Matthew Barton Ltd

Matthew Barton Ltd

European & Asian Works of Art | London Wednesday 6th & Thursday 7th June 2018

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Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART including Netsuke from the Peter E. Muller Collection, curated by Max Rutherston and Judaica from the Richard Teltscher Collection

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

PUBLIC EXHIBITION Sunday 3rd June 12 noon to 4pm Monday 4th June 10am to 8pm Tuesday 5th June 10am to 5pm

SALE DAYS

Asian Works of Art, Lots 1 to 423, Wednesday 6th June 2018 at 11am European Works of Art, Lots 424 to 749, Thursday 7th June at 11am This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue. i

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IMPORTANT INFORMATION FOR BUYERS All lots are offered subject to Matthew Barton Ltd’s Condition’s of Business and to reserves. The Conditions of Business for Buyers, are published at the end of the printed catalogue.

A Buyer’s Premium of 24% 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. ‡ † Lots marked with the symbol ‘‡’ have been imported from outside the European Union (EU) to be sold at auction under Temporary Import Rules. When released to buyers within the EU, including the UK, the buyer will become the importer and must pay VAT at the rate of 5% on the hammer price and 20% on the Buyer’s premium. Lots marked with the symbol ‘†’ are subject to normal VAT rules and the standard VAT will be charged on both the hammer price and the buyer’s premium. Buyers outside the EU will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request.

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 usually 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. Please note that it is not possible to post or ship ivory of any kind (including marine ivory) to the United States of America 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 UK debit cards; we can no longer take payment from credit cards and international debit cards. Cash 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 VAT Registration Number: 972118224

IBAN No: GB90HBUK40190491814001 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 91814001 Account Name: Matthew Barton Ltd

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 423

Wednesday 6th June 2018 at 11am

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Lot 276 Previous page: lot 33

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Asian Works of Art Lots 1 to 423

Wednesday 6th June 2018 at 11am

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1 A CHINESE BLUE AND WHITE PORCELAIN CHARGER, KANGXI (1662-1722) circular with barbed rim, painted with a central panel of birds and flowering peony against a diaper pattern ground reserved with panels enclosing landscapes alternating with flowers 38cm diameter £600-900

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2 A KRAAK PORCELAIN STORAGE JAR AND COVER, WANLI (15731620) the ovoid body painted in underglaze blue with panels of flowers and rockwork, the shoulder and domed cover with further foliate panels, all against a ruyi-studded strap and key-fret ground, with probably 18th century South East Asian metal rim mounts, hinge, clasp and finial 40cm high £2000-3000

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5 5 A CHINESE PORCELAIN PART DINNER SERVICE, GUANGXU MARK, EARLY 20TH CENTURY famille rose yellow ground, painted with panels enclosing characters against a yellow ground filled with flowers and tendrils, comprising: seventeen plates, 24.5cm diameter, three further smaller plates, twelve saucer dishes, 24cm diameter, fourteen bowls, a further smaller bowl, nine shallow bowls and eighteen covers, and thirteen spoons (87) £500-700

3 3 A CHINESE CADOGAN TYPE PORCELAIN WINE POT (OR TEAPOT), EARLY 20TH CENTURY peach form, the yellow ground painted in famille rose enamels with lotus flowers and bats amidst blue and green scrolls, 16cm high; together with four various Chinese export porcelain teapots and covers, 18th century (5)

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£250-350 4 A CHINESE PORCELAIN TEAPOT AND COVER, QIANLONG (17361795) globular, Mandarin palette, painted each side with a figurative panel inside an underglaze blue frame against an iron red scale pattern ground 16cm high, replacement metal spout

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£150-250 6 TWO CHINESE FAMILLE ROSE PORCELAIN SNUFF BOTTLES, 20TH CENTURY double gourd ovoid, each moulded in high relief with figures against a turquoise ground, aprochryphal iron red Qianlong seal marks 7cm high, rim chip to one £150-250

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7 7‡ A CHINESE DAYAZHAI ALMS BOWL, GUANGXU PERIOD (1875-1908) the rounded sides rising from a countersunk base, the sides painted en grisaille with leafy branches of peony, reserved on a yellow enamel ground, with an inscription in iron red, Dayazhai and a seal, Tiandi yijia chun (Springtime in Heaven and Earth, One Family), the base with the iron-red four-character mark, Yong qing chang chun (Eternal Prosperity and Enduring Spring) 25cm diameter Provenance: Christie’s, London, 22nd May 1997, lot 515 £800-1200 ‡

8 8 A PAIR OF CHINESE IMARI PORCELAIN MUGS, CIRCA 1720-50 baluster, painted with vases of flowers on a table beneath a diaper pattern border reserved with flower panels, 15cm high, one handle detached; together with a Chinese export porcelain mug, Qianlong (1736-1795), cylindrical, painted in the Mandarin palette with a hunting scene, 13cm high, chips (3) £200-300 9 A CHINESE FAMILLE ROSE WATER BOTTLE AND A BASIN, CANTON, 19TH CENTURY each painted with figurative panels inside key pattern borders against a ground filled with insects, flowers and Buddhist emblems, bottle with associated cover 35cm high, basin 41cm diameter, some damage; together with a Canton famille rose bowl, with single handle, and a soap dish and liner (6) £200-300 10 A CHINESE BISCUIT PORCELAIN GROUP, QIANLONG (1736-1795) modelled as a smiling man and woman standing side by side, he in celadon glazed long robes, she in a blue glazed coat 17cm high, heads restuck £60-80

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12 11 11 ‡ A CHINESE PORCELAIN ‘BOY AND CHICKEN’ CUP, QIANLONG SEAL MARK AND PERIOD (1736-1795) the steep rounded sides resting on a countersunk base, famille rose painted with a continuous scene of a boy approaching a rooster in a garden with flowering peony issuing from rockwork, with an inscription of an Imperial poem by the Qianlong Emperor and dated with the bingshen year corresponding to 1776 5.5cm high Provenance: Christie’s, London, 19 June 2001, lot 97 £2000-3000 ‡

12 A CHINESE FAMILLE ROSE BOX AND COVER, CANTON, 19TH CENTURY rectangular, the cover painted with a seated official and attendants, the body with two divisions to the interior, the exterior painted with panels of birds in flowering branches reserved against a solid gilt ground filled with bats and flowers 18.5cm long £100-150

13 13 A SMALL CHINESE PORCELAIN BOTTLE VASE, LATE MING DYNASTY, 17TH CENTURY blue and white, painted each side with a bird perched in flowering branches 15.5cm high £300-500

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14 A PAIR OF CHINESE EXPORT PORCELAIN PLATES AND A PAIR OF BOWLS, QIANLONG PERIOD 1736-1795 each painted in enamels and gilding with a bird flying amidst a willow tree, rocks and peony and chrysanthemum flowers growing behind a zig-zag fence plates 23cm diameter, one rivetted, some cracks £200-300

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15 ‡ A CHINESE DOUCAI ‘LOTUS’ BOWL, YONGHENG MARK AND PERIOD (1723-1735) circular on rim foot, painted to the exterior with a stylised lotus scroll above a band of petals at the foot, the interior painted with a single lotus 9.5cm diameter £2500-3500 ‡ 16 ‡ A CHINESE BLUE OVERLAID WHITE GLASS BOTTLE VASE, 19TH CENTURY the rounded sides rising from a recessed foot to a tall cylindrical neck, carved with a design of a fruiting gourd vine, below a band of hanging leaves at the rim 22cm high

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£1000-1500 ‡ 17 ‡ A CHINESE OVERLAID GLASS JAR AND COVER, QING DYNASTY, 19TH / 20TH CENTURY ovoid, carved in blue, red, black, yellow and green over a white ground, depicting scholars in a landscape playing musical instruments, reading, conversing and on horseback below a band of ruyi to the rim, the cover with a design of lotus scroll below a circular knop, underside with apocryphal four character Qianlong mark 13cm high £300-500 ‡

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19 18 18 A CHINESE BLUE AND WHITE PORCELAIN BOTTLE VASE, KANGXI (1662-1722) painted with stylised flowers and tendrils beneath a knopped waisted neck painted with flowers and stiff leaves 24.5cm high, damage to neck and losses £120-180 19 ‡ A PAIR OF CHINESE BLUE GLASS ‘ZHADOU’ VASES, QIANLONG MARK AND PERIOD (1736-1795) the rounded sides of each rising from a short straight foot to a flaring rim, of deep blue colour, the base with Qianlong four character mark within a double square 10cm high £1500-2000 ‡ 20 ‡ A CHINESE LAPIS LAZULI MOUNTAIN, 19TH CENTURY deeply carved on the front with a sage and two attendants traversing a bridge on their way to a pavilion nestled amidst trees, while a third attendant ascends a path higher up the mountain-side that leads to a terrace on the reverse where two cranes await, with pine, bamboo and two deer standing on a ledge below 29cm long excluding wood stand Provenance: a private collection formed in Asia prior to WWII, and thence by descent within the family, until sold Christie’s, New York, 22/23 March 2012, lot 1938; private Asian collection.

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See a related lapis lazuli boulder carved with similar decoration apparently to be found in the collection of the Palace Museum, Beijing, is illustrated in Zhongguo meishu fenlei quanji, Zhongguo yuqi quanji, Vol.6 Qing, Hebei, 1991, p.180, No.262, where it is dated middle Qing dynasty. £2500-3500 ‡

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21 A CHINESE POTTERY FIGURE OF A HORSE, TANG DYNASTY (618-906) modelled in striding pose with open mouth 55cm long, some restoration Sold with an Oxford Authentication Certificate, confirming that the figure was last fired between 1000 and 1600 years ago, Sample No.C118f10 £3000-5000

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22 A PAIR OF CHINESE POTTERY FIGURES OF FEMALE ATTENDANTS, TANG DYNASTY (618-907) each standing in long robes 33.5cm high £500-700 23 A MOULDED SANCAI-GLAZED POTTERY DISH, LIAO DYNASTY (907-1125) of lobed form, with shallow slightly rounded sides rising from a flat base, moulded to the interior with a central floral roundel surrounded by four stylised flowers, each lobe of the cavetto decorated with a lotus flower, all against a ground of waves, the base left unglazed 14.5cm diameter £800-1200

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24 A CHINESE BRONZE QILIN INCENSE BURNER, 17TH / 18TH CENTURY the mythical beast with head turned to side and holding a pearl in his left raised claw, with scaly body and serrated spine, the head with open mouth above a simple hinge at the collar (hinge pin lacking), dark chocolate brown patination 40cm long including its cloud scroll carved stand £1500-2500

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25 25 A CHINESE JADE VESSEL AND COVER, 20TH CENTURY of archaistic pouring form, carved with taotie motifs, openwork scrolls and a drop-ring below the lip, with openwork carved wood stand 14.5cm long £200-300

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26 A CHINESE JADE CENSER & COVER, 20TH CENTURY bulbous, carved with lion mask openwork handles and four lion mask headed feet, the cover with Buddhist lion finial 15.5cm high excluding associated circular wood stand £100-200 27 ‡ A CHINESE SOAPSTONE FIGURE OF A LUOHAN, 19TH CENTURY the beige soapstone figure carved seated and holding a scroll in his left hand, wearing loose robes with an incised foliate border and scattered clouds 10.5cm high £600-800 ‡

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28 28 ~ A CHINESE IVORY AND PAINTED ‘MANDARIN’ FAN, CANTON, MID 19TH CENTURY the ivory monture with guards deeply carved with figures amid pavilions and foliage, the sticks carved to both sides of the gorge in low relief over a pierced linear ground with similar subjects, the paper leaf painted with gardens and pavilions, the figures with applied silk clothes, the faces of applied and painted ivory, to one side centred by a scene in a theatre, flanked by groups of courtiers, a group of female soldiers and a scholar on a white horse, the other side with further groups of courtiers and another equestrian figure, 27.5cm high, in probably original black lacquer fitted box gilded with vignettes of figures in gardens and foliate panels and borders, box 34cm long (2) £600-900 29 ~ A CHINESE TORTOISESHELL BRISE FAN, PROBABLY CANTON, SECOND HALF 19TH CENTURY each guard gilded with a lion mask suspending a drop of flowers, a butterfly, a vase and a tassel, the sticks finely pierced with scrollwork panels, geometric borders and three shaped cartouches, gilded to both sides with Buddhist lions flanking a vignette of two figures at a table, gilt-metal loop suspending a brown silk knotted cord terminating in two tassels 19.5cm high excluding loop

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£300-500 30 ~ A CHINESE TORTOISESHELL BRISE FAN, CANTON, MID 19TH CENTURY the guards deeply carved with roses below figures and pavilions amidst foliage, the sticks carved to both sides in low relief on a pierced linear ground with similar motifs, the stamped metal loop with paste terminals suspending a knotted silk cord terminating in three differently coloured tassels 23cm high excluding loop

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£400-600 31 ~ A CHINESE IVORY AND PAINTED FAN, PROBABLY CANTON, LATE 19TH CENTURY with shaped plain ivory monture excepting a roundel carved with the initials MS to one guard, the paper leaf painted with flowers, butterflies and birds, 27.5cm high excluding metal loop with mother-of-pearl washers, in its probably original black lacquer box, the lid gilded with figures in a garden, the interior lid painted on silk with a pheasant, flowers and rocks (2) £200-300

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32~ A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY square-ended, the sticks carved to one side in low relief against a finely pierced linear ground with a roundel initialled J.D.H. flanked by bracketed cartouches surrounded by birds and trailing flowers, the solid guards carved with birds and flowers on a patterned ground and panels of pavilions and foliage, paste mounted pivot pin 20.5cm high £300-500 33 ~ A CHINESE IVORY BRISE FAN, PROBABLY CANTON, SECOND HALF 19TH CENTURY the sticks carved in low relief to one side on a finely pierced linear ground with a panel centred by a vacant cartouche surrounded by figures amidst garden pavilions below a border of fruits and an arcade containing dragons, phoenixes and further figures, each guard carved to the inner side with figures and to the outer with a further dragon and phoenix 19cm long

34 ~ A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY the sticks carved to one side over a finely pierced linear ground with a landscape oval flanked by urn motifs surrounded by trailing flowers and birds, the guards carved with flowerheads on a patterned ground, with an associated cream Duvelleroy stamped later box guard 27cm long £400-600 35 ~ A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY the sticks detailed to one side with birds and flowers trailing over a finely pierced scrollwork ground, the central oval initialled EAK on a fine linear ground flanked by urn motifs, the solid guards carved with flowerheads on a patterned ground 26cm high £400-600

£300-500

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38 ~ A CHINESE IVORY WORK BOX, CANTON, MID 19TH CENTURY of cut-cornered rectangular bowed outline, with metal drop loop handles and key escutcheons to front, the whole covered in deeply carved panels between scroll foliate borders with figures, pavilions, boats and bridges amid foliage, with florally carved apron between the grotesque mask headed paw feet, the interior with a lift-out tray with red silk pin cushion and complete with the following carved components: two lidded compartments, two needle cases, a pair of small jars and covers, a clamp with red silk pin cushion, a clamp with spool, a long rotating spool, four thread containers (one missing lid), a cylindrical thread dispenser, an elliptical thread holder, eight thread crosses, a thimble, and a quantity of various bodkins, with a key 30cm long For another very similar work box (or sewing casket) see Gorringe’s, Lewes, 28 November 2017, lot 257 £3000-5000

36 36 A CHINESE BLACK LACQUER BRISE FAN, PROBABLY CANTON MID 19TH CENTURY each side gilded and painted with a small landscape oval centring scenes of equestrian figures and attendants on foot amidst buildings and trees below an arcade of various bird figures and above a band of diaperwork 19.5cm high

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£300-400 37 A JAPANESE IMARI CHARGER, MEIJI PERIOD (1868-1912) fluted, centrally painted with a vase of flowers against a ground gilled with ho-o birds and flowers, 47cm diameter; together with a Japanese Imari large bowl, Meiji period, painted with panels of shishi against an elaborate ground, 31cm diameter, some damage (2)

39 ~ A JAPANESE IVORY NETSUKE, BY RANSEN, KYOTO, EDO PERIOD, MID 19TH CENTURY carved as a chick hatching from its egg, signed to oval reserve 3.6cm long £600-900

£150-200

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LOTS 40 TO 257: THE PETER E. MÜLLER COLLECTION OF JAPANESE MASK NETSUKE, CURATED BY MAX RUTHERSTON Peter E. Müller is a distinguished Swiss businessman, who had a highly successful career as European Managing Director of the employment agency Adecco. As described below by fellow Swiss netsuke collector Willi Bosshard, he has been an avid collector of netsuke, as well as a great Japanophile. His collection of katabori netsuke was sold some years ago, at which point he concentrated on the mask netsuke presented in this sale, which came from a wide number of sources around the world. I had the pleasure of working with him on the publication of the collection in a book intended for private circulation. In the event only 20 copies were printed, one of which is offered towards the end of the sale. Peter has also collected prints and an important library. I knew Peter as a confident and affable client: suave, intelligent and amusing. Sadly dementia has taken a terrible toll, but he is lovingly tended by his wife Ruth and daughters Franziska and Maya.

Max Rutherston, London, April 2018 Willi Bosshard writes: ‘I got to know Peter in Vevey in 1985 on an introduction from Barry Davies, agreeing to meet at the famous Kronenhalle in Zurich.

We hit it off immediately and, contrary to Swiss formality, were on first name terms from the first. We shared a love for those beautiful traditional Japanese miniature works of art named netsuke as well as the finer pleasures of the table, not least the ones of Bacchus. I had only three netsuke with me – in those days there was no problem to travel with ivory pieces in one’s pocket! – and Peter brought a whole tray of his “darlings”, so we forgot the time. Only because he was well known there did they not kick us out when service ended at 3 pm.

He certainly had a fine taste already, and he knew all the top dealers personally, though he had started collecting only a few years earlier.

Consequently we became such close friends that for my 50th birthday celebration I asked if he would consent to be guest speaker, which he did, obliging with an eloquent and poignant address. One day in 1987, I had most of my netsuke out on our large dining table in Tokyo, naturally in their special felt trays, and I was busy updating my many inventory lists. Then the phone rang, and it was Peter, telling me that he was in town! Well there went my netsuke inventory update… I went to pick him up and the next hours were spent going over my collection which was already laid out on the table. Peter was overwhelmed, even though I had covered one half of the trays so as not to stun him too much. He was so absorbed that he did not want to go out for dinner; we ordered in tempura and continued our session.’

William G. (Willi) Bosshard, La Tour-de-Peilz, April 2018 Photography courtesy of Peter Schälchli, Zurich

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Peter E. Müller Japanese Mask Collection No.2

41 A GURNING GHOUL, BY KOKEISAI SANSHO, EARLY 20TH CENTURY pale boxwood, signed with kaō 3.9cm high

£2000-2500

Peter E. Müller Japanese Mask Collection No.220

40 KARURA (GARUDA), BY KOKEISAI SANSHO, OSAKA, 1871-1926 pale boxwood, signed with the kaō 5.1cm high

£1500-2000

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42 SHISHIGUCHI, EARLY 19TH CENTURY dark wood, unsigned 5.1cm high Peter E. Müller Japanese Mask Collection No.70 £700-900 43 KARASU-TENGU, BY JOGETSU, MID 19TH CENTURY dark wood, signed ‘Jogetsu to’ 3.8cm high Peter E. Müller Japanese Mask Collection No.219 £700-900

44 A LARGE DOUBLE MASK OF OKAME AND HYOTTOKO, EARLY 20TH CENTURY wood with dark inlaid pupils, unsigned 5.1cm high A similar mask was in the sale of the Mang Collection, lot 295, described as a tonkotsu cover. In fact both are netsuke with the mouth on both sides serving as himotoshi.

Peter E. Müller Japanese Mask Collection No.211 £400-500 45 A DOUBLE MASK OF OKAME AND USOBUKI, 19TH CENTURY boxwood, unsigned 4.2cm high Peter E. Müller Japanese Mask Collection No.210 £350-450

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49 KARURA (GARUDA), BY KANO TESSAI, CIRCA 1921-25 lacquered wood, signed ‘Tessai to’ with kaō, in its original box signed and sealed by the artist 3.5cm high (3)

46 CHIDŌ, BY TETSURO, EARLY 20TH CENTURY lacquered wood, signed ‘Tetsuro’ with kaō 4.8cm high Tetsuro was a talented student of Kano Tessai.

Peter E. Müller Japanese Mask Collection No.3

The original box identifies this as a copy of a mask in the Shosoin Imperial Repository, with the studio name Saisho Shoja, used in the last four years of the artist’s life.

£1000-1500 47 KARURA (GARUDA), LATE 19TH CENTURY lacquered wood, unsigned 5.7cm high

Peter E. Müller Japanese Mask Collection No.6 £1500-2000

Peter E. Müller Japanese Mask Collection No.4

50 KONGO-RIKISHI, BY KYOSAI, 19TH CENTURY lacquered wood, signed ‘Kyosai’ 5cm high

£900-1200

Peter E. Müller Japanese Mask Collection No.7

48 KARURA (GARUDA), LATE 19TH CENTURY lacquered wood, unsigned 5.1cm high

£1000-1500

Although this artist’s work resembles that of Kano Tessai (see lot 49), it is distinguished by the use of a rounded himotoshi bar.

Peter E. Müller Japanese Mask Collection No.5

51 KONRON, 19TH CENTURY lacquered wood, the eyes inlaid in what is probably dark buffalo horn, unsigned 4.1cm high

£800-1000

Peter E. Müller Japanese Mask Collection No.8

See note to previous lot

£1000-1500

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55 52 OKINA, 19TH CENTURY lacquered wood, unsigned 4.2cm high

54 CHIDŌ, 20TH CENTURY pottery, stamped “made in Japan” 4.9cm high

This has common characteristics with the work of Ryuzan.

Peter E. Müller Japanese Mask Collection No.1

Peter E. Müller Japanese Mask Collection No.22

£100-150

£500-700 53 A LAUGHING MAN, BY GYOKO, 19TH CENTURY pale boxwood, with brushed signature ‘Gyoko’ (Mitsuyoshi) 6.7cm high

55 A DOUBLE MASK OF OKAME AND SHOJO, ATTRIBUTED TO SHUGETSU OR SHUMIN, 19TH CENTURY boxwood, unsigned 4.2cm high

Peter E. Müller Japanese Mask Collection No.13

Peter E. Müller Japanese Mask Collection No.208

£600-800

£500-700

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56 KONGO-RIKISHI, BY KANO TESSAI, CIRCA 1900-25 lacquered wood, signed ‘Tessai’ with kaō, in its original box signed and sealed by the artist 4.9cm high (3) The original box identifies this as a copy of a mask in the Shosoin Imperial Repository.

Peter E. Müller Japanese Mask Collection No.9 £1500-2000 57 A LONG NOSED MAN, 19TH CENTURY pale boxwood, unsigned with kaō 4.8cm high

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61 59 HEISHITORI, BY HARA SHUGETSU, 19TH CENTURY pale boxwood, signed ‘todaiji zo gigaku men shugetsu saku’ 3.5cm high Peter E. Müller Japanese Mask Collection No.15 £600-800 60 HEISHITORI, ATTRIBUTED TO HOZAN, EARLY 20TH CENTURY pale boxwood, unsigned 4.3cm high The attribution is based on comparison with other masks in the collection.

Peter E. Müller Japanese Mask Collection No.16

Peter E. Müller Japanese Mask Collection No.12

£800-1000 61 RANRYŌ-Ō, 20TH CENTURY lacquered wood, unsigned 4cm high

£1000-1500 58 HEISHITORI, BY SHOKA, 19TH CENTURY lacquered wood, signed ‘Shoka to’ 4.9cm high

Peter E. Müller Japanese Mask Collection No.17

As indicated in the inscription on the mask in the next lot, they are both copies of one of the ancient masks of the Todaiji at Nara.

£600-800

Peter E. Müller Japanese Mask Collection No.14 £900-1200

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62 62 BUDDHA, BY KANO TESSAI, CIRCA 1900-25 lacquered wood, signed ‘Tessai to’ with kaō, in its original box 3.2cm high (3) Peter E. Müller Japanese Mask Collection No.11 £900-1200

63 63 GOJO, BY KANO TESSAI, CIRCA 1900-25 lacquered wood, signed ‘Tessai to’ with kaō, in its original box signed and sealed by the artist 3.6cm high (3) The original box identifies this as a copy of a mask in the Shosoin Imperial Repository.

Peter E. Müller Japanese Mask Collection No.10 £1200-1500

17

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64

65

66

67

68

69

64 OKINA, DEME FAMILY, 19TH CENTURY pale boxwood, signed ‘Deme saku’ 5.4cm high

67 SHOJO, BY MATSUKI HŌKEI, LATE 19TH CENTURY tsuishu lacquer, signed ‘Hōkei’ 4.5cm high

Peter E. Müller Japanese Mask Collection No.28

The artist is a master of carving in solid red lacquer.

£400-500

Peter E. Müller Japanese Mask Collection No.32 £2000-2500

65 OKINA, BY KANO TESSAI, CIRCA 1900-25 pale boxwood, signed ‘Tessai to’ with kaō 3.5cm high A rare unlacquered example by the artist.

68 SHOJO, BY KEIZAN, 20TH CENTURY lacquered wood, signed ‘Keizan saku’ 4.9cm high

Peter E. Müller Japanese Mask Collection No.29

Peter E. Müller Japanese Mask Collection No.33

£700-900

£500-700

66 SANKA-JO, DEME FAMILY, 19TH CENTURY wood, two pieces joined with strings, signed ‘Deme’ 4.8cm high

69 SHOJO, BY SHIGEMITSU, 19TH CENTURY tsuishu lacquer, signed ‘Shigemitsu’ 4.1cm high

Peter E. Müller Japanese Mask Collection No.30

Since old Japanese horizontal inscriptions can be read in either direction, the signature might equally be Mitsushige.

£400-500

Peter E. Müller Japanese Mask Collection No.35 £600-800

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70

71

72

73

74

Peter E. Müller Japanese Mask Collection No.42

73 MIGAKI-ONNA OR HAKAKIME, BY KANO TESSAI, LATE 19TH CENTURY lacquered wood, signed ‘Tessai dojin to’ with kaō 3.9cm high

£400-500

Peter E. Müller Japanese Mask Collection No.38

70 HANNYA, 18TH CENTURY stained fruitwood, unsigned 5.5cm high

£1000-1500 71 NAMANARI, 19TH CENTURY pale boxwood, with red lacquer signature tablet Genzan, probably added 4.5cm high Peter E. Müller Japanese Mask Collection No.43

74 ~ A SMILING FEMALE, DEME FAMILY, 19TH CENTURY pale boxwood with inlaid ebony eyebrows, the hair incised and stained, signed ‘Deme’ 4.3cm high

£600-800

Peter E. Müller Japanese Mask Collection No.39 £500-700

72 HANNYA, 19TH CENTURY stained boxwood with gold lacquered eyes, unsigned 6.7cm high Peter E. Müller Japanese Mask Collection No.41 £1500-2000

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75 75 A FULL SIZE NOH MASK OF ZŌ-ONNA, BY MITSUHIDE, CIRCA 1780-1850 cypress wood with pigments, inscribed behind ‘Deme Fujiwara Mitsuhide’ (for the artist), titled ‘ikkoku ichijin’ and with the name of the commissioning patron ‘heisei suiharashi chikayasu’, with paulownia box 20.9cm high (3) Provenance: Steven Marvin, Hawaii Exhibited: Rutherston & Bandini, Japanese Masks, London, 2012, No.13 Peter E. Müller Japanese Mask Collection No.40 £3000-4000

76

77

76 NAMANARI, BY DEME UMAN, 19TH CENTURY wood, signed ‘Deme Uman’ 2.3cm high

77 NAMANARI, 19TH CENTURY pale boxwood, signed ‘Jinno’ or ‘Ninno’ 5.3cm high

Peter E. Müller Japanese Mask Collection No.44

Peter E. Müller Japanese Mask Collection No.45

£350-450

£800-1000

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78

79

80

81

82

83

78 KIIYOHIME, EARLY 19TH CENTURY kurogaki (persimmon wood) carved with a clapper forming the himotoshi bar, the eyes inlaid in silver, unsigned 5.2cm high

81 NAMANARI, BY KIMICHIKA, 19TH CENTURY boxwood, signed ‘Kimichika’ 5.7cm high

Peter E. Müller Japanese Mask Collection No.46

£1500-2000

Peter E. Müller Japanese Mask Collection No.52

£800-1000 79 JA, BY HARUMITSU, 19TH CENTURY stained boxwood, signed ‘Harumitsu’ 5.4cm high Peter E. Müller Japanese Mask Collection No.47

82 SHINJA, BY MATSUKI HŌKEI, LATE 19TH CENTURY tsuishu lacquer, signed ‘Hōkei’ 5.cm high Peter E. Müller Japanese Mask Collection No.49 £2000-2500

£400-500 80 JA, DEME FAMILY, 18TH CENTURY dark wood, signed ‘Deme’ 4.7cm high Peter E. Müller Japanese Mask Collection No.48 £700-900

83 SHINJA, BY NAITO TOYOMASA, 19TH CENTURY boxwood, signed ‘Toyomasa’ 4.4cm high Judging by the rounded second character of the signature, this is by one of the pupils of the Tamba master Toyomasa I, perhaps Hidari Toyomasa.

