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Matthew Barton Ltd

European & Asian Works of Art | London Wednesday 25th May 2016

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Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART including Islamic, Indian, Himalayan & South East Asian Works of Art

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

PUBLIC EXHIBITION Sunday 22nd May 12 noon to 4pm Monday 23rd May 10am to 8pm Tuesday 24th May 10am to 5pm


Wednesday 25th May 2016 at 12 noon, precisely This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue. i

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IMPORTANT INFORMATION FOR BUYERS All lots are offered subject to Matthew Barton Ltd’s Condition’s of Business and to reserves. The Conditions of Business for Buyers, are published at the end of the printed catalogue. A Buyer’s premium of 22% is applicable to all lots in this sale.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. Export and Permits: it is the purchaser’s sole responsibility to identify and obtain any necessary export, import, endangered species or other permit for any lot. Matthew Barton Ltd makes no representations or warranties as to whether any lot is or is not subject to export or import restrictions or any embargoes. Buyers outside the European Union 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. Matthew Barton Ltd can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and will 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. Matthew Barton Ltd will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. Bids must be signed and 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 in the saleroom). To bid by telephone please contact us at least 24 hours before the sale. These services are offered free of charge. 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”. Reserves are confidential but will never be higher than the low estimate figure at the time of sale. 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 rounded down to the full ounce. ~ 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 and export. 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. 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: not normally recorded and all lots sold as viewed. Obvious faults may be recorded in italics at the end of a description for ceramics. Condition reports can be requested prior to sale. Whilst we are pleased to provide a general report of condition, we are not professional conservators or restorers and any statement made by Matthew Barton Ltd is merely a 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 Visa and Mastercard credit cards for which a surcharge will be made of 3% of the transaction total. There is no surcharge for payments made by UK debit cards. Cash and credit card payments above £6,000 and “card holder not present” payments above £2,000 will not be accepted without prior arrangement. Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street DARTFORD DA1 1DG IBAN No: GB53MIDL40190491814001 BIC: MIDLGB2128K Sort Code: 40-19-04 Account No: 91814001 Account Name: Matthew Barton Ltd VAT Registration Number: 972118224 Storage On receipt of cleared funds, lots can be collected from the Saleroom during the auction or immediately after its completion. Thereafter, all purchased lots will be stored at Matthew Barton Ltd’s premises for a period of one month prior to transfer to a third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release. Please note that collection is by appointment on +44 (0) 20 7806 5545. ii

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Matthew Barton Ltd Wednesday 25th May 2016 Sale Starts at 12 noon



1 A MEISSEN MINIATURE FIGURE OF A GUINEA FOWL, CIRCA 1745 with dotted black plumage, on a tree stump base 5.5cm high Provenance: Beauchamp Galleries, London, 12 June 1963 (according to invoice). For another example see Sotheby’s, London, Property from the Collection of Sir Gawaine & Lady Baillie, 1 May 2013, lot 190 and for a similar model see Rainer Rückert, Meissener Porzellan, Munich, 1966, No.1136 £400-600



2 A MEISSEN MINIATURE FIGURE OF A COCKEREL, CIRCA 1750 with red mask and brown and yellow plumage 5cm high Provenance: Beauchamp Galleries, London, 12 June 1963 (according to invoice). £300-400 3 A MEISSEN MINIATURE FIGURE OF A HEN, CIRCA 1750 modelled pecking at the ground, shaped base 4cm high, chip to beak £200-300 4 A MEISSEN MINIATURE FIGURE OF A PEACOCK, CIRCA 1750 modelled by Johann Joachim Kändler (1706-1775), the bird in full display painted with a blue breast, the gilt and puce tail-feathers with blue ‘eyes’, flower encrusted green base 5.5cm high For similar examples see Carl Albiker, Die Meissener Porzellantiere im 18 Jahrhundert, Berlin, 1959, No.124 and Christie’s, London, 21 November 2005, lot 117 £300-500


5 A MEISSEN MINIATURE FIGURE OF A DOG, CIRCA 1760 seated on its haunches, 5cm high, restored; together with a Continental porcelain scent bottle and stopper, in Chelsea style, moulded with the fable of the Fox and the Crane, on a scrolling base, the stopper as a hen, 10cm high, base restored (2) £100-150


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6 6 A MEISSEN MINIATURE FIGURE OF A FRIESIAN SAILOR, CIRCA 1755 probably modelled by J.J. Kändler or J.F. Eberlein, the mustachioed figure with arms akimbo and wearing a grey knitted conical hat, pink doublet, pale green full breeches and black shoes, on a shaped circular flower encrusted naturalistic base, underglaze blue crossed swords mark to rear base 8.4cm high

8 A MEISSEN SMALL FIGURE OF A DOG, CIRCA 1745 probably modelled by Johann Joachim Kändler (1706-1775), seated on its haunches with its front legs raised, its mouth open showing teeth and red tongue, the fur markings in shades of brown, the oval base applied with green leaves, crossed swords mark in underglaze blue 7cm high Provenance: with Winifred Williams, Eastbourne, 30th June 1962 (according to invoice). £1000-1500

This apparently unrecorded figure seems likely to be from the Meissen series of ‘Nations of the Levant’, modelled by J.J. Kaendler and J.F. Eberlein between 1748 and 1760, after prints taken from Le Hay and Ferriol’s Receuil de Cent Estampes representant Differentes Nations du Levant, published in 1712-13. Confusingly this series includes non-Levantine Bulgarian and Hungarian figures, so may have included a sailor from Friesland. See the British Museum No. 1871,1209.2663 for a print of a ‘Matelot de Frise’, after Bernard Picart (Le Romain; 1673-1733), Amsterdam, 1728. Variant costume plates of this mustachioed Friesian sailor figure, but always in the same akimbo pose, were widely circulated in Europe right through the 18th century. £1000-1800 7 A MEISSEN MINIATURE FIGURE OF A SPORTSWOMAN, LATE 19TH CENTURY the black hatted lady holding her rifle to her side, wearing a white coat with green details over a black sprigged red dress, underglaze blue crossed swords, 43, model No.2283, painter’s No.20 7.7cm high, chip to hat £80-120

7 2

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9 A LUDWIGSBURG FIGURE OF CUPID IN DISGUISE, CIRCA 1765 as a soldier, in black tricorn hat, belt and sword, cut-cornered square base with gilt line border, underglaze blue interlaced C and a green ‘L’ mark 9cm high, chips £100-150 10 A MEISSEN FIGURE OF CUPID IN DISGUISE, CIRCA 1755 modelled by Johann Joachim Kändler (1706-1775) as a rabbit seller, the pink scarfed figure holding the animal by its ears in the box slung to his side, with blue drapery around his quiver, gilt highlighted scroll edged base, smudged underglaze blue crossed swords to reverse of base 10cm high, chips and wings lacking

12 12 A MEISSEN FIGURE OF A PEASANT WOMAN, CIRCA 1750 modelled by Peter Reinicke (1715-1758), standing barefooted and carrying a basket of laundry on her back, wearing black cap, black and brown bodice, lilac skirt and white apron, underglaze blue crossed swords mark 11cm high, restoration Provenance: The Antique Porcelain Co. Ltd., London, 2nd November 1949, (according to invoice). £400-600




13 A MEISSEN SMALL FIGURE OF VENUS, CIRCA 1750 probably modelled by Johann Friedrich Eberlein (1696-1749), the naked figure holding a rhyton in her hand and standing against a Renaissance dolphin, traces of crossed swords in underglaze blue mark 12cm high, fish tail chip

11 A MEISSEN FIGURE OF A BOY SELLING PEARS, CIRCA 1760 the gaily dressed lad proffering one fruit from the basket held to his chest, traces of crossed swords mark to rear, painter’s mark of a cross 13cm high, chips to fingers, leaves and basket handle

Provenance: The Antique Porcelain Company, London, 8 January 1951 (according to invoice).




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14 14 A MEISSEN FOOTED SALT, CIRCA 1740 modelled by Johann Friedrich Eberlein (1696-1749), deep circular bowl with moulded woven border, painted with deutsche Blumen, supported on three scroll feet with Frauenkopf terminals 9.5cm high, restorations to feet For a pair of salts of this design, but with handles to the basket, see Sotheby’s, New York, 24th May 2007, lot 386. Rainer Rückert, Meissener Porzellan, pl. 123, no. 487, illustrates an armorial salt of this form from the Sulkowski service, for which the shape was originally designed, and on p. 116 cites several entries for the modelling of the form in Eberlein’s work records for 1736. £200-300

15 15 A MEISSEN FIGURAL SALT, CIRCA 1745 probably modelled by Johann Friedrich Eberlein (1696-1749) as a putto holding the shell salt cellar on his head, a Renaissance dolphin between his feet 14cm high For a related figural salt from the Swan service, see Christie’s, London, 2 June 2015, lot 65. £300-500 16 A MEISSEN GROUP, ‘TASTE’, MID 19TH CENTURY from the set of the senses after the models by J.C. Schoenheit, the young woman seated beside a table supporting a flask, a bowl of fruit and pastries, shaped rectangular base, crossed swords mark in underglaze blue, 14cm high, some damage; together with a Bloor Derby figure, second quarter 19th century, modelled as a seated musician, 16cm high, some damage (2) £150-200


17 A GERMAN PORCELAIN FIGURE OF A SETTER, PERHAPS WALLENDORF, LATE 19TH CENTURY modelled seated on a naturalist oval base and painted with brown patches on a grey shaded white ground, underglaze blue crossed batons terminating in a W mark 11cm high £120-180 18 A MEISSEN FIGURE OF A HUNTSMAN, LATE 19TH CENTURY after the model by Peter Reinicke, standing before a tree stump holding a bird in his right hand, wearing a tricorn hat, green jacket and cream breeches, crossed swords mark in underglaze blue, impressed and incised numerals 14cm high, rifle and dog lacking



18 4

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19 A MEISSEN TEAPOT AND COVER, CIRCA 1730-35 with gilt dragon spout and Rococo clip handle, two quatrefoil laub-und-bandelwerk panels painted with Arcadian figures in parkland, the cover with rural scenes within red line borders and with artichoke knop, crossed swords mark in underglaze blue, gilder’s mark ‘60.’ on both pieces 9.5cm high, knop damaged £1500-2000 20 A MEISSEN CHINOISERIE TEA CANISTER, CIRCA 1725 baluster octagonal, each panel painted in the manner of P.E. Schindler between the plain gilt borders with a Chinese man picking coconuts, drinking tea, walking home with vegetables in a box, feeding a bird, admiring plants and swatting birds with a fly whisk 9.5cm high, cover lacking, restoration to rim, some rubbing to gilding at shoulder


For comparable hexagonal canisters painted in the manner of Schindler see Christie’s, London, 11 December 2007, lot 19 and Christie’s, London, 21 November 2005, lot 2 and for a similarly painted beaker see Sotheby’s, London, 9 June 2015, lot 6. £2000-3000 21 A MEISSEN SMALL TEAPOT AND COVER, CIRCA 1760 brightly painted with sprays and bouquets of summer flowers, the cover with strawberry knop, crossed swords mark in underglaze blue 8.5cm high, cover glued to body £300-500

21 5

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25 A GROUP OF MEISSEN TABLE WARES, EARLY 20TH CENTURY Pink Rose pattern, outside decorated with painted central rose and further scattered flowers, comprising: a soup tureen and cover, a meat dish, four dinner plates, two soup bowls, four side plates, a mustard pot (cover lacking) and a sauceboat, cancelled blue crossed swords meat dish 48cm wide, restoration to some plates (14) £80-100

22 22 A SMALL MEISSEN TEAPOT AND COVER, CIRCA 1750-60 the globular body with clip handle and dragon spout, painted with walnuts, flowers and a partially peeled lemon, the cover with a lemon finial, crossed swords mark in underglaze blue 7.5cm high, foot chips Provenance: Winifred Williams, Eastbourne, 29th August 1962 (according to invoice). £600-800

26 26 A MEISSEN TEAPOT AND COVER, MARCOLINI PERIOD, CIRCA 1780 painted all over with a small-scale chequer pattern in tones of green, the spout and handle as flowering gilt branches, the cover with flower knop, blue crossed swords and asterisk mark 9cm high, minor flakes to spout



23 TWO MEISSEN MOULDED TEA CANISTERS, CIRCA 1740/50 the first domed rectangular and with cover, covered in fruit-laden vines, 13cm high, cover glued and piece missing, the second baluster octagonal, the gilt-line bordered moulded panels alternating between a bird in a tree and a puce flower overpainted panel with a bird flying into a tree, 11.5cm high, cover lacking, restoration to base (3) £250-350


Provenance: The Antique Home, London, 14 September 1949 (according to invoice).

27 A MEISSEN CUSTARD CUP AND COVER, ACADEMIC PERIOD, CIRCA 1770 bulbous cup painted with a riverine scene of a hunter shooting waterfowl below a green ground diaper and gilt scroll border, the cover with a goat and kid beside a tree and with puce bud knop and laub-und-bandelwerk gilt rim, underglaze blue crossed swords with dot mark, 8.5cm high, crack to branch-like handle; together with a Meissen tea canister and cover, circa 1780, domed rectangular, painted with arched panels of pendent flowers between gilt-roped blue pilasters and gilt hatched pink ground borders, conformingly decorated cover with applied flower, traces of underglaze blue crossed swords mark, 11.5cm high, cover restored (4)



24 24 A MEISSEN TEAPOT AND COVER, CIRCA 1740 the yellow ground painted in purple monochrome with two quatrefoil panels of ships including a warship, the flat cover with two small panels of waterside scenes, crossed swords mark in underglaze blue and red painted 19 8.5cm high, cover glued to body


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28 28 A NAPLES SAUCEBOAT STAND FROM THE HERCULANEUM SERVICE (SERVIZIO ERCOLANESE), REAL FABBRICA FERDINANDEA, 1781/82 oval, painted either by Giacomo Milano or Antonio Cioffi with a scene of a winged putto grasping a goat by the horns in a landscape, the foliate guilloche moulded border interrupted by four gilt-tooled vignettes of birds, a duck and a swan, gilt line rims, reverse titled in red MUS. ERCOL. / SERIE DI PITT. / FANCIULLO, CHE LOTTA / CON UN CAPRONE. above crowned FRF mark 19.6cm long Provenance: The collection of Robin Wigington (1932-2002). The Herculaneum Service was commissioned by Ferdinand IV of Naples and delivered to Madrid in the autumn of 1782 as a gift to his father, Charles III of Spain. King Ferdinand’s newly promoted director at the royal porcelain factory, Domenico Venuti, created for this commission an innovative service, departing from previous rather derivative models heavily inspired by Sèvres, taking instead design inspiration from the frescos and other antiquities which were being excavated all around the bay of Naples. Venuti was personally connected with the discoveries from antiquity, as his father, Marcello Venuti, had been director of the archaeological projects since 1740, responsible for the excavations and for many of the influential volumes of ‘Le Antichità di Ercolano esposte’ published between 1757-1798.

The Herculaneum service comprised seventy-one pieces in total, plus some serving cutlery, each piece painted by the head decorator Milani and his colleague, Cioffi. It included two sauceboats and this present dish can be identified as the stand for one of them: the pair to this stand was sold Bonhams, London, 8 December 2010, lot 146, painted with an opposing scene of a putto grasping a deer by its horns. These two stands and a plate in an Italian private collection appear to take their design directly from the fresco vignettes of cupids hunting or struggling with animals, originally found in the cryptoporticus of the House of the Deer in Herculaneum (see accompanying illustration, which relates directly to the plate illustrated in Le porcellane dei Borboni di Napoli....., ed. A. Caròla-Perrotti, p.333). It is not known how this famous and rare service came to be broken up; other known surviving pieces include a plate at the Victoria and Albert Museum, four pieces in the Museo Duca di Martina in Naples and two bottle coolers in Italian private collections, as well as four pieces sold by Sotheby’s and Christie’s at auctions in London, and a group of three pieces from the Barilla collection, sold Sotheby’s, London, 14 March 2012, lots 228/233/234. For an account of the service’s journey to Spain, as well as more on the artists who worked on it, see the document published at the end of the nineteenth century by the historian Camillo Minieri Riccio and reproduced by A. Caròla-Perrotti, La Porcellana della Real Fabbrica Ferdinandea, 1978, note 20, pp.56-57; also see: Le porcellane dei Borboni di Napoli, Capodimonte e Real Fabbrica Ferdinandea, Naples, 1986, pp.327-341, ed. A. Caròla-Perrotti. £1500-2500

Fresco from the crytoporticus of the House of the Deer, Herculaneum,

28 (reverse) 7

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31 31 A SET OF SEVENTEEN FRUIT KNIVES AND SEVENTEEN FORKS, SIX OF THE KNIFE HANDLES PROBABLY MEISSEN, CIRCA 1755-60, THE REMAINDER PROBABLY GERMAN, CIRCA 1900 the pistol handles painted with flower sprays, electro-gilt blades and tines, in a fitted mahogany case with two blue baize lined trays some restoration (34)



29 A PAIR OF GERMAN PORCELAIN ‘SCHNEEBALLEN’ VASES AND COVERS, LATE 19TH CENTURY baluster, covered with blue and yellow detailed mayflowers sheltering exotic birds, with leafing entwined vine handles, the domed covers with parrots landing on fruiting cherry branches, gilt rims, blue crossed swords marks 49cm high, damage £2000-3000

32 (part)

32 A SET OF TWELVE FRUIT KNIVES AND TWELVE FORKS, THE PORCELAIN HANDLES GERMAN OR FRENCH, LATE 19TH CENTURY the pistol handles painted with figures in landscapes between puce diaperwork shaped bands, with electroplate blades and two-prong tines, in a worn fitted case some cracks (24) £100-150

30 30 A PAIR OF DRESDEN VASES, HELENA WOLFSOHN, CIRCA 1880 of ovoid form with flared feet and short trumpet necks, brightly enamelled with jungle and waterfowl subjects including parrots, cockatoos, pheasants, flamingos and exotic ducks in parkland vignettes, the neck and feet with similar vignettes, AR monogram marks in underglaze blue 35cm high £600-800


33 33 A ‘VIENNA’ STYLE VASE, PROBABLY FRENCH, CIRCA 1900 ovoid, painted with a bust of the Princesse de Lamballe (Marie Antoinette’s confidante) signed Wagner surrounded by broad and raised gilt borders, a band of green laurels and rose swags, underside with shield mark and inscribed Lamballe / Dec: 550 / Déposé and further numerals 20cm high £120-180

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34 34 A PAIR OF PORCELAIN PARROT FIGURES, FRENCH OR GERMAN, LATE 19TH CENTURY, LATER MOUNTED AS ELECTRIC LAMPS each green bird with blue and red details slightly differently modelled landing on a flower encrusted tree stump and affixed to a domed matted gilt-metal base supporting the slender curved lamp stem with two lights 48cm high with shade support unextended

36 36 A BERLIN PLAQUE OF THE MADONNA DEL DITO, CIRCA 1860 the head and shoulders of the ‘Thumb Madonna’ painted after Carlo Dolci shrouded in a blue cloak with one visible thumbnail, impressed KPM sceptre, monogram and initial H and incised 13-11 33 x 26cm excluding gilt frame


Provenance: Sotheby’s, Billingshurst, 15 November 1995, lot 1245 £800-1200

35 37 35 A PAIR OF STAFFORSHIRE SPANIEL FIGURES, SECOND HALF 19TH CENTURY, LATER MOUNTED AS ELECTRIC LAMPS the opposing pair typically modelled and painted with orange highlights affixed to shaped wood plinths on oval bases supporting the slender brass lamp stems 39cm high overall

37 AN ENGLISH PORCELAIN DESSERT SERVICE, POSSIBLY SAMUEL ALCOCK, CIRCA 1840 each painted with a central flower study inside a grey ground foliate border and gilt dentil rim, comprising: two high stands, four low stands and eighteen plates, red painted pattern number 3/No.8084 some damage (24) £300-500



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39 39 A WEDGWOOD ‘JAPONESQUE’ PLATE, CIRCA 1871 octagonal, the impressed border of fretwork panels interrupted by green painted husk drops, decorated with a roundel in the style of a Japanese woodblock of a flute-playing Geisha, impressed WEDGWOOD and date cipher, painted pattern No.9418 24cm wide £80-120

38 38 A PAIR OF COPELAND PORCELAIN VASES, MID 19TH CENTURY slender ovoid with angular twin handles, finely painted on a turquoise ground to each side with the following titled views: Petrach’s House, Round Tower Oberwesel, Castle of Thurmberg and Fountain at Carmelo, each on a socle foot and square base finely gilt and tooled with foliate decoration, green printed mark 42.5cm high, lacking covers, some cracks £600-800

40 A PAIR OF GEORGE JONES PATE-SUR-PATE VASES AND A JARDINIERE, ALL MODELLED BY FREDERICK SCHENK (1849-1908), CIRCA 1880 the ‘Ribbon’ pattern quatrefoil jardinère with scenes in white on an dark green ground of Venus and Cupid, gilt line rims and sage-green gilt highlighted ribbon handles, the ovoid vases similarly coloured each with Ceres, Flora and a Maenad above three stylised anthemion sagegreen and gilt feet, gilt stencil rims, jardinière with indecipherable PODR lozenge, vases numbered in gilt 5677 vases 20cm high, cracks and rivets £400-600 41 A PAIR OF MINTON PLATES, CIRCA 1865 one painted with a Thames sailing barge, the other with a twin masted vessel, with broad turquoise border and gilt etched band, impressed marks 23.5cm diameter £70-100



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42 A NEAR PAIR OF WORCESTER BLUE AND WHITE BASKETS, CIRCA 1770 each printed with the ‘Pinecone’ pattern within a pierced border and undulating rim, the exterior moulded at the intersections with florets, hatched crescent marks 22cm diameter


£150-250 43 A DERBY FIGURE OF A RANELAGH DANCER, CIRCA 1765 the young woman holding out a flower posy, a portrait miniature of a beau on her hip suspended from a pink ribbon, her dress with floral sprigs in the manner of the cotton-stem painter, on scrollwork base, 30cm high, restored; together with a Coalport basket, circa 1830, flower wreathed rim and painted with further flowers and gilt scrolls to interior, pale blue exterior, 22cm long, chips and damage (2)

45 A SPODE STONE CHINA ‘JAPAN’ PATTERN PART DINNER SERVICE, 1820s in underglaze blue, red and gilt with flower groups (two serving dishes with green enamel), comprising: an octagonal soup tureen, cover and stand, eight octagonal serving dishes in sizes, a Mazarine strainer, fifty dinner plates and four soup plates, blue printed factory mark, painted pattern numbers 2053/2054 minor damage (66) £1000-1500

£60-90 44 A GROUP OF WORCESTER BLUE AND WHITE PORCELAIN, CIRCA 1770 each piece printed with the ‘Fence’ pattern, comprising: a circular butter tub and cover and two large cups; together with the following blue and white wares: two flower printed porcelain cups, a pearlware oval sauceboat painted with a chinoiserie landscape and a pearlware printed teabowl some damage (8) £60-90

46 46 A SET OF THREE WORCESTER FLUTED PLATES, CIRCA 1770 the blue scale ground painted with vase and mirror shaped panels withing gilt frames, blue fretted square marks 19cm diameter, haircrack to one, some wear £150-250


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47 47 A PAIR OF CHELSEA FIGURES OF A GARDENER AND COMPANION, CIRCA 1760 each standing with one arm raised, he holding a spade at his side, she with an apron full of carrots, on shaped gilt-edged square bases with scroll moulded supports, one with gold anchor mark 18cm high, restoration and damage £400-600 48 A BOW FIGURE OF A YELLOW BUNTING, CIRCA 1760 brightly coloured and perched on a flowering tree stump 8cm high £300-400 49 A BOW FIGURE OF A YOUTH, CIRCA 1760 modelled by John Toulouse (died 1809), seated on a flowering tree stump playing the bagpipes, on waisted marbled plinth, impressed TO 12.5cm high, some restoration and damage


Provenance: Stafford’s Antiques, London, 1949 (according to invoice) £200-300 50 A WORCESTER POLYCHROME TEABOWL AND SAUCER, CIRCA 1770 fluted, painted with panels of flowers alternating with blue panels reserved with insects, blue fretted square mark saucer 12cm diameter £80-120 51 A WORCESTER POLYCHROME TEABOWL AND SAUCER, CIRCA 1775 each painted with exotic birds and scattered flowers beneath a gilt undulating rim, blue fretted square mark saucer 12.7cm diameter



Provenance: Klaber & Klaber, London (according to applied paper label to saucer). £150-200


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52 52 A CAUGHLEY BLUE AND WHITE SAUCER DISH, CIRCA 1780 printed with the ‘Fisherman and Cormorant’ pattern, painted S mark, 21cm diameter; together with the following blue and white wares: a Pennington’s Liverpool pear-shaped milk jug printed with flowers, a pair of pearlware oval pierced baskets and a Chinese Qianlong porcelain bowl painted with a river landscape (5)




56 A PEARLWARE TEAPOT AND COVER, PERHAPS FELL OF NEWCASTLE, CIRCA 1820 painted in colours with a stylised peacock and flower spray against a sponged green ground, the domed cover with a bun knop, numeral 3 in black mark 10.5cm high, cover rim chip £100-150

54 53 53 A GROUP OF WORCESTER BLUE AND WHITE PRINTED PORCELAIN, CIRCA 1770-80 comprising: a large ‘Fisherman and Cormorant’ pattern bowl, 21cm diameter, a ‘Fisherman and Cormorant’ pattern teabowl, a ‘Three Flowers’ pattern sugar bowl, a ‘Fence’ pattern teabowl, a ‘Fence’ pattern slop bowl and a ‘Three Ladies’ pattern slop bowl (5)

57 A WORCESTER TEAPOT AND COVER, CIRCA 1770 globular, the blue ground painted with fan and circular shaped panels enclosing flowers against a powder blue ground gilt with flower sprays 15cm high, cover repaired £100-150

£200-300 54 A WORCESTER BLUE AND WHITE BOWL, CIRCA 1760-70 painted with the ‘Candle Fence’ pattern, open crescent mark, 12cm diameter; together with a blue and white slop bowl, ‘Mansfield’ pattern, 15.2cm diameter (2) £150-250 55 A WORCESTER SMALL COFFEE POT AND MATCHED COVER, CIRCA 1785 pear shaped, painted in underglaze blue with the ‘Caughley Gilliflower’ pattern, blue open crescent mark, the shallow domed cover printed with the ‘Fence’ pattern 17cm high This very rare pattern imitates a Caughley version, the Caughley pattern itself imitating a French design. See Branyan, French and Sandon, Worcester Blue and White Porcelain 1751-1790, London, 1981, p.206, I.E.15.




