUS MAKERS, LONDON, CIRCA 1760-1837 Old English pattern, majority plain (thirteen with crests or initials), comprising: six spoons and nine forks; together with the following assorted Old English pattern table silver: a pair of pickle forks, four teaspoons, a small dessert fork, two salt spoons and a small salt spoon 647gr, (20oz) (25) £200-300

390

391 AN ITALIAN PART DESSERT CANTEEN, ARGENERIE BROGGI, MILAN, EARLY 20TH CENTURY ribbon-tied reeded pattern, comprising: ten dessert spoons, seventeen dessert forks and eleven knives with loaded handles and steel blades, stamped: ‘800’ weighable silver 1655gr (53oz) (38) £500-800 392 TABLE SILVER, VARIOUS DATES AND MAKERS, THE MAJORITY LONDON AND EXETER, 1794-1897 mostly Fiddle and Fiddle and Thread pattern, the terminals variously initialled or plain, comprising: seven tablespoons, twenty dessert spoons and two pairs of sugar tongs 1509gr (48oz 10dwt) (29) £500-700

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393 ~ A SET OF TWELVE VICTORIAN SILVER AND IVORY FISH KNIVES AND ELEVEN FORKS, ELKINGTON & CO., BIRMINGHAM, 1848 with engraved foliate and bright-cut motifs to the silver tines and blades, reeded ivory handles (23) £120-180 394 A SET OF TWELVE VICTORIAN SILVER DESSERT KNIVES AND TWELVE FORKS, HENRY ATKIN, SHEFFIELD, 1853 with plain blades and tines and ribbed bolsters, the plain motherof-pearl handles later replacements, in a later fitted case with gilt presentation inscription (24) £150-200 395 ~ A GEORGE III SILVER CHEESE SCOOP, JOSEPH WILLMORE, BIRMINGHAM, 1807 with pusher mechanism and ivory handle, 23.5cm long; together with another George III silver cheese scoop, William & Samuel Knight, London, 1810, typical form, ivory handle, 21cm long (2)

393

394

395

396

£120-180 396 FOUR SILVER BERRY SPOONS, VARIOUS MAKERS, LONDON, 1802-1818 Old English pattern, richly chased and flat-chased circa 1885 with flowers and foliage, the terminals engraved with a monogram, in fitted morocco case with burgundy-coloured velvet and silk lining, retailer’s label: ‘HALL& CO. SILVERSMITHS MANCHESTER’ 196gr (6oz 6dwt) So-called ‘berry spoons’ were old, otherwise unwanted silver table and dessert spoons, embossed and chased by enterprising silversmiths to be recycled as novel wedding, birthday and Christmas presents. Often attractively presented in cases as sets of four, six or more, these spoons began to appear in the late 1870s. An early, somewhat satirical reference to them is included in A Naughty Girl’s Diary, ‘by the author of A Bad Boy’s Diary,’ a novelette published over several months in The Fife Herald during 1883: ‘This is tuzeday morning; the wedding is tomorrow. It is deliteful an’ exciting now the presents are arriving; the most of them have arrove - 4 ice pitchers, 8 butter gnives, 12 berry spoons, 1 fish slice, 4 castors, 9 pikle forks, 3 cake baskets . I cannot begin to renumerate them. . . .’ £60-90 397 ~ A SMALL COLLECTION OF CADDY SPOONS, ENGLISH AND ITALIAN, CIRCA 1780-20TH CENTURY comprising: a bright-cut example, fluted bowl, maker’s mark of John Lambe and lion passant only, London, circa 1780; another, shaped circular bowl, maker’s mark IB, London, 1808; two further examples, shaped bowls, hollow handles, engraved and pricked decoration, one initialled, William Pugh and Joseph Taylor, Birmingham, respectively 1813 and 1816; another, the otherwise plain bowl engraved with the initial C, ivory handle, possibly John Lawrence, Birmingham, 1810; and five Italian examples, various patterns; also a small condiment spoon with mouse terminal (from a novelty owl condiment pot), Richards & Brown, London, 1865, 6cm long; in glazed rectangular wood display frame with dark blue velvet lining, 44.5 by 37cm (12)

398 A SET OF EIGHTEEN VICTORIAN SILVER ICE CREAM SPOONS, WILLIAM & CHARLES EDWARDS FOR RETAIL BY ELKINGTON & CO., LONDON, 1873 each gilt ‘spade’ bowl with twisting flute and bead stem terminating in a Renaissance style bust of Bacchus, in original leather case lined and fitted in purple silk and velvet with gilt stamped Elkington label 12cm long, 319gr (10oz)

£150-250

£200-300

398

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399

399 A SET OF THREE GEORGE III SILVER MEAT SKEWERS, ELEY & FEARN, LONDON, 1805/06 typical tapering form, each engraved with a crest below the ring terminal, comprising a pair and one longer 36.5cm longest, 362gr (11oz) £300-400

401

402

403

401 A SCOTTISH GEORGE IV SILVER FISH SLICE, CHARLES ROBB, EDINBURGH, 1821 Fiddle pattern, the blade with gadrooned top edge and a pierced panel 31cm long, 119gr (3oz 16dwt) £100-150 402 VICTORIAN TABLE SILVER, VARIOUS MAKERS AND CITIES, 1846-1867 all single-struck Fiddle Shell pattern, the following engraved with a crest below motto: four table forks, Elizabeth Eaton, London, 1848; two further table forks, Dublin, 1847/48; a soup ladle engraved with the initial K, Samuel Smily (Goldsmiths’ Alliance Ltd.), London, 1867; and a mustard spoon, James Wintle, London, 1822 766gr, (24oz) (8) £250-350

400 A GEORGE I SILVER MARROW SPOON, BENJAMIN WATTS, LONDON, 1721 with rat-tail bowl, engraved OC in monogram, Britannia standard 23cm long, 52gr (1oz 12dwt)

403 A GEORGE III SILVER GRAVY SPOON, SOLOMON HOUGHAM, LONDON, 1800 Old English pattern, the terminal engraved with the initial K; together with five George III silver tablespoons, Thomas Dicks and others, London, 1765 and circa, Old English pattern, bottom marked 407gr (13oz) (6)

£120-180

£150-250

400

112

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404 404 A SET OF CZECHOSLOVAKIAN TABLE SILVER, FRANZ BIBUS & SON, MORAVSKA TREBOVA, CIRCA 1935 Art Deco design with chamfered edges, complete for twelve of each of the following: tablespoons table forks table knives with stainless steel blades dessert forks dessert knives with stainless steel blades fish forks fish knives cake forks teaspoons tea knives with stainless steel blades ice spoons coffee spoons and fifteen assorted serving implements, all in two fitted trays, 800 standard weighable silver 5649gr (181oz) (159) £1500-2500 405 FIDDLE PATTERN TABLE SILVER, VARIOUS DATES AND MAKERS, THE MAJORITY LONDON AND EDINBURGH, 1805-1848 crested or initialled, comprising: seven table forks, three dessert forks, five teaspoons and a salt spoon 702gr, (22oz) (16)

406 FOUR GEORGE III SILVER TABLESPOONS, VARIOUS MARKERS, LONDON, 1796-1814 Old English pattern, each initialled; together with the following: a silver ashtray with scalloped edge, Sheffield, 1976; six tea knives with loaded silver handles and plated blades; two silver salt spoons; two electroplate butter knives; and a set of six electroplate grapefruit spoons weighable silver 305gr (9oz) (qty) £80-120 407 GEORGIAN TABLE SILVER, VARIOUS MAKERS, LONDON, CIRCA 1750-1872 comprising: five teaspoons, feather-edged Old English pattern, the terminals engraved with the initials SAJ, Thomas Northcote, circa 1750 and Smith & Hayter, 1793; six teapoons, bright-cut Old English pattern engraved with the initials HT, Thomas Wallis and P. & W. Bateman, respectively 1804 and 1810; four teaspoons, bright-cut Old English pattern, initialled T over JE, 1801, 1805 and 1807; a sauce ladle, Old English pattern, wriggework stem, crested terminal, fluted bowl, William Chawner, apparently 1775; and a small sauce ladle, Onslow pattern, H. Lias & Son, 1872; together with four Scottish silver dessert spoons, three with pointed terminals and engraved with the initials HDA, Robert Gray, Edinburgh, 1800 357gr (11oz 9dwt) (22) £120-180

£220-280

405

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408 A SET OF TWELVE GEORGE V SILVER TEASPOONS, JOSEPH GLOSTER LTD., BIRMINGHAM, 1919 single struck Lily pattern; together with a set of twelve German tea knives and twelve forks, early 20th century, the loaded silver handles with bound reeded borders, with gilt-metal tines and blades, 800 standard, in case with one tray teaspoons 235gr (7oz) (36) £60-80 409 A SET OF SIX EDWARDIAN SILVER DESSERT KNIVES AND SIX FORKS, CHARLES BOYTON & SON, LONDON, 1906 with feather-edge silver tines and blades and mother-of-pearl handles; together with four silver berry spoons, typical Victorian decoration, one Hester Bateman, all London, circa 1770-1797, 233gr (7oz) (16) £100-200

412 412 TWO PAIRS OF GEORGE V SILVER TAPERSTICKS, CRICHTON & CO. LTD., LONDON, 1925/27 in George I octagonal style, the stepped bases with later presentation inscriptions rising to knopped stems and elongated sconces, in plywood case, French ‘swan’ control marks 11.5cm high 430gr (13oz) (4) Provenance: Worshipful Company of Tobacco Pipe Makers and Tobacco Blenders, presented by John W. Solomon, Master 1989-90 £250-350

410

411

410 A PARCEL-GILT-SILVER ‘WINCHESTER CATHEDRAL’ GOBLET, HECTOR MILLER FOR AURUM DESIGNS LTD., LONDON, 1979 designed by Hector Miller and Tim Minett for the ninth centenary by order of the Dean and Chapter, No. 832 of an edition limited to 900, plain bowl with gilt interior, the wide cylindrical stem applied with a gilt frieze of cast figures of notable people in the cathedral’s history, spreading foot, underside stamped and numbered; together with its Aurum certificate and two letters from the Dean 16.5cm high, 401gr (12oz 18dwt) (4) £150-200

413

414

413

413 A VICTORIAN SILVER-MOUNTED LEATHER STATIONERY BOX AND BLOTTER PAD, WILLIAM COMYNS & SONS, LONDON, 1891 in green leather, applied with ‘bats-wing’ fluted spandrels and openwork monogram VAA, rectangular box with curved lid blotter 30cm long

411 A PARCEL-GILT-SILVER ELIZABETH II SILVER JUBILEE GOBLET, MAPPIN & WEBB LTD., LONDON, 1977 the plain bowl engraved with the Royal cypher to one side and the Royal monogram EII within the garter motto to the other, the slender waisted gilt stem with ball finials, the spreading foot inscribed ‘The Queen’s Silver Jubilee 1952-1977’ , underside numbered 155 For a limited edition of 2500, in its original case with its certificate 17cm high, 292gr (9oz) (3)

414 AN EDWARDIAN SILVER PHOTOGRAPH FRAME, WILLIAM HUTTON & SONS LTD., RETAILED BY SEARLE & CO., LONDON, 1903 shaped oblong, stamped in Art Nouveau taste with trailing buttercups, shaped oblong glazed aperture with green watered silk backing with retailer’s gilt stamp, wood easel backed with distressed silk covering and strut, P.O.D.R. number for 1903 20cm long

£80-120

£120-180

114

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415

415 A LARGE GEORGE V SILVER ‘BUSHEL’ BOWL, F.J. ROSS & SONS OF WINCHESTER, LONDON, 1924 modelled on the Winchester measure, circular, hammer finished, with two applied angular handles, on three fluted panel feet, the applied inscription around the rim reads ‘Henricus Ceptimus Dei Gracia Rex Dauglae Et Francie’ which translates as ‘Henry VII King of Denmark and France’, with applied symbols of a lion rampant, an anchor, a rose and a portcullis, underside stamped ‘ROSS / WINCHESTER’ 27.2cm diameter, 2172gr (76oz) A bushel is a measure of dry volume that was generally used in agriculture. The Winchester measure is a set of legal standards of volume instituted in the late 15th century by King Henry VII. For the original larger bowl after which this seems to be modelled, see the Science Museum, object number 1931-1011. Scaled down replicas include versions by Ramsden & Carr, Edward Barnard & Sons and Garrard’s & Co.