Peter E. Müller Japanese Mask Collection No.53 £4000-6000

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84

85

86

87

88

89

84 NASORI, 19TH CENTURY lacquered wood, inscribed nasori on the himotoshi bar 4.3cm high

87 OKINA, BY RYUMIN, EARLY 20TH CENTURY dark stained boxwood, signed ‘Ryumin saku’ 5cm high

Provenance: Raymond Bushell, San Francisco

Ryumin and Hozan have characteristics in common.

Peter E. Müller Japanese Mask Collection No.19

Peter E. Müller Japanese Mask Collection No.25

£600-800

£600-800

85 GENJORAKU, BY SOSAI, 20TH CENTURY tsuishu lacquer, the eye pupils inlaid in shell, signed ‘Sosai’ 5.9cm high

88 OKINA, BY SHUGETSU, 19TH CENTURY pale boxwood, the himotoshi bar carved as silk cords, signed ‘Shugetsu saku’ 4.8cm high

The artist belonged to the So school of 20th century carvers.

A similar mask is in the Garrett Collection, Baltimore, illustrated in Davey and Tripp’s catalogue, p.271.

Peter E. Müller Japanese Mask Collection No.26 £600-800

Peter E. Müller Japanese Mask Collection No.21 £600-800 86 EMI, 19TH CENTURY silver lacquered boxwood with red and gold details, unsigned 4.8cm high

89 OKINA, BY HOZAN, EARLY 20TH CENTURY stained boxwood, signed ‘Hozan saku’ 5.3cm high Peter E. Müller Japanese Mask Collection No.27 £700-900

Peter E. Müller Japanese Mask Collection No.20 £500-700

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90

91

90 SHOJO, BY KYOTO MASANAO, CIRCA 1780 boxwood with incised and black lacquered hair and brows, signed ‘Masanao’ 4.2cm high One of only four masks recorded by this most important of netsuke carvers.

Peter E. Müller Japanese Mask Collection No.34 £4000-6000 91 KANNON, BY NAITO KOSEKI, 1913 dark stained boxwood, unsigned, with a label inscribed by the commissioner 6.8cm high This is the only Gyōdō mask in the collection, made to the order of a British collector in 1913. There is a large head of a nio by Koseki in the British Museum.

Provenance: sale, Glendining, London, January 1916, lot 23; G. Davies (until at least 1931) Literature: Meinertzhagen Card Index, p.393, listed, but not illustrated, with the comment ‘remarkable for it’s [sic] chaste Buddhistic style’

91 label

Peter E. Müller Japanese Mask Collection No.18 £3000-4000

23

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92

93

94

95

96

97

92 NAMANARI, 19TH CENTURY pale boxwood, signed ‘un’ with kaō 4.5cm high

95 SHIKAMI, DEME FAMILY, 19TH CENTURY dark stained boxwood, signed ‘Deme saku’ 3.3cm high

Peter E. Müller Japanese Mask Collection No.54

Peter E. Müller Japanese Mask Collection No.58

£1500-2000

£700-900

93 SHISHIGUCHI, BY KOMIN, 19TH CENTURY tsuishu lacquer, signed ‘Komin’ 5cm high

96 KUROHIGE, 19TH CENTURY amber, unsigned 5.6cm high

The signature might equally be read Minko, Minyu or Yumin.

Amber netsuke, especially masks, are quite rare.

Provenance: Harry Seymour Trower, lot 451 in his sale, 1 April 1913; J.B. Gaskell, lot 857 in his sale, March 1926

Peter E. Müller Japanese Mask Collection No.57 £1200-1500

Literature: Meinertzhagen Card Index, p.386, illustrated Peter E. Müller Japanese Mask Collection No.55 £1500-2000 94 SHINJA, 19TH CENTURY dark stained boxwood, unsigned 5.8cm high

97 SHIKAMI, BY KŌMON, LATE 18TH CENTURY worn gilt lacquered boxwood, signed ‘Kōmon’ 3.9cm high Peter E. Müller Japanese Mask Collection No.59 £1000-1500

Peter E. Müller Japanese Mask Collection No.56 £800-1000

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98

99

100

101

102

103

98 AKUJO, BY SŌMIN, 19TH CENTURY dark wood, signed ‘Sōmin’ 3.7cm high

101 SHISHIGUCHI, 19TH CENTURY boxwood, unsigned 3.8cm high

Peter E. Müller Japanese Mask Collection No.60

Peter E. Müller Japanese Mask Collection No.63

£500-700

£500-700

99 SHISHIGUCHI, 19TH CENTURY boxwood with red lacquer on the tongue and lips as well as below the eyes, faint traces of what may have been a signature 5cm high

102 SHISHIGUCHI, BY SŌMIN, 19TH CENTURY boxwood, signed ‘Sōmin’ 5.5cm high

Peter E. Müller Japanese Mask Collection No.61

£900-1200

Peter E. Müller Japanese Mask Collection No.64

£700-900 100 SHIKAMI, 19TH CENTURY stained boxwood with gold lacquer teeth and eyes, unsigned 4.6cm high Peter E. Müller Japanese Mask Collection No.62

103 SHIKAMI, 19TH CENTURY pale boxwood, unsigned 4.5cm high Peter E. Müller Japanese Mask Collection No.65 £700-900

£700-900

25

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104

105

106

107

108

Peter E. Müller Japanese Mask Collection No.66

107 KO-BESHIMI, BY TENJO, 19TH CENTURY wood with traces of lacquer, imitating an old worn noh mask, signed ‘Tenjo’ 4.5cm high

£1000-1500

Peter E. Müller Japanese Mask Collection No.78

104 SHISHIGUCHI, ATTRIBUTED TO HOZAN, EARLY 20TH CENTURY lightly stained boxwood, replaced signature tablet 5cm high

£400-500 105 SARU-BESHIMI, BY SŌSHIN, 20TH CENTURY tsuishu lacquer, signed ‘Sōshin to’ 4.7cm high A similar mask is in the Garrett Collection, Baltimore, illustrated in Davey and Tripp’s catalogue, p.257.

Peter E. Müller Japanese Mask Collection No.76

108 SHISHIGUCHI, EARLY 19TH CENTURY wood, unsigned 4.9cm high Peter E. Müller Japanese Mask Collection No.67 £500-700

£600-800 106 AN AGED BESHIMI, BY MASAHARU, 19TH CENTURY gold lacquered wood, signed ‘Masaharu’ 4.1cm high Peter E. Müller Japanese Mask Collection No.75 £400-500

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109

110

111

112

113

114

109 SHIKAMI, BY RYUZAN, LATE 19TH CENTURY stained boxwood, signed ‘Ryuzan’ 4.6cm high

112 BESHIMI, 19TH CENTURY dark wood with inlaid silver eyes, unsigned 4cm high

Peter E. Müller Japanese Mask Collection No.68

Peter E. Müller Japanese Mask Collection No.72

£600-800

£500-700

110 SHISHIGUCHI, 19TH CENTURY pale boxwood, unsigned 3.8cm high Peter E. Müller Japanese Mask Collection No.69

113 BESHIMI, BY DEME UMAN, 19TH CENTURY polished wood with gilt copper eyes, signed ‘Deme Uman tenka ichi’ 4.2cm high

£500-700

Peter E. Müller Japanese Mask Collection No.73 £500-700

111 BESHIMI, 19TH CENTURY pale boxwood, unsigned 4.1cm high Peter E. Müller Japanese Mask Collection No.71 £500-700

114 DEMON, BY SOICHI, 20TH CENTURY tsuishu lacquer, signed ‘Soichi to’ 5.3cm high A comic reversible mask, which presents a different face when turned upside down.

Peter E. Müller Japanese Mask Collection No.74 £400-500

27

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115

116

117

118

119

Peter E. Müller Japanese Mask Collection No.84

118 BUAKU, BY HOZAN, EARLY 20TH CENTURY boxwood, signed ‘nana-ju-issai Hozan saku’ with kaō, indicating the artist’s age as 71 4cm high

£800-1000

Peter E. Müller Japanese Mask Collection No.80

115 BUAKU, BY HOZAN, EARLY 20TH CENTURY dark stained boxwood, signed ‘Hozan saku’ 3.6cm high

£600-800 116 A LARGE BUAKU, 20TH CENTURY gold lacquered wood, unsigned 6.2cm high Peter E. Müller Japanese Mask Collection No.83

119 BUAKU, 19TH CENTURY wood, unsigned 4.5cm high

£700-900

Peter E. Müller Japanese Mask Collection No.81 £400-500

117 BUAKU, BY TADATOSHI, 19TH CENTURY polished boxwood, signed in ‘ukibori’ in a sunken reserve ‘Tadatoshi’ 3.7cm high One of the few netsuke in the collection by an artist known principally for netsuke other than masks.

Peter E. Müller Japanese Mask Collection No.82 £600-800

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120

121

122

123

124

125

120 KITSUNE, 19TH CENTURY pale boxwood, unsigned 4.5cm high

123 SARU, 19TH CENTURY lacquered wood, signed with seal ‘Hō’ 4.4cm high

Peter E. Müller Japanese Mask Collection No.86

Peter E. Müller Japanese Mask Collection No.88

£500-700

£400-500

121 KITSUNE, 19TH CENTURY lacquered wood, unsigned 3.8cm high

124 A SMALL SARU, BY MASANAO, 19TH CENTURY boxwood with eyes inlaid in mid toned horn, signed ‘Masanao’ 3cm high

Peter E. Müller Japanese Mask Collection No.85

Peter E. Müller Japanese Mask Collection No.92

£1000-1500

£300-400

122 KITSUNE, 19TH CENTURY boxwood, unsigned 3.8cm high

125 SARU, 19TH CENTURY porcelain, probably Kutani, unsigned 4.4cm high

Peter E. Müller Japanese Mask Collection No.87

Peter E. Müller Japanese Mask Collection No.90

£400-500

£400-500

29

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126

127

128

129

130

131

126 SARU, 19TH CENTURY wood with double inlaid buffalo horn eyes, signed ‘Chi’ with kaō 4.3cm high

129 USOBUKI, BY SUKENOBU, EARLY 20TH CENTURY wood, signed ‘Sukenobu’ 4.9cm high

Peter E. Müller Japanese Mask Collection No.91

Peter E. Müller Japanese Mask Collection No.95

£600-800

£450-550

127 SARU, 19TH CENTURY boxwood, unsigned 4.5cm high

130 OTO, BY HIDARI ISSAN, 19TH CENTURY pale boxwood with black lacquered hair, signed ‘Hidari Issan’ 4.6cm high

Probably scorched in a fire, a common occurrence in Japan.

Peter E. Müller Japanese Mask Collection No.97

Peter E. Müller Japanese Mask Collection No.93

£700-900

£600-800 128 USOBUKI, BY NAOYA, 20TH CENTURY copper with gilt eyes and solid gold bar behind, signed ‘Naoya’ with a stamped mark 3.4cm high Peter E. Müller Japanese Mask Collection No.94 £350-450

131 OKAME, BY GYOKUSHIN, 19TH CENTURY silver and black lacquered wood, signed ‘Gyokushin’ 4.3cm high The artist is possibly Miki Gyokushin. There are two lacquered combs by him in the Casals Collection, Osaka. There are good reasons to think he may have been a pupil of Ikeda Taishin.

Peter E. Müller Japanese Mask Collection No.111 £400-500

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132

133

134

135

136

137

132 OTO, BY BAZAN, 19TH CENTURY lacquered wood, signed ‘Bazan’ 5.7cm high

135 OTO, BY SŌKYU, EARLY 20TH CENTURY pale boxwood, signed ‘Sōkyu’ 3.8cm high

A rare mask by the artist.

Peter E. Müller Japanese Mask Collection No.103

Peter E. Müller Japanese Mask Collection No.100

£500-700

£700-900 133 A LARGE OTO, 19TH CENTURY polished dark fruitwood, possibly plum, unsigned 6.1cm high Peter E. Müller Japanese Mask Collection No.101 £800-1000 134 OTO, BY GYOKKO, MID 19TH CENTURY lightly stained boxwood, signed ‘Gyokko’ 3.8cm high Peter E. Müller Japanese Mask Collection No.102

136 OTO, BY GYOKKO, MID 19TH CENTURY pale boxwood, signed ‘Gyokko’ 4.4cm high Peter E. Müller Japanese Mask Collection No.104 £800-1000 137 OKAME, BY SHUMIN, 19TH CENTURY boxwood, signed ‘Shumin’ 4.6cm high Peter E. Müller Japanese Mask Collection No.105 £300-400

£600-800

31

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138

139

140

141

142

143

138 OTO, 19TH CENTURY pale boxwood, unsigned 4.4cm high

141 OKAME, BY KUNIMITSU, EARLY 19TH CENTURY boxwood, signed ‘Kunimitsu’ 4.3cm high

Peter E. Müller Japanese Mask Collection No.98

Peter E. Müller Japanese Mask Collection No.107

£350-450

£250-350

139 OTO, BY KANO TESSAI, CIRCA 1865-1875 boxwood, signed ‘Tessai’ with kaō 5.6cm high

142 OKAME, 20TH CENTURY gold and black lacquered wood, unsigned 4.8cm high

A rare early work by this important carver.

Peter E. Müller Japanese Mask Collection No.112

Peter E. Müller Japanese Mask Collection No.99

£350-450

£1000-1500

143 OKAME, BY SHIBATA (IKEDA) SHINSAI, 19TH CENTURY silver and black lacquered wood, signed ‘Shinsa’ 4.4cm high

140 OKAME, 19TH CENTURY pale wood, unsigned 4.8cm high

The artist was the son of the great Shibata Zeshin.

Peter E. Müller Japanese Mask Collection No.106

Peter E. Müller Japanese Mask Collection No.113

£300-400

£300-400

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144 OKAME, LATE 19TH CENTURY tsuishu lacquer, the himotoshi bar with carved asanoha pattern, unsigned 4.3cm high Peter E. Müller Japanese Mask Collection No.114 £500-700

144

145 OKAME, 19TH CENTURY silver and black lacquered wood, unsigned 4.6cm high Peter E. Müller Japanese Mask Collection No.115 £300-400

145

146 OKAME, BY GYOKKO, MID 19TH CENTURY wood, signed ‘Gyokko’ 5.6cm high Peter E. Müller Japanese Mask Collection No.117 £200-300

146 33

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147

147

148

149

147 OKAME AND ANOTHER OF HANAHIKI, BY SEKISEN, 20TH CENTURY both pottery, impressed seal ‘Sekisen’ 4.2 and 4.8cm high (2) Peter E. Müller Japanese Mask Collection No.116 and 186 £200-300 148 A LARGE OKAME, BY SHUMIN, 19TH CENTURY polished fruitwood, signed ‘Shumin saku’ 8.6cm high Peter E. Müller Japanese Mask Collection No.118

150

149 OKAME, 19TH CENTURY wood, unsigned 4.5cm high Peter E. Müller Japanese Mask Collection No.119 £300-400 150 OKAME, BY SHUKOKU, 19TH CENTURY boxwood, signed ‘Shukoku’ 4.9cm high Peter E. Müller Japanese Mask Collection No.120 £250-350

£350-450

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151

152

153

154

155

151 OKAME, BY SHUZAN, 19TH CENTURY boxwood, signed ‘Shuzan’ 5cm high

154 A DEMON, CIRCLE OF RYUZAN, LATE 19TH CENTURY boxwood, signed with kaō 4.8cm high

Peter E. Müller Japanese Mask Collection No.121

The attribution is based on comparison with several signed netsuke in the collection.

£300-400

Peter E. Müller Japanese Mask Collection No.146 152 OKAME, 19TH CENTURY boxwood, signed with kaō 4.9cm high Peter E. Müller Japanese Mask Collection No.122 £300-400 153 OKAME, BY SHUZAN, 19TH CENTURY boxwood, signed ‘Shuzan’ 5.1cm high Peter E. Müller Japanese Mask Collection No.123

£600-800 155 A LARGE OKAME, BY HARA SHUGETSU, 19TH CENTURY polished dark stained fruitwood, one himotoshi with inlaid ring in green stained stag antler, signed ‘Hara Shugetsu Shizan saku’ 7.1cm high A rare signature, perhaps to distinguish himself from his father, also a carver of mask netsuke.

Peter E. Müller Japanese Mask Collection No.124 £700-900

£150-200

35

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156

157

158

159

160

161

156 A LARGE ONI, 18TH CENTURY wood with traces of red pigment in the mouth, unsigned 6.7cm high

159 A MASK OF ONI, 19TH CENTURY wood, unsigned 4.1cm high

Peter E. Müller Japanese Mask Collection No.127

As this has no himotoshi, it is not a netsuke.

£2000-2500

Peter E. Müller Japanese Mask Collection No.130

157 ONI, 19TH CENTURY boxwood, lacquered behind, with eyes of reverse painted glass, unsigned 4.1cm high

£700-900 160 ONI, BY SHUZAN, 19TH CENTURY boxwood, signed ‘Shuzan’ 5.1cm high

Peter E. Müller Japanese Mask Collection No.128

Peter E. Müller Japanese Mask Collection No.131

£800-1000

£600-800

158 ONI, BY HOKKA (HOKKE), 1919 lacquered wood, signed ‘Hokka’ and inscribed with cyclical date 4.7cm high

161 ONI, 20TH CENTURY stag antler with inlaid dark horn eyes, unsigned 4.4cm high

Peter E. Müller Japanese Mask Collection No.129

Peter E. Müller Japanese Mask Collection No.132

£300-400

£200-300

36

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162

163

164

165

166

167

162 ONI, BY HARUAKI (SHUNMEI), 19TH CENTURY iron with silvered rings around the pupils and gilt fangs, signed on a cheek ‘Haruaki’ 5cm high

165 ONI, LATE 18TH CENTURY wood with inlaid metal eyes, unsigned 4.8cm high

Peter E. Müller Japanese Mask Collection No.133

£350-450

Peter E. Müller Japanese Mask Collection No.138

£1000-1500 163 ONI, LATE 19TH CENTURY stag antler, the himotoshi bar carved as tied silk cords, unsigned 4.2cm high Peter E. Müller Japanese Mask Collection No.134

166 ONI, 19TH CENTURY blue glazed porcelain, unsigned 4.6cm high Peter E. Müller Japanese Mask Collection No.140 £350-450

£700-900 164 ONI WITH OKAME BEHIND, LATE 18TH CENTURY boxwood, unsigned 4.5cm high The subject alludes to the annual new year cleansing ritual oniyarai setsubun.

167 BAKEMONO, BY GARAKUSAI, 19TH CENTURY wood, signed ‘Garakusai zo’ 4.4cm high Peter E. Müller Japanese Mask Collection No.141 £600-800

Peter E. Müller Japanese Mask Collection No.137 £500-700

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168

169

170

171

172

173

171 A DEMON, 19TH CENTURY lacquered wood with reverse painted glass eyes, unsigned 3.7cm high

168 A DOLEFUL MAN, 19TH CENTURY boxwood with traces of scorching, unsigned 4.5cm high Peter E. Müller Japanese Mask Collection No.147

Peter E. Müller Japanese Mask Collection No.145

£300-400

£700-900

169 ONI, 19TH CENTURY wood, unsigned 4.1cm high

172 TENJIN, BY MITSUSHIGE, 19TH CENTURY wood with traces of scorching, signed ‘Mitsushige to’ 4.3cm high

Peter E. Müller Japanese Mask Collection No.142

Peter E. Müller Japanese Mask Collection No.148

£500-700

£400-500

170 A FEMALE DEMON, BY GYOKUMITSU, 19TH CENTURY wood, signed ‘Gyokumitsu’ 4.6cm high

173 ONI, 19TH CENTURY shitan wood with inlaid metal pupils, unsigned 4.2cm high

Peter E. Müller Japanese Mask Collection No.144

Peter E. Müller Japanese Mask Collection No.149

£400-500

£500-700

38

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174

175

176

177

178

179

174 KARASU-TENGU, BY SOMIN, 19TH CENTURY tsuishu lacquer, signed ‘Somin to’ 5.2cm high

177 KARASU-TENGU, 19TH CENTURY boxwood, unsigned 4.5cm high

Peter E. Müller Japanese Mask Collection No.151

Peter E. Müller Japanese Mask Collection No.156

£2000-2500

£700-900

175 KARASU-TENGU, BY SEKIHO, 20TH CENTURY pottery, signed ‘Sekiho’ 4.5cm

178 KARASU-TENGU, 19TH CENTURY green lacquered wood, unsigned 5.9cm high

Peter E. Müller Japanese Mask Collection No.152

Peter E. Müller Japanese Mask Collection No.157

£200-300

£500-700

176 A LARGE KARASU-TENGU, LATE 19TH CENTURY Pale boxwood, unsigned 5.4cm high Peter E. Müller Japanese Mask Collection No.154

179 A SMALL KONOHA-TENGU, 19TH CENTURY boxwood, the cloth around its nose forming the himotoshi bar, unsigned 3cm high

£700-900

Peter E. Müller Japanese Mask Collection No.158 £350-450

39

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180

181

182

183

184

185

180 EBISU, BY KANO TESSAI, CIRCA 1900 boxwood with black stained cap and red lips, signed ‘Tessai’ with kaō 3.2cm high

183 DAIKOKU, BY KANO TESSAI, CIRCA 1900 boxwood with black stained cap and red lips, signed ‘Tessai to’ with kaō 3cm high

Peter E. Müller Japanese Mask Collection No.160

Peter E. Müller Japanese Mask Collection No.164

£800-1000

£800-1000

181 DAIKOKU, LATE 19TH CENTURY stained fruitwood, unsigned 4.2cm high

184 HOTEI, BY SHUGETSU, 19TH CENTURY boxwood, signed ‘Shugetsu’ 4.4cm high

Peter E. Müller Japanese Mask Collection No.162

Peter E. Müller Japanese Mask Collection No.165

£350-450

£400-500

182 EBISU, LATE 19TH CENTURY porcelain, probably Hirado, unsigned 4.1cm high

185 DAIKOKU, BY FUKUSAI, 20TH CENTURY stag antler, signed ‘Fukusai’ 4.5cm high

Peter E. Müller Japanese Mask Collection No.163

Peter E. Müller Japanese Mask Collection No.166

£300-400

£300-400

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186

187

188

189

190

191

186 DAIKOKU, BY DEME JOMAN, 19TH CENTURY wood, signed ‘Deme Joman’ 4.2cm high

189 USOBUKI, CIRCLE OF RYUZAN, LATE 19TH CENTURY gold lacquered wood, signed with a kaō 3.4cm high

Peter E. Müller Japanese Mask Collection No.167

Peter E. Müller Japanese Mask Collection No.170

£400-500

£400-500

187 SHISHI, 19TH CENTURY lacquered wood, unsigned 3.4cm high

190 USOBUKI, BY RYUZAN, LATE 19TH CENTURY boxwood, signed ‘Ryuzan’ 4.3cm high

Peter E. Müller Japanese Mask Collection No.168

Peter E. Müller Japanese Mask Collection No.172

£350-450

£400-500

188 SHISHI, LATE 19TH CENTURY wood, with signature ‘Tomokazu’ 3.6cm high

191 USOBUKI, 19TH CENTURY red lacquered wood with black and gold details, with added signature ‘Kajikawa’ 4cm high

Peter E. Müller Japanese Mask Collection No.169 £400-500

Peter E. Müller Japanese Mask Collection No.173 £700-900

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192

193

194

195

196

197

192 USOBUKI, BY GYOKUZAN, 19TH CENTURY walnut with dark horn eyes ringed with metal, signed ‘Gyokuzan’ 3.2cm high In the style of Hidari Issan whose pupil he must have been.

195 AN OCTOPUS, LATE 19TH CENTURY boxwood with eyes inlaid in dark buffalo horn, inscribed tako [octopus] 5cm high

Peter E. Müller Japanese Mask Collection No.174

Peter E. Müller Japanese Mask Collection No.177

£200-300

£600-800

193 USOBUKI, BY GYOKUYUKI, 20TH CENTURY wood, signed ‘Gyokuyuki’ 3.6cm high

196 USOBUKI, 19TH CENTURY wood, unsigned 3.9cm high

Peter E. Müller Japanese Mask Collection No.175

Peter E. Müller Japanese Mask Collection No.178

£200-300

£400-500

194 AN OCTOPUS, 19TH CENTURY worn lacquered wood, unsigned 4.6cm high

197 A GRIMACING MAN, 19TH CENTURY fruitwood, unsigned 4.2cm high

Peter E. Müller Japanese Mask Collection No.176

Peter E. Müller Japanese Mask Collection No.179

£700-1000

£400-500

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198 198 HEIKE-GANI, EARLY 20TH CENTURY pale boxwood, unsigned 4.3cm high In the style of Kokeisai Sansho. According to legend, the strangely shaped crabs of Akamagaseki are the remains of Heike warriors killed by the Minamoto. See Davey and Tripp’s catalogue of the Garrett collection, p.277.

Peter E. Müller Japanese Mask Collection No.206 £800-1200

199 199 A HIRSUTE DEMON, BY HOZAN, EARLY 20TH CENTURY dark stained polished boxwood, signed ‘nana-ju-issai Hozan’ with kaō, giving the age of the artist as 71 5.1cm high Peter E. Müller Japanese Mask Collection No.205 £1500-2500

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200

201 part

203

202

204

202 A FROWNING MAN, LATE 19TH CENTURY pale boxwood, unsigned 3.8cm high

200 A FROWNING MAN, 19TH CENTURY boxwood, unsigned 4cm high Peter E. Müller Japanese Mask Collection No.181

Peter E. Müller Japanese Mask Collection No.184

£400-500

£400-500

201 TWO MASKS OF A FROWNING MAN, 19TH CENTURY probably by the same hand, wood, unsigned 4.5 and 4.6cm high

203 A WIDE MOUTHED MAN, 19TH CENTURY wood, unsigned 3.9cm high

The first functions as a mask both ways up.

Peter E. Müller Japanese Mask Collection No.188

Peter E. Müller Japanese Mask Collection No.183

£500-700

£500-600

204 A LARGE FROWNING OGRE, 19TH CENTURY wood, unsigned 6.3cm high Peter E. Müller Japanese Mask Collection No.189 £600-800

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205

206

207

208

209

210

205 A MASK OF A GRIMACING MAN, 20TH CENTURY wood, scratched monogram 4.5cm high

208 ONO NO KOMACHI, 19TH CENTURY boxwood, unsigned 4.5cm high

Possibly a European copy of a Japanese mask.