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58 58 A PAIR OF ROYAL WORCESTER KNEELING WATER CARRIER FIGURES, 1911/12 modelled by James Hadley (1837-1903), the kneeling figures each pouring from a jar, he with burnished green fez and jacket and burnished bronze shorts, she with burnished green draped robe, model No. 637, green printed marks and date codes tallest 15cm

60 A KERR & BINNS WORCESTER POT POURRI VASE AND COVER, 1852-62 modelled with three loosely draped classical maidens each seated holding a lyre beneath a shallow pierced bowl, on a wrythen moulded stem and triform base, the pierced cover with acorn finial, iron-red printed shield mark 23cm high, restoration £150-250


61 61 A PAIR OF ROYAL WORCESTER FIGURES OF ‘LIBERTY’ AND ‘CAPTIVITY’, 1920 each classical maiden standing in blue ‘shot enamel’ robes holding aloft a dove, one restraining the bird, the other setting it free, on gilt circular rockwork bases, puce printed marks and date code, shape 2/116 tallest 25.5cm £300-400

59 59 A ROYAL WORCESTER ‘JERSEY BULL’ FIGURE, MODELLED BY DORIS LINDNER (1896-1979), 1965 oval base in hardwood stand, black printed mark and title, edition limited to 500 20cm high overall Miss Lindner’s model for this study was the champion Leeburn Carlisle II, owned by Mr Carter of Hartpary, Gloucestershire. £100-150


62 (part) 62 A PAIR OF GRAINGER WORCESTER BLUSH IVORY CANDLESTICKS, 1897 each with foliate nozzle and on three scroll and leaf moulded supports and base, black printed mark and date code, shape 252/G4363, 16cm high; together with a Royal Worcester small vase, 1938, the bulbous lobed body painted by Mildred Hunt with pink Hadley style roses, signed, with moulded green and gilt ‘shot enamel’ borders beneath a pierced rim, puce printed marks and date code, 9.5cm high (3) £100-150

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63 A GERMAN ‘GALLE’ TYPE CAT, MOSANIC POTTERY, MITTERTEICH, EARLY 20TH CENTURY painted with blue motifs on a mottled green ground, pale green glass eyes, Mosanic mark 31.5cm high £180-220

66 A GOLDSCHEIDER POTTERY FIGURE OF A VENETIAN LADY, DESIGNED BY JOSEPH LORENZL (1893-1950), VIENNA, CIRCA 1931 model number 6557, in blue cape and hat caressing the borzoi by her side, black oval base, impressed mark, incised numbers 6557 / 45 /11 30.5cm high

64 A MOORCROFT ‘ANEMONE’ SLENDER OVOID VASE, CIRCA 1950 tube lined with purple and mauve flowers against a blue and green ground, blue painted initials, impressed MOORCROFT MADE IN ENGLAND, 27.5cm high; together with a Moorcroft ‘Clematis’ baluster vase, circa 1950, tube lined with flowers against a mottled deep blue ground, green painted initials, impressed facsimile signature and ‘Potter to H.M. the Queen’, 24cm high (2)

Literature: Ora Pinhas, Goldscheider, Ilminster, 2006, illustrated p.112



£300-500 67 A FRENCH CAMEO GLASS VASE, PAUL NICOLAS ‘D’ARGENTAL’, 1920s bulbous, with a Mediterrannean coast sunset landscape, cameo signed 20cm high

65 TWO FRENCH GLASS VASES, BOTH LEGRAS ET CIE, PARIS, CIRCA 1900 one bulbous, painted with gilt and enamel flowering columbine on the textured red ground below a waved rim with gilt Art Nouveau scroll border, 12cm high, the other a bud vase with gilt nasturtiums on the cranberry ground, 11cm high, both with gilt Montjoye mark to base £150-250



65 15

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69 A FRENCH CAMEO GLASS BUD VASE, GALLE, NANCY, EARLY 20TH CENTURY with mauve flowering clematis tendrils, cameo signed 17cm high £150-250 70 A FRENCH CAMEO GLASS VASE, GALLE, NANCY, EARLY 20TH CENTURY of oval outline with an indigo and blue wooded Alpine lake landscape below the waved rim, cameo signed 13cm high £200-300

68 68 ~ FERDINAND PREISS (1882-1943): ECSTASY a carved ivory Art Deco figure (also called ‘Youth’), circa 1930, of a nude young woman with up-stretched arms standing tip-toe on a rocky base, signed in the ivory F. Preiss to back of base, on original octagonal green onyx plinth 21cm high overall See Alberto Shayo, Ferdinand Preiss, Art Deco Sculptor, The Fire and the Flame, Suffolk, 2005, p.87. This model was executed in a variety of sizes and as confirmed by Shayo with variations to the hair and hands. £700-1000

71 71 A LARGE FRENCH GLASS VASE, DAUM, NANCY, CIRCA 1925 elongated baluster, shaded purple with gold foil inclusions, signed Daum Nancy / France and Croix de Lorraine on the base rim 66cm high £500-800


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72 72 A CHINESE FAMILLE ROSE GROUP OF A HORSE CROSSING A BRIDGE, QIANLONG (1736-1796) standing four-square on the shallow arched pink-paved bridge as crabs grasp reeds in the water below, the low orange washed walls gilt with eight characters 16cm high, restoration £800-1200 73 A CHINESE HATCHER CARGO BLUE AND WHITE PORCELAIN SMALL BOX AND COVER, CIRCA 1643 circular, painted with a pheonix amongst flames and flower scrolls, Marchant and Hatcher labels, in a later box 5.5cm diameter


Provenance: The Hatcher Cargo was recovered from a shipwrecked Chinese junk in the seas near the port of Batavia (today Jakarta) by Captain Michael Hatcher in 1983. Hatcher Collection, Christie’s, Amsterdam, 12-13 June 1984; Marchant, Kensington Church Street, London. £200-300 74 A CHINESE FAMILLE ROSE TEAPOT AND COVER, YONGZHENG / QIANLONG, SECOND QUARTER 18TH CENTURY painted with panels of roosters among peony plants against a ground of tomato red and gilt diaper within lime green trellis borders, the dome cover with a peony head and ball knop 12cm high, cover glued to body


£500-800 75 A CHINESE EXPORT BLUE & WHITE BASIN, MID 18TH CENTURY painted with a pair of cranes and pine on a garden terrace within multiple borders, 38.5cm diameter; together with a blue and white charger, mid 18th century, painted with a jar with scrolls amidst peonies, the rim similarly decorated, 40.5cm diameter both with cracks and glued (2) £200-300 76 A CHINESE FAMILLE ROSE PORCELAIN PLATE, QIANLONG (1736-1795) octagonal, painted with figures at the seashore, with gilt highlighted borders 23cm wide Provenance: Sir Ralph Richardson (1902-1983); Sotheby’s, London, The Ralph Richardson Collection, 27 April 2001, lot 210 £200-300

76 17

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79 77 77 ~ A CHINESE CARVED IVORY MINIATURE GROUP OF GUAN YU, MING DYNASTY, 17TH CENTURY probably a seal, depicting the figure perched on a stool, one hand lying on his thigh, the other contemplatively stroking his long beard, leaning his elbow on the table as he gazes at a book, a brush pot to its side, all on a panelled rectangular plinth 4.9cm high The group probably represents the episode from Guan Yu’s life when he completed the huge task in only a few nights of memorising the Confucian classics The Spring and Autumn Annals and The Commentary of Zuo. Devotion to the general and scholar, who died in 220AD, grew over time and reached an apotheosis in 1614, when the Emperor Wanli bestowed the title “Saintly Emperor Guan the Great God Who Subdues Demons of the Three Worlds and Whose Awe Spreads Far and Moves Heaven”.

79 ~ A CHINESE IVORY BRISE FAN, PROBABLY CANTON, SECOND HALF 19TH CENTURY with fine pierced carving of birds and trailing flowers on a scrolling fretwork ground surrounding a shield with inked initials EB guards 20cm long £250-350 80 A CHINESE BRONZE FIGURE OF BUDAI, LATE 19TH CENTURY modelled seated in long robes, a miniature model of Buddha on his protruding belly 7cm high £80-120


81 78 78 ~ AN INDO-PORTUGUESE IVORY MADONNA AND CHILD, GOA, 18TH/19TH CENTURY carved holding the Holy Infant with orb, her cloak with pierced edging and standing on a seraphim set cloud 13cm high £300-500


81 A CHINESE BRONZE FIGURAL CENSER, 19TH CENTURY in the form of a goat on an openwork stand with cloud scrolls, cover lacking 26.5cm high Provenance: The collection of Robin Wigington (1932-2002). £100-200

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82 83 82 A CHINESE CARVED AGATE GROUP OF A PAIR OF SQUIRRELS, QING DYNASTY, 18TH/19TH CENTURY the animals carved clutching and nibbling two peanuts, the base pierced with a double cash coin pattern, the stone of a translucent amber-orange tone with traces of opaque golden-yellow skin, with carved wood stand 5cm long £1200-1800 83 A CHINESE CELADON JADE CARVING OF A BIXIE, 17TH CENTURY carved recumbent, the horned beast with a bifurcated tail, the head turned to one side and detailed with scrolled eyebrows, the stone of a celadon tone 6.5cm long excluding affixed wood stand £1800-2200 84 A SMALL GROUP OF CHINESE WORKS OF ART comprising: a brass (paktong) lock in the form of a water buffalo, 9cm; together with two bronze ‘Shang’ axe heads, each 19cm long; a pair of gilt bronze mask escutcheons, possibly Tang dynasty, 3.5cm; and a pottery model of a goose, 6.5cm (6) £100-150 85 A CHINESE INSIDE-PAINTED GLASS SNUFF BOTTLE, 20TH CENTURY painted with carp swimming beneath weeping willow and peony, with verse and signature 7cm £80-120 86 A CHINESE JADE CARVING OF A RECUMBENT WATER BUFFALO, 19TH CENTURY of pale celadon tone with russet inclusions 12cm long £150-250

87 87 A CHINESE SPINACH JADE BOWL, 18TH/19TH CENTURY the plain dark jade bowl with slightly splayed lip, on a broad rim foot 10.7cm diameter Provenance: The collection of Robin Wigington (1932-2002). £600-900 88 A PAIR OF CHINESE SOAPSTONE SEALS, 20TH CENTURY square with one side rounded off, carved with dragons amidst clouds, the seal faces pictogram carved, 7.5cm high; together with a jade bangle, circa 1966, plain pale green, 8cm diameter (3) These seals and the bangle were presented to Captain Wadim Taniewski sometime between May and September 1966, when his ship, the M.V. Baxtergate, was the first British vessel to enter the Port of Dalian. £250-350


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91 91 A GROUP OF SEVEN CHINESE SILVER ROBE FINIALS, QING DYNASTY 19TH CENTURY each cast as Shoulao, the smiling god in long robes with sceptre and deer largest 5cm



89 A CHINESE GOLD FILIGREE CARD CASE, HOACHING, CANTON, MID 19TH CENTURY shaped rectangular, one side decorated in relief with dragons, the other with stylized carp on basketweave grounds, filigree fishscale pattern sides, applied plaque with Hoaching gothic ‘h’ mark and chop mark 11.1cm high, 81.7gr



92 A JAPANESE NABESHIMA BLUE AND WHITE DISH, 19TH CENTURY of deep circular form on footed base, the interior painted with a peony, the exterior with three stylised peony sprays, with carved wood stand 30cm diameter Provenance: The collection of Robin Wigington (1932-2002). £80-120 93 A JAPANESE SATSUMA BOWL, MEIJI PERIOD (1868-1912) painted with millefleurs decoration, signed 17.5cm diameter £60-80 94 A JAPANESE IRON WATCH STAND IN THE FORM OF A TEMPLE GATE, MEIJI PERIOD (1868-1912) the supports and crossbar gilt with scattered aoi and other floral mon, signed 22cm high Provenance: The collection of Robin Wigington (1932-2002). £100-150

90 90 A CHINESE SILVER-GILT, GEM-SET AND ENAMELLED PEDESTAL CUP AND COVER, MID 20TH CENTURY the green ground with corded borders and bands of wirework tendrils embellished with pale semi-precious cabochons (quartz, garnet and iolite), the circular cup on bulbous stem above a wide platform and trumpet foot, domed cover with cone-shaped finial, iridescent blue counter enamel to interior of cup and cover, stamped SILVER to underside and 88 to rims 28.5cm high £400-600



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95 A JAPANESE CARVED WOOD NETSUKE, EARLY 20TH CENTURY of a hare nestled on a fruiting peach branch, signature to underside, 4.5cm wide; together with a small Japanese wood carving, Meiji period (1868-1912), of a toad perched on a bundle containing a further toad, a snake emerging from the bottom, 4cm wide (2)

95 96

£100-150 96 A JAPANESE WOOD NETSUKE OF A PUPPY, 19TH CENTURY carved in recumbent pose, playing with a ball of string 3.3cm, inlaid balls missing £80-120 97 ~ A JAPANESE SILVER, IVORY AND INLAID LACQUER FAN-SHAPED DISH, MEIJI PERIOD (1868-1912) decorated in Shibayama style and inlaid in mother-of-pearl, stained ivory and tortoiseshell with a panel of pigeons amongst blossoming peony on a gold lacquer ground, surrounded by ivory panels inlaid with floral branches on a filigree ground, inlaid ivory fan handle, supported on three scroll feet 31.5cm long £1000-1500


98 A JAPANESE SILVER BOWL, MEIJI PERIOD (1868-1912) double skinned and worked in high relief with irises and lilies beside a lake on hammered ground, shaped rim, the foot engraved SOUVENIR OF “FLASH” MAY 1905 14.5cm diameter, 394gr (12oz) £300-400

98 21

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99 ~ A LARGE SILVER-MOUNTED INLAID IVORY TWO-HANDLED TUSK VASE, MEIJI PERIOD (1868-1912) worked in ‘Shibayama’ style in mother-of-pearl, coral and tortoiseshell and lacquered in iro-e honzogan with a peacock and other birds perched on a blossoming prunus tree, the reverse with a crested pheasant and snipe beside a stream and blossoming peony and hibiscus, the handles with convolvulus and trailing vine, silver mounts hallmarked for Elkington & Co. Ltd., London, 1897, glass base 26.5cm high £2000-3000

99 (reverse)

100 A PAIR OF JAPANESE SILVER AND ENAMEL BUD VASES, MEIJI PERIOD (1868-1912) applied and enamelled with cranes amongst narcissi beside a stream on a matted ground, the slender trumpet necks with foliate rim, on flared rim feet 14cm high £500-800

100 22

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101 ~ A JAPANESE INLAID IVORY SHAPED BOX AND COVER, MEIJI PERIOD (1868-1912) of geometric shape, worked overall with basketweave inlay, further inlaid in relief with stained ivory, coral and mother-of-pearl of a bird amongst blossoming prunus and narcissus, the interior also with basketweave inlay 19.5cm wide £300-500 102 ~ A JAPANESE IVORY ‘SHIBAYAMA’ WORK FIGURE OF AN ELEPHANT, MEIJI PERIOD (1868-1912) carved standing four-square, inlaid in mother-of-pearl, stained ivory, tortoiseshell and coral, heavily caparisoned with flowerdecorated howdah cloth and pendant jewelley, a large lotus on its back and lotus flowers on its neck and forehead, signed Masayuki 29cm high


£3000-5000 103 ~ A JAPANESE IVORY AND LACQUER TABLE SCREEN, MEIJI PERIOD (1868-1912) the rectangular twin panels decorated in ‘Shibayama’ style inlay of mother-of-pearl, tortoiseshell and stained ivory with a diptych scene of long-tailed exotic birds on a blossoming prunus branch, on a nashiji decorated fundame ground, the ivory border carved with shippo motifs and cresting waves, the reverse with a scene of wading bird beneath wistaria on a roiro urushi ground, signed 24.5cm high £1200-1800 104 ~ A JAPANESE IVORY PAGE TURNER, MEIJI PERIOD (1868-1912) the ‘Shibayama’ work blade inlaid with tortoiseshell and motherof-pearl and lacquered with a crane amongst pine and trailing vine, the handle carved with an eagle clutching a monkey in its talons flying above spuming waves 34cm long £600-800

103 104 23

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105 ~ A JAPANESE SILVER, COPPER, INLAID IVORY AND ENAMEL VASE, SIGNED SHIBAYAMA, MEIJI PERIOD (1868-1912) hexagonal, the black oxidised copper body set with silver framed shaped ivory panels inlaid with mother-of-pearl, lacquer and tortoiseshell with birds in blossoming branches, baskets and vases of flowers, the silver neck enamelled with flower pendants above a shoulder relief chased with scrolling waves cresting on each shoulder, raised on a domed hexagonal silver foot enamelled with wisteria and peony, signed Shibayama in red lacquer panel, underside of base set with an Islamic gilt roundel containing verses from Chapter CXII of the Qur’an, al-Ikhlas, Purity of Faith 33cm high £2000-3000

105 106 A JAPANESE SILVER SAKE BOTTLE AND STOPPER, MEIJI PERIOD (1868-1912), CIRCA 1877 of slender pear form, worked in kingin takazogan with butterflies amongst chrysanthemums and a kingfisher amongst grasses on a ground engraved with an aoi mon within foliate scrolls on a hariishime ground, import marked Cornelius Brabrook Pare for Londos & Co. of London, Birmingham, 1878 23.5cm high This bottle is probably one of the items selected by Christopher Dresser during his trip to Japan in 1877, to be retailed by Londos & Co. of 126/127 London Wall. C.B. Pare (1837-1890) was a partner in the ‘Japanese & Chinese Merchants’ and Dresser had been associated with the company since 1873, contracting to act as buying agent for them, as well for Tiffany’s, whilst visiting Japan. His speech on presenting gifts to the Mikado records: “The small present, of which I have been the bearer, to your Majesty’s National Museum was got together at the suggestion of Mr P.C. Owen, the director of the South Kensington Museum in London. For the objects I am indebted to Messrs. Londos & Co., who gave the greater number...” Christopher Dresser, Japan: Its Architecture, Art, and Art Manufactures, Cambridge Library Collection, 2014, p.51 £600-800



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107 107 A PAIR OF JAPANESE CLOISONNE VASES, ANDO JUBEI STUDIO, PROBABLY TAISHO PERIOD (1912-1926) of globular form, worked in silver wire with chrysanthemum on a rich red ground, with further chrysanthemum engraved beneath the translucent enamel body, silver rims and bases, Ando Jubei mon to bases 23cm high £600-800 108 ~ A JAPANESE SILVER AND INLAID IVORY DISH, MEIJI PERIOD (1868-1912) of flowerhead form, worked overall in ‘Shibayama’ style with a central gold lacquer panel inlaid in mother-of-pearl and tortoiseshell with pigeons amongst wisteria and prunus, within radiating ivory fan-shaped panels further inlaid with iris, peony, hibiscus and prunus on a filigree ground, signed Yoshimitsu*, on five scroll feet 25cm diameter £800-1200 109 A JAPANESE SILVER CIGAR BOX, MEIJI PERIOD (1868-1912) oblong, worked in katakiribori and iro-e honzogan with a flowering lily, prunus and hibiscus, wood lined, signed 21.5cm wide, key missing



109 25

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110 (reverse)

110 ~ A JAPANESE INLAID IVORY AND LACQUER TABLE SCREEN, MEIJI PERIOD (1868-1912) the twin rectangular panels elaborately inlaid with ‘Shibayama’ style work in coral, red lacquer, mother-of-pearl and ivory with dignitaries being entertained by musicians and dancers amongst vases and hanging baskets of peony, hydrangea, magnolia and prunus blossom, on a fundame ground, smaller rectangular inlaid flower panels beneath, the reverse decorated in gold with leafy shrubs on a roiro urushi ground sprinkled with nashiji, signed Masa* in red lacquer reserve 39.5cm high by 40cm wide (unfolded) For a similar screen, see Bonhams, Sydney, 20 November 2011, lot 29.




111 ~ A PAIR OF JAPANESE IVORY HANDLED VICTORIAN SILVER-GILT FISH SERVERS, ELKINGTON & CO. LTD., BIRMINGHAM, 1898 the blade and tines engraved with Japonesque birds and foliage and wrigglework patterning, the Meiji period ivory handles worked in ‘Shibayama’ style with further birds and foliage in gilt lacquer and mother-of-pearl, in original (worn) red velvet case with ELKINGTON & CO. printed label knife 26.5cm long £300-400


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112 112 ~ A JAPANESE SILVER AND IVORY DISH, MEIJI PERIOD (1868-1912) of shaped circular form, the central panel inlaid in ‘Shibayama’ style in mother-of-pearl and tortoiseshell with an enamelled silver elephant beside a large vase of prunus and peony, within radiating ivory panels inlaid with further flowers on a filigree ground, raised on three pierced shaped feet, mother-of-pearl inlaid signature to underside 23.5cm diameter

113 ~ A PAIR OF JAPANESE SILVER TEAPOTS AND COVERS AND A SILVER TRAY, EARLY 20TH CENTURY each globular pot incised with scattered mon, short spout and ivory loop handle, the covers with gilded cast chrysanthemum finials, the tray of shaped rectangular form with scattered mon, covers and tray signed teapots 9cm high, tray 22.5cm wide (3) £600-900




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114 A JAPANESE MIXED METAL CHARGER, NOBORU NOGAWA WORKSHOP, KYOTO, MEIJI PERIOD (1868-1912) of circular form, decorated in iro-e honzogan with a panoramic bridge scene of families at leisure amongst island, pine and prunus trees, within a key fret border, Nogawa mark to base 56cm diameter £1000-1500 115 ~ A JAPANESE SILVER AND INLAID LACQUER DISH, MEIJI PERIOD (1868-1912) of flowerhead form, worked in ‘Shibayama’ style mother-ofpearl and tortoiseshell with pigeons perched in a prunus tree on a gold lacquer ground, within radiating filigree petals inlaid with lacquer panels decorated with vases of flowers, hanging baskets and birds, on a filigree ground enamelled with floral motifs, mother-of-pearl signature panel (Tomin?) 24cm diameter £800-1200

115 28

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116 ~ A JAPANESE LACQUER KODANSU, SIGNED SHIBAYAMA, MEIJI PERIOD (1868-1912) of rectangular form, inlaid with mother-of-pear, stained ivory and tortoiseshell with pheonix amongst prunus, the hiramakie clouds decorated with kirikane and hirame, the silver hinged door opening to reveal three roiro urushi lacquer drawers worked with chrysanthemum and vine, inlaid mother-of-pearl Shibayama signature and lacquer seal mark 26cm high

116 (open)



117 A JAPANESE SMALL TEA KETTLE AND COVER, MEIJI PERIOD (1868-1912) decorated in relief with a sparrow nestled in a shishiaibori prunus tree, short curved spout and rectangular swing handle, incised signature 15.5cm high with handle raised £300-500

117 29

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118 (reverse)


118 ~ A LARGE INLAID IVORY SILVER-MOUNTED TUSK VASE AND COVER, MEIJI PERIOD (1868-1912) inlaid in ‘Shibayama’ work of mother-ofpearl, coral and tortoiseshell with an eagle perched in a prunus tree eyeing sparrows in flight, a peony bush beneath, the reverse with a kingfisher beside a lake bordered by reeds and grasses, the cover with ivory lotus finial, mounted on a carved and pierced hexagonal wood stand, signed Masa* overall height 46cm £3000-4000

119 A JAPANESE SILVER AND LACQUER DISH, MEIJI PERIOD (1868-1912) of flowerhead form, set with a central lacquer ‘Shibayama’ worked panel with ducks swimming amongst lily pads on a lake, further ducks flying above, the takamakie banks with nashiji and inlaid with hibiscus and chrysanthemum, the radiating filigree petal border with enamel flower panels, on four leaf-shaped feet, inlaid red lacquer seal panel to reverse 24cm diameter £800-1200

119 30

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120 ~ A JAPANESE SILVER AND INLAID IVORY LACQUER TABLE CABINET, MEIJI PERIOD (1868-1912) the double-sided cabinet with two ‘Shibayama’ worked ivory panels inlaid with mother-of-pearl and tortoiseshell with pigeons and pheasant amongst blossoming peony, the drawers with panels of trailing wistaria, peony and chrysanthemum, the silver covered case simulating a bamboo construction and decorated with further flowers amongst trellis, the interior later fitted with bone cigar racks 24.5cm high

120 (reverse)


121 ~ A JAPANESE INLAID IVORY AND SILVER DISH, MEIJI PERIOD (1868-1912) of flowerhead form, the central lacquer panel inlaid in ‘Shibayama’ style with mother-of-pearl, tortoiseshell and ivory with mandarin ducks swimming amongst irises and islands of peony, within petal-shaped panels with shaped ivory panels inlaid with flowers on a filigree ground, signed Yoshiharu in mother-of-pearl reserve to underside 25cm diameter, small loss to inlay £1000-1500

121 31

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122 A JAPANESE SILVER-MOUNTED AND ENAMEL BOWL, MEIJI PERIOD (1868-1912) circular, the glass body covered in pierced silver worked in relief and enamelled with peacocks and pheasants amid partially fenced gardens abounding in butterflies, wisteria, prunus and chrysanthemum, the interior with an enamel peony spray, on silver circular foot, signed Yoshimasa(?), ‘jungin’ stamp to base 18cm diameter £1000-1500


123 A PAIR OF JAPANESE SILVER AND ENAMEL TWOHANDLED VASES, MEIJI PERIOD (1868-1912) of slender ovoid form with trumpet neck and scalloped rim, basse-taille enamelled with songbirds and butterflies amongst prunus, the shoulders set with a pair of enamelled iris form handles 19cm high £1000-1500 124 ~ A JAPANESE SILVER AND IVORY DISH, MEIJI PERIOD (1868-1912) of chrysantheum head form, the central ivory panel carved in relief with three female harvesters threshing wheat, within radiating silver filigree panels of chrysanthemum and foliate scrolls, on three filigree feet, inlaid mother-of-pearl signature panel to base Sozan(?) 27cm diameter £500-800



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125 (open)

125 A JAPANESE BRONZE MINIATURE TABLE CABINET, MEIJI PERIOD (1868-1912) of rectangular form, the top decorated with scattered picture roundels containing scenes of temple gates, boats and islands on a key fret ground, the rear and side panels worked in iro-e takazogan with geese in flight, cockerels and birds amongst trees, the twin doors worked with mandarin ducks, blossoming prunus and waterfowl, the reverses with phoenixes, opening to reveal an asymmetric arrangement of drawers with peony finials and a depiction of Mount Fuji to the back, prunus clasp to doors, raised on rectangular base and shaped feet, signature to door with kakihan, signature panel to base 14cm high


£2000-3000 126 ~ A JAPANESE SILVER AND ENAMEL BOWL, MEIJI PERIOD (1868-1912) double skinned bulbous body with six shaped panels ‘Shibayama’ inlaid on a gilt frosted ground with motherof-pearl, ivory and tortoiseshell peony and vine, pigeons amongst prunus, mandarin ducks and an eagle on a peony branch, surrounded by relief and enamelled further blossoming prunus branch sprays, on six shaped feet applied and enamelled with flower motifs, Gyokumin signature panel to underside, with hexafoil lacquer stand 18cm diameter £1200-1800



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128 ~ A PAIR OF SILVER-MOUNTED INLAID IVORY VASES, MEIJI PERIOD (1868-1912) each cylindrical body ‘Shibayama’ worked with mother-of-pearl and tortoiseshell with exotic birds amongst blossoming branches, peony and hydrangea, each with silver fluted trumpet neck and set with a pair of chimera handles, raised on shaped and stepped domed foot engraved with foliate scrolls, Yukimasa signature in oval mother-of-pearl reserve, ‘jungin’ mark to base 28.5cm high £1500-2500


127 ~ A JAPANESE ENAMELLED SILVER AND INLAID LACQUER FAN-SHAPED DISH, MEIJI PERIOD (1868-1912) the central panel inlaid in ‘Shibayama’ style with ivory, mother-of-pearl, lacquer and tortoiseshell with female musicians and a dancer within a room decorated with vases of flowers, within a filigree border interrupted by wire and enamelled chrysanthemums, with silver handle, on three chrysanthemum feet, signed Ko* in red lacquer reserve 36cm long £2000-3000

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129 A MONUMENTAL JAIN HEAD, MADHYA PRADESH, 8TH/9TH CENTURY buff sandstone, with elongated eyes, urna on his forehead and tightly curled hair, his head surmounted by a domed usnisa 40cm high Provenance: British Private Collection, acquired by the vendor on the London art market around 1981. This impressive over-lifesize head typifies the transitional style between the idealised naturalism if the Gupta period, and the more linear stylised idiom of the so-called medieval period. It would originally have formed part of a stele, as it is uncarved at the back. With its wide rounded face and distinctive eyes, it recalls the head of a Vishnu figure in the Norton Simon Museum: see Pratapaditya Pal, Art from the Indian Subcontinent, Ahmedabad, 2003, No.91. ÂŁ4000-6000

130 A FRAGMENTARY ROUNDEL DEPICTING A GANDHARVA, CENTRAL INDIA, PROBABLY MADHYA PRADESH, CIRCA 11TH CENTURY pink sandstone, the flying four armed moustachioed deity wearing large disc earrings and crown, holding a garland in his primary hands, holding a sword and shield in his other hands, mounted on green marble stand 44 x 32 x 12cm Provenance: Art Market, New York, 1980s; Private Collection, London, 1980s-2007; Millner Manolatos, 2 Campden Street, London, October 2007; Collection of the late Bruno Cooper 20072012; thence by descent In Hindu tradition, gandharvas flit through the sky, acting as physicians to the gods and scattering flower petals from their garlands onto gods and heroes. For another gandharva figure of similar date and from the same region, see Balraj Khanna and George Michell, Human and Divine: 2000 Years of Indian Sculpture, London 2000, p.73. For possible Vidyadhara attribution see, Ronald M. Davidson; Indian Esoteric Buddhism: A Social History of the Tantric Movement (2002, Columbia University Press), pages 194-195. ÂŁ3000-4000


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131 A SANDSTONE FRAGMENT DEPICTING A BUDDHA HEAD, SUKHOTHAI, THAILAND, 14TH/15TH CENTURY with serene expression, sheltered under the seven headed cobra canopy of Mucalinda, his ears with elongated lobes, the domed usnisa with flame finial, mounted on stand 32cm high £2500-3500 132 A BAPHUON GREY SANDSTONE HEAD, CAMBODIA, MID-11TH CENTURY with full lips and serene expression, the hair gathered in a bun, mounted on a stand 23cm high Provenance: Private Collection, acquired at Spink and Son, London Exhibited: On loan to the Ashmolean Museum, Oxford 1996-2001 £2000-3000 133 A MON CHALK STONE HEAD OF BUDDHA, THATON, BURMA (NOW MYANMAR), 10TH/11TH CENTURY with enigmatic smiling expression, his ears with elongated lobes, his hair smooth like a cap, traces of lacquer, mounted on stand 22cm high


The Mon Thaton kingdom was an important Buddhist centre in Lower Burma. It was absorbed into the kingdom of Pagan in 1057. For a closely related head in the Metropolitan Museum of Art, New York, see inv.1988.246 £800-1200 134 A KUSHAN MOTTLED PINK SANDSTONE HEAD OF BUDDHA, MATHURA, INDIA, 3RD/4TH CENTURY with serene, slightly smiling expression, smooth turban or cap above the forehead, urna between the eyebrows, mounted on stand 16cm high £450-550 135 A GREY STONE HEAD OF A DEITY, NORTHERN INDIA, 11TH/12TH CENTURY with wavy hair and elaborate bejewelled tapering headdress, mounted on stand 13.5cm high


£300-400 136 AN ANDESITE RELIEF FRAGMENT DEPICTING A HEAD OF A BODHISATTVA, PROBABLY PRAMBANAN, CENTRAL JAVA, 9TH/10TH CENTURY wearing elaborate earrings and tall headdress, mounted on stand 18 x 20 x 22cm Provenance: Private Collection, London £700-900 137 A BUFF SANDSTONE HEAD OF A DEITY, CENTRAL INDIA, 11TH/12TH CENTURY wearing large earrings and tiered headdress, turned slightly to one side 13cm high £250-350

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138 A GUPTA TERRACOTTA HEAD OF BUDDHA, CENTRAL INDIA, CIRCA 5TH CENTURY with serene expression, tightly curled hair and domed usnisa, mounted on stand 9.3cm high £500-700 139 A GANDHARA GREY SCHIST RELIEF, NORTH WEST FRONTIER REGION (NOW PAKISTAN), 3RD/4TH CENTURY depicting Hariti, the female deity depicted dancing, her long hair gathered in a wide bun, within rectangular frame, a dowel at top and bottom 20.7cm high £400-600 140 A GRANITE FIGURE OF SUBRAMANYA, SOUTH INDIA, PROBABLY TAMIL NADU, 17TH/18TH CENTURY standing with body flexed, his right hand in abhaya mudra, his left on his hip, his vehicle the peacock at his feet, wearing tiered conical headdress 46.5cm high


Provenance: Private Collection, England £700-900 141 A PINK SANDSTONE BUST OF A MALE DEITY, PROBABLY VISHNU, CENTRAL INDIA, CIRCA 11TH CENTURY probably from a Lakshmi-Narayana group, his head turned to his left towards his consort, Lakshmi (now missing), her right hand resting on his right shoulder, wearing large earrings and multiple necklaces, mounted on stand 38cm high Provenance: Private Collection, London; Gordon Reece Gallery, Clifford Street, W1 £400-600

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142 142 A PALA GREY STONE STELE DEPICTING GANESHA, BIHAR, EASTERN INDIA, CIRCA 10TH CENTURY the the four-armed elephant headed deity seated on a cushion, holding a radish, an axe, a rosary and a bowl of sweets, his right foot resting on his vehicle the rat, old iron projecting tenons for stand attachment underneath 55cm high Provenance: Acquired by the vendor from Patrick Dunbar Antiques, New Mexico. Patrick Dunbar purchased the sculpture in the late 1970s. ÂŁ5000-7000


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143 143 SIX INDUS VALLEY ANTIQUITIES, MEHRGARH AND QUETTA, PAKISTAN, CIRCA 3000-2000 B.C. comprising four bone ‘button’ seals, a steatite seal in the form of a lion and a terracotta beaker, 6cm high and smaller (6)

145 A MARBLE FIGURE OF BUDDHA, BURMA (NOW MYANMAR), 19TH CENTURY seated on a lotus, his hands in bhumisparsa and dhyana mudra, his domed usnisa with bud finial, traces of gilt and black pigment 62cm high

Provenance: Private Collection, acquired on the London art market 2000

Provenance: Private Collection, England

‘Button seals’, so called because of their twin holes are one of the most distinctive finds at the sites in the region of Harappa in the Indus Valley.