416

Provenance: Arthur Rayner Dyer (1858-1925), Mayor of Winchester 1919-1921; thence by family descent to the present owner. £700-1000 416 A GEORGE V SILVER FOUR-PIECE TEA SET, JOSEPH GLOSTER LTD, BIRMINGHAM, 1915 the ribbed shaped oval bodies on bun feet the hot water jug 23cm high; 1540gr (49oz) including wood finials and composition handles to the pots £450-550 417 A GEORGE V SILVER TRAY, MAKER’S MARK RUBBED, BIRMINGHAM, 1924 oval, with presentation inscription, the broad everted rim pierced with two handles 41.5cm, 1027gr (33oz)

417

418

The presentation inscription reads: A Token of Appreciation and Respect from the Members of the Elmers End (Alfred Inglis) Sports Club. To H.S. Ashton Esq. October, 1929.

418 AN EDWARDIAN SILVER MUFFIN DISH, LINER AND COVER, JAMES DIXON & SONS, SHEFFIELD, 1903 plain circular deep dish and liner, domed cover with wood mounted knop 20.5cm diameter, 725gr (23oz) all in

£300-400

£200-300

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419 A GEORGE V SILVER TWO-BOTTLE INKSTAND, LAMBERT & CO., LONDON, 1914 in early 18th century taste, plain oblong base on four high supports, the detachable circular inkwells with detachable covers, the undersides stamped: ‘LAMBERT COVENTRY STREET LONDON’, Britannia standard 26cm long, 1339gr (43oz) excluding two glass liners

419

£500-700 420 A GROUP OF SILVER FOR AN OENOPHILE comprising: a George III wine funnel, typical form, engraved with a crest, Adridge & Green, London, 1777; a wine coaster, with slightly bulging sides engraved ‘Hugh & Anna / 15.9.96’, turned wood base, maker’s mark HBS, London, 1995; a pair of drip-catchers (or bottle collars), plain, cloth lined, David R. Mills, London, 1996; and a German tastevin, typical circular form with lobes and bosses, ring handle capped by a thumbpiece, Karl Kurz, Kesselstadt, import marked for Samuel Boyce Landeck, Chester, 1905 (5) £100-200

421

421 AN EDWARDIAN SILVER BOWL, PEARCE & SONS, LONDON, 1908 circular, gadroon rim, applied with two cast openwork scroll foliate handles, on openwork feet 39cm across handles, 1010g (32oz) £300-500 422 AN ELECTROPLATED SHEFFIELD PLATE FIVE-LIGHT CANDELABRA, CIRCA 1830 with lead-filled foliate borders, the circular base rising to a knopped and tapered stem, the branches of four scroll reeded arms terminating in drip-pans and campana-shaped sconces, the central light with flame finial, all with detachable nozzles, 52cm high; together with an American electroplated five-light candelabra, 20th century, similar, with flared stem, 46cm high (2) £150-200 423 A SILVER SALVER, GARRARD & CO. LTD., SHEFFIELD, 1992 circular, plain excepting a rim of husks within beaded borders, on three ball & claw feet, in its Garrards pale blue box with presentation inscription to top 25.5cm diameter, 459gr (14oz 15dwt) £150-200

423

424 FOUR SILVER SPIRIT FLASKS, LONDON, BIRMINGHAM AND SHEFFIELD, 1905-1919 comprising: three oblong with bun-shaped lids with detachable beaker bases including one with glass interior, the fourth of pocket-fitting curved form, 9-13cm high; together with an American silver flask, first half 20th century, engine-turned, stamped ‘STERLING SILVER, 13.5cm high weighable silver 800gr (25oz) (5) £300-500

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425

425 A SET OF FOUR GEORGE V SILVER CANDLESTICKS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON & SHEFFIELD, 1926/27 of pointed oval outline, with simple moulding and reeded borders, each base rising to a navette shaped knop below a flared stem, vase shaped sconce and dished detachable nozzle, with silver covered bases 29cm high, loaded £1200-1800 426 A SILVER FOUR-PIECE TEA SET, E. SILVER & CO., SHEFFIELD, 1945 in George I baluster octagonal style, plain hot water jug 25cm high; 1862gr (59oz 18dwt) including composition handles and finials to pots £600-900

426

427 AN EDWARDIAN SILVER SIPHON STAND, CARRINGTON & CO., LONDON,1903 on stepped circular base, the cylindrical body with applied handles and die-stamped and pierced lip of diaperwork, foliage and scrolls, wood base, 18cm high; together with a Victorian silver hot-water jug, James Deakin & Sons, Sheffield, 1897, circular pedestal foot, the bell-shaped body embossed with beads, lobes and stylized fruit, hinged lid, fibre handle and finial, 25cm high the hot-water jug, 396gr (12oz 14dwt) all in (2) £300-500 428 A VICTORIAN SILVER HOT-WATER JUG, CHARLES STUART HARRIS, LONDON, 1885 beaded circular foot, the baluster body embossed with ‘batswing’ fluting below an engraved crest and motto, wrythen finial to the hinged lid, fibre handle 24cm high, 398g (12oz 16dwt) £120-180

427

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429

429 A PAIR OF EDWARDIAN SILVER ENTREE DISHES, COVERS AND HANDLES, GARRARD & CO. LTD., LONDON, 1909 shaped oval, with applied moulded rims, undersides stamped ‘GARRARD & Co. Ltd. / ALBEMARLE St. LONDON. W.’ 2429gr (78oz) £800-1200

432

430

431

430 A GEORGE V SILVER COFFEE POT, WILLIAM HUTTON & SONS LTD., SHEFFIELD, 1912 part lobed baluster pattern, gadroon and shell applied rim, on four ball feet 23cm high, 715gr (22oz 19dwt) including fibre handle and finial

432 A SILVER FOUR-PIECE TEA SET, POSTON PRODUCTS LTD., SHEFFIELD, 1970 the bulbous oblong bodies each applied with a Celtic pattern border and with similarly patterned tops to the pad feet, the milk jug and sugar bowl with stylised serpent cast handles hot water jug 21cm high, 1779gr (57oz) including composition handles and finials to pots £500-700

431 A GEORGE V SILVER COFFEE POT, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1911 baluster, on spreading and stepped foot, part lobed pattern, composition handle and finial 30cm high, 670gr (21oz 10dwt) all in

433 A SILVER SALVER, ATKIN BROTHERS, SHEFFIELD, 1944 octafoil, moulded rim, inscribed: ‘Essex Agricultural Show / The Yule / Trophy’, on three splay feet, underside engraved with the names and years of the winners, 26cm diameter; together with another silver salver, Alexander Clark Co. Ltd., Sheffield, 1926, shaped circular, plain excepting the moulded rim with lozenge motifs, on three shallow pad feet, 22cm diameter 914gr (29oz) (2)

£200-300

£250-350

£180-220

118

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434 434 AN EDWARDIAN SILVER-GILT FOUR-PIECE TEA AND COFFEE SET, D. & J. WELLBY LTD., LONDON, 1901/02/05 in George III Rococo style, baluster on short pedestal bases, chased around vacant rocaille cartouches with trailing flowers between gadroon and scroll rims, the milk jug and sugar bowl with leaf-capped scroll handles coffee pot 28.5cm high; 2552gr (82oz) including wood handles to pots

435 A GEORGE V SILVER THREE-PIECE TEA SET, MAPPIN & WEBB LTD., BIRMINGHAM, 1926 in George I baluster octagonal style, with moulded borders to the shoulders and rims 966gr (31oz) including fibre handle and finial to pot £350-450

£1500-2500

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438 438 A VICTORIAN SILVER TRAY, JOHNSON, WALKER & TOLHURST, LONDON, 1890 pointed oblong, with geometric pale pierced everted sides within a reeded rim, engraved with heraldic achievement of the Worshipful Company of Merchant Taylors 58cm long, 2425gr (77oz 19dwt) The inscription reads: Presented to the Reverend William Baker D.D. by the Merchant Taylors Company in recognition of the zeal & ability with which he has filled the office of Head Master of the Company’s School, both at Suffolk Lane and Charterhouse for more than 20 years and in testimony of the esteem & friendship in which he is held by the members of the Court of Assistance, June 11th. 1891. John James Purnell, Master / Wardens: James Fenning, ALD: Sir J. Whittaker, Ellis Bart: MP, Wickham Noakes, George William Barnard / Edward Nash (Clerk). £800-1200

436 436 A GEORGE V SILVER FOUR-PIECE TEA AND COFFEE SET, HARRISON BROTHERS & HOWSON, SHEFFIELD, 1928/29 on oval bases, plain faceted vase-shaped bodies, the teapot and coffee pot with black fibre handles and finials coffee pot 24cm high; 1794.5gr (57oz 13dwt) all in

439

437 AN EDWARD VII SILVER-MOUNTED JADE VASE, MAKER’S MARK BADLY STRUCK, ?H, LONDON, 1923 the hardstone carved as overlapping leaves springing from a similarly embossed mount, 8.7cm high; together with a Victorian silver table cigar cutter, Joseph Braham, London, 1894, rectangular, the sloping lid engraved with the initials WB below a crest, 9.8cm long (2)

439 AN EDWARDIAN SILVER-MOUNTED STOURBRIDGE GLASS VASE, WILLIAM COMYNS & SON, LONDON, 1901 the lobed ovoid ‘Rock Crystal’ William Fritche style glass engraved with stylised foliage and diaperwork, plain neck mount, the domed base mount with an openwork foliate apron above six open shell-headed scroll panel feet 19.5cm high

£120-180

£250-350

£600-900

120

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440 AN EDWARDIAN SILVER BRANDY SAUCEPAN AND COVER, THEODORE ROSSI OF NORWICH, LONDON, 1906 baluster, with lip at right angles to the fibre handle, 10cm high; together with an Edwardian silver tea caddy, Nathan & Hayes, Chester, 1907, in George III oval style, with a ribbed band, hinged lid with fibre finial, 12.5cm long 535gr (17oz) all in (2) £150-250

441 441 A VICTORIAN SILVER THREE-PIECE TEA SET, LEE & WIGFULL LTD., SHEFFIELD, 1898/99 ribbed shaped oval, with part fluting and lobes below the engraved initial W teapot 29.5cm long; 780gr (25oz) including composition handle and finial to pot £250-350