Peter E. Müller Japanese Mask Collection No.195

Peter E. Müller Japanese Mask Collection No.190

£300-400

£100-150 206 A MOROSE MAN, 20TH CENTURY gold lacquered wood, unsigned 5cm high Peter E. Müller Japanese Mask Collection No.191 £500-700 207 A GRINNING MAN, 19TH CENTURY wood, scratched signature ‘Kogyoku’, possibly added 4.5cm high Peter E. Müller Japanese Mask Collection No.192

209 A MOROSE MAN, 20TH CENTURY gold lacquered wood, unsigned 5cm high Peter E. Müller Japanese Mask Collection No.193 £500-700 210 A SMILING MAN, BY DEME UMAN, EARLY 19TH CENTURY boxwood, signed ‘Deme Uman’ 4.2cm high Peter E. Müller Japanese Mask Collection No.196 £300-400

£300-400

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211

212

213

214

215

216

211 A MOROSE MAN, 19TH CENTURY boxwood, signed with kaō 4.1cm high

214 A MALE MASK, BY DEME JOMAN, EARLY 19TH CENTURY wood, signed ‘Deme Joman’ 3.9cm high

This is signed with a distinctive complex kaō which will no doubt be identified sooner or later.

Peter E. Müller Japanese Mask Collection No.200 £350-450

Peter E. Müller Japanese Mask Collection No.180 £400-500 212 A CLUSTER OF NOH AND KYOGEN MASKS, LATE 19TH CENTURY stained wood with stag antler inlays, unsigned 4.5cm high

215 A LAUGHING DEMON, BY DEME EIMAN, 18TH CENTURY boxwood, signed ‘Deme Eiman’ 5.1cm high Peter E. Müller Japanese Mask Collection No.201 £500-700

Peter E. Müller Japanese Mask Collection No.197 £400-600 213 TWO GROTESQUES, 20TH CENTURY corozo nut, one with eyes inlaid in bone and dark horn, unsigned 4.7 and 5.5cm high (2)

216 CHOJO, 19TH CENTURY red and black lacquered wood, unsigned 4.4cm high Peter E. Müller Japanese Mask Collection No.202 £300-400

Peter E. Müller Japanese Mask Collection No.182 £350-450

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217

218

219 part

220

221

222

217 A JAPANESE MASK NETSUKE TENGU-SOMEN, 19TH CENTURY lacquered iron, unsigned 5.1cm high

220 BAKEMONO, 19TH CENTURY wood, unsigned 4.3cm high

Peter E. Müller Japanese Mask Collection No.203

Peter E. Müller Japanese Mask Collection No.207

£400-500

£500-700

218 A JAPANESE NETSUKE OF A CLUSTER OF MASKS, BY HARUAKI, LATE 19TH CENTURY shibuichi with some gilt eyes and copper lips, signed ‘Haruaki’ 4.1cm high

221 SHIKAMI, EARLY 20TH CENTURY lacquered wood, unsigned 3.6cm high

Peter E. Müller Japanese Mask Collection No.221

£800-1000

Peter E. Müller Japanese Mask Collection No.223

£400-500 219 TWO MASKS OF OTO, 19TH CENTURY wood, one covered in worn lacquer, the other double-sided with a male mask behind, unsigned 4.2 and 5.3cm high (2)

222 OKAME, LATE 19TH CENTURY stag antler, unsigned 4.7cm high Peter E. Müller Japanese Mask Collection No.230 £500-700

£300-400

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223

224

225

226

227

228

223 A DEMON, LATE 19TH CENTURY black lacquered wood with gilt eyes, unsigned 5.2cm high

226 A GOGGLE EYED GHOUL WITH FANGS, 19TH CENTURY dark stained wood, unsigned 5.3cm high

Peter E. Müller Japanese Mask Collection No.222

£350-450

£1200-1500 224 A LARGE REVERSIBLE MASK OF HIRSUTE MEN, LATE 18TH CENTURY polished wood, unsigned 6.8cm high Peter E. Müller Japanese Mask Collection No.209 £900-1200 225 A SIMIAN MAN, 19TH CENTURY wood, unsigned 4.4cm high £400-500

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227 A GRIMACING GHOUL, 19TH CENTURY clear lacquered wood, unsigned 5.2cm high £200-300 228 A JAPANESE NETSUKE OF A MASK WRAPPED IN A CLOTH, 19TH CENTURY ash tray style netsuke, wood, with green stained stag antler peg, unsigned 4.2cm high (2) £100-150

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229

230

231

229 OTO, 19TH CENTURY black wood, unsigned 6.2cm high £200-300

230 A LAUGHING OLD MAN, 20TH CENTURY wood, unsigned 4.5cm high £200-300

231 A GRINNING MAN, LATE 19TH CENTURY wood with prominent grain, unsigned 5.4cm high Judging by the way the reverse is carved, this is from the circle of Ryuzan. £350-400

232 A FULL SIZE REPLICA NOH MASK OF A WOMAN, 20TH CENTURY soft wood with pigments, unsigned 22.9cm high £300-400

232

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233

233

233 A KISERUZUTSU (PIPE CASE), LATE 19TH CENTURY lacquered with a panoply of masks in relief, unsigned 21.8cm high Peter E. Müller Japanese Mask Collection No.212 £1500-2000 234 ROLF AND SYLVIA SCHMOLL handwritten catalogue of the mask netsuke in the Müller collection, each mask with its own page, photographed and described in Mrs. Schmoll’s precise hand, in small faux leather lever arch files (4) £300-400

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235 BARRY DAVIES ORIENTAL ART exhibition catalogues: Japanese Lacquer, Nambokucho to Zeshin (Dean collection); Netsuke through Three Centuries ; Netsuke and Inro from European Collections; The Netsuke Collection of W.G. Bosshard (4) £100-150 236 FOUR ESSENTIAL BOOKS ON NETSUKE R. Bushell, Netsuke Familiar and Unfamiliar; his Collectors’ Netsuke; R. Barker & L. Smith, Netsuke (British Museum); J. Hutt, Japanese Netsuke (V&A Museum) (4) £80-120

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237 MAX RUTHERSTON Japanese masks, Peter E. Müller, privately printed book of the collection (2017), one of only 20 printed, and the only one for sale £300-400 238 ESKENAZI exhibition catalogues of lacquer: The Charles A Greenfield collection of Japanese lacquer (hardback); Japanese netsuke, inro and lacquer-ware (hardback); Japanese inro from private collections; together with M. Fairley, Contemporary Lacquer by Tomizo Saratani (4)

237

£80-120 239 SYDNEY L. MOSS LTD. exhibition catalogues: Zodiac Beasts And Distant Cousins; Myth, Reality and Magical Transformation; Japanese Netsuke: Serious Art; Meetings with Remarkable Netsuke; Odd Men Out; Outside the Box; More Things in Heaven and Earth; such stuff as dreams are made on; One hundred years of beatitude; they are all fire and every one doth shine (10) The first is scarce.

239 part

£250-300 240 BRITISH NETSUKE COLLECTIONS N.K. Davey, Netsuke (Hindson Collection, 1974), dedicated by the author; G. Cohen, In search of Netsuke & Inro; handbook of the London Netsuke Fair and Convention (1990); R. Barker & L. Smith, Netsuke; V. Harris, Netsuke (Hull Grundy collection) (5) The last two on netsuke in the British Museum. £120-150 241 IRVING GOULD Gould Collection of Netsuke In box £200-300

241

242 F. PERZYŃSKY Japanische Masken Nō und Kyōgen, 1925 (2) In German, an authoritative early book on theatrical masks. £250-300

242 51

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243

247

243 GEORGE LAZARNICK (Ed.) MCI, The Meinertzhagen Card Index (2)

247 GEORGE LAZARNICK (Ed.) Netsuke and Inro Artists and How to Read Their Signatures (2)

Pristine copy

£500-700

£500-700 244 U.S. COLLECTIONS AND EXHIBITIONS V. Atchley & N. Davey, The Virginia Atchley Collection; Edwards & Krebs, Netsuke (Peabody Museum, Salem); M. Welch & S. Chappell, Netsuke (Minneapolis exhibition, 1999); J. Earle, Netsuke, Fantasy and Reality (Boston exhibition, 2001) (4) £80-120 245 JOSEPH KURSTIN Masterworks of Netsuke; Netsuke, Story Carvings of Old Japan, dedicated by the author; Okada & Neill, Real and Imaginery Beings (Kurstin collection); R. Bushell, Netsuke Familiar and Unfamiliar; together with two catalogues of Bernard Hurtig (6) £50-70 246 ESKENAZI exhibition catalogues of netsuke: including the Carré, Veranneman, Lazarnick, Greene collections as well as exhibitions of netsuke (9)

248 MITSUHIRO’S TAKARABUKURO English translation (2001); Eskenazi catalogue of the J. Carré collection; D. Eijer, Kagamibuta; F.M. Jonas, Netsuké (4) £40-60 249 BOOKS ON CONTEMPORARY NETSUKE M. Kinsey, Living Masters of Netsuke; R. Bushell, The Art of Netsuke Carving (Masatoshi); Eskenazi, catalogues of netsuke by M. Birch and M. Webb; D. Wright, George Weil (6) £100-150 250 BOOKS ON MUSEUM COLLECTIONS OF NETSUKE Davey& Tripp, The Garrett Collection; H. Arakawa, The Go Collection of Netsuke; P. Jirka-Schmitz, The World of Netsuke (Werdelmann collection); Edwards & Krebs, Netsuke (Peabody Museum, Salem) (4) The first notable for its collection of mask netsuke. £100-150

The first three hard back. £200-300

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251 part 251 A SET OF NETSUKE JOURNALS 1973-2013, LARGELY BOUND Under its 3 different titles, 12 vols. of the Journal of the International Netsuke Collectors’ Society collected in 3 wood and leather bindings, vols. 1-25 of the subsequent titles bound 4 years together, including photographic reproduction of the scarce issue 7/2 (1987). Incomplete loose issues vols. 26 (2006) to 33 (2013), and with the loose index for vols. 13-20 (9 bound volumes, 33 loose journals)

255 255 V.-F. WEBER Ko-ji Hō-ten, first edition in original state, with separate volume of corrections and appendices (3) £300-400

252 M.-T. COULLERY & M.S. NEWSTEAD Baur Collection, Geneva, Netsuke

256 GERMAN BOOKS ON NETSUKE P. Jirka-Schmitz,The World of Netsuke (Werdelmann collection); also her Netsuke Düsseldorf 1990 exhibition of a German collection); O.H. Noetzel, Yakimono Netsuke; T. Klefisch, Netsuke, Inro u.a. Sagemono (Cologne exhibition 1982-83) (4)

£200-300

£120-150

253 BOOKS ON CONTEMPORARY NETSUKE R. Bushell, The Arte of Netsuke Carving (Masatoshi); M. Kinsey, Contemporary Netsuke; Princess H. Takamado, Contemporary Netsuke (2003); H. Arakawa, Netsuke, Takumi and Share (4)

257 FRENCH BOOKS ON NETSUKE A. Ducros, Netsuke & Sagemono 2, as well as his Paris Edo, catalogue for the 1994 Paris Convention; F. Storno, Le Netzké Errant (3)

£40-60

£80-100

£1200-1500

The first and last dedicated by the authors.

254 BOOKS ON INRO Champoud Collection, Inro (publ. Kyoto Shoin); Werlich & Germann, Inro, Gürtelschmuck aus Japan (Trumpf Collection); Lawrence & Brozman, Japanese Inro; Barry Davies, Inro, One Hundred Selected Masterpieces; G. Cohen, In search of Netsuke & Inro (5) £100-150

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258

258 AN EARLY PARCEL-GILT IRON DORJE, TIBET, CIRCA 15TH CENTURY OR EARLIER the eight prongs at each end, gathered in bulbous form with bud finial, the segmented handle with twin registers of kirtimukha heads 24.5cm long Provenance: Private collection, London; formerly in a Dutch collection.

For a closely related early iron dorje, see Bonhams, New York, 13th March 2017, lot 3054 £4000-6000

259 A BUDDHIST RITUAL DAGGER (PHURBU), TIBET, 19TH CENTURY bronze, with three sided blade issuing from a makara, the handle in the form of a vajra, the with triple head of Mahakala and further half-vajra at the top 36cm long £300-400

260 AN IRON RITUAL DAGGER (PHURBU), TIBET, 15TH/16TH CENTURY with three sided blade issuing from a makara, the handle with twin knot motifs, the finial in the form of a head of Mahakala 26cm long £400-600

259 260

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261 A SILVER FIGURE OF BUDDHA, TIBET, CIRCA 18TH CENTURY seated in padmasana on a double lotus throne, his hands in dhyana mudra, with tightly curled hair with domed usnisa and bud finial, his robes with gold inlay, his face cold gilded with polychrome detailing, 16.5cm high Provenance: Private collection, London; formerly in a Dutch collection. ÂŁ6000-8000

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262

262 A PAIR OF PARCEL GILT BRONZE THANG-KA POLE ENDS, TIBET, 19TH CENTURY of domed form decorated with a dragon in relief, the sockets with stylised tree design, surmounted by a lotus border 11cm long; 11cm diam. £800-1200

265 A THANG-KA DEPICTING VAJRAPANI, TIBET, 18TH CENTURY pigment on cloth, the fierce red deity depicted on a lotus base, stepping on prostrate corpses and scorpions, surrounded by a flaming aureole, four diminutive figures of dakinis in each corner, framed 63 x 46.5cm within mount £2000-3000

263 A CARVED WOOD PRINTING BLOCK, TIBET, EARLY 20TH CENTURY depicting a dharmapala (defender of the law) riding on his lion, with fierce expression, billowing robes, holding a standard 35 x 22 x 1.8cm £60-80 264 A PAINTING DEPICTING THE MULTI-LIMBED FORM OF AVALOKITESVARA, NEPAL, 19TH CENTURY gouache with gold on paper, the Buddhist deity standing on a prostrate figure of Mahakala on an elaborate gilt throne in a landscape, a further prostrate figure above two tiers of deities within arched niches, framed 43.5 x 33.5cm £250-350

266 A THANG-KA DEPICTING AN ARHAT, TIBET, 18TH CENTURY pigment on cloth, the central figure seated in a landscape, surrounded by two figures of lamas above, Mahakala and Dhritarashtra below, further smaller lama figures near the central figure, mantras in Tibetan on the reverse, green silk surround 59 x 39cm excluding mount £200-300 267 A THANGKA DEPICTING RATNASAMBHAVA, TIBET, 20TH CENTURY pigment with gold on cloth, the Buddha seated on an elaborate throne supported by a pair of white lions with richly upholstered back in a landscape festooned with lotuses, a triratna emblem above, mantras in lantsa and Tibetan script on the reverse 66 x 47cm £120-150

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264

265

266

267 57

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268 A COLLECTION OF TIBETAN MINIATURE PAINTINGS (TSAKLIS), MOSTLY 19TH CENTURY comprising sixteen square paintings on cloth and four others on paper, depicting various tantric and Buddhist deities and emblems, most inscribed on the reverse in cursive Tibetan script 10.5 x 7.7cm (20) Provenance: Private Collection, London £150-250

270 A BRASS FIGURE OF DURGA MAHISASURAMARDINI, WESTERN DECCAN, CIRCA 18TH CENTURY on tiered base, the eight armed goddess depicted slaying the buffalo demon, grasping its head and wielding her trident in her primary hands, her other hands holding her various attributes 12.5cm high For a related figure of Durga Mahisasuramardini from Maharashtra in the Museum of Folk, Tribal and Neglected Art, see Subashini Aryan, Unknown Masterpieces of Indian Folk and Tribal Art, Gurgaon 2005, p.28, no.24. £60-80

269

271

269 A SMALL BRONZE FIGURE OF LOKESVARA, KASHMIR, CIRCA 6TH/7TH CENTURY standing with his raised right had in abhaya mudra, his left holding the stem of a lotus which flowers at his shoulder, wearing three leaf crown and flowing headdress, projection for halo attachment (?) at the back, mounted 11.5cm high Provenance: Private collection, London. Acquired Adrian Maynard, London, mid-1980s £1800-2200

271 A RARE PALLAVA BRONZE FIGURE OF SIVA, TAMIL NADU, SOUTH INDIA, 7TH/8TH CENTURY standing on a domed base with projections for prabha (now missing), the four-armed deity holding various attributes, with earrings, pointed headdress and flaring hair forming a triangle 15.5cm high Provenance: Private collection, London. Acquired in New York in the mid-1970s The tall slender figure and shape of the crown suggest an early date for this image of Siva. The stylised triangular shape of the crown radiating from the god’s head is particularly characteristic of his fierce form, Bhairava, although in this case the features are not distinct. £1000-1500

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274

272 272 FOUR SMALL BRONZE IMAGES, INDIA, 19TH CENTURY depicting Rama, Manasa, Hanuman and Radha respectively 13cm high and smaller £250-350

274 FOUR COPPER-GILT PLAQUES, PUNJAB, 19TH CENTURY with convex repousse relief decoration, probably from a screen, comprising two larger and one smaller convex roundels depicting a Sikh ruler on a European chair with attendant, Krishna on a swing, and Hanuman carrying the magic herb, the fourth of quatrefoil form, depicting Krishna in a shrine flanked by female devotees 14cm diam. and smaller £200-300

273

275 part

275 part

273 A BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY the eight armed goddess stepping on the demon and pulling his hair with her primary left hand, stabbing him with her trident in her right, her remaining hands holding various weapons and attributes, on raised square base 14cm high

275 KHANDOBA AND HIS HORSE, WESTERN DECCAN, 18TH/19TH CENTURY bronze, the two figures from different original images, the god with legs apart, with long hair and tall headdress, holding a sword (now missing) in his right hand, the horse standing on a raised rectangular base, wearing saddle and trappings 15cm high (Khandoba); 19cm high (horse)

£150-250

£150-250

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276 A LARGE VIJAYANAGARA BRONZE FIGURE OF VISHNU, SOUTH INDIA, CIRCA 16TH CENTURY standing in tribhanga on oval base, the four-armed Hindu deity with his primary right hand in abhaya mudra, his left resting on his gada, his upper hands raised, holding cakra and sankha, wearing elaborate belt with kirtimukha buckle, his tall crown with bud finial, his hair cascading in ringlets on his shoulders, a wheel-like halo attached behind 44cm high Provenance: Private collection, East Anglia. Acquired by the vendor as a gift from her husband in the 1960s.

The criteria for dating early South Indian bronze images are subtle and far from clear cut. In many senses, this superb bronze displays the characteristic features of the Chola period (9th-13th century), and there was no abrupt change of stylistic direction when the Vijayanagar dynasty became dominant in the region. Nevertheless there are several indications of a later date, such as the more expressive face, the stocky, muscular build and the very detailed treatment of the jewellery and ornaments and their incised outlining. The relaxed pose with legs flexed is more commonly associated with depictions of Siva, while Vishnu, the preserver, is generally depicted, when in his primary form, in static full frontal images which emphasise his regal aura. ÂŁ20000-30000

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279 279 A BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, SOUTH INDIA, 18TH/19TH CENTURY on raised rectangular base, the eight-armed goddess pulling at the demon by the hair as it issues from the buffalo body, the decapitated head lying below, her right foot resting on her lion, her remaining hands holding various weapons and attributes 16cm high £500-700

277 277 A BRONZE VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY of waisted rectangular form, the four-armed manifestation of Siva, stepping to his left, wearing tall sandals, wielding sword, shield, bow and arrow within an architectural niche with kirtimukha above, flanked by diminutive figures of Daksha and Sati, large carrying handle at the back 27.5 x 18 x 7cm approximately 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.

280

£500-700

278 278 A BRONZE FIGURE OF VISHNU ON GARUDA, TAMIL NADU, SOUTH INDIA, 19TH CENTURY cast in two sections, the four-armed Hindu god standing on a lotus, his primary hands in varada mudra and resting on his gada (now missing), the platform carried by the crouching winged figure of his vehicle, Garuda, his hands outstretched 23cm high

280 A SMALL PALA STYLE BRASS FIGURE OF PADMAPANI, EASTERN INDIA OR TIBET, 11TH/12TH CENTURY standing in tribhanga on a lotus base, wearing three-leaf crown 6.5cm high Provenance: Private collection, London £400-600

£700-900

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281 A LARGE BRASS SHRINE DEPICTING VIRABHADRA, WESTERN DECCAN, 16TH/17TH CENTURY cast in three sections, the four-armed form of Siva standing on a flared base, holding sword and shield in his primary hands, wearing sandals, dhoti with dagger tucked in the belt and tall headdress with sivalingam in front, originally flanked by figures of Daksha and Sati (now missing), sheltering under a five-headed cobra resting on the leafy prabha with kirtimukha at the top 44cm high (entire shrine) See lot 277 for a note about the story of Virabhadra. ÂŁ2000-3000

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282 282 A JAIN BRONZE SHRINE DEPICTING ADINATHA, THE FIRST TIRTHANKARA, GUJARAT, WESTERN INDIA, DATED SAMVAT 1519/1463 AD inlaid with silver and copper, the central figure seated in padmasana on a lion throne, flanked by a pair of standing jinas and chauri bearers, a further pair of seated jinas above, sheltered by a parasol supported by a pair of elephants, the arched prabha surmounted by a water-pot, dedicatory devanagari inscription and date at the back 18.5cm high

284 TWO BRONZE FIGURES OF KRISHNA, BENGAL, 19TH CENTURY OR EARLIER the larger in the form of Venugopala, standing with ankles crossed, playing the flute, the other as Balakrishna, the infant deity crawling on the ground 19cm (excluding base) and smaller (2)

£1500-2000 283 A VIRABHADRA PLAQUE, WESTERN DECCAN, 19TH CENTURY copper repousse relief, of rectangular form, depicting the fourarmed form of Siva flanked by Daksha and Sati, 19 x 12cm

285 A BRASS SHRINE, SOUTH INDIA, 19TH CENTURY in two sections, probably made for a Vishnu trio, the platform with three spaces for deities (now missing), the prabha in the form of a makaratorana framing a tree, with five-headed cobra and kirtimukha above 23cm

See lot 277 for a note about the story of Virabhadra.

Provenance: Private Collection, London

£120-150

£80-120

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Provenance: Private Collection, London £100-150

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286 286 A LARGE BRONZE FIGURE OF RAMA, SOUTH INDIA, 16TH/17TH CENTURY standing in tribhanga on a circular lotus base resting on a tapered square plinth with carrying loops, his left hand raised, his right at his side, originally carrying his bow (now missing), his quiver hanging from his right shoulder, inscription in telugu at the bottom 39cm high There is a smaller and slightly earlier depiction of the same subject in the Ashmolean Museum, Oxford (EA2013.98.a)

287 287 A BRONZE FIGURE OF KRISHNA VENUGOPALA, BENGAL, EASTERN INDIA, CIRCA 18TH CENTURY the youthful deity standing with ankles crossed, playing the flute (now missing), wearing large beaded earrings and tall tiered headdress, later wood stand 27cm high For a closely related Krishna figure in the Victoria and Albert Museum, see IS 81 1960 £1800-2200

£2500-3500

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288 288 A BRONZE FIGURE OF NANDI BULL, WESTERN DECCAN, CIRCA 17TH CENTURY the vehicle of Siva standing on a separately cast raised plinth, wearing necklaces blanket and trappings, a lingam pendant hanging from his neck 25cm high £1000-1500

290 A SMALL BRONZE FIGURE OF A LION, PROBABLY DECCAN, SOUTHERN INDIA, 16TH/17TH CENTURY originally from a flintstriker 5 x 5 x 1.5cm Provenance: Private Collection, London £80-120

289

291

289 A BRONZE FIGURE OF NANDI, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY crouching on raised rectangular cushion base, the bull vehicle of Siva wearing a lingam hanging from his neck, with pointed horns and small hump, a loop attachment at the back for cobra canopy (now missing) 10cm high

291 A BRASS FIGURE OF DIPALAKSHMI, SOUTH INDIA, 19TH CENTURY the goddess standing in tribhanga on a raised lotus base, her hands outstretched, wearing kuchhaband, disc earrings and long ponytail, with unrelated brass bowl 27.5cm high £250-350

£120-180

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292

294

292 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

294 A KUSHAN RED SANDSTONE SIVA LINGAM, PROBABLY KAUSAMBI, NORTHERN INDIA, 2ND/3RD CENTURY of rounded columnar form, flattened at the back, carved with a face of Siva with third eye on his forehead, smiling expression, wearing earrings and hair gathered in a topknot, mounted 23.5cm high

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

Provenance: Private collection, London. Acquired in New York in the mid-1970s

£400-600

£2000-3000

293 293 A MOTTLED PINK SANDSTONE COPING STONE FRAGMENT, MATHURA REGION, NORTHERN INDIA, 1ST CENTURY A.D. of long vaulted form, a narrow carved frieze on one side depicting a lion flanked by a pair of swags, a border of alternating bell and bud motifs above 17cm high; 77cm long Property from a deceased estate, sold by order of the executors; acquired Sotheby’s London, 13 June 1988, lot 279.

For two similar fragments from the Nasli and Alice Heeramaneck collection in the Los Angeles County Museum of Art, see M.81.90.21a-b.

Other examples can be found in the Ashmolean Museum, Oxford (inv.1983.24; see James Harle and Andrew Topsfield, Indian Art in the Ashmolean Museum, Oxford 1987, no.10, p.9), and the Dayton Art Institute (69.8; see S. Czuma, Kushan Sculpture: Images from Early India, Cleveland 1985, no.6). £700-900

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295 A MONUMENTAL KUSHAN HEAD OF A JINA, MATHURA REGION, NORTHERN INDIA, CIRCA 2ND CENTURY A.D. pink sandstone, with plump lips, elongated earlobes and prominent eyes, mounted 29cm high Provenance: Private Collection, London Acquired from the Swedish dealer and collector Max Willborg (1933-2001) in 1975.

For a closely related head of Buddha in the Los Angeles County Museum of Art (M 69.13.9), see Pratapaditya Pal, Indian Sculpture, Vol I, Berkeley 1986, p.184, no.S60 £3000-5000

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296 A LARGE DARK GREY STONE HEAD OF A MALE DEITY, PROBABLY VISHNU, GURJARA-PRATIHARA, WESTERN INDIA, CIRCA 11TH CENTURY the tall faceted headdress fringed with a crown of repeated vyala heads, with almond-shaped eyes and wearing disc earrings 33cm high Provenance: Private collection, Southern England. In the possession of the vendor’s mother before 1980.

A common feature of the Pratihara period is the combination of faceted headdress with richly carved ornamentation. Typical is a fine Surya bust in the Archaeological Museum, Thanesar, with kirtimukha vomiting jewelled swags. For a similar black stone head on a Vishnu stele dated 1147 from Rajasthan in the National Museum, New Delhi, see George Michell (ed.), In the Image of Man, p.197, pl.345. See also the bust of a yogini in the Victoria and Albert Museum, IS.9-1969. £2500-3500

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298 298 A CLAY VOTIVE PLAQUE, PAGAN, BURMA, CIRCA 12TH CENTURY of arched form, the impressed relief depicting Buddha within a shrine, flanked by figures of Moggolana and Sariputta, a group of small stupas above 15 x 15.5 x 4.5cm £300-400

299 299 A DVARAVATI TERRACOTTA BUST OF BUDDHA, THAILAND, 7TH/8TH CENTURY wearing robes gathered at his waist, with elongated earlobes and tightly curled hair, mounted 28.5cm high Provenance: From the collection of the late Dr. J. S. Gordon, London. Acquired from Manuel Castilho, London 1999. A folder of documentation including the original invoice, dated 15 March 1999, is sold with this lot. £800-1200

297 297 A KUSHAN MOTTLED PINK SANDSTONE FRAGMENTARY RAILING COLUMN, MATHURA REGION, NORTHERN INDIA, 2ND/3RD CENTURY the faceted front with two lotus medallions, a further half medallion at the top with a mythical lion, carved in relief, the back with plain facets, the sides with cigar-shaped sockets for railing slats, mounted 64cm high Property from a deceased estate, sold by order of the executors; acquired Sotheby’s London, 13 June 1988, lot 279.