£500-800 144 A BLACK STONE HEAD OF KRISHNA, BENGAL, EASTERN INDIA, CIRCA 18TH CENTURY with raised joined eyebrows,flared nostrils, wearing a floral tiara, later wood stand 7cm high £600-800

146 A MARBLE FIGURE OF BUDDHA, BURMA (NOW MYANMAR), 18TH/19TH CENTURY seated in sattvasana, his hands in bhumisparsa and dhyana mudra, traces of red and black pigment, mounted on stand 38cm Provenance: Private Collection, England £300-500 147 A MARBLE FIGURE OF BUDDHA, BURMA (NOW MYANMAR), 19TH CENTURY standing on a double lotus throne, his right hand at his side in varada mudra, his left at his chest, wearing earrings and an elaborate crown 53cm high Provenance: Private Collection, England £400-600 148 A MINIATURE SAIVITE SHRINE, DECCAN SOUTHERN INDIA, CIRCA 18TH CENTURY cast brass, depicting Nandi and a Sivalingam on a rectangular base 3 x 9.5 x 5.5cm; together with a Small Brass Plaque depicting a Chauri-Bearer, circa 1900, of rectangular form, probably from a shrine, the figure in relief with pierced and incised floral decoration behind, 11.1 x 3.5cm (2) Provenance: Private Collection, Germany, acquired 196066 in India by the vendor while working in development assistance. £150-200

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149 A BRASS FIGURE OF DURGA, WESTERN DECCAN, INDIA, 18TH CENTURY in three sections, standing on a raised square plinth, holding conch, rosary, bowl and mace in her four hands, a five-headed naga and kirttimukha above 23.5cm high Provenance: Private Collection, UK £400-600


150 A JAIN BRASS SHRINE, GUJARAT, WESTERN INDIA, DATED SAMVAT 1504/1561 AD inlaid with silver and copper, seated in dhyanasana on a lion throne, flanked by further jinas and chauri bearers, seated under a parasol supported by elephants, a kalasa above, the reverse inscribed in devanagari script 17.5cm high £1000-1500 151 A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, DECCAN, SOUTHERN INDIA, 17TH CENTURY the multi-armed hindu goddess brandishing various weapons and attributes while slaying the buffalo demon, her right foot resting on her vehicle, the lion, surrounded by a serrated openwork prabha 14.8cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1971, inv.JPC 71/141 £600-800


152 BHU-DEVI AND SRI-DEVI, TAMIL NADU, SOUTH INDIA, 18TH/19TH CENTURY cast brass, the two consorts of Vishnu standing on lotus bases, raised on plinths, each holding a lotus in one hand, the other by her side, Sri-Devi wearing a kuchabandha over her breasts 18cm high each approx. (2) Provenance: Private Collection, England £500-600 153 A SHRINE DEPICTING VISHNU, SOUTH INDIA, 19TH CENTURY bronze and brass, in three sections, the bronze four-armed deity with primary hands in varada mudra and resting on his mace (now missing), his upper hands holding cakra and sankha, on brass stand, a brass aureole behind with leaf design, a cobra canopy and kirttimukha finial at the top 27.4cm high Provenance: Private Collection, England

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155 154 154 A SMALL BRONZE FIGURE OF SIVA NATARAJA, TAMIL NADU, SOUTH INDIA, CIRCA 16TH CENTURY the four armed god dancing on the demon Apasmarapurusa, his left foot and primary left hand resting on cobras, his primary right hand in abhaya mudra, his upper hands holding damaru and flame, later brass base 11.3cm high £300-400 155 A BRASS SHRINE DEPICTING VISHNU, WESTERN INDIA, CIRCA 16TH CENTURY the four-armed deity flanked by Bhudevi and Sridevi, a pair of apsarases above, his eyes and sash inlaid with silver 12cm high


£200-300 156 A BRASS SHRINE DEPICTING GAJALAKSHMI, WESTERN INDIA, 16TH-17TH CENTURY the four-armed goddess with primary hands in varada mudra and holding a water pot, her upper hands each holding a padma 10cm high £250-350 157 A JAIN BRASS SHRINE DEPICTING AMBIKA, WESTERN INDIA, DATED SAMVAT 1528/1585 AD seated on a decorated stool, her child on her left knee, flanked by a diminutive lion and her other son, holding a mango and mango tree branch in her primary hands, a small figure of Neminatha and a water pot above, inscribed in devanagari on the reverse 10.2cm high


£300-500 158 A BRONZE FIGURE OF NANDI, WESTERN DECCAN, INDIA, CIRCA 17TH CENTURY on flared rectangular base with miniature lingam in front, with straight tapered horns, blanket and trappings, a seven headed cobra canopy attached at the back 25cm high Provenance: Formerly in the collection of the late Peter Cochrane £800-1200



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159 (detail)

159 A LARGE VIJAYANAGAR BRONZE FIGURE OF SKANDA, TAMIL NADU, SOUTH INDIA, CIRCA 15TH CENTURY standing on a waisted lotus throne on square plantform, the four armed deity with primary left hand in varada mudra, his right hand missing, holding vajra in his upper hands, wearing tiered conical headdress, his long hair flowing over his shoulders 45.5cm high Provenance: Private Collection, London; acquired in London c.1980 (on consignment to Spink and Son, late 1980s); said to have been in an Italian Collection prior to 1980 The identification of this image as Skanda (also known as Subrahmanya) seems most likely, although the attributes, a vajra and chisel (tanka) are seen on many images of Indra. Indra, however, is usually depicted with a third eye in the forehead and is not often depicted in South India. For a 19th century watercolour depiction of Skanda in this form in the British Museum, see inv.1993,0806,0.67 ÂŁ18000-22000


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162 A PUJA LAMP, SOUTH INDIA, 19TH/20TH CENTURY in the form of Hanuman, with scrolling tail, his lamp held in front, his mace in his left hand 11cm high £120-150 163 AN UNUSUAL FORM OF KRISHNA, SOUTH INDIA, 18TH CENTURY bronze, the four armed plump youthful deity, standing on a lotus base, a pair of butter balls in his primary hands, his upper hands raised, holding attributes (now missing) 10cm high £200-300 164 A BRONZE FIGURE OF KRISHNA VENUGOPALA, ORISSA, EASTERN INDIA, CIRCA 17TH CENTURY standing on a circular beaded lotus base, wearing sandals, elaborate crown, headdress and earrings, playing the flute (now missing) 15.5cm high



160 A LARGE BRONZE FIGURE OF KHANDOBA ON HIS HORSE SOUTH INDIA, EARLY 20TH CENTURY cast in two sections, the Saivite deity holding sword and shield, his tall headdress with bud finial 37cm high

165 A BRONZE FIGURE OF A YOGI, BENGAL, EASTERN INDIA, 18TH/19TH CENTURY seated on a raised lotus, his legs loosely crossed, his hand in jnana mudra at his chest 8.3cm high £200-300

£200-300 161 KHANDOBA SEATED ON HIS HORSE, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY cast brass, holding sword and shield, his face with moustache and his head with tall conical headdress and bud finial, his horse with beaded trappings, wood stand 22cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1977, inv. JPC 77/55 £700-900

166 A BRONZE FIGURE OF DURGA ON HER LION, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY bronze, the eight-armed goddess brandishing weapons and attributes, her lion trampling on diminutive demons 5.5cm high £250-350 167 A SMALL BRONZE VISHNU SHRINE, DECCAN, SOUTHERN INDIA, 17TH/18TH CENTURY the four-armed deity holding gada, sankha and cakra, his primary right hand in abhaya mudra, standing on flared rectangular base, a pointed aureole behind 7.5cm high £150-250 168 A BRONZE FIGURE OF KRISHNA, TAMIL NADU, SOUTH INDIA, 15TH/16TH CENTURY standing on a circular lotus base, his left knee flexed, holding a butter ball in his left hand 6.5cm high £250-350


169 A GROUP OF JAIN AND BUDDHIST FIGURES, INDIA, 18TH-20TH CENTURIES bronze, each seated in padmasana, comprising three jinas, including a figure of Parsvanatha, and a figure of the emaciated Buddha 6cm and smaller (4) £150-200


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171 170 TWO KHMER FIGURES OF HINDU DEITIES, CAMBODIA, 12TH CENTURY bronze, comprising Indra, riding on his elephant vehicle, Airavata, and the goddess Durga on her lion, mounted separately on stands 7.2cm high approx. each (2) £400-600

171 A MAJAPAHIT BRONZE ELEMENT FROM A HANGING LAMP, JAVA, CIRCA 14TH CENTURY in the form of Nandi Bull, on double lotus base, a suspension loop for a chain on his back 13cm high £800-1200


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174 A KHMER BRONZE PALANQUIN FINIAL, CAMBODIA, CIRCA 12TH CENTURY in the form of a curved hollow lotus stem, the lozenge shaped finial with a figure of a dancing apsara in relief, framed by concentric layers of lotus petals, the reverse with figure of Vajradhara seated on a kirtimukha face, mounted on stand 27.5cm long £800-1200 175 A BRASS STANDARD FINIAL, WESTERN DECCAN, 19TH CENTURY in the form of a head of Hanuman, with stylised face and large gaping mouth with traces of red lac, on tapering shaft, mounted on stand 29cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1970, inv.JPC 70/61 £400-600

172 172 A LARGE BRONZE FIGURE OF KHANDOBA AND MHALSA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY cast in four sections, the god seated on a horse with his consort, each holding a sword, a small figure of a dog underneath the horse, framed by a prabha with five headed cobra canopy 33cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1968, inv.JPC 68/84 £1200-1500

176 A BRONZE FIGURE OF THE GODDESS GANGA RIDING ON HER MAKARA, SOUTH INDIA, CIRCA 1900 the tall headdress with bulb shaped finial, her upper hands holding kalasa and padma, her primary hands in abhaya and varada mudra, her vehicle the makara separately cast, modern wood base 22.5cm high (together) £150-250 177 A JAIN SHRINE, GUJARAT, WESTERN INDIA, 13TH CENTURY brass with silver and copper inlay, depicting Parsvanatha, the twenty-third tirthankara, seated on a lion throne, flanked by chauri bearers and devotees, a seven-headed naga canopy above, surmounted by a pair of elephants filling a kalasa, a further kalasa finial on the arched aureole, indistinct dedicatory inscription in devanagari on the reverse 13cm high The indistinct samvat date appears to read 12[..] £800-1200 178 A BRONZE FIGURE OF VISHNU, GUJARAT, WESTERN INDIA, 16TH/17TH CENTURY the four-armed deity standing holding an attribute in each hand, flanked by two pairs of diminutive devotees, a figure of his vehicle, Garuda, on the front of the base 14cm Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1976, inv.JPC 76/35 £400-600

173 173 A BRASS FIGURE OF KHANDOBA AND MHALSA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY the divine couple riding a horse, on rectangular base, the god’s right hand raised, holding a sword(?), now missing 22.5cm high £700-900


179 FOUR BRONZE FINIALS, INDIA, 18TH/19TH CENTURY one in the form of an elephant head, one in the form of a peacock, another with Krishna dancing on a makara head and the other a hook in the form of a double headed yali 10cm and smaller (4) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £150-250

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180 180 A BAZUBAND AND A BRACELET, PROBABLY DECCAN, 18TH/19TH CENTURY bronze, the former of convex cartouche-shaped form, with central figure of an animal headed deity, dancing on a demon, flanked by Ganesha and another deity, the latter of circular form with fourheaded Sivalingam, flanked by Nandi and a trident, the sides with other saivite symbols 10 x 6.5cm; 9cm max dimensions (2)

183 A BRONZE INCENSE BURNER(?) IN THE FORM OF A FISH, BASTAR, INDIA, CIRCA 19TH CENTURY on twin feet, the sides with abstract openwork decoration, opening on underside 13cm high; 28.5cm long Provenance: Formerly in the collection of the late Peter Cochrane £300-400

Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1972 & 1969, invs.JPC 72/191 & JPC 69/185 £300-400

181 181 A YONI-LINGAM, DECCAN, INDIA, 18TH CENTURY on flared rim foot, the spouted top with bearded and moustachioed head of Siva, wearing boteh earrings and spiralling headdress 10.5cm high; 11cm max length £500-700

184 184 A BRONZE SHRINE, WESTERN INDIA, 19TH CENTURY cast brass, in the form of a columnar pavilion, the square platform with bracket feet, the cusped arched roof with bud finial 49cm high Provenance: Private Collection, England £500-800

185 182 182 A BRONZE STAND FOR AN OFFERING TRAY, DECCAN, SOUTHERN INDIA, 18TH CENTURY in the form of a rearing yali, perched on twin leafy branches, on lotus base with beaded rim 31cm high £600-800


185 A BRASS GAURI HEAD, GUJARAT, WESTERN INDIA, 19TH CENTURY with pronounced stylised features, with pierced ears and elongated earlobes, her hair gathered in a small bun 16cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1981, inv. JPC [..], 81/3 £300-400

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186 186 A BRONZE FIGURE OF RADHA, BENGAL, 19TH CENTURY standing on a circular lotus base, holding a padma in her raised right hand, her body flexed, her hair gathered in a bun 22cm high

189 189 A BRASS FIGURE OF KRISHNA VENUGOPALA, ORISSA, EASTERN INDIA, 17TH/18TH CENTURY standing on a circular lotus base, playing his flute, his eyes recessed for inlay 19.5cm high



187 187 A LARGE LINGAM STONE AND ASSOCIATED BRASS COBRA STAND, INDIA, 18TH CENTURY AND LATER the former of egg-shaped form, with coloured rope ring, the cobra stand in two sections, the lower forming a circular base, the upper with flared canopy and single head 47cm high £400-500

190 190 A BRASS FIGURE OF NANDI BULL, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY on a raised rectangular base with lotus decoration, a small yonilingam at the front, with long tapering horns 13cm high £400-600

188 191

188 FIVE STONE LINGAMS, INDIA, 18TH-20TH CENTURY of varying sizes, each of egg-shaped form, the smallest set in a brass yoni, another with associated puja spoon, the third with bronze tripod stand, the two largest with coloured rope stands 21cm high and smaller (9 including stands)

191 A ‘GANGAJUMNA’ WATER POT (LOTA) , TANJORE, TAMIL NADU, SOUTH INDIA, EARLY 19TH CENTURY copper with brass inlay, with stylised floral decoration 16.2cm high




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192 A BRONZE FIGURE OF BUDDHA, SHAN STATE, BURMA (MYANMAR), 18TH CENTURY seated on a lotus throne, with engraved detailing, his hands in bhumisparsa and dhyana mudra, his ears with elongated lobes, his tightly curled hair with domed usnisa, the back panel with indistinct inscription in burmese 23cm high Provenance: Private Collection, England This bronze was reputedly originally acquired in the Eng tribal area of Shan. £500-700 193 A BRONZE FIGURE OF VISHNU, SOUTH INDIA, 19TH CENTURY the four-armed deity on double lotus base, holding cakra, sankha, mala and gada, standing framed by an aureole containing an openwork yantra motif, the base with two pairs of carrying loops 21cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1968, inv.JPC 68/106





194 A BRASS VIRABHADRA PLAQUE, WESTERN DECCAN, INDIA, 18TH CENTURY of waisted arched form, the four-armed deity standing under a five-headed cobra, holding khadga, shield, trisula and damaru, flanked by Daksha and Sati 20 x 16.5 x 4cm Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him. Sati who was Daksha’s daughter as well as being Siva’s wife was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. Other gods pleaded for Daksha’s life but although Siva decided to spare him his severed head could not be found so the head of a goat was substituted instead. Daksha is depicted with hands in namaskara mudra humbly paying respects. £400-600 195 A BRONZE FIGURE OF GANESHA, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the pot-bellied multi-armed elephant-headed deity seated with his consort on his left knee 6.7cm high Provenance: Formerly in the collection of the late Peter Cochrane

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196 196 A HINDU SAINT, SOUTH INDIA, 19TH CENTURY bronze, seated with legs loosely crossed on a cushion, his hands in vitarka and dhyana mudra, wearing long earrings, his hair gathered in a bun 7.8cm high £100-120

197 197 A TRIBAL GROUP DEPICTING VILLAGE METALWORKERS, GOND, EASTERN INDIA, CIRCA 19TH CENTURY bronze, the six figures of stylised form, seated on a circular base, each engaged on a different aspect of working metal objects, 9.5cm high; 17cm diam approx.


£300-400 198 A BRASS SIVA MASK (MOHRA) , HIMACHAL PRADESH in the form of a stylised bust, the head with crown, large earrings and third eye, mounted 19.5cm high

200 A BRONZE FIGURE OF TARA, NEPAL, 19TH CENTURY in walking pose, her right hand at her waist, holding the stem of a padma, her left at her breast in vitarka mudra, wearing elaborate crown and earrings, mounted on stand, 38cm high

Provenance: Private Collection, Italy


£150-200 199 A BRONZE PLAQUE DEPICTING VIRABHADRA, WESTERN DECCAN, INDIA, 18TH CENTURY bronze, the four-armed deity standing under a leafy arch surmounted by kirtimukha holding khadga, shield, bow and arrow, flanked by Daksha and Sati, mounted on cloth covered board, 30.8 x 20cm

201 A SILVER AMULET BOX, TIBET, CIRCA 18TH CENTURY of oval form, with scrolling repousse decoration, set with central carnelian in brass mount, 3.7 x 4.8 x 6cm; together with an Inlaid Silver Amulet Box (gau), Tibet, circa 18th century, parcel gilt silver, with copper back plate, of octagonal form, the central panel with repousse foliate design around an inlaid carnelian, surrounded by a border of turquoise inlay, flanked by triple loops inlaid with turquoises, 6.7 x 5.2cm (2)

Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance.

Provenance: Private Collection, Germany, acquired 1960-66 in Nepal by the vendor while working in development assistance.




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202 202 SIX BRASS OBJECTS, SOUTH INDIA, 19TH CENTURY comprising two priest’s temple bells, a ritual oil lamp, an offering tray, a cakra emblem and a holi spray gun 37cm long and smaller (6) £200-300

205 A GROUP OF RITUAL OBJECTS, TIBET, 19TH/20TH CENTURY comprising a drum (damaru), painted wood and hide with silk brocade tasselled attachment, two brass handbells (ghanta), and three ‘thunderbolts’ (vajra) Damaru: 7.5cm high x 11cm diam (excluding tassels); Ghanta: 17.5, 14.5cm; Vajra: 11cm and smaller (6) £400-600


203 203 A POLYCHROMED WOOD ALTAR TABLE, TIBET, 19TH CENTURY the folding panel legs with painted and carved openwork decoration 34.5 x 70 x 35.5cm £700-900

206 A POLYCHROMED WOOD ALTAR TABLE, TIBET, 19TH CENTURY of rectangular form, the sides and front with recessed panels painted with floral motifs, the top supported by a carved keypattern frieze, the legs and frame with painted and gessoed lozenge relief decoration 34 x 72.4 x 31.7cm £250-350


207 204 AN OPIUM PIPE, TIBET OR MONGOLIA, 19TH CENTURY horn with silver repousse, of slender tapering form, the mounts with scrolling vegetal decoration 46.5cm long For a similar, smaller, pipe sold in these rooms, see 25 Blythe Road Ltd. 11 November 2015, lot 50. £150-200


207 ~ A RITUAL SKULL DRUM (DAMARU), TIBET, 19TH CENTURY the twin skulls joined at the apex, each stretched with vellum, the sides decorated with repousse copper mounts with turquoise and coral inlay, cotton and velvet tassel 18 x 14 x 12.5cm Provenance: The collection of Robin Wigington (1932-2002). £150-250

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208 A COPPER-GILT AUREOLE, KATHMANDU VALLEY, NEPAL, 18TH CENTURY, the repoussé and chased relief in three sections, a winged Kirtimukha at the top, grasping two snakes with his claws, the sides richly decorated with vigorous scrolling, a pair of Kinaris at either end, mounted on stand 50cm high; 59cm wide £3500-4500


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209 209 A REPOUSSE COPPER RITUAL DAGGER (PHURBU), PROBABLY KOKONOR, MONGOLIA, 18TH/19TH CENTURY decorated with paint and gilding, with tapered three-sided blade surmounted by triple head of Bhairava wearing vajra crown, mounted on stand 34cm long

212 212 A TEMPLE LAMPSTAND, NEPAL, 19TH CENTURY bronze, the flared base with openwork scrolling leaf designs surmounted by lotus borders, the faceted shaft supporting an overhanging platform with hanging leaf elements 58.5cm high £400-600




210 THREE AMULETIC PENDANTS (TOKCHA) , TIBET, 15TH CENTURY OR LATER cast brass, two in the form of closed vajras, the other in the form of a yantra 7 x 6cm and smaller

213 AN INLAID AMULET BOX, NEPAL, 19TH CENTURY copper-gilt, with turquoise inlay, of rectangular form, each side with semicircular floral projections, suspension loops at top and bottom, removable copper back plate with compartment inside 7 x 7.4 x 1.3cm approx.



211 TWO TSAKLIS, TIBET, 19TH CENTURY pigment on cloth, the larger depicting Vajravarahi, the red coloured dakini dancing while holding a karttrka and a skull, inscribed in Tibetan on the reverse, the other depicting Vajrabhairava with his consort, his vahana vomiting flames, surrounded by four similar figures, a figure of Mahakala at the top, both framed 15.7 x 12.7cm; 9 x 7.1cm (2)

214 A THANG-KA DEPICTING MANJUSRI, TIBET, EARLY 20TH CENTURY pigment on cloth, the white four-armed bodhisattva with primary hands clasped around a conch(?), his upper hands holding a rosary and a book, resting on a lotus, seated on a lotus throne in a landscape, flanked by a pair of devotees, further Buddha figures and a lama floating in the clouds above, brocaded silk and linen mount 74 x 48cm (painting)




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215 ~ A CARVED FIGURE OF JAMBHALA, TIBET OR BHUTAN, 18TH CENTURY parcel gilt wood, with gold painted details, mother-of-pearl and ivory inlay, the plump figure holding his mongoose on his left knee, wearing heavy robes, boots and cap 7.5cm high This very fine carved wood figure is an exceptional example of a small group of gold painted figures usually attributed to Bhutan. For a related figure in the British Museum see No.1947,0414.1 ÂŁ2000-3000


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216 216 A POLYCHROMED WOOD FEMALE FIGURE, NEPAL, 18TH/19TH CENTURY probably depicting a dakini or attendant, wearing short green tunic and red pyjama trousers, standing on a lotus base, her left hand raised, her right in varada mudra, mounted on stand 84cm high £2000-3000

218 217 A FIGURE OF A MONK, TIBET, 16TH CENTURY gilt wood with traces of green paint, standing on a lotus base holding a begging bowl in his left hand with closely shaven head and flowing robes drilled at the back for original attachment, mounted on stand 14cm high £800-1200 218 A FEMALE DONOR FIGURE NEPAL, CIRCA 18TH CENTURY bronze, standing on a lotus base, wearing richly brocaded robes, her hair with traces of black pigment, tied in a bun 10.7cm high £700-900


219 A TIBETAN BELT, 18TH CENTURY AND LATER composed of separate elements, comprising four Derge gilt-iron openwork sections, a silver repousse central boss mounted on Chinese brocade and leather strap 107cm long fully extended £400-600


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220 A TORMA PLAQUE, TIBET, 19TH CENTURY painted and carved wood, the openwork design depicting images of the ‘Seven Gems’ of Tibetan Buddhism, mounted on stand 12.2cm The ‘Seven Gems’ are the key components of royal power for a Buddhist monarch, and comprise (clockwise from top) : The Precious Jewel, The Precious Minister, The Precious Horse, The Precious General, The Precious Elephant and The Precious Queen. Each of these elements contributes to the qualities of an effective and wise ruler.

221 A PAIR OF POLYCHROMED WOOD BOOKCOVERS, TIBET, CIRCA 18TH CENTURY each of rectangular form, with slightly convex outer surface, the inner sides painted with a row of seven forms of the Buddha and a stupa, surrounded by yellow and red borders on pale green ground 16.5 x 67 x 2.5cm; 16 x 66 x 2.5cm £1500-1800



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224 222 A TEMPLE HANGING, TIBET 19TH CENTURY composed of a row of eight tsaklis, each depicting various Buddhist figures, including Buddhas, bodhisattvas, dakinis and lamas, mounted on Chinese silk brocade panels with beaded tassels below 42 x 151cm (excluding tassels and hanging loops) £600-800

225 226 A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURY pigment on cloth, the central figure of Buddha Sakyamuni depicted with hands in bhumisparsa and dhyana mudra, smaller figures of Amitayus and Green Tara below, flanking a diminutive figure of a devotee, Chinese silk brocade surround, lined with cotton 44 x 29cm (painting) £200-300

223 A TEMPLE HANGING, TIBET, 19TH CENTURY composed of a row of thirty tsaklis mounted on cloth, each depicting a dakini, lama or Buddhist deity 236cm approx. long Provenance: Private British Collection

227 A SMALL MANDALA THANG-KA, TIBET, 18TH CENTURY pigment on cloth, the main diagrammatical roundel surrounded by images of Buddhist deities above and below, silk surround, leather hanging strap, lined with old linen Painting: 46 x 31cm



224 A SILK ALTAR CLOTH, TIBET, 19TH CENTURY of square form, composed of a grid of satin squares forming a cruciform motif, surrounded by a Chinese brocade border, indigo cotton lining 94cm square approx.

228 A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURY pigment on cloth, the Buddha seated in a landscape amidst blossoms, smaller figures of Manjusri, Sadaksari and Mahakala and offerings in the foreground, silk brocade surround, three Tibetan letters on the reverse 31 x 21.5cm (painting)

£100-150 225 A THANG-KA DEPICTING SAKYAMUNI BUDDHA, TIBET OR MONGOLIA, 19TH CENTURY pigment on cloth, the central figure with hands in bhumisparsa and dhyana mudra, a bowl on his lap, seated on a lotus supported by lions in a landscape, surrounded by eighteen smaller figures of arhats, black silk surround, mantras written in red Tibetan letters on the reverse 56 x 39.4cm (painting) £800-1200


£250-350 229 THREE THANG-KAS DEPICTING PADMASAMBHAVA, TIBET, CIRCA 18TH CENTURY pigment on cloth, in each the teacher depicted seated in a landscape, wearing cap and holding his staff, surrounded by other Buddhist deities and characters, each with cloth mount, two with Buddhist mantras inscribed on the reverse 60 x 41cm (painting, and smaller) £700-900

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229 (part) 61

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230 233 (part) 230 A POLYCHROMED BAMBOO FIGURE OF MILAREPA, TIBET, 18TH/19TH CENTURY the long haired sage seated on a leopard skin, his right hand cupped to his ear 9cm high Milarepa is one of Tibet’s most popular historical characters. He lived in the 11th-12th centuries and was a poet and sage. In his early life he tried to wreak vengeance on his aunt and uncle for stealing his inheritance, but learned later to overcome such instincts through Buddhist teaching. He is usually depicted as here with his hand cupped over his ear to symbolise listening to spiritual wisdom taught through song.