443 443 A VICTORIAN SILVER WINE EWER, HUNT & ROSKELL, LONDON, 1869 of stylised Grecian form, plain, the slender neck below a shaped lip, the angular handle with leaf terminal at the vase shaped body on short pedestal foot, underside probably later stamped for the retailer F.B. Thomas & Co. ‘THOMAS / 153 NEW BOND ST’ 29.5cm high, 768gr (24oz) £600-800

442 442 A GEORGE IV SILVER EIGHT-BOTTLE CRUET FRAME, MAKER’S MARK OVERSTRUCK BY THAT OF GEORGE BURROWS, LONDON, 1825 gadroon-bordered oblong, on four cast flower and leaf panel supports, reeded bottle rings and central foliate handle; together with the following: five glass condiment bottles, four with mounts, one only marked, James Dixon & Son, Sheffield, 1838, a silver coffee spoon, Joseph Rodgers & Sons, Sheffield, 1909, and an electroplate mustard spoon, William Page & Co. 773gr (24oz 16dwt) frame only (8)

444 A GEORGE V SILVER SALVER, WASON & GILL, LONDON, 1915 George III style, shaped circular, applied shell and scroll rim, engraved with the initial Y within a Rococo foliate cartouche and outer border, on three scroll feet, underside stamped ‘WASON & GILL / 139.Regent St.W.’ 20.5cm diameter, 347gr (11oz)

£250-350

£150-200

444

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445

448 part

445 A GEORGE V FOUR-PIECE SILVER TEA SET, VINERS LTD., SHEFFIELD, 1927 oblong part lobed pattern, engraved with the initial R, comprising: a teapot, a hot water jug, a lidded milk jug and a lidded sugar bowl hot water jug 22.5cm high, 2143gr (68oz) including composition handles and finials Tea sets with a covered sugar bowl were usually supplied to the Indian and other overseas markets where the climate necessitated protection from insects. £500-700 446 AN ELECTROPLATE TRAY, BARKER BROTHERS, SHEFFIELD, EARLY 20TH CENTURY oblong, in George IV style, the presentation inscription surrounded by foliage and diaperwork, with foliate, shell and scroll raised border and handles 75cm long £60-100 447 A PAIR OF VICTORIAN SILVER CANDLESTICKS, WILLIAM HUTTON & SONS LTD, LONDON, 1895 die-stamped in the style of Sheffield originals of the 1770s, the bases decorated with urns between foliage, rams’ head and ribbon-tied pendant stems, detachable beaded nozzles, one stem snapped 19.6cm high, loaded

449 part

448 A SET OF SIX VICTORIAN SILVER SALT CELLARS AND FOUR SALT SPOONS, ROBERT HARPER, LONDON, 1864 cauldron form, each with a milled linear and beaded band around a vacant roundel, on three hoof feet, with beaded rim and gilt interior, with Beaded pattern salt spoons, salt cellars 4cm diameter, spoons 6.5 long; together with two Victorian salt spoons, William Davidson & Frederick Upton, 1864, similar, 7.5cm long, all in a case (damaged) with gilt stamped label for Elkington & Co.; together with a Victorian silver sweetmeat dish, Holland, Adwinckle & Slater, London, 1895, in wrought 17th century style, shaped circular, on four openwork scroll supports, 9cm diameter 325gr (10oz) (13) £100-150 449 A SET OF FOUR GEORGE V SILVER SALT CELLARS, LEVI & SALAMAN, BIRMINGHAM, 1925 capstan shaped with pendent trefoil motifs, blue glass liners, 6cm diameter; together with another salt cellar, perhaps Danish, mid 20th century, hammer-finished circular bowl on spreading foot, with blue glass liner, stamped ‘E.L / SILVER’ 7cm diameter; and a Victorian silver-mounted glass novelty cruet jug, Hukin & Heath, Birmingham, 1898, in the form of a duck, the clear glass body applied with twin loop handles, the silver head with hinged top applied with glass eyes, inscribed for the retailer ‘Zimmerman 98 Jermyn St. S.W’, 17cm long (6) £100-200

£80-120 450 A GEORGE III SILVER SAUCEBOAT, PROBABLY JACOB MARSH, LONDON, 1766 oval, gadroon rim, shell-headed pad feet and scroll handle, underside engraved ‘PP / FSW / 1773’ 19cm long, 364gr (11oz) £180-220

450 122

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451 A GEORGE IV SILVER TEAPOT, JOHN EDWARD TERREY, LONDON, 1822 the spout cast with a bust of Bacchus drinking from a cornucopia emerging from acanthus leaves, the compressed vase shaped body chased with a band of alternating bulrushes and matted leaves, engraved below with small initials MAKI, chased or applied with formal leaf borders, with cast leafy gourd finial, silver branch-like handle embellished with oak leaves, on short pedestal foot 26.5cm long, 913gr (29oz) £700-1000 452 AN IRISH GEORGE III SILVER BASKET, ROBERT BREADING, DUBLIN, 1797 of large size, rectangular with in-curved corners, reeded rims and swing handle, pierced and bright-cut with a band of scrolling leafage, pale pierced oval spreading foot 37cm long, 1064gr (34oz)

451

£600-900 453 A GEORGE III SILVER SALVER, EBENEZER COKER, LONDON, 1773 the gadroon rim interrupted by foliate scrolls above husk swags, on three ball and claw feet, with a later case 26cm diameter, 614gr (19oz 14dwt) £350-450 454 FOUR GEORGE III SILVER PEPPERETTES, 1785-1816 comprising: one vase-shaped, die-stamped and pierced, engraved with the initials FP, bun-shaped cover, Frenton, Creswick & Co., Sheffield, 1785; another similar, the plain body engraved with initials, Robert Hennell, London, 1786; one with square pedestal foot, later-shaped ovoid body, detachable cover, ball finial, maker’s mark TF, London, 1807; and one with banded and crested beaker-shaped body above a gadroon-bordered pedestal foot, bun-shaped cover, maker’s mark W?, London, 1816 7.5-10.3cm high, 225gr (7oz 4dwt) excluding blue glass liner for the first (4)

452

£400-600 455 A GEORGE III SILVER MUSTARD POT, WILLIAM ELLIOTT, LONDON, 1810 crested cylindrical with gadroon rim, domed lid with ball finial and shell thumbpiece, leaf-capped scroll handle, 8cm high; together with a pair of George III silver salt cellars, John Emes, London, 1818, pedestal navette shaped, reeded rims, worn gilt interiors, 10.5cm long 283gr (9oz) excluding blue glass liner to pot (3) £150-200

455

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456 A GEORGE III SILVER BASKET, CHARLES ALDRIDGE & HENRY GREEN, LONDON, 1771 oval, the sides with a variety of geometric and scroll piercing between beaded curved ribs, the rim cast with berried foliage, the swing handle of interlaced loops, on a pierced rim foot 36cm long, 934gr (30oz) £600-900

458

456

458 A GEORGE III SILVER HOT WATER JUG, WALTER BRIND, LONDON, 1775 plain baluster, beaded rims, ribbed elongated lip, wicker-wrapped handle 28cm high, 704gr (22oz) all in £400-600 459 A GEORGE III SILVER MILK JUG, R. & D. HENNELL, LONDON, 1796 helmet-shaped, engraved with intitials in a bright-cut cartouche, similar borders, 10.5cm high, 110gr (3oz 10dwt); together with the following silver-mounted cut-glass items: a condiment bottle with detachable cover, unmarked, probably London, circa 1760; two condiment bottles with detachable pierced covers, Robert Hennell, London, 1815; a condiment bottle, detachable pierced cover, Birmingham, 1833; also two small inkwells with electroplate mounts (7)

457

457 A GEORGE III SILVER SNUFFER TRAY, PROBABLY THOMAS HANNAM & JOHN CARTER, LONDON, 1765 in-curved rectangular, engraved with a coat of arms, C-scroll handle, the gadroon rim with a shell to each corner, on pad feet 19cm long, 245gr (7oz) £300-400

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£100-200


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460 ~ A GEORGE III SILVER TEA URN, PROBABLY CHARLES WRIGHT (GRIMWADE 3511), LONDON, 1768 chased with flower swags overall between formal leaf borders, the capstan shaped cover with cast flowered bell finial, the gourd shaped body applied with cast beaded leafy scroll handles, the cylindrical spigot applied and cast with leaves and terminating in a bird’s head, with ivory tap handle, the waisted socle spreading to a square base above a gadroon border and openwork scroll rocaille apron and feet 56.5cm high, 3813gr (122oz) all in £1500-2500 461 THREE PIECES OF GEORGIAN SILVER comprising: a cauldron form salt cellar on three feet, gilt interior, Edward Wood, London, 1740; an oval mustard pot, plain except for reeded rims, domed lid, angular handle, with blue glass liner, Peter, Ann & William Bateman, London, 1804; and a plain baluster milk jug on pedestal foot, scroll handle, maker’s mark rubbed, London, 1772, 12cm high silver 288gr (9oz) (3) £150-250 462 TWO GEORGE III SILVER SWEETMEAT BASKETS, LONDON, 1765/68 shaped oval: the earlier with openwork swing handle, embossed with flowers and beading and pierced between, no maker’s mark; the later example engraved with a coat of arms, with pierced rim and twisted swing handle, probably George Baskerville 15cm long, 207gr (6oz) £150-250

460

462

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463 A GEORGE II SILVER SALVER, JOHN HUGH LE SAGE, LONDON, 1746 shaped circular, the applied rim cast and pierced with fruiting vine and bearded bacchanal masks and shells at intervals, on three vine panel supports, the centre later engraved (probably in the mid 19th century) with a coat-of-arms, crest, motto and rococo cartouche within a larger 18th century Rococo engraved cartouche, scratch weight oz34=11 33.5cm diameter, 1012gr (32oz 10dwt) The arms are probably those of Wyndham impaling Peto for Penruddocke Wyndham who was born about 1829 at Great Marlow, Buckinghamshire. He married on 22 September 1852, Mary (1832?-1876), daughter of Sir Samuel Moreton Peto, 1st Bt. (1809-1889) and his first wife, Mary (d. 1842), daughter of Thomas de la Garde Grissell. Mr. and Mrs. Wyndham had four children: two daughters and two boys. He outlived his wife by nearly 35 years, dying at Fulham on 29 July 1910. £800-1200 464 A GEORGE III SILVER DISH STAND WITH BURNER, ANDREW FOGELBERG, LONDON, 1770 formed of two rings with three scrolls between and supports to the central burner, 22cm diameter; together with a George III silver chafing dish and cover, the circular dish with gadroon rim, Augustin Le Sage, London, 1764, 32cm across loop handles, the cover with later presentation inscription and patches, with wood knop, date letter only for 1764 1058gr (34oz) (4)

463

£500-700 465 A GEORGE II SILVER PEPPERETTE, MAKER’S MARK W.P, LONDON, 1754 the baluster body engraved above the girdle with the initials P / A*S, the other side later engraved with the Sheffield crest, bunshaped cover, 10.3cm high; together with another silver pepperette, similar, the underside engraved with the initials LM, maker’s mark apparently JC, London, 1722, 8cm high; and a silver caster, the vase-shaped body later engraved with the crest of Sheffield, maker’s mark badly struck, London, 1769, 13cm high 172gr (5oz 9dwt) (3)

