Matthew Barton Ltd

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Matthew Barton Ltd

European & Asian Works of Art | London Wednesday 24th & Thursday 25th May 2017

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Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART including Netsuke from the Julius and Arlette Katchen collection and other collections, curated

by Max Rutherston, Property of the late Henry Brownrigg and the Myrtle Ellis Silver Collection

TO BE SOLD BY AUCTION AT Matthew Barton Ltd 25 Blythe Road London W14 0PD PUBLIC EXHIBITION Sunday 21st May 12 noon to 4pm Monday 22nd May 10am to 8pm Tuesday 23rd May 10am to 5pm SALE DAYS Asian Works of Art, Lots 1 to 466, Wednesday 24th May at 11am European Works of Art, Lots 467 to 797, Thursday 25th May at 11am This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue.

Each lot is subject to a Buyerâ&#x20AC;&#x2122;s Premium of 26.4% inclusive of VAT @ 20%

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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 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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Asian Works of Art Lots 1 to 466

Wednesday 24th May at 11am

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Lot 259

Previous page: lot 449

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Asian Works of Art (Lots 1 to 466) Wednesday 24th May at 11am

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1 A THANG-KA DEPICTING BUDDHA, TIBET, CIRCA 18TH CENTURY pigment on cloth, the central figure seated in padmasana with hands in bhumisparsa and dhyana mudra, surrounded by six tiers of scenes from the Life of the Buddha, each labelled in Tibetan script, the reverse with line drawing of a stupa with Buddhist mantras, with cloth surround 64 x 41.5cm

3 A THANG-KA DEPICTING SITATARA, THE WHITE TARA, TIBET, 18TH/19TH CENTURY pigment on cloth, the Buddhist goddess seated within a halo on a flowering lotus in a landscape, Chinese silk brocade and satin surround 36 x 24cm

£600-800

4 A BRONZE FIGURE OF BUDDHA, NEPAL, 20TH CENTURY in 17th century style, seated in dhyanasana on a lotus base, his hands in bhumisparsa and dyana mudra 37cm high

2 A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURY pigment with gold on cloth, depicted seated on a lotus within an elaborate aureole, a winged kirtimukha above, figures of the devotees Mogollana and Sariputta in front, surrounded by further scenes from the life of the Buddha in a landscape, later silk surround, mantras inscribed on the reverse 75 x 52cm

£400-600

£80-120

Provenance: Private collection, London £200-300

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7 7 A COPPER-GILT REPOUSSE PANEL, TIBET, 18TH CENTURY of rectangular form depicting a lion with scrolling mane and tail gaping mouth and bulging eyes 21.5 x 28cm £2000-3000

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5 A THANG-KA DEPICTING SADAKSARI, TIBET, LATE 19TH CENTURY pigment on cloth, the Buddhist deity seated on a lotus in a mountainous landscape surrounded by seven figures of Buddhas, a lama and dharmapala(?) below, mantras in Tibetan script on the reverse 68 x 52cm £400-600

6 6 THREE TEA BOWLS, TIBET AND CHINA, 19TH CENTURY comprising one of silver, with lid and stand, incised floral decoration, one of hardstone part-covered with chased sheet silver and a copper bowl with Chinese cloisonne dragon design 13.2cm diam. and smaller (3)

8 8 A SINO-TIBETAN BRONZE FIGURE OF AMITAYUS, CHINA, 18TH CENTURY seated in padmasana on a double lotus throne, his hands in dhyana mudra, wearing elaborate crown, necklaces and robes 17cm high £400-600

£600-800

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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9 A MONUMENTAL COPPER GILT AUREOLE FROM A SHRINE, NEPAL, 18TH/19TH CENTURY of arch shaped form, made from several joined repousse panels, the relief composition depicting Durga slaying the buffalo demon flanked by Ganesha and Bhairava within a triple arch, surrounded by a border of makaras and kinnaras amidst scrolls, a winged and horned kirtimukha at the apex, surmounted by tiered parasol, modern plywood mount, 85 x 103cm Provenance: Private collection, London; acquired at auction about 25 years ago. ÂŁ7000-9000

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10 10 A PARCEL GILT BRONZE FIGURE OF MANJUSRI, WESTERN TIBET, 11TH/12TH CENTURY of tall slender form, standing on small circular double lotus base, his hands in varada and vitarka mudra, a lotus stem in his left hand, flowering at his shoulder and supporting a book, wearing large earrings, tall headdress and billowing scarf, the arched aureole behind supporting a parasol with waving pennant, his face cold gilded, mounted on stand 25cm high Provenance: Private collection, London, acquired in London in the late 1980s

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Manjusri is the Bodhisattva representing knowledge and wisdom in Mahayana Buddhism. The iconography is similar to that of Padmapani, but the addition of a book resting on the lotus denotes his powers of insight. In another commonly seen form he is depicted wielding a sword to cut down ignorance.

The slender anatomical form, along with the unworked back of the figure are typical of the Western Tibetan style. The Pala influence from India is strong but the emergence of a distinct Himalayan idiom is evident. ÂŁ7000-9000

Each lot is subject to a Buyerâ&#x20AC;&#x2122;s Premium of 26.4% inclusive of VAT @ 20%

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11 A GILT-BRONZE FIGURE OF TARA, TIBET, 16TH CENTURY seated in lalitasana on a double lotus throne, her hands in varada and vitarka mudra, lotuses at either shoulder, supported by attendants, wearing large disc earrings and three leaf crown 12.5cm high £3000-4000

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12 12 A COPPER GILT FINIAL, TIBET, 15TH/16TH CENTURY probably from a crown, the repousse relief design depicting Buddha, seated on a lotus, his hands in varada and dhyana mudra, surrounded by a flaming aureole with inlaid ‘jewel’ medallion at the top, mounted 12cm high

14 14 ~ A RARE IVORY STELE DEPICTING VISHNU, NEPAL, 16TH/17TH CENTURY the four-armed Hindu deity seated in padmasana, his upper hands holding mace and discus, riding on his vehicle, the bird deity Garuda (now partially missing), a pair of cobras below 18cm high

£2500-3500

£2500-3500

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13 13 A GILT-BRONZE FIGURE OF KUBERA, MONGOLIA, 19TH CENTURY the pot-bellied deity seated on a lotus, holding a fruit and a mongoose, his legs loosely crossed, his right foot resting on a conch shell 11cm high

15 A DARK GREY STONE FIGURE OF BALAKRISHNA, NEPAL, CIRCA 17TH CENTURY the infant deity depicted crawling on an oval base, holding a sweet in his right hand, with tightly curled hair and bead and amulet necklaces 13.5cm high; 14.5cm max. length

£1000-1500

£1200-1500

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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16 A GILT BRONZE FIGURE OF TSONG KA PA, TIBET, 18TH/19TH CENTURY seated on a double lotus throne, his hands in dharmacakra mudra, a sword and book resting on lotuses by each shoulder, wearing voluminous robes and abbot’s cap 13.5cm high

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Tsong Ka Pa (1357-1419) is one of the greatest religious teachers and philosophers in Tibetan history. He created a new school of Buddhism known as Gulugpa or Yellow Hat School. This was to become dominant, and its senior abbots, given the title Dalai Lama, became the spiritual and secular rulers of Tibet. Tsong Ka Pa is believed to be an incarnation of Manjusri the Bodhisattva of wisdom. £3000-4000 17 A BRONZE STUPA, TIBET, 18TH CENTURY in Pala style, the drum with lotus base and sealing plate underneath, the tiered tapered superstructure surmounted by parasol with lotus finial and sun and moon emblems flanked by a billowing pennant, the top with flaming jewel emblem 37cm high £2000-3000 18 A PALA STYLE BRONZE FIGURE OF PADMAPANI, TIBET, CIRCA 18TH CENTURY on raised rectangular base, seated in lalitasana on a double lotus, his right hand in varada mudra, his left raised holding the stem of a lotus (now missing) 14cm high £2000-3000

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19 19 A BRONZE FIGURE OF MAITREYA, TIBET, CIRCA 16TH CENTURY seated on a double lotus throne, his hands in dharmacakra mudra, a padma flowering on each shoulder, one supporting a stupa the other a kumbha, his hair with traces of blue pigment 17cm high

21 A SMALL BRONZE FIGURE OF DEVI, WESTERN INDIA, CIRCA 18TH CENTURY standing on a square base, her hands held in front, a padma in her left hand, a long ponytail running down her back 9cm high

£3000-5000

£120-150

20 A RITUAL SWORD EMBLEM, TIBET, CIRCA 18TH CENTURY from a large Buddhist image, the blade fringed with openwork scroll decoration representing flames, the lower section of conical form 56cm long

22 A BRONZE FIGURE OF NANDI, GOND TRIBE, ORISSA (ODISHA), EASTERN INDIA, 19TH CENTURY a cobra resting on his back, wearing plaited blanket and trappings 6.5cm high

£400-600

£100-150

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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23 23 A PALA BRONZE SHRINE DEPICTING SIVA AND PARVATI, PROBABLY GAYA DISTRICT, BIHAR, EASTERN INDIA, 10TH/11TH CENTURY cast in two sections, the Hindu god seated with his consort on his left knee, his trident at his side, flanked by diminutive figures of their offspring Ganesha and Kartikeya, their respective vehicles, the bull and lion, perched below, kneeling devotees at the bottom 16.5cm high

The style of this bronze is typical of finds from sites such as Gaya and Kurkihar. The latter became well known amongst scholars between the two world wars when a hoard of Buddhist bronzes was found on the site of a Pala monastery. For a closely related bronze in the Los Angeles County Museum of Art, formerly in the Heeramaneck Collection, see M.79.9.3 £15000-18000

Provenance: Hong Kong art market, 2002.

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24 A HINDU RITUAL BELL, DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY the handle in the form of adorsed figures of Hanuman and Garuda, each with hands in namaskara mudra 23cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1968, inv. no. JPC 68/39 £400-600

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27 A BRONZE FIGURE OF SIVA RIDING ON NANDI BULL, INDIA, LATE 19TH CENTURY the four-armed god holding an attribute in each hand (one now missing), with beard, moustache and long coiled hair, his vehicle standing on a rectangular lotus base 20.5cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1969. Inv.no.JPC 69/225. £400-600

25 A BRONZE FIGURE OF DIPALAKSHMI ON NANDI, SOUTH INDIA, 18TH CENTURY AND LATER the bull Nandi on a rectangular platform the goddess standing on his back holding a yoni-shaped lamp holder, a parakeet in her left shoulder 30cm high

28 A BRONZE FIGURE OF A HORSE, WESTERN INDIA, 19TH CENTURY on tapered rectangular base, probably from a Khandoba and Mhalsa shrine, wearing blanket and elaborate trappings 18.8cm high

Provenance: From the collection of the late Peter Cochrane, acquired inn 1963. Inv. no. JPC 63/27 a&b.

Provenance: from the collection of the late Peter Cochrane, acquired in 1968. Inv. no. JPC 68/26.

The unusual combination of Dipalakshmi with Nandi suggests that despite some similarities of style the two parts do not belong, with the Nandi being earlier and more heavily cast.

Nandi is the vehicle of the god Siva, while Lakshmi is the consort of Vishnu.

£200-300

£800-1200

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26 A BRONZE GAURI HEAD, WESTERN INDIA, 19TH CENTURY with large almond shaped eyes, prominent nose and floral earrings, her hair gathered in a scrolling pony tail, 12cm high

29 A SMALL BRONZE FIGURE OF HANUMAN, WESTERN INDIA, 16TH CENTURY OR LATER the monkey-headed deity with right hand raised, standing on a rectangular base, his body framed by his sweeping tail, apsidal prabha behind 8cm high

Provenance: from the collection of the late Peter Cochrane, acquired in 1966. Inv.no. JPC 66/27.

Provenance: From the collection of the late Peter Cochrane, acquired in 1969. Inv. no.JPC 69/171

£250-350

£200-300

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30 A BRONZE LINGAM COVER, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY of cylindrical form, the moustachioed face with tall headdress surmounted by a cobra, two pairs of loop attachments and opening at the back 17cm high Provenance: from the collection of the late Peter Cochrane, acquired in 1968. Inv. no. JPC 68/85. £200-300 31 A BRONZE FINIAL IN THE FORM OF A HEAD OF HANUMAN, SOUTH INDIA, 19TH CENTURY with gaping mouth, baring his teeth, moustache and prominent nose, wearing domed headdress, opening at the back 18cm high Provenance: from the collection of the late Peter Cochrane, acquired in 1972. Inv. no. JPC 72/105 £400-600 32 A BRONZE SIVA LINGAM, WESTERN INDIA, 19TH CENTURY in the form of a moustachioed head, with plaited hair, on rectangular yoni base, sheltered under a separately cast sevenheaded naga canopy

21cm high Provenance: From the collection of the late Peter Cochrane, acquired in 1970. Inv. no. JPC 70/113. £500-800 33 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 £80-120

34 34 A LARGE BRONZE FIGURE OF MEENAKSHI, SOUTHERN INDIA, 18TH/19TH CENTURY seated on a raised stool, her legs in lalitasana, a padma in her right hand, a bird in her left, wearing elaborate headdress topped with cobra and a ring in her nose 24cm high Provenance: from the collection of the late Peter Cochrane, acquired in 1963. Inv. no. JPC 63/23. £600-800

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35 A CHOLA BRONZE FIGURE OF SIVA CANDRASEKHARA, TAMIL NADU, SOUTH INDIA, 10TH/11TH CENTURY standing on a double lotus throne on raised square base, the four-armed Hindu deity with primary hands in abhaya and varada mudra, his upper hands holding an axe and a diminutive figure of a deer, his hair arranged in a tall chignon with crescent image to one side, the base with two projecting attachments for carrying 32cm 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.

For a much larger Chola bronze image of Candrasekhara at the Brooklyn Museum of Art, see 2007.2 £18000-22000

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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36 A BRONZE HANUMAN PENDANT, WESTERN DECCAN, INDIA, 18TH/19TH CENTURY of circular form, the openwork roundel depicting a striding figure of the monkey god, holding a leafy sprig in his left hand, surmounted by a seven headed cobra 15cm high Provenance: From the collection of the late Peter Cochrane, acquired in 1967. Inv. no. JPC 67/5 £250-350

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38 A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY on lotus base, the eight armed goddess resting her foot on her vehicle the lion, her primary hands engaged in battling with the demon as it emerges from the decapitated buffalo, a trident in her right hand, her other hands holding various attributes, her tall headdress sheltered by a cobra 21.5cm high Provenance: Private Collection, Italy. Acquired from Renzo Freschi, Oriental Art 2008. £2000-3000 39 A LARGE TINNED BRONZE FIGURE OF THE INFANT KRISHNA, INDIA, 19TH CENTURY solid cast, the nude plump figure with hands clenched at his waist, wearing a bead necklace, mounted 23cm high £3800-4200 40 A SMALL PALA BRONZE FIGURE OF PADMAPANI, EASTERN INDIA, 11TH/12TH CENTURY standing in tribhanga on a double lotus, his right hand in varada mudra, his left raised, holding the stem of a lotus, with large hoop earrings and tall headdress 7.2cm high £1500-2000

37 37 A BASTAR BRONZE FIGURE OF A MALE DEITY, PROBABLY OF SIVA, CHATTISGARH STATE, INDIA, CIRCA 19TH CENTURY cast in two pieces fitted together at the waist, standing on a flared base with cobra in front, the head with heavy jowls, a small crescent in the headdress, surrounded by a serrated halo 56cm high

41 A BRONZE FIGURE OF SKANDA, SOUTH INDIA, CIRCA 16TH/17TH CENTURY on circular base, probably from a Somaskanda group, his right hand raised, his left at his side, wearing large disc earrings and tall headdress 17.5cm high £2000-3000

Provenance: Private collection USA. Acquired before 1990 £300-500

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42 A VIRABHADRA PLAQUE, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY bronze, the four armed deity depicted in relief, standing under an arch, with emblems of Nandi, the moon, the sun and a lingam in the spandrels, flanked by Daksha and Sati, a kirttimukha and cobra head at the top 21 x 13.4 x 4.5cm Provenance: From the collection of the late Peter Cochrane, acquired in 1965. Inv. no. JPC 65/36 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.

45 45 A COPPER REPOUSSE VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, 19TH CENTURY of rectangular form, the four-armed form of Siva in relief holding sword and shield and bow and arrow, flanked by small figures of Daksha and Sati(?), brass back plate 21 x 15cm Provenance: from the collection of the late Peter Cochrane, acquired in 1971. Inv.no.JPC 71/77.

For a note on the story of Virabhadra, see lot 42. £200-300

£200-300

43 43 A BRASS HANUMAN PENDANT, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY of convex rectangular form, the open work design comprising a figure of Hanuman under a seven headed naga canopy flanked by a pair of hamsas 10.7 x 14cm Provenance: formerly in the collection of Peter Cochrane inventory no. JPC 70/46 £250-350 44 A BRONZE FIGURE OF DURGA ON HER LION, WESTERN INDIA, DATED SAMVAT 1531/1475 A.D.(?) the eight armed Hindu goddess wielding various weapons and attributes, riding on her diminutive vehicle, on flared rectangular base, inscribed in devanagari and dated on the reverse of the arched prabha 9.2cm high

46 46 A BRASS SHRINE DEPICTING VIRABHADRA, WESTERN DECCAN, CIRCA 18TH CENTURY cast in five sections, the four-armed deity carrying sword, shield, bow and club, flanked by Sati and Daksha, on tiered rectangular base, surrounded by an engraved aureole surmounted by kirttimukha 31cm high Provenance: From the collection of the late Peter Cochrane, acquired in 1976. Inv. no.JPC 76/37

Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1973. Inv.no.JPC/OB 73/23.

For a note on the story of Virabhadra, see lot 42.

£250-350

£1500-2000

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

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47 A PALA BRONZE FIGURE OF BUDDHA, PROBABLY GAYA DISTRICT, BIHAR, EASTERN INDIA, 10TH/11TH CENTURY seated in padmasana on a double lotus throne, his hands in bhumisparsa and dhyana mudra, with tightly curled hair and pointed domed usnisa 10.5cm high Provenance: Hong Kong art market, 2002. £6000-8000

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48 A BRONZE SHRINE DEPICTING BHAIRAVA, WESTERN INDIA, 16TH CENTURY the four-armed deity standing on a stepped base, flanked by his vehicle, the dog and an emaciated devotee, holding the sacred thread, skull bowl, trident and drum in his hands 11.5cm high

51 A BRONZE BOTTLE IN THE FORM OF A HORSE AND RIDER, NORTHERN INDIA, 19TH CENTURY OR EARLIER the rider’s head with opening and attachment for a stopper (now missing), with moustachioed face and long stylised arms, the horse with pointed ears and open mouth 17.5cm high

Provenance: Private collection USA. Acquired before 1990

Provenance: from the collection of the late Peter Cochrane, acquired in the 1960s-80s.

£200-300

£250-350 49 A BRONZE GROUP DEPICTING LAKSHMI NARAYANA, SOUTH INDIA, CIRCA 18TH CENTURY the god Vishnu seated in lalitasana with his consort Lakshmi seated on his left knee holding a padma, Vishnu’s primary right hand in abhaya mudra, a diminutive figure of their vehicle, Garuda, below 9.7cm Provenance: From the collection of the late Peter Cochrane, acquired in 1977. Inv. no. JPC 77/38.

52 A BRONZE FIGURE OF KHANDOBA AND MHALSA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY the four-armed form of Siva seated with his consort on horseback, each holding attributes, 13cm high Provenance: from the collection of the late Peter Cochrane, acquired in 1971. Inv.no.JPC 71/34 £400-600

£500-800 50 A SMALL BRONZE FIGURE OF A JAIN TIRTHANKARA, WESTERN INDIA, CIRCA 15TH CENTURY seated on a rectangular base, his emblem at the front, a pair of devotees on either side, seated in padmasana on a raised mound, a halo behind his head 7cm high

53 KHANDOBA AND MHALSA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY brass, cast in two sections, the four-armed form of Siva seated on horseback with his consort, holding a sword in his right hand 19cm high £600-800

Provenance: from the collection of the late Peter Cochrane, acquired in 1972. Inv. no. JPC 72/193 £300-400

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54 A JAIN BRASS SHRINE, WESTERN INDIA, DATED SAMVAT 1487/1431 A.D. probably depicting Chandraprabha, the eighth tirthankara, seated on a lion throne, with moon emblem in front, flanked by attendants and further jinas, the openwork aureole surmounted by parasol and kalasa, the decoration inlaid with silver and copper, silver inlaid dedicatory inscription in devanagari script on the reverse 19cm high £2500-3500 55 A LARGE FIGURE OF DIPALAKSHMI, BENGAL, EASTERN INDIA, 19TH CENTURY the solid cast bronze female figure with hands outstretched, wearing skirt and necklace, her hair gathered in a ponytail 42cm high Provenance: from the collection of the late Peter Cochrane, acquired in 1964. Inv. no. JPC 64/22 £1500-2000

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56 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, London, October 2007; Collection of the late Bruno Cooper 2007-2012; thence by descent

58 A PINK SANDSTONE STELE DEPICTING GANESHA, CENTRAL INDIA, CIRCA 10TH CENTURY the pot-bellied four armed deity seated with his legs loosely crossed, his primary hands in abhaya mudra and holding a bowl of sweets, his upper hands holding axe and his broken tusk, mounted 60cm high Provenance: Private collection, London; acquired at auction in London about 20 years ago. £2000-3000

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. £2500-3500 57 A SCHIST STELE DEPICTING SIVA VINADHARA, WESTERN DECCAN, 10TH/11TH CENTURY the four-armed deity playing the vina, his upper hands holding trisula and damaru, a diminutive figure of his vehicle the bull Nandi in relief below 39cm high Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £800-1200

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62 59 A GUPTA TERRACOTTA RELIEF FRAGMENT DEPICTING A MALE FIGURE, CENTRAL INDIA, C.5TH CENTURY wearing dhoti, large beaded necklace and long flowing hair, partial frame behind, mounted on stand 24cm high

61 A GUPTA TERRACOTTA FRAGMENTARY RELIEF PANEL, CENTRAL INDIA, 4TH/5TH CENTURY depicting a cow(?) reaching for mangoes hanging on the branches of a tree, mounted 25 x 26 x 10cm

For a related terracotta fragment in the Metropolitan Museum of Art, New York, see inv.no. 1988.420

Provenance: From the Estate of the late Aura Josefina Figueroa de Williamson.

£1200-1500

Aura, a well-known character at Portobello and later at Gray’s antique market, traded for many years from the neighbouring stand in Westbourne Grove to Henry Brownrigg (see p.37). Born in Venezuela, she first travelled the world as a tour guide, then settled in London in the 1970s, setting up her business, Aura Antiques, specialising in Asian art, until her death last year.

60 A KUSHAN FRAGMENT, PROBABLY FROM A BALUSTRADE, MATHURA REGION, 2ND/3RD CENTURY A.D. mottled pink sandstone, carved either side in relief in the form of a makara, the mythical beast with scrolling snouts, gaping mouth and small ears and claw feet, mounted on stand 26.5 x 19.5 x 8.5cm Provenance: Private collection, London; acquired at auction in London about 20 years ago. £1500-2500

£700-900 62 A BUFF SANDSTONE PLINTH FROM AN IMAGE, CENTRAL INDIA, 10TH/11TH carved in relief depicting a small central figure of Nandi on a cloth with a Saivite devotee(?) flanked by a pair of rearing vyalas, columns on either side with further vyalas and elephants at each end, a line of devanagari script along the bottom, mounted 27 x 60 x 13cm Provenance: From the Estate of the late Aura Josefina Figueroa de Williamson.

The indistinct inscription includes a possible date which appears to read samvat 1012 (956 A.D.) £1500-2000

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63 63 A BUFF SANDSTONE RELIEF FRAGMENT DEPICTING A FEMALE DANCER, CENTRAL INDIA, 11TH/12TH CENTURY on a fragmentary fluted pilaster, mounted 71cm high Provenance: From the Estate of the late Aura Josefina Figueroa de Williamson. £800-1200 64 A PINK SANDSTONE FEMALE TORSO, MADHYA PRADESH, CENTRAL INDIA, CIRCA 10TH/11TH CENTURY wearing elaborate necklaces and long central pendant, mounted 25cm high

66

Provenance: From the Estate of the late Aura Josefina Figueroa de Williamson. £1000-1500 65 A GANDHARA GREY SCHIST RELIEF FRAGMENT, NORTHWESTERN INDIA (NOW PAKISTAN), 3RD/4TH CENTURY depicting a Buddhist devotee, his hands clasped in namaskara mudra, wearing turban and large earrings 32cm high

66 A GREY STONE SIVALINGAM, KASHMIR, NORTH INDIA, CIRCA 8TH CENTURY the aniconic representation of Siva of domed phallic form, depicted on a stone platform with spout 6.5 x 9.5 x 7.8cm

Provenance: From the Estate of the late Aura Josefina Figueroa de Williamson.

For a closely related Kashmir lingam, see Metropolitan Museum of Art, inv. no. 1987.425

£400-600

£1500-2000

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67 67 A LACQUERED GILT BRONZE FIGURE OF BUDDHA WITH TWO ASSOCIATED FIGURES OF DEVOTEES, RATNAKOSIN, THAILAND, 19TH CENTURY the Buddha seated in sattvasana, his hands in dhyana mudra, wearing elaborate brocaded robes, the devotees, probably Mogollana and Sariputta, each standing on tiered circular bases, their hands in namaskara mudra 65cm high (Buddha), 69cm high each (devotees) (3) £800-1200

68 68 AN AYUTHIA BRONZE FIGURE OF BUDDHA, THAILAND, 16TH/17TH CENTURY seated in sattvasana, his hands in bhumisparsa and dhyana mudra 14.5cm high Property of the late interior designer John Leaning; sold by order of the executors. £200-300

69 69 A BRONZE FIGURE OF BUDDHA, PROBABLY BURMA, 19TH CENTURY OR EARLIER seated in dhyanasana on a double lotus throne, his hands in bhumisparsa and dhyana mudra, with prominent hooked nose and domed usnisa 11cm high £800-1200

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70 70 A SANDSTONE HEAD OF A MONK, PEGU, BURMA (NOW BAGO, MYANMAR), PROBABLY 15TH CENTURY his hair tied with a band, his ears low-set, 18cm high

72 TWO SAFAVID CUERDA SECA TILES, PERSIA, 17TH CENTURY buff earthenware, each depicting details from ornamental garden scenes 23.5cm square approx. each (2) Provenance: Private collection, London, acquired at auction in London about 20 years ago.

£500-700

£400-600

71 71 AN U-THONG STYLE THAI BRONZE FIGURE OF BUDDHA seated in sattvasana, his hands in bhumisparsa and dhyana mudra, his head with tightly curled hair, surmounted by usnisa and flame finial 80cm

73 73 TWO OFFICIAL DOCUMENTS, OTTOMAN EMPIRE, 19TH CENTURY ink on paper, one with gouache floral decoration, embossed and stamped, probably comprising title deeds (hüccet), each with tughra and lines of handwritten Ottoman Turkish below, framed 82 x 28cm

£600-800

£400-600

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74 74 TWO TURQUOISE-GLAZE BOWLS, PERSIA, 13TH/14TH CENTURY underglaze painted fritware, the larger with stylised plant and fish motifs in low relief on the interior, the exterior with stylised leaf design, the smaller with black painted arabesque motifs in four panels on the interior 10cm high, 24cm diam; 9.3cm high, 20cm diam.

(2) Provenance: Private collection, London. Acquired at Hapsburg Feldman SA, Geneva (before 1990) £600-800

76 part 76 FIFTEEN FOLIOS FROM A DISPERSED EDITION OF FIRDAUSI’S SHAHNAMA, DELHI OR KASHMIR, EARLY 19TH CENTURY ink, gouache and gold on paper, three folios with colophon, the others each with a single illustration, four columns on nasta’liq script on either side 36 x 21.5cm approx. each £500-800

75 75 A PRAYER BOOK COMMISSIONED BY THE MOTHER OF NUSRAT AL-DAWLA, PERSIA, AH 1277/AD 1860-1 copied by the scribe Yusif, son of the deceased Manuchehr Mirza Qajar, Arabic manuscript on paper, 16 leaves, 6 lines to the page, written in naskhi script in black ink, inter linear Persian translation written in nasta’liq script in red, inter linear double rules in gold, inner margins ruled in blue and gold, catchwords, red morocco binding, doublures of marbled paper 17 x 10cm Nusrat al-Dawla is likely to be Firuz Mirza (d. 1885), the 16th son of ‘Abbas Mirz Na’ib al-Saltana, for whom this prayer was most probably copied, ‘for protection and health’ as mentioned in the opening page, at the time when he was appointed to the command of the army in Iraq and in Malayer, where he already held the position of governor. The scribe Sultan Yusif was a son of Manuchehr Mirz, the 14th son of ‘Abbas Mirz Na’ib al-Saltana.

The only recorded work by him is another prayer book dated rajab 1276 (January-February 1860). £150-200

77 77 A SCENE FROM THE RAMAYANA, PROBABLY BILASPUR, INDIA, MID-18TH CENTURY gouache with gold on paper, the first depicting Hanuman’s fighters attacking the rakashas encouraged by Lakshmana the second Rama annointing Hanuman 22 x 33cm (image) For other paintings from the same series sold in these rooms, see 11 November 2015, lots 196 & 197, and 23 November 2016, lot 159. Others are in the Virginia Museum of Fine Arts (see Joseph Dye III, The Arts of India: Virginia Museum of Fine Arts, London 2001, no.121) and The Los Angeles County Museum of Art (see M. Biardeau, M.-C. Porcher & A. Taha Hussein-Okada: Ramayana illustré par les miniatures indiennes du XVIe au XIXe siècle; Paris 2011 p. 245 £800-1200 78 A TWO SIDED FOLIO, NORTHERN INDIA, 20TH CENTURY ink and gouache on paper, depicting a pair of noblemen on horseback with attendants and a shepherd with his flock, framed 17 x 26cm £80-120

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80

81

82

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84

79 TWO COMPANY SCHOOL SCENES OF THE MUHARRAM FESTIVAL, PATNA, NORTHERN INDIA, MID-19TH CENTURY gouache on mica, one depicting the reading of the scriptures under a canopy on a terrace, the other showing the procession, both framed 16.5 x 21cm; 17 x 22.5cm

82 THREE MINIATURES DEPICTING RAGAMALA SCENES, JAIPUR, RAJASTHAN, INDIA, MID-19TH CENTURY gouache with gold on paper, depicting a woman feeding peacocks on a terrace, a group of women playing a board game, and women tending to a sick man 20 x 14cm (image) and smaller

£500-800

£300-500

80 TODI RAGINI, PAHARI, NORTH-WESTERN INDIA, LATE 19TH CENTURY gouache with gold on paper, the image within a painted oval medallion, framed 20.7 x 15cm

83 A PRINCESS VISITED BY A SADHU, MEWAR, RAJASTHAN, INDIA, CIRCA 1800 gouache with gold on paper, the princess seated in a loggia, the sadhu on a ladder 30 x 22cm (image)

£120-150

£200-300

81 IBRAHIM VISITED BY ANGELS, MEWAR, INDIA, CIRCA 1800 gouache with gold on paper, Ibrahim depicted seated on a rug under a tree in a verdant landscape by a lake, two angels bringing gifts and another two in the the distance, a devanagari inscription along the top border 32 x 23cm (image)

84 KRISHNA VENUGOPALA, BIKANER, RAJASTHAN, 18TH CENTURY gouache with gold on paper, Krishna as a young man playing his flute while standing on a lotus in the river, his left hand resting on a cow, framed 20.6cm x 11.5cm (main image)

£200-300

Provenance: Property of a Retired Diplomat, acquired in India during the 1950s £300-400

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85 A MUGHAL PORTRAIT OF A SCHOLAR, INDIA, 17TH CENTURY gouache with gold on paper, laid on card, the main image with arabesque cartouche above, the figure wearing turban, holding a manuscript, surrounded by a profusely scrolling floral and arabesque border 15.5 x 7.5cm (image); 29 x 16cm folio

86

86 A WOMAN PLAYING WITH A YOYO, PAHARI, PROBABLY KANGRA, NORTH WESTERN INDIA gouache with gold on paper, the woman on a flower lined terrace with banana and prunus trees in the background, black and mottled pink borders 18 x 13cm (image); 25 x 20cm (folio) £2500-3500

£1800-2200

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87 A PORTRAIT, PROBABLY MAHARAJA FATEH PRAKASH OF SIRMUR (r.1815-1850), PAHARI, SIRMUR OR KANGRA, INDIA, FIRST HALF 19TH CENTURY gouache with gold on paper, the ruler depicted on horseback within a floral border, framed 17 x 11.5cm £300-400 88 FOUR INDIAN COUPLES, TANJORE, SOUTH INDIA, EARLY 19TH CENTURY gouache on paper, comprising a barber and his wife, a painter and his wife and two priests with their wives, mounted separately 252 x 200mm (visible area) £300-500 89 A COMPANY SCHOOL PAINTING OF A MARRIAGE FESTIVAL, PATNA, NORTHERN INDIA, MID-19TH CENTURY gouache on mica, framed 14.5 x 18cm

87

£200-300 90 A MISCELLANEOUS GROUP OF LOOSE MANUSCRIPT FOLIOS INDIA, 19TH CENTURY AND EARLIER comprising two leaves from a Pahari copy of the Ramayana, two leaves from a western Indian Jain sutra and five others 23.9 x 31.5mm (9) £200-300 91 A MISCELLANEOUS GROUP OF INDIAN PAINTING AND PRINTS, MOSTLY 18TH-20TH CENTURY mostly ink and gouache on paper, including two cut-out details, a western Indian Jain ‘heaven and hell’ paintings, and a group of fragmentary prints and paintings 20.5 x 16.5cm (15 approx.) £100-150

88 part

92 TWO HINDU GODDESSES, PAHARI, NORTH-WESTERN INDIA, FIRST HALF 19TH CENTURY gouache with gold on paper, one with bird face, the other with four-arms, each depicted seated on an elaborate lion throne 16 x 11cm and smaller (2) £80-120 93 AN EROTIC SCENE, RAJASTHAN, PROBABLY JAIPUR, INDIA, LATE 19TH CENTURY gouache with silver and gold on paper, depicting a princely figure in erotic embrace with a female musician, orange border with a single line of devanagari script, framed 23 x 18.5cm £120-150

89

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95 94 A BIDRI SALVER, DECCAN, CIRCA 1800 alloy inlaid with silver, of pointed oval form, with scalloped ends, on four feet, the top decorated with radiating scrolling foliate motifs around a central arabesque medallion, the underside coated with later paint 4.5 x 30.5 x 21cm £1000-1500 95 TWO BIDRI VESSELS, DECCAN, INDIA, 18TH; 19TH CENTURY alloy inlaid with silver, comprising a small spittoon with wide flared rim and bell-shaped body, ogival trellis decoration, and a bowl and cover, the latter of domed form with bud finial, decorated with repeated poppy design 7.5cm high, 12cm diam (spittoon); 12cm high, 14cm diam (bowl) (3) £300-400 96 A BIDRI CARPET WEIGHT (MIR-I FARSH), DECCAN, MID-19TH CENTURY alloy inlaid with silver, in the form of a flattened sphere with splayed rim foot and lotus finial, the sides with rib and leaf design 13.5cm high £300-400

96

97 97 A KOFTGARI BOX, PUNJAB, LATE 19TH CENTURY iron with gold damascened foliate decoration, with domed lid, of octagonal form, standing on small splayed feet 14cm high; 26.5cm max. diam.