233 TWENTY-ONE JAIN FOLIOS, RAJASTHAN, WESTERN INDIA, 18TH-19TH CENTURIES Gouache with ink on paper, the leaves from five different manuscripts, each showing evildoers facing punishments administered by demons, inscribed in devanagari, all but four with illustrations on both sides 128 x 272mm 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 £800-1200

£1400-1800 231 A THANG-KA DEPICTING MANJUSRI, TIBET, LATE 19TH CENTURY pigment on cloth, the Buddhist deity holding book and sword, seated in dhyanasana on a lotus, diminutive figures of Sadaksari and Mahakala below, mantras inscribed in Tibetan on the reverse 53 x 34cm £200-300

234 A GIRL ARRANGING HER HAIR, MANDI, PUNJAB HILLS, 19TH CENTURY gouache with silver on paper, with old catalogue entry, possibly Maggs Bros., 170 x 205cm together with A Painting of a Prince Meeting a Holy Man, Persia, late 19th/early 20th century, gouache on paper, laid on card, gold painted border, 167 x 103mm (image) (2) £120-150

232 FOUR FOLIOS FROM A JAIN SUTRA, GUJARAT OR RAJASTHAN, 18TH/19TH CENTURY gouache with ink on paper, the double sided pages each containing an illustration and description of three of the twentyfour tirthankaras 117 x 201mm £120-150

235 ~ A PORTRAIT OF NOOR JAHAN, DELHI, NORTH INDIA, CIRCA 1860 gouache with gold on ivory panel, the consort of the emperor Jehangir depicted seated by a window, reading a book, fragments of old inscription in English on the reverse 13 x 8cm £150-250


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236 236 TWO EQUESTRIAN PORTRAITS, MEWAR, RAJASTHAN, INDIA, LATE 19TH CENTURY gouache with gold on paper, each wearing turban, riding in a verdant landscape, one accompanied by five attendants, framed 292 x 205mm; 300 x 203mm (2) £400-600 237 THREE INDIAN PAINTINGS, 19TH CENTURY one depicting Ganesha seated in a shrine, the second depicting Siva and Durga by a river, the other a form of Durga(?) 340 x 200mm and smaller (3) £120-150

239 A WHITE HORSE AND ATTENDANTS, DELHI, INDIA, MID-19TH CENTURY gouache with gold on paper, each group of figures labelled in nastaliq script 250 x 405mm The inscriptions read (clockwise from top left): Tasweer Sabuki, Farrash (Painting of Sabuki the Carpet (cleaner), probably meaning steward of his household; Tasweer asp Taunat Nakar, (the painter of the horse (is) Taunat Naakar); Tasweer Meeru, Khidmatgar (Meeru who looks after things, ie. a groom); Tasweer Bahadur Tangni (the last word possibly a mis-spelling of Feranghi (English/foreign soldiers, who were generally called Bahadurs); Tasweer Meer Murad Khan Baazdar, (Mir Murad Khan the hawk keeper); Dzakhira 912, (collection number 912), Tasweer Asp Nat Nagar (painting of a horse (by) Nat Nagar). Here the scribe has used a G in Nagar, probably a copying error; Tasweer Mohan Syce, (Mohan the grass cutter, ie. person who gets fodder for the horse); Tasweer Bakhsh Khuda padar Farash, (painting of Bakhsh the father of Farash, as above). (We are indebted to Mr. W. Kani for his help in interpreting these inscriptions). £200-300



238 A RULER ON HORSEBACK, MEWAR, RAJASTHAN, INDIA, CIRCA 1800 gouache with gold on paper, the main richly attired, wearing a turban, a halo around his head, riding in a landscape, framed with associated inscription on the mount 222 x 154mm (image)

240 NOBLEMEN AND CONSORTS, MANDI, HIMACHAL PRADESH, INDIA, LATE 18TH CENTURY gouache with gold and silver on paper, depicting a grid of sixteen rectangular panels, divided equally between men and women, red border, Indian numerals 123 inscribed on the reverse, framed, 266 x 195mm (folio)




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241 244 241 TWO JAIN PAINTINGS, RAJASTHAN, WESTERN INDIA, SECOND HALF 19TH CENTURY gouache with gold on card, one depicting the twenty-four tirthankaras, each labelled in devanagari, the other depicting the ‘aum’ symbol, the letters containing further jain symbols 25 x 35 approx. each (2) £300-500 242 THREE JAIN PAINTINGS, A DRAWING AND SIX FOLIOS, INDIA, 18TH-19TH CENTURY ink and gouache on paper, the three painting depicting jinas, the drawing depicting an emblem and the folios each comprising fifteen lines of devanagari, two sides with small illustrations 260 x 215mm and smaller (10) £100-150

244 A GROUP OF MUGHAL SAINTS, DELHI, INDIA, CIRCA 1800 gouache with gold on paper, the six men depicted seated under a canopy on a terrace, each figure labelled in nastaliq script, red border 310 x 203mm (image) The figures depicted are (clockwise, from bottom right): Khawaja Nizam al Din (as in Nizamuddin), Sheikh Farid, Khawaja Moin al Din (founder of the Chishti order), Ghaus (?) Alim. £200-300 245 A PRINCE VISITS HIS LOVER, DECCAN, INDIA, SECOND HALF 18TH CENTURY gouache with gold and silver on paper, probably from a ragamala series, on a palace terrace, stormy sky behind, later inscription in devanagari, silver border 287 x 160mm Provenance: Kasmin Gallery, London, circa 1980 £800-1200 246 A PORTRAIT, PROBABLY OF JAWAN SINGH OF MEWAR, UDAIPUR, RAJASTHAN, INDIA, CIRCA 1830 gouache with gold on paper, thin green and broad pale grey-blue borders, the ruler resting on a bolster under a canopy on a terrace whilst in conversation with a courtier, surrounded by three attendants 250 x 170mm (image) Provenance: Kasmin Gallery, London, circa 1980 £800-1200

243 243 A JAIN COSMIC DIAGRAM, RAJASTHAN OR GUJARAT, INDIA, LATE 19TH/EARLY 20TH CENTURY pigment on cloth, depicting a roundel with central holy mountain surrounded by stylised radiating rivers, shrines and trees, interspersed with concentric oceans, a further shrine containing a jina in each corner, lined 98cm square approx. £100-150

247 AN EROTIC SCENE, PROBABLY UNIARA, RAJASTHAN, INDIA, 18TH CENTURY gouache with gold on paper, the royal couple on a hanging bed, observed by two servant girls, framed 205 x 140mm (image visible) Provenance: Kasmin Gallery, London, circa 1980 £1200-1500 248 LOVERS IN A PALACE, BUNDI, RAJASTHAN, INDIA, 18TH CENTURY gouache on paper, red border, later inscription on the reverse, framed 180 x 148mm (image) Provenance: Kasmin Gallery, London, circa 1980 £1200-1500


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245 246


248 65

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249 249 TWO COMPANY SCHOOL PROCESSION SCENES, PATNA, INDIA, MID 19TH CENTURY reverse painted on mica, one depicting the muharram procession, the other a prince with attendants, being carried on a palanquin 14.1 x 18.8cm; 13.7 x 18.1cm (2)

251 A PORTRAIT OF A DECCANI SULTAN, PROBABLY IBRAHIM ADIL SHAH, DECCAN, SOUTHERN INDIA, 19TH CENTURY gouache with gold on paper, wearing turban with sarpech, bazubands and gold thread pathka, standing in a landscape, holding a sword, mounted 324 x 177mm The inscription reads Ali Adil Shah Bijapur, although the likeness is much closer to that of Ibrahim Adil Shah (1579-1627). £1000-1500

Provenance: The collection of Robin Wigington (1932-2002). £300-500


250 250 A TANTRIC RITUAL DRAWING (PATAKA) OF HANUMAN, RAJASTHAN, LATE 18TH/EARLY 19TH CENTURY ink on paper, black with red outlining, the four armed monkey headed god trampling on a demoness, other deities including Ganesha in three corners, the composition scattered with mantras in devanagari script 52 x 55cm approx.

252 SULTAN IBRAHIM VISITED BY AN ANGEL, PROVINCIAL MUGHAL, NORTHERN INDIA, 18TH CENTURY gouache with gold and silver on paper, laid on an album page, concentric yellow, orange and blue borders, nastaliq inscription above, mounted 135 x 103mm


The inscription, which appears to contain a spelling mistake, has been translated as Ibrahim, father of the prophets.



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253 253 JAMINI ROY (INDIAN 1887-1972), NUDE FEMALE gouache on paper, signed in Bengali bottom right, framed 43.5 x 23.5cm This painting is characteristic of Roy’s new, more abstracted style which he developed from the late 1940s. Although no record survives of when this painting was acquired, it was part of a mixed private collection of paintings which had been held in storage for several decades outside London. A considerable number of Roy’s paintings were acquired by British and European collectors directly from the artist in the 1950s-60s, and judging from the style of frame and mount, it seems likely that this might have been the case with this example. For two similar paintings, also in subdued grey palette, see Christie’s New York, 20 March 2008, lot 12. £2000-3000 254 DESAKH RAGINI, PROBABLY BIKANER, RAJASTHAN, INDIA, 17TH CENTURY gouache on paper, depicting three female acrobats in a rural landscape, later islamic and devanagari inscriptions in top margin, ink sketch of a ruler on the reverse, along with a collector’s stamp: Ram Gopal Vijayvargiya 235 x 164mm

255 255 LOVERS IN A FOREST, JAIPUR, RAJASTHAN, LATE 18TH CENTURY gouache with silver and gold on paper, the couple depicted standing under a tree at night, with group of four female attendants, framed 195 x 118mm £500-700 256 TWO DRAWINGS, NORTHERN INDIA, FIRST HALF 19TH CENTURY ink on paper, comprising a Pahari drawing of a composite elephant and a Bundi drawing of a man collecting alms 300 x 244mm; 150 x 65mm (2) £100-150

The artist Ram Gopal Vijaivargiya (1905-2003) was Vice-President of Lalit Kala Akademi 1958-60 and then Principal of Rajasthan School of Arts and Crafts, Jaipur, 1961-66. He was also a noted poet, art historian and collector.

257 FOUR RITUAL DIAGRAMS (YANTRA), WESTERN INDIA, 18TH/19TH CENTURY ink and watercolour on paper, each labelled with mantras 53cm square approx. and smaller (4)




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258 258 A BALINESE POLYCHROME-PAINTED COTTON HANGING, INDONESIA, 19TH CENTURY ink and pigment on cloth, of rectangular form, depicting the Temptation of Arjuna 94 x 208cm The Temptation of Arjuna is a scene from the Arjuna-wiwaha (Marriage of Arjuna), an 11th century Javanese epic based on a section of the Mahabharata. The god Indra devises a test for the powerful hero.

260 A COMPANY SCHOOL PAINTING OF A FUNERAL PROCESSION, DELHI, FIRST HALF 19TH CENTURY gouache on card, a verdant landscape interspersed with Mughal monuments in the background, black border, later English inscription on the reverse reading: To my dear friends Mrs. and Mr. Graven whom I had the honour to have them [sic] in my shop. Lionel [...] 152 x 270mm £120-150




259 A MAIDEN AND HER ATTENDANT, RAJASTHAN, PROBABLY AMBER, LATE 18TH CENTURY gouache with silver and gold on paper, probably from a ragamala series, nastaliq inscription at the top, further inscriptions in devanagari on the reverse 248 x 160mm (inside borders)

261 A SMALL SLIP PAINTED CHARGER, BOMBAY SCHOOL OF ART, WESTERN INDIA, LATE 19TH CENTURY glazed earthenware, of shallow circular form, with central figure of a ruler flanked by a pair of attendants within a floral roundel, surrounded by a border depicting a procession of figures and animals, devanagari letters inscribed on the reverse 37cm diameter




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262 262 A CANAKKALE JUG, WESTERN ANATOLIA, 19TH CENTURY green-glazed earthenware, of typical zoomorphic spouted form, with barley-twist handle, the top and body with floral and leafy applique relief motifs 34cm high £200-300

265 A LACQUER OFFERING URN (HSUN-OK), BURMA (NOW MYANMAR), LATE 19TH/EARLY 20TH CENTURY lacquer-coated can, with sgraffito decoration on red ground, in four sections, comprising bowl, tray, lid and upper cover, profusely decorated with intricate stylised scroll, figural and foliate motifs 39cm high (4) £300-500 266 A NEST OF LACQUER BOXES, KASHMIR, NORTHERN INDIA, CIRCA 1900 each of wood, of octagonal form, with polychrome painted and gold floral decoration, the five lidded boxes each fitting inside each other, the underside of each signed Ganemede, Srinagar, Kashmir No 99, 2810. 10.5 x 20 x 14.5cm (5)


263 A KASHAN MOULDED TILE, PERSIA, 13TH/14TH CENTURY glazed earthenware, depicting a floral medallion in a cartouche, flanked by a pair of figures 14 x 26 x 2.6cm Provenance: Sotheby’s London, 1980s £150-250

264 264 A HISPANO-MORESQUE LUSTRE POTTERY ALBARELLO, VALENCIA, PROBABLY MANISES, 15TH-16TH CENTURY tin-glazed earthenware, of waisted cylindrical form, on rim foot, overhanging lip, decorated in lustre with stylised floral forms on cobalt ground 29cm high

Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £250-350 267 A GEM-SET SILVER BUCKLE, WESTERN INDIA, EARLY 19TH CENTURY the convex roundel with central rosette, set with garnets and rock crystals, surrounded by scrolling foliage and acanthus border around the edge, flanked by similarly decorated rectangular elements attached to loops on either side, the reverse gilded, 6 x 10cm; together with a Large Silver Earring or Button, Northern India, 19th century, of circular form, with central inlaid carnelian surrounded by a floral design composed of applique beadwork, fringed with an openwork floral border, attachment loop on the reverse, 6.5cm diam. and a Buckle and a Pendant, Rajasthan, Western India, 19th century, silver, the buckle with square central medallion depicting a flower vase in relief, flanked by attachment loops, the pendant of yoni form with dancing figure of Hanuman, later metal chain, 3.5 x 6.5cm; 5.8 x 3.6cm (4) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £400-600 268 ~ AN AMULETIC NECKLACE, AFGHANISTAN, 19TH CENTURY silver, with niello and beadwork decoration, strung with coral, jet(?) and silver beads, 26cm diam. approx.

Lustre painting on blue ground is relatively rare in both Spanish and Islamic Mamluk pottery. For a related albarello in the Victoria and Albert Museum, see inv. C.50-1910.

Provenance: Private Collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance.




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269 269 FOUR NIELLO LIME BOXES (HTON BU), BURMA (NOW MYANMAR), 19TH CENTURY each of oval form, the lids with silver repousse decoration, each with copper base, two embossed 5 x 7.5 x 4.7cm and smaller (4) £500-800

271 A MANUSCRIPT BOX (SADAIK), BURMA (NOW MYANMAR), EARLY 20TH CENTURY wood, with lacquer and glass applique and gilt, of rectangular form, standing on four legs in the form of manok-thi-ha (double bodied sphinx),the lid and sides decorated with relief cartouches containing mythical figures and beasts, bordered with lines of coloured glass, the hinged lid opening to reveal a plain russet painted interior 25 x 61 x 22.5cm £120-150 272 A LACQUER CHEST, PAGAN, BURMA (NOW MYANMAR), FIRST HALF 20TH CENTURY of rectangular form, on bracket feet, the hinged lid opening to reveal tray and two further hinged compartments, the exterior and inner lids profusely decorated with figures, foliage and palace scenes, with inscriptions in Burmese, 28 x 56 x 34cm Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. For a similar, but earlier, chest from Pagan, thought to date from the 18th century, see Sylvia Fraser-Lu, Burmese Lacquerware, Bangkok 1985, p.79 £150-250

270 270 A SILK AND GOLD THREAD WOVEN CLOTH (SONGKET), PALEMBANG, SUMATRA, INDONESIA, 19TH CENTURY of long rectangular form, the russet ground densely decorated with repeated lozenge design, the motifs with pink, blue and orange central medallions, registers of repeated stylised plant and bird motifs at either end, the whole surrounded by multiple borders with abstract motifs 80 x 204cm approx. £500-800

273 273 FOUR JAVANESE SHADOW PUPPETS (WAYANG KLITIK), INDONESIA, 19TH CENTURY polychromed wood and leather, each in the form of a figure comprising three mythical deities and a European figure, carved in low relief, with articulated arms and projecting handle below 65cm high and smaller (4) £300-500


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274 A LARGE POLYCHROMED PAINTED BANNER, THAILAND, CIRCA 1900 pigment with gold on cloth, of tall rectangular form, the upper portion with standing figure of Buddha, flanked by Moggollana and Sariputta, the lower section depicting Manjusri(?) in a chariot and other figures in the grounds of a palace, cartouche with inscription in Thai at the bottom 295 x 90cm £200-300 275 A BRONZE LIMEPOT IN THE FORM OF A PEACOCK, PROBABLY DECCAN, SOUTHERN INDIA, 19TH CENTURY on flared base, the tail section with hinged opening to reveal lime compartment,13cm high, together with a Silver Limepot and Set of Implements, Northern India, 19th century, the pot in the form of a mango, with hinged lid and inner comparment, attached to a set of miniature bells and a set of six scooping implements on a chain, 22cm long (laid out) (2)

278 A QAJAR LACQUERED WOOD ARCHER’S BOW, PERSIA, FIRST HALF 19TH CENTURY of crescent-shaped form, the surface painted with hunting scenes and arabesque decoration 52cm max diam.; 5.5cm deep £700-1000 279 ~ THREE FOLDING KNIVES, TAMIL NADU, SOUTH INDIA, 19TH CENTURY ivory, steel and brass, each with faceted ivory handle, folding blade and spike, two with Tamil inscriptions on the blades, one incised on the ivory handle, two with brass finials, one inscribed as a seal, mounted together on cane panel in carved wood frame 12.7cm long and smaller (3) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £200-300

Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £100-150 276 A SMALL SILVER TRAY, SRI LANKA, 19TH CENTURY of oval form, richly decorated with chased and repousse scrolling foliate motifs, the cavetto and rim delineated by borders of acanthus and lozenge motifs, 27 x 21.5 x 1cm, together with Two Miniature Ewers, Northern India, circa 1900, each with scrolling handle and spout and splayed foot, the larger with faceted sides each with lozenge-shaped medallion with a princely figure in relief accompanied by twin consorts, surrounded by a floral border, the smaller with abstract ribbed decoration on the sides,17, 14.5cm (3) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £300-500 277 A SMALL WATER POT (LOTA), DECCAN, SOUTHERN INDIA, 16TH/17TH CENTURY bronze, of squat bulbous form, the shoulder with lotus decoration, the scrolling spout with yali finial, 7.4cm high; 10.2cm max. length, together with a Cast Brass Temple Bell, Southern India, circa 18th century, with hooped chain attachment and ridged sides, 17cm high (2) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £200-300

280 280 A CARVED WOOD FINIAL, AHMEDABAD, WESTERN INDIA, DATED 1912 AD probably from a shrine, with central three line inscription in urdu, surmounted by kalasa under an elaborated cusped arch supported by columns 22 x 35 x 5.5cm The inscription has been translated: Sitara Jamuna Das Kubera(?) Das, resident of Ahmedabad/ completed this work here(?)/ month of Sha’ban, year 1330 of the hijrah (July-August, 1912) £200-300


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284 AN EMBROIDERED WAISTCOAT, PUNJAB, SECOND HALF 19TH CENTURY AND LATER the green velvet front with richly decorated silver gilt foliate and scroll motifs, later lining and plum coloured velvet back, 61cm long approx Provenance: Private Collection, Germany, acquired 1960-69 by the vendor while working in development assistance in India and Pakistan. £100-150 285 A CAST BRASS COSMETIC BOTTLE, PERSIA, 13TH/14TH CENTURY on four claw feet, the bulbous body with incised foliate cartouches, surmounted by neck with spiralled fluting,13.5cm high, together with Two Mughal Brass Spitoons, Probably Lahore, Punjab, India (now Pakistan), 18th century, each of double bellshaped form, with incised decoration, one with registers of floral panels, the other with repeated loop designs,11cm; 10cm high, and a Mughal Inkwell, Northern India, 16th/17th century, bronze, of octagonal form on eight bun feet, of architectural form, with dome surmounted by hinged lid, 8cm high (4) Provenance: Private Collection, Germany, acquired 1960-78 in Asia by the vendor while working in development assistance.



281 A ROCK CRYSTAL SEAL HANDLE, QAJAR PERSIA, SECOND HALF 19TH CENTURY of trefoil section, inscribed cartouche on one side 11.7cm long

286 A KOFTGARI JEWELLERY BOX, PUNJAB, CIRCA 1880 of octagonal form, with hinged domed lid, the exterior with gold and silver damascened foliate arabesque designs, 9cm high; 14cm max. diam.


Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance.

282 A GREY STONE JALI, WESTERN INDIA, CIRCA 18TH CENTURY of rectangular form, with central opening, surrounded by pierced carved semicircle motifs, flanked by beadwork borders 51 x 39 x 3.5cm £120-150 283 TWO SILK EMBROIDERED COTTON DOOR HANGINGS, KUTCH OR SIND, MID-20TH CENTURY each in two long panels, stitched together, with beaded tassels, the floral designs embellished with applique mirrored glass, 130 x 18cm; 128 x 14cm; together with a Lakai Tent Hanging, Uzbekistan, Central Asia, circa 1900, silk embroidered cotton, composed of two strips of material arranged in v-shape, tassels along lower edge, 90cm diam. approx. (3) Provenance: Private Collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance. For an almost identical Lakai hanging in the Linden Museum, Stuttgart, see Johannes Kalter, The Arts and Crafts of Turkestan, Thames and Hudson, London 1984, p.59. Kalter suggests that these hangings are used to decorate stacked bedding. £150-250

£150-250 287 A MAMLUK TINNED COPPER BOWL, PROBABLY SYRIA, 14TH/15TH CENTURY with incised geometrical, calligraphic and strapwork decoration on the sides 12cm high; 23cm diam. Provenance: Private Collection, Germany, acquired 1974-8 by the vendor while working in development assistance in Afghanistan. £400-600 288 TWO CARVED AND INLAID WOOD PEDESTAL TABLES, EGYPT, CIRCA 1900 of square tapered form, on splayed feet, the tops and side with carved calligraphic and foliate designs, inlaid with mother of pearl star motifs, the lower shelves fringed with mashrebiyya openwork decoration Both 72cm high; 41.5, 42.5cm square (tops) £300-500 289 A SMALL MARBLE FIGURE OF NANDI BULL, RAJASTHAN, WESTERN INDIA, LATE 19TH/EARLY 20TH CENTURY crouching on a rectangular base 12cm high £120-150


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290 290 A WOOD DOOR LINTEL PANEL, TAMIL NADU, SOUTH INDIA, 19TH CENTURY carved in relief with central figure of Gajalakshmi flanked by a pair of elephants, attendants and a pair of hamsas on either side 23 x 101cm Provenance: Private Collection, England £150-200

293 293 A WOOD DOOR LINTEL PANEL, TAMIL NADU, SOUTH INDIA, CIRCA 1900 carved in relief, with central figure of Gajalakshmi flanked by elephants, attendants and deities on either side, framed 24 x 74cm Provenance: Private Collection, England £150-200

294 291 291 A CARVED WOOD PANEL FROM A PROCESSIONAL CHARIOT (RATHA), TAMIL NADU, SOUTH INDIA, 20TH CENTURY depicting a four-armed form of Varaha in relief, dancing on three globes, flanked by a pair of female chauri bearers 46 x 24.5 x 7cm

294 A MUQQARNAS CEILING ROSE, PROBABLY MOROCCO, 18TH CENTURY of inverted conical form, composed of numerous interlocking wood arch elements, surmounted by a projecting suspension tenon 72cm high (including tenon) £250-350


295 292 292 SEVEN BASTAR RELIEF PANELS, ORISSA, EASTERN INDIA, 19TH CENTURY each in the form of a rectangular frieze, depicting animal and human figures, some with erotic themes 24 x 95cm (average size) (7) Provenance: Private Collection, England £500-800

295 ~ A HOSHIARPUR WORK BOX, PUNJAB, NORTH-WESTERN INDIA, CIRCA 1900 shisham wood, inlaid with ivory, brass mounts, the hinged lid with interior mirror, opening to reveal various compartments including removable tray, various miscellaneous contents including an old photograph of an Indian gentleman and part of a leather islamic book binding 15.5 x 38 x 25.5cm £150-200


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299 A COLLECTION OF TEXTILE PRINTING BLOCKS, RAJASTHAN OR GUJARAT, WESTERN INDIA, EARLY 20TH CENTURY carved wood, with geometrical, arabesque and floral designs,13cm square, average size (49) Provenance: Private Collection, Germany, acquired 1960-66 by the vendor in India while working in development assistance. For a photograph of a similar printing block in use, see Rosemary Crill, Fabric of India, V&A, London 2015, p.43. £300-400 300 A BRONZE MORTAR, GREECE OR BALKANS, CIRCA 1800 in the form of a chalice with flared rim and splayed foot, the sides with ridge and impressed palmette designs 17cm high; 15.3cm diam. £150-200

296 301 296 A POLYCHROMED WOOD ARCHITECTURAL FINIAL, GUJARAT OR RAJASTHAN, INDIA, 18TH/19TH CENTURY of tapered nagara shikhara form, surmounted by amlaka topped with kalasa finial, the sides and corners with further smaller shikharas 77cm high £600-800

301 A GEORGE II BELL METAL MORTAR, DATED 1754 of waisted form with reeded rims, inscribed either side of a crowned Tudor rose ROBERT / LATHROP • 1754 •, 23cm diameter; together with an associated pestle, double ended, 19cm long (2) Provenance: The collection of Robin Wigington (1932-2002). £300-500

297 AN OTTOMAN QUR’AN STAND, SYRIA, 19TH CENTURY composed of two interlocking arched wood panels, the decoration comprising stylised floral motifs inlaid with mother-of-pearl, and geometric bone inlaid edging 30.5 x 77 x 23cm (opened out) Provenance: Formerly Private Collection, Kent £200-300 298 A TURNED WOOD DOWRY BOX, KERALA, SOUTH-WESTERN INDIA, LATE 19TH CENTURY of bun-shaped form, decorated with concentric polychrome stripes, the brass mounts with incised foliate decoration 17cm high; 41cm max diam. Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £80-120

302 302 A COMMONWEALTH BELL METAL MORTAR, DATED 1656 moulded borders, with inscribed band EDWARD GILLES 1656 15.5cm diameter Provenance: The collection of Robin Wigington (1932-2002). £400-600


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306 303 303 A CHARLES II BELL METAL MORTAR, DATED 1666 plain form, cast with two busts of Charles II either side of the date and initials EN, 14.5cm diameter; together with an associated pestle, double ended, 19cm long (2)

306 AN IRON CASKET, IN 16TH CENTURY STYLE domed rectangular with three hinged ribs and swing handle, the central rib concealing the lock freed by a pull hidden to the underside, on ribbed feet, red velvet interior 18cm long

Provenance: The collection of Robin Wigington (1932-2002).

Provenance: The collection of Robin Wigington (1932-2002).



304 304 A DUTCH BRONZE MORTAR, DATED 1726 slightly flared cylindrical, reeded borders, cast with a band of trefoils below the inscription AMOR . VINCIT . OMNIA . 1726, 14cm diameter; together with an associated pestle, double ended, 18.5cm long (2) Provenance: The collection of Robin Wigington (1932-2002). £300-500 305 A GROUP OF THREE BRONZE MORTARS one with moulded borders and flared lip, English or Flemish, 18th century, 19cm diameter, one waisted octagonal and one ribbed and inscribed, both Gothic style, probably French or Iberian; together with three associated pestles (6) Provenance: The collection of Robin Wigington (1932-2002).