For a related fragment in the Dayton Art Institute, Ohio, carved on the front with a salabhanjika figure, see S.Czuma, Kushan Sculpture: Images from Early India, Cleveland 1985, no.32, p.96. £700-900

300 300 A DVARAVATI TERRACOTTA HEAD OF BUDDHA, THAILAND, 7TH/8TH CENTURY with tightly curled hair the ears with elongated lobes, the face with full lips, mounted on stand 14.5cm high Provenance: Private Collection, London £500-800

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301 A MONUMENTAL CHAM STONE HEAD OF A DVARAPALA, DA NANG REGION, VIETNAM, 10TH CENTURY grey sandstone, with bulging eyes and raised eyebrows, his long hair arranged in plaits gathered in a bun, wearing tiara and pendent earrings, mounted 53cm high Provenance: Private Collection, London. Formerly collection of Yves Prunier, Paris until 1990s.

The Hindu kingdom of Champa, which occupied most of the Southern half of modern Vietnam, reached its greatest power and prosperity between 8th-10th centuries before their territory was gradually reduced from the North by the Vietnamese. Little remains of the great riches of this civilisation, a great deal of which was lost in relatively recent times. For a related head of a ‘ferocious dvarapala’ in the Da Nang Museum, see Emmanuel Guillon, Cham Art, London 2001, no.104, p.118f £4000-6000

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302

304

302 A BRONZE FIGURE OF BUDDHA, LAOS, 16TH/17TH CENTURY seated in sattvasana on a raised throne with pierce leafy decoration, his hands in bhumisparsa and dhyana mudra, with elongated slender face and tall flame usnisa, traces of gilt 37cm high £700-900

304 A BLACK-LACQUERED WOOD FIGURE OF BUDDHA, BURMA, 18TH CENTURY the crowned figure seated in padmasana on a raised pedestal, his hands in bhumisparsa and dhyana mudra, wearing crown and elaborate robes, the pedestal with stylised foliate motifs, the decoration in low relief 47cm high £400-600

303

305

303 AN AYUTHIA BRONZE FIGURE OF BUDDHA, THAILAND, 16TH/17TH CENTURY seated in sattvasana, his hands in dhyana mudra, with elongated earlobes 13.5cm high £300-400

305 A BRONZE FIGURE OF BUDDHA, BURMA, 17TH/18TH CENTURY seated in sattvasana on a raised pierced throne, his hands in bhumisparsa and dhyana mudra, with elongated earlobes and tall bud shaped usnisa, twin loops for cobra canopy (now missing) at the back 15cm high £400-600

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306 AN AYUTHIA BRONZE HEAD OF BUDDHA, THAILAND, 16TH/17TH CENTURY with tightly curled hair, elongated earlobes and mother-of-pearl inlaid eyes, traces of gilt and lacquer, mounted 25cm high Provenance: Private Collection, London. Acquired Auction Atrium, Kensington, 9 June 2011, lot 17837 £1200-1800

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307 307 A KHMER PALANQUIN HOOK, CAMBODIA, CIRCA 12TH CENTURY bronze and iron, the central socket formed of protruding tiered leafy forms, supported by twin figures of Garuda on either side, the hook element below in the form of a multi-headed cobra, the top finial with four busts of Vishnu(?) each with hands in namaskara mudra, mounted 25cm high Provenance: Private Collection, London. Acquired Auction Atrium, 9 June 2011, lot 17967. £800-1200

309 309 ‡ A QAJAR ILLUMINATED PANEL, PERSIA, 19TH CENTURY gouache with gold on paper, of long rectangular form, with painted arabesque and stylised flower and leaf designs, framed 60 x 9cm (main panel) Provenance: European private collection £600-800 ‡

308 A SOLID CAST BRONZE FIGURE OF BUDAI, LAOS OR THAILAND, PROBABLY CIRCA 18TH CENTURY seated in sattvasana with hands clasping his ample waist, with smiling expression and long drooping ears, mounted 9cm high

310 ‡ THE HOLY FAMILY, QAJAR, PERSIA, LATE 18TH CENTURY gouache with gold on paper, laid on an album page, Mary, the infant Jesus and Joseph depicted by the window of a European palace, the scene surrounded by five concentric intricately painted floral and geometric borders, stamped on the reverse with title Nizam al-Mulk and dated AH 1204 or 1206 (1790 or 1792 AD) 12 x 7cm (image); 21.5 x 13.5cm

Provenance: Private Collection, London

Provenance: European private collection

£300-500

£1000-1500 ‡

308

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310 75

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311

312

313

311 A MUGHAL CALLIGRAPHIC FOLIO, NORTHERN INDIA, 17TH CENTURY bearing a signature Fakir Abd ur Rashid gouache with gold on paper, framed 16.2 x 9cm main panel

313 ‡ A PAIR OF QAJAR CALLIGRAPHIC FOLIOS, PERSIA, BOTH DATED AH 1298/1880-1 AD black ink and gold on paper, containing dedicatory inscriptions to Nasiruddin Shah Qajar (r.1848-1896), framed 33 x 21cm each (main panel)

The signature may indicate that this is the work of the Persian scribe Abd al-Rashid al-Daylami who worked at the court of Shah Jahan

Provenance: Private European Collection

£500-700

314 A MINIATURE QUR’AN, OTTOMAN EMPIRE, 19TH CENTURY red ink on octagonal pages, copied by Muhammad bin Salim bin Muhammad al-Qadir(?) [...], three opening pages, red-leather binding and box with gold decoration, later leather outer box 3 x 3 x 1cm approximately

£1500-2000 ‡

312 ‡ A DOUBLE PAGE OF CALLIGRAPHY, QAJAR, DATED MONTH OF RAJAB (JANUARY) AH 1278/1861 AD ink on paper, laid on an album page, each inscribed ‘Shams al-[?]’

45.5 x 30cm (folio)

Provenance: Private European collection

Provenance: Private European collection

£400-600

£800-1200 ‡

314

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317

315 315 A LEATHER BOUND EDITION OF THE QUR’AN, KASHMIR, 19TH CENTURY ink with gouache and gold, with illuminated end pages, each folio with seventeen lines of script in single column, replaced (?) pages in a later hand at either end, embossed russet leather binding, 22 x 11.5cm (folios)

317 A DIWAN OF PERSIAN POETRY, SAFAVID, PERSIA, DATED AH 1013/1604 AD two columns of nastaliq script to the page, polychrome and gold illuminations mostly repainted in the Qajar period, eighty folios, embossed 19th century red leather binding 24.2 x 16cm (folios)

£300-500

Provenance: Private European collection £800-1200

316

318

316 A QUR’AN SECTION, CHINA, 17TH/18TH CENTURY five lines of sini script to the page, comprising Juz 12 of the Qur’an, opening and closing double pages with illuminations, sixty two pages, each leaf of triple layered thin paper 23 x 17.3cm

318 A QAJAR BOOK OF PRAYERS, PERSIA, 19TH CENTURY black ink with polychrome and gold illumination, significant words in blue, red and gold, a single column of naksh script to the page, embossed red leather binding 20 x 13cm (folios)

Provenance: Private European collection

Provenance: Private European collection

£600-800

£800-1200

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319 A LONG SCROLL OF PIOUS VERSES FROM THE QUR’AN, IRAN OR CENTRAL ASIA, CIRCA 1900 ink with gouache and gold, with elaborate illuminated heading, followed by eighteen lines of naksh script 206 x 28cm £1000-1500 320 FOUR INDIAN MANUSCRIPT FOLIOS, INDIA, CIRCA 18TH CENTURY ink and gouache on paper, comprising three folios from a treatise on animals (?), written in nastaliq script, separately inserted illustrations, and a Hindu folio written in devanagari script, the illustration depicting Krishna with the gopis 28 x 16cm approximately each (Islamic folios); 15 x 28.5cm (Hindu folio) £80-120 321 A CALLIGRAPHIC SCROLL, PERSIA, EARLY 20TH CENTURY ink on paper, comprising a sura heading, lined with old folios from a book of poetry 16.5 x 94cm £120-150

322 one of four 322 ‡ FOUR QAJAR PAINTINGS OF FEMALE DANCERS, PERSIA, 19TH CENTURY gouache on paper, each figure dancing on a rug, richly attired with colourful costume and jewellery 24 x 18.5cm and smaller Provenance: European private collection £1200-1500 ‡

319 78

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323

324

325

326

323 ‡ A QAJAR LACQUER PEN BOX, PERSIA, DATED AH 1260/1844 AD of cigar-shaped form, the inner tray sliding out from cover, the convex top and flared sides painted with princely figures and rural characters in a verdant landscape, the interior painted black, the inner and outer underside painted with scrolling foliage on bright red ground, inscribed Ya Shah Najaf 1260 [?]

4 x 23 x 4cm Provenance: European private collection Shah Najaf is one of the best known lacquer artists of the Qajar period. His name was Najaf Ali or Aga Najaf but he signed his work Ya Shah-i Najaf (‘O King of Najaf’). He often depicted Christian scenes in his painting.

325 ‡ A QAJAR LACQUER PEN BOX, PERSIA, 19TH CENTURY of cigar-shaped form, the inner tray sliding out from cover, the convex top and flared sides painted with foliate medallions each containing a portrait of a prince, princess or elder amidst landscape with hunting scenes, the interior painted black, the inner and outer underside painted with scrolling foliage on bright red ground, 4.5 x 23.5 x 4cm Provenance: European private collection £800-1200 ‡

324 A QAJAR LACQUER PEN BOX, PERSIA, 19TH CENTURY of cigar shaped form, painted with a design of roses in black on ochre ground, with removable sliding tray 22cm long

326 ‡ A QAJAR LACQUER BOX OF JEWELLER’S SCALES, PERSIA, 19TH CENTURY of rectangular form, with hinged lid and catch, the interior with shaped compartments containing scales and weights, richly painted inside and out with flowers and birds, the lid with border of calligraphic cartouches, 5 x 25 x 15cm

£400-600

Provenance: Private European collection

£1000-1500 ‡

£1500-2000 ‡

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327

329 one of four

327 ‡ A QAJAR LACQUER MIRROR CASE, PERSIA, 19TH CENTURY of rectangular form, with hinged door opening to reveal glass (now missing), painted with three scenes depicting a princess, the two outer panels showing her with a baby, attendants and an elder, with brass mounts, the interior inscribed No.84 Zeman 21 x 14.5 x 1.5cm

329 ‡ FOUR FOLIOS FROM A BOOK OF PERSIAN POETRY PROBABLY

BY SA’DI, QAJAR, PERSIA, 19TH CENTURY gouache with ink on paper, mounted, each with two columns of shikasteh script in rectangular illuminated panel, one in the form of a tent, another a domed pavilion, 16.5 x 10cm approximately each (folio)

£800-1200 ‡

Provenance: Private European collection £1000-1500 ‡

328

330 one of four

328 ‡ A QAJAR LACQUER MIRROR CASE, PERSIA, 19TH CENTURY of rectangular form, with removable panel covering the glass, the panel and reverse painted with three scenes depicting a princess in various settings, 25 x17.5 x 1cm

330 ‡ FOUR QAJAR PAINTINGS OF FEMALE MUSICIANS, PERSIA, 19TH CENTURY gouache on paper, each woman seated on a rug, playing a different instrument 22 x 18cm approximately each

Provenance: Private European collection

Provenance: European private collection

£600-800 ‡

£1200-1500 ‡

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331

333 one of four

331 ‡ A FLOWER VASE, QAJAR, PERSIA, 19TH CENTURY gouache with gold on paper, laid on an album page, the fluted vessel filled with a profusion of flowers with birds and butterflies, indistinct stamp on the reverse includes the name Jafar Hasan Quli (?)

26 x 17cm (image)

333 ‡ PERSIAN KINGS AND PRINCES, QAJAR, PERSIA, 19TH CENTURY four gouache portraits on paper, laid on card, one depicting Aga Muhammad Khan Qajar (r.1789-1797) seated on a rug, one other depicted seated on a rug, the two others standing 26 x 14.5cm

Provenance: European private collection

£2000-3000 ‡

Provenance: European private collection

£700-900 ‡

332 part

334 of of three

Provenance: European private collection

334 ‡ THREE QAJAR PAINTINGS OF FLOWERING TREES, PERSIA, DATED AH 1252, 1254, 1277/1836, 1838, 1860 AD watercolour on paper, laid on album pages, two with birds and butterflies around the branches, each inscribed ‘Lutfali’ 16 x 10.5 and smaller (image)

£1000-1500 ‡

Provenance: European private collection

332 ‡ A PAIR OF WATERCOLOURS DEPICTING THE ROSE AND NIGHTINGALE (GUL-O-BULBUL), QAJAR, PERSIA, 19TH CENTURY gouache with ink on paper, gilt edged border, framed 16.5 x 9cm approximately each (image)

£1800-2200 ‡

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335

336

337

335 ‡ TWO PORTRAITS OF MAIDENS, LATE ZAND PERIOD, PERSIA, ONE DATED AH 1191/1777/8 AD ink and wash on paper, the dated painting inscribed “Ya Sadeq alWa’d” (a reference to the late Zandi/early Qajar artist Muhammad Sadeq), laid on later inscribed album pages with gold and polychrome floral painted borders, mounted and framed 17 x 11.5; 14.5 x 8.5cm (image)

336 ‡ A LION ATTACKING A STAG, QAJAR, PERSIA, FIRST HALF 19TH CENTURY ink drawing on paper, laid on an album page, mounted 15.5 x 23.5cm (image); 22 x 30cm folio

Provenance: Private European collection; Christie’s London, lot 101, 26.4.1994.

337 ‡ A PRINCELY COUPLE WITH ATTENDANT, QAJAR, PERSIA, DATED AH 1254/1838 AD inscribed Aliquli, watercolour on paper, framed 16.5 x 21cm

The inscription on the album pages state that they were assembled for the governor of Khorasan and Sistan and custodian of the Sacred Shrine at Mashhad without naming him, and that the borders were executed by Ahmad Mozahib-Bashi in 1311 AH/1893-4 AD. £800-1200 ‡

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Provenance: European private collection £700-900 ‡

Provenance: Private European collection £800-1200 ‡

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338 ‡ A BATTLE SCENE FROM FIRDAUSI’S SHAHNAMA, SAFAVID, PERSIA, CIRCA 16TH CENTURY gouache with ink and gold on paper, laid on an album page, the nastaliq script arranged in five panels around the edge, the border painted in gold with birds, plants and clouds 15.5 x 10cm approximately (image); 38 x 27cm folio Provenance: European private collection £1800-2200 ‡

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339 one of two

341 one of two

339 ‡ TWO DRAWINGS OF SEATED MALE FIGURES, QAJAR, PERSIA, 19TH CENTURY ink and gold with touches of colour on paper, laid on album pages, depicting an older man and a youth respectively, each seated amongst flowers, scudding clouds above, the inner and outer borders profusely painted in gold with plants and wild animals 9 x 5.5cm approximately each (main image); 26.5 x 17cm (folio)

341 TWO LEAVES OF INDIAN DRAWINGS, RAJASTHAN, EARLY 19TH CENTURY ink on paper, one depicting two drunken girls under a tree, Saraswati on her peacock on the reverse surrounded by studies of floral bouquets, the other laid on card, with studies of horses, soldiers and a camel and rider 21 x 15cm; 22 x 32cm £200-300

Provenance: European private collection £800-1200 ‡

340

342

340 A SCENE FROM THE LIFE OF KRISHNA, PROBABLY MEWAR, RAJASTHAN, FIRST HALF 19TH CENTURY ink sketch on paper with pigment and gold, depicting Krishna as an infant and as a young man with Radha, in a large palace courtyard with a herd of cattle, a forest beyond the walls 25 x 32.5cm

342 TIGERS HUNTING DEER IN A FOREST, BUNDI OR KOTAH, INDIA, 19TH CENTURY OR LATER black ink with russet pigment on three attached sections of paper, framed 46 x 66.5cm £250-350

£400-600

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343

345

343 A PORTRAIT OF A RULER, JODHPUR, RAJASTHAN, INDIA, EARLY 19TH CENTURY gouache with silver and gold on paper, the male figure wearing yellow coat with saffron pathka and turban, carrying two swords, a shield and dagger, 29.5 x 18.5cm

345 PORTRAIT OF A RULER ON HORSEBACK, NAGAUR OR JODHPUR, RAJASTHAN, CIRCA 1800 gouache with gold on paper, the young man depicted on a large rearing horse, accompanied by four male attendants in a stylised landscape with trees in the background, plain red border 28 x 19cm

£800-1200

£800-1200

344

346

344 ‡ AN INDIAN WOMAN, QAJAR, PERSIA, 19TH CENTURY gouache with gold on paper, laid on an album page, the woman seated on a charpoy in a landscape, with three concentric floral borders, the outer on salmon pink ground, depicting hyacinths, poppies and narcissi 29.5 x 19cm (folio)

346 A PORTRAIT OF A RULER, PROBABLY KOTAH, RAJASTHAN, INDIA, FIRST HALF 19TH CENTURY gouache with gold on paper, the princely figure seated on a rug with cushions on a terrace, holding a flower 19 x 12cm £700-900

Provenance: European private collection £700-1000 ‡

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347

348

350

349

347 THREE MINIATURE PAINTINGS, PROBABLY FROM A RAGAMALA SERIES, RAJASTHAN, 19TH CENTURY gouache with gold and silver on paper, depicting a prince leading a maiden to his bedchamber, a maiden dancing outside her bedchamber, and Brahma with a female devotee, each with a panel of devanagari script on ochre ground at the top, framed 21.5 x 15cm approximately each

349 A GATHERING WITH KRISHNA, RADHA AND BALARAMA, PROBABLY BIKANER, INDIA, 18TH CENTURY gouache with gold on paper, the eleven figures depicted seated and engaged in conversation, ink inscription in nastaliq on the reverse 18.5 x 12cm (folio) £180-220

Property from a deceased estate, sold by order of the executors. £400-600 348 MYTHICAL BATTLE SCENES, PROBABLY BIKANER, INDIA, 18TH CENTURY gouache with gold on paper, the double folio showing scenes on both sides, probably from the Bhagavad Gita 18 x 23cm (folio)

350 TWO SCENES WITH KRISHNA, PROBABLY BIKANER, INDIA, 18TH CENTURY gouache with gold on paper, the double folio illustrated on both sides with Krishna and his consort outside a palace, surrounded by their followers, inscription on one side in Islamic script 17.5 x 22cm £350-450

£250-350

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351

353 one of four

351 SIVA SEATED ON A TERRACE, RAJASTHAN, PROBABLY JAIPUR, 19TH CENTURY gouache with gold on card, set into separate border mount, the youthful deity depicted seated on a carpet wearing a floral turban, his trident by his side, a few details enhanced with gesso(?) relief, 24 x 15cm (image)

353 INDIAN CHARACTERS, COMPANY SCHOOL, PATNA, MID-19TH CENTURY four watercolours with gold on blue-tinted English paper, comprising three women: a fruit-seller, a flour seller(?) and a woman wearing shawl, and a man making a necklace(?), each mounted 18 x 11.5cm approximately each

£700-900

£300-500

352 352 THE SIKH RULER RANJIT SINGH CONVERSING WITH A NOBLEMAN, PUNJAB, MID-19TH CENTURY ink on paper with touches of watercolour, the subject seated on his characteristic throne with footstool, wearing jewellery and turban, mounted 26.5 x 24cm (leaf) £600-800

354 one of eight 354 EIGHT COMPANY SCHOOL PAINTINGS OF INDIAN CHARACTERS, PROBABLY SOUTH INDIA, FIRST HALF 19TH CENTURY watercolour on English paper, each labelled in English, comprising ‘a Pewter Turner’, ‘a Maker of Earthen Potts [sic]’, ‘a Dooly Bearers [sic]’, ‘a Hobleboble or Pipe Maker’, ‘Making Glass Rings for the Wrists’, ‘a Bannian or Seller of Drye Goods’, ‘a Man with Cobra [...] Snakes making the Dance’, and ‘a Letter of the Paun Leaf Chewed by Every Native’, each mounted 21 x 18cm approximately each £400-600

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355 one of two

358 part

355 TWO COMPANY SCHOOL PAINTINGS OF INDIAN TRADES, PROBABLY PATNA, 19TH CENTURY watercolour on English paper, depicting a huqqa seller and a butcher, mounted 18 x 11cm approximately each £250-350

358 INDIAN CHARACTERS, COMPANY SCHOOL, PATNA, 19TH CENTURY two watercolours on English paper, one laid on an additional sheet of brown paper, depicting a fruit picker and a weaver respectively, mounted 16.5 x 12.5cm; 14.3 x 9.5cm (images) £120-150

359

356 356 A MUSLIM AT PRAYER, COMPANY SCHOOL, PROBABLY LUCKNOW, FIRST HALF 19TH CENTURY watercolour on watermarked Whatman paper, mounted 13.2 x 12.5cm £100-150 357 FOUR MISCELLANEOUS INDIAN PAINTINGS, 19TH-20TH CENTURIES gouache on paper, comprising Krishna as herdsman, playing the flute; an oval portrait of King Edward VII and two circular paintings, one depicting the Jagannath trio, the other a jina on lotus medallion 22.5 x 25cm and smaller (4)

359 TWO OFFICIAL’S SEALS, MUGHAL INDIA, DATED AH 1240(?)/A.D. 1824-5; AH 1177/A.D. 1763-4 copper and brass, each of conical form, the earlier with faceted sides, loop attachment at the top, the stamp plate reverse inscribed in nastaliq script 4cm, 4.5cm high The inscriptions read: ‘mohr-e niyabat-e karim al-din khadem-e shar’ qadi al-mu’tasim bi-fadl allah al-matin 1177 sana 4’; “The seal of deputyship of Karim al-Din, servant of the law, the judge who holds steadfast onto the strong favour of God, 1177 (regnal) year 4”.The other reads ‘mohr-e niyabat-e salah al-din khadim alshar’ qadi’ al-mu’tasim bi-habl allah al-matin 1240 (?)’; “The seal of deputyship of Salah al-Din, servant of the law, the judge who holds steadfast onto the strong rope of God 1240 (?)”. £250-350

Provenance: Private Collection, London £80-120

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360

361

362

363 360 ‡ A QAJAR IRON PENBOX, PERSIA, 19TH CENTURY of long oval form, the gold damascened decoration, with drinking, foliate and hunting scenes, silver damascened foliate decoration underneath, with removable sliding tray 3 x 21 x 3cm Provenance: European private collection

362 ‡ A QAJAR ENGRAVED BRASS TABLE TOP, PERSIA, 19TH CENTURY of circular form, the radiating design comprising a series of cartouches containing labelled portraits of Persian kings and floral motifs amidst scrolling floral arabesques, pelmet rim underneath with engraved and pierced foliate decoration 8cm high; 52cm diam.

£700-1000 ‡

Provenance: Private European collection £600-900 ‡

361 ‡ A LARGE SAFAVID TINNED COPPER BOWL, PERSIA, CIRCA 17TH CENTURY of shallow form, with raised concave neck, the body engraved with medallions containing animals and arabesque motifs, a band of pious shi’ite inscriptions in nastaliq on the neck with scrolling foliate borders above and below 15cm high; 35cm max diam.

363 A WHITE METAL BOWL, MALAYSIA, 19TH CENTURY of shallow form, decorated with repousse registers of geometrical, foliate and lozenge designs, a stylised floral roundel at the centre, on three hemispherical feet 8cm high; 24cm diam.

Provenance: Private European collection

There are several related vessels in the Victoria and Albert Museum, London. For example IS.259&A-1950

£800-1200 ‡

£120-150

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364

364 ‡ A SILVER-GILT CUP, OTTOMAN EMPIRE, 17TH/18TH CENTURY with hemispherical bowl on flared foot, a line of Georgian script engraved on the outer rim, a register of floral cypress motifs below, the interior with raised floral boss 6.5cm high; 7.8cm diam.

Provenance: European private collection. Acquired Sotheby’s, London, 30 April 1998, lot 21.

The inscription in Georgian has been translated: “From brother Shemis to lady/sister Astandris”.The form of this vessel is based on Yuan prototypes; for two ceramic coffee cups from Kütahya in the Sadberk Hanim Museum, Istanbul, see Hülya Bilgi and Idil Zanbak Vermeersch, Kütahya: Sadberk Hanim Museum Kütahya Tiles and Ceramics Collection, Istanbul 2018, nos.57 & 58, p.78. £800-1200 ‡

365 A COLLECTION OF METALWORK, INDIA AND TIBET, 17TH CENTURY AND LATER comprising two Deccani bronze tripod stands, probably for huqqas, a Sinhalese brass box with silver inlay, a small brass oil lamp, a boteh shaped huqqa, a Tibetan copper gilt ritual vase, an Islamic brass pestle and a brass puja pot, 9 x 18 x 7.5cm (box) and smaller (9) Provenance: Private Collection, London £80-120 366 A KOFTGARI CIGARETTE BOX, PUNJAB, INDIA (NOW PAKISTAN), CIRCA 1900 iron with silver and gold damascened foliate and arabesque decoration, with hinged lid and wood lining 5.5 x 17.5 x 10cm £150-250

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367

368 367 A TINNED COPPER BOWL, DECCAN OR PERSIA, 17TH CENTURY on flared footring, with everted rim, engraved with geometrical and arabesque motifs under a line of nastaliq 9cm high; 15.4cm diameter £250-350 368 A SAFAVID TINNED COPPER BOWL, PERSIA, 17TH CENTURY engraved with two forms of script, the central medallion with alternating cypress and fish motifs 6.5cm high; 18.4cm diameter £600-800 369 A KHORASSAN BRONZE EWER, EASTERN PERSIA, 13TH CENTURY of pear-shaped form, on splay foot, with finial in the form of an oil lamp, with hinged lid, the sides with engraved decoration, the underside with recessed rosette 19.5cm high

370

369

370 A SMALL COPPER BOWL, DECCAN, SOUTHERN INDIA, CIRCA 17TH CENTURY of shallow form, a register of nastaliq script around the outer rim, traces of tinning 5cm high; 16cm max diameter This lot is sold to benefit the Neem Tree Trust (UK Registered Charity No. 1099077) £300-400 371 A SINHALESE BRONZE LIMEBOX, SRI LANKA, 19TH CENTURY of circular form, with hinged opening, decorated with elaborate scrolling decoration, the spoon attached with a chain 16.5cm max diameter of box There are several related examples in the Victoria and Albert Museum (eg. IS.234-1897) £150-250

Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950.