Provenance: Private collection, London, acquired at auction in London about 20 years ago. £800-1200 98 TWO BRASS BOXES, INDIA, 19TH CENTURY each of elongated octagonal form, with domed lid, one with openwork trellis decoration, the other with incised leaf and ropework designs 12 x 18 x 14cm; 10 x 20 x 13cm, with three brass pan boxes (PanDan), India, 19th century, each of circular form with waving line and beadwork appliqué decoration, the larger with loop handle, another standing on three feet, 15cm high (handle raised); 16cm max diam. and smaller, and three copper vessels, Afghanistan, early 19th century, comprising a huqqa and two bowls, each with incised arabesque and foliate decoration, traces of tin plating, 22.5cm diam (larger bowl) and smaller, and a group of brass items, India, mostly 19th century, comprising six cosmetic bottles, two hanging lamps, a lamp shaft, a hamsa finial and two lamp chains 25cm (larger lamp), and smaller (20) Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £200-300

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99 99 A PARCEL GILT SILVER COMB, INDIA, CIRCA 19TH CENTURY of crescentic form, the hollow body forming a scent bottle with stopper in the form of an urn, flanked by a pair of birds, a row of tapered teeth along the bottom 5 x 7 x 1cm approx. £250-350

103 103 A MUGHAL BRASS EWER, NORTHERN INDIA, PROBABLY LAHORE (NOW PAKISTAN), 17TH/18TH CENTURY of bulbous form, with scrolling handle, hinged domed lid and straight faceted spout, with incised stylised foliate decoration, the flat sides with projecting tear drop medallions 23cm high Provenance: Private collection, London £400-600

100 100 A BRASS TEMPLE LAMP OR CENSER, SOUTHERN INDIA, CIRCA 19TH CENTURY in the form of a tapering stack of seven lota vessels, each with projecting wick or joss stick holders around the shoulder 66cm high Provenance: Private collection, London £180-220 101 TWO ANGLO-INDIAN SILVER SWEETMEAT DISHES, SOUTH INDIA, CIRCA 1900 the sides decorated with Hindu deities in relief, each on rim foot, 5.2cm high, 9.2cm diam., together with an Ottoman style silver rosewater sprinkler, early 20th century, stamped with town mark and ‘90’ in Arabic script, 20cm high (3)

104 104 TWO BRASS RITUAL WATER VESSELS (KINDI), KERALA, SOUTH INDIA, 18TH/19TH CENTURY each with turned flattened spherical form, with flared foot and rim and ithyphallic spout 15.5cm high approx. each (2) Provenance: Private collection, London £250-350

102 A SILVER TRAY, LUCKNOW, EASTERN INDIA, CIRCA 1900 of oval scallopped form, the central inscribed lobed medallion, surrounded by repousse jungle scenes with animals, mountains, villages and vegetation, surrounded by a border of Lucknow fish motifs, openwork trellis cavetto 44.5 x 31.5 x 2.5cm; 565g

105 A GROUP OF BRASS ITEMS, INDIA, MOSTLY 19TH CENTURY including two puja spoons, a hamsa finial, a footscraper and other ornaments, 45.5cm (larger spoon) and smaller, with five iron buckles, Persia or Afghanistan, circa 18th century of rectangular convex form, three with central hemispherical boss, one with central incised Islamic inscription, the fifth with plain linear design, each with hook and loop on the reverse 10.5 x 16cm and smaller, and eleven brass and iron objects, India and Afghanistan, mostly 19th century including two bells, a rattle, a silver-inlaid brass huqqa, two padlocks, and an axe, 24cm (axe) and smaller (26)

The inscription in English reads: FROM OFFICERS AND MEN, B COY. 4TH URBAN INFY. I.T.F. LUCKNOW

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

£150-250

£250-350

£120-150

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106 A MUGHAL BRASS HUQQA BOTTLE, PROBABLY LAHORE, NORTHERN INDIA (NOW PAKISTAN), CIRCA 1700 of globe shaped form, the sides incised with repeated leafy boteh design on crosshatched ground 15cm high Provenance: Private collection, London For other examples of Lahore huqqa bottles in various collections, see Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London 1997, p.242 £200-300 107 A BRONZE MORTAR AND PESTLE, INDIA, 19TH CENTURY OR EARLIER the former in the form of a flared bowl, the sides with emblems of Ganesha and water pots in relief, the pestle of gently tapering form, with ridged grip and ring finial 8cm high; 12.5cm diam. (mortar), 17.7cm long (pestle) Provenance: From the collection of the late Peter Cochrane, acquired in 1959. Inv. no. JPC 59/11[?] £150-200 108 A BRASS REPOUSSE EWER, JAIPUR SCHOOL OF ART, INDIA, CIRCA 1890 of bulbous form, the scrolling spout with makara-head finial, the sides decorated with acanthus, iris and kirtimukha motifs, on splayed rim foot, the lid with ribbed design, surmounted by a bud finial 29.7cm including lid

108

109

110 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 appliqué 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, and a cast brass cosmetic bottle, India, circa 18th century on four claw feet, the bulbous body with incised foliate cartouches, surmounted by neck with spiralled fluting,13.5cm high, and Two Mughal Brass Spitoons, Probably Lahore, Punjab, India (now Pakistan), 18th century, each of double bell-shaped 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 (8) Provenance: Private Collection, Germany, acquired 1960-78 in Asia by the vendor while working in development assistance. £150-250

This ewer is typical of the revivalist works, in hybrid style, produced under British encouragement at the Jaipur School of Art in the last decade or so of the 19th century. For a closely related ewer, see Metal Marvels: South Asian Handworks, Porvoo 1993, no.8 £150-250 109 A SMALL BRASS HUQQA BOTTLE, LAHORE, INDIA (NOW PAKISTAN), 18TH CENTURY of globular form, the incised decoration around the sides comprising a repeated composite boteh motif 13.5cm high Provenance: Private collection, London, acquired at auction in London about 20 years ago. £200-300

111 111 A MUGHAL BRASS PAN DAN, NORTHERN INDIA, 18TH CENTURY of flared cylindrical form, the domed lid with bud finial, the exterior decorated with incised foliate designs on stippled ground 9cm high, 12cm diam.

Provenance: Private collection, London, acquired at auction in London about 20 years ago. £150-250

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115 A COLLECTION OF LARGE RITUAL MASKS, INDIA, 19TH CENTURY wood, carved and covered with painted cloth, each depicting the face of a Hindu deity including Hanuman, Garuda, Siva(?) and Bhairava 38-47cm long (5) Provenance: From the Estate of the late Aura Josefina Figueroa de Williamson. See note on lot 61. £600-900 116 TWO CARVED WOOD FEMALE FIGURES, WESTERN INDIA, 19TH CENTURY probably musicians, each standing on a lotus base, wearing large earrings and heavy necklaces, and a turned wood pot and cover, probably unrelated, 88; 87cm high £1000-1500

112 112 A GILT BRASS INCENSE BURNER, ENGLAND, LATE 19TH CENTURY turned brass, in the form of an Mughal rosewater sprinkler, in six sections joined by screw attachments, incised and gilded with dense floral design in the style of Bhuj silver, the underside and top finial pierced 29cm high This rosewater sprinkler accurately reproduces the proportions and decorative detail of the celebrated silver work of Oomersi Mawji of Bhuj, Cutch. The construction and the fact that it is made of turned brass however suggest that it is of European and, most likely, British manufacture. Elkington and Co. is the best known British firm producing replicas of Indian silver at this time and the Cutch style was particularly popular.

For a near identical example previously sold in these rooms, see 10 April 2014, lot 127 £300-500 113 A BRASS TURBAN BOX, NORTHERN INDIA, CIRCA 1800 of broad tapered circular form, the hinged domed lid with lotiform central medallion, the exterior profusely decorated with animals, figures and birds amidst scrolling foliage 18cm high x 29cm diam For an earlier turban box with similar decoration, see Mark Zebrowski, Gold, Silver and Bronze from Mughal India, pls.484a-e £80-120 114 TEN WOOD ITEMS, INDIA, 19TH/20TH CENTURY comprising a panel from a chest, three pulleys and six textile printing blocks 29 x 39cm (panel) and smaller (10)

117 ELEVEN LARGE CLAY FIGURES OF INDIAN CHARACTERS, PROBABLY KRISHNANAGAR, BENGAL, INDIA, 19TH CENTURY each realistically modelled, comprising ten men and one woman, with painted details, wearing cloth garments, standing on rectangular bases, depicting various servants and tradesmen 29cm and smaller Provenance: Private collection, London, acquired at auction in London about 20 years ago. £1500-2500 118 TWELVE CLAY FIGURES OF INDIAN CHARACTERS, PROBABLY KRISHNANAGAR, BENGAL, INDIA, 19TH CENTURY each realistically modelled, comprising ten men and one woman, with painted details, wearing cloth garments, standing on rectangular bases, depicting various farmers, vendors and craftsmen 19cm and smaller Provenance: Private collection, London, acquired at auction in London about 20 years ago. £1000-1500 119 FIVE INCENSE STICK HOLDERS, BURMA (NOW MYANMAR), 20TH CENTURY turned wood, lacquered and gilded, with glass applique 13.5cm £200-300 120 A TEXTILE PRINTING BLOCK, PROBABLY GUJARAT, WESTERN INDIA, 20TH CENTURY carved wood with felt, the design composed of repeating geometricised palmette motifs 41 x 49 x 6.5cm £120-150

Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £60-80

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115

116

117

118

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121

121 ~ A CARVED WOOD PEN BOX, NAGINA, UTTAR PRADESH, CIRCA 1870 of rectangular form, the ebony exterior carved in low relief with floral trellis designs, the hinged lid opening to reveal the sandalwood interior with removable tray with compartments, metal mounts and fittings, 12.5 x 30 x 15.5cm Provenance: Private collection, London, acquired at auction in London about twenty years ago.

For three examples of Nagina work by named craftsmen, each dated 1866 A.D., in the Victoria and Albert Museum, London, see inv. nos. 01168, 01169, 01172 IS £700-900

123 123 ~ A VIZAGAPATAM IVORY AND TORTOISESHELL FRAME, SOUTH INDIA, LATE 19TH CENTURY of rectangular form, the openwork applique ivory decoration, with incised floral motifs in repeated medallions, on tortoisheshell and wood inlaid ground, hinged prop on the reverse 28.3 x 20.7 x 2cm approx. £250-350

122 122 ~ AN IVORY FIGURE OF A MYTHICAL LION, SOUTH INDIA, 17TH/18TH CENTURY depicted crouching on a double lotus base, with bulbing eyes, gaping mouth and protruding fangs 10cm high £800-1200

124 124 A PAINTED BRASS HEAD OF A TIGER, INDIA, 20TH CENTURY OR EARLIER probably from a complete figure used during a Durga festival, with pointed ears, gaping mouth and protruding tongue, later wood wall mount 38cm high approx. £500-700

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126 126 A SILK DOUBLE IKAT SARI (PATOLA), GUJARAT, 19TH CENTURY of long rectangular form, the field with trellis design of assorted floral lozenge shaped medallions, multiple stylised foliate and plain borders at either end and along the sides 200 x 84cm £300-400

125

125 A WOVEN SILK SHAWL, LAOS, 19TH CENTURY of long rectangular form, the plain crimson ground with polychrome woven multiple registers of geometrical semiabstract motifs at either end 171 x 41cm £250-350

127 127 A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY cotton, the indigo ground woven in russet and white in the form of registers of stylished ship motifs, divided by foliate, geometric and gilt thread borders 77 x 65cm approx.

Tampans were produced mostly by the women of Lampung, a region rich from the cultivation of pepper. Almost all families would have possessed a few of these cloths which were used for display at family ceremonies, such as marriage. £350-450

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128 part

130 128 A NARRATIVE HANGING (IDER-IDER), BALI, INDONESIA, 20TH CENTURY ink and pigment on cloth, of long rectangular form, depicting a story in a sequence of scenes, possibly from the Hindu epic, the ramayana, a row of suspension loops along the top 26 x 650cm

130 A PAINTED CLOTH HANGING (TABING), BALI, INDONESIA, 20TH CENTURY ink and pigment on cotton, of approximately square form, depicting a plintangan (35 day calendar), the design composed of 49 panels depicting various deities and symbols 144 x 171cm

For similar ider-ider in the Forge Collection at the Australian Museum, Sydney, see Anthony Forge, Balinese Traditional Paintings, Sydney 1978, nos. 35-41. The ider-ider is tied under the eaves of temple or palace pavilions and is long enough to go all the way round. They are composed in the manner of a strip cartoon with a sequence of scenes running either left to right or right to left, which in the latter case enables the viewer to circumambulate clockwise in rituals associated with death.

For related plintangan tabing in the Forge Collection, at the Australian Museum, Sydney, see Anthony Forge, Balinese Traditional Paintings, Sydney 1978, nos. 49-52. As Forge explains in his note on these calendars, their function is closer to astrological charts, showing both the intersection of twin influences on the character of a person born on a specific day and the best way of alleviating the resulting misfortunes. £600-800

£700-900 129 AN OTTOMAN VELVET PANEL, WESTERN ANATOLIA, CIRCA 18TH CENTURY the mauve ground with a design of repeated floral medallions, worked in gilt-metal thread, lined, together with two crewel work cotton covers 185 x 150cm (velvet) and smaller (3)

131 TWO CHETTINAD SARIS, TAMIL NADU, SOUTH INDIA, 20TH CENTURY each of long rectangular form, one of woven silk with linear check design, the other with plain black field surrounded by purple edge with orange and cream stripes, embroidered Tamil signatures 375 x 124cm (silk); 465 x 120cm (cotton) (2)

£200-300

Provenance: Private collection, London £80-120

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Lots 132 to 215 THE PROPERTY OF THE LATE HENRY BROWNRIGG

Henry Brownrigg 1943-2016 For almost four decades, a visit to Henry Brownrigg’s stand at Portobello Antiques Market was an essential fixture for aficionados of Indian and South-East Asian art. His eclectic range of unusual objects, whether bronze images, paintings or metalwork, reflected Henry’s enthusiasm and diverse interests which often strayed well beyond the world of Asian art. I first met him when working at Sotheby’s in the 1980s and over the years enjoyed our many conversations and professional dealings, invariably laced with humour.

In business his reputation for absolute integrity was unchallenged. He died just before Christmas, having continued to work right to the very end. Despite the sadness, it is a pleasure to remember him through his collection of interesting and often eccentric objects.

Arthur Millner

132 FOUR HINDU IMAGES, INDIA, 18TH-19TH CENTURIES bronze, comprising a Deccani Siva Lingam cover, a South Indian figure of Sri Devi, A South Indian figure of Vishnu and a small Bengali figure, probably of Radha 15.5cm high and smaller £150-200

133 A JAVELIN BLADE, PROBABLY JAVA, 15TH CENTURY OR EARLIER of serpentine form, of patterned steel, with long tapered tang, mounted, together with Two Javanese Wood Boxes, 19th century, one containing a set of eight small blades 47cm long (javelin blade) and smaller £80-120

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134

137

134 A GROUP OF MUGHAL IRON OBJECTS, NORTHERN INDIA, MOSTLY 18TH CENTURY comprising three wall hooks two with camel head finials, the other in the form of a horse, a buckle (?) with camel head finial, two suspension hooks and a dervish crutch 51cm and smaller (7)

137 A GROUP OF METAL DOOR FITTINGS, KERALA, SOUTH INDIA, 18TH/19TH CENTURY comprising three brass door handles, each with hinged loop, two iron lock escutcheons and eight bolt fittings 29cm and smaller (13)

£250-350

138 FOUR MISCELLANEOUS BRONZE CONTAINERS, 19TH CENTURY comprising an Indian bottle in the form of a fish, a small Indian oil lamp, a ritual pourer in the form of a cow and a Thai model stupa 17cm and smaller

135 TWO SILVER VESSELS, BURMA, EARLY 20TH CENTURY comprising a bowl and a salver, each with chased decoration 18.5cm diam. (dish), 7cm high (bowl) £80-120

£120-150

£120-150 136 A MISCELLANEOUS GROUP OF ITEMS, MOSTLY TIBET, 19TH/20TH CENTURY comprising a brass and silver repousse lime box, a bronze dorje, a carved wood phurbu, a copper mandala plaque, a brass and copper prayer wheel, an iron mounted butter box(?), a ritual skull mask, and a pair of wood palm-manuscript covers 29cm high (box) (8) £150-250

139 A COLLECTION OF COMPANY PRINTING BLOCKS, SOUTH-EAST ASIA, EARLY 20TH CENTURY lead or copper on wood block, most relating to Guthrie and Co., inscribed variously in English, Jawi, Burmese and Thai 10 x 7cm and smaller (68) Guthrie and Co. was the first British trading company in South East Asia, founded by the Scot, Alexander Guthrie, in Singapore in 1821, its primary activity being the management of rubber and palm oil plantations. In the 1980s it became Malaysian owned, and following various mergers and takeovers continues today as a division of Malaysia’s largest company, Sime Darby, which is itself a company with a Scottish background. £100-150

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140

143

140 A GROUP OF METAL VESSELS, INDIA, MOSTLY 19TH CENTURY comprising three Keralan bronze ritual cooking bowls (urli), two karai, and three brass bowls 54cm diam. (large urli, and smaller) (8)

143 FIVE BRONZE TEMPLE BELLS, SOUTH INDIA, 19TH CENTURY OR EARLIER each of typical form, one inscribed in Tamil, another in Malayalam 27cm high and smaller

£150-200

£150-250

141 141 SEVEN BETEL TRAYS, INDIA AND SOUTH-EAST ASIA, MOSTLY 19TH CENTURY six of brass comprising four on raised turned bases, one on tripod feet and one with dentilated rim, the seventh of square form of cast aluminium on four legs 36cm diam. and smaller £200-300 142 A MISCELLANEOUS GROUP OF METAL OBJECTS, EUROPE AND ASIA, MOSTLY 19TH CENTURY including a brass birdcage, two model cannons, an iron bridle, a brass cane handle and a copper vase (a lot) £80-120

144 144 A GROUP OF HINDU OBJECTS, INDIA, MOSTLY 19TH CENTURY comprising a bronze prabha, ritual hammer, mirror and rattle, iron conch and cakra emblems, a copper amulet box, two brass puja(?) boxes, one in the form of a turtle, and a lion head finial 33cm (prabha, and smaller) (10) £100-150 145 A BUCKLE FROM AN ENGAGEMENT BELT (KORONA), THRACE, NORTHERN GREECE, LATE 18TH CENTURY bronze, of convex form, enamelled and inlaid, composed of three enamelled and relief decorated elements paste-set with crest and floral decorated panels 14 x 20cm This type of belt was given by a future groom to mark the couple’s engagement, called korona because of the crown-like shape. 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). For a complete belt sold in these rooms, see 23 November 2016, lot 229. £120-150

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149 part

146 146 A COLLECTION OF TRIBAL JEWELLERY, MOSTLY NORTHERN INDIA, 19TH/20TH CENTURY comprising six belts, three of iron, two of silver and one of brass, a pendant in the form of a pair of cannons, a Javanese bronze ring and a pair of alloy makara anklets 93cm (iron belt fully extended, and smaller) (10)

149 TWO IRON OBJECTS, INDIA, 19TH CENTURY comprising a pair of hanging weighing scales, and a hanging ornament in the form of a hamsa 137cm (scales); 30cm (hamsa) £120-150

£100-150

147 147 A TURNED BRONZE BASIN, PROBABLY KERALA, SOUTH INDIA, 18TH/19TH CENTURY the bulbous body on rim foot, wide flared rim above 17cm high; 32cm wide

150 150 A LARGE CAST BRASS FIGURE OF A HAMSA, SOUTHERN INDIA, 19TH CENTURY with small wings, scrolling crest and tail, a scrolling jet of water issuing from his beak, later wood stand 26cm excluding stand £200-300

£80-120

148 148 TWO CONTAINERS comprising a conical wood betel box, probably Burma, with separate lid and inner tray, and a bronze turban box(?), Northern India, the attached lid with classical urn finial 44cm high approx. each £150-250

151 151 A BHUTA BOAR HEAD MASK, KARNATAKA, DECCAN, INDIA, 19TH CENTURY bronze, of stylised form, with protruding fangs, tongue and tusks, with mane in the form of multiple cobras 26cm long approx.

The cult of bhuta or spirit worship is centred in Western Karnataka and the boar Panjurli is best known of these subdeities. Wild boars are notoriously destructive to farmers and the cult is said to have arisen as local inhabitants tried to pacify the rampaging animals. £150-250

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152

154

152 A COLLECTION OF BRASS BOXES AND VESSELS, INDIA AND SOUTH EAST ASIA, 17TH CENTURY AND LATER including four Thai limepots, five small Indian bowls, a small brass huqqa bottle and three brass boxes 25cm high and smaller (17)

154 A MISCELLANEOUS COLLECTION OF WOOD AND METAL OBJECTS, INDIA, MOSTLY 19TH CENTURY comprising three Ganges water pots, a bronze double inkpot, a copper yoni, a cylindrical brass caster, a bronze bell, a spherical wood box, a gangajumna lota and a copper palanquin finial 26cm and smaller (11)

£200-300

£150-250

153 part 153 A MISCELLANEOUS COLLECTION OF INDIAN AND SOUTHEAST ASIAN METALWORK, MOSTLY 19TH CENTURY comprising four brass and copper boxes, two huqqa bottles, a brass tazza, a turned brass spitoon, five bowls, a large brass mortar and a pottery bottle with silver mounts 25cm and smaller (15)

155 155 A GROUP OF WEIGHTS, BURMA, PROBABLY 19TH CENTURY four of iron, two of bronze, each in the form of a bird on hexagonal base 10cm and smaller (6) £120-150

£200-300

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159 157

159 A BRONZE FIGURE OF A MAN, GHANA, PROBABLY 19TH CENTURY standing on square base, with beard and large crescent shaped cap 10cm

156 156 A BRONZE FIGURE OF TARA, NEPAL, 19TH/20TH CENTURY the six armed goddess standing on a lotus base, her primary right hand in varada mudra, holding various attributes in her other hands, wood base 43cm £100-150 157 FIVE BRONZE ANIMALS, INDIA, 19TH CENTURY comprising two elephants, two horses, one with armed rider and a figure of Nandi bull 14.3cm and smaller

For a related figure in the British Museum, see inv. no.

Af1978,22.290 £80-120 160 A LARGE BRONZE BASIN, PROBABLY GHAZNAVID, EASTERN IRAN OR AFGHANISTAN, 10TH/11TH CENTURY OR LATER of plain shallow circular form, with band applique rim, incised Buddhist image and brahmi-type script of much later date 53cm diam. £200-300

£150-250

158

161

158 AN UNUSUAL IMAGE OF THE GODDESS YAMUNA, SOUTH INDIA, 18TH CENTURY bronze, the four-armed goddess holding various attributes including a water pot, seated on a wide circular stylised turtle 10cm high

161 TWO MARBLE BUDDHIST FIGURES, BURMA, 19TH CENTURY comprising a figure of Buddha and a figure of a devotee, the former seated in sattvasana, his hands in bhumisparsa and dhyana mudra, the latter kneeling with hands in namaskara mudra 28.5; 23cm

£100-150

£150-250

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162 162 A KHMER BRONZE FIGURE OF BUDDHA, CAMBODIA, CIRCA 12TH CENTURY standing erect on a circular base, his hands both held forward in jnana mudra, wearing necklace, robes, heavy earrings and conical crown, wood base 17.5cm high £600-800

164 part 164 A KHMER BRONZE FIGURE OF UMA (?), CAMBODIA, CIRCA 12TH CENTURY standing on a square base, her hands held in front, each holding the stem of a padma, wearing sampot and conical crown, mounted, together with Two Khmer Style Male Figures, one depicting Buddha, the other a moustachioed deity seated on a plinth 13.5cm high (3) £300-400

163 163 A GANDHARA GREY-GREEN SCHIST RELIEF FRAGMENT, NORTH-WESTERN INDIA (NOW PAKISTAN), 3RD/4TH CENTURY probably part of an arched shrine, the left side depicting two attendant (?) figures, the right depicting a tower with five storeys supported by Corinthian columns, each containing a couple, wood stand 50 x 20cm approx. £200-300

165 165 A PALA PANEL FROM A BUDDHIST STUPA, BIHAR, EASTERN INDIA, CIRCA 10TH CENTURY depicting a crowned figure of Buddha within an arched niche, scrolling decoration in the spandrels, a register of small Buddha images along the top 46cm high For another example in the Victoria and Albert Museum, London, see IS.241-1950 £250-350

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166 166 EIGHT POTTERY OBJECTS, SOUTH EAST ASIA AND CHINA, CIRCA 15TH CENTURY AND LATER comprising a Sawankalok round jar with side opening and reptilian handle, three Sawankalok figures probably of Buddhist devotees, a Chinese sleeping male figure, a Chinese lion and a small Javanese figure of a pig 10.5cm high £100-150

170 part 167 167 A PAINTED AND CARVED FIGURE OF SKANDA, DECCAN, SOUTHERN INDIA, 19TH CENTURY standing with legs loosely crossed, his primary right hand resting on a club, his left holding a padma, wearing an elaborate tiered conical headdress and flowing robes 39cm high

168 169 TWO KUSHAN PINK SANDSTONE FRAGMENTS, MATHURA, NORTHERN INDIA, 2ND/3RD CENTURY carved in relief, one depicting Durga slaying the buffalo demon, the other a male deity 16 x 10cm; 16 x 9cm £80-120

£150-250 168 A COLLECTION OF HINDU MASKS, INDONESIA, 20TH CENTURY carved and painted wood, each with identifying label in English, including Raksasa, Garuda, Memesimoka, Gatotkatja, Ploplaple, Indradjit, together with a Fragmentary Shadow Puppet, depicting a Dutchman 46cm and smaller (9) £250-350

170 A PAINTED WOOD RITUAL MASK, INDIA, 19TH CENTURY carved with protruding teeth and viewing slits below the eyes, together with Four Others, smaller, Kerala, 19th/20th century, three of painted wood, one of bronze 22.5cm long and smaller (5) £150-250 171 A NAME BADGE FROM A DHOW, PROBABLY LAMU, EAST AFRICA, FIRST HALF 20TH CENTURY carved and painted wood, of circular form, depicting a red flag inscribed in arabic script, label on the back stating ‘Off a Show that was wrecked off the E Coast of Africa at Mambrue[?]’

25.5cm diam.

This lot is sold with a photocopies of the relevant pages of two books on dhows. £60-80

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172 A JAVANESE VOLCANIC STONE STELE DEPICTING DURGA MAHISASURAMARDINI, INDONESIA, CIRCA 9TH CENTURY the eight armed goddess depicted standing in tribhanga over the defeated buffalo demon 62cm high There is a closely related Durga stele in the Siva temple at Prambanan, Java, dating from the mid-9th century. £800-1200

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173 detail

174 part

175

173 A CARVED WOOD ARCHITECTURAL FRIEZE, PUNJAB, PROBABLY CHAMBA, 18TH CENTURY carved in low relief, depicting a crowned figure of Ganesha within an arched niche, flanked by four similar niches on either side filled with iris motif 16 x 124cm

176 176 A CARVED WOOD ARCHITECTURAL FRAGMENT, PROBABLY CHAMBA, NORTH-WESTERN INDIA, EARLY 19TH CENTURY carved in relief, depicting a winged and crowned figure pruning a branch from a flowering tree, a leafy column on the right 54 x 41 x 6cm £200-300

£200-300 174 TWO CARVED WOOD FRAGMENTS, BURMA, CIRCA 1900 the larger in the form of a kinnara riding on a mythical lion, the other with two figures, probably formerly supporting a gong 69; 58cm £100-150 175 A WOOD ARCHITECTURAL FRAGMENT, GUJARAT, WESTERN INDIA, CIRCA 18TH CENTURY painted and carved in relief, depicting a pair of figures within a columnar niche, one winged, the other holding a garland, mounted 20.5 x 27.5 x 5.5cm £150-250

177 177 FIVE SMALL CHESTS, 19TH/20TH CENTURY comprising three colonial ‘campaign’ boxes, of plain rectangular form with brass mounts, a Keralan trunk with iron mounts and a Japanese(?) chest, each with hinged lid, the latter with two side drawers 28.5 x 60 x 25.5cm (Japanese chest, and smaller) £250-350

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180

178 178 A CARVED WOOD WINDOW, RAJASTHAN OR GUJARAT, WESTERN INDIA, 17TH/18TH CENTURY of rectangular form, the opening in the form of a cusped arch, the spandrels with foliate relief design, a frieze above of geometrical pierced jali work 164 x 77cm £300-400 179 A GROUP OF STONE ITEMS, MOSTLY 19TH CENTURY comprising two marble mortars, a granite building guard stone, a small hardstone bowl and two schist Indian architectural fragments, together with a Fragmentary Chinese Marble Tile and Bronze Head 31cm diam. and smaller £100-150

180 AN ARCHITECTURAL STRUT, NEPAL, 16TH/17TH CENTURY depicting Padmapani standing under a tree, an elderly rishi with a stick below mounted on stand 104cm high Provenance: Sotheby’s London late 1980s; sold in these rooms, 20 April 2014, lot 11; Henry Brownrigg, London £800-1200 181 ~ A POWDER FLASK, PROBABLY RAJASTHAN, INDIA, EARLY 19TH CENTURY wood clad in cloth, ivory finials, together with Two Carved Wood Architectural Elements, Kerala, 19th century, one depicting a figure with bow and arrow, the other a mythical bird, each with traces of pigment 19.5cm long (powder flask); 33.5, 23.5cm (wood items) (3) £80-120

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185

183

182 182 TWO ARCHITECTURAL BRACKETS, PROBABLY AHMEDABAD, GUJARAT, WESTERN INDIA, CIRCA 18TH CENTURY wood, each carved on one side with a vyala and a diminutive elephant below 76cm long each approx.

185 FOUR CHARPOI LEGS, NORTHERN INDIA, 20TH CENTURY wood, carved and painted, of square section with lotiform joint, a figure of a female musician in relief on each lower side 31.5cm £80-120

£150-200 183 FOUR CHARPOY LEGS, SWAT VALLEY, INDIA (NOW PAKISTAN), 19TH CENTURY turned wood, of slender form, the sides decorated with stylised foliate motifs, together with Four Architectural Capitals, South India, 19th century, carved with lotus designs 81cm and smaller (8)

186 A CARVED AND PAINTED WOOD COLUMN, JAVA, 19TH CENTURY possibly from a bed, of square and octagonal section, the upper portion painted and carved with foliate design in low relief 182cm £80-120

£120-150

184

187 184 A CARVED WOOD BOAT-PROW, JAVA, INDONESIA, 19TH CENTURY of long serpentine form, the finial in the form of a head of a deity 194cm long approx. £200-300

187 A SILVER THREAD EMBROIDERED VELVET FAN OR CANOPY ELEMENT, NORTHERN INDIA, CIRCA 1800 of circular form, one side with central moustachioed face surrounded by double scrolling foliate borders, the other similarly decorated, with central flower motif, iron frame 51cm diam For a similar canopy in the National Museum New Delhi see S.P.Gupta (ed.), Masterpieces from the National Museum Collection, New Delhi 1985 no.264 p.177 £120-150

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188 188 A PAIR OF PAINTED WOOD DOORS, PROBABLY RAJASTHAN, INDIA, 19TH CENTURY in Mughal style, carved on one side in the form of a cusped arch, each with foliate decoration and central pictorial panel, one depicting Siva and Parvati seated by a rustic shrine, the other depicting a guru, iron fittings 190 x 90cm £700-900

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189 189 A PERSIAN TURQUOISE GLAZED TILE glazed fritware, of rectangular form, a line of applique relief Arabic lettering 28 x 33cm Provenance: Saeed Motamed Frankfurt; Henry Brownrigg, London The inscription is part of Surat al-Ikhlas (Qur an 112) verses 3 -4: [lam] yalid wa lam yu[lad] ‘[He neither] begets nor is born’ £80-120

191 191 ~ A QATAMKARI FOLDING MIRROR BOX, PERSIA, 19TH CENTURY wood with brass ivory and ebony micromosaic inlay, with hinged lid and drawer below with, brass mounts 8 x 26.5 x 23.4cm £150-250 192 BALINESE SCHOOL, INDONESIA, MID-20TH CENTURY A Village Scene, acrylic(?) on canvas, signed IC St. NJ Suara Pangosekan, Bali (?) framed 74 x 127cm £120-150 193 AN EARLY ARABIC FOLIO FROM A DISPERSED MANUSCRIPT OF AL-JAUHARI’S “KITAB TAJ AL-LUGHA WA SAHIH AL-ARABIYAH”, LATE ABBASID, PROBABLY BAGHDAD, OR EARLY MAMLUK, SYRIA OR EGYPT, 13TH CENTURY WITH LATER ALTERATIONS Arabic manuscript on paper, 1 folio, 15 lines to the page written in an elegant and clear naskhi script in brown ink, text written on the lower part of one side skilfully erased and replaced by a coloured illustration depicting an encounter between two turbaned men in an arched doorway, added at a much later date, in mount Folio: 25.8 x 17.4 cm.

Also known by the title al-Sahih fi’l lugha, the manuscript is a celebrated dictionary of the Arabic language with 40,000 entries.

Abu Nasr Isma’il ibn Hammad al-Jauhari was born in the city of Farab in Kazakhstan, studied Arabic first in Baghdad and then in the Hejaz before eventually settling in Nishapur. He was killed around A.D. 1003 - 1010 while attempting to fly from the roof of a mosque using two wooden wings and a rope.

190 190 A PAIR OF PROCESSIONAL STANDARD FINIALS (ALAM), LUCKNOW, NORTHERN INDIA, 19TH CENTURY beaten copper, the conical socket surmounted by an openwork floral roundel, the upper shaft issuing from four radiating fish motifs, surmounted by hand and crescent emblems 64cm approx. each

£80-120

£200-300

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194 195 194 THE INFANT KRISHNA, TANJORE, SOUTH INDIA, 19TH CENTURY gouache with gold on paper, depicted on a throne in a European style palace, surrounded by attendants, with a forest and temple in the distance, framed 26.5 x 38cm Provenance: Phillips, London 2000; Henry Brownrigg, London £250-350 195 A COURTESAN, TANJORE, SOUTH INDIA, 19TH CENTURY gouache with gold on paper, depicted reclining on a European day-bed in a palace, with a forest and temple in the distance, framed 26.5 x 38cm

197 197 TWO PAITHAN LEAVES, DECCAN, INDIA, 19TH CENTURY gouache and ink on English paper, depicting scenes from Hindu epics, the larger depicting a scene with the goddess Durga, the other painted on both sides with scenes probably from the Mahabharata, framed 29 x 41cm approx. each This distinctive style of painting is traditionally associated with Paithan, near Aurangabad, in the modern state of Maharashtra, although it is now thought that most were painted in the coastal district of Sawantwadi. There are several examples in the Victoria and Albert Museum, London, some of which are painted on European paper. See for example, IS 12 1968. £600-800

Provenance: Phillips, London 2000; Henry Brownrigg, London £250-350

196 196 A FOLIO FROM A JAIN MANUSCRIPT, RAJASTHAN, WESTERN INDIA, 18TH CENTURY gouache with gold on paper, depicting a prince visiting a fortified palace in three episodes, framed 6.5 X 21.5cm £120-150

198 198 A BUDDHIST INSTRUCTIONAL MANUAL, BURMA, 19TH CENTURY AND LATER ink on paper, of horizontal rectangular form, the folios joined into one concertina fashion, various diagrams and charts inscribed in Burmese, some later notes and additions in pencil and biro 12.5 x 33cm £100-150

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199 199 A BLACK GROUND THANG-KA DEPICTING A DAKINI, TIBET, FIRST HALF 20TH CENTURY the goddess dancing on a lotus within a flaming aureole, holding damaru and ghanta, flanked by groups of smaller dakinis with a figure of Buddha and an arhat above, a figure of Mahakala below, flanked by Lha-mo and a naga, together with an Empty Cloth Mount for a Small Thang-ka, 20th century 87 x 56cm

201 part 201 THREE MANUSCRIPT ILLUSTRATIONS, THAILAND, CIRCA 1900 gouache on paper, each of rectangular form, composed of a double folio spread, each depicting mythical scenes, framed 35.5 x 24cm £200-300

£150-250

200 200 A TWO-SIDED DRAWING, THAILAND, 19TH CENTURY composed of four joined folios, in white on black ground, one side depicting a mythical lion (singha), the reverse with sketches of lion-heads and figures, framed 48 x 36cm £100-150

52

202 part 202 A COLLECTION OF PAINTINGS AND DRAWINGS, MOSTLY INDIA, 19TH CENTURY gouache and ink on paper, comprising a scene at a Sri Nath Ji temple, a double portrait of Mughal ladies, a design for a mirror, a Qajar painting of a young man, two Anglo-Indian watercolours, six manuscript folios and five miscellaneous Indian drawings 33 x 24.5cm and smaller (17) £250-350

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203 part 203 TWO POLYCHROME COTTON HANGINGS (PICHHAVAI), RAJASTHAN, INDIA, 20TH CENTURY each of rectangular form, depicting Krishna and the gopis, 186 x 121cm; 88 x 236cm £150-250

205 205 A MALABAR COUPLE, COMPANY SCHOOL, SOUTH-WESTERN INDIA, SECOND HALF 19TH CENTURY watercolour on English paper, inscribed in English below: Ashary or Panikan. Carpenter; Asharichee or Panikathee. None, paper watermarked: Dorling and Gregory 1880, mounted 13.2 x 19cm (image) For two similar paintings sold in these rooms, see 11 June 2015, lot 220. £150-250

204 204 THREE REVERSE GLASS PAINTINGS one from Tanjore, South India, depicting the infant Krishna with devotees including Rama and Vishnu, the others from Java, one depicting a group of four ladies, the other a display of shadow puppets 50 x 39.5 and smaller £120-150

206 206 A PORTRAIT OF A LADY, JAIPUR, INDIA, CIRCA 1800 gouache with gold on paper, framed 23.5 x 17.5cm Provenance: Christie’s South Kensington 1999; Henry Brownrigg, London £200-300

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207 detail

207 A NARRATIVE HANGING (IDER-IDER), BALI, INDONESIA, LATE 19TH/20TH CENTURY ink and pigment on cloth, of long rectangular form, depicting Hanuman, monkeys and other figures, in scenes from the ramayana, 32 x 434cm

209 A GROUP OF BALINESE PAINTED CLOTH HANGINGS, INDONESIA, 19TH-20TH CENTURY pigment on cotton, each depicting mythical figures, most with inscriptions in Balinese

For similar ider-ider in the Forge Collection, at the Australian Museum, Sydney, see Anthony Forge, Balinese Traditional Paintings, Sydney 1978, nos. 35-41. The ider-ider is tied under the eaves of temple or palace pavilions and is long enough to go all the way round. They are composed in the manner of a strip cartoon with a sequence of scenes running either left to right or right to left, which in the latter case enables the viewer to circumambulate clockwise in rituals associated with death.