307 307 A HORN CASE, ENGLISH, CIRCA 1652 the slim rectangular pinned case perhaps for a comb (or a perpetual calendar or similar reference), with linear and arched geometric pattern incised borders centred by a lozenge initialled TL to one side and dated 1652 to the other, with brass clasp to the hinged brass top edge lid 12.7cm long Provenance: The collection of Robin Wigington (1932-2002). £500-800 308 AN OAK BIBLE BOX, ENGLISH, LATE 17TH CENTURY the front lunette carved flanking the metal key plate 59.5cm long £80-120


308 305


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309 309 AN OPPOSING PAIR OF ‘GRAND TOUR’ MARBLE PROFILES AFTER THE ANTIQUE, ITALIAN, PROBABLY SECOND HALF 18TH CENTURY carved in giallo antico marble, approximately 10cm high, mounted circa 1830 in gilt gesso frames (A/F)


Provenance: The collection of Robin Wigington (1932-2002). £150-250 310 AN ITALIAN CARVED GILTWOOD RELIQUARY FRAME, 18TH CENTURY with openwork scrolls and flowerheads, the oval aperture set with a red glass intaglio profile, English School, late 18th century of a young man with hair en queue 18cm high £100-200 311 ~ A GOLD BEZOAR STONE HOLDER, 17TH CENTURY STYLE spherical, each hemisphere pierced and engraved with scrolling leafage, plain rim, 4.5cm diameter, 24.5gr; containing an ivory ball


Provenance: The collection of Robin Wigington (1932-2002). £700-1000

312 (obverse)

313 (obverse)

312 A GERMAN SILVER-GILT MARTIN LUTHER CENTENNIAL JUBILEE MEDAL, SAXON, 1617 the obverse with Martin Luther and the Elector Frederick the Wise drawing back the curtains of a canopied tabernacle to reveal the light burning within, bordered by the motto DAS KLARE LIECHT VERDECKET WAR... and JEHOVAH in Hebrew, below with D. MARTINUS LUTHERUS / THEOLOGIAE, the reverse with the laurel crowned Lutheran swan above IUBILAEUS / PRIMUS 1617, jubilee motto bordered, set in a contemporary openwork scroll mount 6cm diameter £200-300 313 A GERMAN SILVER-GILT RELIGIOUS MEDAL, SAXON, 1607 after Hans Reinhart the elder (1495-1581), the obverse with the titled scene of Abraham’s Sacrifice of Isaac in relief, dated to the sacrificial altar, the reverse with Longinus piercing Christ’s side on Calvary and the prayer MISERE NOBIS DOMINE, ridged loops to top and bottom 5.4cm diameter

312 (reverse)

313 (reverse)

See the Victoria and Albert Museum, No. A.35-1923 for this medal dated 1539. Literature: Majorie Trusted, German Renaissance Medals, Victoria & Albert Museum, 1990, p.128. £400-600


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315 315 A GREEK PROVINCIAL TRIPTYCH ICON, 18TH CENTURY rectangular, the arch framed Madonna flanked by doors painted with St. George below St. Nicholas and St. Dimitrius of Thessaloniki below St. Haralambos 26.5cm high £300-400

314 314 ~ AN ART NOUVEAU CARVED IVORY PLAQUE, FRENCH, EARLY 20TH CENTURY the rectangular panel depicting in low relief the head of a young woman, her hair up and a chiffon-like material swirling below her bare shoulders, monogrammed EC or FLC and with a shield of fleurs-de-lys bottom right, in original fitted green leather case gilt tooled with alternate rows of fleurs-de-lys and roses, cream velvet lined panel 17 x 10.8cm This panel may have been carved by Florentin-Louis Chauvet (1878-1958), see Victor Arwas, Art Nouveau: The French Aesthetic, London, 2006, pp.250/251 for a bronze inkwell with relief carved ivory panel by Chauvet, entitled Le Sommeil. £300-400

316 316 AN ENGAGEMENT BELT (KORONA), THRACE, NORTHERN GREECE, LATE 18TH CENTURY bronze, enamelled and inlaid, the buckle composed of three enamelled and relief decorated elements, paste-set, with crest and floral decorated panels, inscribed in Greek, the cloth belt covered with a series of gilt metal elements with cartouche motifs, 12.2cm high; 25cm approx. diam. The Greek inscriptions contain the name of the groom, probably Kostas (abbreviation of Constantinos), and the bride, Vasiliki, and the word gamilion (wedding). This type of belt, given by a future groom to mark the couple’s engagement, is called korona, because of the crown-like shape of the buckle. Similar examples can be seen in the Museum of Folk Art and the Benaki Museum, Athens (see S. A. Papadopoulos, Greek Handicraft, Athens, 1969, p.229 & Angelos Delivorrias, Greece at the Benaki Museum, Athens, 1997, pl.862). £800-1200


317 A RUSSIAN ICON OF SAINT NIL SORSKY IN A SILVER OKLAD, MOSCOW, 1804 rectangular, beaded border, the saint standing beside a chased church 12cm high £300-400


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318 TWO RUSSIAN PORCELAIN GROUPS OF THE DRUNKEN HUSBAND, GARDNER FACTORY, MOSCOW, LATE 19TH CENTURY one modelled with the wife struggling to raise her prostrate spouse (child figure and a boot lacking), the second showing the group walking home, the wife carrying their child and one of her husband’s boots, each on grassy oval bases, red printed marks, the latter also with impressed marks 16cm and 22.5cm high respectively £1200-1800


319 A RUSSIAN FIGURE OF A MASKED LADY, IMPERIAL PORCELAIN MANUFACTORY, ST. PETERSBURG, 1840s the lady in a black cape and gown over a cream dress, her ringletted hair adorned with pink roses, on gilt scroll base, blue Nicholas I Imperial cipher mark 13.5cm high, restoration An example of this rare model is held by the State Russian Museum, see illustration in V.V. Znamenova, Imperatorskii Farforovii Zavod 1744-1904, St. Petersburg, 2008, p.342. Also see At the Tsar’s table, Russian Imperial porcelain from the Raymond F. Piper collection, exhibition catalogue, Haggerty Museum of Art, Wisconsin, 2001, pp.38/42, for a further example. £1200-1800 320 A PAIR OF RUSSIAN SILVER BUD VASES, KHLEBNIKOV, MOSCOW, 1908-1917 each richly chased as a fern-clad tree trunk rising from three root supports, with Imperial warrant mark 12.8cm high, 261gr (8oz) £600-800

320 78

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323 (part)


327 321 A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK NF (IN CYRILLIC), MOSCOW, 1882 rectangular, the lid with a view of the Kremlin against a rayed background, chequered sides and base, gilt interior, 875 standard 8.7cm long Provenance: Christie’s, London, 19 November 1979, lot 81 (part)

324 A RUSSIAN PARCEL-GILT-SILVER AND NIELLO SNUFF BOX, MAKER’S MARK I.O (IN CYRILLIC), MOSCOW, 1819 oblong, lightly curved, the lid with a depiction of Falconet’s Peter the Great equestrian figure in St. Petersburg against a matted gilt ground, the underside with a military trophy, with applied cast foliate thumbpiece, 875 standard 9.4cm long


Provenance: Christie’s, London, 19 November 1979, lot 81 (part)

322 A RUSSIAN SILVER CHEROOT CASE, MAKER’S MARK IA (IN CYRILLIC), MOSCOW, 1886 oblong, with basketweave panels, the sprung lid with a shaped oval scene probably of the Kremlin in niello, the underside with shaped oval of trailing foliage in niello surrounding a vacant roundel, gilt interior, 875 standard 9cm long £200-300 323 A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK EE, MOSCOW, DATE PUNCH INDECIPHERABLE, MID 19TH CENTURY rectangular, geometric foliate patterning, gilt interior, 875 standard, 7.7cm long; together with a Russian silver and cloisonné enamel triptych icon, unmarked, 19th century, the obverse panels of openwork foliage with white bead borders folding to close as a clasped box, 17cm wide (2) £150-200

£700-1000 325 A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK OB (IN CYRILLIC), ASSAY MASTER NIKOLAI DUBROVIN, MOSCOW, 1838 rectangular, the lid with a hunter and his hounds resting under a tree, the underside with a townscape, the sides with fenced enclosures, gilt interior 8.5cm long £150-250 326 A RUSSIAN SILVER AND NIELLO SNUFF BOX, PETR ABROSIMOV, MOSCOW, 1896-1908 rectangular, chequered decoration, the lid with an oval view of the Kremlin, the underside with a vacant roundel, gilt interior, 875 standard 6cm long £150-200 327 A RUSSIAN SILVER AND NIELLO PURSE, PETR ABROSIMOV, MOSCOW, 1896-1908 in the form of a handbag with curb link chain, with shaped panels of scrolling foliage and to one side with a view of a house in the country, interior with three red watered silk concertina compartments, 875 standard 8cm wide £300-500


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328 328 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL CIGARETTE CASE, MAKER’S MARK D.G. (IN CYRILLIC), MOSCOW, CIRCA 1930 oblong, enamelled with stylised foliate motifs and line borders in an asymmetric layout, carbuncle set thumbpiece, 875 standard 11.8cm long £400-600

331 331 AN ENAMELLED SILVER-GILT BOWL AND LADLE, 20TH CENTURY the bulbous bowl with a band of shaded cloisonné enamelled profiles flanking a Bogatyr holding aloft a mug of frothing ale above a band of black eagles between pan-Slavic type borders and a rim with bears in a snowy landscape, applied with cast wolf mask handles, the ladle with foliate cloisonné enamelling on a matted gilt ground, all bearing spurious Fabergé and kokoshnik marks 21cm wide, 1289gr all in

329 329 A RUSSIAN SILVER AND CLOISONNE ENAMEL CIGARETTE CASE, MAKER’S MARK ‘SM?’ (IN CYRILLIC), MOSCOW, 1896-1908 oblong, each side enamelled with stylised trailing flowers, a blue ground quadrant to one corner and white pellet borders, 875 standard 11.3cm long

For an original and larger version of this bowl, by Feodor Rückert, Moscow, circa 1910, see Sotheby’s, New York, 22nd April 2009, lot 265, sold for $482,500. £600-900




330 A CLOISONNE ENAMELED SILVER-GILT SMALL JAR AND COVER, 20TH CENTURY the sperical body enamelled on a white ground with scrolling foliage, on domed foot, with cone-shaped finial, bearing spurious Fabergé and kokoshnik marks 8.5cm high

332 A CLOISONNE ENAMELLED SILVER-GILT PUNCH BOWL, 20TH CENTURY octagonal, with panels of scrolls and foliage on alternate pale blue or green grounds below the concave shoulder of stylised stiff leaves on a matted ground, on lobed ball feet, bearing spurious marks for Maria Semenova, Moscow, 1894 23.5cm wide




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333 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL CREAM JUG, MAKER’S MARK DS (IN CYRILLIC), MOSCOW, 1899-1908 with bulging ‘Boteh’ shaped panel enamelled with flowers and exotic birds, 875 standard 8.5cm high £700-1000


334 334 A RUSSIAN ENAMEL AND SILVER-GILT BOWL, 11TH ARTEL, MOSCOW, 1908-1917 the shaped rim with plique-à-jour enamelling, the almost spherical body with cloisonné enamelled panels of flowers and geometric patterning, the pedestal engraved with an inscription, the shaped foot rim with further cloisonné enamelling, 875 standard 11.5cm high £700-1000

335 335 A RUSSIAN SILVER-MOUNTED CLARET JUG, CIRCA 1900 spiral ribbed tapering oval glass body, simple neck mount with bound reeded rim, bearing spurious Fabergé and kokoshnik marks 26.5cm high £250-350 336 A PAIR OF SILVER-MOUNTED NOVELTY CLARET JUGS, 20TH CENTURY in the form of eagles, each vase shaped glass body cut and engraved with the feathered torso and wings of the bird, the silver neck mount and hinged head with further feathering, bearing spurious Fabergé and Moscow 84 standard marks, in a fitted blond wood case, cream silk and velvet lined and with spurious gilt Fabergé stamps 31.5cm high £600-800

336 81

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337 (top view)


337 A FABERGE SILVER-GILT AND ENAMEL BELL PUSH, WORKMASTER AUGUST HOLLMING, ST. PETERSBURG, CIRCA 1900 compressed spherical, with bluish white guilloché enamelling of basket-weave patterning, the cabochon ruby button surrounded by a beaded border and band of stiff leaves, girdled by a band of ribbon-tied leaves, on five lobe-headed pad feet, workmaster’s initials and ‘88’ marks 4.8cm diameter Provenance: Sotheby’s, Zurich, 17 May 1979, lot 207 £2000-3000


338 A SILVER-GILT AND ENAMEL BOX, VLADIMIR SOLOVIEV, ST. PETERSBURG, PROBABLY FOR FABERGE, 1908-1917 oval, the off-white guilloché enamel with wavy patterning, with dash and dot decorated silvergilt line borders and two borders of opaque white enamel, the gilt interior set to the lid with a mirror, 916 standard kokoshnik, workmaster’s initials, also bearing a later stamped and spurious Fabergé mark 5cm long For a similar Soloviev for Fabergé box see Christie’s, New York, 18 April 2007, lot 298. £2000-3000 339 ~ A RUSSIAN SILVER FIVE-PIECE TEA AND COFFEE SET, ADOLPH SPERR, ST. PETERSBURG, 1851 gourd shaped, engraved with scrolling initials IZ, on leaf-headed volute feet, with cast flower finials to the lids and branch-like handles, gilt interiors, comprising: a teapot with leaf chased spout, a coffee pot with similarly chased spout, a lidded two-handled sugar bowl, a milk jug and a slop bowl, 875 standard coffee pot 21.5cm high, 2938gr (94oz) including ivory insulators £1800-2200

339 82

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340 A PAIR OF SILVER-MOUNTED CLARET JUGS, 20TH CENTURY cut-glass bulbous bodies, the silver neck mounts and lids cast and chased with rocaille and bulrushes on a watery ground, with cast bud finials and plaited tendril handles, bearing spurious Fabergé, Rappoport and kokoshnik marks 25cm high £600-900



341 A SET OF TWELVE RUSSIAN SILVER-GILT TEASPOONS, MAGRENA ANDREEVIA ANDREEVA, MOSCOW, 1908-17 with spiral twist stems, the bowls frosted to the reverse and engraved with scrolling initials in a ribbon-tied wreath, 875 standard, 14cm long, 238gr (7oz); supported in parcel-gilt electroplate confiturier stand, surmounted by a bird, the tapering cylindrical copper electrotype body with fruits and strapwork, probably French, third quarter 19th century, 16.5cm high (13) £200-300


342 342 A RUSSIAN SILVER DESSERT KNIFE AND FORK, KARL FABERGE, MOSCOW, 1896-1917 silver-gilt tines and blade, loaded silver handles fluted and with Neo-Classical decoration, fork with first Kokoshnik mark, knife with second Kokoshnik, French ‘swan’ import marks, in a later blond wood case with spurious printed Fabergé label knife 18cm long

343 A NORWEGIAN GUILLOCHE ENAMEL SILVER MILK JUG AND SUGAR BOWL SET, DAVID ANDERSEN, KRISTIANIA (OSLO), CIRCA 1903 each red enamelled compressed bulbous body below a border of enamelled stylised thistles and cornflowers on a white ground, on Art Nouveau scroll panel silver feet and with scroll silver handles, David Andersen marks, ‘1903’ and ‘925’, in original fitted case with gilt stamped David Andersen label sugar bowl 12cm wide £600-900 344 A FINNISH SILVER PURSE, HERMAN WIST, VIIPURI, 1921 oblong, obverse applied with initials HW and facsimile signatures, elongated belcher link chain, cabochon thumbpiece, interior with three pale blue silk concertina compartments, 813 standard 12cm long


Herman Wist started his career in St Petersburg, in his father Adolf Wist’s workshop at 33 Gorohovaya Street, going to Finland following the Russian Revolution.




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345 A FRENCH SILVER-GILT-MOUNTED LAPIS LAZULI CASKET, RAPHAEL BERTOLANI, PARIS CIRCA 1865 rectangular, the sides and top of lapis panels, the lid surmounted by a cast lion passant figure, the front and back applied with openwork scroll flanked grotesque masks surrounded by open scrollwork spandrels, the canted corners with early Renaissance style caryatids, winged caryatid handles, on lobed bun feet 14cm long £800-1200 346 AN AUSTRIAN SILVER-GILT, ENAMELLED AND GEM-SET SMALL EWER AND BASIN, KARL RÖSSLER, VIENNA, CIRCA 1900 in Renaissance style, with scrolling enamelled handle topped by a putto and applied below the lip with a winged grotesque female figure, chased with a band of foliage on a matted ground above a band of rubies alternating with enamelled stylised leaves and a band of lapis lazuli drops, the basin similarly banded 15cm high, 392gr (12oz)


£500-800 347 A SILVER-GILT-MOUNTED ROCK CRYSTAL PEDESTAL CUP, UNMARKED, GERMAN OR AUSTRIAN, LATE 19TH CENTURY in 16th century style, the oval bowl and domed foot each cut with a band of flutes, the spherical knop stem between pierced mounts applied with female masks or scroll sections 10.3cm high Provenance: The collection of Robin Wigington (1932-2002). £400-600 348 A GERMAN ELECTROPLATE JAR AND COVER, STORCK & SINSHEIMER, HANAU, CIRCA 1900 in Louis XVI style, on four short sabre legs, the bulbous body with husk swags and borders between oval profiles of Roman emperors, the cover with further husks and an egg-shaped finial, pseudo marks 19cm high, 577gr (18oz)

347 84


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349 349 A PAIR OF ITALIAN SILVER CANDLESTICKS, TURIN, MID 18TH CENTURY shaped circular step moulded bases rising to baluster stems with lobed knops and girdled sconces, town mark and assayer/maker’s mark V.C 19cm high, 690gr (22oz) £1000-1500


350 350 A DUTCH SILVER TOY CANDLESTICK, AMSTERDAM, 1737 traces of gilding, hexagonal base and turned and knopped stem, later Dutch tax (crowned V) and French ‘swan’ marks, maker’s mark and another indecipherable circular mark 6cm high £350-450

351 AN ITALIAN TRAY, EUGENIO STANCAMPIANO, PALERMO, POST 1968 plain oval with fluted border, stamped 800 55.5cm across end handles, 1370gr (44oz) £300-400 352 A PAIR OF GERMAN SILVER SALT CELLARS, CIRCA 1905 oval, pierced with cherubs holding foliate swags between lion masks and vacant ovals, Sterling import marked Faudell Philips & Sons, London, 1906, 9cm long; together with a German silver cake server, J.D. Schliessner & Söhne, Hanau, circa 1900, the blade cast with a grape harvesting infant Bacchus, the openwork terminal with a milk maid, 800 standard 195gr (6oz) excluding blue glass liners (3) £80-120

352 (part) 85

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353 AN AMERICAN FOUR-PIECE TEA SET, BARBOUR SILVER CO., HARTFORD CT, MID 20TH CENTURY pedestal vase shaped on square bases, with wrigglework borders and engraved laurel wreaths, comprising a teapot, a hot water jug, a sugar bowl and cover and a milk jug, stamped STERLING, hot water jug 21.5cm high; together with a George V silver milk jug and sugar bowl set, part lobed pattern, gilt interiors, William Hutton & Sons Ltd., London, 1912 1547gr (49oz) (6) £400-600


354 354 AN AMERICAN SILVER TEAPOT, BALDWIN GARDINER & CO., NEW YORK, CIRCA 1840 the pedestal bulbous body with borders of stiff leaves and flat chased with a foliate band around two vacant oval cartouches, cast leafy spout and silver handle, stylised pineapple finial, underside stamped B. GARDINER / NEW YORK, coin silver standard 27cm high, 1106gr (35oz) including insulators

356 A POLISH SILVER FIVE-LIGHT CANDELABRUM, MAKER’S MARK JS, CRACOW, 1920s wrigglework borders and sparsely engraved foliage, square foot rising to a domed base and square tapering stem supporting four fixed arms and central light, 800 standard 62cm high, 1760gr (56oz) £400-600

£200-300 355 AN ITALIAN SILVER FOUR-PIECE TEA AND COFFEE SET, A. CESA & C, ALESSANDRIA, 1934-44 comprising: teapot, coffee jug, cream jug and sugar basin and cover, 800 standard, the coffee jug 16cm high, 1051gr; together with a matching electroplate two-handled tray, 52.5cm wide over handles (5) £200-300



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357 357 A PAIR OF DANISH SILVER CANDELABRA, MID 20TH CENTURY in 19th century style, the loaded sticks with fluting and foliage, the five-light screw-in branches each with four scroll arms and central light, stamped 830S / DENMARK 40cm high overall, 960gr (30oz) branches only £400-600 358 AN ITALIAN MILK JUG AND SUGAR BASIN AND COVER, MARIO GALIAZZO & C., PADUA, 1944-68 baluster swirl-fluted bodies, gilt interiors, milk jug, 15.5cm high; together with a small ice bucket and pair of ice tongs; all stamped ‘800’ 1208gr (4) £250-350 359 AN ITALIAN GRISSINI (BREAD STICK) BASKET, ENRICO ZACCHETTI, VALENZA, 1944-68 beaded border, fixed handle, on four supports, 28cm long; together with a fluted vase-shaped caster, 16cm high; and a circular plate with applied decoration, 25cm diameter; all stamped ‘800’ 720gr (3) £180-220

360 361 360 A SET OF TWELVE ITALIAN DINNER PLATES AND TWO SERVING DISHES IN SIZES, I.M.A. DI GUERCI & C., ALESSANDRIA, 1944-68 applied stiff leaf borders, 27.5 and 30cm diameter; together with a set of six Italian small dishes, Antonio Francesco Cella, Milan, 1944-68, en suite, 9cm diameter; all stamped ‘800’ 6177gr (20) £1200-1800

358 (part) 365 (part)

359 (part)

361 A SET OF TWELVE ITALIAN SILVER SIDE PLATES, FELICE BERETTA, MILAN, 1934-44 ropework rims, 19.5cm diameter; together with eleven Italian coasters, moulded rims, Zaramella, Padua, 1944-68, 12cm diameter; all stamped ‘800’ 2730gr (23) £600-800


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365 AN ITALIAN FRUIT DISH, I.M.A. DI GUERCI & C., ALESSANDRIA, 1944-68 shaped circular, applied scroll border above three supports, 25.5cm; together with a square Italian bon-bon dish with applied stylized shell handles, 21cm wide, 1944-68, both stamped ‘800’; also a small American bon-bon tazza, beaded and fluted shaped circular bowl, stamped STERLING and ‘0925’, mid 20th century, 12.5cm high 841gr (3)

362 362 A PAIR OF ITALIAN MEAT DISHES, MAKER’S MARK BADLY STRUCK, APPARENTLY 1944-1968 gadroon bordered oval, both stamped ‘800’ 50 and 54cm wide, 4115gr

Partly illustrated p.87 £200-300



363 363 AN ITALIAN FOUR-PIECE TEA AND COFFEE SET AND A SWEETMEAT BOWL AND COVER, MAKER’S NO. INDECIPHERABLE, ALESSANDRIA, 1944-1968 in Empire style, the vase-shaped bodies with formal stiff leaf borders, all stamped ‘800’ coffee pot 27cm high, 1555gr including insulators (5)

366 AN ITALIAN SILVER FRUIT DISH, EARLY 20TH CENTURY circular, the raised border richly embossed with fruit and foliage, 800 standard, stamped: MADE IN ITALY 32.5cm, 547gr (17oz 11dwt) £120-180




364 AN ITALIAN FLOWER VASE, ROBERTO CALLEGARI / RINO GREGGIO, PADUA, 1944-1968 spot-hammered and fluted, tapering above bulbous base, 17cm, the underside stamped ‘BATTUTO A MANO’; together with a bud vase and and double bud vase in the form of exotic blooms on leaf-shaped bases, 11.5 and 21cm wide; all stamped ‘800’ 543gr (3)

367 A PAIR OF GERMAN SILVER-GILT-MOUNTED BOHEMIAN GLASS DECANTERS, THE MOUNTS J.D. SCHLEISSNER & SOEHNE, HANAU, CIRCA 1920 the faceted bell-shaped bodies alternately flashed in yellow and engraved with scrolling foliage and flowers, the neck mounts diestamped with pairs of cherubs in rococo cartouches, cast milkmaid finials to the stoppers, inscribed beneath stoppers J.F.L.C. June 30 1925 and stamped STERLING 33.3cm high




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368 368 AN ITALIAN FRUIT BOWL, RICCI & C., ALESSANDRIA, 2ND HALF OF THE 20TH CENTURY fluted oval, on spreading foot, applied vine pattern grips, stamped ‘800’ 39cm wide, 759gr £200-300

370 (part) 369 369 A GERMAN SILVER PEDESTAL BOWL, HERMANN JULIUS WILM, BERLIN, MID 19TH CENTURY with applied scroll and leaf rim, the bowl with a band of lappets, the knopped pedestal chased with flowerheads 19cm high, 450gr (14oz) £150-250 370 A PAIR OF GERMAN SILVER TWO-HANDLED VASES, CIRCA 1900 the baluster bodies die-stamped in neo-classical style above lobes and plain circular bases, 800 standard,16cm high, 430gr (13oz 16); together with an electroplate two-handled pedestal bon-bon dish, Continental, probably Swedish, circa 1860 (3)

372 372 A SILVER FILIGREE SALVER, PERHAPS AYACUCHO, PERU, 19TH CENTURY with beaded borders between bands and panels of scroll patterned filigree work, scalloped rim, on four wirework cupshaped feet 24.5cm diameter, 517gr (16oz) £120-180

£80-120 371 A BELGIAN SILVER BEAKER, LOUIS WOLFERS, BRUSSELS, CIRCA 1880 in Japonesque taste, the cylindrical body applied with flowerheads and engraved with a potted plant and box against a hammer-finished ground, W over a boar’s head mark, 800 standard 7.8cm high, 110gr (3oz) £70-100

371 89

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373 (part) 373 A GROUP OF EGYPTIAN SILVER comprising: an Ottoman sweetmeat bowl, everted rim scroll pierced, a milled guilloche band to the bowl, on three openwork cast scroll feet, with Tughra stamp, stamped ‘90’ (in Arabic) presumably for 900 standard, assay scrape, also with marks for Cairo, 1935/36, 19.5cm diameter, a bowl, plain circular excepting a beaded border and milled band of formal leaves, stamped ‘90’ (in Arabic) presumably for 900 standard, Cairo, 1941/42, 22cm diameter, a set of four and a set of three counter dishes, milled geometric decoration, stamped ‘90’ (in Arabic) presumably for 900 standard, Cairo, 1941/42 and circa, largest 8.5cm diameter; and an Indian box and cover, oval, covered in scroll foliate chased bands, probably second quarter 20th century, 8.5cm long 1010gr (32oz) (10) £200-300 374 AN OTTOMAN SILVER CUP, COVER AND SAUCER, PROBABLY THE LEVANT, CIRCA 1900 engraved with flowers, fruits and strapwork on a matted ground, baluster body with applied cast scroll and bird handle, domed cover with cast bird and leaf finial, each piece stamped ‘90’ (in Arabic) presumably for 900 standard 13cm high, 312gr (10oz) £200-300

376 376 A SET OF SIX OTTOMAN SILVER DESSERT SPOONS, TURKISH, CIRCA 1900 the shaped flat handles with scrolls and initials, all with Tughra and Sah marks 197gr (6oz) £80-120 377 TWO SETS OF GREEK DESSERT SERVICES, MID 20TH CENTURY each set comprising six knives, forks and spoons, both with filigree panels to the terminals, stamped 800; together with a Greek paper knife, mid 20th century, the handle cast with See No Evil, Hear No Evil and Speak No Evil monkeys standing on each others shoulders, stamped 925 774gr £150-200 378 A SET OF CONTINENTAL ELECTROPLATE FLATWARE, MAKER’S STAMP WS, PROBABLY BELGIAN OR GERMAN, THIRD QUARTER 19TH CENTURY shaped handles with reeded rims and shell and scroll decoration, comprising: thirty tablespoons, twenty-four table forks and sixteen table knives (ten with steel blades stamped RIET, six with replacement stainless steel blades) (70) £60-80

375 AN OTTOMAN SILVER TWO-HANDLED CUP AND COVER, EARLY 20TH CENTURY the vase shaped body and pedestal with beaded and milled borders, applied with cast scroll handles, domed cover with cast flower finial, body with Tughra stamp, body and cover stamped ‘80’ (in Arabic) presumably for 800 standard and another indecipherable stamp 14.5cm high, 332gr (10oz) £150-250

375 90


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382 VARIOUS ITEMS OF USEFUL AND DECORATIVE TABLE SILVER, LONDON AND SHEFFIELD, 1806-1856 comprising: a pair of Old English pattern tablespoons, later chased with fruit, gilt bowls, Thomas Wallis, London, 1806, in fitted case with label of Reid & Sons, Newcastle upon Tyne; a cased pair of Apostle pattern spoons, G.M. Jackson for J. Williams & Co of Bristol, London, 1889; a Fiddle pattern tablespoon and two sauce ladles, the terminals engraved with identical crests, various makers, London, 1813, 1818 and 1852; and a cased threepiece Christening set, comprising a knife, fork and spoon, with mother of pearl handles, Fenton Brothers, Sheffield, 1875/76 448gr (14oz 8dwt) of weighable silver (10)


£120-180 379 A SET OF FOUR GERMAN SILVER-GILT TEASPOONS, MAKER’S MARK INDECIPHERABLE, AUGSBURG, LATE 17TH CENTURY Trefid pattern with rat-tail bowls, typically decorated with fruits and foliage, the terminals with oval townscape vignettes 11.5cm long






386 (part)

380 A GEORGE IV SILVER MARROW SCOOP, WILLIAM EATON, LONDON, 1823 Fiddle pattern, engraved with a crest 23cm long £60-90

383 A GEORGE III SILVER SOUP LADLE, RICHARD CROSSLEY, LONDON, 1794 Old English pattern, crested, 33.5cm long; together with four Victorian decorated silver berry spoons, of typical form, a pair London, 1825, one Edinburgh, 1815 and one London, 1787 469gr (15oz) (5) £150-200


384 AN EDWARDIAN SILVER GRAVY SPOON, FRANCIS HIGGINS & SON, LONDON, 1902 Fiddle Shell pattern 31cm long, 179gr (5oz) £80-120

381 A PAIR OF VICTORIAN SILVER FISH SERVERS, JOHN LOWE, CHESTER, 1849 the tines and blade with foliate bright-cutting, the shaped loaded silver handles engraved with a crest surrounded by stamped scrolls, handles maker’s mark of John Nowill, Sheffield, knife 34cm long, in original fitted leather case; together with a set of six fish knives, six forks and a pair fish servers, with electroplate tines and blades and loaded silver Queens pattern handles, C.H. Beatson, Sheffield, 1934 (16) Lowe and Sons silversmiths (before 1864 known as John Lowe) was founded in Chester by George Lowe in 1770 and since 1804 continues to occupy the same premises in Bridge Street Row.