464

£180-220 466 A GEORGE III SILVER SWEETMEAT BASKET, GEORGE BURROWS, LONDON, 1798 oval, with reeded rim and swing handle, with a band of bright-cut decoration above vacant cartouches, wrigglework to the pedestal foot, gilt interior 15cm long, 212gr (6oz 18dwt)

465

£150-250 467 ~ A GEORGE III SHEFFIELD PLATE COFFEE URN, CIRCA 1790 the vase-shaped body on curved supports to the shaped square base with ball feet and central urn finial, applied with high fluted handles and a square-section tap with stained ivory spigot, the capstan-shaped cover with urn finial, with beaded borders and Neo-classical leaf motifs throughout, 39cm high £80-120

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468 AN IRISH SILVER COFFEE POT, GEORGE HODDER, CORK, CIRCA 1760 the baluster body engraved with a contemporary coat of arms within Rococo foliage and above a small banner engraved ‘LE;E. / 1763’, the domed and reeded lid with wrythen knop, cast Rococo spout, underside engraved with scratch weight ‘31oz”0 / C L’, stamped maker’s mark and ‘STERLING’ 27cm high, 973gr (31oz) including wood handle £6000-9000

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469 A GEORGE II SILVER SALVER, GEORGE WICKES, LONDON, 1743 shaped circular, the moulded rim applied with cast shells and foliate scrolls, flat-chased with a broad band of scrolls, rocaille and foliage, engraved with a Rococo foliate cartouche with later mantling and then later engraved with a crest, on four leaf and volute feet, scratch weight ‘85=18’ 48cm diameter, 2515gr (80oz 17dwt) £1500-2500

469

470 A SILVER SALVER, JOHN WHITE, LONDON, CIRCA 1725 shaped circular, centred by contemporary engraving of a coat of arms in a lozenge framed by Venus and Neptune beside scroll foliage on a diaper ground and masks above and below, applied moulded rim, on three dolphin mask feet, modern additions marks to feet and rim, London Assay Office case No.9259, maker’s mark, late 17th century leopard’s head and lion passant marks 41cm diameter, 2212gr (71oz) The arms are those of Venor or Venour of Lincoln and London impaling another. Provenance: The Barons Bagot of Bagot’s Bromley. The salver may have been acquired by a member of the family in the mistaken belief it bore their coat of arms, since the sinister arms appear (but for the colours) to be same as those for Bagot. In 1720 a duty of sixpence per ounce was applied to silver. Silversmiths were frequently tempted to avoid or reduce the tax by recycling old hallmarks, submitting a very much lighter piece of silver For assay and subsequently inserting the marks into a much heavier piece, or simply stamping the piece with their maker’s mark only. Resulting silver items are known as duty dodgers. John White, although known for interesting and high quality silver, is also known to have been a transgressor when it came to paying duty. It would appear with this ‘duty dodger’ salver that John White in about 1725 remodelled a late 17th century piece, adding the border, the feet and his own maker’s mark, to produce the salver we see today. Although this infraction against British hallmarking laws was committed almost 300 years ago, it remains a crime and the salver would be illegal without the modern additions marks. The LAO case number has also been struck in case clarification might be needed in the future. £1200-1800

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471 A SCOTTISH SILVER CHOCOLATE POT, MILNE & CAMPBELL, GLASGOW, CIRCA 1760 the baluster body on four cast scroll and shell supports, embossed with swags of flowers and foliage, the similarly decorated hinged domed cover with detachable eagle finial, replacement fibre handle 1055gr (33oz 18dwt) all in For another Milne & Campbell chocolate pot, Glasgow, circa 1760, with identical eagle finial but on a conventional spreading circular foot rather than the much more unusual three shell feet as on this present pot, see Sotheby’s, New York, 16 April 2005, lot 265. £3000-4000

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473 473 A CHARLES I / COMMONWEALTH SILVER SMALL WINE TASTER, MAKER’S MARK ONLY ATTRIBUTED TO NICOLAS WOLLASTON, LONDON, CIRCA 1650 with six punched bead panels with stylised foliage and flowerheads, engraved to the rim with initials AO, applied with S-scroll handles 7.5cm over handles This maker’s mark, NW, a cinquefoil below in a reeded shaped punch, is commonly attributed to Nicholas Wollaston, free 1633, died 1670, see David M. Mitchell, ‘Silversmiths in Elizabethan and Stuart London’, Woodbridge, 2017, pp.423/424. He lists nine examples of surviving plate with this mark, London, 1646-1661; also see Christopher Hartop, ‘British and Irish Silver in the Fogg Art Museum’, New Haven, CT and London, 2007, no. 10 and Revised Jackson, p.120. £1000-1500

472 472 ~ A GEORGE II SILVER COFFEE POT, RICHARD BAYLY, LONDON, 1738 tapering cylindrical, later engraved with a coat of arms 22cm high, 709gr (22oz) including ivory handle £600-900

474 A SILVER-GILT ‘HISTORISMUS’ RELIQUARY, UNMARKED, PROBABLY GERMAN, SECOND QUARTER 19TH CENTURY in the form of a Medieval censer, the circular body decorated with raised foliage and three protruding bosses, each with a saint’s bust in champleve enamel, rock crystal centre section below a complex structure of cast and pierced crocketted arches and other Gothic motifs, four pendant chains and ring 17.5cm suspended

474

£300-400 475 THREE PIECES OF SILVER FILIGREE WORK, 20TH CENTURY comprising: a small shaped oval tray, 15.5cm long across end handles; an oval bun shaped box on three triple panel feet, 5cm long; and a small box in the form of a grand piano, stamped ‘800’, 5.5cm long (3) £100-200

475

475

476

475

476 AN ENAMELLED ELECTROPLATE NOVELTY PROPELLING PENCIL, EARLY 20TH CENTURY modelled as an Egyptian mummy case with turquoise, blue, green and white enamel details, the top of the head and suspension ring pulling to propel the pencil from the base 4.5cm long including ring £80-120

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478 part

477

479 part

477 A GERMAN SILVER MENU HOLDER, PROBABLY HANAU, CIRCA 1895 cast in low relief flat section as a Renaissance lady with one hand to her breast, the clip behind her head, easel stand, import marks for Berthold Muller, London, 1897 12.5cm long £80-120 478 A GROUP OF THREE GILT-METAL AND ENAMEL CIGARETTE CASES, AUSTRIAN, FIRST HALF 20TH CENTURY all oblong, one with a view of Warwick Castle to lid, one with blue guilloché enamel lid, and one with lozenges of guilloché and opaque enamel to lid; together with a enamelled gilt-copperelectrotype case, French, circa 1860, with gilt scroll work against enamel grounds; and a gilt-metal novelty cigarette case, early 20th century, in the form of a rectangular purse 10.5cm longest (5) £70-100 479 THREE SILVER AND ENAMEL CIGARETTE CASES, 20TH CENTURY all oblong, one with lilac guilloché enamel to the lid, base engine turned, Austrian, import marked for London, 1927, one covered in pink guilloché enamel, maker’s mark R.N, Birmingham, 1930, and one enamelled to the lid with a spray of roses on a cream guilloché ground, maker’s mark indecipherable, Vienna, early 20th century, 900 standard; together with a parcel-gilt-silver cigarette case, Adie & Lovekin Ltd., Birmingham, 1930, of oblong pocket fitting form, covered in a variety of engine-turning, the lid with monogram to corner ‘JB’ all 8.5cm long approximately, 470gr (15oz) all in (4)

480 480 A GEORGE III SILVER-GILT-MOUNTED MEERSCHAUM PIPE, JOSEPH ASH, LONDON, 1808 the mounts with borders of overlapping discs and beading, further decorated with a variety of bright-cut engraving, the hinged wind-cap with Greek key to the sides, the top pierced with ovals surrounding a roundel with stylised foliage between, the stem mount with scroll foliate and vermiculated bands, plain bulbous L-shaped meerschaum bowl, with double chain to the perhaps associated long stem of turned horn with a corded section below the mouthpiece, stem probably German or Austrian late 19th century 73cm long overall £400-600 481 ~ THREE VICTORIAN SILVER CARD CASES, ALL BIRMINGHAM comprising: the first of slim rectagular form, engraved with the initials RC and all over engraved with scrolling foliage and flowers on a hatched ground, Francis Clark, 1838, 7.cm high; another, shaped rectangular, engraved with interlaced strapwork, flowers and leaves over linear grounds, maker’s mark D&M, 1870; and a silver card case/aide memoire, with small propelling pencil, diagonally fluted and alternately engraved with foliage, the interior lined in dark blue watered silk with thin ivory tablet, maker’s mark D&LS, 1880; together with and a small Edwardian silver inkwell, capstan shaped, ribbon-tied reeded borders, the hinged lid inset with piqué placé tortoiseshell, loaded, with glass liner, Henry Matthews, Birmingham, 1908, 8.6cm diameter (4) £100-150

£150-250

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482

482 A GROUP OF SIX SILVER WINE LABELS (OR BOTTLE TICKETS) comprising: an Irish George III example, incised for PORT, rectangular banner below an openwork scroll surmount, with chain, maker’s mark only twice for Samuel Teare, Dublin, circa 1775; a pair of George III examples, shaped oval, incised for SHERRY and MADEIRA on a scroll over stamped baskets and barrels surrounded by grapes and vine leaves, one with chain, Wardell & Kempson, Birmingham, 1810; a George III example, oval, incised for SHERRY, reeded rims, with chain, Charles Rawlings, London, 1818; a Victorian example, shaped oval, incised for SCOTCH surrounded by fruit-laden vines and above a shell, with chain, Holland, Aldwinckle & Slater, London, 1898; and a Victorian example for PORT on a shaped cartouche with scrolls and rocaille, with chain, Robert Pringle & Sons, Chester, 1899 largest 7cm wide Provenance for the two Port labels: Harveys Wine Museum, sold Bonhams, London, 1 October 2003, lots 358 and 468.