210 A PAINTED CLOTH CURTAIN (LANGSE), BALI, INDONESIA, PROBABLY FIRST HALF 20TH CENTURY ink and pigment on cotton, of rectangular form, depicting two registers of mythical figures grouped around a series of trees, amidst numerous small stylised clouds 90 x 250cm

£200-300 208 A PAINTED CLOTH HANGING (TABING), BALI, INDONESIA, 20TH CENTURY ink and pigment on cotton, of approximately square form, depicting a plintangan (35 day calendar), the design composed of 49 panels depicting various deities and symbols, each labelled in Balinese 130 x 147cm For related plintangan tabing in the Forge Collection, at the Australian Museum, Sydney, see Anthony Forge, Balinese Traditional Paintings, Sydney 1978, nos. 49-52. As Forge explains in his note on these calendars, their function is closer to astrological charts, showing both the intersection of twin influences on the character of a person born on a specific day and the best way of alleviating the resulting misfortunes.

£250-350

The langse is a curtain, placed to screen offerings laid on a bed, although many cloths in this format seem to have been used simply as wall hangings. For a langse thought to date from the 1930s in the Forge Collection at the Australian Museum, Sydney, see Anthony Forge, Balinese Traditional Paintings, Sydney 1978, no.42. £200-300 211 A PAINTED CLOTH HANGING (TABING), BALI, INDONESIA, 20TH CENTURY ink and pigment on cotton, of approximately square form, depicting a plintangan (35 day calendar), the design composed of panels each depicting a group of deities, each labelled in Balinese 106 x 138cm £150-250

£200-300

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208

210

211

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212 212 A GROUP OF TWENTY-TWO CHINESE PORCELAIN ARCHITECTURAL BORDER MOULDINGS, QING DYNASTY, 19TH CENTURY of various sizes, painted with scrolling lotus designs, two with fret designs 23cm to 36cm long £1000-1500

213

214

213 A GROUP OF THREE CHINESE SHADOW PLAY PROPS, PROBABLY XIAN, 19TH CENTURY each depiciting a side view of a chair in cut-out hide, two forming an opposing pair separately mounted in modern beechwood glazed frames, one of a throne chair, unmounted frame 31.5cm high (3)

214 TEN CHINESE SCROLL PAINTINGS, 19TH / 20TH CENTURY comprising: two on silk of birds, pomegranates and chrysanthemum, a paper calligraphy scroll, a paper scroll of Guanyin, a paper scroll of the ‘Mother of Taishan’, and three longer and two small Yao ceremonial paintings, tallest 245cm; together with a Cambodian Buddhist painting on cloth (11)

£150-200

£300-500

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215 A GROUP OF ELEVEN CHINESE PITH PAPER PAINTINGS, QING DYNASTY, 19TH CENTURY comprising: a pair each with a seated courtly figure with a servant, a set of four each with a female figure and furniture, a pair each with a courtly figure and a servant standing on a tile floor, two with butterflies and flowers, and one with an equestrian figure and two further figures, unframed and variously mounted 35cm tallest £500-800

215 part

216

VARIOUS PROPERTIES 216 THE ENTHRONEMENT OF A BOY EMPEROR AT HUE, VIETNAM, CIRCA 1890 pen and ink and watercolour, the procession comprising the young emperor on a palanquin behind two elephants and accompanied by numerous figures, many carrying flags or parasols whilst watched by French soldiers including two recording the event with cameras around the walls of the Imperial citadel (the Purple Forbidden City), glazed hardwood frame, exhibition label to reverse 34 x 47cm (within mount) Provenance: Martyn Gregory, 34 Bury Street, London, May 1991, Exhibition: Artists of the China Coast, Catalogue 57, No. 117.

The scene probably depicts the installation of Emperor Thành Thái (1879-1954) in 1889 under the influence of the French. Of the Nguyen dynasty, he was born Prince Nguyen Phúc Buu Lân and reigned until 1907. £1500-2500

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219 219 A PAIR OF CHINESE CLOISONNE AND GILT-BRONZE ‘DUCK’ BOXES AND COVERS, 20TH CENTURY each modelled seated, the cover formed of the head, wings and tail, brightly enamelled with archaistic scrolls reserved on a turquoise ground 14cm long £600-800

217 217 A PAIR OF CHINESE ARCHAISTIC BRONZE VASES, QING DYNASTY, 19TH CENTURY each pear shaped rising from a high stepped foot to an everted rim, cast around the neck with taotie band divided by a pair of dragon handles suspending loose rings 29.5cm high £300-500

220 220 A BRONZE ‘BAMBOO’ TRIPOD CENSER, QING DYNASTY, 18TH / 19TH CENTURY circular, the three legs as curved stems each with one shoot leafing over the body, ‘bamboo’ rim and twin angular handles, apocryphal Xuande mark 12cm wide £600-800

218 221 218 A CHINESE GOLD SPLASHED BRONZE CENSER AND COVER, QING DYNASTY, 18TH CENTURY rounded sides, recessed base and incurved rim, the exterior with irregular gold splashes, the domed cover with ruyi clouds 9.2cm diameter £600-800

58

221 A CHINESE BRONZE CENSER, QING DYNASTY, 17TH / 18TH CENTURY the compressed globular body on three short conical feet, the everted rim with a pair of loop handles, underside with apocryphal Ming Dynasty Xuande mark 14.5cm diameter £400-600

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222 222 A CHINESE ARCHAISTIC BRONZE CENSER, XUANDE MARK BUT LATER dark patinated, of circular cauldron form with integral loop handles to the rim, on three conical feet 12.6cm wide £200-300

223 223 A CHINESE TORTOISESHELL BOX AND COVER, PROBABLY CANTON, QING DYNASTY, EARLY 19TH CENTURY circular, the top and sides reticular carved with figures amid pavillions within a leafy floral border, the bottom relief carved 9cm diameter £400-600

224

225

224 A CHINESE CARVED TORTOISESHELL SNUFF BOX, PROBABLY CANTON, QING DYNASTY, EARLY 19TH CENTURY of oblong pocket fitting form, the lid and sides reticular carved with figures, pavilions and boats amidst foliage, the base relief carved on a matted ground, with silver hinge 8cm long

225 A CHINESE GILT-LACQUERED BRONZE DEITY, MING DYNASTY, 16TH / 17TH CENTURY cast seated on a throne with the feet resting on a stool, wearing a long sleeved robe with floral band at the edges, holding a hu (ceremonial tablet) in both hands, the face with meditative expression below a tall phoenix headress 43cm high

This curved shape of snuff box is found in English silver from about 1800-1825.

£1500-2500

£300-400

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226 226 A PAIR OF CHINESE STRAW-GLAZED POTTERY RAMS, SUI DYNASTY (581-618) each standing foursquare on a rectangular pierced base, covered in a pale straw glaze stopping short for the legs and base 12cm high

228 228 A CHINESE CELADON SMALL JAR, YUAN DYNASTY (1279-1368) lobed ogee body, on a recessed base, olive green glaze 13.5cm diameter £600-800

Provenance: Roger Keverne, October 2006 £1500-2500

229 229 A CHINESE BLACK-GLAZED JAR, SONG DYNASTY (960-1279) the baluster body rising from a short foot to a short neck set with a pair of lug handles, covered overall with a thick brown-black glaze falling short of the foot to reveal the buff coloured body 12.5cm diameter £100-150

227 227 A CHINESE JUN PURPLE-SPLASHED BOWL, YUAN DYNASTY (1279-1368) the deep conical sides rising from a short spreading foot to an incurved rim, covered overall in a bluish-turquoise glaze with a purple splash to the interior 18.5cm diameter £800-1200

230 230 A CHINESE WHITE WARE BOWL, SONG DYNASTY (960-1279) OR LATER circular with five ribs to the bowl, on a rim foot 21cm diameter £150-200

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231 231 A CHINESE BLUE AND WHITE PORCELAIN BOWL, MING STYLE the deep rounded sides rising from a short tapering foot, painted around the exterior with figures in a landscape below a key-fret band, the interior with a medallion enclosing rocks and trees, 26cm diameter with a Chinese blue and white porcelain ‘Tek Sing’ cargo plate, circa 1820, painted to the interior with a leafy foliate spray encircled by a whorl and trellis bands 20.5cm diameter (2) £150-250

233 232 232 A CHINESE FAMILLE-VERTE SMALL ROULEAU VASE, QING DYNASTY, 19TH CENTURY brightly enamelled around the cylindrical body with a pair of phoenix perched on rockwork issuing leafy floral sprays, the base with apocryphal Kangxi four-character mark in underglaze blue 25cm high

233 A CHINESE PORCELAIN LARGE ROULEAU VASE, 20TH CENTURY painted in underglaze blue, red enamels and gilt details with a Dragon Dance procession in a landscape 61cm high £1000-1500

£150-250

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235 235 A CHINESE FAMILLE-ROSE ‘DRAGON AND PHEONIX’ BOWL, GUANGXU MARK AND PERIOD (1875-1908) brightly enamelled around the exterior with a dragon and a phoenix amid fire scrolls all between a key fret band at the everted rim and a wave band at the base 17cm diameter £500-700

234 234 A CHINESE DEHUA FIGURE, QING DYNASTY, 19TH CENTURY modelled standing wearing a long robe and a scholar’s cap, a sword hung from a cord tied at his waist, in a creamy white glaze 30cm high £1200-1800

236 236 A CHINESE BLUE AND WHITE PORCELAIN BASIN, QIANLONG PERIOD (1736-1795) the deep rounded sides on a recessed base, broad flaring rim, painted and gilt to the interior with a pair of birds perched on peony branches within a spearhead band at the well, the rim with flower and fruit sprigs 33.5cm diameter £300-500 237 ~ TWO CHINESE IVORY FIGURES OF GUAN YU AND ASSOCIATE, EARLY 20TH CENTURY each carved standing clutching their weapon, stained detail, affixed to differing wood stands 20cm high £150-250

237

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238 238 A CHINESE FAMILLE-ROSE ‘FISH’ DISH, DAOGUANG MARK AND PROBABLY OF THE PERIOD (1820-1850) the shallow rounded sides rising from a short foot to an everted rim, brightly enamelled around the exterior with goldfish swimming amid water reeds reserved on a moulded wave ground, the interior with five boats in iron red 18.5cm diameter £800-1200

241 241 A CHINESE BLUE AND WHITE PORCELAIN VASE, QING DYNASTY, 19TH CENTURY baluster, painted in rich cobalt blue tones around the exterior with birds perched amongst magnolia and peony, the ribbed waisted neck with chevron, key-fret and whorl bands 42.5cm high £600-800

239 239 A CHINESE BLUE AND WHITE ‘BAJI XIANG’ BOWL, MING DYNASTY, 16TH / 17TH CENTURY deep rounded sides below an everted foliate rim, short foot, painted to the exterior with lotus panels each enclosing one of the Eight Auspicious symbols above a lotus scroll, the interior with a leafy peach spray encircled by a whorl band 18cm diameter £400-600 240 A CHINESE BLUE AND WHITE MEIPING VASE, YUAN STYLE, 20TH CENTURY painted with two barbed panels of fish amid pond weeds alternating with panels of flowers issuing from rocks above a diaper border and a band of lappet panels, the shoulder with scroll foliage 27cm high £200-300

240

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242

243

242 ~ A CHINESE WHITE JADE PLAQUE, 20TH CENTURY rectangular, carved with a scholar and attandant standing on a rocky ledge beneath a pine tree, a crane in flight overhead, recto with a Qianlong poem and apocryphal Qianlong four-character mark, 9.5 x 17.5cm, mounted as a rosewood table screen, the frame with pierced fretwork panels sliding into the similarly carved stand, 34cm long £2000-3000

244

243 A CHINESE CELADON JADE ARCHAISTIC CUP, QING DYNASTY, 18TH / 19TH CENTURY circular, stepped base, carved in relief with four rows of bosses divided by dragon-head handles 10.5cm long £1500-2500 244 THREE CHINESE JADEITE CARVINGS, 20TH CENTURY comprising: a bangle, a peach waterpot and a pendant carved with a bird amid foliage the bangle 8cm diameter £1000-1500 245 A CHINESE JADE CARVING OF A CABBAGE, 20TH CENTURY naturalistically carved, the stone of mottled celadon tone 26cm long £600-800

245

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246 A CHINESE BOWENITE LARGE ‘CARP’ PLAQUE, 20TH CENTURY deeply carved and pierced with eight fish swimming amid water reeds and lotus, the stone of olive-green colour with darker and lighter inclusions 40cm wide £200-400

247 247 A JAPANESE IMARI BARBER’S BOWL, EDO PERIOD, LATE 17TH / EARLY 18TH CENTURY centrally painted with a vase of flowers, the border with branches of flowering prunus, pierced for hanging 27cm wide

249

£200-300 248 A GROUP OF JAPANESE IMARI PORCELAIN, EDO PERIOD, 18TH CENTURY AND LATER comprising: a pair of tapered beakers painted with leafy branches, 7cm high, a plate painted with a vase of flowers flanked by two dogs, 22cm diameter, a pair of pierced oval salt cellars and liners, 8cm wide, and a pair of octagonal bowls and covers, 14.5cm wide (7)

249 TWO JAPANESE ARITA PORCELAIN FIGURES OF A MAN AND A WOMAN, EDO PERIOD, LATE 17TH CENTURY each modelled standing in floral decorated long robes, the man holding a fan to his chest 35cm and 36cm high, repair to woman’s head £1000-1500

£150-200

248

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252

251

251 AN ARITA BLUE AND WHITE OCTAGONAL BOWL, EDO PERIOD, 18TH CENTURY the exterior painted with cranes amid flowers, the interior with a single crane beneath the Eight Trigrams, blue painted apocryphal Xuande mark 11.7cm high £100-150

250 250 A JAPANESE ARITA BLUE AND WHITE DISH, EDO PERIOD, 18TH CENTURY circular, painted with flowering peony and rocks surrounded by a border of flowers and shishi in interlocking double gourd shaped panels, blue seal mark 33cm diameter £600-800

252 A PAIR OF JAPANESE IMARI BOWLS, EDO PERIOD, EARLY 18TH CENTURY painted to the interior with a circular panel enclosing ho-o amongst flowers beneath sprays of peony, chrysanthemum and prunus, the exterior with panels of chrysanthemum against a blue ground scattered with peony 18cm diameter, one bowl restored £150-250 253 A JAPANESE IMARI VASE AND MATCHED COVER, EDO PERIOD, LATE 17TH / EARLY 18TH CENTURY baluster, painted with chrysanthemum and peony, the cover with standing female finial, 37cm high; together with an Imari vase and matched cover, ovoid, painted with flowers, the cover surmounted by a shishi finial, 27cm high (2) £150-250 254 A JAPANESE IMARI TUREEN AND COVER, EDO PERIOD, LATE 17TH / EARLY 18TH CENTURY circular, painted in iron-red and gilt with shaped panels enclosing flowers against a blue-washed ground 23cm diameter £150-250

253, 254, 253

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255 255 A PAIR OF JAPANESE ARITA PORCELAIN SMALL PLATES, EDO PERIOD, 18TH CENTURY each painted in underglaze blue, enamels and gilding with a coiled dragon within a landscape border, blue six character Chenghua mark 17.5cm diameter £150-250

256 256 A JAPANESE PORCELAIN PLATE, EDO PERIOD, LATE 17TH / EARLY 18TH CENTURY painted in a Kakiemon palette with a bird perched on bamboo amongst flowering chrysanthemum, the border enamelled with further flowers and rocks 21cm diameter

259 259 A JAPANESE ARITA BLUE AND WHITE TEA CANISTER, EDO PERIOD, LATE 17TH CENTURY with gilt-metal mounts, of square section, painted with figures in a landscape, a vase of flowers and flowers issuing from rocks 14cm high £2000-3000

£400-600 257 A JAPANESE ARITA BLUE AND WHITE CHARGER, EDO PERIOD, 18TH CENTURY painted in kraak porcelain style with a figure in a landscape, the border with figures in landscapes alternating with panels of flowers 38cm diameter £150-250 258 A JAPANESE ARITA CHARGER, MEIJI PERIOD (1868-1912) painted with a grey horse galloping amid flowers and a tree laden with flowering peony 40.5cm diameter £100-150

257, 258

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263

261

262

261 A JAPANESE PORCELAIN SMALL PLATE, EDO PERIOD, 18TH CENTURY enamelled with two confronting dragons amid cloud scrolls, the underglaze blue border with karakusa, blue painted six character Ming mark to base 18cm diameter £250-350 262 A PAIR OF JAPANESE BLUE AND WHITE SAUCER DISHES, EDO PERIOD, 18TH CENTURY each painted with a mountainous landscape, 21cm diameter; together with a Japanese blue and white plate, with flower panels, 22.5cm diameter (3) £150-250

264, 265, 264

263 A PAIR OF JAPANESE KAKIEMON STYLE BLUE AND WHITE DISHES, EDO PERIOD, 18TH CENTURY rectangular, painted with a river landscape with two figures crossing a bridge and another fishing, six character Chenghua mark, 21cm wide; together with a pair of blue and white plates, Edo period, painted with panels of coastal landscapes, painted four character mark, 22cm diameter (4) £150-250

260

264 A PAIR OF JAPANESE IMARI DISHES, MEIJI PERIOD (1868-1912) octagonal, painted with spiralling panels enclosing bridges crossing rivers, fences and flowers, gilt rims, blue painted marks 27.5cm wide £80-120

260 A SET OF THREE JAPANESE IMARI PLATES, EDO PERIOD, LATE 17TH / EARLY 18TH CENTURY painted with a central peony beneath a panelled border with quail, peony and chrysanthemum, 24cm diameter; together with an Imari plate, Edo period, painted with a central vase of flowers, 24cm diameter (4)

265 A JAPANESE ARITA BLUE AND WHITE DISH, EDO PERIOD, LATE 17TH / EARLY 18TH CENTURY painted with a panel enclosing flowering peony beneath a border reserved with panels of chrysanthemum and leafy sprays, blue fuku mark 31cm diameter

£100-150

£200-300

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266 A JAPANESE ARITA FIGURE OF A MUSICIAN, EDO PERIOD, LATE 17TH CENTURY modelled as a man in long robes playing a pipe 18cm high £150-250 267 A JAPANESE HIRADO PORCELAIN GROUP OF KINKO AND THE CARP, MEIJI PERIOD (1868-1912) the diminutive figure seated on the head of the open-mouthed fish, mostly in the white with blue details 28cm high £100-150

270 269

266, 267

270

268

268 A JAPANESE SATSUMA KORO AND COVER, KIZAN, MEIJI PERIOD (1868-1912) the globular body painted with three panels enclosing figures, flowers or a landscape against a brocade ground, gilt signature to base 12cm high £300-500 269 A JAPANESE SATSUMA VASE, NIKKO, MEIJI PERIOD (1868-1912) of swollen cylindrical form painted with a continous landscape panel and shaped flower panels between brocade borders, black and gilt mark to base 18.7cm high £150-250

271 271 A JAPANESE SATSUMA LARGE VASE, KINKOZAN, MEIJI PERIOD (1868-1912) baluster, the shoulders with shishi handles, painted in shades of blue and gilt with trailing wisteria, butterflies and leaves, impressed seal mark and blue painted three character signature to base 47cm high

270 A JAPANESE SATSUMA PLATE, MEIJI PERIOD (1868-1912) painted with figures at leisure on a riverbank and in boats, black and gilt signature to base, 21cm diameter; together with a Satsuma bowl, Meiji Period (1868-1912), lobed, painted with birds amid trailing wisteria, flowers and trees, iron-red and gilt painted signature, 15cm diameter (2)

272 A JAPANESE SATSUMA VASE, MEIJI PERIOD (1868-1912) typically decorated in colours and gilt, with four panels of a variety of figures, underside signed on a red panel Satsuma below the Shimazu mon 25.5cm high

£120-180

£80-120

£200-300

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273 274 273 A JAPANESE SATSUMA KORO AND COVER, KINKOZAN, MEIJI PERIOD (1868-1912) flared square, each side painted with figures, temples and waterfalls, on four bracket feet, each panel and base with black and gilt signature 13cm high £300-500 274 A JAPANESE SATSUMA VASE, MEIJI PERIOD (1868-1912) compressed ovoid, on a short foot, painted each side with a figurative panel inside brocade, floral and butterfly borders 15cm high, restoration to foot £300-500 275 A JAPANESE SATSUMA VASE, MEIJI PERIOD (1868-1912) of tapered square section, the sides painted in deep blue, enamels and gilt with vases of flowers, tables, scrolls, teawares and other objects, the shoulders painted with a floral and brocade pattern, gilt patterned signature to base 18cm high £300-500

275

276 A JAPANESE SATSUMA VASE, KINKOZAN, MEIJI PERIOD (1868-1912) of compressed circular form with waisted neck, painted with figures in a landscape, iron-red and gilt signature to base 9cm high £200-300 277 A JAPANESE SATSUMA VASE, KINKOZAN, MEIJI PERIOD (1868-1912) globular, painted with birds flying behind a net and scattered butterflies, gilt signature to base 10.5cm high £200-300

276, 277

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278 278 A JAPANESE SATSUMA SMALL BOX AND COVER, MEIJI PERIOD (1868-1912) circular, the sides painted with flowers, the cover with a ho-o bird inside a chevron border, gilt painted signature, 6.5cm diameter; together with a small Satsuma koro and cover, Meiji Period (1868-1912), the sides painted with chrysanthemums and ho-o birds on a deep blue enamelled ground, gilt painted signature, 6.5cm high (2)

282, 283, 284

£200-300 279 A JAPANESE SATSUMA SMALL WINE POT AND COVER, MEIJI PERIOD (1868-1912) compressed circular, painted with two figurative panels against a brocade ground, iron-red and gilt signature, 9.5cm diameter; together with a Satsuma koro and associated cover, Hozan, Meiji period, compressed circular, painted with figure and coastal panels against a Y-diaper ground, pierced fan-shaped handles, gilt signature to base, 13cm diameter (2) £200-300 280 A JAPANESE SATSUMA WINE POT AND COVER, MEIJI PERIOD (1868-1912) of compressed circular form, painted with figure and landscape panels against a brocade gound, gilt signature to underside of spout 11cm diameter £200-300 281 A JAPANESE SATSUMA BOWL, MEIJI PERIOD (1868-1912) painted to the interior with a mother and three children walking beside a river beneath a cell pattern and floral border, the underside painted with flowers, gilt painted signature 12cm diameter

282 A JAPANESE SATSUMA VASE, PROBABLY KANZAN, MEIJI PERIOD (1868-1912) of rounded square section painted with two figurative panels against an elaborate panelled ground, indistinct gilt signature 13cm high £100-150 283 A JAPANESE SATSUMA KORO AND COVER, MEIJI PERIOD (1868-1912) rectangular bombé, each side painted with a figurative panel against a brocade ground, with angular handles, the pierced cover with shishi finial 22cm high £150-250 284 A JAPANESE SATSUMA VASE, MEIJI PERIOD (1868-1912) baluster, painted with flowering peony and wisteria beneath a gilt border enamelled with lotus flowers 18cm high £100-150

£150-250

279

280

281

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285

287

285 A JAPANESE SATSUMA FIGURE OF AN ELEPHANT, KIZAN, MEIJI PERIOD (1868-1912) standing four square, its saddle cloth enamelled with flowers, birds and scrolls, gilt signature to rear 22cm long £500-700

287 A JAPANESE SATSUMA FIGURE OF A SMILING BOY, MEIJI PERIOD (1868-1912) seated on a rocky mound and holding a fan up to his hat, wearing richly decorated floral patterned robes, blue painted signature to base 26cm high £200-300

286 A JAPANESE SATSUMA VASE, TAIZAN, MEIJI PERIOD (1868-1912) pear form, painted with flowers and brocade panels above an iron-red and gilt key pattern foot, black painted signature, 13.5cm high; together with another Satsuma vase, Meiji period, of double gourd form, painted with panels of figures, birds, flowers and butterflies, indistinct iron-red signature, 12cm high, minor restoration to rim; and another Satsuma vase, Meiji period, of small size, slender ovoid, painted each side with a panel of figures in a landscape between smaller brocade and floral panels, unsigned, 10cm high (3)

288 A JAPANESE SATSUMA VASE, MEIJI PERIOD (1868-1912) lobed pear form, one side painted with a panel of warriors, the reverse painted with figures and a house in a landscape, the handles modelled as mallets, replacement wood cover, black and gilt painted signature 9.5cm high excluding cover

£200-300

£150-200

286

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288

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289 290 289 A JAPANESE SATSUMA POT POURRI VASE AND COVER, MEIJI PERIOD (1868-1912) of cylindrical form, painted with flowering shrubs on a riverbank, moulded tassel handles, the pierced domed cover with shishi finial, on three bracket feet, brown painted seal mark 11cm high £200-300 290 A JAPANESE SATSUMA JAR AND COVER, MEIJI PERIOD (1868-1912) barrel form, painted with a continuous river scene with Kannon standing on a dragon flanked by attendants, the waves filled with rakan in boats, iron-red and gilt signature to base 15.5cm high £600-800

291

291 A JAPANESE SATSUMA BOX AND COVER, TOHAKUEN, MEIJI PERIOD (1868-1912) shallow circular, the cover painted with an oni amid cloud scrolls on a white dimpled ground inside a brocade border, the interior of the box and cover well painted with officials and attendants, iron-red mark to base 15.5cm diameter £300-500 292 A JAPANESE SATSUMA VASE, MEIJI PERIOD (1868-1912) of tapered square section, the sides painted with panels of ladies in a landscape and birds amid peony and trailing wisteria, the shoulders gilded with overlapping fans against a deep blue ground, iron-red and gilt signature to base 24cm high

292, 293, 294

£180-220 293 A JAPANESE SATSUMA PLATE, MEIJI PERIOD (1868-1912) painted with figures in a garden before a pavilion within a petal shaped frame beneath a deep blue and gilt border, gilt painted signature 22cm diameter

294 A JAPANESE EARTHENWARE FLASK, EDO PERIOD, 18TH CENTURY hexagonal, each side enamelled in blue and green and gilt with flowering peony, prunus and bamboo 21.5cm high

£100-150

£100-150

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296, 297, 298

296 A JAPANESE GIN BARI CLOISONNE VASE, ANDO JUBEI WORKSHOP, 20TH CENTURY tapering, worked with green and yellow grapes and leaves against an emerald green ground, stamped mark to mount 21.5cm high £150-250 297 TWO JAPANESE ENAMEL VASES, ANDO JUBEI WORKSHOP, 20TH CENTURY slender tapering form, delicately worked with flowering branches against an enamelled green ground, signed 22cm and 25cm high £200-300

295 295 A NEAR PAIR OF JAPANESE GIN BARI CLOISONNE VASES, ONE ANDO JUBEI WORKSHOP, 20TH CENTURY tapered cylindrical, worked with flowers against a deep red ground, 24.5cm high; together with a smaller similar example, unsigned, 21.5cm high (3)

298 TWO JAPANESE CLOISONNE VASES, 20TH CENTURY both with yellow grounds and unsigned, one slender baluster with flowering prunus and a chrysanthemum, the other slender ovoid with a peony 25cm high £200-300

£250-350 299 A PAIR OF JAPANESE CLOISONNE VASES, MEIJI PERIOD (1868-1912) bulbous, enamelled with white iris and peony blossoms on a grey green ground within pale green bird and scroll borders 16cm high £300-500

299

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300, 301, 302 300 A JAPANESE CLOISONNE VASE, MIWA, MEIJI PERIOD (1868-1912) almost cylindrical, worked with a bird flying towards a blossoming tree against a midnight blue ground, applied mark to base 15cm high £200-300 301 A GROUP OF THREE JAPANESE CLOISONNE VASES, MEIJI PERIOD (18681912) all worked on a midnight blue ground, one tapered rounded square section, with branches of wisteria, 19cm high, one tapered hexagonal, with wisteria and other flowers, 16cm high, and one compressed globular, with wisteria, irises and chrysanthemums, red painted Mount Fuji mark, 6.5cm high (3) £300-500 302 A PAIR OF JAPANESE CLOISONNE BOXES AND COVERS, ANDO JUBEI WORKSHOP, 20TH CENTURY circular, domed covers work with an iris or prunus against a green ground, green plush interiors, stamped marks 10.5cm diameter

303

£100-150 303 A PAIR OF JAPANESE BRONZE VASES, KOKU KOSHU (CARVED BY KOSHU), MEIJI PERIOD (1868-1912) slightly flared cylindrical, gold and silver inlay, engraved and patinated with opposing long-tailed cockrells perched on blossoming plum tree branches 15cm high excluding wood stands £500-700 304 A JAPANESE PARCEL-GILT AND PATINATED METAL ALLOY DISH, MEIJI PERIOD (1868-1912) fluted circular, decorated in relief with Samurai on horseback, the rim with panels variously decorated with flowers, shishi, insects, fans or diaperwork 34.5cm diameter £200-300

304

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305, 306, 307, 308 305 A JAPANESE POLISHED BRONZE VASE, MEIJI PERIOD (18681912) broad ovoid with two cast dragonfly handles, signed on base 23cm high

308 A JAPANESE BRONZE VASE, MEIJI PERIOD (1868-1912) pear shaped, with three fishes in low relief 24cm high £200-300

£200-300 309 A GROUP OF JAPANESE METALWORK, MEIJI PERIOD (18681912) comprising: a bronze figure of Hotei seated on a sack, 14cm high, an iron tetsubin (kettle), cast with a figure with a frog and leafy branches, seal mark, 11cm high excluding handle, a green patinated bronze slender vase decorated with butterflies, 22.5cm high, a bronze model of minogame (flaming tortoise), 14cm long, and a small gu-shaped bronze vase applied with two figures on the shoulders, 15cm high (5)

306 A JAPANESE BRONZE VASE, MEIJI PERIOD (1868-1912) brown patinated, pear shaped, with feline mask ring handles, one side inlaid with a silver flowerhead and two buds 20.5cm high £150-250 307 A JAPANESE BRONZE BRAZIER, MEIJI PERIOD (1868-1912) cylindrical, animal mask ring handles, the sides decorated in Chinese archaic style with a band of taotie masks against a leiwen ground between stiff leaf borders 20.5cm high

£200-300

£120-180

309

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311

310 A JAPANESE GOLD AND BLACK LACQUER KARABITSU (STORAGE CHEST), EDO PERIOD, 18TH CENTURY canted square outline, ribbed sides, with scattered gold lacquer mon, with internal liftout tray, raised on four gilt-metal mounted supports to the centre of each side 57cm high by 57cm wide

310

£700-1000 311 A JAPANESE WOOD AND GILT-METALMOUNTED CALIGRAPHER’S COMPENDIUM, MEIJI PERIOD (1868-1912) the rectangular box fitted to one side with various drawers and a small cupboard, the other side with a detachable partitioned rectangular holder, the top with a copper lidded compartment, liner and carrying handle 44cm high £200-300 312 A JAPANESE PARQUETRY COLLAPSIBLE DESK, MEIJI PERIOD (1868-1912) with rectangular board fitting between two pedestals, one with a cupboard enclosing two drawers with another beneath, the other with four graduated drawers 70cm wide by 27cm high

312

£100-150

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313

314

313 ~ A JAPANESE ROSEWOOD SMALL BOX AND COVER, JITOKUSAI SAKU, MEIJI PERIOD, LATE 19TH CENTURY rounded square, the cover decorated with a gold lacquer chrysanthemum and insect and silvered branches of prunus, underside signed with kaô 6cm wide £300-400

314 A JAPANESE MINIATURE INLAID CHEST OF DRAWERS, KOMAI COMPANY, 20TH CENTURY bow front and back, the two short between two long drawers decorated in silver and gilt nunomezogan with Mount Fuji, birds and flowers, the top with a ho-o bird, the sides and back with aoi mon against a ground of paulownia leaves, gilt signature to base 5cm high £700-1000

315, 316, 317 315 A JAPANESE LACQUER KORO, MEIJI PERIOD (1868-1912) hexafoil, with three gilt mon of the Prince of Soma-Yaki, copper rim and lining, with gilt-metal grille 8.5cm high £200-300

316 A JAPANESE BROWN LACQUERED METAL ALLOY SMALL BOX AND COVER, MEIJI PERIOD (1868-1912) compressed circular, gilded with a flock of birds flying over breaking waves, gilt interior, 7cm diameter; together with a small lacquer beaker and cover, Meiji period, almost cylindrical, with leaves and chrysanthemum mon on a deep brown ground, 7cm high; and a lacquer cup stand, of clam shape on tapered cylindrical foot, the upper surface with gold lacquer clams, 6.5cm high (3)

317 A JAPANESE LACQUER SMALL COMB, MEIJI PERIOD (1868-1912) carved in low relief with gold and red lacquer flower and fruit panels, 8.5cm wide; together with a miniature cloisonné teabowl and saucer, the saucer petal shaped (2) £100-150

£200-300

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318 A JAPANESE EMBROIDERED SILK PANEL, PROBABLY EARLY 20TH CENTURY worked with a pair of hexagonal tubs, the covers with minogame badges, on a deep blue ground scattered with shells and tassels 66cm square excluding giltwood glazed frame £100-150 319 A GROUP OF JAPANESE LACQUER, MEIJI / TAISHO PERIODS (1868-1926) comprising: a large rounded rectangular form decorated in gold lacquer with a building in a landscape, 52.5cm wide, a small black ground rectangular box and cover decorated with a bird in flight, gold nashiji lacquer, 10cm wide, a small oval brown lacquer dish decorated with chrysanthemum, 21cm wide, and a rectangular Bundai top decorated with gold lacquer prunus and bamboo, legs lacking, 65cm wide (4) £200-300

318

319 part 320 A JAPANESE WOOD FIGURE OF A MAN WITH A DRUM, MEIJI PERIOD (1868-1912) standing on one leg holding a drumstick in each hand 16.5cm high £100-150

321 ~ A GROUP OF FOUR JAPANESE LACQUERED WOOD AND IVORY OKIMONO, MEIJI PERIOD (1868-1912) comprising: two bijin, one standing and one seated with arms raised, in highly decorated robes; a figure of a an old man standing, mounted on wood stand; and a figure of a seated craftsman, with wood stand tallest 21cm high, some damage and elements missing (4) £400-600

320 321

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322 323

322 ~ A CHINESE ‘DOCTOR’S MODEL’ IVORY CARVING, LATE 19TH / EARLY 20TH CENTURY carved as a woman reclining on a large palm leaf, associated stone plinth 15.5cm long £150-250 323 ~ A JAPANESE INLAID IVORY 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-ofpearl of a bird amongst blossoming prunus and narcissus, the interior also with basketweave inlay 19.5cm wide £600-900

324

324 ~ A JAPANESE IVORY OKIMONO OF A SCHOLAR, MEIJI / TAISHO PERIOD (1868-1926) carved standing beside his pupil and holding a brush, stained detail, signature to base 22cm high, brush broken £700-900 325 ~ A JAPANESE IVORY OKIMONO OF FISHERMEN, MEIJI PERIOD (1868-1912) carved as a figure wading through shallow water, his fellow fisherman on his back reaching down to catch a crab, inlaid detail, signed 19cm high £1000-1500

325

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326

326 ~ A JAPANESE IVORY OKIMONO GROUP OF RATS, MEIJI PERIOD (1868-1912) the three rodents playing on a reed paddle filled with mushrooms, stained detail, inlaid eyes, signed on the underside 28cm long, small chip to ear of one rat £700-900 327 ~ A JAPANESE IVORY OKIMONO OF SHOKI (THE DEMON QUELLER), MEIJI PERIOD (1868-1912) carved kneeling on a barrel containing an escaping oni and pinning a further oni to the lid whilst holding another oni aloft, several more oni spilling around his feet, stained and inlaid detail, signed Nagasada in red lacquer signature panel 13cm high

327

£600-800 328 ~ A JAPANESE IVORY OKIMONO GROUP OF SEA GODS, MEIJI PERIOD (1868-1912) carved with a central female goddess surrounded by an archer and attendant, a priest, a muscian and a flag bearer, all on a base of crashing waves, stained detail, signature in green lacquer panel, with associated wood base 12cm high, minor damage to goddess’ hand £250-350 329 ~ A JAPANESE IVORY OKIMONO OF A FARMER, MEIJI PERIOD (1868-1912) carved crawling away from a rabid dog attacking from behind, an upturned basket by his side, stained detail, two character mark to underside 19cm long £400-600

328

329

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331

330

330 ~ A JAPANESE IVORY OKIMONO OF A CRAFTSMAN, MEIJI PERIOD (1868-1912) carved kneeling and surrounded by paints and brushes, a large warrior head in his hands, stained detail, signed Gyokuyuki, wood stand 9cm high

332

£400-600 331 ~ A JAPANESE SECTIONAL IVORY OKIMONO OF A BIRD KEEPER, MEIJI PERIOD (1868-1912) carved berating a heron that is trying to steal one of his birds, stained detail 16cm long, small bird broke off, elements loose, crack to base £250-350 332 ~ A JAPANESE IVORY OKIMONO OF A WOMAN AND CHILDREN, MEIJI PERIOD (1868-1912) carved with a child with a baby on its back, their mother trying to put a hat on the baby, on shaped base, stained detail, signed Sogyoku in red lacquer panel 16cm high, some damage and repair £150-250

333

333 ~ A JAPANESE IVORY OKIMONO OF WRESTLERS, MEIJI PERIOD (1868-1912) carved as one wrestler throwing his opponent over his shoulder, on oval base, stained detail, signed Senzan, wood base 16cm high £200-300 334 ~ A JAPANESE IVORY OKIMONO OF AN ONI, MEIJI PERIOD (1868-1912) crouching with one arm raised, its left hand raised above its head, stained detail, associated wood base 8cm, probably part of a larger group, chip to toe £120-180