385 A VICTORIAN SILVER CRUMB SCOOP, HARRISON BROTHERS & HOWSON, SHEFFIELD, 1898 with Albany pattern loaded handle and plain scoop 34cm long £80-120 386 A GEORGE II SILVER SOUP LADLE, ELIAS CACHART, LONDON, 1759 Hanoverian pattern, the terminal engraved with a crest, Elias Cachart, London, 1759; together with the following miscellaneous English table silver: a set of five bright-cut crested teaspoons, Smith & Fearn, London, 1787, two pairs of bright-cut sugar tongs, a Scottish dessert spoon, a sauce ladle; also two electroplate salt spoons and two odd small spoons 342gr (10oz 19dwt) of silver (14) £150-250



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387 387 A SET OF CANADIAN TABLE SILVER, HENRY BIRKS & SONS, MONTREAL, MID 20TH CENTURY Chantilly pattern, comprising: twelve tablespoons twelve table forks twelve table knives with stainless steel blades twelve dessert spoons eighteen dessert forks twelve dessert knives with stainless steel blades twelve fish knives with electroplate blades twelve fish forks with electroplate tines twelve butter knives with stainless steel blades twelve seafood forks twelve cake forks twelve grapefruit spoons twelve bouillon spoons twelve ice cream sporks and the following serving pieces with loaded silver handles: two pairs nutcrackers, a pair of fish servers, a meat carver and fork, a poultry carver and fork, a pair asparagus tongs, a cake server, a cake knife, a bottle opener, a cheese scoop and a C.J. Schneider’s (Toledo, Ohio) patent Angel Food cake breaker all stamped Birks, Sterling weighable silver 4770gr (153oz) (194) £1200-1800

388 A SET OF SEVEN ENGLISH PROVINCIAL GEORGE IV SILVER TABLE FORKS, JAMES BARBER & WILLIAM WHITWELL, YORK, 1820/21 Fiddle pattern, initialled WH; together with the following further Fiddle pattern table silver: four forks, crested, London, 1823/37, and a pair of sugar tongs, crested, Harrison Brothers & Howson, London, 1865 842gr (27oz) (12) £200-300

389 389 A SET OF TWELVE VICTORIAN SILVER FISH FORKS AND ELEVEN KNIVES, JOHN GILBERT, BIRMINGHAM, 1855/66 with Queens pattern loaded crested handles, the tines and blades foliate bright-cut, the blades additionally engraved with Renaissance dolphins floating on a gently rippled sea (23) £120-180


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390 390 A SET OF ITALIAN TABLE SILVER, CLEMENTI dì GIOVANNI MANTEL & C. S.p.A., BOLOGNA, 1944-68 with leaf pattern terminals, comprising: three tablespoons, twelve table forks, twelve table knives with stainless steel blades, eleven dessert spoons, twelve dessert forks, twelve dessert knives with stainless steel blades, twelve fish knives, twelve fish forks, a pair of fish servers, a serving spoon, two serving forks and a soup ladle; also a tablespoon and a table fork by the same maker, differently patterned; all stamped ‘800’ 3513gr of weighable silver (94) £1000-1200 391 A FRENCH SILVER DESSERT SERVICE, MAISON ODIOT, PARIS, THIRD QUARTER 19TH CENTURY with reeded rims and foliate strapwork terminals initialled to reverse ES, comprising: eighteen dessert spoons, eighteen dessert forks, nine teaspoons and a sifter ladle, 950 standard 2326gr (74oz) (46)


£600-1000 392 A MATCHED SET TABLE SILVER, HALF MAKER’S MARK JH OVER AH (UNRECORDED), LONDON, 1840, HALF GLADWIN LTD., SHEFFIELD, 1939 all Queens pattern, the first half crested and comprising eleven table forks and ten dessert spoons, the second half comprising six tablespoons and twelve dessert forks 3122gr (100oz) (39)


£800-1200 393 A VICTORIAN SILVER FISH SLICE, CHARLES LIAS, LONDON, 1844 Kings pattern, pierced blade, 31cm long; together with a pair of Victorian silver fish servers, loaded Beaded pattern handles, bright-cut and scroll pierced blade and tines, Martin, Hall & Co., Sheffield, 1889, slice 32.5cm long (3) £180-220

393 93

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395 394 A GROUP OF SILVER FIDDLE PATTERN SPOONS, VARIOUS MAKERS, LONDON, 1829-75 comprising twelve initialled tablespoons and twelve crested dessert spoons; together with three Russian silver tablespoons, Moscow, 1872, plain Fiddle pattern 1541gr (49oz) (27) £400-600

395 A SET OF GEORGE V TABLE SILVER, COOPER BROTHERS & SONS, SHEFFIELD, 1935 Strathmore pattern, comprising eight of each of the following: table forks table knives with stainless steel blades dessert spoons dessert forks dessert knives with stainless steel blades soup spoons fish forks fish knives cake forks with stainless steel tines and teaspoons 2688gr (86oz) excluding steel bladed knives and cake forks (80) £700-1000



396 A MATCHED SET OF SCOTTISH TABLE SILVER, EDINBURGH, MANY ANDREW WILKIE, 1829-1868 single struck Kings pattern, comprising: twelve tablespoons (six 1840, six 1868) twelve table forks (six 1841, six 1829) twelve dessert spoons (six 1840, six 1851) ten dessert forks (five 1851, five 1849) eight teaspoons (five 1868, three 1862); together with fourteen electroplate table knives, of matching pattern, twelve James Ryals, Sheffield, modern 2778gr (89oz) excluding knives (68) £600-900


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398 397 397 A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM COMYNS & SONS, LONDON, 1900 rectangular, with die-stamped bats-wing fluting and vacant roundel surmount, worn blue velvet easel backing 37cm high £120-180 398 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM NEALE & SONS OF BIRMINGHAM, CHESTER, 1903 rectangular, the silver die-stamped with Art Nouveau flowering tendrils on a rippled ground, plain wood back with easel support 30cm high £120-180 399 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, E. MANDER & SON, BIRMINGHAM, 1902 shaped rectangular, the silver border die-stamped with Art Noveau stylized irises, worn green velvet easel backed 29.5cm high

402 402 A PAIR OF GEORGE V SILVER CAFE-AU-LAIT POTS, MAPPIN & WEBB LTD., LONDON, 1939 vase shaped bodies intialled S, stepped spreading feet 17.5cm high, 757gr (24oz) including angular composition handles and disc finials £180-220

£120-180 400 A PAIR OF SILVER CANDLESTICKS, W.I. BROADWAY & CO., BIRMINGHAM, 1973 circular, with reeded borders throughout, waisted and girdled stems 25.5cm high, loaded £100-150 401 A VICTORIAN SILVER HOT-WATER JUG, MAKER’S MARK OF C.C. PILLING FOR SIBRAY, HALL & CO., LONDON, 1899 plain faceted oval, on four curved supports, wood handle and fibre finial 23cm high, 622gr (20oz) all in £150-250

401 95

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406 A CASED SET OF FOUR VICTORIAN SILVER SALT CELLARS AND SPOONS, FENTON BROTHERS, SHEFFIELD, 1882 lobed boat-shaped, each with two handles, 9.5cm wide overall, the engraved spoons Samuel Whitford, London; together with a set of four silver menu holders, shield-shaped, each engraved with a crest, John William Barrett, Birmingham, 1910/11, stamped with P.O.D.R. No. 454426 and ‘ROWELL / OXFORD’ in fitted case with Rowell’s label 270gr (8oz 13dwt) (12)


404 (part)


403 AN EDWARDIAN SILVER BOWL, ATKIN BROTHERS, SHEFFIELD, 1909 oval, pale and pellet pierced below a waved bead and rail rim, bifurcated simple scroll handles and elongated feet 31cm wide, 490gr (15oz)

£120-180 407 AN EDWARDIAN SILVER SALVER, WILLIAM AITKEN, BIRMINGHAM, 1904 shaped moulded rim, on three volute pad feet 26cm diameter, 461gr (14oz) £100-150

£150-200 404 ~ A GEORGE V SILVER TEA CADDY, CHARLES PACKER & CO. OF LONDON, SHEFFIELD, 1912 flared oval, with scroll pierced and beaded gallery below the lid rising to an ivory-mounted finial, manufacturer’s ‘lamp’ mark of Roberts & Belk Ltd., 11cm wide; together with a George V silver milk jug and sugar bowl set, Regency style bellied oblong form, gadroon rims, ball feet and gilt interiors, S. Blanckensee & Sons Ltd. of Birmingham, Chester, 1933, sugar bowl 17.5cm across handles 655gr (21oz) all in (3) £150-250 405 A VICTORIAN SILVER HOT WATER JUG, EDWIN CHARLES PURDIE, LONDON, 1899 plain baluster body, rim foot, lid with gadroon rim and spiral ribbed cone finial, wicker-wrapped silver handle 20cm high, 455gr (14oz) all in £100-150

408 (part)

408 A VICTORIAN SILVER NOVELTY PEPPERETTE, HENRY MATTHEWS, BIRMINGHAM, 1899 in the form of a drinking horn with grotesque mask terminal, volute feet and scroll handle, covered in scroll foliage surrounding a vacant cartouche, 13cm high; together with a pair of Edwardian silver pedestal sweetmeat dishes, with shaped applied rims and knopped pedestals, Edward Barnard & Sons Ltd., London, 1908, 13.5cm diameter 405gr (13oz) (3) £150-250 409 A VICTORIAN SILVER THREE-PIECE COFFEE SET, THOMAS BRADBURY & SONS OF SHEFFIELD, LONDON, 1897 part lobed and engraved with scrolled initials, gadroon and leafy shell rims, on paw and patera panel feet, undersides with retailer’s stamp ROBt. JONES & SONS / SILVERSMITHS / LIVERPOOL coffee pot 23cm high, 1355gr (43oz) including wood handle and finial £300-400

409 96

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410 410 AN ARTS AND CRAFTS SILVER QUAICH, GEORGE LAWRENCE CONNELL, LONDON, 1902 the hammered circular bowl applied with shaped flat handles pierced with thistles 8.5cm long, 155gr (5oz) G.L. Connell is credited with introducing ‘modern, artistic silverware’ to the firm’s wares from the late 1890s. His wife Christine was a silversmith, whose work bearing the GLC maker’s mark was sold by the firm, and who may well have had a hand in the design of this quaich. £200-300 411 A VICTORIAN SILVER DISH LINER, R. & S. GARRARD & CO, LONDON, 1870 beaded oval, 26cm wide; together with a silver circular coaster with die-stamped gadroon and foliate border, Royal Irish Silver Co., commemmorative mark, Dublin, 1973, 14cm diameter 468gr (15oz) (2)


£150-200 412 AN EDWARDIAN SILVER THREE-PIECE TEA SET, WILLIAM AITKEN, BIRMINGHAM, 1904 shaped oblong, each with a band of bold lobes teapot 23cm long, 434gr (14oz) including composition handle and finial £120-180 413 AN EDWARDIAN SILVER HOT WATER JUG, FATTORINI & SONS, BIRMINGHAM, 1903 part lobed oblong urn shaped, 16cm high; together with three silver milk or cream jugs: one bulbous Georgian example but later chased with scroll foliage, London, 1812 and two part lobed examples, the larger Sheffield, 1910, the smaller Birmingham, 1900 571gr (18oz) including composition handle and finial (4)

414 AN ARTS AND CRAFTS SILVER MUSTARD POT, DESIGNED BY CHARLES ROBERT ASHBEE (1863-1942), GUILD OF HANDICRAFT LTD., LONDON, 1902 the hammered cylindrical body on spreading foot, the looping double wire handle bifurcating at the top to encircle two carbuncles (garnet cabochons) set to the body, the curved conical lid with acorn-like carbuncle set finial 9cm high, 99gr (3oz) Provenance: Sebastian Henry Petre (1856-1934) and his wife Elise (née Sibeth 1855-1946) of Tor Bryan House, Ingatestone; thence by family descent to the present vendor. A related Ashbee design for a mustard pot is illustrated in his Modern English Silverwork, London, 1909, p.27. Another version of this design (without the cabochons and with stylised flower finial) was sold by Bellmans Auctioneers, Billingshurst, 19 March 2009, lot 852. £2000-3000



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415 AN ARTS AND CRAFTS SILVER MUFFIN DISH AND COVER, DESIGNED BY CHARLES ROBERT ASHBEE (1863-1942), GUILD OF HANDICRAFT LTD., LONDON, 1906 hand hammered, the domed cover engraved with the arms of Petre of Writtle (Co. Essex) below a wirework stylised corolla finial with chrysoprase cabochon, the everted rim to the bowl with inner applied beaded border and outer punch beaded border 22.5cm diameter, 583gr (18oz) all in Provenance: Given as a silver wedding present to Sebastian Henry Petre (1856-1934) and his wife Elise (née Sibeth 1855-1946) of Tor Bryan House, Ingatestone, by their sons Henry Aloysius (1864-1932) and Edward (1886-1912); thence by family descent to the present vendor. Sebastian Petre was a grandson of William, 11th Baron Petre, from whose son he acquired the land named Tor Bryan after family estates in Devon. Henry and Edward Petre, although trained as a solicitor and an architect respectively, became pioneering aviators. In the workshop at Tor Bryan, they built an aircraft which was exhibited at the 1910 Olympia Aero Show. Unfortunately Henry subsequently crashed this craft on its


maiden flight at Brooklands, since although possessed of the skills to build a plane, the brothers had yet to acquire to skills to fly one. Henry went on to master the art of flying, becoming a founder of the Australian Flying Corps and commander of the Mesopotamian Half Flight, although returning to the law after the war. Greater tragedy struck his brother Edward, who crashed fatally on Christmas Eve 1912, attempting the first solo flight from Brooklands to Edinburgh. These brothers had always been interested in metalwork and making things and by family repute had a hand in executing this dish, perhaps visiting the workshops of the Guild of Handicraft at Chipping Camden. Although electroplate versions of the dish may be found, examples in silver are rare; for a similar dish and cover (with more elaborate finial and chrysoprase cabochons set to the rim of the body), hallmarked 1900, see the Victoria and Albert Museum No.M.42:1 to 3-1972; also for another version (with amethyst cabochon and plain rim) hallmarked 1906, see Bonham’s, New York, 18 June 2007, lot 2000. £2000-3000

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416 AN ARTS AND CRAFTS SILVER BUTTER DISH AND KNIFE, DESIGNED BY CHARLES ROBERT ASHBEE (1863-1942), GUILD OF HANDICRAFT LTD., LONDON, 1902 hammered circular bowl, elongated looping twin-wire handle set at the shoulder with a chrysoprase cabochon, the knife with curved wirework handle bulging at a central bead and terminating in another chrysoprase cabochon dish 19cm long, 217gr (6oz) all in Provenance: Sebastian Henry Petre (1856-1934) and his wife Elise (née Sibeth 1855-1946) of Tor Bryan House, Ingatestone; thence by family descent to the present vendor. It is rare to find this dish together with its accompanying knife, but for another example see Sotheby’s, London, 5 October 2004, lot 23; also see Alan Crawford, C.R. Ashbee, Architect, Designer and Romantic Socialist, Yale University, 1985, p.334 pl.167, and see the Victoria and Albert Museum, Silver, room 67, case 16, shelf 1, for a dish (without its knife). Ashbee’s related double handled design version of the dish is illustrated in his Modern English Silverwork, London, 1909, p.22. £3000-4000


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417 417 AN EDWARDIAN SILVER COW CREAMER, C.S. HARRIS & SONS LTD., LONDON, 1907 the lowing horned beast with tail handle and hinged cover set with a horsefly 16cm long, 172gr (5oz)

419 A GEORGE V SILVER CIGAR BOX, ATKIN BROTHERS, LONDON, 1910 oblong, plain excepting the slightly domed cover initialled GSC, cedar lined 14.5cm long


£60-80 420 THREE SILVER WAITERS, HAWKESWORTH, EYRE & CO LTD AND ATKIN BROTHERS LTD, SHEFFIELD, 1915 AND 1936, AND JEWELLERY & METAL MANUFACTURING CO LTD, DUBLIN, 1977 all shaped circular, one engraved with a crest approximately 15.5cm diameter, 499gr (16oz) The crest probably that of Sir James Fergusson GCSI. PC. (18321907). £180-220 421 A FOUR-PIECE SILVER CONDIMENT SET, HENRY CLIFFORD DAVIS LTD., BIRMINGHAM, 1959 plain bulbous below shaped rims, comprising a pair pepperettes, a mustard pot and a salt cellar 242gr (7oz) excluding blue glass liners £70-100


418 A VICTORIAN SILVER BUTTER DISH STAND AND COVER, JONES & STEVENSON, BIRMINGHAM, 1894 the rectangular with canted cornered base centred by acanthus leafage, on ball feet, the frame of conforming outline, the cover with further acanthus below the flame finial, ovolo rims, glass liner lacking, 19cm across end handles, 328gr (10oz); together with a plated Onslow pattern sifter ladle (2) £80-120


422 A GEORGE V SILVER SALVER, BARKER BROTHERS SILVER LTD., BIRMINGHAM, 1927 crested, moulded rim, on four pad feet 26.5cm diameter, 556gr (17oz) £150-200 423 A SILVER SALVER, VINERS LTD., SHEFFIELD, 1959 shaped circular, moulded rim and engraved presentation inscription, on three volute feet 31.5cm diameter, 848gr (27oz) £150-250

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424 424 ~ A SCOTTISH VICTORIAN SILVER BACHELOR’S TEAPOT, JAMES REID & CO., GLASGOW, 1880 in Indian taste, of bullet form, initialled CRA, chased all over with a band figures in panels between a variety of foliate and geometric patterned borders 19.5cm long, 316gr (10oz) including ivory insulators £150-250 425 ~ A VICTORIAN SILVER COFFEE POT, MAKER’S MARK OVERSTRUCK BY THAT OF GEORGE RICHARDS ELKINGTON FOR ELKINGTON, MASON & CO OF BIRMINGHAM, LONDON, 1857 the tapering cylindrical body engraved with shaded stylized shells, foliage and strapwork, one side engraved with a crest and collar motto, cast flower finial, silver handle with ivory fillets 22cm high, 870gr (27oz 19dwt) all in


£300-400 426 A GEORGE V SILVER BASKET, R.F. MOSLEY & CO., SHEFFIELD, 1923 shaped oval, pierced below the waved rim with panels of scroll foliage 29.5cm long, 345gr (11oz) £80-120 427 A GEORGE V SILVER WAITER, MAPPIN & WEBB LTD., LONDON, 1915 moulded rim, on scroll feet 19.5cm diameter, 253gr (8oz)


£60-100 428 A GEORGE V SILVER SALVER, WALKER & HALL LTD, SHEFFIELD, 1924 shaped rim with beading interrupted by rosettes and foliage, on three ball and claw feet 31cm diameter, 791gr (25oz) £180-220

429 A PAIR OF VICTORIAN SILVER DESK CANDLESTICKS, CHARLES STUART HARRIS, LONDON, 1886/87 in Charles II taste, the wood filled domed bases with a band of curved alternate lobes and flutes below small platforms and fluted stems, detachable nozzles, crimped rims throughout 12cm high £150-200


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434 TWO EDWARD VII SILVER SALVERS, WILLIAM HUTTON & SONS LTD AND THE GOLDSMITHS & SILVERSMITHS CO LTD, LONDON, 1902 AND 1905 shaped circular, each engraved with a crest or crest and motto and on three hoof supports 24.5 and 20cm diameter, 771gr (24oz 15dwt) £250-350

430 430 A VICTORIAN SILVER COLLAPSIBLE BEAKER, THOMAS JOHNSON, LONDON, 1864 tapering cylindrical, of four engine-turned sections, the top section engraved with a crest and garter motto, with screw-on domed rim foot, underside with retailer’s stamp AUSTIN / DUBLIN 7.5cm high, 101gr (3oz) £150-250

435 435 A LARGE PAIR OF ELECTROPLATE CANDLESTICKS, DEYKIN & HARRISON, BIRMINGHAM, EARLY 20TH CENTURY in mid Victorian style, die-stamped with foliage, complete with detachable nozzles, the undersides stamped: 1570 36cm high £100-150

431 431 A VICTORIAN SILVER CHAMBERSTICK, ROBINSON, EDKINS & ASTON, BIRMINGHAM, 1838 circular base with ribbed edge, crested to base, detachable nozzle and conical extinguisher, leaf-capped handle 18cm long, 349gr (11oz) £200-300 432 A VICTORIAN SILVER SALVER, RICHARD SIBLEY II FOR SIBLEY & WAPLE, LONDON, 1842 shaped circular, crested, moulded border with reeded rim, on three scroll panel feet, underside with Makepeace & Walford retailer’s stamp MAKEPEACE / LONDON 22cm diameter, 401gr (12oz) The retail goldsmiths and jewellers, Makepeace & Walford, of 5 Searle Street, Lincoln’s Inn Fields, appear to have been supplied regularly with pieces from workshops connected with the Sibley family.

436 A PAIR OF VICTORIAN ELECTROPLATE CANDLESTICKS, UNMARKED, CIRCA 1845 cast, baluster, richly decorated with scrolled borders, complete with detachable nozzles 30cm high £70-100 437 A VICTORIAN ELECTROPLATED COPPER ELECTROTYPE DWARF CANDLESTICK, ELKINGTON & CO., BIRMINGHAM, CIRCA 1870 after a late 16th century stem of a tazza, profusely decorated with scenes, foliage and masks, gilded detachable nozzle 14.5cm high For an Elkington’s electrotype of the tazza, see Victoria and Albert Museum No. REPRO.1869-44 £60-80

£80-120 433 A VICTORIAN SILVER BASKET, JOSEPH ROUND & SON, 1895 oblong, chased with flowers and scrolls, the rim additionally pierced, with cast openwork swing handle, the short pedestal with a band of flat-chasing above a gadroon rim foot 28cm long, 775gr (24oz) £200-300

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438 A PAIR OF VICTORIAN SILVER ENTREE DISHES, COVERS AND HANDLES, BENJAMIN PRESTON, LONDON, 1841 oblong, the bases with broad cast and applied applied shell and scroll rims, the covers engraved with a later Continental coat of arms and further applied foliate borders, heartshaped leafy handles, each piece numbered 1 or 2 31cm long, 4411gr (141oz) £1500-2000 439 A VICTORIAN SILVER FOUR-PIECE TEA AND COFFEE SET, PROBABLY J. WHITEHOUSE, LONDON, 1839/40 compressed fluted baluster, each chased with panels of flowers and two vacant cartouches, cast volute and foliate scroll feet, leaf-capped scroll handles, milk jug and sugar bowl with gilt interiors, teapot and coffee pot with cast foliate spouts and flowerhead finials coffee pot 22.5cm high, 2513gr (80oz) including insulators


£1000-1500 440 A VICTORIAN SILVER MILK JUG AND SUGAR BOWL, JOSEPH & ALBERT SAVORY, LONDON, 1840 fluted bulbous bodies, each with one vacant and one cartouche initialled T, chased with panels of convolvulus and other flowers on a matted ground, cast foliate panel feet, leaf capped handles, gilt interiors milk jug 16cm high, 848gr (27oz) £180-220

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442 (part)

443 441 TWO EARLY VICTORIAN SILVER MUSTARD POTS one hexagonal, floral engraved below a shaped band of diaperwork, chairback thumbpiece, John James Keith, London, 1845, 7cm high, the other octagonal, engraved with pendants of flowers below arches of wrigglework vermiculation, faceted domed lid with bun finial, Edward Edwards, London, 1846, 8.5cm high 275gr (8oz) excluding blue glass liners £180-220 442 A GEORGE III SILVER MUSTARD POT, ROBERT HENNELL, LONDON, 1778 drum-shaped, the sides pierced and bright-cut with formal foliage, 7cm high; together with an Edwardian silver mustard pot, oval, Alexander Clark Manufacturing Co. Ltd., Birmingham, 1909, both with a blue glass liner; and a George II silver salt cellar, plain compressed circular, on three hoof supports, Edward Wood, London, 1744, 7.5cm diameter 303gr (9oz 14dwt) of silver (3) £250-350 443 A PAIR OF GEORGE II SILVER SALT CELLARS, DAVID MOWDEN, LONDON, 1759 with gadroon rims, each on three pad feet, 6cm diameter; together with a Victorian silver mustard pot, Hilliard & Thomason, Birmingham, 1882, cylindrical, bright-cut decorated, with blue glass liner 6.5cm high weighable silver 233gr (7oz) (3) £200-300

444 444 A PAIR OF GEORGE IV SILVER PEPPERETTES, WILLIAM ELLIOTT, LONDON, 1829 baluster, cast with bands of stiff leafage, arcaded lobes and foliate sprigs on a matted ground, pierced screw-on covers with ball finials 8cm high, 201gr (6oz) £120-180 445 A GEORGE III SHEFFIELD PLATE CHAFING DISH, CIRCA 1800 oval, reeded rim, lid engraved with a crest below the bun finial, with screw-in wood handle to the water reservoir, 31.5cm long; together with a George III Sheffield plate salver, circa 1800, plain except for engraved matching crest, on fluted panel feet, underside with double-struck serrated punch reading SILVER / EDGES, 25cm long (2) £70-100 446 A PAIR OF SHEFFIELD PLATE DISH COVERS, CIRCA 1830 in sizes, cushion oval, each with engraved coat of arms to silver inset and applied foliate reeded border, 41 & 36cm long; together with a Victorian electroplate meat dish cover, Joseph Rogers & Son, Sheffield, late 19th century, oval, beaded rim, 30cm long (3)

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447 447 A GEORGE III SILVER TEAPOT, PETER & ANN BATEMAN, LONDON, 1793 oval, with wrigglework borders and bright-cut bands of lunettes between shaped oblong cartouches, one vacant, the other later engraved with the crest of Petre of Writtle (Co. Essex) 18cm long, 453gr (14oz) including wood handle and finial Provenance: Sebastian Henry Petre (1856-1934) and his wife Elise (née Sibeth 1855-1946) of Tor Bryan House, Ingatestone; thence by family descent to the present vendor. £300-500 448 A GEORGE III SILVER COASTER, MICHAEL PLUMMER, LONDON, 1792 the sides pierced with curved trellis interrupted by leaf motifs below a reeded rim, turned wood base, 12.5cm diamter; together with another silver wine coaster, plain sides presentation inscribed below a corded rim, turned wood base, John & Maureen Surtees, London, 1987, 12.5cm diameter (2)

450 A GEORGE III SILVER WAITER (OR TEAPOT STAND), ROBERT & SAMUEL HENNELL, LONDON, 1805 oblong, crested, wrigglework Greek key border, gadroon rim, on shaped panel corner feet 14cm long, 153gr (4oz) £100-200 451 A SET OF FOUR GEORGE III SHEFFIELD PLATE GOBLETS, CIRCA 1800 the plain bowls on waisted and girdled stems and spreading feet with beaded rims, 16cm high; together with a George III Sheffield Plate chamberstick, Matthew Boulton, Birmingham, early 19th century, gadroon rims, urn shaped sconce with detachable nozzle, the C-shaped handle with crested thumbpiece and supporting the conical extinguisher, 17cm long (5) £100-150

£200-300 449 A SILVER WINE COASTER, HERSEY SILVERSMITHS, LONDON, 2000 with slightly bellied sides, turned wood base centred by a vacant silver roundel 13cm diameter



448 449

452 A WILLIAM IV SILVER SUGAR BOWL, EDWARD FARRELL, LONDON, 1836 circular, chased with a floral and foliate band, on three scroll legs ending in shell pad feet, gilt interior, 11.5cm diameter; together with a George III silver milk jug, oval, with wrigglework and bright-cut bands, on four ball feet, gadroon rim, maker’s mark rubbed, London, 1815, 13cm long; and another George III silver milk jug, oval, wrigglework bands, probably Alexander Field, London, 1800, 10cm high 376gr (12oz) (3) £120-180


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453 A GEORGE II SILVER COFFEE POT, THOMAS WHIPHAM & CHARLES WRIGHT, LONDON, 1757 the baluster body engraved to one side with a contemporary coat of arms within a Rococo foliate cartouche, the other side later engraved with the crest of Petre of Writtle (Co. Essex), lid with spiral ribbed cone finial 24.5cm, including wood handle The arms might be those of Alderson. Provenance: Sebastian Henry Petre (18561934) and his wife Elise (née Sibeth 1855-1946) of Tor Bryan House, Ingatestone; thence by family descent to the present vendor. £800-1200 454 A GEORGE IV SILVER SUGAR BASIN, JOSEPH ANGELL, LONDON, 1820 oblong, engraved with scrolled initials and a crest above curved lobes, shell, leaf and gadroon applied rim, leaf-headed paw feet, gilt interior, 20.5cm across end handles; together with two silver cream jugs, both pedestal baluster, punched rims and scroll handles, one Thomas Shepherd, London, 1783, the other Nathan & Hayes, Birmingham, 1872; and the following miscellanous silver: a pair of cherub pattern die-stamped napkin rings, J.C. Cooke, London, 1893, and five various diestamped bonbon dishes 699gr (22oz) (10) £180-220


455 A GEORGE III SILVER CASTER, ROBERT PEASTON, LONDON, 1776 plain baluster, wrythen finial to the detachable cover 14cm high, 100gr (3oz) £100-150 456 A GEORGE III SILVER CASTER, THOMAS SHEPHERD, LONDON, 1786 the otherwise plain baluster body later engraved with a crest and motto, reeded borders 15.5cm high, 89gr (2oz 17dwt) £150-200 457 A GEORGE III SILVER WINE FUNNEL, JOSEPH SCAMMELL, LONDON, 1794 typical form, base with crested clip, detachable nozzle with reeded borders 14cm long, 84gr (2oz) £120-180


456 457


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458 458 AN IRISH GEORGE III SILVER DISH RING, MAKER’S MARK WH IN SERRATED RECTANGLE, DUBLIN, 1774 typical waisted form, pierced and chased with vignettes of a young boy fishing, swans, an obelisk and ruins against a background of various foliage and fruits and laurel ovals, one crested 20.5cm diameter, 346gr (11oz)

460 A PAIR OF GEORGE III SILVER SALT CELLARS, SOLOMON HOUGHAM, LONDON, 1799 oval, pierced with a band of ovals, wrigglework borders, panel feet, blue glass liners cellars 9cm long; together with the following English condiment silver: a pair of Old English pattern silver salt spoons, London, 1813, a Victorian mustard pot, bombé circular and pierced with scroll foliage, blue glass liner, Deakin & Francis, Birmingham, 1899, 8.5cm long, a pair of girdled baluster pepperettes, Birmingham 1912, 9cm high, and a wirework mustard pot, blue glass liner Sheffield, 1910, 7cm long weighable silver3 38gr (10oz) (8)

Provenance: Sotheby’s, London, 16 May 1996, lot 335 £1200-1800

£150-250 461 A PAIR OF GEORGE III SILVER WINE LABELS, GEORGE KNIGHT, LONDON, 1818 cut-cornered rectangular, reeded border, engraved for Sherry or Claret, 4cm wide; together with a Victorian silver bottle ticket, Reily & Storer, London, 1841, shaped, pierced on a banner for Sherry surrounded by vines and flowers, 6.5cm wide; and a plated bottle ticket, second quarter 19th century, shaped, pierced for Port, shell and foliate rim, 5.5cm wide (4)