For a similar ewer, sold at Bonhams London, see October 6, 2015, lot 40 £600-800

371 91

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372 A JADE TAWIZ, PERSIA OR INDIA, 19TH OR EARLY 20TH CENTURY of oval form, engraved with two lines of shi’ite pious invocations in nastaliq script within a floral cartouche 4.5 x 6.7 x 0.4cm £200-300

372

374 374 ‡ A QAJAR ENAMELLED BRASS QALIAN BOTTLE, PERSIA, 19TH CENTURY of drop-shaped form, the domed upper portion with polychrome and gilt repeated rose motifs alternating with oval portrait medallions, 15.5cm high

373

Provenance: Private European collection £700-1000 ‡

373 ‡ A KOFTGARI INKWELL, PUNJAB, INDIA, LATE 19TH CENTURY iron with gold inlaid stylised foliate decoration, standing on twin horn-shaped legs with hinged prop, with globe shaped rotating reservoir, ratchet pen rest and candle holder on top, 18.5cm high

375 A PAIR OF BRONZE ANKLETS, CENTRAL INDIA, CIRCA 19TH CENTURY each in two hinged sections, with lozenge and beadwork relief decoration 16, 15cm diam. £200-300

Provenance: European private collection £800-1200 ‡

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376 three of twelve 376 A COLLECTION OF TWELVE JAVANESE SHADOW PUPPETS (WAYANG KLITIK), INDONESIA, 19TH CENTURY polychrome-painted wood with leather attachments, each in the form of a figure, comprising a lion-headed deity, a European figure wearing a coat, and ten others, each with grotesque faces, 49cm long and smaller (12) £800-1200 377 A CARVED COCONUT SHELL, JAVA, PROBABLY LATE 19TH CENTURY the sides with a register of mythical figures in low relief, the underneath with sunflower medallion 13cm high approximately £100-150 378 A CARRYING BASKET FOR A FIGHTING COCK, BALI, INDONESIA, 20TH CENTURY woven palm-leaf, with small handle at the top and opening along one side 52cm high £120-150

378 93

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379

381

379 FOUR SMALL BETEL BOXES, BURMA, 19TH, 20TH CENTURIES lacquered split bamboo with engraved decoration, two with linear chainlink design on black and green ground, another with two inner trays and geometrical design on the exterior, the other decorated with mythical figures and animals 6cm high; 5.3cm diam. and smaller

381 A PAINTED WOOD FIGURE OF A MONKEY, POSSIBLY HANUMAN, INDIA, 19TH CENTURY seated on a rectangular base, holding a fruit in his right hand 17cm including base £180-220

£100-150

380

382

380 ~ AN EBONY MODEL OF A KANDYAN ROYAL COUPLE, SRI LANKA, EARLY 20TH CENTURY both wearing traditional headdress, the male with pot belly and large hat, the figures standing on rectangular base inscribed ‘D.D.Wimaralatna’ underneath, 20cm high

382 A GILDED AND LACQUERED WOOD FIGURE OF GARUDA, THAILAND, 19TH CENTURY probably a leg from a piece of furniture, with beak, wings and claw feet, his arms raised as support, the eyes and mouth with traces of red pigment 23cm high

£200-300

£180-220

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384

383

385

386 383 TWO SMALL BETEL BOXES, BURMA, 20TH CENTURY of cylindrical form, each with slip over cover and convex top, lacquered split bamboo, the red ground painted black and engraved, the larger with figural and vegetal decoration, the smaller with abstract linear design and two removable trays 15cm high; 16.5cm diam. and smaller £250-350 384 A BETEL BOX, BURMA, 20TH CENTURY lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with black and green engraved decoration and inscriptions in burmese, the interior with two removable trays 14cm high; 16.cm diam. £180-220 385 A BETEL BOX, BURMA, 20TH CENTURY lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with yellow painted lattice design, the interior with two removable trays, inscription in burmese on underside 11.5cm high; 12.7cm diam. £120-150

387 386 A COSMETIC BOX (BI-IT), BURMA, MID-19TH CENTURY of cylindrical form, lacquered split bamboo, with slip over cover, the red ground polychrome-painted and engraved with dense stylised figural and vegetal decoration 24cm high; 27cm diam.

For a related example of a bi-it in the Victoria and Albert Museum, London, see inv. no. IM.199-1927 £250-350 387 LARGE SHAN BETEL BOX, BURMA, FIRST HALF 19TH CENTURY lacquered split bamboo, of cylindrical form, with engraved figural and linear decoration, highlighted in silver and gold, in four sections 24cm high; 26cm diam. £250-350 388 ~ A SADELI-WORK BOX, BOMBAY, INDIA, 19TH CENTURY sandalwood and other woods, with ivory veneered and micromosaic overlaid decoration, of sarcophagus form, the interior with mirror, removable tray with lidded compartments and velvet lining 11 x 32 x 23cm £120-150

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390

389

391

389 A LARGE BOWL, BURMA, CIRCA 1900 lacquered split bamboo, the exterior painted and engraved with profuse polychrome stylised foliate and linear designs, the interior in plain red 15.5cm high; 28cm diam £100-150

392 A JAPANESE MASK AND THREE JAVANESE KRIS HOLDERS, 19TH/20TH CENTURY the former a noh or kyogen mask lacquered composition, the latter three of polychrome-painted carved wood, in the form of mythical beasts, 28.5cm (mask); 63cm and smaller (kris holders) £100-150

390 A RICE WINNOWING BOWL, BURMA, 20TH CENTURY red lacquered woven bamboo of wide circular form with raised edge and recessed central roundel, the underneath with eight small supports set with glazed ceramic fragments 61cm diameter; 7cm high £120-150

393 A QAJAR STAR TILE, PROBABLY TEHRAN, LATE 19TH CENTURY underglaze-painted fritware, with eight points and bevelled border edges with scrolling leafy tendril design, the main panel with a picture of a young prince running from a palace 27 x 27cm approximately £120-150

391 A LACQUER BOWL, BURMA, 20TH CENTURY lacquered split bamboo, with black fluted sides and red interior, standing on rim foot 16.5cm high; 21cm diam. £120-150

394 A QAJAR RELIEF TILE DEPICTING A YOUNG PRINCE ON HORSEBACK, PROBABLY TEHRAN, PERSIA, LATE 19TH CENTURY underglaze painted fritware, the subject depicted in verdant landscape, a palace and hills in the background, scrolling floral border above, framed 26 x 19cm £150-200

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396 one of two

397

395

398 one of three

395 A KASHAN LUSTRE JUG, PERSIA, 13TH/14TH CENTURY glazed fritware, the body of flattened spherical form, on rim foot, sides decorated with star shaped figural and arabesque panels in relief, the cylindrical neck similarly decorated, the interior with a line of kufic script 23cm high Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950.

A closely-related example was recently offered at Sotheby’s London, 20 October 2016, lot 226 £2000-3000 396 TWO BAMIYAN BOWLS, EASTERN PERSIA OR AFGHANISTAN, 12TH CENTURY turquoise glaze fritware, one with straight sides and sgraffito interior, the other with underglaze painted interior 8cm high approximately each; 17.5; 18cm diam.

(2) Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950. £300-400 397 A KASHAN LUSTRE BOWL, PERSIA, CIRCA 13TH CENTURY fritware, of shallow concave form on small rim foot, painted with a seated figure amongst scrolling arabesques, 4.5cm high; 19.5cm diam.

Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950. £400-600

399

398 A GLAZED POTTERY BOWL, ILKHANID PERIOD, PERSIA, CIRCA 1300 fritware, underglaze painted in black and cobalt blue with radiating lotus design on the exterior, the interior with radiating panels filled with various abstract designs around a central medallion, standing on rim foot, 9cm high; 20cm diameter; together with two Nishapur bowls, Persia, 10th/11th century, slippainted earthenware, each on flat turned foot, one with splash painted and sgraffito stylised foliate design, the other pseudokufic decoration, 8cm high; 17.5cm diam. and smaller (3) Provenance: Private Collection, London. Acquired Andre Cohen, Paris, 1950.

See a related bowl in the Ashmolean Museum, Oxford, No.EA1978.1638 £600-800 399 A KASHAN TURQUOISE GLAZED ROSEWATER SPRINKLER, PERSIA, 13TH/14TH CENTURY glazed fritware, the fluted sides with arcading on the shoulder, the top with pierced sprinkler finial 23.2cm high Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950. £1000-1500 400 A RAQQA LUSTRE JUG, SYRIA, 12TH/13TH CENTURY of pear-shaped form, on small splayed foot, the sides decorated with a row of calligraphic rounds, two bands of calligraphy above, the upper underglaze painted in cobalt blue 15.3cm high Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950. £400-600

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401

402

403

Provenance: Private European collection

404 ‡ A KIRMAN POTTERY PILGRIM FLASK, SAFAVID, PERSIA, 17TH CENTURY moulded underglaze painted fritware, a radiating floral medallion on either side painted in pink and green, surrounded by scrolling blue and white floral decoration in Chinese style, neck with later brass insert 22cm high

£1500-2000 ‡

Provenance: European private collection

401 ‡ A SAFAVID LUSTRE BOWL, PERSIA, 17TH CENTURY glazed fritware, the interior with cypress and lotus tondo, surrounded by a radiating design of lotuses within arched niches, the exterior painted on lavender ground with repeated quatrefoil medallions interspersed with lotuses 7.5cm high; 17.5cm diam.

£2000-2500 ‡ 402 ‡ A SAFAVID LAVENDER GROUND LUSTRE BOTTLE, PERSIA, 17TH CENTURY glazed fritwear, of bulbous form, with rim foot and flared neck, the body decorated with registers of scrolling arabesques and interlocking flowering plants 12.5cm high Provenance: European private collection

405 ‡ TWO DAMASCUS TILES, OTTOMAN SYRIA, 18TH CENTURY underglaze painted fritware, depicting a youth holding a leafy sprig and scent bottle(?) and a maiden holding a bottle and winecup, each within a lobed medallion on striped ground, stylised clouds in each corner 22cm square

£600-800 ‡

Provenance: European private collection

403 ‡ A SMALL SAFAVID LUSTRE BOTTLE, PERSIA, 17TH CENTURY glazed fritware, of bulbous form, with rim foot and flared neck, the sides with leaf and flower decoration, 10cm high Provenance: European private collection

These unusual tiles are from a small group, examples of which have occasionally appeared on the art market over the last few decades. None remain in situ. The style of the figures closely resembles 17th century ‘Kubachi’ ceramics from Persia, although the colours, technique and composition suggest 18th century Syrian origin. There are three tiles of this type in the Victoria and Albert Museum, 386 1880, 531 1900 & 530 1900.

£600-800 ‡

£800-1200 ‡

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404

405

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406 406 ‡ A SMALL KASHAN LUSTRE TILE, PERSIA, CIRCA 13TH CENTURY of hexagonal form, with central star motif on scrolling foliate ground, divided into six lozenge shapes, each containing sceptre head design, 7.2cm max. diam.

Provenance: European private collection

408 ‡ A LARGE QAJAR RELIEF TILE, PROBABLY TEHERAN, PERSIA, SECOND HALF 19TH CENTURY polychrome underglaze painted fritware, depicting a prince on horseback holding a falcon, palaces and mountains in the background, floral border with birds above, framed 34 x 27cm

£800-1200 ‡

Provenance: European private collection £2500-3500 ‡

407 ‡ A SAFAVID BLUE AND WHITE DISH, PERSIA, 17TH CENTURY underglaze-painted fritware, of elongated octagonal form, the centre decorated with a pair of deer amidst scrolling flowers, the border with repeated stylised leaf motifs, further decoration and faux Chinese characters on the underside 3 x 21 x 15.5cm

409 ‡ A QAJAR BLUE AND WHITE POTTERY QALIAN BOTTLE, PERSIA, 19TH CENTURY of bulbous form, with ridged and flared neck, painted with exuberant floral bouquets in two shades of blue outlined in grey 25cm high

Provenance: European private collection

Provenance: Private European collection

£700-900 ‡

£600-800 ‡ 410 ‡ AN AUBERGINE GLASS EWER, PERSIA, 19TH CENTURY the body with blown relief lozenge design, with rippled handle and collar, slender scrolling spout and flared neck 19cm high Provenance: Private European collection There are a number of similar vessels in the Victoria and Albert Museum, London, for example 105-1877 £700-900 ‡

407

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408

409

410 101

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411 detail 411 ‡ A WOVEN WOOL PANEL, PERSIA OR KASHMIR, FIRST HALF 19TH CENTURY of square form, the polychrome stripe design with meandering and repeated flower and leaf motifs 148 x 134cm Provenance: European private collection £700-1000 ‡ 412 A BATIK LONG-CLOTH (KAIN PANJANG), PEKALONGAN, CENTRAL JAVA, FIRST HALF 20TH CENTURY dyed cotton, of long rectangular form, the design comprising a row of floral bouquets on linear patterned ground, divided diagonally across the middle into two sections oriented opposite ways up, indistinct maker’s name printed twice in one corner 244 x 102cm Batiks of this type are associated with the Eurasian ‘Indische’ community in colonial central Java. For a similar design on a kain panjang by Eliza van Zuylen, see Inger McCabe Elliott, Batik: Fabled Cloth of Java, New York 1984, p.110f.

413 ‡ A WOVEN WOOL SHAWL, KASHMIR FOR THE PERSIAN MARKET, EARLY 19TH CENTURY of long rectangular form, the design composed of repeated meandering columns of vines with stylised tulip flowers formed of paired botehs, amidst dense floral decoration on white ground, an embroidered label in one corner, the plain striped end borders with tasselled ends, one end with further red embroidered inscription probably including the date AH 1232/1817 AD 300 x 121cm Provenance: European private collection £1000-1500 ‡ 414 AN UZBEK BROCADE COAT (CHAPAN), CENTRAL ASIA, LATE 19TH/EARLY 20TH CENTURY the gilt thread woven leafy palmette motifs on salmon pink ground, lined with bright red, vermilion and saffron ikat lining 120cm long £400-600

£150-250

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413 detail

414 103

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415 A WOVEN SILK SHAWL, LAOS, 19TH CENTURY of long rectangular form, the plain crimson ground with off-white and polychrome woven multiple registers of geometrical semi-abstract motifs, tasselled ends, modern blue cloth mount 216 x 41cm (excluding mount) £350-450

416 detail 416 A PRINTED AND RESIST DYED COTTON HANGING, COROMANDEL COAST FOR THE INDONESIAN MARKET, 19TH CENTURY of rectangular form, with central arched niche containing a flowering tree of life, flanked by four smaller niches on either side, registers of mounted elephants and further floral niches at the bottom, the top with a band of star shaped rosettes, the whole surrounded by a narrow scrolling floral border 210 x 120cm £350-450 417 ‡ AN EARLY QAJAR VELVET PANEL, PERSIA, FIRST HALF 19TH CENTURY of rectangular form, profusely embroidered with gilt metal thread on crimson ground, the central arabesque medallion amidst flower and bird motifs, surrounded by a border of lotuses and scrolling leaf designs, the outer edge with repeated ‘sceptre-head’ motifs, framed 69 x 50cm Provenance: European private collection £1000-1500 ‡

415

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417 105

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418

420 detail

418 A SMALL PANEL, PROBABLY FROM A SKIRT HEM, CRETE, 18TH CENTURY plain cotton, embroidered with red, green and blue silk, the decoration comprising three stylised flowering plants on a scrolling foliate border, with birds flying above, framed 23 x 35cm

420 A GOLD PAINTED BORDER PANEL, PROBABLY DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY from a pichhavai, of rectangular form, the gold decoration on red cotton ground forming a scrolling carnation and acanthus frieze, mounted on stretchers 14 x 87cm (excluding mount)

Property from a deceased estate, sold by order of the executors; acquired from Millner Manolatos, London, circa 2005.

£200-300

Provenance: Private Collection, London

For related longer Cretan skirt borders in the Textile Museum, Washington, D.C., inv. 81.51 & 52, see S.B.Krody, Embroidery of the Greek Islands and Epirus Region, London, 2006 £200-300

419

421 detail

419 A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY woven cotton, the buff ground woven in russet and indigo in the form of registers of stylished ship motifs divided by stylised flower borders 64 x 61cm approximately

421 ‡ A WOVEN SILK BROCADE PANEL, LATE SAFAVID OR ZAND, PERSIA, 18TH CENTURY with a reticulated design of orange, green and gilt thread bouquets on olive ground, linear tasselled borders at either end, old dealer’s(?) label attached in one corner 232 x 63cm

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.

Provenance: European private collection

£250-350

106

For a closely related panel of dress fabric, on orange ground, in the Victoria and Albert Museum, London, see inv. no. 16-1890 £600-800 ‡

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422 detail

422 AN UZBEK SUSANI, CENTRAL ASIA, CIRCA 1900 of rectangular form, the plain field with polychrome embroidered foliate borders on either side, the ends with similarly decorated mihrab arches, later printed silk ‘ikat’ lining 187 x 109cm £400-600

423 A SILK DOUBLE IKAT SARI (PATOLA), GUJARAT, INDIA, 19TH CENTURY of long rectangular form, the field with trellis design of stylised rosettes, triple border of flower and heart motifs at either end, the whole surrounded by plain striped border, tasselled ends, 200 x 80cm approximately £200-300

423 detail 107

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European Works of Art Lots 424 to 749

Thursday 7th June 2018 at 11am

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European Works of Art Lots 424 to 749

Thursday 7th June 2018 at 11am 424 A SITZENDORFF EQUESTRIAN FIGURE OF ‘NAPOLEON CROSSING THE ALPS’, 20TH CENTURY after the painting by Jacques-Louis David, the General gesturing the way forward as his cape blows dramatically in the same direction and his famous war mount, Marengo, rears beneath him, the naturalistic rocky base on a gilt bordered white rectangular plinth, blue crowned S mark 40.5cm high Napoleon Crossing the Alps (also known as Napoleon at the Saint Bernard Pass or Bonaparte Crossing the Alps) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon painted by Jacques-Louis David (1748-1825) between 1801 and 1805. Initially commissioned by the King of Spain, the ‘heroic’ composition celebrates the journey that Bonaparte and his army made across the Alps through the Great St. Bernard Pass in May 1800. £300-500 425 A MEISSEN FIGURE OF A SHEPHERDESS, LATE 18TH CENTURY after a model by Johann Joachim Kändler (1706-1775), modelled as a young woman standing with an apron full of flowers, holding a flower posy in her left hand and a recorder in her right, a recumbent sheep looking up from her feet, indistinct blue painted mark to rear, incised 2789 to base 14.5cm high £250-350 426 A MEISSEN FIGURE OF A BOY WITH FLOWERS, LATE 18TH CENTURY / EARLY 19TH CENTURY after a model by Johann Joachim Kändler (1706-1775), modelled standing against a tree stump holding a hat full of flowers in his left hand and a flower posy in his right, incised A.19 to rear, 13.5cm high; together with a Meissen figure of a boy eating grapes, circa 1900, modelled seated, underglaze blue crossed swords, incised and impressed numerals, 12cm high, hand missing (2)

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£200-300

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427 A BERLIN FIGURE OF A BACCHANTE FEEDING A GOAT, CIRCA 1775 modelled by Wilhelm Christian Meyer (1726-1786), the scantily clad nymph seated on a tree stump, a vine draped across her lap from which she proffers the goat a bunch of grapes, mound base with gilt detailed Rococo scrolls, incised C.M., underglaze blue sceptre mark 20cm high This maenad with the goat emblematic of lust is one from a series of five bacchic followers produced by K.P.M. Three other figures from the series, all in the Kunstgewerbemuseum Berlin, are illustrated by Erich Köllmann and Margarete Jarchow, Berliner Porzellan, Munich, 1987, Vol. II, Figs.177, 178 & 180. For other examples see Georg Lenz, Berliner Porzellan, Die Manufaktur Friedrichs Des Grossen 1763-1786, Berlin, 1913, Vol.II, pl.109. £300-400

429 A MEISSEN GROUP OF THE OLD WOMAN IN LOVE, LATE 19TH CENTURY the young swindler supposedly paying court by kissing the hand of the seated old woman as he peers avariciously into her strongbox, shaped oval base, underglaze blue crossed swords mark, incised model No.A46, impressed numbers 14.5cm high, some restoration £250-350 430 A MEISSEN GROUP OF ICE SKATERS, MID 19TH CENTURY after an 18th century model, the behatted gentleman kneeling to tie the skate to his companion’s shoe, gilt edged scroll moulded base, blue crossed swords mark, incised model No.36, further incised numerals and painted initial R 14.5cm high, some restoration £300-400

428 431 428 A PARIS GROUP OF A SLEEPNG PUTTO, EARLY 19TH CENTURY the winged child, drapery and cylindrical bolster in biscuit, his orange glazed porcelain bed formed as a Neo-classical ‘lit bateau’ 12cm wide £200-300

431 A PETER WELDON CREAMWARE ELEPHANT OBELISK, STAFFORDSHIRE, 1990s in 18th century style, standing four-square on a moulded rectangular base, the beast and its burden applied with a variety of foliage 59.5cm high £120-180

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432 A MEISSEN BOWL, COVER & STAND, LATE 19TH CENTURY circular, each applied in high relief with flowers and lemons painted with scattered insects, the underside of the lobed stand applied with blue forget-me-nots, the cover with branch handle, underglaze blue crossed swords marks stand 23cm diameter £250-350 433 A SCHOELCHER (PARIS) CABINET PLATE, EARLY 19TH CENTURY painted with strawberries inside a gilt foliate border, stencilled mark 22cm diameter £250-350 434 A MEISSEN OUTSIDE DECORATED TOPOGRAPHICAL PLATE, 1840s painted with a titled view of Hamburg, depicting the harbour busy with sail and two paddle steamers, the fuchsia border with gilt bands, cancelled crossed swords marks in underglaze blue, incised marks and impressed numerals 25.5cm diameter

436

£80-120 435 THREE WORCESTER DISHES, CIRCA 1775-80 comprising a scalloped dessert plate decorated in the Giles workshop, painted with a florally sprigged Classical urn, the ‘wet blue’ ground border gilded with a band of anthemion within a further band of fruit-laden vines, blue crescent mark, 21cm diameter, glued, a lobed dessert plate painted with a vignette of fancy birds within a basketwork moulded border and gilt rim, 20cm diameter, and a lozenge shaped dish painted with fruits, the blue ground border highlighted with caillouté gilding, blue crescent mark, 23.5cm long

436 A RED FLASHED GLASS BEAKER, BOHEMIAN, SECOND HALF 19TH CENTURY waisted nonagonal, engraved with a stag and a doe amidst vegetation flanking a coat of arms below a Prince’s coronet, with borders of acorns and oak leaves and further stylised leafage 12.5cm high

£100-150

£300-400

The arms are those of Kinski of Bohemia (J.B. Rietstap, Armorial Général, Vol.1, p.1093), created Barons in 1316, Counts in Bohemia in 1628 and Princes of the Holy Roman Empire in 1746, one of the most illustrious families of the Hapsburg domains.

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440 A NAST (PARIS) CABINET CUP AND SAUCER, CIRCA 1825 green ground, the cup painted with a band of Neo-classical scrollwork between formal leaf borders, gilt painted mark

437 437 A NAST (PARIS) TWO-HANDLED CUP AND STAND, EARLY 19TH CENTURY gilt ground, the cup painted each side with a classical figure flanked by putti, the stand painted in the centre with a human face inside a border painted with panels of muses alternating with panels of seated griffins flanking a gilt portrait medallion, gilt script mark £600-800

Provenance: Armin B. Allen, New York, with paper label £300-500 441 A LA COURTILLE (PARIS) CUP AND SAUCER, EARLY 19TH CENTURY painted in black monochrome with profile portraits against an orange ground and gilt anthemion border, underglaze blue painted arrows mark £150-250

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438 A BARR, FLIGHT & BARR (WORCESTER) SPILL VASE, CIRCA 18101813 cylindrical, pink ground, painted en grisaille with a classical maiden holding a tambourine aloft, set with gilt satyr mask handles, impressed mask 12.5cm high £200-300

443 one of four 442 AN ENGLISH PORCELAIN SAUCE TUREEN, COVER AND STAND, PROBABLY COALPORT, CIRCA 1810 two-handled oval body, painted with strawberries against a grey ground, painted pattern No.728, stand 18.5cm wide; together with an English cup and saucer, circa 1815, gilt-ground, decorated with lily-of-the-valley (5) £80-120

439 TWO ENGLISH PORCELAIN CACHEPOTS AND STANDS, PROBABLY COALPORT, CIRCA 1810 in sizes, each painted with grisaille landscape vignettes, pattern No.382 largest 13.5cm high, some damage

443 A GROUP OF FOUR SPODE BREAKFAST CUPS AND SAUCERS, EARLY 19TH CENTURY painted in green monochrome with flower sprays, red painted mark

£200-300

£80-120

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444 A PORCELAIN COFFEE CAN AND SAUCER, PROBABLY PARIS, 19TH CENTURY the cup painted with a mummy’s head flanked by wyverns, the saucer with panels of musical instruments against a burnt orange ground simulating hardstone, gilt ‘R’ mark to can; together with another coffee can and saucer, probably Paris, early 19th century, painted with puce drapery, lion masks and laurel; and another coffee can and saucer, painted with puce portrait portrait medallions (6) £300-500 445 A PARIS PORCELAIN COFFEE CAN, EARLY 19TH CENTURY painted with a classical woman in a chariot being drawn by two lions; together with a Paris porcelain sugar bowl and cover, white and gilt; two English porcelain plates, printed en grisaille with classical figures inside a gilt finishing vine border; and a giltground cup and saucer (7)

446

£200-300 446 A PAIR OF PORCELAIN CANDLESTICKS, PROBABLY GERMAN, CIRCA 1830 Rococo Revival, baluster stems and shaped triangular bases, moulded with puce feather-edged scrollwork picked out in green and gilt, scattered flowers and insects between 23.5cm high, one stem restored £120-180 447 A DERBY COFFEE CAN AND TWO SAUCERS, CIRCA 1815 painted with pink roses, red painted mark; together with a pair of Minton coffee cups and saucers, circa 1870, turquoise ground; and a small Derby spill vase, circa 1815, painted with arabesques, 11cm high (8) £100-150

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448 A BROWN-WESTHEAD, MOORE & CO. PART TEA SET, CIRCA 1870 comprising: thirteen cups, fourteen saucers and two cake plates, green ground with gilt rims, the cups with pink interiors and ropetwist handles and feet, P.O.D.R. lozenge for 1869, red painted No. C8459 some losses (29) £100-150

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450 A DOCCIA COFFEE CUP AND SAUCER, MID 18TH CENTURY each with applied prune branches to the white glaze Provenance: The Henry and Martha Isaacson Collection, Seattle (with paper label No. 107); Armin B. Allen, New York (with paper label) £300-500 451 A PAIR OF DOCCIA COFFEE CUPS AND SAUCERS, MID 18TH CENTURY white glazed and applied with brown twig handles £500-700

449 part 449 A GROUP OF ENGLISH POTTERY, 19TH CENTURY comprising: a large Ridgway ‘Tuscan’ pattern jug, 32cm high, another large painted pottery jug, two yellow-ground printed jugs and a saucer (5)

452 A LIMOGES CASKET, DECORATED IN THE ATELIER OF CAMILLE LE TALLEC, PARIS, CIRCA 1962 of shaped lozenge outline, finely painted with flowers surrounded by richly gilt scrollwork, gilt-metal rim mounts, underside with Le Tallec marks and date cipher 18cm long £150-250

£200-300 453 A LIMBACH (THURINGIA PORCELAIN) PEAR SHAPED COFFEE POT AND COVER, CIRCA 1770 painted with flower sprays inside basket moulded borders, puce painted mark, 23cm high; together with a porcelain coffee cup and two saucers, possibly Cozzi, circa 1770, painted with purple flower springs (5) £200-300 454 AN EARTHENWARE LETTER HOLDER, PROBABLY FRENCH OR PORTUGUESE, LATE 19TH CENTURY Palissy type, in the form of a partially open clam shell supported on a green mound base applied with coral and further shells 17cm high £100-150

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455 AN ENGLISH PORCELAIN JARDINIERE AND STAND, PROBABLY COALPORT, CIRCA 1810 the yellow ground painted with a panel of flowers inside a gilt frame 13cm high, stand repaired £100-150 456 AN ENGLISH PORCELAIN TWO-HANDLED CUP AND SAUCER, CIRCA 1810 yellow ground and wrythen moulded, painted en grisaille with figure panels; together with an English porcelain inkstand, circa 1810, yellow-ground, drum shaped, gilt details, 8.5cm high £200-300 457 A COALPORT LETTER RACK, CIRCA 1825 pink ground, painted with a view of Willey Park, Shropshire, printed ‘Society of Arts’ mark 16cm long, minor restoration The house, as well as the surrouding park, were established between 1811-1820 by Lewis Wyatt (1777-1853) for Cecil WeldForester (1767-1828, created 1st Baron Forester 1821). The house remains remarkably unchanged to this day, still the seat of the Barons Forester. £400-600