484

£300-400

484 ~ A FRENCH TORTOISESHELL CARD CASE, PARIS, CIRCA 1855 oblong, the lid set with a glazed oval miniature on ivory of a young woman with exaggerated décolletage, her brown hair with a circlet of daisies, the tortoiseshell panels embellished with silver piqué foliage and scrolls, the base with a vacant cartouche, the red leather interior and concertina sides on plain gilt-metal rim mounts 11cm long £150-250 485 A FRENCH SILVER SNUFF BOX, PIERRE LOUIS VIARDOT, PARIS, 1738 cartouche shaped, chased with figures and small animals amidst scrolling strapwork, discharge mark of Louis Robin 6.5cm long

483

£300-500 483 A PAIR OF VICTORIAN SILVER NOVELTY PILL BOXES, SPINK & SON, LONDON, 1895 each realistically modelled as a brazil nut, gilt interiors 5cm long £400-600

486 A GEORGE IV SILVER DOUBLE SNUFF BOX, JOSEPH WILLMORE, BIRMINGHAM, 1820 oblong with canted sides, engine-turned, the lid with a vacant rectangle and flush hinge to top surrounded by an applied foliate border, the base flush hinged to the side, gilt interiors 7.5cm long £150-250

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489

487 487 A SILVER VINAIGRETTE, UNMARKED, PROBABLY ENGLISH, CIRCA 1845 rectangular, engine-turned and engraved with foliage, the lid applied with a Roman micro mosaic view of the Pantheon, gilt interior with scroll foliage and flowerheads grille 4.2cm long £300-500

489 A GOLD VINAIGRETTE, UNMARKED, PROBABLY ENGLISH, CIRCA 1830 oval, with engine-turned base and sides, the chased border to the hinged lid enclosing a (damaged) Roman micro mosaic of dancing peasants, after a print by Bartolomeo Pinelli (1771-1835), interior with scroll foliate and engraved grille 4.2cm long £700-1000

488 490

488 A GEORGE III SILVER ‘EGYPTIANESQUE’ VINAIGRETTE, SAMUEL PEMBERTON, BIRMINGHAM, 1805 flat rectangular, the base with engraved key pattern border, the lid engraved with Egyptian inspired motifs of animals and symbols centred by a winged sun disk on a pricked linear ground, gilt interior with grille with a flower flanked by leafy branches 4.6cm long For a Birmingham ‘Egyptianesque’ snuff box, William Pugh, 1808, see John Culme, ‘British Silver Boxes’, Woodbridge, 2015, fig.226, p.201 £250-350

491

490 A GEORGE III SILVER VINAIGRETTE, ROGER BIGGS, LONDON, 1798 oval, bright-cut foliate and wrigglework engraved, the lid with a vacant rectangle, gilt interior with simple pellet pierced grille 3.4cm long excluding suspension ring £200-300 491 A VICTORIAN SILVER AND AGATE SET VINAIGRETTE, FREDERICK MARSON, BIRMINGHAM, 1873 oval, shaped incurved sides foliate engraved, the base engine-turned around a vacant cartouche, the lid set with a polished agate pebble with pink, red and mossy mustard inclusions, gilt interior with scroll foliate grille 3.8cm long excluding suspension ring £200-300

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492

493

495

492 A GEORGE IV SILVER-GILT VINAIGRETTE, NATHANIEL MILLS, BIRMINGHAM, 1828 rectangular with canted sides, the lid richly chased with flowers and foliage, the base engine-turned, chased borders, gilt interior and grille 4.3cm long

495 A VICTORIAN SILVER ‘CASTLETOP’ VINAIGRETTE, EDWARD SMITH, BIRMINGHAM, 1840 rectangular, with engine-turned base, the lid with die-stamped view of Abbotsford within a chased border, the gilt interior with flower and leaf grille 4.2cm long

£350-450

£400-600

493 A GEORGE IV SILVER-GILT VINAIGRETTE, JOHN BETTRIDGE, BERMINGHAM, 1827 rectangular, the lid and base with foliage in relief, the interior with geometrically formal leaf grille, interior lid inscribed: ‘W.B to L.B’ 4cm long

496 A VICTORIAN SILVER VINAIGRETTE, FREDERICK MASON, BIRMINGHAM, 1877 shaped oblong, the base and sides engraved with foliage, the lid engraved with a view of the Burns Memorial, gilt interior with later grille 4.7cm long

£300-400

£300-400 494 A VICTORIAN SILVER VINAIGRETTE, GEORGE UNITE, BIRMINGHAM, 1872 shaped oblong, engraved with Gothic tracery and foliage surrounding a vacant cartouche to the lid and a flowerhead to the base, the gilt interior with scroll foliate grille 5.2cm long £200-300

497 A VICTORIAN SILVER VINAIGRETTE, NATHANIEL MILLS, BIRMINGHAM, 1846 shaped oblong, initialled and engine-turned base, the lid engraved with a harbour scene, gilt interior complete with scroll foliate pierced grille 4.6cm long £250-350

494

497

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498 A VICTORIAN SILVER VINAIGRETTE, RAWLINGS & SUMMERS, LONDON, 1845 rectangular, engraved with foliage, flowers and diaperwork, initialled EH to the cartouche, the underside centred by a pastoral vignette, the gilt interior with scroll foliate grille 3.8cm long

498 499

£250-350

499 A VICTORIAN SILVER VINAIGRETTE, EDWARD SMITH, BIRMINGHAM, 1863 shaped rectangular, engraved with a tartan ground, a vacant cartouche to lid, gilt interior with symmetric scroll grille 3.7cm long £120-180

502

500 500 A VICTORIAN SILVER VINAIGRETTE, EDWARD SMITH, BIRMINGHAM, 1846 shaped rectangular, swirl engine-turned within applied chased foliage, engraved with the initials EB, gilt interior with scroll foliate grille 3.8cm long excluding suspension ring to side

502 A VICTORIAN SILVER VINAIGRETTE, NATHANIEL MILLS, BIRMINGHAM, 1837 rectangular, engraved with the initials MR on an engraved tartan ground, plain borders, gilt interior with foliate scroll grille 3.9cm long £80-120

£100-150 501 A GROUP OF FOUR GEORGIAN SILVER VINAIGRETTES, BIRMINGHAM, all bright-cut decorated and gilt interiors with grilles, comprising: one canted oblong, later initialled HES, Joseph Willmore, 1814, 2.7cm long; one cut cornered rectangular and with curved base, initialled AMcD, Samuel Pemberton, 1817, 2.5cm long; one cut cornered rectangular, Cocks & Betteridge, 1806, 2.4cm long excluding suspension ring; and one rectangular, Matthew Linwood, 1811, 3cm long

503 A GROUP OF FOUR VICTORIAN SILVER VINAIGRETTES, BIRMINGHAM all engine-turned and with gilt interiors complete with grilles, comprising: one rectangular, vacant shield, Edward Smith, 1840, 2.8cm long; one shaped rectangular, vacant shield, Francis Clark, 1845, 2.1cm long excluding suspension ring; one shaped oval with vacant oval and one shaped rectangular initialled AC, both George Unite, 1868 and 1874, 3.1cm and 2.5cm long respectively excluding suspension rings (4)

£250-350

£250-350

501

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506 A GEORGE IV SILVER-GILT VINAIGRETTE, JOHN LAWRENCE & CO., BIRMINGHAM, 1829 oblong, engine-turned, the lid with vacant cartouche, with applied foliate borders and reeded sides, 3.2cm long; together with a Victorian silver vinaigrette, Joseph Willmore, Birmingham, 1840, engine-turned rectangular, reeded sides, the lid engraved with the initial M, the gilt interior with grille with vase of flowers, 3.7cm long; and a William IV silver vinaigrette, John Lawrence & Co., Birmingham, 1832, reeded rectangular, gilt interior with scroll foliate grille, 3.1cm long (3)

506

£350-450

507

504 A VICTORIAN SILVER VINAIGRETTE, WRIGHT & DAVIES, LONDON, 1867 rectangular, engine-turned with plain borders, engraved with the initials SE in monogram, the gilt interior with simple scroll foliate grille, 3.7cm long ; together with another Victorian silver vinaigrette, Edward Smith, Birmingham, 1844, shaped oblong, engine-turned, vacant cartouche, gilt interior with pellet and scroll foliate grille, 3.4cm long; and another silver vinaigrette, Hilliard & Thomason, Birmingham, 1901, shaped oval, foliate engraved and with initials JLJ, gilt interior with scroll foliate grille, 3.3cm long excluding suspension ring (3)

507 A GEORGE IV SILVER VINAIGRETTE, NATHANIEL MILLS, BIRMINGHAM, 1826 rectangular, engine-turned, chased and reeded borders, engraved with the initials CB (inverted), the gilt interior complete with scroll foliate grille, 3.5cm long; together with another George IV silver vinaigrette, Joseph Willmore, Birmingham, 1825, oblong, brightcut decoration, vacant rectangle and applied vine leaf border to lid, gilt interior with pellet pierced grille, 3.2cm long (2) £200-300

508

£250-350 505 A VICTORIAN SILVER VINAIGRETTE, NATHANIEL MILLS, BIRMINGHAM, 1839 rectangular, the lid with wrigglework scales surrounding a vacant rectangle, with incurved sides, gilt interior with scroll foliate grille, 3.6cm long; together with a Victorian silver vinaigrette, Edward Smith, Birmingham, 1843, rectangular, bright-cut scroll foliate engraved, initialled MC, incurved sides, gilt interior with scroll foliate grille, 3.5cm long; and a George III silver vinaigrette, John Shaw, Birmingham, 1809, oblong, worn bright-cut engraving, gilt interior with flower posy pierced grille, 3.2cm long (3) £180-220

509 508 A GEORGE IV SILVER VINAIGRETTE, WILLIAM SIMPSON, BIRMINGHAM, 1827 rectangular, lid with raised leafage on a hatched ground surrounding the initials AD, incurved sides, engine-turned base, gilt interior with scroll foliate grille; together with another George IV silver vinaigrette, T. & W. Simpson, Birmingham, 1822, rectangular, foliate bright-cut decorated on a pricked and linear ground, initialled HP, applied foliate rim, gilt interior with scroll foliate grille each 3.3cm long (2) £250-350

504

505

509 A GEORGE IV SILVER VINAIGRETTE, LEDSAM & VALE, BIRMINGHAM, 1827 rectangular, reeded sides, lid and base bright-cut with leaves on a pricked and linear ground enclosed by applied foliate borders, the lid initialled EA, gilt interior with scroll foliate grille, 2.7cm long; together with a George IV silver vinaigrette, Thomas Shaw, Birmingham, 1824, rectangular, reeded sides, bright-cut decoration, the lid also applied with a foliate border, gilt interior with scroll foliate grille, 2.6cm long; and a George III silver vinaigrette, Joseph Taylor, Birmingham, 1818, rectangular, engine-turned, later intialled EC, applied foliate large thumbpiece, gilt interior with die stamped grille, 3.1cm long excluding suspension ring (3) £250-350

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511

510 510 ~ AN IVORY BRISE FAN, ‘ENTERTAINMENTS’, FRENCH OR ENGLISH, CIRCA 1740 the ‘leaf’ pierced and carved with a garden scene of a lady riding a donkey under a canopy flanked by companions and musicians, surrounded by exotic birds, diaper panels and flowers, the guards each with a lady being serenaded by a musician below, with nacre detail by the paste-mounted pivot pin, with a tubular card case and cover, inscribed in ink ‘HODGSON Cheapside’ guard 27cm long Provenance: Christie’s South Kensington, London, 20 May 1997, lot 96 £400-600 511 ~ AN IVORY FAN, ‘THE BANQUET OF THE GODS’, POSSIBLY ITALIAN, CIRCA 1710 the double paper leaf painted to one side with the Olympian gods seated at a banquet, Zeus and Hera at the front, a coastal landscape with an obelisk and fountain to the backgound, probably later picked out in gilding, the reverse with a pair of lovers and two female attendants grouped by an urn on a pedestal in an arboreal setting, with plain ivory gorge, the guards applied with mother-of-pearl figures (one figure missing) and piqué point ornament, inset nacre detail by the paste-mounted pivot pin, with a tubular card case (cover lacking) guard 27cm long £400-600 512 ~ TWO CHINESE IVORY FANS, PROBABLY CANTON, CIRCA 1900 each with a leaf of white duck feathers, one painted with two parrots perched on hibiscus and peony branches below a border of butterflies and further birds amidst flowers, the guards deeply carved with birds and flowers, the sticks low relief carved with similar motifs on a finely pierced linear ground, the other painted with a pair of pheasants amidst peonies and rocks, the guards deeply carved with figures amid garden pavilions, the sticks relief carved with similar motifs on a finely pierced linear ground, with silk tassel to the pivot, each mounted in a glazed giltwood modern frame frames 35 x 53cm