£100-150 459 A GEORGE II SILVER LEMON STRAINER, MAKER’S MARK ‘?.L’ A SCALLOP BELOW, LONDON, 1730 pellet pierced bowl, openwork scroll handles 15.5cm wide, 116gr (3oz) £200-300

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463 465

463 A GEORGE IV SILVER BOTTLE COLLAR (WINE LABEL), CHARLES RAWLINGS, LONDON, 1827 pierced twice for SHERRY between gadroon rims, 7.6cm diameter; together with a Victorian silver bottle collar, engraved with a crest, the opposing side pierced for MADEIRA, H.J. Lias & Son, London, 1867, 8cm wide (2) The crest on the Madeira label is that of the Worshipful Company of Mercers. £200-300


462 H.R.H. PRINCESS MARGARET’S GEORGE III SILVERMOUNTED TRAVELLING INK AND PEN SET, UNMARKED, CIRCA 1780 the rectangular case covered in green-stained fine fishskin with silver hinge, button and fitment, the interior fitted with sliding pencil cum nib holder, three screw-in nibs and two square glass bottles for ink and pounce with ripple decorated silver covers (two implements missing), lot label to underside; with the ‘Certificate of Provenance’ with Princess Margaret’s wax seal accompanied by its brown leather folder gilt stamped with her crowned M and KENSINGTON PALACE case 7.3cm long Provenance: H.R.H. The Princess Margaret, Countess of Snowdon (1930-2002); Christie’s, London, 14 June 2006, lot 822 £400-600

464 A GROUP OF FIVE GEORGE III SILVER WINE LABELS (OR BOTTLE TICKETS), ALL LONDON one banner shaped with Prince of Wales feathers cresting for Madeira, Peter & William Bateman, 1806, two oblong with reeded rims for Port and Madeira, maker’s mark indecipherable, 1813 and William Ellerby, 1816 respectively, one rounded oblong with reeded rim for Madeira, John Whittingham, 1801 and one plain oval for Brandy, maker’s mark WB, no date letter, late 18th century (5) £200-300 465 A SET OF THREE GEORGE III SILVER WINE LABELS (OR BOTTLE TICKETS), JOHN REILY, LONDON, 1810 shaped oval, with shell and reeded scroll rims, pierced for PORT, SHERRY, or BUCELLAS 5.5cm long Bucellas, sometimes described as Portuguese Hock, is a white wine from near Lisbon. Apparently it became highly sought after in Britain after Wellington’s discovery of the variety during the Peninsula War. For another Reily ticket of the same pattern and date, pierced for KETCHUP see Jane Stancliffe, Bottle Tickets, Victoria and Albert Museum, p.12 £150-250


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466 A PAIR OF WILLIAM IV SILVER SPURS, GEORGE FREDERICK PINNELL, LONDON, 1835 plain, each complete with silver buckles and steel rowells 15cm long, 127gr all in £150-250 467 A GEORGE IV SILVER-GILT VINAIGRETTE, NATHANIEL MILLS, BIRMINGHAM, 1829 rectangular, the lid with scroll leafage in relief on a matted ground, with incurved sides, the underside engine-turned, applied foliate borders, scroll foliate grille 3.6cm long £200-300



471 A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM COMYNS & SONS, LONDON, 1897 shaped oblong, profusely pierce stamped with cherubs, birds and flowers, worn blue velvet easel backed, 20cm high; together with a silver-mounted watch holder, oblong, pierce stamped, worn leather easel case containing its Goliath watch, William Comyns & Sons, London, 1902, 11cm long; a silver sweetmeat bowl, shaped circular, die-stamped foliate scrolls, monogrammed, Fenton Brothers, Sheffield, 1895, 13cm diameter; and a silver lidded cut glass toilet jar, cylindrical, bright-cut with ferns around a vacant roundel, J. & R. Griffin of Birmingham, Chester, 1912, 7cm diameter (4) £100-200

468 A VICTORIAN SILVER ‘CASTLETOP’ VINAIGRETTE, JAMES FENTON, BIRMINGHAM, 1871 shaped oblong, the lid engraved with a view of Edinburgh’s Scott Monument, the underside with bright-cut foliage surrounding a gartered roundel initialled EH to MD, gilt interior with scroll foliate grille 4.4cm long excluding suspension ring £300-500 469 AN AUSTRIAN SILVER AND ENAMEL VESTA OR PILL BOX, VIENNA, CIRCA 1900 rectangular, the sprung lid with white guilloché enamelling and silver-gilt line border, rear of box with a reserve for emery paper, gilt interior, Austrian 900 standard assay mark and bearing spurious Fabergé marks 4.5cm long £100-150 470 A VICTORIAN SILVER-GILT POSY HOLDER, ALEXANDER MACRAE, LONDON, 1867 trumpet shaped, with a beaded rim set below with turquoise cabochons and chain swags and engraved to the body with a band of anthemions above a further band of turquoise cabochons, the three sprung legs contained by a sprung terminal 13cm long £400-600

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472 A VICTORIAN SILVER SNUFF BOX, NEUSTADT & BARNETT, BIRMINGHAM, 1840 oblong, covered in engraved scroll foliage surrounding a shield initialled WC 7cm long £120-180 473 TWO WILLIAM IV SILVER SNUFF BOXES, BOTH BIRMINGHAM each rectangular and with reeded sides, applied foliate thumbpiece and gilt interior, one crested, engine-turned lid and base, Edward Smith, 1831, the other reeded top and bottom, vacant rectangular cartouche, Francis Clark, 1832 both 6.2cm long (2) £200-300 474 A VICTORIAN SILVER ‘CASTLETOP’ CHEROOT CASE, NATHANIEL MILLS, BIRMINGHAM, 1839 oblong, inset with a stamped panel of Windsor Castle to the obverse and Warwick Castle to the reverse surrounded by deeply chased scrolls, flowers and foliage on a matted ground, the lid with banner inscribed Oliveira 12.3cm long


£400-600 475 A GROUP OF VICTORIAN AND EDWARDIAN SILVER SMALLWORK comprising: a ring box, oblong, foliate die-stamped, interior fitted for six rings, Nathan & Hayes of Birmingham, Chester, 1904, 9cm long, a patent card case, plain oblong, the sprung opening containing a propelling pencil, gilt interior, S. Mordan & Co., London, 1900, 9.5cm long, a snuff box, rounded oblong, brightcut with leaf-filled strapwork, flush-hinged lid with 1872 presentation inscription, gilt interior, George Unite, Birmingham, 1871, 8.5cm long, and a ring tray, heart-shaped, die-stamped with birds, mask and foliage around a vacant cartouche, William Comyns & Sons, London, 1898, 10cm long (4) £150-250 476 A VICTORIAN PARCEL-GILT-SILVER NOVELTY SOVEREIGN CASE, RAWLINGS & SUMMERS, LONDON, 1874 in the form of a cloth handbag with double belcher chain strap, opening by a push button to the gilt clasp to reveal three blue silk concertina compartments 12.5cm long with chain extended

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477 ~ A SILVER-MOUNTED MOTHER-OF-PEARL AND TORTOISESHELL BOX, PROBABLY NETHERLANDISH OR NORTHERN FRENCH, SECOND QUARTER 18TH CENTURY oval, the nacre-set lid carved with a Nativity scene within a reeded silver rim mount and shaped silver hinge, plain tortoiseshell sides and base 13.5cm long £150-250 478 A SILVER AND MOTHER-OF-PEARL MAGNIFYING GLASS, UNMARKED, PROBABLY NETHERLANDISH OR NORTHERN FRENCH, CIRCA 1730 the lens with reeded rim mount hinging out from between two plain oval nacre panels with pinned reeded ribs between 8.5cm long


£300-500 479 ~ AN IVORY CASED FRENCH SILVER-GILT SEWING NECESSAIRE, AUGUSTE BELLEAU, PARIS, 1880/81 plain oval case complete with silver-gilt implements: a thimble, a needle case, a bodkin, a steel-mounted awl and a pair steel-mounted scissors, boar’s head mark case 11.8cm long £150-250 480 ~ A SILVER-MOUNTED AND CARVED IVORY TOPPED WALKING STICK, PERHAPS RUSSIAN the ivory terminal carved as a bear’s head above a broad scroll foliate silver collar, malacca cane, 87.5cm; together with a ‘Black Forest’ limewood walking stick, Swiss, circa 1900, the terminal with carved bear’s head, knobbly cane, 93cm (2)




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481 A GROUP OF FIVE GOLD-CASED FOB SEALS, ENGLISH, SECOND QUARTER 19TH CENTURY various patterns, chased decoration, the matrix of the largest engraved with a coat-of-arms, crest and motto, another with the same crest and motto enclosing the initials JAD, the matrixes of the remainder engraved respectively with a motto and blasted tree, a standing figure after the Antique, and the name Elizabeth; together with a Russian silver-gilt religious medal, oval (6)


The arms on the large seal in this group are those of Douglass for James Alexander Douglass (1800?-1862), son of James Douglass (1757-1833) of Oundle, Northamptonshire, who married at Billericay on 29 October 1838 Mary Agnes Petre (1820-1886), elder daughter of William Henry Francis, 11th Baron Petre (1793-1850), by his first wife, Frances ‘Fanny’ Charlotte Bedingfeld (1796-1822). J.A. Douglass (or Douglas), a solicitor and sometime a director of the Law Union Fire and Life Insurance Company, was living at the time of his death (at Cowes, Isle of Wight), with his wife at 16 Russell Square, Bloomsbury, London. Mr. and Mrs. Douglass had several children including Elizabeth, who was born about 1839, who may have been the owner of the small seal in this lot, whose matrix is engraved ‘Elizabeth.’ Another seal in this lot is engraved with the initials JAD, motto and crest, for James Alexander Douglass. See lot 571 for a jewel given by Douglass to his wife. £250-350 482 A LACQUER AND PIQUE SNUFF BOX, FRENCH, CIRCA 1765 oval, inlaid with mother-of-pearl, silver and gold piqué wire and points, the lid with a basket of flowers and a bird, the sides and base with further floral clusters, gilt-metal hinge mounts and flowerhead thumbpiece 8.4cm wide


£300-400 483 A FRENCH GOLD-MOUNTED BLONDE HORN SNUFF BOX, CIRCA 1780 the base and sides decorated with stars and circles within plain borders, the detachable lid with transparent glass enclosing scrolled wirework and a ribbon-tied bunch of feather flowers 6.5cm diameter £150-250


484 ~ A FRENCH GOLD-MOUNTED VERNIS MARTIN PICTURE SNUFF BOX AND COVER, CIRCA 1780 circular, the cover set with an ivory moving-part roundel painted with the bust of a young man, his arm moving via a handle to the underside to shield his face with a mask, within a leaf and linear engraved gold border, reeded rim mounts, the Vernis Martin of gilt and red lozenge patterning, tortoiseshell lined 6.2cm diameter £400-600

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485 A SOUVENIR OF ROBERT BURNS’S COTTAGE: A FRENCH NOVELTY COMBINED PROPELLING PENCIL AND SEAL, CIRCA 1900 the handle of celluloid simulating banded agate, the electroplate mount with a Stanho-scope of titled micro-photographs: Brigadoon Ayr, Alloway Kirk, His Birthplace, Robert Burns, His Monument, Tam O’Shanter and Souter Jonny, and Old & New Brigs o’Ayr, and further inscribed Bought in the Cottage / Made in France 5cm with pencil extended £50-80 486 A GEM SET SILVER FIGURE OF A SPARROW, PROBABLY HUNGARIAN, CIRCA 1920 modelled perched on a tree stump with emerald set leaf, his wings encrusted with rubies and sapphires, with enamelled tail and head and ruby eyes, on an amethystine quartz shaped square socle, unmarked excepting Austrian import mark 6.8cm high

485 486

£300-400 487 A FRENCH SILVER-GILT AND ENAMEL SCENT FLASK, CIRCA 1875 the body with raised enamel insects and a phoenix amidst bamboo fronds on a pale blue ground, engine-turned base and neck, the hinged cap initialled ES for Elise Sibbeth, with ground glass stopper, French boar’s head standard mark only, in original retailer’s purple velvet fitted case with printed gilt label J.W. BENSON / WATCHMAKER & JEWELLER / 99 WESTBOURNE GROVE 8.5cm long Provenance: Elise Sibbeth (1855-1946), daughter of W. Edmund Sibeth of the Merchant Bankers Suse & Sibeth and who lived at Rowney Abbey, Herts. Elise Sibbeth married Sebastian Henry Petre (1856-1934) of Tor Bryan House, Ingatestone, Co. Essex; thence by family descent to the present vendor.


£300-500 488 A SCOTTISH MARKET VICTORIAN SILVER-GILT-MOUNTED AGATE CHEROOT CASE, SCOTTISH OR BIRMINGHAM, CIRCA 1850 rectangular, veneered in a variety of agates and further applied with two agate ovals, the hinge mounts and borders to the ovals engraved with scrolled leafage, lid with silver-gilt interior, body interior later lined in leatherette 13cm long £700-1000 489 TWO GEORGE III SILVER SNUFF BOXES, BOTH BIRMINGHAM the first rounded oblong with bulging sides, wrigglework decorated, Samuel Pemberton, 1799, 6.5cm long, the second of pocket-fitting oblong form, plain excepting worn initials, John Shaw, 1813, 6.5cm long; together with a silver pill or comfit box and cover, circular, initialled wrigglework decorated, unmarked, probably Birmingham circa 1800, 2.5cm diameter; a Dutch silver pill box and cover, cylindrical, stamped with figures amidst scrolls, import marked London, 1892, 3.5cm high; and a silver Vesta case, typical form, scroll foliate bright-cut, vacant cartouche, Smith & Bartlam of Birmingham, Chester, 1912 (5) £100-200



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Portrait of John Milnes, 12th Duke of St. Albans in the Louvre, RF 1985-11, painted by Joseph Wright of Derby, holding a cane similar to lot 491

490 A GERMAN GOLD EGG CUP, UNMARKED, AUGSBURG, CIRCA 1735 the ovate and circular bowls each with a finely detailed raised band of cornucopiae and shells on a granulated ground, with a knopped oblong stem between, with 180 Austrian control mark 6cm long, 48.4gr £1200-1800 491 A GEORGE III GOLD-MOUNTED BEADLE’S STAFF (OR GENTLEMAN’S LONG WALKING CANE), CIRCA 1780 the long malacca cane with narrower top section, with bright-cut gold mounts to the shoulder and tip, initialled to the top AC, with long brass ferrule 152cm high Long canes of this type were popular in the late 18th century; see the portrait of John Milnes, 12th Duke of St. Albans in the Louvre, RF 1985-11, painted by Joseph Wright of Derby in 1776 with the Duke holding a similar cane with long ferrule and narrower top section, detail illustrated left. £150-250


492 A SILVER-GILT AND ENAMEL SNUFF BOX, UNMARKED, PROBABLY GERMAN, THIRD QUARTER 19TH CENTURY oblong, with shaped panels of turquoise enamelled beads surrounded by scrolling borders of enamelled flowers and leaves on a matted ground 7.2cm long £600-800


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494 495 493 TWO ENAMEL SNUFF BOXES, GERMAN, THIRD QUARTER 18TH CENTURY both oblong and painted on a white ground, one with waisted sides and scenes of courting couples, the other straight sided and with military trophies bordered by raised leafage 8cm wide

496 AN ENAMEL SPANIEL BONBONNIERE, SOUTH STAFFORDSHIRE, CIRCA 1770 moulded with the black and white dog curled on a pink cushion, hinged lid with flower spray 4.3cm diameter £100-150

£200-300 494 AN ENAMEL SNUFF BOX, COMPOSITE, THIRD QUARTER 18TH CENTURY oblong, the English base painted with flower sprays on a white ground, the lid set with an associated finely painted panel, probably German, depicting a seductive young woman in pink robed dishabille and straw hat leaning on a scroll plinth and holding a basket of flowers below a butterfly 8.2cm wide £100-150 495 AN ENAMEL ETUI, PROBABLY FRENCH, LATE 19TH CENTURY tapering oval, the gilt diapered white ground painted with a variety of peopled riverine scenes, white-metal-mounted rim and hinge mounts, fitted interior with two sewing implements missing 9.8cm long

497 A FRENCH SILVER-GILT-MOUNTED PORCELAIN SMALL PENDENT BOX, EDME SAMSON & CIE, PARIS, CIRCA 1900 the Samson porcelain modelled and painted after 18th century French snuff boxes as the face of a masked woman with diamond set eyes, the silver-gilt back with hatching to the rim mount, the hinged flat cover engraved with a buttercup, Emile Samson and boar’s head marks 5.5cm long including suspension loop Samson, as well as producing contemporary wares, were renowned for their high quality copies of earlier European and Oriental porcelain and enamel; items which sometimes came to be thought of as the real things. Since their wares were often unmarked (or bear spurious marks), it is unusual to be able to ascribe with certainty an object to the firm. £200-300


497 496


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498 A CARVED AGATE CAMEO PROFILE PORTRAIT OF NAPOLEON I, EMPEROR OF THE FRENCH, BY NICOLA MORELLI (1771-1838), CIRCA 1810 facing right, after the Antique with short cropped hair and laurel crown, signed below truncation MORELLI oval 4.9cm Nicola Morelli (1771-1838), was a Roman gem carver, best known for his cameo works commissioned by the Bonaparte family, including the famous parure of 1807, set with cameo portraits of the family and given by Cardinal Fesch to his sister Letizia Bonaparte, Napoleon’s mother. Morelli is thought to have been trained by Angelo Amastini, whose daughter he married. He is recorded in 1799 as teaching Benedetto Pistrucci and in 1810 was inducted as a gem engraver by the Accademia di S. Luca, being admitted to the Academy’s order of merit in 1812. See Lucia Pirzio Biroli Stefanelli, ‘Nicola Morelli, Incisore in Pietre Dure, Accademico di Merito di S. Luca, Virtuoso del Pantheon’, Bollettino dei Musei Comunali di Roma, 1992, vol. VI, pp. 63-116, figure 2 for an illustration of a similar cameo, from the Castellani collection, now in the Museo di Villa Giulia, Rome. Napoleon was particularly fascinated by the glyptic arts (gemstone carving and engraving), founding a Parisian school, based on the Roman Academy, to teach the skill.

499 ~ A PORTRAIT MINIATURE OF HOLY ROMAN EMPEROR LEOPOLD II, AUSTRIAN SCHOOL, CIRCA 1790 wearing white uniform with gold braid, lace jabot, black stock, with the sash and star of the Order of Maria Theresa, on ivory, gold frame oval 3.6cm





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500 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, BY JEREMIAH MEYER (1735-1789), CIRCA 1775 with hair en queue wearing a maroon coat, on ivory, gold frame, oval 4cm; together with a portrait miniature of a gentleman, English School, circa 1775, wearing a white coat, on ivory, gold slide frame, oval 3.9cm (2) £150-250 501 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, BY GUSTAVUS HAMILTON (1739-1775), 1762 with a powdered wig, wearing a blue coat and waistcoat and a pleated jabot, on ivory, signed with initials and dated, gold slide frame, oval 3.4cm; and another portrait miniature of a gentleman, by Penelope Carwardine (1730-1801), circa 1755, wearing a grey coat, on ivory, signed with initials, gilt-metal frame, oval 3.3cm (2) £200-300 502 A PORTRAIT MINIATURE OF THE COMTE D’EVREUX, FRENCH SCHOOL, CIRCA 1710 with full grey wig, breastplate and blue shirt, on vellum, later gilt-metal frame, titled paper label to reverse oval 6.8cm


Louis Henri de la Tour d’Auvergne, Comte d’Evreux (1674-1753), was a Field Marshall, who went on to build the Parisian hôtel particulier now known as the Elysée Palace, the French president’s official residence. £200-300 503 ~ A GRISAILLE PROFILE OF ARCHIBALD CAMPBELL, BY SAMUEL ANDREWS (1767-1807), CALCUTTA, 1803 after the Tassie glass paste profile, on ivory, signed, inscribed and dated, gilt-metalmounted rectangular stained Indian hardwood frame oval 10.7cm The inscription reads: Sir A. Campbell K.B. / died 31 March 1791 / aged 52 / Tassie f 1779 Major-General Sir Archibald Campbell KB (1739 - 1791); as Chief Engineer of the British East India Company at Bengal he headed the works on Fort William in Calcutta. Captured during the American Revolutionary War, he was released in exchange for the famous American rebel, Ethan Allen. Serving as Governor of Jamaica and then Madras, Campbell is credited with numerous civil improvements. He married the daughter of the portraitist Allan Ramsay in 1779 but died in London without issue. Andrews worked in India from 1791 until his death, first in Madras and later Calcutta. Unlike most of his grisaille profiles taken from life, this posthumous profile was based on the Tassie portrait of 1779.




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504 (reverse)


504 A PORTRAIT MINIATURE OF CHARLES II, ENGLISH SCHOOL, LATE 17TH CENTURY with long curling hair and a white lace cravat, enamel, the turquoise counter enamel painted with the crowned cipher CIIR flanked by palms, in probably slightly later silver-gilt frame with scroll surmount oval 2.2cm £500-700 505 A PORTRAIT MINIATURE OF LOUIS LE GRAND DAUPHIN (MONSEIGNEUR), STUDIO OF JEAN PETITOT (1607-1691) CIRCA 1670 with a full bottomed fair wig, lace cravat and red bow, enamel, silver-gilt frame with milled edge and ribbon-tied surmount oval 2.1cm


£600-800 506 A PORTRAIT MINIATURE OF QUEEN ANNE, ENGLISH SCHOOL, CIRCA 1710 wearing a gold dress, ermine lined cape and the Greater George about her neck, enamel, unframed oval 6.1cm This enamel appears to be based loosely on full length State portraits with versions by both Sir Godfrey Kneller and Charles Jervas. £250-350


507 A PORTRAIT MINIATURE OF A GENTLEMAN, FRENCH SCHOOL, CIRCA 1700 wearing a full-bottomed grey wig, armour and blue drape, on vellum laid on card, later giltmetal frame, oval 4.7cm: together with a portrait miniature of a lady, French school, 19th century, in 17th century style, wearing a lace cap, striped dress and blue drape, on vellum laid on card, gilt-metal mount, oval 5.2cm (2) £100-150


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508 (interior)

508 A PORTRAIT MINIATURE OF A LADY, BY NATHANIEL HONE (1718-1784), CIRCA 1760 with brown hair and black neckband, wearing an ermine trimmed blue gown and gold sprigged white dress, enamel, gold frame with plaited hair border, wrigglework edge and later brooch pin, frame hinging open to reveal a glazed compartment set with a gouache of an eventide landscape oval 3.2cm


£700-900 509 A PORTRAIT MINIATURE OF THE ARTIST’S WIFE, MARIA HONE, BY NATHANIEL HONE (1718-1784), 1749 in profile to left, her brown hair adorned with a string of pearls, wearing a yellow gown and white chemise, enamel, verso signed with monogram and dated, recto monogrammed, inscribed and dated, gilt-metal mount oval 5.4cm Maria Earle (1721-1791), apparently a lady of some property, married Nathaniel Hone at York Minster in February 1742. It has been suggested she was the illegitimate daughter of John Campbell, 4th Duke of Argyll. The marriage produced five boys and five girls, many of whom Hone went on to depict in a series of tender oil paintings. Hone painted this vivid portrait of his wife after they had been married seven years, carefully noting her identity on the counter enamel.


£1000-1500 510 A PORTRAIT MINIATURE OF A LADY, CIRCLE OF GIUSEPPE MACPHERSON (1726-1779), MID 18TH CENTURY with elaborately coiled and bound hair, wearing a red dress with a blue sleeve and white chemise, enamel, gilt-metal mount oval 3.1cm £200-300 511 A MINIATURE OF A COUNTRY GIRL, PROBABLY FRENCH SCHOOL, 1770s wearing a conical hat, yellow waistcoat and red drape, enamel, stamped gilt-metal mount oval 5.5cm £70-100

511 119

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512 (reverse) 512 A PORTRAIT MINIATURE OF ARTHUR WELLESLEY, 1ST DUKE OF WELLINGTON, BY WILLIAM ESSEX (1784-1769) AFTER SIR THOMAS LAWRENCE, 1848 head and shoulders wearing a dark coat and the order of the Golden Fleece, enamel, recto signed with initials W.E, verso signed, extensively inscribed and dated, gilt-metal frame oval 9.6cm


Based on the famous portrait by Lawrence exhibited at the Royal Academy in 1822. £800-1200 513 A PORTRAIT MINIATURE OF QUEEN VICTORIA, ENGLISH SCHOOL, MID 19TH CENTURY three quarter length wearing a white dress, lace shawl and the sash of the Order of the Garter, a document in her hand, enamel, unframed oval 5cm £250-350


514 A PORTRAIT MINIATURE OF A LADY, ENGLISH SCHOOL, 1733 her head partly covered by a blue veil, wearing a white dress and a red drape, landscape background, signed Alexr / pinx and dated, oil on copper, gilt-metal mount oval 8.4cm £200-300 515 ~ A PORTRAIT MINIATURE OF A NUN, FRENCH SCHOOL, CIRCA 1760 wearing a black habit tied with white rope, on ivory, silver-gilt frame with ribbon-tied surmount and palm spray to base oval 4cm £150-250

514 120


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516 ~ A PORTRAIT MINIATURE OF A LADY, BY JOHN SMART (1740-1811), CIRCA 1770 with brown hair, wearing an ermine trimmed blue gown and lilac dress, on ivory, signed with initials, oval 2.2cm, set in an oval gold pendant, the blue glass reserve decorated in simulated pearls with ribbon ties and fluttering birds, glazed reverse pendant 4.3cm long excluding suspension loop £3000-4000

517 516

517 ~ A PORTRAIT MINIATURE OF A YOUNG LADY, ATTRIBUTED TO FELICITAS HOFFMAN (NEE SARTORI, CIRCA 1714-1760), CIRCA 1740 wearing a lace-trimmed blue dress with a white drape, on ivory oval 6.8cm glazed but unframed £120-180

519 518 518 ~ A PORTRAIT MINIATURE OF A LADY, GEORGE ENGLEHEART (1750-1829) AND WORKSHOP, CIRCA 1785 with powdered and curled hair, wearing a lace trimmed white dress, gold necklace and a portrait miniature hung on a blue ribbon at her corsage, on ivory, later metal frame (back lacking) with scallop bevelled glass oval 5.8cm

519 ~ A PORTRAIT MINIATURE OF A LADY, BY GEORGE ENGLEHEART (1750-1829), CIRCA 1790 with powdered and curled hair bound by a blue and white scarf, wearing a white dress with a ruff collar and blue bow at corsage, sky background, on ivory, gilt-metal frame (back lacking) oval 5cm £500-700



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520 ~ A PORTRAIT MINIATURE OF KING GEORGE III, BY RICHARD COLLINS (1755-1831), CIRCA 1785 in a blue uniform with red collar and gold lace, white waistcoat, with the sash and star of the Order of the Garter, on ivory, gilt-metal frame oval 5.1cm This miniature is based on a full length portrait by Thomas Gainsborough, commissioned by George III and exhibited at the Royal Academy in 1781. £400-600 521 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, BY FREDERICK BUCK (1771-ABOUT 1840), CIRCA 1795 with powdered hair, wearing a brown coat and a pleated jabot, gold frame, on ivory, the glazed reverse with opalescent glass reserve overlaid with hair locks and wirework and blue glass oval set with initials EWR oval 6.3cm £300-400


522 (reverse)

522 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, BY PHILIP JEAN (1755-1802), CIRCA 1795 with powdered hair, wearing a blue coat, striped waistcoat and pleated jabot, gold fausse-montre frame with blue glass reserve, the reverse with plaited hair border bound by rose diamond ribbons surrounding a finely painted allegorical scene of Honour, Prudence and Virtue, both on ivory oval 5.6cm £800-1200 523 ~ A PORTRAIT MINIATURE OF A LADY, SIGNED BRYER, 1839 with dark brown hair wearing a brown dress with a lace collar, signed and dated, on ivory, gilt-metal mount oval 10cm £60-90



524 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, ENGLISH SCHOOL, CIRCA 1790 with powdered hair, wearing a dove-grey coat and yellow waistcoat, on ivory, gilt-metal mount, oval 6.2cm; together with two further miniatures, English School, late 18th century, of a lady wearing a black lace shawl and a gentleman in a brown cloak, on ivory, gold frames with glazed reverses, the latter in red leather case, oval 7.6cm largest (3) £150-200

523 524 122

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525 ~ A PORTRAIT MINIATURE OF A YOUNG LADY, BY SIR WILLIAM CHARLES ROSS (1794-1860), DATED 1819 with elaborately dressed brown hair, wearing a lilac gown with pink trimming, on ivory, signed and dated, ormolu frame rectangular 8cm Provenance: Collection of Carl Lugner, Wawra Auction, Vienna, 23-25 February 1918, lot 293 £500-700 526 ~ A PORTRAIT MINIATURE OF A LADY, SIGNED C. A*, ENGLISH SCHOOL, 1842 wearing a lace cap, white dress with triple ruff collar, dated and indistinctly signed, on ivory, gilt-metal frame rectangular 9cm £80-120 527 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, POSSIBLY RUSSIAN SCHOOL, CIRCA 1840 wearing a black cape, white coat with a blue collar and a black stock, a black and orange decoration ribbon, possibly the Order of St George, part concealed by his cape, on ivory, gilt-metal mount oval 9.4cm


£200-300 528 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, ATTRIBUTED TO SAMUEL JOHN STUMP (CIRCA 1779-1863), CIRCA 1815 with brown hair, wearing a slate coloured coat and white waistcoat, on ivory, stamped gilt-metal mount, oval 7.5cm; together with a portrait miniature of a young man, English School, circa 1815, in a blue coat, on ivory, gilt-metal mount, oval 7.3cm (2) £100-150



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529 ~ A PORTRAIT MINIATURE OF A LADY, BY ANTONIO TOMASICH Y HARO (1820-1890), 1873 wearing a dark purple dress, with a tied lace shawl and pearl necklace, on ivory, signed and dated, gilt-metal mount, original fitted dark leather case oval 11.9cm

531 ~ A PORTRAIT MINIATURE OF EUGENIE, EMPRESS OF THE FRENCH, BY MORITZ CONRADI (ACTIVE 1840-1876), 1855 her hair with a tiara and white flowers, wearing a white dress with lace collar and a sash of the Order of Queen Maria Luisa of Spain, on ivory, signed and dated, gilt metal mount oval 9.2cm

Antonio Tomasich y Haro trained in Paris and subsequently worked in Spain, Mexico, Cuba and, for a while, in England. He painted numerous portraits of the Spanish Court, examples of which he exhibited in Madrid in the 1870s.