334

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335

336

335 ~ A JAPANESE IVORY OKIMONO OF AN ONI AND BOY, MEIJI PERIOD (1868-1912) the oni dressed in robes and holding a sake bottle, poking its tongue in fun but making his boy companion cry, on circular base, 13cm high, signature panel missing, crack to base £200-300 336 ~ A JAPANESE IVORY OKIMONO OF A MUSICIAN, MEIJI PERIOD (1868-1912) carved kneeling and holding a drum on his right shoulder, stained detail, signed, on associated lacquered wood footed base 13.5cm high £400-600 337 ~ A JAPANESE IVORY OKIMONO OF AN ARCHER, MEIJI PERIOD, LATE 19TH CENTURY carved standing with a heron under one arm and leaning on a sword, a quiver of arrows on his back, a boy with a basket of produce at his feet, mounted on a lacquered wood canted square base, stained detail overall height 23cm, damage to bow

337

£300-500 338 ~ A JAPANESE IVORY OKIMONO OF GUANYIN, MEIJI PERIOD (1868-1912) standing on lotus base, with elaborate head-dress and hands in vitarkamudra, wood base, 19cm high; together with an ivory okimono of a Bijin, late 19th/early 20th century, carved standing in long robes, holding a peony branch, on oval base, stained detail, 18.5cm high (2) £200-300

338

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341 339, 340

339 ~ A JAPANESE IVORY OKIMONO OF A FARMER, MEIJI PERIOD (18681912) kneeling next to a basket of gourds and with an expression of fright upon his face, possibly at the sight of a rat, stained detail, signed in red lacquer reserve, with an associated wood stand 8cm high £400-600 340 ~ A JAPANESE IVORY OKIMONO OF A PIPE SMOKER, MEIJI PERIOD (1868-1912) seated next to a jar, a pipe in his hand, stained detail, signed Rakumin 5cm £200-300

342

341 ~ A JAPANESE IVORY OKIMONO OF A WOLF AND COCKEREL, MEIJI PERIOD (1868-1912) the wolf roped to a panel from which a cockerel is attempting to escape, inlaid eyes, signed 13.5cm high £500-700 342 ~ A JAPANESE IVORY OKIMONO OF A MUSICIAN, MEIJI PERIOD (1868-1912) carved playing a samisen and hopping over the toads at his feet, the toad on his shoulder holding a leaf, stained detail 12cm high, some damage to toads £150-250 343 ~ A JAPANESE IVORY OKIMONO OF A YOUNG MAN, MEIJI PERIOD, LATE 19TH CENTURY standing in windswept robes leaning on a stick and holding up a ball, signed Shomei 16.5cm high £150-250

343

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Lots 344 to 448 CURATED BY MAX RUTHERSTON

344

344 ~ A JAPANESE IVORY OKIMONO OF A SMALL BANANA, SHOWA PERIOD, CIRCA 1930 naturalistically carved with part of the skin peeled back, unusually with a minute snail approaching the flesh, unsigned 11cm long £2000-3000 345 ~ A JAPANESE IVORY OKIMONO OF A FISHERMAN, LATE MEIJI PERIOD, CIRCA 1900 standing wearing a straw apron and balancing three baskets from which fall two fish, some inked detail, signed Shizuyuki, 21.8cm high

345

£1500-2000 346 A JAPANESE FOUR-CASE LACQUER INRO, 18TH CENTURY, RELACQUERED CIRCA 1900 decorated with a pheasant in a pine tree in takamakie, some shell inlay, unsigned, with coral ojime and lacquer manju netsuke 8.7cm high £200-300

346

347 ~ A JAPANESE IVORY NETSUKE OF TEKKAI SENNIN, LATE EDO PERIOD, CIRCA 1820 standing hugging his staff, unsigned 6.2cm high £400-600 348 A JAPANESE TOOTH NETSUKE OF A MALE MASK, EARLY 20TH CENTURY the eye pupils and lips pigmented, scratched signature Gyokuzan 3.5cm high £250-350

347

348

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350

349

349 A JAPANESE WOOD NETSUKE OF A COURTESAN AND BOY, LATE EDO PERIOD, CIRCA 1820 her Chinese style robe with an inked floral design, unsigned 4.5cm wide £700-900 350 A GROUP OF THREE JAPANESE WOOD NETSUKE, EARLY 20TH CENTURY comprising: a large ball of toads, inlaid eyes, unsigned, 6cm; a study of a toad on a lotus pod, inlaid eyes, unsigned, 5cm; and a study of a snail on the back of a large toad, 4.5cm £150-200 351 ~ A JAPANESE BAMBOO OTOSHIZUTSU PIPECASE, LATE EDO PERIOD, CIRCA 1860 the rustic case boldly engraved with peony, chrysanthemum, prunus and lotus, the mouth mounted in ebony, extensively inscribed and apparently signed Batsu… (second kanji unread) saku, 21cm long £300-400 352 ~ A JAPANESE WOOD NETSUKE OF A SNAIL ON LOTUS LEAF, LATE EDO PERIOD, CIRCA 1820 with added signature of Miwa on a piece of ivory inserted into one of the himotoshi 5.6cm wide £800-1200 353 A JAPANESE PLUM WOOD NETSUKE OF A SHISHI, MID EDO PERIOD, CIRCA 1780 in the style of Mitsuharu, clutching a large ball, unsigned 4.1cm high £400-600 354 A JAPANESE WOOD NETSUKE OF HOZUKI (PHYSALIS) ON A MAT, LATE EDO PERIOD, CIRCA 1850 two fruit on a folded straw mat, unsigned 4.1cm wide

351

£400-600

352

86

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354

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355

356

357

355 ~ A JAPANESE TWO-PART IVORY MANJU NETSUKE, EARLY MEIJI PERIOD, CIRCA 1870 engraved with a woman leaning wistfully on a fulling block as a cuckoo flies overhead, the reverse with the full moon amongst clouds, signed Kikugawa 4.8cm diameter £600-800 356 ~ A JAPANESE IVORY NETSUKE OF A BOY ON HOTEI’S SACK, MID EDO PERIOD, CIRCA 1700 leaning on an elbow, unsigned 3.7cm wide

358

£400-600 357 ~ A JAPANESE IVORY NETSUKE OF A SHISHI, LATE EDO PERIOD, CIRCA 1780 hugging a huge ball with a comical expression, unsigned 3.2cm high £450-550 358 ~ A JAPANESE IVORY TOBORI NETSUKE OF A RAKAN, MID EDO PERIOD, CIRCA 1700 seated on a rock with gourds on his shoulders, unsigned 3.8cm high £350-450

359

359 ~ A JAPANESE IVORY NETSUKE OF A SENNIN, LATE EDO PERIOD, CIRCA 1780 carved from an extremely thin sliver of material, unsigned 4.3cm high £150-200 360 ~ A JAPANESE STAINED IVORY NETSUKE OF A CHINESE SCHOLAR, LATE EDO PERIOD, CIRCA 1820 playing a flute, unsigned 4.8cm high £350-450

360

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Lots 361 to 410 NETSUKE FROM THE JULIUS AND ARLETTE KATCHEN COLLECTION Julius Katchen (1926-1969) was brought up in New Jersey, the child prodigy of a family of Russian immigrants with three generations of accomplished piano players. He established a reputation early and was on the international concert circuit in his twenties, settling in Paris. He bought his first netsuke on a concert tour in Japan in 1953 and thereafter took time off from his professional duties when traveling to go netsuke hunting with his young wife Arlette. Together they rapidly put together a large and impressive collection, attending all the landmark sales of the legendary Mark T. Hindson collection at Sotheby’s London between June 1967 and June 1969, though Julius himself died of cancer a couple of months before the last. In the building of their joint collection, they were largely advised by Geoffrey Moss of Sydney L. Moss Ltd. Arlette Katchen continued to add to the collection for forty-five years after she was widowed, buying extensively, but not exclusively, from Moss and Eskenazi. In 2010 Mrs. Katchen published the major part of the collection in a 3 volume set entitled “Netsuke 7”. She has since died.

I believe that the collection must have run to at least 1000 netsuke. Dispersals began with two sales at Sotheby’s London in November 2005 and July 2006, but as the second sale was not that successful, the process was halted. It was my privilege to sell a tranche of netsuke for the family between 2011 and 2014, and then to suggest that the rest be sold at auction. Following a successful sale at Bonhams London in November 2016, I am delighted to bring a further interesting selection to Matthew Barton Ltd.

Max Rutherston

362

363

364 361

361 A JAPANESE WOOD NETSUKE OF ASHINAGA AND TENAGA, MEIJI PERIOD (1868-1912) long arms riding on the back of long legs, signed Tomin to 10.1cm high Provenance: Arlette Katchen collection, Paris

363 A JAPANESE BOXWOOD NETSUKE OF FUKUSUKE, EARLY MEIJI PERIOD, CIRCA 1870 typically carved with exaggerated and somewhat phallic head, the eyes inlaid in horn, signed Shuzan 4.8cm high Provenance: Emiel Veranneman and Arlette Katchen, Paris

£800-1200

Published: Eskenazi, June 1998, no.30 362 A JAPANESE WOOD NETSUKE OF ASHINAGA AND TENAGA, LATE EDO PERIOD, CIRCA 1820 seated close together, long arm resting on one knee of his partner, signed Minzan 4.4cm high Provenance: Arlette Katchen collection, Paris £1500-2000

£1200-1800 364 A JAPANESE WOOD NETSUKE OF A STANDING SARUMAWASHI, LATE MEIJI PERIOD, CIRCA 1910 standing with his monkey on his shoulder, signed Kazumitsu 7.6cm high Provenance: Arlette Katchen collection, Paris £400-600

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365

366

367

365 A JAPANESE WOOD MASK NETSUKE OF A WOMAN, LATE EDO PERIOD, CIRCA 1820 signed Deme Joman with kao 5cm high Provenance: Julius and Arlette Katchen collection, Paris, acquired in 1968 Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.1, p.308, no.K843 £400-600 366 A JAPANESE WOOD MASK NETSUKE OF OKINA, MEIJI PERIOD, CIRCA 1880 signed Tamiaki 4.4cm high

369

Provenance: Arlette Katchen collection, Paris £400-600 367 ~ A JAPANESE EBONY MASK NETSUKE OF SANKOJO, LATE MEIJI PERIOD, CIRCA 1910 signed Masayoshi 4.6cm high

369 A JAPANESE WOOD MASK NETSUKE OF AN OLD MAN, LATE EDO PERIOD, CIRCA 1820 signed Kosai 4.9cm high Provenance: Arlette Katchen collection, Paris £400-600

Provenance: Arlette Katchen collection, Paris £400-600

368 368 A JAPANESE WOOD MASK NETSUKE OF BESHIMI, LATE EDO PERIOD, CIRCA 1820 the eyes inset with gilt copper, signed Deme Uman tenka ichi 4.2cm high Provenance: Julius and Arlette Katchen collection, Paris, purchased from Hartman, New York, 1967 Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.1, p.308, no.K842

370 370 A JAPANESE WOOD MASK NETSUKE OF JO AND UBA, LATE EDO PERIOD, CIRCA 1850 the elderly couple emblematic of conjugal fidelity, signed in red lacquer Hojitsu 3.6cm high Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.1, p.310, no.K847 £400-600

£500-700

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371 A JAPANESE PARTLY LACQUERED WOOD MASK NETSUKE OF NAMANARI, LATE EDO PERIOD, CIRCA 1820 unsigned 5.5cm high Provenance: Julius and Arlette Katchen collection, Paris, acquired in 1967

371

Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.422, no.K869 £700-900 372 ~ A JAPANESE EBONY MASK NETSUKE OF A FIERCE ONI, LATE EDO PERIOD, CIRCA 1820 unsigned 5.1cm high Provenance: Julius and Arlette Katchen collection, Paris, acquired from Joe Seo, New York, 1965

372

Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.424, no.K866 £400-600

373

373 A JAPANESE WOOD NETSUKE OF A SARUMAWASHI, EDO PERIOD, CIRCA 1790 the monkey going to steal a morsel from the sleeping trainer’s basket, unsigned 3.7cm high Provenance: Arlette Katchen collection, Paris £1000-1500 374 ~ A JAPANESE EBONY NETSUKE OF A SKELETON ON A HUMAN SKULL, EARLY MEIJI PERIOD, CIRCA 1880 the skull huge in comparison to the skeleton, unsigned, 3.5cm high

374

Provenance: Arlette Katchen collection, Paris £500-700 375 ~ A JAPANESE EBONY NETSUKE OF A SKELETON, LATE EDO PERIOD, CIRCA 1820 folded into a foetal position for burial according to ancient custom, one hand touching the side of the skull, unsigned, 6.4cm high Provenance: Arlette Katchen collection, Paris £700-1000

375

376 A JAPANESE WOOD NETSUKE OF A CHILD DOING BEKKAKO, LATE EDO PERIOD, CIRCA 1860 hiding a hozuki (cape gooseberry) fruit of inlaid coral behind his back and pulling down a lower eyelid, his of inlaid glass inserted beneath a plug in his head, signed Miwa with kao 2.9cm high Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.1, p.272, no.K681 £600-800

376

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377 ~ A JAPANESE EBONY NETSUKE OF A MOUNTAIN RETREAT, LATE EDO PERIOD, CIRCA 1850 unsigned, but traditionally attributed to Chikuyosai Toun 4.9cm long Provenance: Sydney L. Moss Ltd., London, and Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, p.306, no.K838 £600-800

377

378 A JAPANESE BIZEN POTTERY NETSUKE OF DARUMA, LATE EDO PERIOD, CIRCA 1860 clutching a leg to which he has applied moxa, unsigned, 3.7cm high Provenance: Raymond Bushell; Christie’s, London, The Raymond and Frances Bushell Collection of Netsuke, Part I, 27 October 1987, lot 260; and Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.450, no.K935

378

£350-450 379 A JAPANESE CELADON PORCELAIN NETSUKE OF A NESTING CRANE, LATE EDO PERIOD, CIRCA 1880 impressed mark of Zoroku (of Kyoto) 4.4cm high Provenance: Eskenazi, London, and Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.1, p.90, no.K908 £350-450

379

380 A JAPANESE BLUE AND WHITE PORCELAIN MANJU NETSUKE OF A DRAGON, LATE EDO PERIOD, CIRCA 1850 unsigned, 4.9cm diameter Provenance: Arlette Katchen collection, Paris £400-500 381 A JAPANESE WALNUT NETSUKE, LATE EDO PERIOD, CIRCA 1850 carved with quails and chrysanthemums, bearing added signature of Hidari Issan 4.2cm long

380

Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.192, no.K519 £180-220 382 ~ A JAPANESE WOOD KAGAMIBUTA NETSUKE, EARLY MEIJI PERIOD, CIRCA 1880 the bowl of rosewood, the repoussé plate of silver with shakudo detail showing a boy on an ox, signed Taki Hidenaga with kao 4.1cm diameter

381

Provenance: Arlette Katchen collection, Paris, acquired from Wilensky Published: Meinertzhagen Card Index, p.149; Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.220, no.K245 £500-700

382

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383

385

383 ~ A JAPANESE WOOD KAGAMIBUTA NETSUKE BY OKINARI, EARLY MEIJI PERIOD, CIRCA 1880 the bowl of tagayasan (Indian blackwood) the shakudo plate decorated in soft metals with a sardine, chestnut and leaves in relief over a punched nanako ground, unsigned but with a kao 4.1cm diameter Provenance: F. Meinertzhagen, M.T. Hindson, and Julius and Arlette Katchen collections Published: F. Meinertzhagen, in his card index, p. 624, also in The Art of the Netsuke Carver, no. 153; Sotheby’s, London, Hindson sale, 19 March 1968, lot 461; Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.220, no.K582

385 A JAPANESE WOOD NETSUKE OF A MONKEY HUGGING A HUGE PEACH, LATE EDO PERIOD, CIRCA 1830 originally with both eyes inlaid in brass, unsigned 5cm wide Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.368, no.K190 £350-450

£400-500

386

384 384 A JAPANESE COPPER NETSUKE BY YOSHIOKA INABA NO SUKE, MEIJI PERIOD (1868-1912) in the form of a bamboo node, inlaid with leaves in shakudo and the crescent moon in silver, signed Yoshioka Inaba saku 4cm long Provenance: Arlette Katchen collection, Paris, acquired from Kaplan Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.222, no.K652 £350-450

386 A JAPANESE SOLID PEWTER NETSUKE OF TENGU NO TAMAGO, LATE EDO PERIOD, CIRCA 1850 emerging from its egg, the wings of copper, the eyes originally gilt, unsigned 4cm high Provenance: Julius and Arlette Katchen collection, Paris, acquired from Felix Tikotin, 1965 Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.444, no.K456 £350-450 387 A JAPANESE METAL HAKO-NETSUKE, EARLY MEIJI PERIOD, CIRCA 1880 in the form of a drum, the skins with tomoe-mon in silver and shakudo, the frame of copper with engraved wood grain, loose rings either side, signed Goto Mitsutoshi 3.7cm diameter Provenance: Julius and Arlette Katchen collection, Paris, acquired from Schulmann, 1967 Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.222, no.K831 £350-450

387

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388

391

388 A JAPANESE UMOREGI NETSUKE, LATE EDO PERIOD, CIRCA 1860 carved in relief with Daruma, his fly whisk behind, signed on a metal plate to the side: Masayoshi 3.9cm high

391 A JAPANESE COPPER NETSUKE OF A SADDLE, LATE EDO PERIOD, CIRCA 1860 with applied gilt kiri-mon, unsigned 2.9cm wide

Provenance: Arlette Katchen collection, Paris

£400-500

Provenance: Arlette Katchen collection, Paris

Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.224, no.K934 £300-400

392 392 A JAPANESE WOOD NETSUKE OF A NURSING MERMAID, EDO PERIOD, CIRCA 1790 a characterful old carving, unsigned 5.5cm long

389 389 A JAPANESE WOOD NETSUKE OF A MONKEY WITH SACK OVER ITS SHOULDER, LATE EDO PERIOD, CIRCA 1830 originally with both eyes inlaid in brass, unsigned 5cm wide

Provenance: E.A. Wrangham; Bonham’s, London, Wrangham Part III, 15 May 2012, estimated £800-900; T. Hahn collection; Arlette Katchen collection At the Wrangham auction, the lot was hotly contested by two very determined collectors, Hahn and Katchen, the former winning it for £6,875. He later gracefully conceded it to Mme. Katchen for the price he paid. £2000-3000

Provenance: Julius and Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.368, no.K890 £350-450 390 ~ A JAPANESE EBONY NETSUKE OF A MONKEY, LATE EDO PERIOD, CIRCA 1860 based on a pottery model, the monkey seated with a peach on its lap, signed Masayasu, 6.3cm high Provenance: Betty Jahss; Sotheby’s, London, The Betty Jahss Collection of Netsuke, part I, 13 June 1991, lot 33; and Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.230, no.K891 £500-700

390

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394 395

393

393 A JAPANESE SILVER TWO-PART MANJU NETSUKE, MEIJI PERIOD (1868-1912) engraved in katabori and kebori with a tiger on a rock, signed Toshisada 5cm diameter Provenance: Julius and Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.220, no.K895 £350-450 394 A JAPANESE SILVER TWO-PART MANJU NETSUKE, MEIJI PERIOD (1868-1912) engraved with flying cranes, unsigned 4.3cm diameter Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.442, no.K529

396

£350-450 395 A JAPANESE STAG ANTLER NETSUKE OF A BIRD OF PARADISE, OSAKA, LATE EDO PERIOD, CIRCA 1850 perched on the branch of a dead tree, unsigned 4.8cm high Provenance: Arlette Katchen collection, Paris £800-1000 396 A JAPANESE HIRADO WHITE PORCELAIN NETSUKE OF A KARAKO, LATE EDO PERIOD, CIRCA 1850 the Chinese boy holding a drum, unsigned, 4.4cm high Provenance: Floyd Segel, Sotheby’s, Chicago, 7 July 1999, lot 116 and Arlette Katchen collection, Paris £400-500

397

397 A JAPANESE CORAL NETSUKE OF A TRANSFORMING BADGER, MEIJI PERIOD (1868-1912) standing in a priest’s robe, holding a staff, half its face human, half animal, indicated by different ears, signed Kogasa 5.8cm high Provenance: Floyd Segel (his sale Sotheby’s 1999, lot 117) and Arlette Katchen collections, Paris £600-800 398 ~ A JAPANESE IVORY NETSUKE OF SEIOBO, LATE EDO PERIOD, CIRCA 1860 seated on a stool and holding a peach and fan, unsigned, but probably by a Tokyo artist from the circle of Tomochika 3.6cm high Provenance: Arlette Katchen collection, Paris

398

Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.338, no.K762 £400-500

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399

400

399 ~ A JAPANESE IVORY NETSUKE OF A SARUMAWASHI, EDO PERIOD, CIRCA 1790 the monkey eating a morsel stolen from the sleeping trainer’s basket, unsigned 5.4 cm long

401

Provenance: Arlette Katchen collection, Paris £1200-1800 400 ~ A JAPANESE IVORY NETSUKE OF A BUGAKU DANCER, EDO PERIOD, CIRCA 1790 lying in his robes and hat, holding a mask of Beshimi in front of him 7.3cm long Provenance: Arlette Katchen collection, Paris Illustrated: Sydney L. Moss Ltd., Outside the Box, no.7 £3500-4500 401 ~ A JAPANESE IVORY MANJU NETSUKE OF A SKELETON PLAYING A BIWA, EARLY MEIJI PERIOD, CIRCA 1870 seated within an enfolding lotus leaf, signed Hakuo 4cm high Provenance: Raymond Bushell and Arlette Katchen collections Illustrated: Raymond Bushell, Netsuke Familiar and Unfamiliar, Tokyo & New York, 1973, p.186, no.525; George Lazarnick, Netsuke & Inro Artists and How to Read Their Signatures, Honolulu, 1981, p.437

402

£1500-2000 402 ~ A JAPANESE IVORY NETSUKE OF DARUMA, MEIJI PERIOD, CIRCA 1900 seated, stretching and yawning, signed Tomotoshi 4.8cm high Provenance: Arlette Katchen collection, Paris £800-1200 403 ~ A JAPANESE IVORY NETSUKE OF A BOY AND PUP, MID EDO PERIOD, CIRCA 1750 lying side by side on a tripod table, the boy with a handscroll open in front of him, unsigned 3.2cm high

403

Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.314, no.K688 £400-500 404 ~ A JAPANESE IVORY NETSUKE OF A CRAB, LATE EDO PERIOD, CIRCA 1850 on a shallow rock base, partly stained, the eyes inlaid in dark horn, signed Tomokazu 4.9cm long Provenance: Arlette Katchen collection, Paris £1000-1500

404

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406

405 405 A JAPANESE WOOD NETSUKE OF THREE PEANUTS, EARLY 20TH CENTURY naturalistically carved life size, dark stained, unsigned 4.3cm long Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.396, no.K623 £350-400

407

406 A JAPANESE WOOD NETSUKE OF A MANDARIN ORANGE, LATE EDO PERIOD, CIRCA 1850 reminiscent of a Tanba carving, the orange partly peeled and with its stalk still attached with leaves and a diminutive fruit, unsigned 4.4cm wide Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.396, no.K671 £500-700 407 A JAPANESE RED LACQUER NETSUKE OF A SHISHI, LATE EDO PERIOD, CIRCA 1800 in Chinese style, curled up and with its tongue out, unsigned 3.9cm long Provenance: Julius and Arlette Katchen collection, Paris, acquired from Hartman, New York, 1967 Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.430, no.K446 £400-500

408

408 A JAPANESE LACQUERED WOOD NETSUKE OF A GOLDFISH, EARLY 20TH CENTURY its opaque glass eyes set in bulbous cheeks, the lacquer of dull gold nashiji, unsigned 5.6cm long Provenance: Julius and Arlette Katchen collection, Paris, acquired from Diammond, 1967 Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.436, no.K546 £350-450

409

409 ~ JAPANESE IVORY TWO-PART MANJU NETSUKE, MEIJI PERIOD (1868-1912) engraved with a geisha holding a fan, the reverse with a box beneath the full moon, signed Kogyokusai 3.9cm diameter Provenance: Arlette Katchen collection, Paris £180-220

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411 410 410 ~ A JAPANESE WHALE TOOTH NETSUKE, LATE EDO PERIOD, CIRCA 1860 engraved and inked with a design of karakusa around a stylized flower, unsigned 6.4cm long Provenance: Arlette Katchen collection, Paris Published: Arlette Katchen, Netsuke 7, Paris, 2010, vol.2, p.344, no.K834 £600-800

VARIOUS PROPERTIES

412

411 ~ A JAPANESE IVORY TOBORI NETSUKE OF A RAKAN, MID EDO PERIOD, CIRCA 1700 the ascetic seated leaning on a shishi, unsigned 4.3cm high £400-500 412 ~ A JAPANESE IVORY NETSUKE OF EBISU, LATE EDO PERIOD, CIRCA 1800 the lucky god cosying up to a large tai fish, emblem of much that is auspicious, unsigned 5.5cm wide

413

£300-400 413 ~ A JAPANESE IVORY NETSUKE OF BOYS MAKING MOCHI, MEIJI PERIOD (1868-1912) standing either side of a large mortar, signed Tomokazu 3.8cm wide £300-400 414 ~ A JAPANESE WALRUS IVORY NETSUKE OF EBISU, MEIJI PERIOD (18681912) the lucky god holding down a large tai fish, unsigned 3.2m high

414

£300-400 415 ~ A JAPANESE IVORY NETSUKE OF AN AMA AND SQUID, LATE EDO PERIOD, CIRCA 1800 the fishergirl apparently acceptant of the cephalopod’s multi-armed embrace, unsigned 3.5cm wide £400-600

415

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417

416

416 ~ A JAPANESE IVORY NETSUKE OF A DARUMA HAND WARMER, TAISHO PERIOD, CIRCA 1920 with a resigned expression, his hossu engraved to one side, all inspired by Mitsuhiro, signed Yuko 2.8cm high £350-450 417 A JAPANESE STAG ANTLER OBI-HASAMI NETSUKE, EARLY MEIJI PERIOD, CIRCA 1870 with minimal decoration, the overlapping top carved in simulation of woven basketry, unsigned 10.6cm high £250-350

418

418 ~ A JAPANESE IVORY NETSUKE OF ASHINAGA AND TENAGA, LATE EDO PERIOD, CIRCA 1820 the long legged Ashinaga with a drum on his back which his long armed partner beats from behind, unsigned 4.9cm high £600-800 419 ~ A JAPANESE STAINED IVORY NETSUKE OF ENTERTAINERS BY ONO RYOMIN, EARLY MEIJI PERIOD, CIRCA 1870 an actor in Okina mask dancing to the accompaniment of a drum, signed Ryomin 4.1cm high £500-700

419

420 ~ A JAPANESE IVORY NETSUKE OF A KARAKO AND YUKI-DARUMA SNOWBALL, LATE EDO PERIOD, CIRCA 1860 the boy rolling the snowball which bears the impressions of his hands, inlays of dark horn, signed: Shigemasa 4.8cm wide There is a similar netsuke by Masahiro in the Franks Collection of the British Museum, illustrated in Barker and Smith, Netsuke: The Miniature Sculpture of Japan, London, 1983, p.36, no.28 £1500-2000

420

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421

422

423

421 A JAPANESE WOOD NETSUKE OF MASKS BY HIDENAGA, EARLY MEIJI PERIOD, CIRCA 1870 Usobuki, Okame, Tengu, Hannya and two others, signed 5.2cm high £500-700 422 ~ A JAPANESE WOOD NETSUKE OF A BLIND MASSEUR, EARLY MEIJI PERIOD, CIRCA 1870 crouching to lift a heavy stone to exercise his muscles, his one open eye inlaid in ivory, signed Masakazu 3.6cm high £500-700

424

423 A JAPANESE PLUM WOOD NETSUKE OF SOJOBO, THE TENGU KING, LATE EDO PERIOD, CIRCA 1820 seated with his long bulbous nose resting on his knee, signed Shugetsu 3.2cm high £2500-3500 424 A JAPANESE PERSIMMON WOOD NETSUKE OF AN OVERRIPE FIG, LATE EDO PERIOD, CIRCA 1840 naturalistically carved with the seeds bursting from it, unsigned 3.9cm high £400-500

425

425 A JAPANESE PALE BOXWOOD NETSUKE OF THREE AUBERGINES BY MASANAO OF YAMADA, LATE EDO PERIOD, CIRCA 1850 signed 2.6cm high £250-350 426 A JAPANESE PALE BOXWOOD NETSUKE OF A CLAM FISHERMAN, MEIJI PERIOD, CIRCA 1900 knee deep in water, feeling around for clams, some of which already lie in his basket, signed Ryukei 4.1cm wide £350-450

426

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428 427

427 ~ A JAPANESE STAINED IVORY TWO-PART MANJU NETSUKE BY SHUYUSAI MINKOKU, EARLY MEIJI PERIOD, CIRCA 1870 deeply engraved with a tennin (Buddhist angel) holding a lotus stem, the reverse with drum and drumsticks, signed 4.5cm diameter

429

£800-1000 428 ~ A JAPANESE STAINED IVORY RYUSA STYLE MANJU NETSUKE, EARLY MEIJI PERIOD, CIRCA 1880 carved as a stylised chrysanthemum flower with hollowed out centre, unsigned 3.7cm diameter £500-700 429 ~ A JAPANESE IVORY NETSUKE OF A NIO BY IKKOSAI TOUN, LATE EDO PERIOD, CIRCA 1850 the temple guardian seated, nursing a leg to which he has applied burning moxa, signed Ikkosai 3.6cm high £1200-1800

430 430 ~ A JAPANESE STAINED IVORY NETSUKE OF HOTEI WITH A CHILD ON HIS HEAD, EARLY TAISHO PERIOD, CIRCA 1920 signed with the single character to 3.8cm high £350-450

431

431 ~ A JAPANESE IVORY NETSUKE OF A MAN POLISHING, EARLY MEIJI PERIOD, CIRCA 1880 down on his knees vigorously working on a large plate in the form of the kanji kokoro (heart), signed Tomokazu 3.8cm high £500-700 432 ~ A JAPANESE IVORY NETSUKE OF THE LUNAR HARE, LATE EDO PERIOD, CIRCA 1850 standing in a haori (jacket) with a pestle raised above its head, the eyes inlaid in amber, signed Hidemasa 3.2cm high £600-800 433 A JAPANESE WOOD NETSUKE OF A STANDING CHINESE LITERATUS, LATE EDO PERIOD, CIRCA 1850 standing with his hands joined, hidden by voluminous sleeves, unsigned 7.5cm high £350-450

432

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437

435 433

436

434

434 A JAPANESE BOXWOOD NETSUKE OF A STANDING MAN, LATE EDO PERIOD, CIRCA 1800 holding a short branch over his shoulder, the distinctive himotoshi suggesting an early Edo school carver, unsigned 6.8cm high £1500-2000

438

435 A JAPANESE WOOD NETSUKE OF A BOY DOING BEKKAKO, LATE EDO PERIOD, CIRCA 1860 seated with his tongue out and holding a mask behind him, unsigned 2.7cm high £250-350 436 A JAPANESE BOXWOOD NETSUKE OF A BOY DOING BEKKAKO, LATE EDO PERIOD, CIRCA 1820 an unusual variant, the boy standing with a hozuki (cape gooseberry) in his hand, a coral inlay inside, the himotoshi remarkably generous relative to the size of the netsuke, unsigned 4.7cm high £500-700 437 A JAPANESE WOOD SEAL NETSUKE OF A SQUIRREL, LATE EDO PERIOD, CIRCA 1850 beside a bunch of grapes on a drum base, cut with a shallow seal, silver loose ring for attachment, unsigned 3.6cm high £300-400

439

438 A JAPANESE WOOD NETSUKE OF A HERD-BOY ON AN OX, LATE EDO PERIOD, CIRCA 1850 with a basket on his back, and playing a flute, on a base, with added signature Tomotada 3.9cm high £300-400 439 A JAPANESE WOOD NETSUKE OF SEIOBO, LATE EDO PERIOD, CIRCA 1850 holding a peach branch, with the fruit resting on her shoulder, unsigned 8.1cm high £200-300 440 A JAPANESE WOOD NETSUKE OF ABURA BOZU, 20TH CENTURY recognisable by his ragged straw hat, holding a geta and a bird in his hands, the latter visible only by its tail, unsigned 7.8cm high £600-800

440

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442 441

441 A JAPANESE STAG ANTLER MANJU ATTRIBUTED TO HOSHUNSAI MASAYUKI, EARLY MEIJI PERIOD, CIRCA 1870 carved in openwork with a stylised lotus with multiple tendrils, the reverse with a lotus flower as the central boss of a simpler openwork design, unsigned 4.3cm wide £1200-1800

443

442 ~ A JAPANESE TWO-PART IVORY MANJU NETSUKE WITH INLAID SHIBUICHI EAGLE, EARLY MEIJI PERIOD, CIRCA 1870 the ivory carved with pierced clouds at the front and pine behind, the wear of the eagle suggesting that it was made 100200 years earlier, bearing traces of gilding, unsigned 4.4cm diameter £700-900 443 ~ A JAPANESE IVORY NETSUKE OF A PENITENT ONI, LATE EDO PERIOD, CIRCA 1820 seated holding a rosary and beating a gong, unsigned 3.4cm high £1200-1800

444

444 ~ A JAPANESE IVORY NETSUKE OF CHORYO AND KOSEKIKO, LATE EDO PERIOD, CIRCA 1800 Choryo seated on a dragon and handing the shoe to Kosekiko who crosses a bridge on his horse, unsigned 6.9cm high £500-700 445 ~ A JAPANESE IVORY NETSUKE OF A CHINESE SAGE AND BOY, LATE EDO PERIOD, CIRCA 1850 the man dancing with a large peach branch held over his shoulder, signed 5.5cm high £400-600

445

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446

447

448

446 ~ A JAPANESE IVORY NETSUKE OF SEIOBO, LATE EDO PERIOD, CIRCA 1860 standing with a giant peach behind her, unsigned 3.5cm high £300-400 447 A JAPANESE STAG ANTLER NETSUKE OF A SHOJO, MEIJI PERIOD, CIRCA 1900 seated with a sake barrel between its legs, unsigned 3.8cm high £150-200 448 ~ A JAPANESE STAINED IVORY MANJU NETSUKE OF A FROG AND LOTUS, EARLY MEIJI PERIOD, CIRCA 1870 the frog clambering onto a lotus leaf, unsigned 4cm diameter £400-600 449 ~ A JAPANESE IVORY SASHI NETSUKE OF ASHINAGA AND TENAGA, MEIJI PERIOD (1868-1912), 19TH CENTURY both carved smiling, Tenaga reaching down to catch the octopus at Ashinaga’s feet, stained detail, signed Ikkosai 12cm long

449

£800-1200 450 ~ A JAPANESE IVORY NETSUKE OF HAKUZOSU, 19TH CENTURY the disguised fox priest in long robes, unsigned 7.3cm £400-600

450

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451 451 ~ A JAPANESE IVORY NETSUKE OF A RAT ON A HAT, MEIJI PERIOD (1868-1912) carved appearing from a hole gnawed from the underside, inlaid eyes and stained detail, unsigned, 4.2cm; together with an ivory netsuke of rats, Meiji period, gnawing at beans on a straw basket, inlaid eyes and stained detail, unsigned, 4cm; and an ivory netsuke of a chrysanthemum blossom, Meiji period, signed Tomohisa, 3.5cm (3) £700-900

454 454 ~ A GROUP OF THREE JAPANESE IVORY NETSUKE, MEIJI PERIOD (1868-1912) comprising: a study of Daruma, carved stretching and yawning, signed Tomohisa, 4cm, cracked; a study of a man, carved hopping and grimacing as the baby on his back pulls his hair, stained detail, signed Okakoto, 6.5cm; and a study of a man before an open box, signed Shigemasa, 4cm (3) £700-900

455

452 452 ~ A JAPANESE IVORY OKIMONO NETSUKE OF A GROUP OF TORTOISES, MEIJI PERIOD (1868-1912) carved as three small tortoises crawling on the back of a larger one, stained detail, signed Yoshinobu, 7cm; together with a Japanese ivory netsuke of a musician, Meiji period, carved crouching in long robes, a drum on his shoulder, signed Shigeyuki, 6cm (2)

455 ~ AN IVORY NETSUKE OF A SLEEPING MONKEY TRAINER, EDO PERIOD, 18TH CENTURY lying beside a small basket and resting his head on his hand, monkey lacking from back of figure, 5.5cm; together with an ivory netsuke of a Sennin, Edo period, 19th century, carved standing and leaning on a gnarled staff, a hat on his back, stained detail, unsigned, 6.4cm, small chip to hat (2)

£400-600

£300-400

453 453 ~ A JAPANESE IVORY NETSUKE OF TADAMORI AND THE OIL THIEF, ANRAKU, 19TH CENTURY capturing a man holding a kettle, 4.7cm, restorations and some losses; together with an ivory netsuke of a bird of prey, 19th century, carved standing with a rat clasped within its talons, mother-of-pearl inlaid eyes and stained detail, 6cm; and an ivory small okimono of Ebisu, signed, 4cm (3)

456 ~ A GROUP OF THREE JAPANESE IVORY NETSUKE, MEIJI PERIOD (1868-1912) comprising: a study of a tiger and dragon, sinking its teeth into the back of a writhing dragon, inlaid eyes, stained detail, 4.5cm, a study of an oni with a large mask of Hannya on its back, stained details, signed Gyokusan, 3.5cm, and a study of an oni and kappa on a basket of fish, unsigned, 4.7cm (3)

£400-600

£700-1000

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456

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457 458

457 ~ A JAPANESE IVORY NETSUKE OF A SNAKE, MEIJI PERIOD (1868-1912) carved coiled, stained detail, inlaid eyes, signed Masatsugu, 6cm; together with a stag antler netsuke of a Noh mask, 6cm (2) £200-300 458 ~ A JAPANESE IVORY NETSUKE OF A RAT CATCHER, MEIJI PERIOD (1868-1912) carved crouching and holding a kanabo, grimacing as an escaped rat clambers over his shoulder, stained detail, signed Unhodo Masakazu To 4.2cm

459

£700-1000 459 ~ A JAPANESE IVORY MASK NETSUKE OF HANNYA, MEIJI PERIOD (1868-1912) typically carved with bared teeth, horns and fierce expression, stained detail, signed 4cm £150-250 460 ~ TWO JAPANESE IVORY NETSUKE OF SHISHI, 18TH AND 19TH CENTURY one a study of a shishi crouched and curled around a pierced ball, stained detail, signed Tomochika, 3.5cm, the other a study of a shishi raised on an oval base, 4cm (2)

460

£300-500 461 ~ A JAPANESE IVORY NETSUKE OF A RECUMBENT OX, EDO PERIOD, 18TH / 19TH CENTURY carved with a halter rope draped across its back, inlaid eyes, stained detail, bearing signature Tomotada, 5.5cm; together with an ivory okimono netsuke, Meiji period, carved as a man leading a horse, unsigned, 3.9cm; and an ivory netsuke of a horse, Meiji period, carved standing with head turned back, unsigned 4.5cm high (3) £300-500

461 part

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463

462 462 ~ A JAPANESE IVORY NETSUKE OF FUKUSUKE, EDO PERIOD, 19TH CENTURY carved as the boy dancer standing with a fan, stained detail, signed Yoshimasa 6cm £500-700 463 ~ A JAPANESE IVORY NETSUKE OF RAIDEN (THE THUNDER GOD), EDO PERIOD, MID 19TH CENTURY seated with drums, stained detail, unsigned, 4.5cm; together with an ivory netsuke of a tanuki, mid 19th century, carved seated in a large lotus leaf, one arm resting on its protruding belly, stained detail, signed, 4cm (2) £300-500 464 ~ A JAPANESE IVORY NETSUKE OF RYUJIN’S ASSISTANT, EDO PERIOD, CIRCA 1790 carved with an octopus on his head 11.3cm, repair to one foot

464

£700-1000 465 ~ A JAPANESE IVORY OKIMONO OF A GHOUL, MEIJI PERIOD (1868-1912) the long-necked female ghost brandishing a knife over a baby, stained detail, unsigned 9.8cm high £200-300 466 ~ A JAPANESE IVORY OKIMONO OF A PAIR OF ACROBATS, MEIJI PERIOD (1868-1912) carved as one does a handstand on the back of the other, stained detail, signed 11.5cm high £150-250

465

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466

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European Works of Art Lots 467 to 797

Thursday 25th May at 11am

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Lot 781 Lot 559

Previous page: lot 747

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European Works of Art (Lots 467 to 797) Thursday 25th May at 11am

467

467 A DUTCH DELFT FIVE-PIECE GARNITURE, DE METAALE POT (LAMBERTUS VAN EENHOORN), CIRCA 1700-1720 ‘Cashmire’ pattern, reeded octagonal outline, comprising an ovoid vase and cover, a pair of beaker vases and a pair of double gourd shaped vases, each painted with panels of birds flanking a vase of flowers and panels of flowers issuing from rocks inside diaper frames beneath a floral border, ovoid vase with painted LVE mark over 6 and p.515 to base and painted LVE mark to inside of cover, ovoid vase and cover 29cm. high Provenance: the Harward family of Winterfold House, Chaddesley Corbett, Worcestershire, by family descent. By repute within the family, the garniture belonged to the artist, Thomas Gainsborough (1728-1788), presumably becoming Harward property when Gainsborough’s great niece, Charlotte Gardiner (born 1805) married Thomas Netherton Harward in 1831.