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458 A PAIR OF STAFFORDSHIRE POTTERY PIGEON TUREENS AND COVERS, 19TH CENTURY their feathers picked out in grey and black 21cm long £200-300 459 A PAIR OF WALTON PEARLWARE SHEEP GROUPS, CIRCA 1820 each standing before a flowering tree, 19cm high, some restoration; together with a Staffordshire pottery figural spill vase, mid 19th century, of a youth of companion beside a tree, 16.5cm high; and a Stevenson & Hancock (Derby) group of lambs, late 19th/early 20th century, red painted mark, 11cm high, restored (4) £100-150

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460 A PAIR OF MINTON AESTHETIC MOVEMENT BONE-CHINA MOON-FLASKS, CIRCA 1870 rounded discoidal, bleu-céleste ground, both with one side painted with a differing peacock in a blossoming cherry, the other side with differing cranes surrounded by lilies and lotus blossom, the gilt ruyi sceptre shaped handles and rims with black detailing 26cm high (2) For other examples of this vase shape, see Joan Jones, Minton, Shire Publication, 1995, pp.100/101. For a similar pair, see Bonhams, London, 20 September 2017, lot 97 £600-800

460 461 A ROCKINGHAM PORCELAIN MINIATURE TEAPOT & COVER, CIRCA 1835 the compressed body applied with flowers in high relief, puce printed mark, painted Cl.2, 7.5cm high, some restoration and chips; together with four further miniature teapots and covers: a Canton famille rose example, a ‘clobbered’ gold ground Staffordshire example, a Dresden floral painted example and an English flower encrusted example (10)

461

£250-350 462 A MINTON PORCELAIN TROMPE L’OEIL DISH, CIRCA 1830 the pierced circular dish apparently filled with chestnuts, on four scroll moulded supports 18cm diameter £250-350

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463 AN ENGLISH PORCELAIN DEMI-LUNE BOUGH POT AND COVER, PROBABLY CHAMBERLAIN’S WORCESTER, CIRCA 1810 painted with a white and gilt key pattern band, 23cm diameter; together with a gilt and marbled cup and saucer and a cachepot and stand painted with floral borders (a.f) (6) £150-250 464 A MEASHAM POTTERY ‘BARGE WARE’ TEAPOT, DATED 1887 treacle glaze, applied with moulded flowers and birds around the inscription ‘Hannah Arkinstall / A Present From / Her Mother / 1887’, the cover with teapot finial, 30.5cm high; together with another smaller example, late 19th century, similarly decorated and inscribed ‘Home Sweet Home’, 13.5cm high (4)

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£120-180

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465 † A CASTELLI MAIOLICA CHARGER, WORKSHOP OF FRANCESCO GRUE, LATE 17TH CENTURY painted after Antonio Tempesta (1555-1630) with Alexander Attacking Tyre from the Sea from the Wars of Alexander the Great, the equestrian figure seen from the back directing a variety of troops towards the city walls, the rim painted with panels of trophies 41.1cm diameter The scene is taken from plate VII of XI from the series The Distinguished Deeds of Alexander the Great by Antonio Tempesta, published in Rome in 1608. Several dishes depicting this series are recorded. Two are published by Luciana Arbace, Maioliche di Castelli, La Raccolta Acerbo, 1978, pp.36-39, nos.35, 36. £2500-3500 †

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466 A SET OF SIX ROYAL COPENHAGEN ‘FLORA DANICA’ DINNER PLATES, CIRCA 1985 painted with titled specimens within a gilt beaded border and serrated rim, shape No.3549, printed and painted factory marks 25.5cm diameter £1500-2000

467 A SET OF SIX ROYAL COPENHAGEN ‘FLORA DANICA’ RETICULATED DESSERT PLATES, 1980-85 painted with titled specimens within a pierced border and gilt serrated rim, shape No.3554, printed and painted factory marks 22.5cm diameter £1500-2000

468 A ROYAL COPENHAGEN ‘FLORA DANICA’ VEGETABLE TUREEN AND COVER, 1985-89 circular, the cover applied with a branch and flower handle, painted with the titled specimen ‘Lonicera Periclymenum L.’ inside a gilt rim, printed and painted factory marks 23.5cm diameter

472 472 A WEDGWOOD FAIRYLAND LUSTRE ‘KANG HSI’ SHAPE BOWL, CIRCA 1925 designed by Daisy Makeig-Jones (1881-1945), the exterior with the ‘Woodland Bridge’ pattern, the interior with the ‘Woodland Elves’ pattern, printed gold Portland vase mark, numbered Z4968 21cm diameter £1000-1500

£500-700

469 A ROYAL COPENHAGEN ‘FLORA DANICA’ DISH, 1980-85 triangular, painted with the titled specimen ‘Anagallis coerulea Schreb.’ within a gilt beaded border and serrated rim, shape No.3508, printed and painted factory marks 23cm wide £200-300

470 A PAIR OF ROYAL COPENHAGEN ‘FLORA DANICA’ CUPS AND SAUCERS, 1969-74 each cup painted with a titled specimen, branch handles, the saucers with serrated rims, shape No.3597, painted and printed factory marks cups 7cm high £200-300

473 471 A ROYAL COPENHAGEN ‘FLORA DANICA’ COMPORT, 1980-85 circular, painted with the titled specimen ‘Geranium Molle L.’ beneath a gilt beaded border and serrated rim, shape No.3588, printed and painted factory marks 14.25cm high £200-300

473 AN EMILE GALLE FAIENCE CAT, CIRCA 1900 modelled as a recumbent feline set with green glass eyes, the yellow ground scattered with typical blue and white heart and dot motifs, painted mark ‘E. Gallé / Fayencerie / de Nancy’ 30cm long, damage to ear It is very rare to find a Gallé cat modelled lying down, although sleeping variants are occasionally encountered. £600-900

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474 A CLARICE CLIFF BIZARRE ‘LOTUS’ SHAPE JUG, 1930s in Delecia Pansies pattern, single-handled, printed Bizarre marks 29cm high £150-250 475 A CLARICE CLIFF BIZARRE ‘LOTUS’ SHAPE JUG, 1930s in Delecia Citrus pattern, single-handled, printed Bizarre marks 29cm high £250-350

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476 A CLARICE CLIFF BIZARRE JUG AND A VASE, 1930s both in Aurea pattern, the jug single-handled ‘Lotus’ shape, printed Bizarre marks, the vase ‘Isis’ shape, printed Clarice Cliff mark 28.5cm highest (2) £150-250 477 A COLLECTION OF FOUR CLARICE CLIFF BIZARRE JUGS, 1930s all Delecia Pansies pattern, comprising: an ‘Athens’ shape jug, a ‘Coronet’ shape jug, a ‘Greek’ shape jug and a ‘Conical’ shape jug, printed Bizarre marks 22cm highest (4) £150-250

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478 A COLLECTION OF CLARICE CLIFF BIZARRE WARES, 1930s all Delecia Pansies pattern, comprising: a biscuit barrel and cover, a ‘Dover’ shape jardinière, a bowl and a saucer dish, printed Bizarre marks 20cm highest (4) £200-300 479 A COLLECTION OF CLARICE CLIFF BIZARRE WARES, 1930s comprising the following Crocus pattern: a large bowl, a small dish and a small ‘Hiawatha’ shape ashtray; and the following Gay Day pattern: a large ‘Havre’ shape bowl, a ‘Heath Fern’ shape pot and a large ‘Hiawatha’ ashtray, printed Bizarre marks 9.5cm highest (6) £150-250

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LOTS 480 TO 488: JUDAICA FROM THE COLLECTION OF DR RICHARD TELTSCHER Dr Richard Teltscher (1888-1974) was born into a prominent Jewish family in Nikolsburg, (now Mikulov) in Moravia. He trained as a lawyer in Vienna, before joining the family wine business in Mikulov, an area that remains a centre of Czech wine-making. Although not a religious man, he was fascinated by the history of Moravian Jewry. Having built-up a private collection of Judaica, he established the Central Jewish Museum for Moravia-Silesia. Opening in 1936, the ill-fated museum lasted only two years, the collection confiscated by the Nazis and taken to Prague, where it remains in the Jewish Museum today. Dr Teltscher fled to the Polish border and, through the intervention of the Chief Rabbi of Warsaw, managed to gain asylum in Britain. He joined his family in London, where he had previously arranged for important items from his private collection to be sent. Following the war, Richard Teltscher was involved in the wine trade and continued to devote his spare time to Judaica. After his death, his collection of rare books was lodged in the John Rylands Library at the University of Manchester.

In 2008, his cultural contribution was recognised by the town of Mikulov with the award of a posthumous honour.

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480 AN OTTOMAN PARCEL-GILT SILVER CASE, PROBABLY BALKAN OR GREEK, 18TH / 19TH CENTURY book shaped, the hinged spine with clip release to centre, chased beaded and geometric borders throughout, the front with openwork linear panels and scroll chased ground, applied with foliate lozenge motifs between, the reverse chased with a hexagram (Star of David) motif centred by a vase of flowers, with angular hinged loops to sides and suspension rings to base 16.5cm long Doctor Teltscher always felt that this piece, with the chased hexagram, was an item of Judaica, a box to protect a book, perhaps a Tanakh, Psalms or Festival Prayer book case. Whilst the form is similar to cartridge boxes from the Aegean/Balkan region, it is rather too narrow and lacks the necessary belt loop to be for cartridges. ÂŁ400-600 481 A BRASS SABBATH CANDELABRUM, GERMAN, 19TH CENTURY with Prussian eagle finial flanked by four vase shaped sconces on openwork scroll support centred by a Lion of Judah figure, knopped stem with leaf borders, broad circular base with four lion masks 52cm high ÂŁ150-200

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482 482 A PAIR OF BRASS SABBATH CANDELABRA, GERMAN, 19TH CENTURY each with central Prussian eagle finial flanked by four urn-shaped sconces on openwork supports featuring opposing Lion of Judah figures, the knopped stems and broad circular bases with foliate scroll and shell borders 52cm high

484 A PARCEL-GILT SILVER TORAH CROWN, UNMARKED, PROBABLY BOHEMIAN OR MORAVIAN, 18TH / 19TH CENTURY oval, beaded borders, with a circlet of openwork leaves below three bands and enclosed ends chased with shells and strapwork foliage on a matted ground, with brass detachable liner 20cm long This form of enclosed crown is usually associated with the former Hapsburg domains, the form inspired by the Austrian Imperial crown made in Prague in 1602. £300-400

£250-350

485 485 A SILVER TORAH POINTER, RUSSIAN OR POLISH, 19TH CENTURY octagonally faceted, with suspension ring to bulbous terminal, the knopped (damaged) tapering stem ending in a hand shaped pointer, maker’s mark indecipherable, stamped ‘84’ 30cm long £80-120 486 A BRASS HANUKKAH LAMP, PERHAPS ITALIAN 18TH / 19TH CENTURY the triangular openwork backplate cast with a scene of the Judgment of Paris below an angel 20cm high

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483 TWO BRASS HANUKKAH LAMPS, PROBABLY GERMAN, 19TH CENTURY one with backplate pierced with a six-pointed star motif in a roundel surmounted by vases, the eight reservoirs with hinged cover, on paw feet, 39.5cm high, the other with arched backplate with heart, punched and pierced decoration, the hinged side panels of bird profile, 28cm high

A Hanukkah lamp of the same unusual pattern is held by the Jewish Museum, New York, Accession No. F 5388. Also see Susan Braunstein, Five Centuries of Hanukkah Lamps from the Jewish Museum: A Catalogue Raisonné, New Haven and London, 2004, p.111 £150-250

£300-400

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487 487 A JUDAICA GLASS DECANTER, PROBABLY BOHEMIAN, 19TH CENTURY the body etched and gilded with Biblical scenes between bands of Hebrew script 24cm high

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£150-250

490 A RUSSIAN ICON OF THE ‘TROERUCHITSA’ (THREE-HANDED) MOTHER OF GOD, 19TH CENTURY set against a gilt ground, the Virgin holding the Christ Child with her right hand, resting her left hand on her chest, the third hand emerging from under the drapes of her omophorion, egg tempera, gold leaf and gesso on wood panel 35.5cm high A copy of the ‘Panagia Tricherousa’ (now kept at the Serbian Chilandari Monastery on Mount Athos) was sent to Russia in 1661, where it became a familiar format for Russian icons. £500-600

488 488 THREE SILVER SPICE TOWERS (BESAMIM HOLDERS), PROBABLY POLISH OR MORAVIAN, 19TH / EARLY 20TH CENTURY one with circular pedestal and filigree panelled box with door below the bell and spire topped by a pennant, the others in two sections, with filigree spherical containers, each on three wirework supports, with pennant-topped rods 30cm tallest (3) £300-500

491 489 A FLORAL SILKWORK PICTURE, ENGLISH, SECOND QUARTER 19TH CENTURY depicting flowers and feathers arranged in a basket surrounded by a border of pressed gilt card, in a glazed gilt gesso frame frame 60.5 x 69.5cm £100-150

491 A BRONZE DOOR KNOCKER, PROBABLY FRENCH, 18TH / 19TH CENTURY the knocker cast as female mask surrounded by rocaille, with leaf capped hinge, the striking boss flanked by further rocaille and scrolls, mounted on an angled rectangular wood later stand 25.5cm high Provenance: Kugel, Paris, according to receipt of 8 September 1994 £600-800

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492 AN OPPOSING PAIR OF PLASTER FIGURES OF SPHINXES, IN EARLY 18TH CENTURY STYLE the Baroque beasts modelled in lively semi-recumbent pose, each with head turned to side, back feet clutching scrolls set around its rear and front legs on a rectangular base 41cm long £400-600

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493 A PAIR OF PATINATED AND PARCEL-GILT PLASTER WALL SCONCES, PROBABLY ITALIAN, LATE 19TH CENTURY each formed as an oak wreathed classical mask below a border of egg and dart moulding 24cm high (2) £300-500 494 A PAIR OF GILT-BRONZE BLACKAMOOR FIGURE CANDLESTICKS, PROBABLY ITALIAN 19TH CENTURY with milled and welled circular bases, each stem as a dark patinated figure in gilt feather skirt and headdress balancing with one hand the sconce on his head 25cm high £250-350 495 A PAIR OF WHITE MARBLE AND ORMOLU CANDLESTICKS, PROBABLY FRENCH EARLY 19TH CENTURY with milled, beaded and stiff leaf ormolu borders, domed marble bases, the knopped marble stems with central linear decorated pierced scroll ormolu band, the ormolu sconces with detachable nozzles 22.5cm high

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£300-500 496 ~ A WALNUT FLORAL MARQUETRY KNIFE BOX, DUTCH, 19TH CENTURY the slope-fronted box with later converted oak stationery compartment interior, with ivory key escutcheon and giltmetal Neo-classical handles 34.5cm high £80-120

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497 A PAIR OF GIALLO ANTICO MARBLE ‘GRAND TOUR’ MODELS OF TEMPLE RUINS, ITALIAN, 19TH CENTURY finely carved as the Roman forum temples of Vespasian and of Castor and Pollux, on black marble bases Vespasian 29cm high, Castor and Pollux 33.7cm high (2) £1500-2500

498

497

498 ~ AN INDO-PORTUGUESE IVORY FIGURE OF CHRIST AS THE GOOD SHEPHERD, GOA, 18TH CENTURY the Holy Child carved in typical pose with eyes closed and crossed legs, holding a lamb on his right knee, his other hand to his face, his elbow resting on a gourd on his left thigh 10.2cm high excluding later perspex stand Provenance: a Greek Private Collection since the 1940s £400-600 499 ~ A SPANISH COLONIAL BONE FIGURE OF THE CHRIST CHILD, PROBABLY PHILIPPINES, MANILA, 17TH / 18TH CENTURY the Diviño Nino carved with his right hand raised in blessing, his left on his stomach, set with glass eyes, with stained detailing to face and loosely curling long hair 14cm high excluding later wood stand During the 17th through to the 19th century, many Christian subject ivories were worked in the Philippines by a mixed community of originally emigré Chinese sculptors. From the 16th century, Spanish traders and missionaries had fostered a trade in Christian ivories from the artisans of Southern Fujian Province in China. The trade spread to the Philippines: by 1639 some 30,000 Chinese were living in Manila, many of them craftsmen and traders, known as ‘sangleyes’, in the Parián (meaning market place) area of the city, an enclave just outside the city walls. The present lot is unusual since it is carved in bone (or marine ivory), rather than the predominant elephant ivory of such figures, but the subject, pose, glass eyes and the style of carving (particularly the hair and face) corresponds closely with analogous figures from the Philippines under Spanish rule.

Provenance: a Greek Private Collection since the 1940s £2000-3000

499 125

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500 A BOXWOOD ‘VANITAS’ MODEL OF A HUMAN SKULL, PROBABLY GERMAN EARLY 19TH CENTURY finely detailed carving 5.5cm long £300-500 501 ~ AN IVORY ‘VANITAS’ MODEL OF A HUMAN SKULL, PROBABLY GERMAN 18TH CENTURY with finely detailed carving 5cm long £500-800

500

501

502

502 A RELIEF IMPRESSED AND TURNED WOOD GAMING COUNTER, WORKSHOP OF MARTIN BRUNNER (1659-1725), NUREMBERG, CIRCA 1700 obverse with a bust of Queen Anne, reverse with busts of William and Mary (chip to edge), 5.5cm diameter; together with a large bronze ring, probably Roman, set with a probably later larva cameo of a standing Venus (2) The technique employed to create such gaming or draughts counters is comparable to the methods used in die-casting bronze medals. Firstly the turned wood was softened by steam, then scenes and subjects were impressed with metal dies. The work was promoted by a catalogue of medals issued by the Nuremberg silversmith and coin dealer, Freiderick Kleinert in collaboration with Caspar Lauffer, the master of the Nuremberg mint. £120-180 503 ALFRED BOUCHER (1850 - 1934): LA FANEUSE (THE HAYMAKER) a French white marble figure, circa 1900, the young female worker modelled leaning by her elbow on a bronze pitchfork, circular base signed ‘A. BOUCHER’ 93.5cm high Related Literature: J. Piette, Alfred Boucher 1850-1934: L’oevre sculpté, catalogue raisonné, Mare Martin, 2013, pp. 190-195, no. A39 £1800-2200

503

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504

505

504 TWO KUTCH SILVER SUGAR BOWLS, GUJARAT, WESTERN INDIA, CIRCA 1900 the first of spherical form on scrolling feet, decorated with chased hunting scenes, the hinged lid with elephant finial, the other of lobed form with chased floral decoration in Chinese style, on three scrolling legs 10.5cm tallest, 406gr £180-220 505 A SMALL BURMESE SILVER BOX, LATE 19TH / EARLY 20TH CENTURY of elongated octagonal form, the lid and sides with chased relief figural and scrolling decoration 8cm long £150-250 506 AN ENAMEL-SET SILVER-GILT CASKET, PROBABLY DUTCH EAST INDIES, BATAVIA, LATE 17TH / EARLY 18TH CENTURY chased all over with scroll foliage, the charmingly naive enamel panels bordered by silver filigree, the canted lid set with Acteon Surprising Diana and Attendants Bathing and four floral panels above a later clasp, the front and back with Apollo in his Chariot and a scene perhaps depicting Prometheus Unbound, both flanked by cornucopiae, the sides with further mythological scenes beneath the scroll foliate drop loop handles, on bun feet, the interior later red velvet lined 18.5cm wide

506

£1000-2000 507 A JAPANESE SILVER BOWL AND COVER, KUROSAWA, RETAILED BY HUHN & KOMOR, YOKOHAMA, EARLY 20TH CENTURY circular, the double-skinned body and cover chased with a continuous scene of flowering cherry branches seen over water, underside stamped ‘KUHN & KOMOR’ below their trademark and ‘Made by Kurosawa’ in Kyujitai 13cm diameter £1000-1500

507 127

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510

508 508 A LARGE SWEDISH SILVER BEAKER, ELIAS NOREUS, ÖSTHAMMAR, 1761 flared cylindrical, decorated below the moulded rim with a border of insect and leaf motifs and a band of scrolls and rocaille on a matted ground, initialled AHS, the foot with a lobed border, interior with traces of gilding, base set with a Swedish Charles XI 4 Mark coin, Anders Strommer, Stockholm, 1694 21.5cm high, 575gr (18oz)

510 A SOUTH AMERICAN SILVER-MOUNTED GOURD FLASK, UNMARKED, PROBABLY ARGENTINE, 19TH CENTURY perhaps for tereré, on spreading foot, the elongated gourd with three straps between the end mounts all chased with scrolls and diaperwork panels on a matted ground, with long chains to the shoulder and to the fluted domed cover (cover chain detached), circular aperture to cover probably for a straw 23.5cm high £400-600

£800-1200

511

509 A FRENCH SILVER SAUCEPAN, PARIS, 1819-1838 plain circular, moulded rim, turned-wood screw-in handle, no maker’s mark, underside with faded stamp ‘MAISON N...?’

33cm overall width, 341gr (10oz) of silver

511 A SILVER LIDDED CREAM JUG, Y. BOROVSHCHIKOV, ST. PETERSBURG, 1780s plain baluster, on three cast flower supports, similar finial to the hinged lid, scroll handle, gilt interior, French swan import mark 14.5cm, 294gr (9oz)

£300-500

£500-800

509

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512 513 512 A PAIR OF FRENCH SILVER SECOND-COURSE PLATES, ALEXIS DANY, PARIS, 1786-1787 shaped circular, each engraved below the applied moulded border with a coat-of-arms and coronet 30cm diameter, 1600gr (51oz) £600-800 513 A FRENCH SILVER SERVING PLATE, PARIS, 1770 shaped circular, the border engraved at a later date with a coat-of-arms, supporters and coronet below an applied reeded border, scratch weight: ‘6m 2o 5gr’ 36.5cm diameter, 1480gr (47oz) £600-800 514 A SILVER TAZZA, MAKER’S MARK FM STRUCK TWICE ONLY, POSSIBLY BELGIAN, CIRCA 1740 octagonal, the surface flat-chased at the centre and border with Rococo shells and scrolls 21.5cm diameter, 371gr (12oz)

514

£800-1200 515 AN UNUSUAL FRENCH SILVER CHOCOLATE POT IN STEEL FRAME, PROBABLY CLAUDE DUCHESNE, PARIS, 1743 baluster, the lid with hinged finial and scroll thumbpiece, in unusual steel tripod frame with spring fitting and turned wood handle, the body also with 1744-50 discharge mark, the cover unmarked 23cm high, 423gr (13oz) of silver £1200-1800

515

129

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516 516 A LARGE GERMAN SILVER COW CREAMER, LUDWIG NERESHEIMER & CO., HANAU, CIRCA 1924 typically modelled, the lid to her back applied with a fly, pseudo marks and import marks for Israel Segalov, London, 1924 26.5cm long, 665gr (21oz)

517

£700-1000 517 A GERMAN SILVER-GILT OWL AND OWLET GROUP, PROBABLY HANAU, MID 19TH CENTURY in 16th century style, on shaped oval base, richly chased with creatures in undergrowth, the feathered owl and two owlets with detachable heads, pseudo hallmarks 12.5cm high, 231gr (7oz) £600-900

518

518 A PAIR OF GERMAN SILVER SWAN FORM SWEETMEAT BASKETS, PROBABLY HANAU, CIRCA 1895 cast as if swimming, import marked for H.C. Freeman, London, 1897 16.5cm long, 588gr (18oz 18dwt) excluding their clear glass liners £500-800 519 A PAIR OF GERMAN SILVER FIGURES, PROBABLY LUDWIG NERESHEIMER & CO., HANAU, 20TH CENTURY cast as an 18th century gentleman with long cane and his companion with a basket of flowers, pseudo marks, French import marks 14.5cm high, 661gr (21oz) £300-500 520 A PORTUGUESE SILVER BOWL, MAKER’S MARK MR CONJOINED, LISBON, EARLY 18TH CENTURY circular, on spreading foot, plain bowl 11.3cm, 204gr (7oz) £100-150

519 130

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522

521

522

521 A SILVER JARDINIERE, MAKER’S MARK ed BELOW A HELMETED HEAD, PROBABLY GERMAN, EARLY 20TH CENTURY on four cast foliate and mask supports, the ample shaped oval body decorated in relief with rococo cartouches, flowers and foliage enclosing musical instruments, import marked London Assay Office, 1943 53cm long, 2542gr (81oz) £1200-1800 522 A PAIR OF SILVER VASES, MAKER’S MARK ed BELOW A HELMETED HEAD, PROBABLY GERMAN, EARLY 20TH CENTURY en suite with the preceding lot, each on three foliate scroll and mask supports, the baluster bodies decorated with rococo cartouches and floral and foliate sprays, import marked London Assay Office, 1943 27cm high, 818gr (26oz) £400-600 523 A SIX-PIECE SILVER SERVING SET, MAKER’S MARK ed BELOW A HELMETED HEAD, PROBABLY GERMAN, EARLY 20TH CENTURY comprising: a pair of sauceboats on stands, a pair of circular second course dishes and a pair of oval meat dishes, embossed with flowers and foliage within applied scrolling borders, import marked London Assay Office, 1943 sauceboats 24.5cm wide, dishes 30cm diameter, meat dishes 51cm long, 4564gr (146oz)

523

£1500-2500 524 ~ A CZECHOSLOVAKIAN THREE-PIECE SILVER TEA SET ON TRAY, FRANZ BIBUS & SOHN, MORAVSKA TREBOVA, 1929-1942 moulded squat baluster tea set and oval tray, each piece engraved HP, 800 standard 1147gr (36oz) including ivory insulators to teapot £300-500

524 131

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525 A FRENCH SILVER-GILT DRESSING TABLE SET, GUSTAVE KELLER, PARIS, CIRCA 1900 each piece with moulded rim and engraved with a continental coat of arms below a noble’s coronet, comprising: four etched glass toilet bottles in sizes, with silver-gilt covers, complete with glass stoppers, three similarly etched glass jars in sizes, with silvergilt covers, a trefoil arched easel mirror, a pair of dwarf candlesticks with detachable nozzles, a shaped oblong pin tray, four hand brushes in sizes, two clothes brushes in sizes, a hand mirror, a shoe horn and a pair of glove stretchers, 950 standard, all fitted in its original walnut case with armorial engraved plaque to lid and flush hinged brass handles, with brass lock plate engraved ‘GUSTAVE KELLER ORFEVRE FABRICANT 22 RUE JOUBERT PARIS’ weighable silver 898gr (28oz) (20) The arms are those of van den Bergh of Flanders (J.B. Rietstap, Armorial Général, Vol.1, p.337) £1500-2500

525

526 A PAIR OF GERMAN SILVER-MOUNTED GLASS DECANTERS ON SILVER COASTERS, HALLER & RATHENAU, BERLIN, 1854-63 one blue and one green bottle with scrolling openwork and vine leaf embellished mounts, the cork-mounted stoppers with trailing vine and grape finials, the coasters with everted vine embellished rims and turned-wood bases, the detachable openwork climbing vine supports with bayonet fittings, maker’s mark, town mark and second wardens mark for L. Th. Wendelboe 42cm high overall £1500-2500