512

£200-300 513 ~ A COMPOSITION PORTRAIT BOX AND COVER, FRENCH, CIRCA 1800 the cover set with a late 19th century miniature of a young woman in a white chemise, bearing signature to right ‘Aubry fecit par? ZV’, on ivory, the gold mount with interlace decoration, the maroon composition body covered in beading on a grille-work ground, the interior tortoiseshell lined, with associated red leather case 7.5cm diameter £180-220

513

514

514 ~ A FRENCH PORTRAIT MINIATURE OF A CHILD, ATTRIBUTED TO JEAN-BAPTISTE-JOSEPH LE TELLIER (1759-AFTER 1812), CIRCA 1790 with short fair hair wearing a white chemise tied with a blue band, on ivory, gilt-metal frame with suspension loop 4.7 diameter £80-120

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515 ~ A GEORGE III SILVER PILL BOX, SAMUEL PEMBERTON, BIRMINGHAM, 1796 oblong, bright-cut and initialled AL within a shield, 3.2cm long; together with a Victorian silver and cut glass vinaigrette, unmarked, late 19th century, the circular glass body with screwon foliate stamped silver cover hinging open to the fixed grille, 3cm high; and a Victorian turned ivory vinaigrette, mid 19th century, thimble like, with screw cover revealing a pellet pierced grille and screw-in terminal for the reservoir, 3.5cm long (3) £100-200 516 A GROUP OF FIVE SMALL GEORGIAN SILVER VINAIGRETTES all without initials but with gilt interiors and simple pierced grilles, comprising: one cut cornered rectangular, bright-cut decorated, curved base, Samuel Pemberton, Birmingham, 1806, 1.9cm long; one plain, also with curved base, 2.2cm long, and one rectangular, bright-cut decorated, 2cm long, both Joseph Willmore, Birmingham, 1806 and 1819 respectively; and two rectangular bright-cut examples, 2cm and 2.5cm long, both John Betteridge, Birmingham, 1820 and 1828 respectively (5) £250-350

518

518 A GOLD SNUFF BOX, GERMAN, EARLY 19TH CENTURY rounded rectangular, the lid later set with an Italian micro-mosaic oval of a spaniel beside a pond, chased with a surround of trailing roses and vines on a hatched ground and outer border of further roses, the sides engraved with stiff leaf borders and patera to the corners, the underside matching the lid but centred by a rose gold oval engraved with a basket of flowers, interior with double skinned lid and struck twice with makers marks of scrolling initials to base 7.8cm long, 84.5gr all in £1000-1500

517

519 517 A GROUP OF FIVE GOLD AND HARDSTONE FOB SEALS, ENGLISH AND FRENCH, LATE 18TH CENTURY AND LATER the first of tassel form, the carnelian matrix engraved with the initials JG and motto: Confide recte Agens; the second with a pivoted faceted citrine supported by two filled gold caryatids, part missing; and three examples, one with citrine and two with carnelian matrix, each with openwork gold handle and blank matrix 4cm to 6cm high (5)

519 ~ AN IVORY AND GOLD PIQUE-WORK SNUFF BOX, FRENCH, CIRCA 1715 oval, the lid covered in piqué point trellis enclosing lozenge and quatrefoil motifs, the base with a diaperwork oval of the same pattern and two outer borders, with gilt-metal rim mounts and foliate thumpiece, the interior lid painted with a girl pulling up her chemise to bathe in an ornamental pool with a peacock perched on the balustrade behind her, in a later red leather case 8.8cm long

£700-1000

£700-1000

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520

521

520 AN ‘EMAIL DE SAXE’ SNUFF BOX, PERHAPS FROMERY WORKSHOP, BERLIN AND / OR PARIS, CIRCA 1745 rectangular, the white ground covered with raised gilt tangled rope and entwined branches embellished with translucent enamel leaves and flowers inhabited by a bird, a fox and a butterfly to the lid, similarly decorated to the sides and base, the reeded silver rim-mounts with charge and discharge marks for Antoine Leschaudel, Paris, 1744-50, also with French ‘swan’ control marks 8.5cm long Traditionally all enamel boxes with encrusted gold-foil decoration have been catalogued as German, often particularly attributed to the Fromery Workshop of Berlin. Given that quite a number of these unsigned boxes have French silver mounts, such an attribution is now questioned. Since no suitable French enamelling workshops have been identified to date however, it has been suggested that these boxes may have been made without mounts in Germany, for import by French marchandsmerciers, who would have had the silver mounts fitted in Paris. For further discussion on the subject, see the entry on a box at The Metropolitan Museum, New York, Accession No.1975.1.1551. Also see Bonhams, London, 5 June 2013, lot 59, for two similarly decorated boxes with French mounts.

521 A GERMAN ENAMEL SNUFF BOX, WITH FRENCH SILVER MOUNTS, PARIS, 1750-56 rectangular, the white ground painted a central exotic bird and surrounding panels of pansies, blueberries and other fruits and flowers, each framed by curved leafy tendrils in raised gilding, the interior lid with a floral spray, discharge mark of Julien Berthe 7.5cm long See footnote to previous lot. £400-600 522 AN ‘EMAIL DE SAXE’ BOX, PERHAPS FROMERY WORKSHOP, BERLIN, CIRCA 1735 octagonal, the lid with curved lobes with raised gilding, with gilt flowering branches or landscape vignettes between, the sides further gilt detailed with floriate swags alternating with riverine vignettes, the base painted with a harbour scene in a roundel, the silver gilt mounts probably later and later French ‘swan’ control marks, the interior silver lined, with a later black suede case 7cm widest £700-900

£400-600

522

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523 ~ A TORTOISESHELL AND GOLD PIQUE-WORK BOX, FRENCH, CIRCA 1740 the bun shaped ‘bôite à ballon’ finely worked with piqué point diaperwork grounds and piqué posé Rococo scrolls to hinged lid and base 7cm diameter Literature: illustrated and referenced in Howard Ricketts’ ‘Objects of Vertu’, London, 1971, p.62 £1800-2200

523

524 AN AMERICAN TWO-COLOUR GOLD CIGARETTE CASE, CARTIER, NEW YORK, 1940s rectangular with rounded corners, the alternating rose and yellow gold basket woven bands forming a lozenge pattern, polished gold thumbpiece, the interior fitted with a sprung clip pierced with berried laurel, interior stamped ‘Cartier 14K’, numbered 4015 14.5cm long, 173gr all in

524

£3500-4500

525 A FRENCH JEWELLED, GOLD AND ENAMEL CIGARETTE CASE, ALFRED LANGLOIS FOR CARTIER, PARIS, CIRCA 1915 rectangular with rounded corners, the lid and base with black enamel stripes on a polished gold ground, the thumbpiece set with graduated diamonds, the interior fitted with a vesta compartment with striker, maker’s mark, French 1838-1919 18 carat gold control mark, signed Cartier Paris, numbered 5113 9cm long, 122.5gr all in

525

Alfred Langlois first entered a mark in 1902. A specialist box maker, his workshop was originally at 3 Rue Normandie, later moving to 243 Rue Saint Martin. He supplied very high quality jewelled and enamelled boxes to the top jewellers in Paris such as Boucheron and Van Cleef & Arpels as well as Cartier. He is credited by some as the inventor of the invisible gemstone setting or ‘Mystery Set’ as popularised by Van Cleef & Arpels. £2000-3000

526 A GEM-SET SILVER-GILT DURBAR ELEPHANT HOWDAH AND CAPARISON, INDIAN, TWENTIETH CENTURY mounted on a resin figure, set with seed pearls, rubies, emeralds and other gemstones, with a cast figure of a maharajah with gem-set turban seated under the canopy, a mahout driving the beast with a goad, on a cut-cornered rectangular black wooden base 18cm high For another example, see Sotheby’s, Paris, 17 May 2011, lot 11 £800-1200

526 140

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527 A FRENCH GOLD-MOUNTED GLASS SCENT FLASK, JEAN DUCROLLAY, PARIS, 1757 cut glass drop-shaped body, the octagonal gold collar engraved with alternating basket weave and stylised foliage, the finial of the chained stopper pierced with two different flowers, charge and discharge marks of Eloi Brichard 12cm long £1000-1500

527 528 528 ~ AN ENGLISH GOLD-MOUNTED AGATE ETUI, LONDON, CIRCA 1760 the tapering oblong body applied with panels of blue-grey banded agate, the pierced gold mounts with scrolls and foliage on a matted ground, with a rose diamond pushpiece, the interior fitted with associated implements comprising: ivory slips, a mother-of-pearl mounted knife, a gold ear-wax scoop and a gold pencil 10cm long (5) £600-900

529 TWO GERMAN GOLD-MOUNTED QUARTZ NEEDLE CASES, PROBABLY DRESDEN, MID 18TH CENTURY one tapering oval engraved with wavy bands, the other of stylised baluster form and rectangular section, each with rosecut diamond pushpieces 7.5 and 8.5cm long £500-800 530 A STAFFORDSHIRE ENAMEL BODKIN CASE WITH SCENT FLASK, CIRCA 1765 cylindrical, the top part of the cover forming a scent compartment, the white-ground with raised white dot ornament and painted in gilt scroll reserves with pastoral vignettes and the motto ‘sincere en amitié’, with gilt-metal rim mounts and rosette-headed screw-in scent stopper 11.5cm long £350-450

530

529

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533 AN EDWARDIAN INLAID MAHOGANY ‘DIRECTOR’S’ BRACKET CLOCK, CIRCA 1905 the rectangular case with rounded arch top, decorated with satinwood crossbanding and scrolling foliage inlays, the canted corners inlaid with stylised leaf pendants, silkbacked fretwork panels to the sides and silk-backed metal diaperwork door to rear, the Roman and Arabic 8½ in. silvered dial with subsidiary chime/silent, regulation and Whittington/Westminster chime dials above, all on a gilt ground of engraved scroll foliage, the substantial triple chain fusee movement with rise and fall regulation, striking the Whittington quarter chimes on eight bells and the Westminster quarter chimes on four gongs, the hour struck on a fifth gong, with pendulum, winder and case key 62cm high £800-1200

533

531 A VICTORIAN GILT-METAL-MOUNTED WALNUT BRACKET CLOCK, ROSKELL & CO., LIVERPOOL, CIRCA 1895 the domed rectangular case with acorn finials to the corners and a further finial to the central dome, on splay bracket feet, mounted to the base with a silvered shield engraved with a presentation inscription, the engraved gilt square dial with Roman numeral silvered chapter ring signed ‘ROSKELL & Co. / LIVERPOOL’, the eight-day twin fusee movement striking on a gong, with pendulum and key 41cm high