De Metaale Pot, a factory first established in Delft in 1670, produced its most brilliant work between 1691 and 1724, under the ownership of Lambertus van Eenhoorn (1651-1721). Strong Netherlandish influences on furniture and furnishings were felt this side of the North Sea, during the late 17th and early 18th century, following the accession of the Dutchman William and his wife Mary. It is probable that the factory (or an agent) exported these vases to England directly on manufacture. £5000-7000

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468 A BERLIN LARGE GROUP ‘NEREID ON A HIPPOCAMPUS’, MID 20TH CENTURY modelled by Paul Scheurich in 1939/40 for the table garniture ‘Geburt der Schönheit’, showing the backward looking nymph astride the mythical beast who rears above the spume, on shaped plinth base, KPM underglaze blue sceptre mark and impressed F 42cm high Professor Paul Scheurich (1883-1945) won the commission to model a set of Berlin porcelain table decorations for the dining room in Ribbentrop’s newly refurbished palace of the foreign ministry, despite the fact that another set of designs by Trude Petri for KPM were already far advanced. The KPM director, Max Pfeiffer, disappointed by Petri’s Wagnerian themes, won over Frau von Ribbentrop with Scheurich’s drawings of mythical sea related subjects. The models were complete by 1940 for the room featuring a twenty metre long table, the ensemble themed ‘Geburt der Schönheit’ (Birth of Beauty), the centrepiece to feature The Birth of Venus (although it would appear this was never executed in porcelain) surrounded by large groups of Tritons and Nereids and smaller figures of sea sprites.

For another example of this rare model, titled in German ‘Najade auf Hippocamp’ see Auktionshaus Bergmann, Erlangen, 15 March 2008, lot 277. Also see Christie’s, New York, 26 November 2013, lot 62 for a collection of eight other figures from the set. Associated literature: E. Köllmann & M. Jarchow, Berliner Porzellan, Munich, 1987, Vol. II, p.

143; also see: http://www.meissnertageblatt.de/geschichte/607-paulscheurich-ein-wanderer-zwischen-welten - accessed 28 March 2017 £1200-1800

469

469 A MEISSEN WHITE FIGURE ‘PIEDMONTESE BAGPIPER’, CIRCA 1745 modelled by Johann Joachim Kändler (17061775) in 1741, the model probably adapted from the print engraved by Jean Daullé (1703-1763) in 1739 after Jacques Dumont ‘le Romain’ (17011781) of a street entertainer, shown playing bag-pipes, wearing a hat, a waistcoat and heavy cloak, on a flower encrusted base, crossed swords mark in underglaze-blue 24cm high, restoration Kändler’s Taxa for 1740-48 cites this figure as “1.ein alter Mann mit sehr abentheuerlichen Habit samt einem curiosen Dudel Sack, darauff er spielt 4Thlr..” (an old man with a venturesome outfit playing strange bag-pipes 4 Thalers) a further note referring to an engraving as a source: “6.einen alten Mann, nach der Zeichnung , wie er auf dem Dudel Sack spielet” (an old man after an engraving, playing the bag-pipes).

Associated literature: Rainer Rückert, Meissener Porzellan 1710-1810, Munich, 1966, p.171

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£800-1200

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470 470 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; together with 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 (2) £150-250

473 473 A MEISSEN GROUP OF THE TRIUMPH OF JUNO, LATE 19TH CENTURY modelled in 1892 by Paul Helmig (1859-1939), the scantily clad goddess seated amidst clouds flanked by a peacock and three attendant putti, one offering her pearls, another proffering a flower-filled cornucopia, shaped Rococo scroll flower base, underglaze blue crossed swords mark, incised ‘0.199’, impressed ‘3’, painted ‘9.’

29.5cm long, some restorations This model, sometimes entitled in German ‘Die Luft’, formed the finial of an extraordinary jewellery chest Meissen made for Chicago’s ‘World’s Columbian Exposition’ in 1893, the whole ensemble designed by Ludwig Sturm (1844-1926). £800-1200

471

472

471 A MEISSEN GROUP ALLEGORICAL OF SUMMER, 20TH CENTURY after the models of circa 1778 by M.V. Acier and J.C. Schoenheit, of a boy and girl, he with one knee on a tree stump, she seated, holding back a letter and with a dog at her feet, underglaze blue crossed swords, incised F.91, impressed 125, painted 30 16cm high, repairs and losses £200-300

474 472 A MEISSEN VASE, 20TH CENTURY after the design of circa 1865 by Ernst August Leuteritz (1818-1886), pedestal urn shaped, applied with entwined snake handles, the body painted with flowers below the deep blue neck, with gilt detailed formal and fluted borders, underglaze blue crossed swords, impressed and painted numbers 22cm high £100-150

474 A PAIR OF DANISH TERRACOTTA ROUNDELS OF ‘NIGHT’ AND ‘DAY’, P. IPSENS ENKE, COPENHAGEN, CIRCA 1885 after the models by Bertel Thorvaldsen (1770-1844) of 1815, the cream unglazed angels on a painted red ground within a black Greek key and gilt ground border, reverse stamped P. Ipsen Kjøbenhavn Eneret 356, pen inscription with title and date October 14th 1886 23cm diameter £150-250

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475

477

475 A LUDWIGSBURG FIGURE GROUP, CIRCA 1762 modelled by Johann Christian Wilhelm Beyer (1725-1796) as a shepherd and shepherdess playing a flute and a lute respectively watched by a putto from the top of a ruined arch, a dolphin spouting water to the side and a goat between them, all on a rocky and grassy base, underglaze blue crowned CC mark 27.5cm high, some restoration

477 A NYMPENBURG FIGURE OF A MUSHROOM SELLER, CIRCA 1765 modelled by Franz Anton Bustelli (1723-1763), the painting probably slightly later, shown walking with a mushroom-filled basket on her back, her right arm outstretched proffering a mushroom, her puce bodice picked out in gilding, her skirt highlighted with yellow flowers and green stripes, grassy mound base 17.6cm, restoration to one arm

For a comparable example see Hans Dieter Flach, Ludwigsburger Porzellan, Stuttgart, 1997, p.447, no.15

Known as ‘Täublingsgretl’, the figure was first modelled by Bustelli in 1755. For examples of the model see Katharina Hantschmann and Alfred Ziffer, Bustelli, Nymphenburger Porzellanfiguren des Rokoko, Munich, 2005, p.160, 430-431, nos.58 and 59. One example was in the collection of Maurice de Rothschild, his anonymous sale, Christie’s, London, 28th March 1977, lot 209.

£1500-2500

£500-700

476

478

476 A LUDWIGSBURG ALLEGORICAL GROUP, ‘SUMMER’, CIRCA 1760-61 modelled by Johann Wilhelm Götz (1732-1762) as a young couple seated under scrollwork and a female bust, puce scroll base, underglaze blue crowned CC mark, incised N, X mark 23cm high

478 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 £100-150

£500-800

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480

479 479 A FRANKENTHAL FIGURE OF A GIRL WITH WATERING CAN, CIRCA 1760 modelled by Johann Wilhelm Lanz (b.1725), wearing a green bodice and puce overskirt, her underskirt painted with stylised flowers, upon a puce and gilt-edged scroll base, rampant lion mark in underglaze-blue to edge of base, impressed PH mark 14.5cm high Provenance: the collection of Herr. F. Teubner, Mannheim This model is illustrated by Friedrich H. Hofmann, Frankenthaler Porzellan, Band I, Munich, 1911, taf.20, no.87; another example sold Christie’s, London, 21 February 2005, lot 196. £300-400 480 TWO FRANKENTHAL FIGURES, CIRCA 1760 the first a figure of a young boy, modelled standing wearing a cap and apron with rolled-up sleeves, working a slab of clay or marble upon a surface supported by puce scrollwork, rampant lion mark in underglaze-blue to edge of base, 11cm high, the second a very young girl modelled standing wearing a winter cloak, bonnet and muff, upon a scroll-edged base, crowned interlaced CT monogram, AB monogram, numeral 6 in underglaze-blue, M in puce enamel, 10cm high

481

A model of the boy is illustrated by Friedrich H. Hofmann, Frankenthaler Porzellan, Band I, Munich, 1911, taf.30, no.145. £400-600 481 A FRANKENTHAL FIGURE OF A MAID, CIRCA 1760 modelled seated and holding a rolled-up letter in her right hand, underglaze blue monogram and rampant lion mark 14.8cm high £400-600 482 A MEISSEN FIGURE OF A BOY WITH FISH, CIRCA 1750-55 modelled sitting on the ground holding a fish in his left hand, a basket of fish by his feet, on a naturalistic base, impressed ‘11’ 12cm high £250-350

482

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485

483 483 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

485 TWO MEISSEN CUPS AND SAUCERS WITH AUGSBURG GILT DECORATION, CIRCA 1730 the gilding, probably Abraham Seuter workshop, of Chinoiserie subjects over underglaze blue, underglaze blue crossed swords within two concentric circles, one saucer with underglaze ‘Z’ to rim, the other with ‘K’ to the rim and ‘D’ under the mark 12cm diameter £800-1200

Provenance: with Winifred Williams, Eastbourne, 30th June 1962 (according to invoice). £800-1200

486 486 A MEISSEN TEABOWL AND SAUCER, CIRCA 1735-40 painted with harbour scenes in shaped quatrelobed panels with gilt and puce laub- und bandelwerk borders, underglaze blue crossed swords, saucer gilt number ‘5’, cup impressed ‘2’ 13cm diameter £400-600

484 484 A VIENNA ORNITHOLOGICAL PLATE OF AN AUSTRALIAN OSTRICH (OR SOUTHERN CASSOWARY), 1813 painted by Josef Geyer with the bird in its natural habitat, the rim with caramel-coloured and white bands between gilt borders and oval and vine motifs, shield mark in underglazeblue, impressed date numbers and impressed 17, painter’s no.137, painted title 24cm diameter The southern cassowary is found in the tropical rainforests of Indonesia, New Guinea and north-eastern Australia. It was first described in 1758 by Carl Linnaeus in his Systema Naturae as ‘Struthio Casuarius’ (as titled on this plate), from a specimen from Seram.

487 487 A WORCESTER TEABOWL AND SAUCER, CIRCA 1760 transfer printed in black after plates engraved by Robert Hancock (1730-1817), the saucer and bowl with ‘The Tea Party’, the bowl to the other side with ‘Maid and Page’ and the interior with a swan 12cm diameter £100-150

Josef Geyer was employed by the Vienna factory as a ‘Blumen und Dekorationsmaler’ between 1802-1836 (see Waltraud Neuwirth, Wiener Porzellan 1718-1864, Vienna, 1971, p.37).

488 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

£500-800

£30-40

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491

489 part 489 A BOHEMIAN WHITE OVERLAID BLUE GLASS LARGE VASE, THIRD QUARTER 19TH CENTURY pedestal ovoid, the body with two ovals with jewelled borders, one painted with a young woman, the other with flowers, with diaper filled ovals between, cut to the blue glass with gilt borders, 47cm high, repair to stem, one loss to jewelling; together with a Continental porcelain dish, circa 1900, shaped oval Rococo style, with silver borders and decorated panels on a pink ground, in case, 20.5cm long (2)

491 A FRENCH ENAMELLED GLASS MAMLUK STYLE FLASK, PHILIPPE-JOSEPH BROCARD, PARIS, LATE 19TH CENTURY bottle shaped, the amber tinted glass covered in red line borders, gilt scrollwork and stylised Arabic inscriptions and blue enamel roundels and knot motifs, applied with loop and scroll handles between neck and shoulder, underside signed Brocard in iron red script 17cm high £1000-1500

£300-400

490 490 A TURKISH MARKET GERMAN PORCELAIN BOWL AND COVER, CIRCA 1800 circular, richly painted and gilded on a deep pink ground with floral panels and blue petalled lunettes, with further flowers to the interior, the cover with a realistically modelled lemon fruit and leaf knop, bowl with blue crossed swords and asterisk mark 20.5cm diameter

492 492 A BEYKOZ GLASS FLAGON, OTTOMAN TURKEY, 19TH CENTURY the blown form with bulbous body, splayed foot and gently flared neck, the sides with serpentine handle and cut and gilt floral motifs, the interior with three dimensional pomegranate motif 22.6cm high

£500-700

£300-500

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495 495 AN OPPOSING PAIR OF STAFFORDSHIRE FLAT-BACK GROUPS OF DOGS WITH PUPS IN BASKETS, CIRCA 1850 each mottled brown spaniel modelled with one paw resting on the edge of the yellow basket containing her two black and white puppies nestled amidst overflowing pink blanket, oval bases part cobalt blue with gilt line 14.5cm long For another example of this rare model, see Christie’s, London, 16 June 2009, lot 389 £500-700

493 493 A ROYAL COPENHAGEN CELADON VASE WITH BRONZE COVER AND STAND, 1937 the ovoid porcelain designed by Patrik Nordström, green crown and DENMARK stamp with date mark above blue three waves and numbers 1/3221, the patinated bronze by Knud Andersen (1892-1966), the domed cover with an annular polished wirework border below the ball finial, the stand with plain borders on three collared feet, stamped Royal Copenhagen KA mark 22cm high overall Patrik Nordström (1870-1929) is known for his pioneering development of glazing techniques and for exploring Asian forms; born in Sweden, he spent much of his career in Denmark, working independently and for Royal Copenhagen between 1911-1922. £500-700 494 A ROYAL COPENHAGEN FIGURE OF AN OLD WOMAN WITH WASHING, EARLY 20TH CENTURY modelled by Christian Thomsen (1860-1921), the crouched headscarved woman clutching her laundry, model No.1043 19cm high £80-120

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496 496 A FIFE POTTERY WEMYSS WARE WASH JUG, CIRCA 1900 bulbous form, painted in the Cabbage Rose pattern, impressed WEMYSS and painted retailer’s mark T. Goode & Co. / London 25cm high £80-120 497 A CHARLES VYSE POTTERY FIGURE ‘MORNING RIDE’, CHELSEA, CIRCA 1930 modelled as a young faun riding a large snail, painted in muted shades of lilac, green and blue, painted to front base C. VYSE, CHELSEA 22.5cm high, chip to one antenna, one with detached tip; together with a Royal Doulton figure ‘The Balloon Seller’ HN539, 1929, the vendor clutching her sleeping baby and the balloons, printed mark, impressed date code and numbers, painted title and HN number, 21.5cm high (2) Associated literature: Terence Cartlidge, Charles and NeIl Vyse: A Partnership, published by Richard Dennis, p.25. £200-300

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498

499

498 A FIFE POTTERY WEMYSS WARE PIG, CIRCA 1900 small size, with mottled charcoal glaze, impressed mark WEMYSS WARE / R.H.& S. (Robert Heron & Son) 16cm long, flaking to ear tips For another small pig with this very rare almost black glaze, see Lyon & Turnbull, Edinburgh, 13 August 2014, lot 27. £600-1000 499 A BOVEY POTTERY WEMYSS WARE PIG, CIRCA 1930-50 medium size, painted by (or under the direction of) Joseph Nekola (1886-1952) in the Cabbage Roses pattern, green painted mark “Nekola, / pinxt.” and Jan Plichta’s wholesaler’s mark PLICHTA / LONDON/ ENGLAND 27cm long £600-800 500 A PAIR OF GEORGE III ENAMEL CASSOLETTES, SOUTH STAFFORDSHIRE, CIRCA 1780 turquoise ground, gilt-metal mounted, the tops to the urns reversing to form candlesticks, each urn painted with two landscape ovals with gilt-metal husk swags between, the square plinths with further landscape ovals, bun feet 28cm high

500

For similarly-decorated examples of this rare form, formerly in the collection of the Hon. Mrs Nellie Ionides, see Therle & Bernard Hughes, English Painted Enamels, London, 1951, fig. 76, p. 140 and for further related examples from The Mort & Moira Lesser Collection of English Enamels, see Bonham’s, London, 19 October 2011, lots 50, 53 and 61. £600-800 501 A PAIR OF GEORGE III ENAMEL CASSOLETTES, SOUTH STAFFORDSHIRE, CIRCA 1780 turquoise ground, gilt-metal mounted, the tops to the urns reversing to form candlesticks, each urn painted with two landscape ovals with gilt-metal foliate swags between, on circular plinths, square bases and bun feet 28cm high See footnote to previous lot. £350-450

501

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505 502 502 A LARGE GILT-BRONZE THREE-PIECE CLOCK GARNITURE, FRENCH, LATE 19TH CENTURY eight day bell striking movement by Samuel Marti et Cie. of Paris, pendulum and movement both numbered 1975, with key, the dial with Roman numerals on enamel shields, the case and accompanying pair of nine-light candelabra richly openwork cast with scrolls and foliage, the bases applied with Renaissance dolphins, the candelabra complete with detachable nozzles and removable central finials candelabra 82.5cm high including openwork finials, clock 69cm high £1000-1500

504 504 AN EMPIRE STYLE BRONZE WALL CLOCK, FRENCH, LATE 19TH CENTURY shield shaped, dark patinated and applied with gilt-bronze Neoclassical motifs, the dial with cream enamel chapter ring with Arabic numerals, eight day bell striking movement 40cm high £600-800 505 A FRENCH GILT-BRONZE MANTEL CLOCK, MID 19TH CENTURY Empire style, of plinth form with canted sides topped by a paperclip, the white enamel dial signed ‘Pillard à Troyes’, applied below with the cross of the Order of the Holy Spirit flanked by helmets, on a mottled black marble base and spreading feet, eight day movement striking on a bell, with key 23cm high Provenance: Robin Ian Evelyn Stuart de la Lanne-Mirrlees (Grinnell-Milne), Comte de la Lanne-Mirrlees, titular Prince of Incoronata, Scottish Feudal Baron of Inchdrewer and Laird of Bernera (1925-2012) £150-200

503

506

503 A PAIR OF LARGE GILT-BRONZE SEVEN-LIGHT CANDELABRA, FRENCH, LATE 19TH CENTURY in Rococo style, the openwork cast bases rising to asymmetrical baluster vase stems, each with six leafy scrolling branches and central light complete with detachable nozzles 72cm high

506 A PAIR OF GILT-BRONZE URNS, 20TH CENTURY with entwined snake handles and formal borders of berried laurel, stiff leaves and meander pattern, the bulbous bodies with a band of scroll anthemion on a frosted ground 15cm high £100-150

£600-900

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507 A LANDSCAPE TAPESTRY, FRANCO-FLEMISH, 18TH CENTURY AND LATER within a four-sided floral border, probably reduced in width, with repairs, re-weaving and patches 238cm x 266cm Provenance: The Property of a London Private Club £2000-3000 508 A CARVED POLYCHROME WOOD ARMORIAL BEARING, CONTINENTAL, LATE 17TH / EARLY 18TH CENTURY the shaped shield later painted with the arms of Comte de la Lanne below a crowned helmet and scrolling mantling 64cm high, damage, losses and restoration Provenance: Robin Ian Evelyn Stuart de la LanneMirrlees (Grinnell-Milne), Comte de la Lanne-Mirrlees, titular Prince of Incoronata, Scottish Feudal Baron of Inchdrewer and Laird of Bernera (1925-2012) Count Robin de la Lanne-Mirrlees was described in his Telegraph obituary as “a Ruritanian figure whose career encompassed soldiering, serving as a Herald in the College of Arms and helping Ian Fleming to write a James Bond novel in which Mirrlees himself appeared as a character.”

(The Daily Telegraph, 25 June 2012) £500-700

507

509 AN ALABASTER VASE, ITALIAN, 19TH CENTURY in the form of a large goblet, the bowl carved with a Bacchic mask, on square foot, with metal liner 31cm high £80-120 510 A MEDIEVAL LIMESTONE HEAD, PROBABLY FRENCH, 13TH / 14TH CENTURY carved wearing a cap 27cm high £200-300

509

510

508

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512

511 511 A CHILD’S HIGHLAND COSTUME, 20TH CENTURY the midnight blue velvet jacket and silk tartan sash over a white smock of cutwork and embroidered bands, mounted on a velvet ground in an elongated octagonal glazed gilt frame, frame 86cm high; together with a ram’s horn snuff mull, Scottish market, late 19th century, electroplate-mounted, 26cm wide; and a framed coat of arms, 19th century, body colour and gilding on paper, according to label for ‘The Rev. James Mylne, Bapt. 1732 in Banff, Chaplain of Keith’s Highlanders, Matriculated Arms 1814’, verre eglomisé mount and glazed gilt frame, frame 40.5cm high (3) Provenance: Robin Ian Evelyn Stuart de la Lanne-Mirrlees (Grinnell-Milne), Comte de la Lanne-Mirrlees, titular Prince of Incoronata, Scottish Feudal Baron of Inchdrewer and Laird of Bernera (1925-2012) £80-120

512 ~ A SET OF FIVE CARVED IVORY CHARLES DICKENS CHARACTER FIGURES AND A PAIR OF BUSTS, GERMAN, LATE 19TH CENTURY after the illustrations by ‘Kyd’ (Joseph Clayton Clarke 1857-1937), each on bulbous rosewood or ebonised wood stands with inset ivory banners, the figures titled ‘SERJT BUZFUZ’, ‘JINGLE’, ‘Ms. STINGINS’ [sic] for Mr Stiggins, ‘TOOTS’ and ‘QUILP’, the busts ‘JINGLE’ and ‘BUMBLE’ 13.5cm highest including stand (7) £400-600 513 ~ A CARVED IVORY PAPER KNIFE, SRI LANKA, CIRCA 1900 with curved blade, the terminal relief carved with foliage below a figure of an elephant 53cm long £150-250 514 ~ A FRENCH IVORY PAPER KNIFE, PROBABLY DIEPPE, CIRCA 1880 the handle carved as a saucily stockinged leg in a buttoned boot, 35cm long; together with the following carved ivories: a seal with baluster stem and figural terminal of a greyhound mauling a hare by the throat, mid 19th century, 10.5cm high and a pair of Apostle spoons, one handle as St Peter, the other as St Paul, probably Dieppe, late 19th century, 19.5cm long (4) £150-250

514

513

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515 515 ROYAL: HRH THE DUKE OF WINDSOR’S SILVER-MOUNTED PAPER KNIFE, WALTER THORNHILL & CO. LTD., LONDON, 1897 with a circular magnifying glass terminal above hinged oblong compartments containing a photograph of Edward VII to one side and another of Queen Alexandra to the verso, inscribed below ‘XMAS 1916’, the plain ivory blade later applied with silver Prince of Wales Feathers, Patent Office Design Registry No. for 1897, inscribed: THORNHILL & Co. 144 NEW BOND St. LONDON

517

Provenance: HRH The Duke of Windsor; The Duchess of Windsor; Mohammed Al-Fayed (from 1986 to 1998); Sotheby’s, New York, The Collection of the Duke and Duchess of Windsor, 19-27 February, 1998, lot 1454A.

518 part

Queen Alexandra is known to have been very fond of her eldest grandson, who became Prince of Wales in 1909. Presumably she had his badge of the feathers added to the blade (as well as the insertion of the photographs), before giving it as a wartime Christmas present in December 1916; during his war service the Prince had visited the front as often as allowed and had been awarded the Military Cross earlier in 1916.

519

£600-800 517 A PAIR OF GEORGE V SILVER NOVELTY SPOONS, ELKINGTON & CO. LTD., LONDON, 1910 each terminal in the form of a jester’s head, square section stems and rounded gilded bowls 22cm long, 187gr (60z) £100-150

516 part

518 A GEORGE II SILVER TABLESPOON, THOMAS MANN, LONDON, 1729 Hanoverian pattern with rat-tail bowl, engraved with a coat of arms; together with the following silver tablespoons: a pair Hanoverian pattern with scroll stamped bowls, initialled M+L, Elias Cachart, London, circa 1750; one crested Hanoverian pattern, maker’s mark apparently AM, Edinburgh, 1789 and a pair Old English pattern, maker’s mark DM, Glasgow, 1821 345gr (11oz 2dwt) (6) Provenance: The Collection of Myrtle Ellis (1937-2016)

516 A SET OF SIX SCOTTISH GEORGE III SILVER SPOONS, WILLIAM ROBERTSON, EDINBURGH, 1794 Celtic Point pattern, engraved with the crest of the Graham family and initialled AG, 18.5cm long; together with the following Edinburgh silver: a pair spoons similar to the preceding, differently crested, Alexander Spence, 1790, a pair Old English pattern sauce ladles, initialled C, Robert Gray & Son, 1814, and a Fiddle Shell pattern sauce ladle initialled F, AM&Co (unidentified), 1836 387gr (12oz 8dwt) (11)

£150-250

£150-250

Provenance: The Collection of Myrtle Ellis (1937-2016)

519 A WILLIAM III SILVER MARROW SPOON, MAKER’S MARK BADLY STRUCK, LONDON, 1697 Rat-tail pattern, the stem and terminal delicately pricked with the initials S and S over TL and stylized arrows, Britannia standard, in a modern case with Garrard retailer’s label, 20.6cm long; together with a Victorian silver marrow scoop, engraved with a crest and motto, John & Henry Lias, London, 1844, 22.6cm long 113gr (3oz 12dwt) (2)

£150-250

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520 520 A SET OF WILLIAM IV TABLE SILVER, MARY CHAWNER, LONDON, 1837 Fiddle, Thread and Shell pattern, engraved with a crest, complete for six of each of the following: tablespoons table forks dessert spoons dessert forks teaspoons 2282gr (73oz 6dwt); together with a pair of electroplate sauce ladles, of conforming pattern, Roberts & Belk Ltd., Sheffield, 20th century; all in an associated Hunt & Roskell Ltd. blue baize lined oak box (32) £800-1200 521 A SCOTTISH GEORGE III SILVER SOUP LADLE, JAMES McKAY, EDINBURGH, 1816 single struck Kings patterns, engraved with the Graham family crest 34cm long, 228gr (7oz 6dwt) £100-150

521

522 522 A PAIR OF GEORGE III SILVER GRAVY SPOONS, THOMAS CHAWNER, LONDON, 1773 Old English pattern, initialled C 29cm long, 202gr (6oz 10dwt) £150-250 523 A CASED SET OF TWELVE GEORGE V SILVER COFFEE SPOONS AND A PAIR OF SUGAR TONGS, COOPER BROTHERS & SONS LTD., SHEFFIELD, 1919 stems with feather edging interrupted by formal leaves; together with the following London silver serving pieces: a pair of crested Fiddle pattern sauce ladles, Hayne & Cater,1845, an Old English pattern sifter ladle, Solomon Hougham, 1801, a crested Fiddle pattern mustard spoon, William Chawner, 1819, a pair initialled Old English pattern salt spoons, William Eaton, 1801; and a Victorian bright-cut small salt spoon 432gr (13oz 17dwt) (20) £150-200

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524 524 FIDDLE PATTERN TABLE SILVER, MANY CHARLES LIAS, LONDON, 1844 crested, comprising: seven tablespoons, twelve table forks, twelve dessert forks, seven teaspoons, a mustard spoon and a preserve spoon, 2258gr (72oz 12dwt); together with a set of twelve electroplate dessert spoons, Fiddle pattern, crested to match, Elkington & Co., Birmingham, 1845 (62) £800-1200

526 A SET OF ELEVEN SCOTTISH VICTORIAN SILVER TEASPOONS, PROBABLY W. ALLAN, GLASGOW, 1863 single struck Queens pattern, initialled AS; together with the following: six fruit knives with silver leafy pistol handles and stainless steel blades, a pair of table knives and three dessert knives with Queens pattern silver handles and stainless steel blades, three tea knives with silver handles and electroplate blades, a silver butter knife and a pair of silver sugar tongs weighable silver 233gr (7oz 9dwt) (27) £60-100

525 525 TWO GEORGE III SILVER GRAVY SPOONS Old English pattern, both plain, both London, one Solomon Hougham, 1805, the other Sarah & John William Blake, 1819, 29cm long; together with a George V silver soup ladle, Hanoverian Rat-tail pattern, plain, Walker & Hall Ltd., Sheffield, 1919, 28cm long 462gr (14oz 17dwt) (3)

527

Provenance: The Collection of Myrtle Ellis (1937-2016)

527 A SET OF FOUR SCOTTISH GEORGE III SILVER TABLESPOONS, PETER MATHIE, EDINBURGH, 1794 Celtic Point pattern, engraved with the crest and motto of the Clan Robertson; together with another matching silver spoon, similarly engraved, Robert Bowman, Edinburgh, 1797 23cm long, 328gr (10oz) (5)

£200-300

£100-150

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528 530, 531 part 528 A COLLECTION OF TABLE SILVER, VARIOUS MAKERS, LONDON, 1740-1790 engraved with crests or initials, comprising: fourteen Hanoverian pattern tablespoons, bottom marked, 1740-68, twelve Old English pattern table forks and eight dessert forks, all George Smith & William Fearn, 1789/90, seven Hanoverian pattern dessert spoons, bottom marked, 1750 and circa, and two Old English pattern dessert spoons, 1781/1838 2381gr (76oz 11dwt) (43) £800-1000 529 A GEORGE III SILVER GRAVY SPOON, THOMAS STREETIN, LONDON, 1801 Old English pattern, the terminal engraved with the initials JCL 30.5cm long, 119gr (3oz 16dwt) £80-120

530 A PAIR OF SCOTTISH PROVINCIAL GEORGIAN SILVER TODDY LADLES, DAVID GRAY, DUMFRIES, CIRCA 1820 Fiddle pattern, the terminals engraved with the initial G 16.3cm long, 66gr (2oz 2dwt) £80-120 531 A PAIR OF SCOTTISH WILLIAM IV SILVER TODDY LADLES, DANIEL FERGUSON, EDINBURGH, 1831 Fiddle Shell pattern, 15cm long; together with another Scottish silver toddy ladle, Fiddle pattern, James Erskine, Aberdeen, circa 1800; and the following Scottish table silver: a single struck Husk pattern sauce ladle, Robert Gray & Son, Edinburgh, 1812, a single struck Kings pattern butter knife, James McKay, Edinburgh, 1832, an initialled Fiddle pattern butter knife, Marshall & Sons, Edinburgh, 1868, and four assorted teaspoons, various dates and makers 318gr (10oz 4dwt) (10) Provenance: The Collection of Myrtle Ellis (1937-2016) £120-180

529

532 part

532 A PAIR OF VICTORIAN SILVER FISH SERVERS, THOMAS HART STONE, EXETER, 1872 Fiddle pattern, the terminals engraved with the initial A, the blade and prongs pierced and engraved with foliage, flowers and acorns; together with a William IV silver serving fork, Old English pattern, later crested and decorated with wrigglework, Mary Chawner, London, 1836; and a George III silver tablespoon, Old English pattern, bright-cut and initialled, Richard Jenkins, Exeter, 1796 424gr (13oz 12dwt) (4) Provenance: The Collection of Myrtle Ellis (1937-2016) £200-300

533 part

533 A PAIR OF GEORGE III SILVER SAUCE LADLES, GEORGE WINTLE, LONDON, 1792 Old English pattern, plain; together with a candle extinguisher and a toddy ladle, the ladle with shaped oval silver bowl, the extinguisher with silver cone, both with turned wood handles, Marlow Brothers, London, 1973 and 1983 respectively; and a pair of silver grape scissors, snake handles, John Gilbert, Birmingham, 1860 (5) £200-300

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534

533 part 535 part

536 part

534 A PAIR OF VICTORIAN SILVER GRAPE SCISSORS, WILLIAM HUTTON & SONS LTD, LONDON, 1898 cast grape pattern, in original red morocco case 17cm long, 131gr (4oz 4dwt) Provenance: The Collection of Myrtle Ellis (1937-2016)

539

£150-250 535 A COLLECTION OF SIXTEEN SILVER BUTTER KNIVES, VARIOUS MAKERS, ALL LONDON, 1818-1856 various patterns 885gr (28oz 9dwt) Provenance: The Collection of Myrtle Ellis (1937-2016) £300-400 536 A GEORGIAN BLUE AVENTURINE GLASS-HANDLED KNIFE AND A FORK, MID 18TH CENTURY faceted pistol handles, siler three-prong fork and sabre bladed knife lion passant mark only, knife 20.5cm long; together with a Victorian silver and Meissen handled fork, three silver prongs, Blue Onion pattern handle, Martin, Hall & Co., London, 1886; and a set of six George III silver-handled table knives, with reeded loaded silver handles and later stainless steel blades, Moses Brent, London, 1800 (9) Provenance: The Collection of Myrtle Ellis (1937-2016) £150-200 537 SIX SILVER CADDY SPOONS, VARIOUS MAKERS INCLUDING ELIZABETH MORLEY AND JOSIAH SNATT, LONDON, 1800-1858 variously engraved or fluted, two initialled Provenance: The Collection of Myrtle Ellis (1937-2016) £60-100 538 FIVE SILVER CADDY SPOONS, ENGLISH, SCOTTISH AND GERMAN, EARLY 20TH CENTURY including a plain example, circular bowl, spot-hammered, Guild of Handicraft, London, 1996, and a Scottish ‘Celtic’ pattern example, stamped ‘IONA,’ Henderson & Horner Brothers, Glasgow, 1936; together with a small silver sugar sifter, maker’s mark rubbed, London, 1888 (6)

539 OLD ENGLISH PATTERN TABLE SILVER, VARIOUS MAKERS, LONDON, 1785-1836 mainly initialled, some crested, comprising: thirteen tablespoons, twelve table forks (two William Astley, York, 1810), fifteen dessert spoons (one Hampston & Prince, York, 1784), twelve dessert forks, seventeen teaspoons, and a sauce ladle 2847gr (91oz 10dwt) (70) Provenance: The Collection of Myrtle Ellis (1937-2016) £1000-1500 540 ~ A COLLECTION OF SEVEN SILVER CADDY SPOONS, VARIOUS MAKERS INCLUDING JOSEPH WILLMORE AND COCKS & BETTRIDGE, BIRMINGHAM, 1804-1832 variously decorated, pierced, engraved and embossed, two with ivory handles; together with a silver filigree caddy spoon, unmarked, probably Birmingham, early 19th century; and a silver Fiddle pattern caddy spoon, initialled, John Osment, Exeter, 1838 (9) Provenance: The Collection of Myrtle Ellis (1937-2016) £100-150 541 A SET OF SIX VICTORIAN SILVER TEASPOONS, JOHN STONE, EXETER, 1844 Fiddle pattern, the terminals engraved with the initials JG; together with the following other items of table silver: sixteen teaspoons, mostly London, 1826-1887, a Fiddle pattern sauce ladle, James Howden & Co, Edinburgh, 1847, two Scottish dessert spoons and a butter knife, and the following German silver items, comprising: a table spoon, five dessert spoons and nine coffee spoons, mid-late 19th century 800gr (25oz 14dwt) (41) £250-350

Provenance: The Collection of Myrtle Ellis (1937-2016) £50-80

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544 A COLLECTION OF TEN SILVER SUGAR TONGS, VARIOUS MAKERS, ENGLISH PROVINCIAL, SCOTTISH AND IRISH, LATE 18TH / EARLY 19TH CENTURY mostly Fiddle pattern 467gr (15oz) Provenance: The Collection of Myrtle Ellis (1937-2016) £120-180 545 A COLLECTION OF SILVER TEASPOONS AND SALT SPOONS, MAINLY 18TH OR EARLY 19TH CENTURY comprising: ten assorted 18th century Hanoverian pattern teaspoons, two Fiddle pattern teaspoons, two Newcastle Fiddle Shell pattern teaspoons, a set of four George Adams Fiddle pattern salt spoons and an Old English pattern salt spoon; together with the following table silver: a Kings pattern mustard spoon, a Newcastle butter knife, a small cream ladle, a small sifter ladle and a butter knife 375gr (12oz) (25)

542

Provenance: The Collection of Myrtle Ellis (1937-2016)

542 TWENTY-THREE GEORGE II SILVER TEASPOONS, PROBABLY JOHN DERUSSAT, LONDON, CIRCA 1750 cast with shell-fluted bowls and stems as currant twigs with leaves, blooms, caterpillars and ladybirds, thirteen maker’s mark only (Grimwade No. 3632), the remainder unmarked 11.8cm long, 394gr (12oz 13dwt), associated case In his article, ‘Foreign snuffbox makers in eighteenth century London,’ Brian Beet discusses the lives and work of the 18th century London goldsmiths John Derussat (1700?-1758) and his nephew, John Andrew Derussat (1728?-1807?). According to the author, John (Jean) Derussat, brother-in-law of the working silversmith Aymé Védeau (Videau), may never have entered the mark which is struck on these teaspoons at Goldsmiths’ Hall. The attribution is made on the strength of similar teaspoons bearing the maker’s mark J.D incuse, thought to be that of John Andrew Derussat, who was both his uncle’s apprentice as well as successor to premises in Little Earl Street formerly occupied by Francis Harrache (1710?-1757) whose maker’s mark has been recorded on similar cast currant twig teaspoons. (The Silver Society Journal, no. 14, London, 2002, pp. 58 and 59, fig. 5)

£150-200 546 A COLLECTION OF NINE SILVER FANCY-BACK TEASPOONS, ALL BOTTOM MARKED, LONDON, CIRCA 1750 variously initialled, crested or plain, the heels struck with a basket of flowers, a squirrel, shell motif, a bird, &c.