526

132

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527 AN ITALIAN SILVER SUGAR VASE AND COVER, EMANUELE CABER, MILAN, CIRCA 1820 the triform base with openwork formal leaf border above cast shell and paw feet, the stem cast as three entwined Renaissance dolphins supporting a baluster bowl with everted milled rim, the domed cover with further milled borders and a figural finial cast as a young black man sitting on a bunch of fruiting branches (perhaps coffee branches) 23cm high, 766gr (24oz) Emanuele Caber (1762-1850) operated premises under the sign of the ‘Golden Deer’ in the San Michele al Gallo quarter of Milan, using the circular maker’s mark ‘C under a deer’ from 1812. V. Donaver - R. Dabene, Argenti italiani dell’Ottocento, Milan, 1989, Vol.2, p.121. £1500-2000 528 AN ITALIAN SILVER COFFEE POT, EMMANUELE CABER, MILAN, CIRCA 1820 with milled borders, the ovoid body on pedestal foot, with slender waisted neck, the lid with ovate finial, the spout issuing from a cast ram’s head 30cm high, 682gr (22oz) including ebonised handle

527

Emanuele Caber (1762-1850) operated premises under the sign of the ‘Golden Deer’ in the San Michele al Gallo quarter of Milan, using the circular maker’s mark ‘C under a deer’ from 1812. V. Donaver - R. Dabene, Argenti italiani dell’Ottocento, Milan, 1989, Vol.2, p.121. A number of coffee pots of similar form by Emanuele Caber are known: see Christie’s, Rome, 7 December 2005, lot 261, Christie’s, New York, 19 October 2004, lot 929 and Christie’s, London, 16 November 2010, lot 369. £1200-1800 529 A PAIR OF AUSTRIAN SILVER CANDELABRA, HERMANN SÜDFELD & CO., VIENNA, CIRCA 1900 square bases and fluted tapering stems below a ribbed urn shaped sconce, the screw-in branches each of four double scroll arms and central light with screw-in drip-pans and sconces, 800 standard 46cm high, 2455gr (79oz) £600-900 530 A PAIR OF DUTCH SILVER VASES, 1891 pierced with patera studded trelliswork below tassel and medallion hung foliate swags, paw feet on slender splayed supports, handles formed as stylised greyhounds, Dutch 934 standard export mark, date letter and pseudo marks and import marked for Samuel Boyce Landeck, London, 1891 13cm high, 513gr (16oz) excluding clear glass liners

528

£200-300

530

529 133

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531 531 ~ A MATCHED SET OF VICTORIAN TABLE SILVER, VARIOUS MAKERS, LONDON, 1838-77 Victoria pattern, comprising: six tablespoons twelve table forks twelve dessert spoons twelve dessert forks twelve teaspoons two sauce ladles, two salt spoons and a mustard spoon; together with the following ivory handled cutlery, all with stainless steel blades: twelve table knives, twelve dessert knives, a pair of meat carvers, a pair of poultry carvers and a steel weighable silver 3997gr (128oz) (88) £1200-1800

533 534 535 536 533 A SET OF SIX IRISH GEORGE III SILVER TABLESPOONS, ONE MICHAEL KEATING, FIVE JOHN DALRYMPLE, DUBLIN, 1788 the stems and pointed terminals bright-cut on one side, further engraved with a crest 378gr (12oz) £150-250 534 A SET OF SIX GEORGE III SILVER DESSERT SPOONS, THOMAS CHAWNER, LONDON, 1776 AND CIRCA Old English wrigglework pattern, plain terminals 200gr (6oz 8dwt) £100-150 535 A SET OF TWELVE IRISH GEORGE III SILVER DESSERT SPOONS, MICHAEL KEATING, DUBLIN, 1794 the stems bright-cut on one side below pointed terminals, each further engraved with the crest of White of Ireland 305gr (9oz 16dwt)

532 532 WILLIAM IV AND VICTORIAN TABLE SILVER, LONDON, 1831-1839 Kings Honeysuckle pattern, comprising: five crested dessert forks, Jonathan Hayne, 1831; and twelve dessert spoons with plain terminals, six Hayne & Cater, 1838, six Mary Chawner for Chawner & Co., 1839 1106gr (35oz) (16)

536 A SET OF SIX SCOTTISH GEORGE III SILVER TEASPOONS, ALEX ZIEGLER, EDINBURGH, CIRCA 1775 all bright-cut on one side, the pointed terminals engraved with the initials G over MM and variously numbered 1, 2, 4, 5, 11 and 12 74gr (2oz 7dwt)

£350-450

£40-80

134

£200-300

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537 537 ~ A FRENCH SILVER-GILT DESSERT SERVICE, EUGENE QUEILLE, RETAILED BY MAISON MARTIAL BERNARD, PARIS, SECOND HALF 19TH CENTURY the reeded handles with shells and foliage to terminal, base and mid-point, each engraved with the monogram HG, comprising: eighteen spoons eighteen forks eighteen knives with ivory handles and silver-gilt blades eighteen knives with ivory handles and steel blades a pair of serving spoons and a pair of sifter ladles 950 standard, all in the original leather case, the red baize fittings with two trays, brass lock inscribed ‘MARTIAL BERNARD / Rue de la Paix No.1’ 2201gr (70oz) excluding knives (76 pieces) The Queillé family were Parisian manufacturing silversmiths specialising in table silver throughout the 19th century; the mark on the present lot used 1847-1895. The illustrious jewellers Martial Bernard had been established at 1 Rue de la Paix in 1826, becoming suppliers to the Royal Court and the Duc d’Orléans, leaving these premises in 1890.

540 540 A SET OF TWENTY-THREE GEORGE III SILVER TABLE FORKS, ELEY & FEARN, LONDON, 1815/16 Fiddle Thread and Shell pattern, the terminals engraved with a crest 2320gr (74oz) £700-900

£1000-1500 538 A SET OF ELEVEN VICTORIAN SILVER TABLESPOONS, HAYNE & CATER, LONDON, 1842 Hanoverian Thread pattern, crested 956gr (30oz)

538

£300-400 539 ~ A SET OF TWELVE SILVER FISH FORKS, TWELVE FISH KNIVES AND A PAIR OF FISH SERVERS, ATKIN BROTHERS, SHEFFIELD, 1927/39 with ivory handles (26) £150-250

539

135

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543

541 541 A GERMAN SILVER THREE-PIECE TRAVELLING SET, AUGSBURG, 1723-1735 comprising a knife and a fork with steel blade and prongs respectively and a spoon, the handles decorated in Regence style with flat-chased strapwork and applied profile roundels, in fitted leather case with tooled decoration the spoon 50gr (1oz 12dwt) £200-300

543 A SET OF VICTORIAN SCOTTISH TABLE SILVER, J. & W. MARSHALL, EDINBURGH, 1868 Kings pattern, single struck, the terminals engraved with the crest and motto of the Clan Grant (‘STAND FAST’ above a burning hill) comprising: thirty-one table forks nine dessert spoons seventeen dessert forks two teaspoons a butter knife two serving spoons together with the following, matching, some engraved with the crest and motto of the Clan Grant: six dessert spoons and twentythree teaspoons, various makers, Edinburgh, 1824-1869, one teaspoon, Sheffield, 1904 4398gr (141oz) (91) £1500-2000

542

544

542 A SET OF TWELVE FRENCH SILVER-GILT AND MOTHER-OF-PEARL FRUIT KNIVES, MAISON GAVET, PARIS, CIRCA 1820 the plain nacre handles with moulded terminals and inset with a vacant shield, in probably original fitted case, 800 standard, nine Francois Charles Gavet and two indecipherable, 1809-19, one C.G. Gavet, 1819-1838

544 A SET OF SIX GILT-METAL AND BLOODSTONE DESSERT KNIVES AND SIX FORKS, ATKIN BROTHERS, SHEFFIELD, 20TH CENTURY Modern Grecian pattern handles £200-300

£300-400

136

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545

545 A SET OF VICTORIAN TABLE SILVER, HAYNE & CATER, LONDON, 1855-1860 Kings Honeysuckle pattern, mainly crested, comprising: ten tablespoons twenty-one table forks twelve dessert spoons fifteen dessert forks six teaspoons five salt spoons 5278gr (169oz) (69) £1800-2200 546 TWELVE GEORGE II TABLE KNIVES AND TWELVE CHEESE KNIVES, MARKS RUBBED, LONDON, CIRCA 1745 the loaded reeded silver handles each terminating in a shell, some of the steel blades etched: ‘KINGDON’

549 549 A SET OF FIVE GEORGE III SCOTTISH SILVER TABLESPOONS, JAMES HEWITT, EDINBURGH, 1784 Celtic Pointed pattern, plain; together with five assorted Scottish silver tablespoons, same pattern, all initialled except one, various makers, Edinburgh, 1790-1809 603gr (19oz) (10) £200-300

£600-800 547 FOUR TABLE KNIVES AND FOUR CHEESE KNIVES, S.J. PHILLIPS LTD., LONDON, 2010 plain silver handles, stainless steel blades

546

£150-200 548 A SET OF SIX TABLE KNIVES AND SIX DESSERT KNIVES, STANIFORTH, PARKIN & CO., SHEFFIELD, LATE 18TH CENTURY the handles with silver curved fluting terminals and reed mounts between reeded mother-of-pearl panels, unmarked, the steel blades stamped ‘Shemel’ (12)

547

548

£250-350

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550 550 A SET OF GEORGE V TABLE SILVER, MAPPIN & WEBB LTD., SHEFFIELD, 1918 the pointed terminals struck with ribbon-tied husk and pendant cartouches within strapped reeded borders, engraved with a monogram, comprising: eight tablespoons twenty-four table forks twenty-three table knives with steel or stainless steel blades twelve dessert spoons eleven dessert forks ten dessert knives with stainless steel blades twelve soup spoons twelve fish knives twelve fish forks twelve fruit knives twelve fruit forks and a pair of fish servers, a soup ladle, a serving spoon, two fruit serving spoons, a crumb scoop, a pair of meat carvers, a pair of poultry carvers and a steel, Patent Office Design Registry No.547092 weighable silver 7755gr (249oz) (170)

552 552 A SET OF SIX WILLIAM IV SILVER TABLESPOONS, WILLIAM CHAWNER, LONDON, 1833 Kings pattern, the terminals engraved with a crest; together with the following Kings Honeysuckle pattern: four tablespoons, three dessert spoons and three dessert forks, all crested, and nine table forks without crest, Jonathan Hayne, London, 1822/29 2274gr (73oz) (25) £700-1000

£2500-3500 551 ~ A VICTORIAN SILVER CEREMONIAL TROWEL, CHAWNER & CO., LONDON, 1877 the silver trowel engraved with an inscription surrounded by a floral border, the handle mount cast with a cornucopia and leafage, underside inscribed by the retailer ‘D.C. RAIT & SONS / GLASGOW’, the turned ivory handle with a band of stiff leaves and lobed terminal 43cm long The inscription reads: Presented to the Hon Lord Provost Collins on the occasion of his laying the last cope stone of the Queen’s Dock by John Jackson, Contractor, Glasgow, March 20th 1880.

Work started on the Queen’s Dock in 1872 and it was opened in 1877, when the Anchor liner, ‘Victoria’, entered the tidal basin, though the last copestone was not laid 1880. With the decline in shipping traffic in Glasgow Harbour, it was closed and filled-in with rubble from the demolished St Enoch Station in November 1977. The Scottish Exhibition and Conference Centre has since been built on the site.

553 553 A SET OF ITALIAN SILVER-HANDLED KNIVES, 20TH CENTURY the reeded and foliate handles engraved with initials AC below a count’s coronet, comprising twelve table knives and eleven dessert knives, all with stainless steel blades, and a pair salad servers (with damaged horn bowl and tines), all stamped ‘800’ (25) £180-220

£180-220

551 138

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554 A GEORGE III SILVER-GILT DESSERT SERVICE, LONDON, 1794/95 Old English pattern with crested terminals, later feather edged, complete for twenty, comprising: dessert spoons, Northcote & Bourne dessert forks, eleven the same, the remainder Smith & Fearn fruit knives, engraved with the same crest, silver-gilt blades and loaded reed and wrigglework pattern silver-gilt handles, with assorted marks of John Tatum senior and junior and Moses Brent 1688gr (54oz) excluding the knives (60) £2000-3000

554

555 A SET OF FOUR GEORGE II SILVER HANOVERIAN PATTERN TABLESPOONS, MAKER’S MARK POORLY STRUCK, LONDON, 1736 one side of the terminals engraved with the initials ‘I*M,’ the other with a coat-of-arms and crest, helm and foliate mantle 300gr (9oz 12dwt) The arms are those of De Costa of London (otherwise Da Costa).

This Jewish family, of Portuguese origin, settled in the Netherlands and elsewhere, hence perhaps the rather Continental look of the arms. £200-250

555

556 ROYAL: AN ASSEMBLED SILVER-GILT CHRISTENING SET, LONDON, CIRCA 1776 TO 1833 Hourglass pattern, the terminals engraved with the initial MA below a royal crown for Princess Mary Adelaide of Cambridge and M below a royal crown for Princess May of Teck, comprising: a dessert spoon additionally engraved with the date 1783, bottom marked, maker’s mark of George Smith of London, circa 1776, a dessert knife with loaded handle and steel blade stamped ‘W [crown] R/Garrard’ and a dessert fork, both Mary Chawner, London, 1829 and 1833 respectively the spoon and fork 113gr (3oz 12dwt) (3) This set once formed part of a composite silver-gilt Royal Christening suite. The set, mostly Thomas Heming, London, 1776, started with Princess Mary (1776-1857), later the Duchess of Gloucester, the eleventh child of George III. Pieces were added (the majority R.J. & S. Garrard, London, 1833) when Princess Mary gave the set to her niece and god-daughter, Princess Mary Adelaide, later the Duchess of Teck (1833-1897). Princess Mary Adelaide in turn gave the set to her daughter Princess May of Teck, later Queen Mary (1867-1953), the wife of George V and the grandmother of our present monarch. The complete set was sold at Sotheby’s, London, 24 April 1986, lot 148.

556

£300-500

557 A GEORGE IV SILVER VEGETABLE SPOON, WILLIAM BATEMAN, LONDON, 1830 Old English pattern, plain terminal 30.5cm long, 128gr (4oz 2dwt)

557

£120-180

139

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560

560 A SET OF VICTORIAN TABLE SILVER, GEORGE ADAMS FOR CHAWNER & CO., LONDON, 1855-73 Grecian pattern, single struck, comprising: four tablespoons sixteen table forks eighteen dessert spoons eighteen dessert forks eighteen teaspoons 3554gr (114oz) (74) £1200-1800

558 558 A SET OF GEORGE IV TABLE SILVER, WILLIAM CHAWNER, LONDON, 1823/24/28 Old English Thread pattern, engraved with a crest, comprising: nine tablespoons, seventeen table forks, one dessert spoon and four dessert forks; together with a set of nine silver dessert forks, Eley & Fearn, London, 1799, same pattern, differing crest 2637gr (84oz) (40)

561 ASSORTED OLD ENGLISH PATTERN TABLE SILVER engraved with the crest of Kenyon of London, comprising: a threepiece silver-gilt Christening set, R. & S. Garrard & Co., London, 1910, five table forks, London, 1788/1813, and four teaspoons, London & Dublin, 1807-1869; together with the following assorted table silver: a Scottish Fiddle pattern toddy ladle, initial H, Francis Howden, Edinburgh, 1818, two American serving forks and two butter knives 638gr (20oz) (17) £200-300

£800-1200 559 TEN GEORGIAN SILVER TABLESPOONS, ALL LONDON comprising: one Hanoverian Rat-tail pattern, initialled B/W*M, maker’s mark indecipherable, 1726, five Old English pattern, four initialled, 1793-1812 and three Fiddle pattern, initialled, 1808/11 603gr (19oz)

562 A SET OF TWELVE GEORGE V DESSERT KNIVES AND TWELVE FORKS, ATKIN BROTHERS, SHEFFIELD, 1921 with silver tines and blades and mother-of-pearl handles, in original fitted oak case with vacant brass oval to lid (24) £200-300

£250-350

140

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563 A SET OF VICTORIAN TABLE SILVER, HENRY WILKINSON & CO., SHEFFIELD, 1868/69 Fiddle Thread & Shell pattern, engraved with the initial M within a garter, comprising: four tablespoons twelve table forks twelve dessert spoons seven dessert forks ten teaspoons and a gravy spoon 3744gr (120oz) (46) £1200-1800 564 A SET OF TABLE SILVER, VINERS LTD., SHEFFIELD, 1932-39 Sandringham pattern, plain terminals, comprising: twelve tablespoons six table forks twelve dessert spoons twelve dessert forks six soup spoons six teaspoons six coffee spoons 3429gr (110oz) (60)

563

£1000-1500 565 A SET OF TABLE SILVER, ATKIN BROTHERS (SILVERSMITHS) LTD., SHEFFIELD, 1939-1941 Chippendale pattern, comprising: six tablespoons twelve table forks twelve dessert spoons eleven dessert forks twelve soup spoons eight teaspoons two sauce ladles and a pair of sugar tongs, Patent Office Design Registry No.623774 3777gr (121oz) (64)

564

£1200-1800

565 566 A SET OF EIGHTEEN VICTORIAN DESSERT KNIVES AND EIGHTEEN DESSERT FORKS, ELKINGTON & CO., BIRMINGHAM, 1875 with fern-engraved silver blades and prongs and plain mother-of-pearl handles, in contemporary coromandel veneered case, the burgundycoloured interior with later retailer’s label: ‘From Fortnum & Mason’s Gift Department’ £300-500

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570 ASSORTED ENGLISH SILVER, COMPRISING: an Edwardian tea caddy, in George III bright-cut style, oval, Nathan & Hayes of Birmingham, Chester, 1905, 11cm long, an oval sauceboat with waved rim and three feet, Viners Ltd., Sheffield, 1957, 15cm long, a sugar bowl, plain circular, base set with an 1815 George III Bank Token coin for 3s 6d, John Edward Wilmot, Birmingham, 1899, 9cm diameter, and a cased pair of berry spoons, with typical Victorian decoration to the originally Georgian tablespoons, bottom marked, Thomas Northcote, London, 1781 470gr (15oz) including wood finial to caddy (5) £120-180

567 567 AN EDWARDIAN SILVER TEAPOT, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1901 moulded oval George III style, with wrigglework borders, presentation inscribed 25cm long, 609gr (19oz) including composition wood handle and finial £150-250 568 A PAIR OF GEORGE V SILVER SAUCEBOATS, STOKES & IRELAND LTD. OF BIRMINGHAM, CHESTER, 1915 oval, each with waved rim, C-scroll handle and three shell-headed pad feet 15.5cm long, 341gr (10oz 18dwt)

571

£100-150

571 A GEORGE V SILVER SWEETMEAT DISH, BARKER BROTHERS SILVER LTD., BIRMINGHAM, 1929 the shaped circular dish on rim base and four paw and scroll panel feet, inscribed, the rim applied with slender leafy scrolls and drops 24cm diameter, 497gr (16oz) The inscription reads: Henley Golf Club / Captain’s Prize / 1930 / A.W.B. Brakspear. £120-180

569 569 A SET OF FOUR SILVER BUN PEPPERS, TESSIERS LTD., LONDON, 1959/60/68 in George I style, plain girdled baluster, pellet pierced covers 7.5cm high, 239gr (7oz) £100-150

572 A GEORGE V SILVER VASE, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1911 octagonally faceted trumpet shaped and scroll pierced at the flared rim, 13.5cm high; together with two silver trophy cups, each with two handles, neither inscribed, London, 1926 and 1939, 18cm and 14cm high respectively 389gr (12oz) (3) £80-120 573 A GEORGE V SILVER-MOUNTED EAST AFRICAN CAPE BUFFALO HOOF INKWELL, ROBERT PRINGLE & SONS, LONDON, 1932 the plain lid inscribed ‘Rumuruti / R.N. / February 1932’ hinging to reveal a gilt well with glass liner 16cm long Rumuruti in Kenya’s Rift Valley is presumably where the buffalo was shot, its hoof subsequently mounted as a hunting trophy inkwell. £120-180

573 142

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574 ~ AN EDWARDIAN SILVER-GILT DRESSING TABLE SET, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1907 each pearl finished and centred by an applied bunch of flowers surrounded by ribbon-tied floral swags on an engine-turned ground, comprising: three oval trays in sizes, two oval boxes with hinged lids in sizes, a circular jar with screw-on cover, a small circular jar and cover, a hand mirror, a pair of hand brushes, two further brushes, a tortoiseshell comb, a seven-piece manicure set, a shoe horn, a button hook and a pair of glove stretchers, all in a later Garrard blue velvet lined case largest tray 32cm long, weighable silver 1591gr (51oz) (23) £1500-2500 575 ~ A LEATHER CASED DRESSING TABLE SET, THE GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1910/11 the hammer-finished silver initialled BN in an oval, comprising: seven glass jars in sizes with silver covers and a loose silver cover (glass lacking), a hand mirror, a pair of hair brushes, a pair of clothes brushes, and a set of four implements in case (one implement lacking), together with a leather travelling inkwell, a leather tray and a leather blotting pad case with ivory pencil and nib pen, original green leather case gilt initialled BN, green watered silk lined fitted interior case 46cm long (qty)

574

£150-250

575

576 AN EDWARDIAN SILVER COFFEE JUG, CRICHTON BROTHERS, LONDON, 1910 in plain octagonal Queen Anne style, girdled baluster, the underside stamped: ‘CRICHTON BROS. / NEW YORK & LONDON’, Britannia standard 22cm high, 724gr (23oz) including fibre handle and finial £300-500

576

143

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577

578

577 A GEORGE VI SILVER HIP FLASK, J.B. CHATTERLEY & SONS LTD., BIRMINGHAM, 1942 curved oblong form, the front engine-turned, with bayonet fitting hinged cap 13.5cm high, 224gr (7oz) £80-120 578 AN EDWARDIAN SILVER FOUR-PIECE TEA AND COFFEE SET, FORDHAM & FAULKNER, SHEFFIELD, 1909 elongated octagonal outline, engraved with initials and crest for Violet Manners, comprising a teapot, a coffee pot, a milk jug and a sugar bowl coffee pot 23.5cm high, 1870gr (60oz) including wood finials and composition handles

579

Provenance: Violet Manners, Duchess of Rutland (18561937). Known as Queen of The Souls (the artistic and intellectual loose association of friends), she painted and sculpted, despite no formal training and is best known for her depictions of family and their circle. Much admired as a beauty (as was her daughter Lady Diana Cooper), she was painted by G.F. Watts amongst others.

Thence by descent. £600-800 579 A SET FOUR GEORGE V SILVER CANDLESTICKS, THOMAS A. SCOTT, SHEFFIELD, 1910 pointed oval outline, plain excepting moulded borders, the flared stems terminating in urn-shaped scones and complete with detachable nozzles 30.5cm high, loaded £600-800 580 A GEORGE V SILVER THREE-PIECE TEA SET, COOPER BROTHERS & SONS LTD., SHEFFIELD, 1921 oblong, part lobed pattern, on bun feet teapot 30.5cm long, 1365gr (43oz) including fibre handle £400-600

580

144

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581

581 A GEORGE V SILVER BACHELOR’S TEAPOT, J. PARKES & CO., LONDON, 1923 of bullet form, engraved to the shoulder and flushhinged lid with foliate diaper strapwork, underside inscribed J. Parkes & Co. / 12 Vigo St W 19.5cm long, 363gr (11oz) including wood handle and finial £150-200 582 A PAIR OF VICTORIAN ELECTROPLATE FIGURAL STANDS, ELKINGTON & CO., BIRMINGHAM, LATE 19TH CENTURY each as a differing Tudor style soldier clutching a post terminating in a brazier basket, the circular pedestals with beaded and ovolo borders and applied with foliate scroll brackets 49cm high

582

£800-1200 583 A THREE-PIECE SILVER TEA AND COFFEE SET, WALKER & HALL, SHEFFIELD, 1908/10 the oblong bodies with a band of alternate lobes and flutes below a gadroon rim, bun feet, comprising a teapot, a coffee pot and a two-handled sugar bowl coffee pot 24cm high, 2097gr (67oz) including composition handles and finials to pots £600-800 584 A VICTORIAN SILVER HOT WATER JUG, CARRINGTON & CO., LONDON, 1890 cylindrical and part lobed, 16cm high; together with two silver milk jugs, both London, one plain oblong, Horace Woodward & Co. Ltd., 1911, 11cm high, the other plain baluster, J. Parke & Co., 1922, 8cm high 587gr (18oz) including wood handle and finial to hot water jug (3)

583

£200-300

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585 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, COLEN HEWER CHESHIRE OF BIRMINGHAM, CHESTER, 1905 shaped oblong glazed aperture, surrounding mount stamped in relief with chrysanthemum blosssoms and matted ground reserves, oak easel back 33.5cm high £800-1200 586 A PAIR OF EDWARDIAN SILVER PHOTOGRAPH FRAMES, CHARLES S. GREEN & CO., BIRMINGHAM, 1905 oblong, each with asymmetrically placed glazed circular aperture surrounded by the mount stamped with a rustic scene of a couple seated by an old water mill and wheel above a Shakespearean quote on a banner ‘more water glideth by than wots the miller of’ (Titus Andronicus ii 1), oak easel backs 21.5cm high £1500-2000

585

587

586

587 A WOOD AND SILVER-MOUNTED PHOTOGRAPH FRAME, THE MOUNTS WILLIAM COMYNS & SONS, LONDON, 1884 the wood easel frame of spreading ogee form probably later, oval glazed aperture, applied with three mounts pierced with eighteenth century gentlemen and scrolling foliage 23cm high £150-250 588 A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, WILLIAM NEALE & SON OF BIRMINGHAM, CHESTER, 1903 each with a glazed rectangular aperture and silver border stamped in Art Nouveau taste with stylised floral tendrils on a rippled ground centred to the top by a vacant shaped oval cartouche, easel backs re-covered in burgundy watered silk 24.5cm high £500-700

588 146

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589 A LARGE PAIR OF EDWARDIAN SILVERMOUNTED PHOTOGRAPH FRAMES, A. & J. ZIMMERMAN, BIRMINGHAM, 1903 with bevel glazed heart-shaped apertures, the surrounding mounts stamped in Art Nouveau taste with scrolling bands and entwining stylised flowers on a pebbled ground within corded rims, each centred to the top by a vacant oval, the flowerheads later decorated in blue and green enamel paint, P.O.D.R. number for 1903, later mahogany easel backs 45.5cm high £3000-4000 590 A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM COMYNS & SONS, LONDON, 1887 shaped rectangular glazed aperture, the surrounding mount stamped and pierced with a variety of Neo-classical figures and motifs inhabiting scrolling foliage, centred by a mask of Pan to the top and a vacant oval to the bottom, with later mahogany easel back 31cm high £800-1200

589

591 591 A VICTORIAN SILVER-MOUNTED DOUBLE PHOTOGRAPH FRAME, WALKER & HALL, BIRMINGHAM, 1899 oblong, with a pair of oval glazed apertures, the surrounding mount stamped with scrolls and foliage on a matted ground and a pair of vacant shaped cartouches, blue velvet easel backed 17.5cm long £150-250

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592

593

592 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM NEALE & SON OF BIRMINGHAM, CHESTER, 1905 shaped oblong, rectangular glazed aperture, the mount stamped in Art Nouveau taste with stylised flowers and tendrils on a matted ground, central vacant oval, oak easel back 33cm high £250-350 593 A VICTORIAN SILVER-MOUNTED DRESSING TABLE MIRROR, HENRY MATTHEWS, BIRMINGHAM, 1899 oblong, the stamped mount centred to the top with an 18th century style vignette of a lute player serenading two ladies flanked by rocaille, scrolls and flowers on a matted ground and a further vignette to the bottom of a peacock in a garden, later glass plate and with renovated red velvet lined easel back 43cm high £600-800

594

594 A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, J. & R. GRIFFIN OF BIRMINGHAM, CHESTER, 1905/07 rectangular, the mounts stamped in Art Nouveau taste with stylised irises and scrolling bands on a pebbled ground within beaded rims, the flowerheads later decorated in blue and green enamel paint, each frame centred by a vacant oval, later oak easel back 31cm high £1800-2200 595 A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, E. MANDER & SON, BIRMINGHAM, 1902/03 shaped outline, glazed circular aperture, the mounts stamped in Art Nouveau taste with trailing poppies, each with four flowerheads later decorated in blue and green enamel paint flanking the central vacant roundel, P.O.D.R. numbers for 1902, with later oak easel backs 17cm high £1800-2200