531

The inscription reads: ‘Rev. S. Hartley / A TOKEN OF ESTEEM / FROM SAWREY / July 1895’ (Rev. Samuel Hartley was vicar of St. Peter’s, Sawrey in the Lake District, from 1875 to 1895.) £400-700 532 A FRENCH MAHOGANY BRACKET CLOCK, JAPY FRERES ET CIE, BEAUCOURT, LATE 19TH CENTURY the rectangular break arch case surmounted by a brass handle, with brass quarter moulding to edge and recessed panels, red silk backed brass fret panels to sides and back, white enamel circular dial with Roman numerals, eight day movement striking the hours and half hours on a gong, stamped with Japy Frères roundel and numbered ‘25249 / 72’, the pendulum with Thieble bob, with winder and case key 39.5cm high with handle raised £200-300

532 142

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534

535

534 A MAHOGANY BRACKET CLOCK, EARLY 20TH CENTURY the arched case with brass ball finials and details to the stop-fluted quarter columns, on brass bun feet, inlaid with stringing and a lozenge motif below the circular white dial with Arabic numerals, eight day French movement striking the hours and half hours on a gong, stamped ‘GB&E’, with pendulum and key 36.5cm high £100-200 535 A FRENCH FOUR-GLASS TABLE CLOCK, LATE 19TH CENTURY the oval typical case with curved and bevelled glass, the white enamel dial with recessed visible Brocot escapement and Roman numerals, the eight-day movement striking the hours and half hours on a bell, unsigned, numbered 9503, with chamfered brass pendulum, with key and watch key for the suspension regulator 34.5cm high £400-600

536 536 AN ENGLISH MAHOGANY MANTEL CLOCK, F.W. ELLIOTT LTD., CROYDON, CIRCA 1960 the stepped dome mid 18th century style rectangular case with gilt-metal appliques surmounted by a swing handle, the square frosted gilt dial with applied seraphim spandrels, the silvered chapter ring with Roman numerals and night silencing switch at ‘3’ o’clock, signed ‘AN / Elliott / CLOCK / MADE IN ENGLAND’, the Elliott 8day three train movement with French 7 jewel platform escapement and with night silencing between 11pm and 7am, striking Westminster or Whittington chimes on eight rod gongs, the movement signed ‘F.W. ELLIOTT LTD / CROYDON. ENGLAND / 7 (SEVEN) JEWELS / UNADJUSTED’ and numbered 22580, with its T-bar winder 32cm high with handle raised £150-250 537 A GERMAN DARK STAINED BEECHWOOD BRACKET CLOCK, WINTERHALDER & HOFMEIER, BLACK FOREST, CIRCA 1900 the architectural case with pediment and fluted pilasters, the square dial with Roman numerals to the silvered chapter ring and seraphim to the spandrels, the eight day movement striking the hours and quarters on two gongs, with pendulum and key 41.5cm high

537

£100-200

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538 A GERMAN GILT-METAL-MOUNTED WALNUT BRACKET CLOCK, LENZKIRCH CLOCKMAKING COMPANY, BLACK FOREST, CIRCA 1895 the rectangular case with pineapple finials and a pagoda top surmounted by an anthemion motif, the arched dial with applied foliate scrolls surrounding the Roman numeral silvered chapter ring, eight day movement striking the hours and quarters on two gongs inscribed ‘52 / LENZKIRCH / A.G. / U. / 1 Million / 22’, with pendulum, key, case key and watch key for the speed regulator 38.5cm high £400-700 539 A NICKEL GOLIATH WATCH IN PIGSKIN CASE, RETAILED BY GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, CIRCA 1910 with gilt plate eight day keyless Swiss movement, the white enamel dial with luminescent painted Arabic numerals and a subsidiary seconds dial just below centre, inscribed ‘8 DAYS’, the pocket watch form plain circular case with engine-turned interior numbered to back and cuvette 161376, the leather oblong case with easel strut, blue silk and velvet lined with gilt retailer’s stamp watch 13.5cm diameter, case 19cm high

538

£250-350 540 A VICTORIAN GOLD HUNTER POCKET WATCH WITH GOLD CHAIN, CIRCA 1874 AND LATER later fitted with a Swiss keyless wind 15 jewel movement, the white enamel dial with Roman numerals and subsidiary seconds dial signed ‘HARDY BROS Ltd. / SYDNEY, BRISBANE / MELBOURNE / MADE IN SWITZERLAND’, the case with worn engine-turning, milled edge and engraved initials, case and dust cover 18 carat gold hallmarked Vine & Thompson, London, 1874, 4.8cm diameter, the curb link chain terminating in snap hooks, stamped ‘18ct’, one snap hook ‘9ct’, 47cm long (2) £800-1200

539

541 A VICTORIAN SILVER ‘MARINE CHRONOGRAPH’ POCKET WATCH, CIRCA 1885 key wound English three-quarter plate lever movement numbered 53190 and signed ‘P. Stone. / Manchester’, white enamel dial with sunken centre, outer track divided into 1/5th second intervals numbered up to 300 in blocks of 25, inner track with black Roman numerals and tramline minute register, heavy silver case with stop slider in the band at ‘2’, inner curvette with twin winding and setting apertures and engraved escutcheon back, hallmarked William Hammon (of Coventry), Chester, 1885, with key, 6cm diameter; together with a Victorian silver watch chain, William Walter Cashmore, Birmingham, 1893, each massive curb link with lion passant hallmark, with its pendent T-bar, also with an associated silver escutcheon with vacant shield, 40.5cm long excluding escutcheon (3) £300-500

541

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542 A VICTORIAN GOLD HUNTER POCKET WATCH, G.E. FRODSHAM, CIRCA 1881 keyless wind English frosted gilt three-quarter plate lever movement signed ‘G.E.Frodsham / 31 Gracechurch Street, London’ and numbered 9898, white enamel dial signed ‘G.E. Frodsham 31 Gracechurch Street / London’ with black Roman numerals with dot five minute divisions and blued hands, subsidiary seconds at 6, plain gold case and cuvette 18 carat gold hallmarked John Martin, London, 1881 4.8cm diameter £1200-1800

542

543 BUREN FOR H. WILLIAMSON LTD.: A GOLD HALFHUNTER POCKET WATCH, SWISS, CIRCA 1924 keyless wind fifteen jewel movement signed Buren, the white enamel dial with Roman numerals, subsidiary seconds dial and blued steel hands, the case with black enamel Roman numerals surrounding the glazed aperture, cuvette inscribed ‘Dad / from / Monica and Chriss / Dec. 7th 1934’, back cover and cuvette numbered 14559, 9 carat gold import marks to case and cuvette for William Henry Sparrow, London 1924 4.5cm diameter £300-400

543

544 A WOOD ‘DOMINO’ TRAVEL CLOCK, VAN CLEEF & ARPELS, PARIS, 1970s Swiss manual wind movement, silvered oblong dial with applied gilt ‘12’ and ‘6’ numerals and baton indicators between, signed ‘VAN CLEEF / & ARPELS’, stainless steel casing inscribed to reverse ‘VARIAN CASINO’, the domed wood case hinged to fold into the oblong box with sliding lid, wood case and box each numbered ‘58’, sliding lid numbered ‘D9901B64’, with its original brown suede pouch gilt stamped to the interior ‘VAN CLEEF & ARPELS’ below a stylised view of the Place Vendôme wood box 4.9cm long (2) The Varian Hotel Casino, on the shores of the Karaj dam, about 40 miles north of Tehran, thrived under the aegis of the Shah in the febrile atmosphere of 1970s Iran, until the ‘79 revolution brought an end to the party. £300-400

544

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547 547 CULTURED PEARL, GARNET AND RUBY BROOCH, CIRCA 1965 of abstract leaf design claw set with cultured pearls, circular cut garnets and a ruby, one stone/pearl deficient, 18 carat gold import marks for Birmingham 1965 14.4gr all in £300-400

548

549

550

545

546

551 545 LADY’S GOLD AND DIAMOND WATCH, ZENITH the square white face with silver baton indicators and hands within a surround of single-cut diamonds on a graduated bi-coloured gold bracelet strap length approximately 190mm £300-400 546 OMEGA: A LADY’S GOLD BRACELET WATCH, 1973 manual wind 17 jewel movement, circular silvered dial with gold baton indicators and hands, on a tapering woven bracelet strap with deployant clasp, dial, movement and case signed, 9 carat gold hallmarks for Omega Watch Co., London bracelet length approximately 150mm, case 17mm diameter £150-200

548 PAIR OF AQUAMARINE EARCLIPS each designed as a row of three claw set oval aquamarines £100-200 549 GOLD, DIAMOND AND SYNTHETIC VERNEUIL RUBY RING, AUSTROHUNGARIAN, CIRCA 1910 the carved oval synthetic ruby mounted with a central collet set circular diamond in an openwork ovoid bezel between spear head shoulders on a reeded shank, 14 carat Viennese gold mark for 1866-1922, 9 carat gold London assay mark size T £80-100 550 PAIR OF FOURTEEN CARAT GOLD CUFFLINKS, CIRCA 1973 each designed as a bark textured cylinder, with swivelling baton fittings, retailer’s London import hallmarks for Carrington & Co. Ltd., in their Carrington & Co. box 11.8gr £200-300

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554 MULTI GEM TORSADE NECKLACE designed as a graduated twisted length of oval collet set gemstones including: blue topaz, citrine, garnet and amethysts length approximately 440 mm £800-1000

555 554

553

556

552

557 551 NINE CARAT GOLD, GARNET AND DIAMOND BRACELET designed as a ribbon of mesh links claw set with brilliant-cut diamonds and circular garnets, London import marks for 9 carat gold, JBs makers mark, length approximately 190mm, 18.6 gr

555 AQUAMARINE PENDANT collet set with an oval aquamarine on a fine back chain length approximately 400mm

£250-300

556 PAIR OF PENDENT BLUE TOPAZ EARRINGS each cushion shaped mixed cut blue topaz in a girdle mounted collet setting

(Illustrated opposite page)

552 MULTI GEMSTONE NECKLACE the fine chain spectacle set at intervals with mixed cut multi coloured gem stones including: zircon, hematite, amethyst, quartz and garnets length approximately 470mm £250-350 553 AMETHYST PENDANT the oval mixed cut amethyst girdle mounted in a collet setting

£200-300

£200-300 557 GARNET BRACELET designed as a graduated cascade of collet-set oval garnets length approximately 200mm £300-400

£150-200

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563

562

560

561

558

559

559 JAEGER-LECOULTRE, REVERSO CLASSIQUE REF.250.5.08: A GOLD AND STEEL BRACELET WATCH quartz movement, silvered signed rectangular dial with Arabic numerals and inner minute track, blued steel hands, gold sliding case with plain reverse and reeded ends in a polished steel mount, case back signed and numbered 250.5.08 and 184114, brick link steel and gold bracelet with JL monogrammed double folding clasp, with four additional loose links for bracelet case 23mm wide, length approximately 190mm with 30mm of additional links

558 ~ JAEGER-LECOULTRE, REVERSO, REF.265.1.86: LADY’S EIGHTEEN CARAT GOLD, DIAMOND AND RUBY WRISTWATCH calibre 846 hand-wound mechanical movement, the rectangular textured silver dial with gold Arabic numerals, baton indicators and hands decorated with a horizontal row of single-cut diamonds and four circular rubies to the top and bottom of the bezel, the case revolving to reveal the obverse with engraved monogram ‘CF’ within a border of similarly cut diamonds with rubies to the terminal points, a ruby cabochon crown, red crocodile strap with gold buckle, signed to dial, case, movement and buckle, case No 1837260, 18 carat gold Swiss marks length of strap including buckle 220mm approximately