Provenance: The Collection of Myrtle Ellis (1937-2016) £50-80 547 A COLLECTION OF THIRTEEN SILVER SUGAR TONGS, VARIOUS DATES AND MAKERS, LONDON, CIRCA 1765-1808 some initialled, including bright-cut, beaded and plain examples; together with a pair of silver tea tongs (sugar nips), initialled, Richard Mills of London, circa 1755 447gr (14oz 7dwt) (14) Provenance: The Collection of Myrtle Ellis (1937-2016) £150-200

£500-700 543 A SET OF FOUR VICTORIAN PARCEL-GILT SILVER FRUIT SERVING SPOONS, LIAS & WAKELY, LONDON, 1883 the bowls, stems and crested terminals decorated with wrigglework and bright-cut leaves and formal motifs, in original fitted morocco case with paper label: ‘GOLDSMITHS WHYTOCK & SONS 46 High St. DUNDEE’ each 23.5cm long, 272gr (8oz 14dwt) Provenance: The Collection of Myrtle Ellis (1937-2016) £150-200

548 A SET OF SIX SILVER FINGER BOWLS, PROBABLY EGYPTIAN, EARLY 20TH CENTURY the hammered circular bowls with geometric pattern borders to the rim 11cm diameter, 512gr £250-350 549 A FRENCH SILVER SALT CELLAR, MAKER’S MARK ES, PROVINCIAL, 1809-1819 oval, wirework sides, lacking liner, 800 standard, 10.5cm long, together with two tortoiseshell topped silver trinket boxes, one oval, the other circular, William Comyns & Sons, London, 1911/1913 (3)

£80-120

548

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551 550

550 A FRENCH SILVER-GILT CASTER, APPARENTLY NO MAKER’S MARK, 20TH CENTURY ribbed pedestal baluster, engraved with entwined initials MS, 950 standard export mark 16cm high, 304gr (9oz 15dwt) £120-180

552

551 A FRENCH SILVER WINE TASTER, LATE 19TH CENTURY circular, entwined snake handle, the sides with raised grape vine decoration, engraved with the name ‘A de Beaumont,’ the centre set with a Louis XIV medal dated 1672 within a fleur-de-lys cartouche, 950 standard 11.2cm diameter, 246gr (7oz 18dwt) £120-180 552 A FRENCH SILVER-GILT TRAVELLING CANTEEN, PARIS, CIRCA 1820 engraved with a coat-of-arms below a marquis’ coronet, comprising: two knives with gold-inlaid hardwood handles, the blade of one steel and etched ‘ANTOINE’ and a pair of scissors, the blade of the other silver-gilt, both Joseph Antoine, 1809-1819 and circa, two tablespoons and two table forks, Charles-Salomon Mahler, 1819-1838, a cut-glass two-compartment spice boat on pedestal base with silver-gilt cover, apparently no maker’s mark, 1819-1838, and a cylindrical cut-glass beaker, 950 standard silver 336gr (10oz 16dwt) of weighable silver, excluding knives and contempoary fitted green leather case £400-600

553

553 A PAIR OF AUSTRIAN SILVER CANDLESTICKS, POSSIBLY FRANZ ZEITLER, VIENNA, 1850 fluted shaped circular bases rising to similar slender baluster stems, fixed nozzles 27cm high, 449gr (14oz 8dwt) £350-450 554 A PORTUGUESE SILVER BUTTER DISH COVER, STAND AND KNIFE, TOPAZIO (FERREIRA MARQUES & IRMAO SA), OPORTO, POST 1938 circular, with beaded borders, the cover with cast cow finial, 833 standard 13cm diameter, 146gr excluding glass liner with star cut base £80-120

554

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556

555

555 A RUSSIAN SILVER BASKET, ADRIAN IVANOV, MOSCOW, LATE 19TH CENTURY oval, the lightly frosted sides engraved either end with a cartouche flanked by wheat stalks and scrolls, one cartouche initialled VC (VS in Cyrillic), the other vacant, with swing handle 22cm long, 534gr (17oz) £400-600

557

556 A RUSSIAN SILVER WINE COASTER, ROBERT COLQUHOUN FOR NICHOLLS & PLINKE, ST PETERSBURG, 1864 the rim applied with cast and chased fruiting vines above openwork basketweave sides, the base with concentric bands, 875 standard 19cm diameter, 599gr (19oz 5dwt) £700-1000 557 AN AUSTRO-HUNGARIAN SILVER SUGAR BOX, CHRISTIAN SANDER SR., VIENNA, 1833 rectangular, the otherwise plain rectangular body on diestamped supports and decorated with similar bands of foliage and flowers, similar lock-plate, gilt interior 13.3cm wide, 469gr (15oz) £350-450

558

558 AN AUSTRO-HUNGARIAN SILVER SUGAR BOX, ALFRED POLLAK, PRAGUE, CIRCA 1900 on bun supports, the plain rectangular body with curved sides and domed hinged lid, applied laurel leaf borders, gilt interior 12.7cm wide, 436gr (14oz) £300-400

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559 A PAIR OF DUTCH SILVER CANDLESTICKS, REYNIER DE HAAN, THE HAGUE, 1745 cast, on shaped square bases with shells at the angles, similarly decorated faceted baluster stems 19cm high, 742gr (23oz 17dwt) See a pair of candlesticks of similar design in the Rijksmuseum (Object No. BK-1977-35A/B), maker’s mark Pieter de Keen, Amsterdam, 1729, and another pair of 1730 by the same maker, sold Christie’s, Amsterdam, 14 June 2007, lot 255. Also see Sotheby’s, London, 15 May 2014, lot 362, for another pair of Reynier de Haan candlesticks. £3000-5000

559

560 AN AUSTRO-HUNGARIAN SILVER TOILET BOX AND COVER, MAKER’S MARK I OVER GL IN A SHIELD, PRAGUE, 1702 oval, richly embossed with curved lobes and scalework, the domed cover with strapwork flat-chasing 15.2cm wide, 326gr (10oz 9dwt) £600-800

560

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561

561 A SET OF FOUR AUSTRIAN SILVER CANDLESTICKS, POSSIBLY FRANZ WALLNOFER & SOHNE, VIENNA, 1835 plain circular bases rising to slightly tapering stems, plain fixed sconces 24.5cm, 1168gr (37oz 11dwt) £600-1000 562 A GERMAN SILVER WINE COOLER, PROBABLY J.D. SCHLEISSNER & SOHNE, HANAU, CIRCA 1900 on four cast paw supports, the cylindrical body cast with panels of husks and profiles in 18th century French style within ovals linked by ribbon-tied laurel festoons, two lion mask and drop handles, pseudo marks, 1901-1921 Austrian import mark 23.4cm high, 1867gr (60oz)

562

£1000-1500 563 A GERMAN BASKET, MAKER’S MARK IGB IN AN OVAL, LATE 18TH / EARLY 19TH CENTURY oval, pale pierced, ‘12’ loth mark 30.5cm long, 828gr including felt to base £150-250

563

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564 A PAIR OF AUSTRIAN SILVER FOURLIGHT CANDELABRA, JOSEF WEININGER, VIENNA, 1855 fluted circular bases rising to similar baluster stems, with detachable upper sections each with three fixed branches and central light, complete with detachable finials 53cm, 1881gr (60oz 9dwt) £800-1200 565 AN ITALIAN SOUP TUREEN & COVER, FRATELLI CACCHIONE, MILAN, POST 1968 in 18th century style, bombé oval, panelled with scroll and foliate borders, on cast foliate scroll feet 36cm wide across end handles, 2144gr £700-1000 566 AN AUSTRIAN SILVER TWO-HANDLED SWEETMEAT BASKET, 1886-1922 plain oval foot, the sides and handles diestamped and pierced with foliate scrolls and flowers, the centre applied with a pear and leaves 30cm over handles, 263gr (8oz 9dwt) £120-180

564

567 A SILVER ‘HISTORISMUS’ CHAMBER CANDLESTICK, PSEUDO HALLMARKS, GERMAN, CIRCA 1900 AND POSSIBLY EARLIER the circular pan with embossed stylized fruit and flowers, the cast handle with cherubs and masks, the underside of the handle pricked ‘G.S.T. 1690’ 27cm, 150gr (4oz 16dwt) £80-120

565

567

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573, 572, 571 571 A FRENCH SILVER TRAY, GUSTAVE KELLER, PARIS, CIRCA 1930 plain cut cornered rectangular, with applied moulded rim, 950 standard, stamped G.KELLER 41.5cm long, 1046gr (33oz 13dwt) £400-600

568

569

568 A GERMAN SILVER STANDING CUP AND COVER, CIRCA 1900 embossed and chased with flowers and foliage, die-stamped vacant cartouche, gilt interior 23cm high, 100gr (3oz 4dwt) £60-120 569 THREE AUSTRO-HUNGARIAN SILVER BEAKERS, VIENNA, 1844?/1856 AND CIRCA in three sizes, fluted, chased with vines or plain, all initialled or inscribed 7-17.5cm high, 443gr (14oz 4dwt) £100-150 570 TWO PAIRS OF SILVER FILIGREE SUGAR TONGS, UNMARKED, EUROPEAN, MID 19TH CENTURY leaf-shaped grips; together with a miniature model of a gondola, German, circa 1900; and a circular tea strainer and stand, also German, circa 1925; and a small silvered brass souvenir spoon and fork, early 20th century 140gr, (4oz 10dwt), excluding the spoon and fork (6) £60-100

572 AN AUSTRIAN SILVER TRAY, MAKER’S MARK HW OR KW, VIENNA, 1860 plain shaped oblong with cut corners, on four bun feet 35cm wide, 743gr (23oz 17dwt) £150-250 573 AN AUSTRIAN TRAY, VIENNA, 1834 shaped rectangular, the raised lobed border chased on either side with an arrangement of flowers 30cm, 530gr (17oz) £120-180 574 A GERMAN SILVER SWEETMEAT DISH, MARKS INDISTINCT, MID 18TH CENTURY shaped oval, pricked with initials JDS surrounded by scrolling ribs and bosses, on short pedestal foot, 15cm long; together with two Czechoslovak silver sweetmeat dishes, 1922-1929, shaped oval or circular, in 17th century style with fruits, foliage, beading and pricking, 12.5cm longest; and a silver sweetmeat dish, William Comyns, London, 1895, pierced oblong, 9.5cm long 321gr (10oz 6dwt) (4) £180-220 575 TWO SIMILAR AUSTRO-HUNGARIAN SILVER SALT CELLARS, VIENNA, 1836 AND CIRCA of pedestal form, knurled bowls; together with another single salt cellar, similar, apparently 1830s 7.5cm high, 249gr (8oz) (3) £80-120

575

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576 A DUTCH SILVER-GILT TOY MODEL OF A CANAL DRAWBRIDGE AND QUAYS, PROBABLY JAC. VAN STRATEN OF HOORN, DATE LETTER INDISTINCT, CIRCA 1890 rectangular base on ball feet, the canal with sailing barge, the cobbled quaysides with figures, a carriage and the articulated bridge, inscribed, maker’s and date stamps only 11cm wide, 197gr (6oz 6dwt) The inscription reads: Robin / from Evelyn D. Wellington.

Provenance: Robin Ian Evelyn Stuart de la Lanne-Mirrlees (Grinnell-Milne), Comte de la Lanne-Mirrlees, titular Prince of Incoronata, Scottish Feudal Baron of Inchdrewer and Laird of Bernera (1925-2012), given to him when a child by Evelyn, Duchess of Wellington (1855-1935). £250-350 577 AN AUSTRIAN SILVER SUGAR CASTER, MAKER’S MARK IK, VIENNA, CIRCA 1837 vase-shaped, decorated with bands of embossed foliage and flowers, screw-on pierced and engraved domed cover 11.8cm high, 112gr (3oz 12dwt)

576

£60-120 578 A CIGARETTE BOX, THAI, MODERN rectangular, the lid chased with three matted ground panels of scroll foliage, the central panel with three crowned elephant heads, wood lined, stamped THAILAND STERLING, 16cm long; together with a silver cigarette box, rectangular, the lid with foliate bright-cut border, wood lined, Charles S. Green & Co. Ltd., Birmingham, 1975, 14cm long; and two white metal dishes, oval with chased rims, Thai, modern, 48cm & 30cm long (4) £80-120 579 A THAI SILVER CIGARETTE BOX, THAI NAKON, BANGKOK, CIRCA 1950 oblong, the lid chased with a panel of a caryatid surrounded by scroll foliage, underside with presentation inscription dated 1950, Thai Nakon stamp and monogram, Sterling and Made in Siam stamps, 15.8cm long; together with an Italian cigarette box, Alfredo Ridi, Florence, circa 1960, rectangular, engineturned, wood lined, stamped 800, 17.7cm long (2)

580

580 AN AUSTRO-HUNGARIAN SILVER SUGAR BOX, CARL LACKSTAMPFER, BRNO, 1840 plain rectangular, applied shield-shaped lock-plate, gilt interior 13.2cm, 442gr (14oz 4dwt)

£100-150

£400-600

579 part

578 part

581 A FRENCH ELECTROPLATE CORKSCREW, CHRISTOFLE SA OF PARIS, MODERN of ‘Screwpull’ type, 14cm long; together with a bud vase, modern, slender elongated form, loaded square base, stamped STERLING, 20.5cm high; and a Victorian electroplate cruet set, the shaped pentagonal stand with bright-cutting and central handle, complete with three cut-glass bottles and stoppers and two electroplate-mounted jars, Padley, Parkin & Staniforth, Sheffield, circa 1870 (3) £100-150

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582 582 A PAIR OF FRENCH SILVER BEAKERS AND ANOTHER BEAKER, ALL MAISON CHRISTOFLE, PARIS, 20TH CENTURY the pair plain bell shaped on stepped feet, the other thistle shaped, 950 standard pair 8.5cm high, 300gr (9oz 12dwt) £150-200 583 A SMALL AUSTRO-HUNGARIAN SILVER TRAY, MAYERHOFER & KLINKOSCH, VIENNA, CIRCA 1840 oblong, plain gallery, pierce cast panel supports, 16cm wide; together with a small silver baluster cream jug, Vienna, circa 1840, 6.5cm high 282gr (9oz) (2)

586

£80-120 584 A JUGENDSTIL ELECTROPLATE AND CUT GLASS CRUET BOTTLE AND STOPPER, WMF (WURTTEMBERGISCHE METALWARENFABRIK), GEISLINGEN AN DER STEIGE, CIRCA 1900 tapering cylindrical glass with simple curved linear cutting, the Britannia metal ‘Antique Silver’ finished mounts with openwork stylised scrolls and female masks, openwork stopper 23.5cm high

586 A DANISH SALVER, GEORG JENSEN, COPENHAGEN, POST 1945 designed by Oscar Gundlach-Pedersen (1886-1960), hammerfinished, circular, scalloped rim, underside with Jensen mark, No. 519B, DENMARK / STERLING 29.5cm diameter £600-800

£120-180 585 A GERMAN ELECTROPLATE-MOUNTED CUT-GLASS LARGE PUNCH JAR AND COVER, WMF (WUERTEMBERGISCHE METALLWARENFABRIK), GEISLINGEN AN DER STEIGE, EARLY 20TH CENTURY circular, flared towards the base, with plain rim mounts, angular handles and bun feet, the domed cover with ladle aperture 34.5cm high £60-80

587 587 A NORWEGIAN SILVER DISH, DAVID-ANDERSEN, OSLO, 1956 designed by Thorbjorn Lie-Jorgensen (1900-1961), hand hammered by Serre Steenslie, of rounded navette form, on rim foot, David-Andersen, designer and sterling stamps, No.7551, inscribed ‘HAMRET OPP FOR HAND AV SERRE STEENSLIE 1956’ 33cm long, 671gr (21oz 6dwt) £300-500

585

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589

588

588 A DANISH BOX, GEORG JENSEN, COPENHAGEN, POST 1945 designed by Sigvard Bernadotte circa 1950, square with rounded corners, lid with drop-ring handle, underside with Jensen mark, No. 969, DENMARK / STERLING and stamped in script Sigvard 10.cm wide, 349gr Sigvard Oscar Fredrik Bernadotte, Count of Wisborg (1907-2002) was the second son of King Gustav Adolf VI of Sweden. One of Scandinavia’s pioneering industrial designers, his firm Bernadotte and Bjorn, later the Bernadotte Design Studio, was responsible for a number of significant industrial products ranging from kitchen equipment to tractors. Bernadotte first produced designs for Jensen in 1931 and continued to do so over a 50-year period. He was perhaps the first designer at the Copenhagen firm to work completely in the modernist style, acknowledging that his work was a reaction against the decorated styles of Jensen and Rohde.

590

£500-700 589 A DANISH ‘PLEASE PASS ME’ BOWL, GEORG JENSEN, COPENHAGEN, CIRCA 1995 designed by Allan Scharf (born 1945) in 1993, of simple undulating welled form, No. 1333, Jensen mark and stamped DENMARK / STERLING / S 10 / ALLAN SCHARF 20.6cm wide, 301gr When shown at the exhibition ‘Een Schitterend Feest’ (A Sparkling Party) in the Veiligheidsinstituut, Antwerp 1993, Scharf’s ‘Please Pass Me’ bowl was given the World Crafts Council Europe Award.

590 A SILVER-GILT ‘SURPRISE’ EGG, STUART DEVLIN, LONDON, 1981 the shell with lightly textured finish, opening to reveal a bee gathering pollen from a flower, limited edition no.169, in original black box with gilt printed Devlin label beneath the Royal Warrant 7cm long Provenance: The Collection of Myrtle Ellis (1937-2016) £150-250

£400-600

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591

591 A NEAR PAIR OF EDWARDIAN SILVER PHOTOGRAPH FRAMES, E.F. BRAHAM LTD. AND DEAKIN & FRANCES LTD., BOTH BIRMINGHAM, 1905 shaped square with circular apertures, stamped vacant cartouches above Art Nouveau tendrils on rippled ground and flowerheads later decorated with blue/green enamel paint, later oak easel backs 13cm wide £800-1200 592 A GEORGE V SILVER AND ENAMEL PHOTOGRAPH FRAME, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1919 plain rectangular excepting small applied paterae, those to the corners enamelled in shaded blue, beechwood easel backed 23.5cm high

592

£1000-1200 593 AN EDWARDIAN SILVER ART NOUVEAU DIPTYCH PHOTOGRAPH FRAME, E. MANDER & SON, BIRMINGHAM, 1907 the asymmetric shaped panels stamped with convolvulus flowers surrounding one rectangular and one circular glazed aperture, lightly inscribed in facsimile script to one corner of the matted ground ‘Maud - with love from Lilian’, with later mahogany backing 22cm high £800-1200

593

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594 AN ARTS & CRAFTS SILVER BOWL, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1904 the almost hemispherical bowl set with five turquoise cabochons below the moulded rim, on domed foot, underside numbered 2183 17.7cm diameter, 380gr (12oz 4dwt) £600-800 595 AN ARTS AND CRAFTS SILVER JAR AND COVER, A.E. JONES, BIRMINGHAM, 1908 the hammered ovoid body set with six Ruskin high-fired ware blue/green cabochons within flat-chased stylised straps and applied heart motifs, the cover rising to an openwork finial 11.5cm high, 122gr (3oz 18dwt) all in £300-500 596 AN ARTS AND CRAFTS SILVER BOWL, A.E. JONES OF BIRMINGHAM, CHESTER, 1925 bulbous circular, hammer finished, applied with a band of bosses below an inscription, moulded rim 12cm diameter, 198gr (6oz 7dwt)

594

The inscription reads: Walter Towse Esqre. / from the Directors at Clark Son & Morland Ltd. / 1917-1926 £100-150 597 A GEORGE V SILVER NOVELTY PHOTOGRAPH FRAME WITH WATCH, MAKER’S MARK RUBBED, LONDON, 1912 plain domed rectangular, with later mahogany easel back and bevelled glass, the timepiece a Swiss silver keyless open-faced pocket watch, Buren 7 jewel movement, enamel dial with Roman numerals and subsidiary dial, silver case with engine-turned back, import marked William Henry Sparrow, London, 1904 15.5cm wide £500-700

595

597

596

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598 598 A SILVER-GILT COUNTESS’ CORONET, C.J. VANDER LTD., LONDON, 1936 the matted ground circlet chased with ‘jewels’ below a corded border surmounted by eight strawberry leaves between the stalks of the silver ‘pearls’, with white fur trim simulating ermine, the red velvet cap with gold thread tassel, white silk lined with printed gilt label for Ede & Ravenscroft, 17cm diameter; together with a gilt-metal and silvered Count’s coronet, 20th century, oval, with sixteen ‘pearls’ on stalks above the circlet with ‘jewels’, 24cm wide; and a small electroplate crown, 19th century, probably from a figure of a saint, with red velvet cap, 14cm high (3)

600 A SILVER SWEETMEAT BASKET, C.J. VANDER LTD., SHEFFIELD, 1997 pierced and engraved oval in Dutch taste, beaded lip and swing handle 16.5cm long, 283gr (9oz 1dwt) £100-150

Provenance: Robin Ian Evelyn Stuart de la Lanne-Mirrlees (Grinnell-Milne), Comte de la Lanne-Mirrlees, titular Prince of Incoronata, Scottish Feudal Baron of Inchdrewer and Laird of Bernera (1925-2012) Presumably the Countess’ coronet was ordered for Edward VIII’s anticipated coronation, scheduled for May 1937 (but not by de la Lanne-Mirrlees, who must have acquired it later). The renowned ceremonial outfitters, Ede & Ravenscroft, claim to have supplied robes and regalia for twelve coronations. £800-1200 599 AN EDWARDIAN SILVER CREAM JUG, MAPPIN & WEBB LTD., LONDON, 1904 plain tapering cylindrical, 9cm high; together with a limited edition silver goblet, with baluster stem and straight-sided bowl with gilt interior, decorated with the arms of the City of York flanked by the dates ‘AD71’ and ‘1971’ commemorating the city’s bimillenium, gilt interior, underside numbered 680 and initialled H.H. for the retailer Henry Hardcastle of York, Barker Ellis Silver Co., Birmingham, 1970, 11cm high 247gr (7oz 18dwt) (2)

601 A SILVER COFFEE POT, JOHN HENRY ODELL (OF HIGH STREET, GRAVESEND, KENT), LONDON, 1969 plain tapering octagonal Queen Anne style, domed hinged lid, brown fibre handle 25.5cm high, 993gr (31oz 18dwt) all in

£80-120

£400-600

138

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602 AN IRISH GEORGE V SILVER DISH RING, SHARMAN D. NEILL LTD. OF BELFAST, DUBLIN, 1916 typical waisted circular form, chased with birds perched above ribbon-tied fruiting vine swags against a pierced ground of trellis or scrolls surrounding a shield initialled L above the dates 1892-1917 20.5cm diameter, 364gr (11oz 14dwt) £200-300 603 AN IRISH EDWARDIAN SILVER FRUIT BOWL, SHARMAN D. NEILL LTD. OF BELFAST, DUBLIN, 1908 circular, the sides chased with birds perched above ribbon-tied fruiting vine swags and a vacant cartouche against a pierced ground of trellis or scrolls, with an applied shaped rim of scrolls, flowerheads and shells 26.5cm diameter, 617gr (19oz 16dwt)

602

£200-300

604 603

604 A SET OF SIX GEORGE V SILVER LIQUEUR TOTS, JOHN HALL & CO. OF MANCHESTER AND LIVERPOOL, LONDON, 1920 each in the form of a miniature three-handled tyg, fitted case with retailer’s stamp: ‘John Hall & Co. Diamond Merchants, 56, King St. Manchester and 10, Dale St. Liverpool’, 4.5cm high; together with another set of six silver liqueur tots of similar form, gilt interiors, fitted case with retailer’s stamp: ‘P. Orr & Sons, Madras, Rangoon, Colombo.’, Snyner & Beddoes, Birmingham, 1904, 4.2cm high 283gr (9oz 1dwt) (12) £150-200 605 A PAIR OF VICTORIAN SILVER CANDLESTICKS, MARTIN, HALL & CO. LTD., LONDON, 1891 the square bases with laurel swags hanging from ram masks at the angles and formal foliate borders, fluted columnar stems, capital sconces, one detachable nozzle only 19cm high excluding nozzle, loaded £120-180

605

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606

607 606 A PAIR OF SILVER WINE COASTERS, C.J. VANDER LTD., LONDON, 1983 in George III style, pierced below beaded borders, turned wood bases 12.7cm diameter £120-180

608

607 A GEORGE V SILVER FRUIT BOWL, W. & G. SISSONS, SHEFFIELD, 1912 shaped oval, engraved with a crest below the applied rim of scrolls and shells at intervals, on foliate panel feet 31.5cm long, 617gr (19oz 16dwt) £200-300 608 AN EDWARDIAN SILVER FRUIT BOWL, JOSIAH WILLIAMS & CO. OF BRISTOL, LONDON, 1909 the almost hemispherical hammer-finished body applied with a shaped rim of cast openwork scrolls, on four cast acanthus feet 20cm diameter, 619gr (19oz 18dwt) £200-300

609

609 A GEORGE V SILVER FIVE-PIECE CONDIMENT SET, E.S. BARNSLEY & CO., BIRMINGHAM, 1913 in early 18th century taste, the otherwise plain oval baluster bodies applied with cut-card work, comprising: a mustard pot, two salt cellars and two pepperettes, Patent Office Design no.

597162, the undersides stamped: ‘WILSON & GILL / LONDON,’; also two salt spoons, same maker and date, and an Old English pattern salt spoon, Robert Rutland, London, 1824; all in a fitted case with retailer’s label of Wilson & Gill, 139 Regent Street, London, W height of pepperettes, 10.6cm, 495gr (15oz 18dwt) excluding three blue glass liners (8) £150-200 610 ~ A SILVER THREE-PIECE CONDIMENT SET, ADIE BROTHERS LTD, BIRMINGHAM, 1935/39 ribbed tapering circular, the mustard pot with ivory-banded foot, handle and finial; together with a set of four silver egg cups and four egg spoons, Barker Brothers & Sons Ltd, Birmingham, 1933 325gr (10oz 8dwt) all in, excluding two blue glass liners and two cases, the second with retailer’s stamp of Harrods, London, S.W. (7)

610

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611 611 A PAIR OF GEORGE V SILVER SWEETMEAT BASKETS, GARRARD & CO. LTD., LONDON, 1912 oval, the ogee sides pierced and engraved with diaper panels and scrolls, rocaille and foliate scroll cast and applied borders, feet and end handles, engraved numbers and scratch weights 1499, OZ26.60 £dixxpair and 1500, OZ26 £dixxpair 22cm long, 819gr (26oz 6dwt) £300-500 612 A SILVER SIX-PIECE CONDIMENT SET, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1934-1938 hexagonal in early 18th century taste, comprising: two mustard pots, two salt cellars and two pepperettes height of peppers, 12.5cm, 888gr (28oz 10dwt), excluding four blue glass liners and fitted case

612

£250-300 613 A GEORGE V SILVER TWELVE-PIECE CONDIMENT SET, ROBERT PRINGLE & SONS (LONDON) LTD., BIRMINGHAM AND CHESTER, 1931/32 in late 18th century style, the crested shaped oval or vaseshaped bodies engraved with panels of diaperwork and foliage, comprising four mustard pots, four salt cellars and four pepperettes the pots 7.8cm high, the salts 7.6cm wide, the peppers 12.6cm high, 866gr (27oz 16dwt), excluding eight blue glass liners and fitted wood case £300-500 614 A GEORGE V SILVER CREAM JUG AND SUGAR CASTER, EDWARD & SONS OF GLASGOW AS RETAILERS, TRADE MARK OF ROBERTS & BELK LTD. AS MANUFACTURERS, SHEFFIELD, 1935 plain vase-shaped, the caster 13.5cm high; a silver three-piece condiment set, late 18th century style, shaped oval bodies pierced and die-stamped with paterae, complete with three blue glass liners, A. Chick & Sons Ltd, London, 1968, the pepperette 7cm high; and a set of four bon-bon dishes, shaped square, pierced, maker’s mark W&FR, Birmingham, 1914; also a pair of die-stamped salt cellars, G.E. Walton & Co Ltd, Birmingham, 1897, 8.2cm wide 648gr (20oz 16dwt), excluding the glass liners and four fitted cases, the penultimate with retailer’s stamp ‘S.C. COOMBES LTD RANGOON’ (11) £200-300

613

614

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615 A SET OF TWELVE SILVER FINGER BOWLS, ATKIN BROTHERS, SHEFFIELD, 1908-1912 fluted shaped circular 11.8cm diameter, 1695gr (54oz 9dwt) excluding fitted case £500-700

615

616

616 A VICTORIAN SILVER FOUR-PIECE TEA SET, JAMES DEAKIN & SONS LTD. AND H. MATTHEWS, CHESTER AND BIRMINGHAM, 1898/99 oval, die-stamped decoration above hoof supports, the teapot and hot-water jug with fibre or wood handles and wood finials, the milk jug and sugar basin with gilt interiors height of hot-water jug 19cm, 954gr (30oz 13dwt) all in, excluding fitted case £300-400 617 A PAIR OF GEORGE III SILVER SALT CELLARS, PETER PODIO, LONDON, 1795 square pedestal bases, lobed circular bowls, each engraved with a crest below the reeded lip; together with a set of four Victorian silver salt cellars made to match and engraved with the same crest, Robert Harper & Son, London, 1874 11cm over handles, 647gr (20oz 16dwt), excluding fitted morocco case of circa 1874 (6) £300-500

617

618 A GEORGE V SILVER TWO-HANDLED PORRINGER AND COVER, TESSIERS LTD, LONDON, 1911 a replica of a late 17th century example, the crested almost cylindrical body and cover with applied cut-card decoration, ropework borders, snake terminal, the underside engraved: ‘TESSIER 26 NEW BOND St. W.’, Britannia standard 11cm high, 416gr (13oz 7dwt) Provenance: The Collection of Myrtle Ellis (19372016) £200-300

618

619 A VICTORIAN CALAMANDER DRESSING CASE, THOMAS JOHNSON, LONDON, 1868 the brass bound rectangular box with monogrammed garter inlaid to the lid, the interior with detachable mirror, lift out tray and sprung drawer to base, containing one long and two rectangular glass boxes with silver covers and three glass jars with silver screw-on tops, the silver engine-turned and engraved with matching monogram, additionally with three silver-handled manicure implements, a steel bodkin and two glass jars with glass stoppers, Bramah lock and key 31cm long £200-300

619

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620 A PAIR OF ELECTROPLATE DINNER PLATES, WILLIAM HUTTON & SONS, SHEFFIELD, EARLY 20TH CENTURY in George III style with shaped gadrooned rims, crested, 25.5cm diameter; together with a Victorian electroplate wine coaster, Elkington & Co., Birmingham, 1848, with curled and waved rim, wood base centred by a boss engraved with a military gartered roundel inscribed REGIMENT / VII perhaps for the Royal Fusiliers, 17cm diameter (3) £60-80

624

621 621 A SET OF FOUR VICTORIAN SILVER SALT CELLARS, MAKER’S MARK C.F, SHEFFIELD, 1870 triangular, 16th century style, die-stamped with grotesques, each on three ball supports, 9cm wide, 163gr (5oz 4dwt), excluding fitted case, retailer’s stamp: ‘D.C. RAIT & SONS Goldsmiths to the Queen GLASGOW’; together with a set of six gilt-metal and electroplated copper electrotype salt cellars and six salt spoons, the circular salts decorated in relief with winged cherubs’ heads and rope fretwork, unmarked, probably Birmingham, circa 1866, 5.3cm high, the spoons with pharaoh head terminals, Patent Office Design Registry mark for 30 August 1866, bundle 3 (16)

624 A GEORGE VI SILVER FOUR-PIECE TEA AND COFFEE SET, FORDHAM & FAULKNER, SHEFFIELD, 1912 the otherwise plain faceted baluster bodies engraved with the Casson crest and motto, the teapot and coffee pot with fibre handles and knops height of coffee pot, 22.5cm, 1877gr (60oz 6dwt) all in £500-700

£150-200

625 625 AN EDWARDIAN SILVER TEAPOT, WILLIAM HUTTON & SONS LTD, SHEFFIELD, 1902 in Adam style, oval, chased with ribbon-tied drapery swags and vacant cartouches above a band of stylised stiff leaves, beaded borders 19cm long, 625gr (20oz) including composition handle and finial

622 622 AN EDWARDIAN SILVER SUGAR BASKET, JAMES AITCHISON OF EDINBURGH, LONDON, 1903 oblong, pierced and die-stamped, swing handle, the underside engraved: ‘WILSON & SHARP / EDINBURGH’,14cm wide; together with a silver sugar sifter, engraved, Atkin Brothers, Sheffield, 1902; all in original shaped and fitted morocco case with retailer’s stamp: ‘WILSON & SHARP Goldsmiths Silversmiths & Watchmakers 139 Princes Street Edinburgh’ 216gr (6oz 18dwt), excluding blue glass liner (2)

£200-300

£80-120 623 A VICTORIAN SILVER HOT WATER JUG, FENTON BROTHERS, SHEFFIELD, 1884 part lobed baluster, engraved with the monogram SMW 23.5cm high, 448gr (14oz 8dwt) including ebonised wood finial and fibre handle £150-200