Conradi was an associate of the photographer Antoine Claudet. Claudet operated one of the first daguerreotype studios in London from June 1841. Conradi, who had studied at the Dresden and Berlin academies, exhibited portraits and miniatures 1865-76 from 23 Berners Street, London. See Royal Collections (RCIN 421896) for a Conradi portrait of Queen Victoria.

£400-600 530 ~ A PORTRAIT MINIATURE OF A YOUNG BOY, BY NELSON MULNIER (BORN 1817), CIRCA 1840 wearing a brass-buttoned black coat, white waistcoat and black cravat, on ivory with mother-of-pearl backing, signed, in gold brooch frame with engraved scroll foliate decoration and original fitted leather case oval 5.2cm

£250-350 532 ~ A PORTRAIT MINIATURE OF A LADY, BY YVONNE GREGORY (1889-1970), CIRCA 1910 with dark brown hair, white dress with a black shawl to one shoulder, on ivory, signed, set in an earlier gilt-metal faussemontre frame (loop missing) oval 4.9cm

This miniature is an example of the connections between early photography and miniature portraiture (see lot 531). The different members of the Mulnier family of miniaturists are often confused. It would appear Nelson Mulnier was the elder son of Etienne Ferdinand Mulnier and grandson of Jean-Baptiste Mulnier. Nelson went on to work as a photographer in Marseilles in association with Chapelier. His younger brother, another Jean-Baptiste, had a photography studio in Paris. (, accessed 12.04.2016)

This miniature is another example of the link between miniature painting and photography, that dates back to the 1840s: see lots 530 & 531 for early examples of this link. The present miniature, signed by Gregory, predates her better-known later career as a photographer. With her husband, Bertram Park, whom she married in 1916, she set up a photography studio in Dover Street, that developed to become one of the most fashionable and successful studios in London.






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533 533 A VICTORIAN MAHOGANY MANTEL CLOCK, MID 19TH CENTURY eight-day fusee movement timepiece, white dial with Roman numerals, rectangular case with caddy top, sides with gilt brass drop rings above brass fret work panels on brass ball feet, with key 26.5cm high £100-150 534 AN ENGLISH BRASS COMPOSITE LANTERN CLOCK, 18TH CENTURY AND LATER assembled and fitted in the late 19th century with a twin fusee movement twin stricking the hours and the quarters, the dial signed John Maynard above scrolling foliage within the Roman numeralled chapter ring, hinged doors to sides and back between the turned column frame with urn finials, scroll and Renaissance dolphin frets to three sides under the lantern bell, with key 37cm high


£400-600 535 A FRENCH GILT-BRASS CARRIAGE CLOCK, EARLY 20TH CENTURY eight-day timepiece movement, white dial with Roman numerals, corniche type case, with key and leather carrying case 14.5cm high including swing handle £40-60


536 536 A FRENCH GILT-BRASS CARRIAGE CLOCK, LATE 19TH CENTURY eight day movement striking on a gong, white dial with Roman numerals, Anglaise case, with key 19cm high with handle raised £200-300

537 A GILT-BRASS CARRIAGE CLOCK, GAY, LAMAILLE & CO. OF PARIS AND LONDON, CIRCA 1880 French eight day movement hour and half hour striking and hour repeating on a gong, silvered platform escapement, back plate stamped G.L and Patent Surety Roller in ovals and numbered 1711, the pearl-finished English Anglaise type case with silvered chapter ring with Roman numerals surrounded by pierced and engraved foliate strapwork in which perch a pair of birds, glazed side panels with similar strapwork, with key and morocco leather carrying case 18.5cm high with handle raised According to Allix and Bonnerts’s Carriage Clocks, The Horological Journal of March 1880 mentions Gay, Lamaille & Co. of Paris and London as securing the patent for an improved star-wheel applicable to carriage clock strike and calendar work. £400-600


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538 A ‘MUST DE CARTIER’ TRAVELLING ALARM CLOCK, CIRCA 1990 lacquered brass, quartz movement, plain white circular dial signed Cartier surrounded by a broad plain bezel painted with large red Roman numeral hours, dial cover hinging round to form stand, in red suede pouch gilt stamped Cartier and with red leatherette case gilt stamped must de Cartier, complete with guarantee and manual in a gilt-tooled red leatherette folder 5.4cm diameter




542 LADY’S GOLD WATCH, REGLIA, 1950s the circular ivory dial with hands and Arabic numerals behind raised glass between shoulders of wire ring design on a black leather strap, French assay mark, numbered 42196 dial diameter 13mm approximately £80-120

539 539 GIRARD-PERREGAUX, GYROMATIC: A GENTLEMAN’S GOLD WRISTWATCH, 1960s automatic 17 jewel movement, silvered signed dial with gold batons, circular gold case with Swiss 18 carat gold marks, associated Omega leather strap case 34mm diameter

543 BULOVA ACCUTRON: A LADY’S EIGHTEEN CARAT GOLD BRACELET WATCH, 1974 the square textured gold dial with gold baton indicators and hands on a tapering ribbon smooth link bracelet with jewellery clasp, movement signed and numbered 2300, Swiss 18 carat gold and London import marks to inside case back, case numbered 2644512, clasp with London import marks for 1974 £200-300



540 540 GARRARD: A GENTLEMAN’S GOLD WRISTWATCH, CIRCA 1970 automatic movement, silvered dial with numeral 12 and remaining hours with gold batons excepting date aperture to 3 o’clock, plain circular case inscribed to back, associated leather strap, in probably original rexine covered metal case case 33mm diameter £120-180 541 RODANIA: A GENTLEMAN’S NINE CARAT GOLD WRISTWATCH, 1964 silvered dial with gold batons and subsidiary seconds dial, dial and movement signed, plain circular case ‘STOLKASE’ Birmingham hallmarked 1964, case back engraved with a presentation inscription, with associated gilt-metal sprung bracelet case 3.2cm diameter £100-200

544 BUECHE-GIROD: A LADY’S NINE CARAT GOLD BRACELET WATCH, 1976 one jewel unadjusted France Ebauche quartz movement, oblong frosted signed dial with gilt batons, gilt-metal Bueche-Girod crown, textured mesh bracelet with jewellery clasp, case and bracelet gold hallmarked for Bueche-Girod, with original suede case, guarantee and box length 170mm approximately £250-350 545 OMEGA ‘DE VILLE’, REF.8270: A LADY’S SILVER BRACELET WATCH, CIRCA 1972 manual wind, brushed dark blued dial with white batons and handles, wide oblong case with snap-on back and bevelled glass, integral Omega openwork fancy link bracelet, case, dial, movement and strap signed, movement No.35176785, case No.8332/384, case 35mm wide; together with a Universal Geneve gentleman’s giltmetal bracelet watch, quartz movement, brushed white dial with Arabic numerals, rounded oblong case, integral nine row link bracelet, dial, case and bracelet signed, case 27mm wide (2) £150-200


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546 CHOPARD, GENEVA: A LADY’S GOLD BRACELET WATCH, CIRCA 1970 manual wind 17 jewel movement, the lapis lazuli dial gilded with batons, circular case with hatched bezel, Milanese bracelet with jewellery clasp, signed to dial, crown, case and bracelet, 18 carat Swiss gold marks, case numbered 64203, in retailer’s case for West of Dublin case 2.5cm diameter, length approximately 17cm

548 ‘ROLLS ROYCE’ PENDANT the textured plaque depicting the ‘R R’ logo within a black enamel surround on a fancy link back chain chain length approximately 450mm, 28.7gr £500-800


549 549 GENTLEMAN’S MOTHER OF PEARL AND CULTURED PEARL DRESS SET, EARLY TWENTIETH CENTURY the double sided circular mother of pearl cufflinks bordered by a design of laurel leaves and decorated with a central cultured pearl; together with four buttons and three studs of matching design fitted leather Tiffany and Co case £400-600


547 NINE CARAT GOLD PARURE, CIRCA 1970 of plain brick links, comprising: a choker, a bracelet, a pair halfhoop earrings and a ring, hallmarked maker’s mark CM&S, London, 1969/70, in original burgundy leather fitted case with retailer’s stamp for Collingwood (Jewellers) Ltd. 74gr approximately £700-1000


550 GENTLEMAN’S MOTHER OF PEARL AND SAPPHIRE DRESS SET, 1920s circular, mother of pearl with a millegrain-set central French-cut sapphire, one collar stud later replacement with central pearl and black enamel decoration. £250-350


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551 SILVER AND MOONSTONE NECKLACE the row of graduated cabochons in broad collet settings, London hallmarked length 470mm approximately £400-600 552 SILVER, CITRINE, AMETHYST AND SMOKY TOPAZ NECKLACE the row of roughly cut and shaped stones in textured collet settings, London hallmarked length approximately 510mm £400-600


552 554 AQUAMARINE PENDANT the cushion shaped aquamarine surmount suspending a pear shaped stone on a fine back chain chain length approximately 430mm £1200-1500 555 DIAMOND CROSS PENDANT set throughout with brilliant-cut diamonds on a fine zip link back chain length approximately 405mm

553 553 DIAMOND HINGED BANGLE set to the front with a row of brilliant-cut diamonds inner diameter approximately 57mm £700-1000

£500-700 556 PAIR OF WHITE JADE AND DIAMOND EAR PENDANTS each designed as a series of interlocking circular jade links suspended from a row of collet-set brilliant-cut and baguette diamonds length 54mm approximately £600-800 557 SILVER BRACELET, GEORG JENSEN, 1970s designed as a series of six hinged geometric links, French swan import mark, signed length approximately 178mm, 61.6 gr approximately £1200-1500


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556 554

558 SILVER ‘MOONLIGHT BLOSSOM’ BROOCH, GEORG JENSEN, COPENHAGEN, CIRCA 1971 designed by Arno Malinowski as a roundel pierced with a pair of butterflies perched on a flowering geranium stem, Danish marks, numbered 283 and London import marks diameter 45mm approximately £200-250 559 GENTLEMAN’S DIAMOND RING the filed curb link chain set to the front with single-cut diamonds size Z £120-180



557 129

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561 PAIR OF PERIDOT EARCLIPS the Indian style flower set throughout with facetted peridots suspending a briolette peridot between smaller peridot drops £800-1000 562 PAIR OF MINOAN INSPIRED HOOP EARCLIPS, ILIAS LALAOUNIS each hinged hoop designed as a series of hollow spheres, makers mark, suede leather pouch 29.1 grs £700-900 563 EIGHTEEN CARAT GOLD, GARNET AND CITRINE RING, KIKI McDONOUGH, CIRCA 2007 the collet set cushion cut garnet between similarly set triangular shaped citrine shoulders, tapering shank, Birmingham hallmarks, maker’s mark KMcD, with Kiki McDonough box size I ½ £300-400 564 FOUR EIGHTEEN CARAT GOLD AND COLOURED GEMSTONE STACKING RINGS, KIKI McDONOUGH, CIRCA 1999 set with either a square mixed cut tourmaline, peridot, amethyst or citrine, each stone tension held in a tapering wide band, Birmingham hallmarks, one maker’s mark KMcD, with white leatherette Kiki McDonough pouch size N 1/2

560 560 SAPPHIRE AND DIAMOND RING, VAN CLEEF & ARPELS, 1970s of bombé design, set with four rows of graduated circular-cut sapphires with collet set single cut diamonds inbetween (one diamond deficient), stamped VCA / ITALY / NY and PT for platinum size O £600-900

£800-1000 565 EIGHTEEN CARAT GOLD AND BERYL ‘BOMBE’ RING, SOLANGE AZAGURY-PARTRIDGE, CIRCA 1997 designed as a raised cluster of circular and oval cabochons, maker’s mark, hallmarked London 1997 size N £1200-1800 566 CITRINE RING claw-set with a step-cut citrine size Q½ £80-100 567 AMETHYST, EMERALD AND DIAMOND RING designed as a cluster of circular amethyst and brilliant-cut diamond flowers accented by pear shaped emerald leaves size U £100-150 568 EIGHTEEN CARAT GOLD, PINK TOURMALINE AND GARNET RING, SOLANGE AZAGURY-PARTRIDGE, CIRCA 1997 the wide tapering band set with a central square pink tourmaline framed by four rectangular garnets, maker’s mark, hallmarked London, 1997, with leather box size M £1200-1800


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584 (part) 568


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571 VICTORIAN ENAMEL, SEED PEARL AND GARNET BROOCH, MID 19TH CENTURY of stylised crowned heart design, centred by a twin-heart-shaped polished garnet entwined in a blue guilloché ribbon decorated at intervals with seed pearls and terminating in a kite-shaped further polished garnet, original fitted morocco leather case


569 ENAMEL AND DIAMOND PENDANT, EARLY 19TH CENTURY designed as a lyre set to the centre with a foiled rose diamond with blue enamel border and similarly set throughout, on a belcher link back chain length of chain 373mm (to 420mm) approximately £400-600

Provenance: James Alexander Douglass (1800?-1862), thence by descent through the Petre family to the present vendor. James Douglas(s) of Lincoln’s Inn Fields and Ealing married in 1838 Mary Agnes Petre (1820-1886), elder daughter of William Henry Francis, 11th Baron Petre, at the Petre’s seat of Thorndon Hall in Essex. Crown heart brooches, often in silver, are commonly known as Luckenbooth brooches, given traditionally in Scotland as wedding presents. This brooch, known in the family as the ‘Douglas Heart’ is also symbolic of the heart featuring in the Douglas coat of arms. Sir James Douglas carried Robert the Bruce’s heart on Crusade in 1330, but died at the battle of Teba in Andalucia. His heart (together with Robert the Bruce’s) was brought back to Scotland and apparently thereafter the arms of the Douglas family was changed to incorporate the crowned heart. See lot 481 for seals belonging to James Alexander Douglass. ( ependence/brucesheart/index.asp - accessed 16.03.2016) £400-600 572 EIGHTEEN CARAT GOLD, SAPPHIRE AND DIAMOND RING the central oval sapphire set between two circular stones with similarly cut diamonds inbetween, faintly hallmarked London size O £600-800 573 FOURTEEN CARAT GOLD, RUBY AND DIAMOND RING, AUSTRO-HUNGARIAN, CIRCA 1900 the carved oval ruby centred by a collet set circular cut diamond in an openwork eye-shaped mount with spearhead shoulders, reeded shank, gold mark size T £600-800

570 GUILLOCHE ENAMEL AND DIAMOND BROOCH, CIRCA 1910 the circular mauve enamel plaque with a central floral motif set with rose and single-cut diamonds bordered by similarly cut stones within a pierced detailed surround also set with similarly cut diamonds diameter approximately 430mm, in probably original leather case by Asprey

574 COLLECTION OF RINGS AND JADE BROOCH the nine rings comprising: gold band collet-set with three oval turquoise, size T, hallmarked 18ct; gold band mounted with three circular banded agates, size P; black enamel mourning ring, inscribed ‘J.A.D, died 11th June 1862’, size P; carved mourning ring with white agate bezel, inscribed ‘WP obt, 3rd July 1850’, hallmarked London, indistinct date letter, size M; five stone ring set with cushion-shaped rubies, size Q ¾; oval cameo ring, 19th century, size P, indistinct makers mark; turquoise cabochon ring with chased shoulders, late 19th century, off round size O (in present state); seed pearl eternity ring, size N; ring mount, size Q; together with a carved jade button mounted as a brooch, length 64mm approximately, fitted leather box by Carrington & Co.





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575 576 575 RUBY AND MOONSTONE BROOCH, LATE 19th CENTURY designed as a flower set with carved moonstone petals to a centre mounted with a circular ruby and rose diamonds later clasp, diameter 26mm approximately

576 AGATE AND GOLD BROOCH, LATE 18TH CENTURY the oval polished agate within a frame carved with floral and foliate decoration £120-180





574 (part)

577 MULTI COLOURED GEM STONE BROOCH designed as a floral spray set with various circular stones including: variously coloured sapphires, tourmalines; garnets and a step-cut aquamarine, length approximately 60mm; together with a gem set and pearl ‘Giardinetto’ brooch/pendant, the open work basket set with circular gemstones including sapphires, emeralds and rubies with pearl accents, length 450mm approximately, sapphire deficient; and a collection of antique paste, comprising: a marquise shaped buckle; a pair of oval buckles; a brooch of three cartouches (one paste deficient); pair of cluster cufflinks; and a single pendent earring

577 (part)

Partly illustrated p.137 £150-250

577 (part)


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578 PAIR OF SEED PEARL AND EMERALD EAR PENDANTS each designed as a carved emerald amphora suspended by chains decorated with seed pearls £300-400 579 GOLD, HARDSTONE AND TURQUOISE CROSS PENDANT, 1870s each tapering arm decorated with various agates including: lapis lazuli; carnelian; malachite and turquoise terminating in filigree trefoils accented with turquoise cabochons, later silver pendant fitting, one turquoise deficient, fitted morocco case, the ivory silk lining gilt stamped J. EDMONDS, Goldsmith & Jeweller, 67, Baker, LONDON, the heel of the case stamped with the case maker’s mark G in Gothic script, 95mmx75mm approximately Provenance: Monsignor William Petre, (1847-1893), who became 13th Baron Petre on the death of his father in 1884, a Roman Catholic writer and educator. Ordained in 1874, he founded a school in 1877 at Woburn Park, Addlestone. Run on highly unconventional lines, the school failed in 1884, but undaunted Monsignor Petre established another school at Northwood Park on the Isle of Wight the same year; sadly this too was doomed to failure within a twelvemonth. Presumably these scholastic miscarriages contributed to his early death aged forty-six. Thence by family descent to the present vendor. £150-250 580 AMETHYST NECKLACE, 1900s designed with three circular amethysts accented with seed pearls connected by knife wire to pear shaped amethyst drops on a fine link back chain length approximately 420mm, one drop detached, one pearl missing £100-150 581 PAIR OF TURQUOISE AND CULTURED PEARL EARRINGS each circular earring decorated with a central cultured pearl within a floral turquoise surround £400-600 582 PAIR OF AMETHYST EAR PENDANTS AND BROOCH, LATE 19th CENTURY each earring designed as a row of four oval amethysts within granulated surrounds, the brooch of similar design (central stone deficient) £150-200 583 PAIR OF GOLD CUFFLINKS each circular link depicting Tsar Nicholas II on chain and baton fittings bearing suprious Fabergé marks 7 grs £80-120 584 AMETHYST BRACELET designed as a series of eight oval amethysts within twisted rope borders, length approximately 190mm, together with a ring set with a step-cut amethyst, size M½ (2)

Ring illustrated p.131 £600-800


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578 579

582 (part)



584 (part)


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589 PAIR OF DIAMOND PENDENT EARRINGS each surmount designed as a graduated swirl set with baguette diamonds suspending a crescent motif enclosing an articulated pear-shaped diamond decorated with single- and brilliant-cut stones throughout £1500-2000 590 RUBY AND DIAMOND BRACELET the central diagonal line of brilliant-cut diamonds flanked by rows of circular rubies and textured pellet links, length approximately 190mm, weight 34.5 grs


£600-800 591 RUBY AND DIAMOND PENDANT/BROOCH the shield shape set with a central circular ruby within a floral surround set with brilliant-cut diamonds and similarly cut rubies £200-300 585 DIAMOND RING the step-cut diamond weighing 2.61 carats size N £6000-8000 586 DIAMOND FIVE STONE RING the graduated circular diamonds in a millegrain setting size R £1000-1500 587 DIAMOND HALF HOOP RING, CIRCA 1897 set with a graduated row of cushion shaped diamonds with rose diamonds inbetween in a scrolled gallery mount, hallmarked Birmingham 18 carat, 1897, one rose diamond deficient size P £800-1200 588 DIAMOND RING, CIRCA 1870 the cushion shaped diamond mounted by long claws in a tapering shank, hallmarked London size U

592 DIAMOND AND EMERALD RING, 1960s designed as a cluster of brilliant-cut diamonds within a row of circular emeralds surrounded by a border of similarly cut diamonds size M1/2 £200-300 593 EMERALD AND DIAMOND RING, 1970s of abstract design, set with single-cut diamonds and a cascade of graduating pear-shaped emeralds size J £120-180 594 DIAMOND CLUSTER RING set with a brilliant-cut diamond within a surround of similarly cut stones size M £1500-2000






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595 (part) 594


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595 (part) 595 DIAMOND PENDANT AND PAIR OF SEED PEARL EARRINGS the leaf shaped open-work pendant set throughout with lasquecut diamonds; the earings of mother-of-pearl and seed pearls, 1840s, fitted leather case stamped for Edward Birch, Brighton; together with a paste brooch of twisted leaf design (4)

598 CULTURED PEARL AND DIAMOND PENDANT, 1880s lozenge shaped, set throughout with cushion shaped and circular cut diamonds accented with cultured pearls 37mm approximately long excluding diamond set bale

Pendant and brooch illustrated p.137

599 CULTURED PEARL AND DIAMOND BROOCH / PENDANT, 19TH CENTURY COMPOSITE designed as a double bow with two circular cut stones in cut down collet mounts and set throughout with similarly shaped and cushion shaped diamonds suspending a later cultured pearl drop

£100-200 596 CULTURED PEARL AND RUBY NECKLACE the long row of pearls measuring 5.8mm-7.7mm approximately on an oval clasp set with four circular rubies length approximately 1150mm £200-300 597 CULTURED PEARL NECKLACE the knotted graduated pearls measuring from 2.8mm-6.4mm approximately on a pierced oval clasp set with single-cut diamonds length approximately 425mm £100-200



£2000-2500 600 EMERALD AND DIAMOND RING of cluster design, millegrain set with a square emerald within a surround of similarly set circular diamonds, Birmingham hallmarks for platinum, maker’s mark size R £1500-2000

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599 601


577 (part)


601 SAPPHIRE AND DIAMOND RING, CIRCA 1900 the circular cut sapphire between similarly cut diamonds in an engraved platinum mount, unmarked size J ÂŁ1000-1200


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602 603

604 605

605 HINGED PANEL BRACELET, WEST OF DUBLIN, 1970s each of the twelve rectangular panels diagonally divided between jumbled hexagonal motifs over textured irregular ripples, stamped WEST, in original ‘West’ case length approximately 193mm, 107.7gr approximately £1800-2200 602 RUBY AND DIAMOND BROOCH, WEST OF DUBLIN, 1970s as a radiating textured openwork annular spray, irregularly set around the inner ring with circular-cut rubies and brilliant-cut diamonds, stamped WEST approximately 52mm high

606 RUBY AND DIAMOND PENDANT of negligée design, the tubular knotted chain terminating in a pear ruby and diamond length approximately 420mm £700-1000

£300-400 603 DIAMOND LAPEL PIN, WEST OF DUBLIN, 1970s the brilliant-cut diamond within a textured matrix-like setting, stamped WEST £300-400 604 TURQUOISE AND DIAMOND BROOCH, WEST OF DUBLIN, 1970s of asymmetric curved form, the textured linear motifs set at intervals with turquoise cabochons and brilliant-cut diamonds, double pin to reverse, stamped WEST height approximately 58mm £300-400

607 GOLD, CULTURED PEARL AND SAPPHIRE DEMI-PARURE, 1950s each earring designed as a flower head set with a central cultured pearl with circular sapphire accents, Italian marks for 18 carat, Alessandria; together with a curving leaf brooch decorated with sapphires brooch measures 66mm x 20mm approximately (3) £300-400 608 COLLECTION OF GOLD JEWELLERY comprising: an enamel and textured dress ring designed with green and blue stripes, size N; a brooch of leaf design; and three pairs of foliate and floral earclips 48.1gr total (8) £400-600


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608 (part)


608 (part)

609 (part)

609 (part)



609 NINE CARAT GOLD AND AMETHYST RING AND BROOCH PENDANT,1970s, the oval cluster of amethysts set in a naturalistic textured mount; together with a brooch/pendant with similar centre surrounded by an openwork asymmetric petal border, both signed BU, London hallmarks 1975 and 1973 respectively size N ÂŁ300-400

610 GOLD BRACELET, 1950s the articulated brick link bracelet fastened with a flower head clasp length approximately 193mm, 150gr ÂŁ1800-2200

End of Sale Next Sale 22nd November 2016 Closing end September 2016 141

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Conditions of Business for Buyers 1.


Introduction (a) The contractual relationship of Matthew Barton Ltd 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 Matthew Barton Ltd; (iii) Matthew Barton Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer's announcement. (b) As auctioneer, Matthew Barton Ltd acts as agent for the Seller. Occasionally, Matthew Barton Ltd may own or have a financial interest in a lot. 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; “Seller” is the person offering a lot for sale, including their agent or executors; “MBL” means Matthew Barton Ltd., Auctioneers, 25 Blythe Road London W14 0PD, company number 6504692. “Buyer’s Expenses” are any costs or expenses due to Matthew Barton Ltd. from the Buyer; “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 auctioneer at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell the lot.

(c) Without prejudice to Condition 4(b), any claim against MBL and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither MBL nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of MBL or the Seller for death or personal injury caused by the negligent acts or omissions of MBL or the Seller 5.

Bidding at Auction (a) MBL has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as MBL requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case MBL’s prior and express consent must be obtained). (b) MBL advises Bidders to attend the auction, but MBL will endeavour to execute absentee written bids provided that they are, in MBL’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to MBL’s other commitments; MBL is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.


Import, Export and Copyright Restrictions MBL 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 licenses required under the Convention on the International Trade in Endangered Species (CITES).


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


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 MBL has received the Purchase Price in cleared funds. MBL 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, MBL 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. MBL’s assumption of risk is subjected 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. MBL will

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3.


Examination of Lots (a) MBL’s knowledge of lots is partly dependent on information provided by the Seller and MBL is 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 MBL’s 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 MBL’s absolute discretion. Exclusions and limitations of liability to Buyers (a) MBL shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a counterfeit, subject to the terms of MBL’s Authenticity Guarantee. (b) Subject to Condition 4(a), neither MBL nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by MBL, whether negligent or otherwise; (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 Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by MBL in connection with the conduct of auctions or for any matter relating to the sale of any lot.


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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, MBL 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; (c) Set off any amounts owed to the Buyer by MBL against any amounts owed to MBL by the Buyer for the lot; (d) Reject future bids from the Buyer; (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; (f) Re-sell the lot by auction or privately, with estimates and reserves at MBL’s 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 MBL’s possession, applying the sale proceeds to any amounts owed by the Buyer to MBL. MBL 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 20 working days of the auction, the lot will be stored at the Buyer's expense and risk at MBL’s 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, MBL will re-sell the lot by auction or privately, with estimates and reserves at MBL’s discretion. The sale proceeds, less all MBL’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction. 11. Data Protection (a) MBL will use information supplied by Bidders or otherwise obtained lawfully by MBL for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) 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 worldwide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by MBL are the copyright of MBL. (b) These Conditions of Business are not assignable by any Buyer without MBL’s prior consent, but are binding on Bidders’ successors, assignees 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 MBL.

Matthew Barton Ltd’s Authenticity Guarantee If Matthew Barton Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below Matthew Barton Ltd. will rescind the sale and return the Buyer the total amount paid by the Buyer to Matthew Barton Ltd. 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 Matthew Barton Ltd’s 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; (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 Matthew Barton Ltd’s reasonable opinion)

(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 Matthew Barton Ltd 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 (i) return the Property to Matthew Barton Ltd 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. Matthew Barton Ltd has discretion to waive any of the above requirements. Matthew Barton Ltd may require the Buyer to obtain at the Buyer's cost the reports of two independent and recognised experts in the relevant field and acceptable to Matthew Barton Ltd. Matthew Barton Ltd 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 Matthew Barton Ltd 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 Matthew Barton Ltd.


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Matthew Barton Ltd

Absentee Bid Form (Please print or type)

Sale Title European & Asian Works of Art Name

Date 25 May 2016


Code: LOTTIE Please mail, fax, or scan and email to: Matthew Barton Ltd 25 Blythe Road London W14 0PD Fax: +44 (0) 207 806 5546 Email:






Vat No.

Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned opposite. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.


I agree to be bound by Matthew Barton Ltd.’s Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.

Expiry Date

Methods of Payment Matthew Barton Ltd. welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Cardholder Signature

Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG Please ensure all bank charges are met so that we receive the total invoiced amount



Card type (Visa/Mastercard/Debit) Card Number Cardholder Name

Billing Address (if different from above)

IBAN No.: GB53MIDL40190491814001 BIC.: MIDLGB2128K Sort Code: 40-19-04 Account No.: 91814001 Account Name: Matthew Barton Ltd. Credit/Debit Card A 3% surcharge is payable on all credit card transactions; there is no charge for UK debit cards. Please note we do not accept American Express. By signing this form you are authorising payment for this sale. Sterling Bankers Draft Drawn on a recognised UK bank. Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from our bank. For Office Use Only

Date and time received


Staff initials


£ Bid Price

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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:

Matthew Barton Ltd  

European & Asian Works of Art | London | Wednesday 25th May 2016

Matthew Barton Ltd  

European & Asian Works of Art | London | Wednesday 25th May 2016