561 EMERALD AND DIAMOND RING of cluster design collet set to the centre with a step-cut emerald within a surround of cushion shaped diamonds size M

£2000-3000

£300-400

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£1200-1500 560 EMERALD, SAPPHIRE AND DIAMOND RING the central step-cut emerald within a surround of French-cut sapphires and brilliant-cut diamonds size O £250-350

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564

566

565 part

562 DIAMOND NECKLACE the tear shaped pendant with four graduating ‘swing’ hoops on a detachable floral surmount suspended from a chain of circular and foliate links with a cluster clasp, set throughout with brilliant-cut diamonds length approximately 390mm, detachable pendant approximately 45mm £2500-3000

(Illustrated opposite page)

563 PAIR OF DIAMOND PENDENT EARRINGS each cluster surmount suspending three drop shaped interlinked hoops set throughout with brilliant-cut diamonds £1200-1500

(Illustrated opposite page)

564 THREE GOLD CHAINS two of fetter links the other with anchor links all with bar and clip fittings one with maker’s mark J G & S to bar lengths approximately 340mm, 390mm, 370mm respectively, 34.9 gr, 11gr, 19.6 gr respectively £600-800 565 LAPIS LAZULI BEAD NECKLACE designed as a row of graduated beads measuring from 6mm-15mm approximately; together with an amber bead necklace designed as a row of ovoid amber beads measuring between 14mm-16.5mm approximately, length approximately 510mm; and a jade bangle, 80mm diameter approximately (3) £300-400 566 GATE LINK BRACELET links secured with a heart shaped padlock clasp and safety chain, maker’s mark for S. Blanckensee & Sons Ltd. inside circumference 185mm approximately, 16.2gr £200-300

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567 570

569

568

571

567 ~ CHILD’S CORAL NECKLACE, LATE 19TH CENTURY designed as two rows of coral branch beads on a circular clasp carved with a putti’s face length approximately 340mm £100-200

573 part

569 GOLD AND PEARL LOCKET PENDANT, 1860s oval, decorated with a diagonal row of collet set pearls between pierced and engraved foliate and floral borders suspended from a seed pearl set surmount, bevelled glazed compartment to reverse 17.5gr £200-300

568 ~ COLLECTION OF CORAL JEWELLERY, MID 19TH CENTURY comprising: a brooch/pendant carved as a spray of roses and foliage (damaged); a pair of matching carved spray ear pendants; and a pair of carved elongated drop earrings (5) £200-300

570 SCARAB SWIVEL RING, LATE 19TH CENTURY the unglazed ceramic scarab bead set in a swivel ring revealing intaglio carving set between shoulders decorated with rope work, size L; together with a turquoise necklace, 1900s, set with three polished turquoise on a fine gold chain, length 365mm approximately £200-300

150

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573 part

573 ~ AGATE NECKLACE AND BROOCH, EARLY-MID 19TH CENTURY designed as a graduated row of oval agate plaques within granulated gold surrounds and an associated brooch mounted with a lozenge shaped included quartz within a similar granulated border; together with a butterfly brooch, 1840s, with coral wings surrounded by a granulated frame necklace length approximately 425mm, red morocco leather fitted case (3)

571 EIGHTEEN CARAT GOLD AND PEARL HINGED BANGLE, 1900s the cross over bangle with bead terminals set to the centre with a half pearl cluster, French assay marks internal measurements 54mm x 45mm approximately, 7.5gr £300-400

(Illustrated opposite page)

572 FISH SCALE BRACELET, 1950s of articulated links with a bevelled edge, maker’s mark length approximately 197mm 53gr

£600-800

(Part illustrated opposite page)

£1200-1500

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574

575

574 DIAMOND ETERNITY RING the ‘zig zag’ design set throughout with marquise shaped diamonds size P £1200-1500

576

577 LADY’S DIAMOND WATCH, CORONA, 1930s the rectangular silvered dial with Arabic and baton indicators within a bezel of millgrain set single-cut diamonds between geometric open work shoulders similarly set on a black cord elasticated bracelet strap length 180mm approximately

575 DIAMOND ‘HARMONY’ RING, TIFFANY & CO, CIRCA 2013

£200-300

(Illustrated opposite page)

claw set with a brilliant-cut diamond ring weighing 0.38 carats, London hallmarks for platinum, 2014, T&Co maker’s mark, original box and paper work including: retail valuation for £3,025.00 and Tiffany & Co diamond certificate stating it is H colour and VVS2 clarity size M

578 PAIR OF AQUAMARINE AND DIAMOND EARRINGS, 1900s each pear-shaped aquamarine drop suspended from an articulated row of collet set rose diamonds original leather case by E.Lloyd Lawrence Manufacturing Jeweller, 63 South Moulton Street

£800-1000

£300-500

576 A PAIR OF DIAMOND AND SAPPHIRE CUFFLINKS, 1970s each plaque pavé-set with circular sapphires and brilliant-cut diamonds

579 LADY’S DIAMOND WATCH, 1930s the rectangular silvered dial with black Arabic numerals and blued steel hands, within a bezel of millegrain set single-cut and brilliant-cut diamonds between geometric open work shoulders similarly set on a black cord elasticated bracelet strap length 170mm approximately

£200-300

£300-500

(Illustrated opposite page)

(Illustrated opposite page)

580 EDWARDIAN DIAMOND RING the bezel designed as an open work plaque set throughout with millegrain set cushion shaped, circular- and single-cut diamonds size Q £600-800

580

152

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578

577

579

581 581 BELLE EPOCH DEMANTOID AND DIAMOND PENDANT, 1890s the cushion-shaped demantoid garnet millegrain set between bow and swag decoration suspending an articulated pendant surmounted by knife wire and collet set diamonds to a bow motif set throughout with rose and circular cut stones length 50mm approximately Demantoid is a green gemstone sub-variety of the mineral andradite, the most valuable of the garnet group of minerals. Fine specimens are exceedingly hard to obtain and are increasingly costly. The first demantoid garnet was discovered in the mid-19th century in Russia’s Ural Mountains. Miners were immediately struck by the highly refractive nature of the gem and its exceptional fire. They compared it to diamond, possibly thinking the flashing green colour resembled the eyes of demons, hence supposedly the name. Very popular in Russia, they were often used by Carl Fabergé in his jewellery. The stones have characteristic inclusions of fine asbestos fibres (chrysotile). These fibres radiate out from small crystals of chromite. They are referred to as ‘horsetail’ inclusions and are diagnostic, as no other green stones have these inclusions. This stone is mounted in a brooch from the late 19th century, which makes it highly likely that it is in its original setting. Although the gemstone has low hardness, this stone is relatively unmarked; additionally demantoids are generally small, so a stone of this size is very rare. £3000-4000

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583 582

586

584 part

585

582

582 A VICTORIAN GARNET NECKLACE, 19TH CENTURY the necklace designed as a row of oval garnets set within foiled closed back gold mounts, together with a heart-shaped pendant set throughout with pear and circular garnets in foil back settings suspended from a trefoil surmount, glazed compartment to reverse, length 395mm approximately, pendant 30mm approximately

585 PAIR OF NINE CARAT GOLD AND GARNET CUFFLINKS, CIRCA 1979 double sided oval garnet cabochons, 9 carat gold hallmarks for London 1979, maker’s mark EWV 10.5gr all in £200-300

£500-700 583 GOLD, GARNET AND ENAMEL MOURNING PENDANT, CIRCA 1834 the circular scalloped pendant with a central foiled cabochon garnet within a black enamel foliate border, the reverse with glazed hair compartment engraved ‘In memory of Lucy Boggett, died 27 March 1834, aged 49’ £200-300

586 ARCHEOLOGICAL REVIVAL GOLD AND SEED PEARL BANGLE, 1860s of cross over design, the pointed terminals decorated with applied wire and granulated designs with two rows of seed pearls measures 55mm x 45mm approximately, 15.5gr £400-600

584 MEMORIAL HAIR BROOCH, LATE 18th CENTURY of rectangular design with bevelled edge and woven hair, together with a scroll and foliate glazed pendant, 1880s and an open work burr and foliate brooch frame, 1830s 10.5gr all in £80-100

End of Sale

Next Sale 20th May 2020 Closing for entries by end March 154

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Conditions of Business for Buyers 1.

(ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers;

Introduction (a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers;

(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot.

(iii) The Auctioneers Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement.

(c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses.

(b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot. 2.

(d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller.

Definitions “Bidder” is any person making, attempting or considering making a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent;

5.

“Seller” is the person offering a lot for sale, including their agent, or executors; “Auctioneers” Thomas Del Mar Ltd, Matthew Barton Ltd and 25 Blythe Road Ltd trading as Olympia Auctions. For other auctioneer’s at 25 Blythe Road, such as Charles Miller Ltd, please see their website for their Conditions of Business

(b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form.

“Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer;

(c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

“Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price;

6.

“Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

(b) Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such.

Examination of Lots (a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion.

4.

Exclusions and limitations of liability to Buyers (a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee. (b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise;

Import, Export and Copyright Restrictions (a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES).

“Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses;

3.

Bidding at Auction (a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained).

7.

Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer.

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(d) Any post-auction sale of lots shall incorporate these Conditions of Business. 8.

Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers.

9.

Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot;

Privacy Policy (a) What is the legal basis on which the Auctioneers relies to process your data? On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events). On other occasions, the Auctioneers processes your data when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction). The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms. (i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law.

(c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot;

(ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) (i)

(d) reject future bids from the Buyer;

(b) Who gets to see your personal data?

(e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds;

The Auctioneers Thomas Del Mar Ltd, Matthew Barton Ltd, 25 Blythe Road Ltd trading as Olympia Auctions and auctioneer’s at 25 Blythe Road, such as Charles Miller Ltd, will be processed by the Auctioneers that initially receives it, and may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers.

(f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days' written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings 10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer's expense and risk at the Auctioneers premises or in independent storage (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

156

11. Data Protection

Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services. Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct antimoney laundering and trade sanction checks and to assist with fraud and crime prevention and detection. When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if


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the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law. (c) How long will the Auctioneers keep your personal data? The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims. In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest. What steps do the Auctioneers take to keep your personal data secure? The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise. The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access. As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data. (d) Third party websites The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us will not be transmitted to other websites, but these other websites may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites.

(e) Your data You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above. How can I access the information you hold about me? You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers. The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect. (f) Complaints If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers. 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers. (b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

Matthew Barton Ltd’s Authenticity Guarantee If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable. “Counterfeit” means an item of Property that in the Auctioneers reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating). Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in the Auctioneers reasonable opinion); or

(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this Guarantee, the Buyer must:(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

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Matthew Barton Ltd 25 Blythe Road London W14 0PD Tel: +44 (0) 20 7806 5545 Fax: +44 (0) 207 806 5546 Email: enquiries@matthewbartonltd.com www.matthewbartonltd.com

Profile for Jamm Design Ltd

Matthew Barton Ltd  

European & Asian Works of Art | Wednesday 20th November 2019

Matthew Barton Ltd  

European & Asian Works of Art | Wednesday 20th November 2019