623

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628

626 626 A SUITE OF NINE VICTORIAN SILVER BON-BON DISHES, T.H. HAZLEWOOD & CO., H. HAYES AND OTHERS, BIRMINGHAM 1897/98 various sizes, pierced and die-stamped, two with the Willow Pattern, all inscribed 10-20.1cm wide, 341gr (10oz 19dwt), excluding contemporary case with retailer’s stamp of Craddock of Glasgow

628 TWO SILVER ‘GRENADE’ CIGAR LIGHTERS, MARKS RUBBED, CIRCA 1930 typical form, one engraved with the crest and motto of the Royal Scots Fusiliers and on an ebonised wood stand with silver plaque inscribed to Brigadier E.W.D. Vaughan D.S.O., M.C. tallest 9cm high excluding stand £100-150

The various inscriptions included the names of Mr & Mrs W.L. Dunn and the dates 24 September 1873 and 24 September 1898 £200-300

629 630

629 A SCOTTISH VICTORIAN SILVER SUGAR CASTER, MACKAY & CHISHOLM, EDINBURGH, 1896 in early 18th century style, octagonal, pierced detachable cover with faceted finial 19.5cm, 412gr (13oz 4dwt) £180-220

627 A VICTORIAN SILVER BASKET, ELKINGTON & CO., BIRMINGHAM, 1876 shaped oval, centred by an engraved initial C, the ribbed sides with matted ground panels of raised flowers or fruits, on a short pedestal foot, with decoratively cast openwork swing handle 31cm long, 773gr (24oz 17dwt)

630 A PAIR OF VICTORIAN SILVER SALT CELLARS, ROBERT HARPER, LONDON, 1858/59 compressed circular, chased with foliage and flowers, each on three hoof feet, gadroon lips, gilt interiors, 7cm diameter; together with a Victorian silver Christening mug, H.J. Lias & Son, London, 1872, frosted, engraved with stylised foliate borders, on three ball feet, scroll handle, 8cm high 284gr (9oz 2dwt) (3)

£300-500

£120-180

627

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632

631

631 TWO VICTORIAN SILVER AND TORTOISESHELL INKWELLS, WILLIAM COMYNS & SONS, LONDON, 1889/90 the earlier example with a tortoiseshell rectangular base and silver egg and dart border and openwork cast panel feet, the removable cut-glass square inkpot with a bun shaped silver lid similarly egg and dart bordered, 15.5cm long, the later example with a welled and ribbed shaped circular tortoiseshell base applied with an openwork scroll foliate silver band rising to the fixed cut-glass globular inkpot with petal form silver lid, 13.5cm diameter, £300-500 632 A PAIR OF VICTORIAN SILVER AND TORTOISESHELL CANDLESTICKS, WILLIAM COMYNS & SONS, LONDON, 1889 the tortoiseshell domed circular bases rising to cylindrical stems, with silver egg and dart borders and detachable nozzles 12cm high £200-300

633

633 A PAIR OF GEORGE V SILVER AND TORTOISESHELL CANDLESTICKS, WILLIAM COMYNS & SONS, LONDON, 1910 oval, the bases applied with a husk border, the flared stems with piqué placé Adam style pendants, complete with detachable nozzles 15cm high £400-600 634 A PAIR OF VICTORIAN SILVER DWARF CANDLESTICKS, HAWKSWORTH, EYRE & CO., SHEFFIELD, 1868 die-stamped, ovolo and foliate bordered stepped square bases, cluster column stems, stiff leaf sconces and detachable square nozzles 14cm high, loaded £300-500

634

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637 ROYAL CORPS OF SIGNALS: A SILVER CIGARETTE BOX, GOLDSMITHS & SILVERSMITHS CO. LTD., BIRMINGHAM, 1939 rectangular, engine-turned, lid applied with the Royal Signals crest and enamelled colours to one corner, the front presentation engraved to: The Officers 15th. (Scottish) Divisional Signals by Lt. Col. Victor D. Warren M.B.E. Commanding September 1939, wood lined, 18cm long; together with a 9ct gold Signals Corps brooch, formed as the Mercury crest within a blue enamel oval below the Royal crown, 3.3cm high (2) £120-180 638 A VICTORIAN SILVER TAPERSTICK, HAWKESWORTH, EYRE & CO. LTD. OF SHEFFIELD, LONDON, 1895 die-stamped in George II style, square base with incurved corners, detachable nozzle 11.5cm high, loaded £50-80

635

635 AN EDWARD VII SILVER CANDLESTICK, SHARMAN D. NEIL OF BELFAST, SHEFFIELD, 1904 die-stamped columnar, gadroon and formal foliate pattern square base engraved with initials and dates, stop-fluted stem, Corinthian capital, detachable nozzle 31.cm high, loaded £400-600 636 A GEORGE IV SILVER MUSTARD POT, WILLIAM ELLIOTT, LONDON, 1826 ribbed compressed circular on short pedestal foot, ball finial, leaf and scroll decorated handle, engraved with a crest, with blue glass liner, 10.5cm long; together with a matching William IV silver salt cellar, same pattern but no crest, gilt interior, Joseph & John Angell, London, 1835 321gr (10oz 6dwt) (2) £150-250

636

639 ASSORTED ENGLISH SILVER comprising: an oval sauceboat on three pad feet, Viners Ltd., Sheffield, 1934, 17.5cm long, another sauceboat, similar, smaller, Mappin & Webb Ltd., Sheffield, 1935, a plain almost hemispherical bowl, inscribed, William Hutton & Sons Ltd., Sheffield, 1927, 10.5cm diameter, a sugar bowl in the form of a Monteith bowl, Charles Boyton & Son Ltd., London, 1913, a milk jug, scroll foliate chased, Hayes Brothers, Birmingham, 1893 and a pedestal vase shaped cream jug, Nathan & Hayes of Birmingham, Chester, 1915 687gr (22oz) (6) £200-300 640 ~ A VICTORIAN ROSEWOOD DRESSING CASE (OR TOILET BOX), J.J. MECHI, LONDON, CIRCA 1845 oblong, fitted with seven silver topped glass jars and two boxes all engraved with a crest, the boxes additionally with scroll foliage, the silver William Neal, London, 1845/46, the red velvet lined box with pull-out tray, frieze drawer and stationery sleeve to lid, mother-of-pearl escutcheon, plaque to lid missing, original printed label to inside lid reading: No. 4, Leadenhall St. London.

J.J. Mechi, to prevent fraudulent imitations, Signs all his articles thus, without which NONE ARE GENUINE J.J. Mechi 30cm wide John Joseph Mechi (1802-1880), specialised in dressing cases and shaving apparatus from premises in Leadenhall Street.

When revenues for his ‘Magic Razor Strop’ dropped, following the increasing fashion for facial hair, he pursued another successful business in lamps for use outside shop-windows.

Simultaneously he developed a model farm at Tiptree Heath, Essex and published his popular ‘How To Farm Profitably’ in 1857. Elected an alderman of the city in 1858, “The failure of the Unity Joint Stock Bank in 1866, of which he was a governor, and an unfortunate connection with the Unity Fire and General Life Assurance Office, caused him such heavy losses that, instead of becoming lord mayor, he was in August 1866 obliged to resign his aldermanic gown. Many bad seasons followed at Tiptree farm, particularly that of 1879, and at last, worn out with diabetes and broken-hearted, his affairs were put in liquidation on 14 December 1880. He died at Tiptree Hall on 26 December 1880.” (Dictionary of National Biography) £100-150

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641 ~ A VICTORIAN SILVER BACHELORS TEAPOT, WILLIAM ROBERT SMILY, LONDON, 1855 compressed circular, engraved to the shoulder with vacant cartouches flanked by foliate scrolls, with cast gourd finial, silver handle with ivory insulators 22cm long, 467gr (15oz) all in £150-200 642 A VICTORIAN SILVER CASTER, WAKELY & WHEELER, LONDON, 1900 ogee shaped, richly chased with fruiting vines and leafy borders, the shoulders with a vacant cartouche and applied with three cast lion masks, gilt interior, 22cm high; together with a George V silver caster, C.S. Harris & Sons Ltd., London, 1926, in George III style, baluster with reeded borders, 20cm high 570gr (18oz 6dwt) (2)

641

Provenance: Henry Brownrigg, London (1943-2016) £200-300 643 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 £120-180

642

644 A VICTORIAN SILVER TOAST RACK, ROBINSON, EDKINS & ASTON, BIRMINGHAM, 1838 oblong, with seven bars centred by the scroll loop handle, on anthemion panel feet 16cm long, 277gr (8oz 18dwt) £150-250 645 ~ A VICTORIAN SILVER TEAPOT, EDWARD JOSEPH OVERSTRIKING ROBERT HARPER, LONDON, 1863 compressed melon shaped, chased to the shoulder with matted leaves alternating with flowerheads, domed lid with cast flower finial, silver handle with ivory insulators, on four cast anthemion panel feet, underside of feet with cast inscription ‘BAGNALL’ 29cm wide, 879gr (28oz 5dwt) all in

643

£300-400

644 645

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646

646 A VICTORIAN SILVER PRESENTATION CASKET, ELKINGTON & CO. AS RETAILER OVERSTRIKING MACRAE & GOLDSTEIN AS MANUFACTURER, LONDON, 1876 rectangular, the slightly domed lid chased with the arms of Heywood within an inscribed strapwork cartouche flanked by the initials JPH and AMH in strapwork ovals surrounded by a shaped panel of chased ribbon-tied floral swags on a hammered ground, the sides chased with further floral swags interrupted by applied lion masks, on paw feet, wood base, blue velvet interior, engraved ‘ELKINGTON & CO. LIVERPOOL’ 29.5cm long The inscription reads: Presented to John Pemberton Heywood of Cloverley by his tenantry, April 6th 1877.

The initials are for the aforementioned and his wife Anna Maria (née Jones) John Pemberton Heywood (1803-1877), a Liverpudlian millonaire banker, commissioned the architect William Eden Nesfield to build the mansion house on his estate at Cloverley in Shropshire. He and his wife were descended from interconnected families of Unitarian merchants, bankers and lawyers, and both died later the same year in which the casket was presented. £700-1000

647, 648 647 A WILLIAM IV SILVER WINE FUNNEL, CHARLES FOX, LONDON, 1831 ribbed baluster form, the detachable base with stylised leaf clip and pellet pierced strainer, the body engraved with a crest and motto for the family of Pringle of Whytbank 15.5cm high, 176gr (5oz 13dwt) £300-400 648 A GEORGE III SILVER WINE FUNNEL, JOSEPH PREEDY, LONDON, DATE LETTER RUBBED, CIRCA 1780 typical form, bowl with beaded rim, shaped clip and pellet piercing, detachable reeded spout 12cm high, 98gr (3oz 3dwt) £150-250

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649

649 A SET OF FOUR SILVER CANDLESTICKS AND A PAIR OF SHEFFIELD PLATE CANDELABRA BRANCHES, JOHN & THOMAS SETTLE AND THEIR SUCCESSORS HENRY WILKINSON & CO., SHEFFIELD, 1825/37 the sticks with stamped foliate and shell borders, the circular bases engraved with a crest rising to flared stems and campanashaped scones, with two crested detachable nozzles, the three-light branches of conforming pattern, each of two scrolled arms and central light candelabra 47cm high, sticks 28cm high, loaded £1500-2500 650 ~ A VICTORIAN SILVER COFFEE POT, ELKINGTON & CO., BIRMINGHAM, 1845 ribbed baluster, engraved with sprays of scroll foliage around two vacant cartouches, lid with cast gourd finial, silver handle with ivory insulators 23cm high, 929gr (29oz 17dwt) all in £300-400

650

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651 A GEORGE III SILVER TEA TUB (CADDY), THOMAS HEMING, LONDON, 1766 square, imitating a wooden Chinese tea chest, engraved to the sides in the workshop of Robert Clee with simulated planks and Chinese characters for ‘righteous’, ‘patriotic’, ‘loyal’ and ‘Chang’ (prosperous, glorious and good) within borders of scroll foliage on a linear ground, the flush-hinged lid with cast flower sprig finial and similarly bordered, on later ball feet with lead filling 9.4cm wide, 445gr (14oz) all in For an another caddy with exactly the same engraving (including the border details), but with a differing finial, marked Aaron Lestourgeon, 1768, see the Ashmolean Museum, Oxford, No.WA1955.46 and another similar sold Sotheby’s, New York, 16 April 2005, lot 274, marked Parker & Wakelin four times, circa 1770.

651

Examples of this model of caddy or canister (called a ‘tea tub’ at the time) appear between about 1765 and 1773, many with Lestourgeon’s maker’s mark. Helen Clifford, in her book Silver in London: The Parker and Wakelin Partnership 1760-1776, (Yale University Press, 2004) reconstructs the fascinating system of outworkers who produced these caddies for Parker & Wakelin.

The bodies were formed from sheet by Ansill and Gilbert or by Aldridge and Woodnorth for £1 8s. each, the former also supplying three sizes of sprig finial. Aaron and William Lestourgeon then fitted the locks and lined the interiors in lead for 5s. each. The borders and characters were subsequently engraved in Robert Clee’s workshop, opposite Parker & Wakelin’s shop in Panton Street, before delivery to the retailer. It would seem the process, from start to finish, took under three weeks.

Apparently they were retailed by Parker & Wakelin for about £9.

The same procedure would have been followed for the supply of these caddies to another leading goldsmiths of the day, Thomas Heming, who had been appointed Principal Goldsmith to the King in 1760.

‘The career of one specialist silver engraver, Robert Clee (c.17101773), has been studied in depth by Robert Barker. In addition to silver, Clee engraved a number of signed trade cards, including those of the chemist Richard Sidall and the goldsmith Thomas Heming. Barker has demonstrated that Clee’s establishment, which included both apprentices and outworkers, provided extensive engraving services for the prominent London retailers Parker and Wakelin as well as for Thomas Heming. Although it is impossible to distinguish among the various engravers he employed, it seems likely that much of the best silver engraving carried out during this period passed through Clee’s workshop.’

(Beth Carver Wees, English, Irish & Scottish Silver and the Sterling and Francine Clark Art Institute, New York, 1997, pp. 338340) Interestingly Robert Clee’s will (National Archives, PROB 11/987) stipulates: ‘I give and bequeath to Mr Parker Mr Wakelin and Thomas Heming Esquire a Diamond Ring Each of the value of Ten pounds to be made by themselves’. £2000-3000 652 A PAIR OF GEORGE III SHEFFIELD PLATE CANDLESTICKS, PROBABLY MATTHEW FENTON & CO. (BRADBURY p.441), SHEFFIELD, CIRCA 176 columnar, gadroon-bordered stepped square bases, stop-fluted stems and Corinthian capitals, with detachable nozzles, the bases engraved with a crest and motto probably for Balmanno (or Balmano), Scotland 32.5cm high

652

150

£400-600

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653

653 A SET OF FOUR GEORGE IV SILVER CANDLESTICKS, TIMOTHY SMITH & THOMAS MERRYWEATHER, LONDON, 1824 Rococo Revival, engraved with a crest to the wells and nozzles, richly cast and chased with matted shells and stylised foliage, complete with detachable nozzles 21cm high, 2574gr (82oz) £3000-4000 654 A SILVER SALT CELLAR AND TWO PEPPERETTES the George II style circular salt cellar foliate chased below a gadroon rim, on three pad feet, gilt interior, William Ker Reid, London, 1848, 6.5cm diameter, one pedestal cylindrical pepperette with Greek key borders, marks rubbed, London, circa 1805, 7cm high, the other of thistle form, Plante & Co., Birmingham, 1893, 4.5cm high (3)

656 A VICTORIAN SILVER CHRISTENING MUG, JOHN WALTON OR JOHN WRIGHT, NEWCASTLE, 1839 ribbed campana-shaped, engraved with a monogram, leafcapped scroll handle, gilt interior, 9.8cm high; and four smaller silver Christening mugs: one almost cylindrical, engraved with initials within reeding, gilt interior, R., D. & S. Hennell, London, 1802, a similar example, inscribed ‘H.S.K. to Ethel Maud,’ Elizabeth Morley, London, 1804, a fluted baluster example, wrigglework formal decoration, Hilliard & Thomason, Birmingham, 1866, and the fourth engine-turned and monogrammed cylindrical, the underside engraved ‘Humphrey,’ Deakin & Francis, Birmingham, 1908 532gr (17oz 2dwt) (5) Provenance: The Collection of Myrtle Ellis (1937-2016) £500-700

£60-80 655 ~ A GEORGE IV SILVER TEAPOT, FENTEM, WEBSTER & DANBY, SHEFFIELD, 1825 the compressed ribbed circular body applied with a vacant shield and an everted leaf and scroll rim, on short pedestal foot, silver handle with leaf capping issuing from a boar’s head, scroll and bird’s head spout, leafy bun finial 31cm long, 722gr (23oz) including ivory handle insulators and finial bolster £300-400

655

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657 A PAIR OF GEORGE IV SILVER LARGE CANDLESTICKS, MATTHEW BOULTON & PLATE CO., BIRMINGHAM, 1822 with gadroon, shell and leaf borders, the circular bases engraved with a coat of arms, with tapering cluster column stems, urn shaped sconces and detachable nozzles, loaded bases, engraved with scratch weights 22:14 and 22:12 33cm high £1000-1500 658 A PAIR OF GEORGE IV SHEFFIELD PLATE DISH WARMERS AND LINERS, MATTHEW BOULTON & PLATE CO., BIRMINGHAM, CIRCA 1825 circular, each on four applied paw and foliate supports, similar handles, the gadroon-bordered liners engraved with a coat-ofarms, motto and crest, detachable metal grille interiors 34cm over handles The arms are those of Salomons impaling Cohen for David Salomons (1797-1873), second son of Levy Salomons of St. Mary Axe, London, upon his marriage in 1825 to his first wife, Jeanette (1804-1867), daughter of Solomon Levi Cohen of Canonbury House and granddaughter of the famously weathy Levi Barent Cohen. Salomons became the first Jewish Lord Mayor of London in 1855 and in 1869 was created a baronet. He was also one of the founders of the London and Westminster Bank in 1832.

See lot 696 for a snuff box belonging to Sir Moses Montefiore, whose wife, Judith, was the aunt of Jeanette Salomons. Sir David Salomons, like his wife’s uncle, played a prominent part in achieving Jewish emancipation in the kingdom. His house near Tunbridge Wells, Broomhill, is now preserved as the Salomons Estate, containing a museum charting the history of the family.

657

£300-500 659 A SET OF FOUR GEORGE III SHEFFIELD PLATE PLATE-WARMERS AND LINERS, ENGLISH, CIRCA 1800 plain circular, drop handles 20cm diameter £150-250 660 AN EDWARDIAN SILVER BOWL, D. & J. WELLBY LTD., LONDON, 1905 circular, applied moulded rim, plain excepting the engraving of a crest below a baron’s coronet 23.5cm diameter, 815gr (26oz 4dwt) including felt to base £350-450

658, 659

661 A GEORGE III SILVER MUSTARD POT, CHARLES FOX, LONDON, 1818 oval, the sides and domed hinged lid engraved circa 1845 with scrolled foliage and flowers, angular handle, 8cm wide; together with a silver bon-bon or nut dish, oval, pierced and bright-cut in late 18th century style above four bun supports, applied gadroon lip, lion mask and drop handles, Nathan & Hayes of Birmingham, Chester, 1908, 16cm wide 224gr (7oz), excluding two blue glass liners (2) £100-150

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662 662 ~ A GEORGE IV SILVER FOUR-PIECE TEA AND COFFEE SET, JOHN, HENRY & CHARLES LIAS, LONDON, 1824 compressed circular, on short pedestals, chased with shaped panels and ribbed borders of flowers on a matted ground, each with one vacant cartouche and applied foliate shell rims, cast leafy gourd finials, comprising: a teapot, a coffee pot, a milk jug and a sugar bowl with cover, the latter two with gilt interiors coffee pot 22cm high, 2711gr (87oz) including ivory insulators to the pots £1500-2500 663 A PAIR OF GEORGE III SILVER CANDLESTICKS, MAKER’S MARK F.W IN GOTHIC SCRIPT (GRIMWADE NO.3572), LONDON, 1766 the shaped circular bases, knopped stems and detachable nozzles die-staped with shells and flutes within gadroon borders, the bases and nozzles engraved with a crest 26.4cm. high, loaded Provenance: The Collection of Myrtle Ellis (1937-2016) £800-1200 664 A SHEFFIELD PLATE MEAT DISH COVER, EARLY 19TH CENTURY oval, with let-in engraved silver coat of arms above a band of horizontal lobes, 38cm long; together with an electroplate gallery tray, Barker Brothers (or Barker Ellis Silver Co.), Birmingham, probably second quarter 20th century, oval, trellised sides below a beaded rim, 56.5cm long (2) The arms on the meat dish cover may be for the Huguenot family of Champagné of Portarlington, Ireland, with a crescent at the top indicating a second son during the lifetime of his father, with the female side perhaps those of Galland or Gallant.

663

£120-180

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665, 668 665 A PAIR OF GEORGE III SILVER SALT CELLARS, MAKER’S MARKS RUBBED, LONDON, 1818 pedestal oblong, on ball feet, ovolo rims, gilt interiors 8.8cm long, 162gr (5oz 4dwt) excluding clear glass liners £100-200

668 TWO PAIRS OF GEORGE III SILVER SALT CELLARS, LONDON, 1811/1817 bulbous oblong bodies with everted ovolo rims, on ball feet, gilt interiors, the earlier pair Solomon Hougham, the later pair maker’s marks rubbed possibly PB 8.5cm long, 321gr (10oz 6dwt) (4) £250-350

666 666 A SET OF THREE GEORGE III SILVER SALT CELLARS, ABSTINANDO KING, LONDON, 1800 rectangular pedestal bases, the boat-shaped bowls each engraved with a crest and the initials RB, gilt interiors 12.4cm over end handles, 308gr (9oz 19dwt) £200-300 667 A GEORGE III SILVER INKSTAND, WILLIAM ROBERTSON, LONDON, 1762 gadroon bordered rectangular, on four paw supports, the pierced square bottle holders complete with three silvermounted cut-glass bottles, later engraved with a crest below a Baron’s coronet 26.7cm wide, 670gr (21oz 10dwt) of weighable silver The crest is that of Crewe, Barons Crewe of Crewe, Cheshire, perhaps for Hungerford Crewe, 3rd Baron (1812-1894). Thence by descent to Mary Innes-Ker, Duchess of Roxburghe (19152014), West Horsley Place, Surrey. £300-500

669

669 TWO GEORGE III SILVER SWEETMEAT BASKETS, ALEXANDER FIELD, LONDON, 1800 boat-shaped, applied reeded borders and swing handles, one engraved with the initials ‘JACA’ below a bright-cut and engraved trellis border, the other with bright-cut flower and foliage border 18cm long, 279gr (8oz 9dwt) £200-300 670 A GEORGE III SILVER TEAPOT, HENRY CHAWNER, LONDON, 1790 plain oval, applied beaded borders and girdle, straight tapering spout 13.7cm high (428gr) including wood handle and finial £250-350

667 670

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671

672 A PAIR OF GEORGE III SILVER DINNER PLATES, TIMOTHY RENOU, LONDON, 1802 engraved below the shaped gadroon rims with a later coat of arms 25cm diameter, 1232gr (39oz 12dwt)

671 A PAIR OF GEORGE III SILVER SAUCE TUREENS AND COVERS, JOHN EDWARDS, LONDON, 1806 the plain oblong bodies each on four lion mask and paw supports, applied gadroon lips, the detachable domed covers engraved with a crest below cast coiled snake terminals 21.2cm over end handles, 1867gr (60oz) In his biography of John Edwards, Arthur Grimwade (London Goldsmiths, p.501), concludes that, ‘As partner with [William] Frisbee for a short time [in 1791] he must have been in the circle which included the young Paul Storr.’

The arms are those of Cary, Viscounts Falkland, apparently with those of Reade in pretence, probably for Lt. Col. Byron Plantagenet Cary, 12th Viscount Falkland (1845-1922), who succeeded to the title in 1874 and married on 25 September 1879 Mary (d. 1920), daughter of Robert Reade.

£1500-2500

£500-800

672

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674 A PAIR OF SCOTTISH GEORGE III SILVER GOBLETS, FRANCIS HOWDEN, EDINBURGH, 1802 of large size, shaped circular bases rising to waisted stems, the bowls with engraved and pricked with formal leaf rims above bright-cut inscribed cartouches, gilt interiors 19.8cm, 799gr (25oz 13dwt) The inscriptions read: L’amitié / WMG / AG EG £500-700

674

675 A GEORGE III SILVER MUSTARD POT, EMES & BARNARD, LONDON, 1810 bellied oblong below a band of horizontal lobes, gadroon rim, the crested domed lid with ball finial and shell thumbpiece, handle to end, on rim foot, glass liner, 11cm long; together with another silver mustard pot, cup shaped, domed lid, fixed blue glass liner, Edward Barnard & Sons Ltd., London, 1919, 6cm wide; and a silver mustard spoon, Fiddle pattern, crested, William Eaton, London, 1819 weighable silver 173gr (5oz 11dwt) (3) £120-180

673 A PAIR OF GEORGE III SILVER WINE COASTERS, THOMAS DANIELL, LONDON, 1783 circular, pierced, bright-cut and initialled sides below beaded lips, turned wood bases, 12.5cm diameter; together with a pair of Sheffield plate coasters, plain sides, gadroon lips, turned wood bases, 14.4cm diameter (4) £700-1000

676 A GEORGE III SILVER CASTER, JABEZ DANIELL & JAMES MINCE, LONDON, 1769 girdled baluster, pellet pierced cover with wrythen knop, 14cm high; together with another silver caster, William Hutton & Sons, London, 1890, urn shaped, reeded borders, square base, 15.5cm high 244gr (7oz 16dwt) (2) £150-250

673

675 part, 676

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677 677 A GEORGE III SILVER TRAY, WILLIAM BENNETT, LONDON, 1802 oval, contemporaneously engraved with a coat of arms surrounded by a broad band of later flat-chased flower and leaf spays interrupted by shaped panels of diaperwork, with applied reeded rim and loop handles 62cm across handles, 2199gr (70oz 14dwt) £800-1200

679 A GEORGE III SILVER WINE FUNNEL STAND, EDWARD EDWARDS, LONDON, 1817 plain circular, moulded border, 11.8cm diameter, loaded; and a silver snuffers tray, navette-shaped, reeded border, the underside engraved ‘W.B to E.B,’ 25.1cm wide the snuffers tray 129gr (4oz 2dwt) (2) Provenance: The Collection of Myrtle Ellis (1937-2016) £150-200

678 678 A GEORGE III SILVER MUSTARD POT, PHILIP FREEMAN, LONDON, 1776 cylindrical, the sides pierced with horizontal bars and dots between applied beaded borders, pierced thumbpiece to the flat hinged lid, 6.5cm high; together with two further Georgian silver mustard pots: the first plain oval, applied reeded borders, domed hinged lid, Peter, Ann & William Bateman, London, 1804, the second moulded oblong, on four ball supports, domed hinged lid, marks rubbed, William Bateman, London, 1815 339gr (10oz 17dwt), excluding three blue glass liners (3)

680

Provenance: The Collection of Myrtle Ellis (1937-2016)

680 A GEORGE II SILVER SAUCEBOAT, JOHN POLLOCK, LONDON, 1748 the oval body engraved with a coat of arms within a Rococo cartouche below the waved rim, on three cast pad feet, with C-scroll handle 18.5cm long, 372gr (11oz)

£400-600

£200-300

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681 681 A GEORGE III SILVER CRUET SET, HENRY GREEN, LONDON, 1792-96 the base of elongated quatrelobe form engraved with a coat of arms and a crest, on panel feet, with reeded supports and central handle between the eight silver-mounted cut-glass bottles (two glass stoppers lacking) 28cm long, weighable silver 755gr (24oz 5dwt) £600-900 682 A SCOTTISH GEORGE III SILVER CHAMBERSTICK, JAMES GILSLAND, EDINBURGH, 1765 circular welled base with reeded rim, waisted sconce and ring handle 14.5cm long, 262gr (8oz 8dwt)

682

£400-600 683 A GEORGE II SILVER PEPPER POT, SAMUEL WOOD, LONDON, 1738 bun top, urn form with reeded girdle, 9cm high; together with another George II silver pepper pot, Thomas Rush, London, 1739, girdled baluster, with ball finial, 11cm high 133gr (4oz 3dwt) (2) Provenance: The Collection of Myrtle Ellis (1937-2016) £250-350

683

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684 684 A GEORGE III SILVER BASKET, ALDRIDGE & GREEN, LONDON, 1774 oval, the sides chased with drapery swagged from oval paterae against palework piercing, the rim applied with further paterae, on pale pierced rim foot, the swing handle of interlaced openwork loops 32cm long, 594gr (19oz) £800-1200 685 A GEORGE III SILVER SALVER, ELIZABETH COOKE, LONDON, 1771 with contemporary engraving of a crest within a ribbon-tied foliate swagged reeded roundel, the shaped beaded rim interrupted by shells above stamped husk swags, on three ball and claw feet 25.5cm diameter, 607gr (19oz 10dwt) £500-700 686 A GEORGE II SILVER CREAM BOAT, DAVID HENNELL, LONDON, 1751 oval, with contemporary chasing of scrolls, foliage, rocaille and a vacant cartouche, on three hoof feet 12cm long, 98gr (3oz 3dwt)

685

£150-200 687 AN EARLY SHEFFIELD PLATE SALVER, UNMARKED, ENGLISH, CIRCA 1760 shaped circular, die-stamped shell and scroll border, on three claw and ball supports 55cm diameter £70-100

686

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688

688 A PAIR OF GEORGE II SILVER SALVERS, ELIZA GODFREY, LONDON, 1755 shaped circular, the centres each engraved with a contemporary coat-of-arms and rococo cartouche within a later flat-chased band of scrolls, flowers and shells, applied gadroon and shell borders above three hoof supports, together with a photocopy of the original Eliz.

Godfrey bill, 1755 30.8cm diameter, 1896gr (60oz 19dwt) The arms are those of Leigh impaling Brydges for James Leigh (1724-1744) of Adlestrop and Longborough, Gloucestershire, who married on 10 March 1755, Lady Caroline Brydges (1729-1789), eldest daughter of Henry, 2nd Duke of Chandos.

These salvers are listed with other items in a bill addressed to ‘Jas. Leigh Esq’ from Elizabeth Godfrey, ‘Goldsmith & Jeweller to his Royal Highness ye Duke of Cumberland at ye Hand Ring & Crown in Norris Street, St. James’s Hay Market,’ 22 February 1755, as follows: ‘2 Neat Pold. [Polished] Gadroon’d Waiters - 64[oz] 12[dwt] @8[s per oz] - [£]25 17[s] 0[d] ‘Engr’d Do [£]0 15[s] 0[d]’ The bill was paid on 5 May 1755: ‘Recd. by the Hand of Jn Pudsey the Contents of this Bill & all Demands for My Mother E: Godfrey P [i.e. Per] Abm. Betew.’ (The original of this bill is among the Brydges family papers, Shakespeare Birthplace Trust, Stratford-upon-Avon) Elizabeth Godfrey (née Panten [sic]) was married to her first husband, the silversmith Abraham Buteux (1698-1731) at St. Paul’s Cathedral on 11 February 1720. Their son, the above-mentioned ‘Abm Betew’ [Abraham Buteux junior] was born in 1722. Following her husband’s death, Mrs Buteux was married for a second time at St. Benet, Paul’s Wharf on 6 February 1732 to the silversmith Benjamin Godfrey, a bachelor. Arthur Grimwade (London Goldsmiths, p. 524) suggests that the latter had been a journeyman to Mrs. Buteux.

Widowed a second time when Godfrey died in 1741, she herself died in 1771, survived by her sons Abraham (d. 1776) and Panton (d.

1799) and daughter Hester Betew [Buteux] (d. 1774/76). Panton Betew’s will was proved on 19 July 1799 (National Archives, PROB 11/1326) by his executor, Lewis Pantin junior (Grimwade, p. 613 : Lewis Pantin III).

Provenance: James Leigh (1724-1744) of Adlestrop; Sotheby’s, London, 10 November 1994, lot 166; The Collection of Myrtle Ellis (19372016) £2000-3000

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689

689 A SCOTTISH GEORGE II SILVER TEAPOT, JAMES KER, ACTING ASSAY MASTER DAVID MITCHELL, EDINBURGH, 1740 bullet form, on spreading foot, with part fluted spout, flat-chased to the shoulder and flush-hinged lid with a band of strapwork, foliage and shells below the bun knop, scrolling silver handle with horn insulators, scratch weight: 24’ 51/2” 24.5cm long, 711gr (22oz 9dwt) all in Provenance: Christie’s, London, 19 March 1986, lot 232 Whilst for simplicity the date letter ‘K’ is usually ascribed to the year 1739, date letters in Edinburgh ran from September to September. We know this teapot was in fact assayed at some point between February and September of 1740. The official assay master at this time, Archibald Ure, in dispute with the Edinburgh assay office, resigned from his post in February 1740. As Deacon, David Mitchell struck his mark as acting Assay Master until September of that year, when new Deacons struck their marks for assay. £1500-2500 690 A QUEEN ANNE SILVER HOT-MILK JUG, ROBERT COOPER, LONDON, 1710 on stepped circular foot, the baluster body engraved with a later coat-of-arms and cartouche, short spout at right-angles to the wood handle, detachable domed cover, the underside with engraved scratch weight: ‘6 19’ 15cm high, 212gr (6oz 16dwt) including wood handle £1500-2500

690

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693 693 A SCOTTISH SILVER-MOUNTED COWRIE SHELL SNUFF BOX, PROBABLY JAMES MITCHELLSONE, EDINBURGH, CIRCA 1720 the flush-hinged lid mount engraved with the dove of peace above a foliate flanked urn on socle and further stylised foliage, maker’s mark only 6.6cm long £300-400

694

691

691 A PAIR OF GEORGE II SILVER CANDLESTICKS, WILLIAM SHAW & WILLIAM PREIST, LONDON, 1757 cast shell pattern, with shaped square bases each engraved with two crests, knopped stems, waisted sconces and detachable nozzles 25cm high, 1426gr (45oz 17dwt)

694 A SCOTTISH SILVER-MOUNTED HORN SNUFF MULL, UNMARKED, SECOND QUARTER 19TH CENTURY the lid set with a foiled cairngorm surrounded by chased thistles on a matted ground, with reeded rim mounts £150-250

£1500-2500 692 A COLLECTION OF FOUR GEORGE III SILVER SALT CELLARS, ALL LONDON one oval, pierced with a vacant cartouche and a band of quatrefoils and interlaced C-scrolls, on claw and ball feet, Robert Hennell, 1774, one oval, pierced with a band of palmettes, Crispin Fuller, 1799, one oval with wrigglework decoration, Henry Chawner, 1789 and one oblong pierced and bright-cut with a band of leaf motifs, maker’s mark rubbed, 1809 each approximately 8cm long, 199gr (6oz 8dwt) excluding four blue glass liners (4) Provenance: The Collection of Myrtle Ellis (1937-2016) £200-300

695 695 AN IBEX HORN SNUFF BOX, GERMAN, SECOND QUARTER 19TH CENTURY oval with natural protusion, the lid and base pressed with the same scene of three ibex in a mountain setting, each panel respectively initialled JA and MH, silver mounts with maker’s mark TA 9cm long £150-250

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696

696 interior detail

696 A VICTORIAN SILVER SNUFF BOX, HILLIARD & THOMASON, BIRMINGHAM, 1854 shaped oblong, the lid engraved with a view of East Cliff Lodge, Ramsgate after a watercolour by Turner within an applied cast and chased floral border, the waisted sides and base engraved with scroll foliage on a linear ground, the gilt interior engraved with the Montefiore crest to the lid 8.8cm long, 203gr (6oz 10dwt) Provenance: Sir Moses Haim Montefiore, 1st Baronet, FRS (1784-1885), the financier and philanthropist, who married in 1812 Rachel Cohen (1784-1862), daughter of Levi Barent Cohen and sister to Hannah, wife of Nathan Meyer Rothschild.

East Cliff Lodge appears to have been built in the mid 1790s, boasting extensive gardens, romantic tunnels cut into the chalk and stupendous views out to sea. The Montefiores rented the property in 1822, purchasing it in 1830, remaining there, when not at their house in Park Lane, until their respective deaths. The mausoleum, in which Sir Moses and Lady Montefiore were laid to rest, and the adjacent private synagogue they had built in the grounds still exist, but the house itself was demolished in 1954.

East Cliff Lodge. Reproduced by kind permmission of The Ramsgate Montefiore Heritage.

J.M.W. Turner (1875-1851) apparently painted views of both the seaward and landward facing elevations of East Cliff Lodge in about 1797, see the Tate’s listings of the artist’s work, Ref. TW1598/TW1899.

See lot 658 for a pair of Sheffield plate dish warmers, engraved with a coat of arms for the marriage of Lady Montefiore’s niece, Jeanette Cohen, to David Salomons. £800-1200 697 A VICTORIAN SILVER MILITARY BELT WHISTLE, JENNENS & CO., BIRMINGHAM, 1855 the conical whistle with metal sprung clasp retained within a conical hexagonal holder with stiff leaf borders and acorn terminal 8.5cm long excluding ribbed suspension ring £150-200

697

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698 part

699

698 TWO GEORGE III SILVER SCENT BOTTLE CASES, SAMUEL PEMBERTON, BIRMINGHAM, 1798 AND CIRCA one tapering faceted with push-button opening, fully marked, 4cm long, the other oblong with diaper bright-cutting, maker’s mark only; together with three scent bottles: one flattened flask form silver example with bright-cutting and the legend ‘MAM’, screw top, unmarked, one glass lined cylindrical silver, Henry Williamson, Chester, 1886, and one cut-glass with unmarked screw-on cap (5)

700

701 part

702 A VICTORIAN SILVER SNUFF BOX, THOMAS BEARDSMORE, BIRMINGHAM, 1897 oblong, the engine-turned lid with cartouche inscribed ‘Eithne’, 7.3cm long; together with three silver cigarette cases, one ribbed and foliate engraved, Hayes Brothers, Birmingham, 1891, one plain ribbed, Joseph Fray of Birmingham, Chester, 1884 and one scroll foliate engraved with intials, Joseph Gloster Ltd., Birmingham, 1924 (4)

Provenance: The Collection of Myrtle Ellis (1937-2016)

Provenance: The Collection of Myrtle Ellis (1937-2016)

£70-100

£100-150

699 A GEORGE IV SILVER VINAIGRETTE, THOMAS FREEMAN, BIRMINGHAM, 1826 oblong, foliate bright-cut, lid initialled EE and with applied foliate rim, gilt interior with scroll foliate pierced grille, 2.6cm long; together with two further silver vinaigrettes, one cut-cornered rectangular, bright-cut, gilt interior with pellet-pierced and foliate engraved grille, suspension ring, Joseph Taylor, Birmingham, 1816, the other oblong, strapwork decorated on a linear ground and initialled N.A to H.E., suspension ring, gilt interior with pellet pierced and engraved grille, Aston & Son, Birmingham, 1860 (3)

703 FIVE VICTORIAN SILVER CARD CASES, VARIOUS MAKERS, BIRMINGHAM, 1849-1896 various sizes, all rectangular or shaped rectangular, variously engraved and engine turned, the earliest with later applied and inscribed plaque, Frederick Marson, in morocco case; together with two rectangular silver filigree card cases, 19th century 8-9.1cm long, 439gr (14oz 2dwt) all in (7) Provenance: The Collection of Myrtle Ellis (1937-2016) £200-300

Provenance: The Collection of Myrtle Ellis (1937-2016) £150-250 700 A GEORGE III SILVER VINAIGRETTE, SIMPSON & SON, BIRMINGHAM, 1818 oblong, lid engraved with basketweave and straps around a vacant laurel roundel, sides and base with wrigglework, gilt interior with a pierced and engraved scroll foliate grille 4cm long £80-120 701 FOUR VICTORIAN SILVER ENGINE-TURNED VESTA CASES comprising: a rectangular combined case and cheroot cutter, roundel initialled GGB, Edward Smith, Birmingham, 1858, 4.6cm long, one with push-button opening, shield initialled JRC, George Unite, Birmingham, 1886, one with entwined initials LFG, George Unite, Birmingham, 1885 and one with suspension ring and roundel initialled J.D.W., Sampson Mordan & Co., London, 1889

702 part

Provenance: The Collection of Myrtle Ellis (1937-2016) £180-220

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704

705

704 TWO PAIRS OF VICTORIAN SILVER WINE LABELS, LONDON, 1837-1842 vine-leaf pattern, the first pair pierced CLARET and PORT, makers’ mark badly struck, 1837, the second pair pierced MADEIRA and SHERRY, Reily & Storer, 1840/42 5.5cm wide (4) Provenance: The Collection of Myrtle Ellis (1937-2016) £200-300 705 A SET OF THREE GEORGE IV SILVER WINE LABELS, REILY & STORER, LONDON, 1830 reeded cut cornered rectangular, engraved CLARET, MADEIRA and PORT, 4.3cm wide; together with a pair of smaller Scottish silver wine labels, oblong, struck gadroon borders, engraved RUM and HOLLAND, George McHattie, Edinburgh, circa 1825; and two electroplate labels, cut-out SHERRY and WHISKY, English, circa 1860 (7) Provenance: The Collection of Myrtle Ellis (1937-2016) £250-350

706 A PAIR OF SILVER TWEEZERS, UNMARKED, PROBABLY ENGLISH, LATE 17TH CENTURY with hatched engraving, terminal with ribbon-pulling aperture and ear-wax scoop, 8.9cm long; together with three further silver tweezers, all with ear-wax scoop terminals, unmarked, 18th century, each approximately 6.5cm long; an ivory toothpick box, English, late 18th century, rectangular with canted corners, applied silver lozenge initialled MA, silver hinge, lid mirrored to interior; and two silver toothpicks (7) Provenance: The Collection of Myrtle Ellis (1937-2016) £150-250 707 FIVE SILVER COLLECTOR’S ITEMS, LONDON AND BIRMINGHAM, 1811-1818 comprising: a small travelling inkwell, plain oval, maker’s mark H?, London, 1812; an apple corer, faceted handle, screw-in blade, maker’s mark badly struck, Birmingham, 1811; two toilet pots and covers, cylindrical, initialled, gilt interiors, William Parker, London, 1817/18; and a smaller toilet pot and cover, engraved with a crest and garter motto, London, 1810 Provenance: The Collection of Myrtle Ellis (1937-2016) £100-200 708 A GEORGE III SILVER MAGNIFYING GLASS CASE, MARKS RUBBED, LONDON, 1794 pear-shaped, the hinged lid engraved with the initials JW, red-velvet lined, together with a fitting folding horn double magnifying glass 7cm high Provenance: The Collection of Myrtle Ellis (1937-2016) £120-180

706 part, 707 part, 708

709 FIVE SILVER VESTA CASES all oblong, four with bright-cut scroll leafage and variety of vacant cartouches, two Rolason Brothers, one George Unite and one T. Heatley, all Birmingham, 1888-1925 and one filigree example, unmarked largest 5.3cm long Provenance: The Collection of Myrtle Ellis (1937-2016) £70-100

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712

711

710 A SILVER SNUFF BOX WITH DETACHABLE BEAKER BASE, PROBABLY GERMAN, MID TO LATE 18TH CENTURY oval baluster form, embossed scroll borders and applied thumbpiece, gilt interiors, 812 standard, crown mark 6.7cm wide £150-250

710

713 A SILVER SNUFF BOX, GERMAN OR DUTCH cartouche shaped, engraved and chased with a cherub in an architectural setting with fountains, the underside with a shepherd, gilt interior, maker’s mark badly struck, possibly AVE, the rim struck ‘58’ 7.5cm wide £400-500

711 A FRENCH SILVER SNUFF BOX, PARIS, 1738-1744 cartouche shaped, chased and engraved with Venus and Adonis, the base with Venus in her chariot, traces of a maker’s mark and date letter, charge and discharge mark of Louis Robin 7.5cm wide £300-500

714 A GERMAN SILVER SNUFF BOX, EARLY 19TH CENTURY cartouche shaped, the hinged lid engraved with a large songbird in a landscape, engraved foliate borders, gilt interior, 812 standard, later Austro-Hungarian control mark of Salzburg 7.8cm wide £200-300

712 A GERMAN SILVER SNUFF BOX, PROBABLY HANAU, LATE 19TH CENTURY cartouche shaped, the lid with putti holding garlands within a shell, scroll and diaper border, the base with Orpheus charming animals and birds, gilt interior, pseudo hallmarks 7.2cm wide £150-250

715 AN AUSTRIAN SILVER SNUFF BOX, MAKER’S MARK AW, VIENNA, 1782 plain oval, the interior lightly gilt, maker’s mark and town mark with date, 7.7cm wide, and a Austrian silver snuff box, George Schiegel, Vienna, 1856, cartouche shaped, engraved and engine turned, gilt interior, 812 standard, 9cm wide (2) £180-220

713

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716

717

718 part

716 A SILVER-MOUNTED HARDSTONE SNUFF BOX, UNMARKED, GERMAN, MID-18TH CENTURY rectangular, boat-shaped, mottled brownish body and lid, plain moulded mounts 7.3cm wide

£200-300 717 A SILVER SNUFF BOX, MID 18TH CENTURY cartouche shaped, chased with Diana and attendants within rocaille ornament, the base with shells and flowers, the border struck ‘RIO’ and with a 1814-1956 Dutch control mark 7.4cm wide £150-250 718 A DUTCH SILVER SPICE BOX, MAKER’S MARK KR14, 1873 shaped square, engraved decoration, 5cm wide; together with an Austrian silver miniature box, rectangular, engine-turned, 900 standard, Vienna, 20th century, 1.6cm wide, and a German silver snuff box, B. Neresheimer & Soehne, Hanau, circa 1900 of bombé form, the sides cast with military trophies and vignettes, the hinged cover similarly decorated with an heraldic device, struck with pseudo marks and the Prague 1901-1921 import mark 8.8cm wide (3)

720 720 ~ A SILVER-MOUNTED IVORY DOUBLE SNUFF BOX, GERMAN, MID 18TH CENTURY the waisted body girdled by deeply carved rocaille scrolls, the lids with similarly carved ivory panels, moulded mounts and gilt interior lids 7.9cm long £300-400

£100-200 719 FIVE SILVER BOXES comprising: a vinaigrette, wrigglework decorated lid, scroll foliate grille, William Simpson, Birmingham, 1837, an oblong Spanish pill or snuff box with floral and foliate scroll brightcutting on engine-turned grounds, gilt interior, Plateria Lopez, Madrid, mid 20th century, 7.5cm long, a cigarette case, oblong, plain excepting the engraved crest and inscription, William Neale & Son, Birmingham, 1893, 8.5cm long, a powder compact, engine turned and with gilt border and thumbpiece, mirror set lid and hinged interior cover, Cohen & Charles, Birmingham, 1956, 7.2cm square and another compact, smaller, plain engine-turned, mirror set lid, M. Wachenheimer & Co. Ltd., Birmingham, 1947

721 AN ART NOUVEAU CONTINENTAL SILVER PILL BOX, PROBABLY BELGIAN, EARLY 20TH CENTURY cushion-shaped, hammer-finished, chased and engraved with a flower spray and a beetle, gilt interior, stamped 925, 6cm diameter; together with a French silver pill box, circa 1900, engraved with interlaced initials bordered by formal foliage, similar border to sides, gilt interior, boar’s head mark, maker’s mark indecipherable, 6.2cm diameter; and a pair of Continental silver salt cellars, ribbed oblong, with clear glass liners, stamped 800, 9cm long over end handles (4) £80-120

£200-300

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722

722 AN ENAMEL SNUFF BOX, GERMAN, CIRCA 1760 rectangular, painted with military trophies, the lid interior with a portrait of Christian VII King of Denmark, in armour, his erminelined red cloak applied with the star of the Order of the Elephant, gilt-metal mounts 8.2cm long £200-300

725

725 TWO GERMAN ENAMEL SEVEN YEARS WAR COMMEMORATIVE SNUFF BOXES, BERLIN, CIRCA 1765 rectangular, gilt-metal mounts, one with bianca sopra bianca borders and painted with maps of the field at Zorndorf and other battles, the other painted to the lid with a line of engagement, the sides with maps 8.5cm long approximately £300-500

726

723 723 A GERMAN ENAMEL SNUFF BOX COMMEMORATING THE PEACE OF HUBERTUSBERG, BERLIN, CIRCA 1763 cushion form, the lid painted with a view of the Hubertusberg hunting lodge, inscribed ‘NUNCIA PACIS’ and ‘HUBERTUSBERG. D. 15.FEBR:MDCCLXVIII’, the base with a map, the interior lid with an allegory of German peace and plenty, gilt-metal mounts 8.2cm long £300-500 724 TWO GERMAN ENAMEL SEVEN YEARS WAR COMMEMORATIVE SNUFF BOXES, BERLIN, CIRCA 1765 rectangular, painted with orders of battle, maps and inscriptions, one with gilt-metal mounts, the other silver mounts, 8.3cm long approximately; together with a German enamel box, late 18th century, rectangular, painted with maps relating to Fort Mahon and Minorca, 6.8cm long (3)

726 AN ENAMEL SNUFF BOX, BIRMINGHAM / LIVERPOOL, POSSIBLY PAULEN, CIRCA 1760, rectangular, the lid painted with a coat of arms within crimson scrollwork, the sides transfer printed in purple with ruin subjects, reeded gilt metal mounts, 8.5cm long; together with a Masonic enamel snuff box, Birmingham, circa 1760, printed with armorials and Masonic emblems in rocaille borders, 9.1cm long (2) Provenance (the first box): Sotheby’s, London, 29 November 1976, lot 164. £200-300

£300-400

724

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727

727 AN ENAMEL SNUFF BOX, GERMAN, MID 18TH CENTURY double opening upright cartouche form, side painted with rustic celebrations, the lids with gallanterie figures, gilt-metal mounts 4.2cm long

728

729

£200-300 728 A PORCELAIN SNUFF BOX, GERMAN, MID 18TH CENTURY oval with baluster sides, florally painted in the Kakiemon palette, gilt-metal mounts 7.5cm long £500-700 729 A PORCELAIN SNUFF BOX, GERMAN, CIRCA 1770 rectangular, the lid painted with Venus and Cupid, the sides and base with gallanterie figures, the interior lid painted with a tondo portrait of a lady in the guise of Diana, the later silver-gilt mounts, probably English, circa 1820, with cast and chased floral thumbpiece, set with probably even later openwork scroll corners 8.3cm long £700-1000 730 A MEISSEN SNUFF BOX, CIRCA 1755 rectangular, moulded in the white, the lid with the Chariot of Venus, the base with a coat of arms, coronet and Rococo motifs, the sides with Venus and Cupids, interior lid painted with flowers, underglaze blue crossed swords mark, the later gold mount with floral engraved rim 9cm long

730

£600-900 731 AN ENAMEL SNUFF BOX, GERMAN, MID 18TH CENTURY rectangular, white ground, painted with roses, tulips and other flowers, silver mounts 8.2cm long £100-150

731

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732

733

732 AN ENAMEL SNUFF BOX, GERMAN, MID 18TH CENTURY cushion form, the lid, base and interior lid painted en grisaille with capriccio quayside scenes, gilt-metal mount, 7.7cm long; together with three empty leather snuff box cases, 18th/19th century, two canted rectangular, one oval (4) £150-250

734

733 A SWISS GOLD AND ENAMEL SNUFF BOX, SENE & DETALLA, GENEVA, CIRCA 1800 cut cornered rectangular, the lid with rectangular enamel of Odysseus and Circe flanked by en cameo ovals of classical figures above an applied marshal trophy against a blue ground, the sides and base engine turned with stylised tulips below enamel within curled scrolled borders 9.2cm long £1000-1500 734 A GERMAN THREE-COLOUR GOLD SNUFF BOX, MAKER’S MARK FF, PROBABLY HANAU, CIRCA 1790 oval, the lid with an applied canted rectangular plaque of an urn, fountain and dog kennel, raised leaf and pellet borders, the reserves with foliate bright-cutting 7cm long £800-1200

735

735 A BROWN AGATE SNUFF BOX, PROBABLY ENGLISH, MID-18TH CENTURY circular, the lid later applied with an oval reeded silver frame containing a miniature on ivory of a gentleman, gilt-metal mounts, the sides of caged agate panels 6.7cm diameter £400-600

736

736 A FRENCH GOLD-MOUNTED TORTOISESHELL SNUFF BOX, PROBABLY PARIS, CIRCA 1780 elongated oval, the lid set with a later miniature of Frederick the Great with canted rectangular gold mount, gold hinge and interior rim mount with traces of discharge mark of JeanFrancois Kalendrin 10cm long £300-400

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737 ~ A GOLD-MOUNTED TORTOISESHELL SNUFF BOX AND COVER, FRENCH, LATER 18TH CENTURY the cover inset with a miniature on ivory of the toilet of Venus, bright-cut rim mount 8cm diameter £300-400 738 ~ A LACQUER SNUFF BOX AND COVER, FRENCH, CIRCA 1780 striped in black and gold ‘vernis-martin’, the lid inset with a later miniature of a lady wearing a yellow shawl, openwork scroll border, tortoiseshell interior, corded gold mounts 7.2cm diameter £300-400

737

739 ~ A GOLD-MOUNTED POLLARD WOOD SNUFF BOX AND COVER, FRENCH, CIRCA 1820 circular, the lid inset with a miniature on ivory of a battle scene in the manner of Philips Wouwerman, the mounts bright cut, tortoiseshell lined 7.5cm diameter Provenance: Sotheby’s, London, 29 March 1976, lot 165 £500-700 740 A GOLD-MOUNTED TORTOISESHELL SNUFF BOX AND COVER, FRENCH, CIRCA 1775 circular, chased interlacing, the lid inset with a gouache miniature of an imaginary castle overlooking a river 7.5cm diameter

738

£600-900 741 A FRENCH BLACK LACQUER CALENDAR SNUFF BOX FOR THE YEAR 1816 cover and base with printed calendar of Saints, 8.7cm diameter; together with a lacquer box, early 19th century, with an engraving of a tooth extraction; and a French lacquer box, late 19th century, the cover painted with ‘The Pursuit of Love’ after Fragonard (3) £80-120 742 ~ A TORTOISESHELL PORTRAIT BOX, FRENCH, CIRCA 1900 the cover inset with a miniature on ivory of a lady in the costume of circa 1795 bearing signature Graff in gilt-metal mount, base with mother-of-pearl starburst, 8.6cm diameter; together with a tortoiseshell boite à miniature, French, circa 1830, the cover inset with a ‘fixé sous verre’ miniature of figures in fluvial landscape, gilt-metal mount, 9.3cm diameter (2)

739

£120-180

742

740

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743

743 ‘CRYSTAL PALACE’: A GREAT EXHIBITION SOUVENIR DESK FOLDER, CIRCA 1851 rectangular, set with a shimmering view of the exterior of the exhibition building reverse glass printed, coloured and foiled, titled lower left ‘CRYSTAL PALACE’ and to lower right ‘LANE’S PATENT’, the black ground papier-mâché frame japanned with strapwork and gilt scroll foliage, plain black back leaf, pressed card spine, interior lined with gilt and blue diaper pattern paper 31.5cm long Provenance: Henry Brownrigg, London (1943-2016) Something like 6 million people visited the Great Exhibition (a third of Britain’s population at the time) - no one had ever seen the like before. Naturally many wanted a souvenir of their visit and although apparently items could not be bought at the exhibition itself, there was an emporium specially opened on Regents Street for the purpose and memorabilia must also have been available from other outlets.

For the same ‘Lane’s Patent’ reverse glass print, but not set in a desk pad and sold with an accompanying view apparently of an ‘Albert Monument’, see Mossgreen, Hobart (Australia), ‘The Geoffrey Stilwell AM Collection’, 22 November 2015, lot 158. For another papier-mâché desk pad, by Jennens & Bettridge, set with a similar reverse glass view of the Crystal Palace, see the Victoria and Albert Museum, No.CIRC.1801-1969.

745 745 A RUSSIAN NINE PART ICON, 19TH CENTURY centred by the Holy Virgin Hodegetria, tempera on panel 35 x 30cm £300-400

£400-600 744 A PAINTED BLACK LACQUER PANEL, RUSSIAN, LATE 19TH CENTURY rectangular, depicting a young Boyar lady in a blue robe dressing her hair 27cm high £300-400

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746 747

746 A GROUP OF NEPHRITE DESK ITEMS, EARLY 20TH CENTURY comprising: an oblong box with lightly domed lid and silver hinge mounts with white enamel line border, 6.6cm long, a paper knife with gilt-metal blade and shaped handle of hexagonal outline, 27.5cm long, and a pair of plain elongated oval trays, 15cm long (4) £150-250 747 A RUSSIAN CARVED AGATE FIGURE OF A MOUSE, CIRCA 1900 finely detailed, with amethyst cabochon eyes, in a birchwood box bearing printed label ‘A.I. Sumin / S.P.B, Nevsky 60’ 3.7cm long £1500-2000

748 748 ELGIN: A GOLD GENTLEMAN’S HUNTING CASED POCKET WATCH, AMERICAN, CIRCA 1903/04 size 16 keyless wind 15 jewel movement, white dial with Arabic hour numerals in black and outer five minutes in red, subsidiary seconds dial, engine-turned Wadsworth Watch Case Co. case with vacant cartouche to front, dial and movement signed, movement numbered 10901162, movement bezel numbered 17966, case numbered 566971, trademarked W.W.C.Co and inscribed 14 K WARRANTED 4.8cm diameter £400-600 749 ROLEX: A GENTLEMAN’S GOLD POCKET WATCH, CIRCA 1925 keyless wind 15 jewel movement signed, white dial with Roman numerals within a minute track, subsidiary seconds dial with Arabic ten second numerals, signed ROLEX and with retailer W. DAVIS & SONS / NORTH STREET / BRIGHTON, plain open faced English gold case and cuvette, hallmarked Dennison Watch Case Co. Ltd., Birmingham, 1925, case numbered 321704, numbered to movement bezel 1704, 9 carat 4.9cm diameter £500-700

749

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750 ROLEX: A GOLD HUNTING CASED POCKET WATCH, CIRCA 1931 keyless wind fifteen jewel movement signed Rolex, white enamel dial (glass lacking) with spade hands, Roman numerals, minute track and subsidiary seconds dial, plain English gold Dennison case and cuvette hallmarked Birmingham, 1931, cuvette signed Dennison Watch Case Co. Ltd., 9 carat gold 4.9cm diameter £400-600

750

751 A GENTLEMAN’S GOLD POCKET WATCH, SWISS, EARLY 20TH CENTURY keyless wind movement unsigned, silvered engine-turned dial with Arabic numerals and subsidiary seconds dial, gold open faced case with milled edge, back with sunrise decoration issuing from a monogrammed oval, cuvette signed Breguet and numbered 4568, Swiss gold hallmarks throughout, 18 carat; in fitted leather box with retailer’s printed label for Nathan & Co. of Birmingham 4.7cm diameter £600-900 752 A GOLD POCKET WATCH, SWISS, CIRCA 1880 key wound four jewel cylinder escapement bar movement, engine-turned dial engraved with buildings beside a lake and with applied Roman numerals and subsidiary seconds dial, back cover engraved with a flower spray on further engine-turning, metal cuvette signed for retailer Thomas F. Cooper / London and numbered 5959, back cover and cuvette also numbered 959 4.6cm diameter £150-250 753 A GENTLEMAN’S GOLD POCKET WATCH, SWISS, CIRCA 1912 centre seconds, unsigned keyless wind three-quarter plate movement, white dial with Roman numerals signed for retailer JOHN RUSSEL / LONDON, open faced plain gold case import marked London, 1912, gilt metal cuvette with importer’s mark of William Henry Sparrow, 5cm diameter; together with a gold watch chain, unmarked, of elongated rectangular Belcher links, with sprung clasp stamped 14K, 38cm long; and a gilt-metal seal, of openwork scrolls, intialled (3) £400-600

751

753

752

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755

757 756

756 RUSSIAN GOLD AND DIAMOND BROOCH, ST PETERSBURG, 1908-1917 designed as an eagle holding a cushion shaped diamond in his beak, 56 Zolotniks, indistinct maker’s mark to pin 49mm wide £500-700

758 754 part 754 CITRINE AND ENAMEL PENDANT AND MUFF CHAIN, 1850s the oval citrine within a black enamel and repossé scroll border on a double snake link back chain with ‘mani in fede’ clasp, length approximately 690 mm (excluding pendant); together with an oval hardstone cameo brooch, depicting a female in profile (2)

757 PERIDOT AND SEED PEARL PENDANT/BROOCH, 1900s the oval peridot set within a circle of knifewire decorated with trefoil details and seed pearls on a fine line back chain; together with a pair of earrings each suspending a peridot drop from a row of seed pearls chain length approximately 465mm (3)

£400-600

£150-200

755 PERIDOT PENDANT, 1900s designed as a pair of interlocking reeded circlets mounted with an oval peridot and decorated with laurel leaf motifs and a seed pearl, suspending a drop peridot, on a fine link back chain maker’s mark BHJ, chain length approximately 465mm

758 AMETHYST AND SEED PEARL PENDANT, 1900s the octagonally shaped amethyst surmounted by a foliate seed pearl decoration, fitted velvet case £80-100

£120-150

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761 COLLECTION OF NINE CARAT GOLD JEWELLERY comprising: gold nugget pendant set with a brilliant-cut diamond on a fine back chain, pendant hallmarked London indistinctly, CKM maker’s mark, length approximately 680mm; a carved hinged bangle, hallmarked Birmingham, PPLtd maker’s mark, import marks; a fancy gate link bracelet with padlock fitting, also hallmarked Birmingham, PPLtd maker’s mark, import marks 13gr, 16gr, 12gr respectively (3) £400-600

Part illustrated on page 177.

762 EIGHTEEN CARAT GOLD, AMETHYST, EMERALD AND DIAMOND BROOCH, ANDREW GRIMA, LONDON, 1964 set to the centre with a triangular amethyst within a surround of textured, curling fronds accented with pear shaped emeralds and brilliant-cut diamonds, hallmarked HJco (Haller Jewellery Company) approximately 60mm x 60mm Andrew Peter Grima (1921-2007) started designing jewellery in the workshop of his father-in-law’s Haller Jewellery Company (hence the HJco maker’s mark) in 1948. By the 1960s, his flamboyant yet organic creations were regularly worn by members of the British royal family, as well as by Jacqueline Onassis, Ursula Andress and others in fashionable society. He opened his famous premises in Jermyn Street in 1966, the same year Prince Philip purchased a brooch of rubies for the Queen.

Designing state gifts for Royal visits, he held the Royal Warrant from 1970 until 1986. The Queen was wearing Grima’s ruby brooch during her 2007 Christmas message, broadcast the day before he died.

759

£1800-2200 763 DIAMOND DRESS RING of bombé design, set with brilliant-, single- and marquise-cut diamonds variously coloured yellow, brown and white size L

759 GIRARD-PERREGAUX: A GENTLEMAN’S GOLD BRACELET WATCH, CIRCA 1966 calibre 30.6 manual wind with 17 jewels, movement signed and numbered 303559, silver dial with baton hour indicators, signed below GP initials, GP initialled gilt-metal crown, gold case hallmarked Dennison, Birmingham, 1966, gold mesh bracelet hallmarked W.H.W., Birmingham, 1966, all 9 carat 3.4cm diameter £500-700 760 EIGHTEEN CARAT GOLD AND AMETHYST CHOKER/BRACELET, CIRCA 1995 the square amethyst mounted on a tapering articulated gold bracelet which can be lengthened by attaching another length of matching flat gold links, London import marks for 1995, makers mark Ss length approximately 320mm and as a bracelet 160mm approximately, 91gr

£600-800 764 LADY’S EIGHTEEN CARAT GOLD AND DIAMOND WATCH, PIAGET, 1960s the cream dial with gold batons and hands surrounded by brilliant-cut diamonds on a tapering textured bracelet set with graduated similarly cut diamonds on a deployant clasp with a back winder, numbered 3452, 76462 to reverse, Swiss gold marks, Birmingham import marks, FK makers mark length approximately 175mm £800-1200 765 LADY’S NINE CARAT GOLD WATCH, ETERNA, CIRCA 1971 the frosted shaped square dial with gold baton indicators and hands on a slightly tapered gold bracelet with original deployant clasp, English import marks to clasp, numbered 6134656 length approximately 175mm £150-250

£1800-2200

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761 part 760

763 762

767

766

765

766 EIGHTEEN CARAT THREE-COLOUR GOLD, AMETHYST AND CULTURED PEARL BROOCH, CIRCA 1968 designed as a cluster set to the centre with a cultured pearl within a surround of amethyst beads and radiating branches of textured gold, Birmingham import marks, maker’s mark R.H.B length approximately 42mm x 45mm £300-500

764

767 DIAMOND LAPEL PIN, WEST OF DUBLIN, 1970s the brilliant-cut diamond within a textured matrix-like setting, stamped WEST £150-200

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770 NINE CARAT GOLD CHARM BRACELET, CIRCA 1970 of curb link design secured by a heart shaped padlock, hallmarked London 1970, with seven charms including elephant, wagon, coach and wild boar, length approximately 180mm 88gr £800-1200 771 NINE CARAT GOLD CHAIN, CIRCA 1973 designed as a row of textured oval links, London hallmarks for 1973, maker’s mark for Leonard Wilson length approximately 810mm, 51gr £500-600

768 768 ~ A LADY’S GOLD HALF-HUNTER POCKET WATCH, SWISS, CIRCA 1914 keyless wind movement, white dial with Arabic numerals, guilloché decoration to front cover lacking enamel, cuvette and case 18 carat gold import marked Glasgow 1914, 3.5cm diameter; together with a Lady’s gold wristwatch, Swiss, circa 1922, 15 jewel movement, dial with engine-turned gold centre and silvered chapter ring with Arabic numerals, subsidiary seconds dial, circular case 9 carat gold import marked London, 1922, with a 9 carat gold expanding ‘Centex’ strap, 2.5cm diameter; and a tortoiseshell outer watch case, circa 1800, with gilt-metal hinge and rim mounts and gilt piqué point borders (3) £200-300

772 LONG CHAIN designed as a double row of ‘zip’ links on a clip clasp length approximately 1580mm 32.5 gr £200-300 773 CHAIN AND LOCKET, COMPOSITE, 19TH CENTURY the fancy chain of reeded double belcher links suspending a circular locket decorated with a coastal scene and floral designs opening to reveal a glazed hair compartment, together with a loose gold clip, length approximately 690mm £200-300 774 TWO NINE CARAT GOLD FOB CHAINS comprising: one chain of double graduated filed curb links with bar, hallmarked Birmingham, maker’s mark WHW Ltd ; the other of slightly graduating curb links with bar, one link broken respective lengths 190mm, 330mm (plus 20mm fitting) approximately, respective weights 34gr, 20gr approximately £600-800

769 769 A LADY’S GOLD POCKET WATCH, SWISS, CIRCA 1900 keyless wind movement, the engine-turned and foliate engraved dial with Roman numerals, engraved entwined initials FG to back, gold case and gold cuvette numbered 16721, Swiss gold marks throughout, 18 carat 3.6cm diameter

775 PADLOCK CURB LINK BRACELET, 1900s the hollow curb links fastened by a padlock charm with monogram and key fitting, length approximately 210mm 50gr £200-300

£150-200

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770

771

772

773

774

761 part 775

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776 CITRINE AND DIAMOND ‘GRACE’ NECKLACE, KIKI MCDONOUGH the oval citrine within a row of brilliant-cut diamonds on a fine back chain spectacle set with four circular citrines, unmarked, maker’s case length approximately 141mm £200-300 777 DIAMOND CLUSTER RING the bezel of flower head design millegrain set with brilliant-cut diamonds size Q½ £200-300 778 COLLECTION OF FOUR EIGHTEEN CARAT GOLD RINGS, CARTIER comprising: gentleman’s ‘Love’ ring, numbered CH5858, Swiss mark, import marks, size W ½; lady’s ‘Love’ ring, Swiss mark, import mark, size L; ‘Menotte’ ring of bolted design, numbered CT2171, import mark, size K ¼; and ‘Trinity’ ring in tricoloured gold, numbered GR5239, size I, all signed with original boxes and bag £1000-1500 779 DIAMOND DRESS RING set to the centre with a brilliant-cut diamond within three rows of smaller similarly cut diamonds size O ¼ £2000-3000 780 DIAMOND RING the brilliant-cut diamond weighing 2.07 carats mounted between a row of tapering similarly cut diamonds size L ½ £2500-3000

778 777

776

780

779

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781 SEED PEARL AND DIAMOND NECKLACE, 1900s of swag design, the four rows of seed pearls separated by circular-cut diamond spacer bars on a rectangular clasp similarly set length approximately 400mm £1500-2000

781

782

782 DIAMOND RING the cushion shaped diamond weighing 4.94 carats in a six claw setting size R ½

784 part

£5000-6000

783

785

786 783 PAIR OF DIAMOND EARRINGS, LATE 18TH CENTURY COMPOSITE each foiled pear shaped diamond in a closed back setting within a surround of rose diamonds £2500-3500

785 SIX STONE DIAMOND RING, 1920s set horizontally with four cushion shaped diamonds in millegrain settings with two central similarly cut stones set vertically size T £700-1000

784 ENAMEL AND SEED PEARL PENDANT, 1900s of open heart design, decorated with purple guilloché enamel set to the centre with a seed pearl mounted leaf on a fine back chain, leather case, length approximately 380mm; together with two graduated cultured pearl necklaces, lengths 380mm and 570mm approximately (3)

786 CULTURED PEARL AND DIAMOND BAR BROOCH, LATE 19TH CENTURY the cultured pearl set between two old-cut diamonds on a bar of similarly cut stones length 82mm approximately £400-600

£150-200

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790 ~ EIGHTEEN CARAT GOLD AND AGATE MASONIC RING, CIRCA 1866 the oval agate bezel depicting the master mason square and compass motif within a mount decorated with scroll and foliate carving, maker’s mark WS, hallmarked Birmingham, 1866, size X; together with a tortoiseshell and 9 carat gold zodiac pendant, circular, decorated with the scales of Libra and engraved ‘September’, hallmarked Birmingham 1912 (2) £80-100 791 THREE GOLD STICK PINS, CIRCA 1900 comprising one with a seated monkey, one with fox head and one set with a green stone mounted as a fruit; together with a gold stock pin with a tri-coloured gold pheasant with enamel decoration; together with a photograph of Mr & Mrs Gaines, a photocopy of Mr Gaines’ diary entries for 1901 and a postcard sent to Mr Gaines at Windsor Castle total weight 9gr (4)

787

788

787 PAIR OF ROCK CRYSTAL AND RUBY CUFFLINKS, RETAILED BY KIKI MCDONOUGH, LONDON, CIRCA 1988 circular, the carved and polished rock crystal set with a central circular ruby, London hallmarks for 1988, Deakin & Francis maker’s mark, with Kiki McDonough case £150-200 788 SAPPHIRE HINGED BANGLE, LATE 19TH CENTURY claw-set to the front with a row of graduated circular sapphires, fitted leather case from Mappin and Webb Ltd, Oxford Street inner circumference 155mm approximately £300-500 789 BEAD NECKLACE probably Chinese, designed as a graduated row of hollow beads with applied wirework decoration, length 430mm approximately, 8gr; together with a Chinese gold 19th century amulet pendant, triangular, containing a carved Buddha (2)

Provenance: Mr Frank Gaines, a coachman in the Royal Household, who became head coachman to Queen Mary (Mary of Teck). According to his diary entry, the stick pins were given to him in January to April 1901 by Princess Henery of Battenburg [sic] (Princess Beatrice), by the Duke and Duchess of York (later George V and Queen Mary) and by Prince Edward of York (later Edward VIII).

Francis ‘Frank’ Gaines, one of a large family headed by his father, Thomas Gaines, was born in Pickering, Yorkshire, in 1865.

By the age of 15 he was an indoor servant in Gillamoor, Yorkshire, to a farmer by the name of John Cossins. He subsequently moved to the London area where he was married in Bromley in 1892 to Selina Caroline Johnson (b. 1873). Their daughter, Selina ‘Lena’ Lillian Annie Gaines was born in Orpington in 1893. By 1901 Gaines and his family had moved to Windsor, where he was a coachman, living in the Royal Mews.

His promotion to coachman to Her Majesty, Queen Mary is recorded by 1911. He died at Eton on 1 January 1939. £150-200 792 DIAMOND RING, CIRCA 1889 claw set with a cushion shaped diamond, hallmarked 15 carat Birmingham 1889, maker’s mark J.H size K £200-300 793 COLLECTION 19TH CENTURY JEWELLERY comprising: silver gilt micro-mosaic ‘ Roma’ hinged bangle, diameter approximately 60mmx53mm; half sovereign 1887 coin mounted on a bangle, diameter approximately 59mm; circular brooch with glazed compartment, applied granulation and wirework; oval agate ring, size O; five stone turquoise ring, size N; knotted peridot brooch (broken pin); tassel pendant; 9 carat circular locket pendant, Birmingham hallmark; and a mussel charm 70gr (excludes silver-gilt) (9) £250-350

£350-450

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789

790

793 part

792

791

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794

796

795

796 SAPPHIRE AND DIAMOND RING designed as a row of three slightly graduated oval sapphires accented with six cushion shaped diamonds size Q

794 SYNTHETIC SAPPHIRE AND DIAMOND RING, EARLY 20th CENTURY the circular cut synthetic sapphire within a border of single-cut diamonds between trefoil shoulders size P

£800-1200

£200-300 797 CULTURED PEARL, RUBY, SAPPHIRE AND DIAMOND NECKLACE, 1950s the clasp of bombé lattice design decorated with circular cut rubies, sapphires and single-cut diamond flowers suspending two rows of graduated cultured pearls measuring between 5mm-8.5mm approximately shortest length (including clasp) 385mm approximately, one row deficient

795 RUBY AND DIAMOND RING the cushion shaped ruby within a surround of brilliant-cut diamonds between similarly set shoulders size R½ £400-600

£300-400

797

End of Sale Next Sale 22nd November 2017 Closing end September 2017

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Conditions of Business for Buyers 1.

2.

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.

6.

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).

7.

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

8.

Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until 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 not be liable for any acts or omissions of third party packers or shippers

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

3.

4.

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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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 24 & 25 May 2017

Address

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

Postcode

Important

Telephone/Home

Business

Fax

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.

Email

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

Lot

Signed

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

Date

Staff initials

Description

£ 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: enquiries@matthewbartonltd.com www.matthewbartonltd.com