595 148

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597

596 596 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, J. AITKIN & SON, BIRMINGHAM, 1904 shaped oblong bevel glazed aperture, the surrounding openwork mount stamped in relief featuring a squirrel amidst berried foliage, oak easel back 24cm high £800-1200 597 AN AMERICAN SILVER DOUBLE PHOTOGRAPH FRAME, GORHAM MANUFACTURING CO., PROVIDENCE RI, EARLY 20TH CENTURY rectangular, engraved with initials C.P.B, with green velvet easel back 24cm long £120-180 598 A SILVER-MOUNTED EASEL MIRROR, WILLIAM COMYNS & SONS, LONDON, 1891 with heart-shaped bevelled plate, the silver surround stamped and pierced with mythical birds, putti, young mermen and a grotesque mask amid scroll foliage and rocaille and a heart-shaped vacant cartouche 26cm high

598

£100-200

600

599 599 A PAIR OF VICTORIAN SILVER DESK CANDLESTICKS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1898 square gadrooned bases and stop fluted Corinthian column stems, with detachable nozzles 17.5cm high, loaded £200-300

600 A SET OF SIX VICTORIAN SILVER SALT CELLARS, C.S. HARRIS, LONDON, 1888 in George II style, each on three hoof supports, the compressed circular bodies chased with foliage and flowers below shaped gadroon lips 8cm diameter, 651gr (21oz) excluding blue glass liners £500-700

149

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604 605

606 604 A VICTORIAN SILVER STRAWBERRY DISH, RETAILER’S MARK OF F.B. THOMAS & CO., LONDON, 1893 circular, fluted sides, the underside struck: ‘THOMAS / 153 NEW BOND St’ below a crown and Prince of Wales feathers 6.7cm diameter, 287gr (9oz) £120-180 605 A VICTORIAN SILVER WAITER, BENJAMIN PRESTON, LONDON, 1843 engraved ‘Souvenir’ surrounded by flowers and scrolls, with applied shell and scroll rim, on three cast openwork scroll feet 19cm diameter, 353gr (11oz) £150-250

602

601

601 A VICTORIAN SILVER TEAPOT, EDWARD BARNARD & SONS, LONDON, 1894 oval, part lobbed pattern 26.5cm long, 561gr (18oz) including composition handle and finial £150-200 602 A VICTORIAN SILVER HOT WATER JUG, THE GOLDSMITHS & SILVERSMITHS CO., SHEFFIELD, 1884 baluster, short pedestal foot, part lobbed pattern, engraved with the crest of Neve 28cm high, 539gr (17oz) including composition handle and finial

606 A VICTORIAN SILVER SALVER, HOLLAND, ALDWINCKLE & SLATER, LONDON, 1888 with bright-cut engraving surrounding the presentation inscription, the applied rim cast with alternating oval patera and a bust of a young man with feathered cap, the openwork pales between hung with husk swags 20.5cm diameter, 384gr (12oz) The presentation inscription reads: Presented to Herbert Neve Esqr. on the occasion of his Marriage with the best Wishes of the tenants on The Hemsted Estate April 17th 1890 Herbert Neve (1860-1935) (son of Richard Neve of Pullington House, Benenden, steward to Lord Cranbrook on the Hemsted Estate), married Elizabeth Burra (1866-1897), sister of the artist Edward Burra. £150-200

603 A GEORGE V SILVER WAITER, TESSIERS LTD., LONDON, 1931 engraved with a crest, moulded rim, on three volute feet, 16cm diameter; together with a silver two-handled bowl, maker’s mark rubbed, Birmingham, 1911, applied to the waved rim with scrolls, on short pedestal foot, 18cm long across handles 572gr (18oz) (2)

607 ASSORTED CONDIMENT SILVER, COMPRISING: a set of four Victorian salt cellars and two salt spoons, circular, waved beaded rims, each on three ball feet, Horace Woodward & Co., London, 1889, 4.2cm diameter, a pair of Victorian pepperettes, baluster, with scrolls, lobes and foliage, T.H. Hazlewood & Co., Birmingham, 1898, 7cm high, and a German caster, elongated inverted baluster, with alternate lobes and flutes hung with ribbon-tied flower swags, pedestal foot, B. Neresheimer & Söhne, Hanau, import marked Berthold Muller, Chester, 1904, 14cm high 251gr (8oz) (9)

£150-250

£100-150

£150-200

150

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608 A SET OF SIX GEORGE V SILVER LIQUEUR TOTS, MAPPIN & WEBB LTD., BIRMINGHAM, 1914 of tyg beaker form, in original fitted case, 4.5cm high; together with a Victorian silver salt cellar, three footed cauldron form, with blue glass liner, Charles Stuart Harris, London, date letter rubbed, circa 1890, 5.5cm diameter; and the following electroplate: a helmet shaped milk jug and a cased set of Kings pattern dessert spoons with berry pattern bowls (14) £100-150 609 † ASSORTED ENGLISH PLATED WARES, COMPRISING: a pair of Georgian Sheffield Plate entrée dishes, covers and one handle, oblong, applied reeded and foliate rims, circa 1825; an oval electroplate entrée dish, cover and handle, with beaded rims, circa 1900; a Victorian electroplate baluster coffee pot, late 19th century; a pair of plated sauceboats on three pad feet; and a circular electroplate dish warmer, early 20th century (7) £70-100 †

611

611 A VICTORIAN SILVER NOVELTY FIGURAL CIGAR LIGHTER, ROBERT HENNELL & SONS, LONDON, 1880 modelled as a seated terrier with large collar below his detachable head, clutching a pipe in his mouth, flanked by a Georgian style mug and a battered top hat, all on a naturalistic mound, P.O.D.R. lozenge for 7 December 1877, also a barbed ‘H’ mark probably for the retailer Hancocks & Co. green and black granite base 17.2cm

610

610 A WILLIAM IV SILVER CANDLESTICK, CRESWICK & CO., SHEFFIELD, 1835/36 shell pattern, square base, knopped stem and waisted sconce, complete with detachable nozzle, engraved with the crest of Bagot of Blithfield, silver covered base 28cm high, loaded

The manufacturing silversmiths Robert Hennell & Sons produced a wide range of naturalistic and figural novelty wares, many retailed by Hancocks & Co. From the 1860s the quality of the modelling becomes noteworthy, under the auspices of James Barclay Hennell, who may well have modelled items himself. Dogs with pipes in their mouths are a familiar theme in Victorian art; examples can be found in Staffordshire pottery. The inspiration for such figures probably stems from paintings by Sir Henry Edwin Landseer such as ‘A Quiet Pipe’, used in Pear’s Soap advertising and ‘Low Life’, where a similar Bull Terrier in large collar is depicted sitting beside a pewter mug. The present rare lot is an usual example where the pipe has a function, in this case issuing the flame of the lighter. £800-1200

£150-250

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613 ~ A WILLIAM IV SILVER THREEPIECE TEA SET, PEARCE & BURROWS, LONDON, 1836 compressed ogee, chased with matted acanthus flanking lobes and engraved with a crest, on cast rocaille and scroll feet, the teapot with cast convolvulus flower finial, the milk jug and sugar bowl with gilt interiors teapot 27cm long, 1467gr (47oz) including ivory insulators to teapot The crest is that of Carrington of Bugsworth Hall, Bugsworth (latterly Buxworth), Derbyshire. £800-1200 614 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)

613

£80-120

612

615

612 TWO GEORGE III SILVER MUSTARD POTS, LONDON both oval and bright-cut, one pierced with two rows of urns and engraved laurel swags between, the lid with crested oval, beaded rims, Joseph Bradley, 1786, the other with solid sides engraved with ribbon-tied swags, the lid with a vacant shield, reeded rims, Robert Hennell, 1793 each 10cm long, 194gr (6oz) excluding two blue glass liners (2) £180-220

152

614 part

615 A GEORGE IV SILVER MUSTARD POT, ABSTAINANDO KING, LONGON, 1828 drum-shaped, applied reed and ovolo borders, shell thumbpiece to the almost flat hinged lid 9.7cm over handle, 90gr (3oz) excluding blue glass liner Joseph William Story, who entered his first mark in 1803 and later in partnership with William Elliott, was apprenticed to Abstainando King (1764-1833) in 1795. £150-200

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616

616 A PAIR OF GEORGE III SILVER SALT CELLARS, BOULTON & FOTHERGILL, BIRMINGHAM, 1775 oval, each pierced with two rows of arched pales below a bound reeded rim and above a band of lobes, the short pedestal feet engraved with the initial C below a baron’s coronet, 12cm across leafy scroll handles; together with a pair of Georgian silver salt spoons, mid 18th century, Old English pattern with shell bowls, crested, indecipherable maker’s mark only bottom struck twice 211gr (6oz) excluding one clear glass liner (4) Matthew Boulton and John Fothergill’s partnership at the Soho Manufactory lasted from 1762-1782. Much of the silver was to special commission. In the 1770s James Wyatt supplied a number of designs, although much of the partnership’s Neo-classical output is probably more directly attributable to the firm’s chief designer at this time, Francis Eginton (1737-1805). Eginton later became better known for his glass painting, an art he revived after leaving the manufactory in 1784. For a related design of Boulton & Fothergill salts with solid sides, see Stair Galleries, New York, 13 September 2009, lot 658 £400-600

619 619 A SCOTTISH GEORGE IV SILVER WINE FUNNEL, GEORGE MCHATTIE, EDINBURGH, 1819 of typical two-part form, the funnel with applied ribs, the strainer with shell clip, reeded rims, 13.5cm high; together with a silver wine funnel stand, moulded rim, initialled B below an earl’s coronet, indecipherable maker’s and Edinburgh town marks only, probably late 18th century, 9cm diameter 162gr (5oz) (2) £300-400

617 A GEORGE III SCOTTISH SILVER SUGAR BOWL, WILLIAM DICK & THOMAS MCPHERSON, EDINBURGH, 1809 the circular body engraved with a crest above a band of lobes, applied gadroon and shell rim, on ball feet, gilt interior, 19cm long across handles; together with another silver sugar bowl, Walker & Hall, Birmingham, 1902, circular, chased with scroll foliage on a matted ground, with engraved scroll initials, 10.5cm diameter; and a silver inkwell, Frederick Charles Welch of Liverpool, London, 1908, circular, hinged lid above an ogee body, 10cm diameter 659gr (21oz) excluding electroplate liner to inkwell (3) £200-300 618 A GEORGE III SILVER-GILT BOTTLE STAND, SOLOMON HOUGHAM, LONDON, 1800 circular, applied running leaf border, the centre engraved with a crest below the initial W, loaded wood underside 12cm diameter

617

£150-250

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622

622 ~ A GEORGE III SILVER HOT WATER JUG, MAKER’S MARK ATTRIBUTED TO DAVID WHYTE, LONDON, 1768 baluster, gadroon foot, beaded lip, gadroon bordered lid with wrythen cone finial, the Victorian silver scroll handle addition marked for J. & A. Savory, London, 1844 28.5cm high, 805gr (25oz) including ivory insulators

620

£300-400 620 A GEORGE III SILVER COFFEE BIGGIN ON STAND WITH BURNER, JOHN EDWARDS, LONDON, 1803 oval, gadroon borders, the pot engraved to both sides with scrolling initials within a shield surrounded by drapery mantling, domed lid with acorn finial, fibre handle, stand with cabriole legs on paw feet, plain burner and cover 32cm high, 1321gr (42oz) £500-800 621 A GEORGE III SILVER TEA CADDY AND COVER, DANIEL SMITH & ROBERT SHARP, LONDON, 1761 bombé form, with gadroon rims, applied with shells at base, on four shell and scroll feet, one side engraved with a vacant Rococo foliate cartouche 13cm high, 231gr (7oz) £300-400

621

154

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623 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 twice repeated Chinese pictograms for ‘Yi’ (righteous, patriotic and justice) 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 9.4cm wide, 410gr (13oz) For an another caddy with 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.

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. 338-340)

623

624 A SET OF FOUR GEORGE III SILVER SALT CELLARS, STEPHEN ADAMS, LONDON, 1801 the plain elongated octagonal bodies on pedestal feet of conforming outline, applied with reeded rims and angular handles; together with four silver salt spoons, with shell bowls, late 18th century and later salts 13cm long, 403gr (13oz) (8) £180-220

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

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625 AN IRISH SILVER COFFEE POT, GEORGE HODDER, CORK, CIRCA 1760 the baluster body engraved with a contemporary coat of arms within Rococo foliage and above a small banner engraved ‘LE. E. 1763’, the domed and reeded lid with wyrthen knop, cast Rococo spout, underside engraved with scratch weight and initials ‘31oz”0 / C L’, maker’s mark and ‘STERLING’ mark 973gr (31oz) including wood handle £3000-4000

625 626 A PAIR OF GEORGE III SILVER CANDLESTICKS, WILLIAM & JAMES PRIEST, LONDON, 1770 cast shell pattern, with corded borders, each shaped square base engraved with a woman’s coat of arms within Rococo foliage, complete with their detachable nozzles 26cm high, 1296gr (41oz 13dwt) The arms are those of Blagden (female) of Keevil, Wiltshire, probably for Eleanor Blagden (d.1785). The clothier, Roger Blagden, built Blagden House in Keevil in the late 16th century. The property remained in the family for several generations, the house remodelled by Edward Blagdon (d.1730) in 1710. His son, also Edward, died without issue in 1748, the estate passing to his sisters, both unmarried, Anne who died in 1773 and the above Eleanor. The estate then went via cousins to the Chamberlaine family. Eleanor may not have lived at the house in Keevil, as her will describes her as a spinster of Devizes, mentioning a number of other properties, including one in Petty France, Westminster. £1500-2000

626

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627 A GEORGE III SILVER COFFEE POT, MAKER’S MARK I.A, LONDON, 1769 baluster, later chased with bands of Rococo scroll foliage on a matted ground, shaped cartouche engraved with a crest 29cm high, 982gr (31oz) including wood handle £700-1000

629

628

628 A GEORGE II SILVER PAP BOAT, MAKER’S MARK ?M BELOW A PELLET, LONDON, 1736 of typical oval form, engraved with a later inscription 12cm long, 62gr (2oz)

627

The inscription reads: ‘Transferr’d by the Great Grand-Sires Eldest Child E.S. Born 1742 / TO THE / Great Grandsons Eldest Son Richard Catcott Smith Born 6th June 1820’ Richard Catcott Smith, son of Henry Smith, an attorney of Bristol and his wife, Anne, was baptised at Christ Church, Bristol, Gloucestershire on 28 December 1820. He died at St. Helier, Jersey on 8 February 1862. £100-150 629 A GEORGE II SILVER PAP BOAT, GEORGE GREENHILL JONES, LONDON, 1739 typical form 9.7cm long, 40gr (1oz) £80-120 630 A GEORGE II SILVER BASKET, S. HERBERT & CO., LONDON, 1758 shaped oval, on four cast and pierced shell feet below a cast openwork apron of behatted and mustachioed Chinoiserie masks, scrolls, rocaille and diaper piercing at intervals, the diaper pierced sides below an applied cast openwork rim of further Chinoiserie masks and scroll rocaille, swing handle with bare-headed chinoiserie heads 36.1cm wide, 1476gr (47oz) £1500-2500

630 157

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631

631 A PAIR OF QUEEN ANNE SILVER TRENCHER SALT CELLARS, JOHN JACKSON, LONDON, 1720 moulded circular form 8cm diameter, 188gr (6oz) £400-600

634

634 A PAIR OF GEORGE II SILVER TRENCHER SALT CELLARS, JAMES STONE, LONDON, 1728 of moulded cut-cornered rectangular form, the underside engraved with the initials F over IA, also later engraved with the date 1728 8cm wide, 115gr (3oz 13dwt) £250-350

632

632 A PAIR OF GEORGE II SILVER TRENCHER SALT CELLARS, EDWARD WOOD, LONDON, 1726 moulded rectangular with incurved corners, one side of each engraved with a crest 7.7cm wide, 148gr (4oz 15dwt)

635

635 A PAIR OF QUEEN ANNE TRENCHER SALT CELLARS, THOMAS MERRY, LONDON, 1712 of moulded cut-cornered rectangular form 8.5cm wide, 148gr (4oz 15dwt) £250-350

£250-350

633 633 AN IRISH SILVER SALT CELLAR, ROBERT CALDERWOOD, DUBLIN, CIRCA 1755 cauldron form, applied with flower and fruit garlands hung between the lion mask headed paw feet, gadroon rim, interior with traces of gilding, underside engraved with the crest of Bagot of Blithfield and scratch weight ‘6.8’; together with another silver salt cellar to match, Robert Garrard, London, 1804, matching in all respects except without scratch weight 8.5cm wide, 361gr (11oz) (2)

636 636 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 Cscroll handle 18.5cm long, 372gr (11oz) £150-250

£250-350

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640

637 637 TWO GEORGE I SILVER BUN PEPPERS, WILLIAM FLEMING, LONDON, 1718 typical girdled baluster form, one with pellet pieced cover, underside initialled K/P*M, the other with scroll pierced cover, underside initialled I.W, gilt interior, Britannia standard 8cm high, 130gr (4oz) £400-600

640 A SILVER SNUFF BOX, MAKER’S MARK ?a, LONDON, CIRCA 1710 oval, the lid engraved ‘Susa Page / Bradninch / 1741’ above leafy fronds, with stand-away hinge, the underside engraved with marriage triangle initials ‘P / J x S / 1725’, Britannia standard rubbed marks, incuse mark WA to interior base rim 7.5cm long The Susannah Page of the lid is most likely to have been the daughter of John and Susannah Page, whose initials appear on the underside of the box and who were probably married in 1725. Certainly their daughter was baptised at Upton Pyne, near Bradninch, on 2 April 1726. £200-300

638 638 A GEORGE III SILVER SNUFF BOX, UNMARKED, CIRCA 1790 oval, double lidded with central flush hinge, covered with diaperwork bright-cut engraving, one lid with an oval cartouche containing the crest of Bagot of Blithfield 9.5cm long Provenance: The Barons Bagot of Bagot’s Bromley, probably William Bagot, 1st Baron (1728-1798) or his son, also William, 2nd Baron (1773-1856); thence by family descent. £300-400

641

639 639 A PAIR OF GEORGE III SILVER WINE LABELS (BOTTLE TICKETS), BENJAMIN SMITH, LONDON, 1808 each die-stamped as a vine wreath with fringed drapery at the centre, pierced for PORT and MADERIA, contemporary chains 133gr (4oz) £500-700

641 A PARCEL-GILT SILVER POMANDER (VINAIGRETTE), PROBABLY GERMAN, CIRCA 1710 cylindrical urn form, with screw-on base and pierced detachable cover, lobed and engraved acanthus leaf borders, the underside pricked at a later date ‘PHW / 1794’ 4.2cm high For another pomander of similar form, see Lempertz, Cologne, 18 November 2016, lot 317 £300-400

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643

642

642 A VICTORIAN SILVER NOVELTY NUTMEG GRATER, TAYLOR & PERRY, BIRMINGHAM, 1838 modelled as a stylised nutmeg kernel, interior with hinged silvermounted steel rasp 4cm long £1000-1500

644

643 A PAIR OF VICTORIAN SILVER NOVELTY PILL BOXES, SPINK & SON, LONDON, 1895 each realistically modelled as a brazil nut, gilt interiors 5cm long £400-600 644 TWO SILVER FIGURES OF PIGS, HANCOCKS & CO., LONDON, 2004 in sizes, each sow finely modelled and detailed 10.5cm and 7cm long, 205gr (6oz 11dwt) £120-180

645

645 A VICTORIAN GAMING COUNTER SET, WILLMOT & BELL, LONDON, 1895 the rectangular red morocco case with silver-mounted shaped corners and applied initial W, the blue silk and velvet lined interior containing three sets of mother-of-pearl tokens stained in red, white or blue and initialled W, each set of ninety-nine pieces 36.5cm long £300-500 646 A VICTORIAN SILVER-MOUNTED RAM’S HORN SNUFF MULL, RAWLINGS & SUMMERS, LONDON, 1851 the silver lid (detached) set with a foiled Cairngorm and chased with scrolled foliage around an inscribed cartouche, silver rim mount, the horn mounted with a nickel scroll foliate foot and plain terminal 23cm long £100-150

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650

652

651

653

647 TWO VICTORIAN RAM’S HORN SNUFF MULLS, MID 19TH CENTURY one with electroplate mounts, the lid with deer finial and gadroon borders, the terminal in the form of an inkwell, with feather foot, 24cm long, the other with metal mounts, the lid set with an agate, the terminal thistle form, 30cm long; together with a Victorian electroplated Britannia metal spoon warmer, second half 19th century, nautilus shell shaped and decorated with Renaissance dolphins and other marine motifs, 18cm long (3)

650 A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK ASZ? IN CYRILLIC, ASSAY MASTER ANDREY KOVALSKIY, MOSCOW, 1846 rectangular, the hinged lid with a view of the equestrian statue of Peter the Great, the base with a harbour scene, hatched sides, gilt interior, 875 standard 8.3cm wide

£80-120

651 A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK GG IN CYRILLIC, ASSAY MASTER NIKOLAI DUBROVIN, MOSCOW, 1838 rectangular, the hinged lid with a cityscape, the base similarly decorated with a bridge over a river between buildings, the sides with various houses, gilt interior, 875 standard 7.5cm wide

£250-350

£250-350

648 648 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; together with 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 (2) Provenance: The Hoffenreich Collection of Snuff Boxes, Vienna £200-300 649 AN AUSTRIAN SILVER SNUFF BOX, MAKER’S MARK T.S, VIENNA, 1856 oblong, engine-turned, the lid with engraved scroll foliate border including a vacant cartouche, the underside with central vacant cartouche, 812 standard 9cm long

652 AN AUSTRO-HUNGARIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK LK, PRAGUE, 1846 rectangular, the hinged lid decorated with a vignette of a goat and country lass within formal borders, sides and base, gilt interior, 812 standard 8.5cm wide £200-300 653 A RUSSIAN SILVER AND NIELLO SNUFF BOX, FEDOR MAKSIMOV, ASSAY MASTER ANDREY KOVALSKIY, MOSCOW, 1845 rectangular, the lid and base decorated with architectural views within rococo cartouches, hatched sides, gilt interior, 875 standard 7.7cm wide £250-350

£80-120

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658

657

657 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL SMALL CASKET, NIKOLAI ALEKSEEV, MOSCOW, CIRCA 1890 rectangular, with raised section lid and hinged angular loop handles, enamelled with scroll foliage and flowerheads on a matted ground within turquoise beaded and geometric borders, Dutch import mark, 916 standard 10.5cm long with handles down £500-700

655

654

654 A RUSSIAN SILVER-GILT AND ENAMEL PILL BOX, NIKOLAI STRULEV, MOSCOW, 1899-1908 circular cushion form, the lid with a roundel enamelled en plein of a flower spray on a pink ground, surrounded by cloisonné enamelled white pellet borders and scroll foliage on a matted ground, 875 standard 5.2cm diameter

658 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL SMALL CASKET, ALEXANDER BELOV, MOSCOW, CIRCA 1910 rectangular, with lightly domed lid centred by a vacant roundel, covered in enamelled turquoise pellets surrounding shaped panels of foliate scrolls on a matted ground, on bracket feet, 875 standard 8.5cm long £400-600

£300-500 655 A RUSSIAN SILVER-GILT AND ENAMEL SNUFF BOX, MAKER’S MARK DO (IN CYRILLIC) UNRECORDED, ST PETERSBURG, CIRCA 1900 circular cushion form, the lid and base enamelled with a sixpointed star motif, the whole covered in scrolls and stylised foliage, 875 standard 6cm diameter £300-500 656 A RUSSIAN SILVER AND CLOISONNE ENAMEL FRAME, MAKER’S MARK IK (IN CYRILLIC), ST PETERSBURG, LATE 19TH CENTURY the oval aperture filled with degraded wax, possibly originally an icon, bordered by turquoise beading and a band of stylised foliage in further blue, red, white and green enamels, with traces of gilding, wood backing, 875 standard 10.5cm high £100-150

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660 659

659 A SILVER-GILT AND LAPIS LAZULI CASKET, PERHAPS ITALIAN, LATE 19TH CENTURY rectangular with domed lid, ball feet, the reeded cagework mounts enclosing panels of lapis, hinged clasp 11cm wide £800-1200 660 A GEORGE III GOLD SNUFF BOX, WILLIAM TANNER, LONDON, 1814 oblong, concave sides, with all-over linear decoration, the lid engraved with the initials JB on a rectangular cartouche, the base with vacant cartouche, 18 carat, with a later black cloth case 96gr, 7.3cm long

661

£2500-3500 661 A GOLD BOX, RAMSDEN & ROED LTD., LONDON, 1954 rectangular, all over reeded decoration, sprung hinged lid opened by an almost flush rectangular button, 9 carat, with a black leather sleeve, 139gr, 8.7cm long £1500-2500 662 A GOLD ‘CASTLE TOP’ PILL BOX, S.J. ROSE & SON, LONDON, 1988 rectangular, the lid cast with a view of Newstead Abbey, the underside engine-turned, the sides with linear decoration, cast foliate rims, 9 carat 4.8cm long, 63.7gr £700-900

662

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664 A SMALL VICTORIAN BOX AND COVER COVERED IN SEALING WAX IMPRESSIONS, MADE BY JULIA DYSART, LONDONDERRY, 1842 rectangular, the box of card covered in a collection of motto and other sentimental seal impressions, including one inscribed ‘Bellarena’, the underside inscribed, the interior containing a similarly inscribed card, 8.5cm long; together with a burr wood snuff box and a lacquered foiled bois durci snuff box, second quarter 19th century, both oblong, the burr wood example with nacre cartouche, bois durci example with gilt-metal foliate thumbpiece and shield cartouche, 9cm and 11cm respectively; and a small glass seal, oval, engraved with two lines of music (4) The inscription reads: ‘For Miss Tyndal with / Julia Dysart’s affectn love / May 10th 1842 / Londonderry’ Despite unusually scant recordings of Julia Dysart, John Culme, though extraordinary detective skills, using a variety of death notices, census records and other arcane means, has managed to trace her life as follows:

665

664

Julia Dysart (1816?-1902) was one of a number of children born to John Dysart (1775-1864), a JP and three times mayor of Londonderry and his wife Esther (née Kennedy, 1783?-1862).

Around the same time Julia was bestowing her affections on Miss Tyndal, with the gift of this box, another person was cruelly misleading her about his. Samuel Montgomery was a member of the local gentry and a cleric and in ‘About 1843 he proposed to a handsome, dark-eyed, vivacious girl, a Miss Julia Dysart who lived in Moville. She accepted him . . . The fear overtook him and he backed out. For a parson of his generation this was a most serious matter and eventually, in order to avoid legal action for breach of promise, he had to pay the Dysarts £1,200 . . .’ (Brian Montgomery, A Field Marshal in the Family, London, 1973, reprinted Barnsley, 2010, p. 21). Rev. Samuel Montgomery (d.

1874) was the uncle of Field Marshal Bernard Law Montgomery, 1st Viscount Montgomery of Alamein. Shortly after this in December 1846, her sister, Annie, was married by the Lord Bishop in St Columb’s Cathedral, Londonderry, to William Hewitt Griffin.

The couple, together with Julia, went to Canada, but Annie died in February 1853 and was buried in Pentland Cemetery, Lennox and Addington County, Ontario. Julia then married her sister’s husband and had a son by him, Henry ‘Harry’ Hewitt Griffin (1855?-1918). Her husband (later recorded as Major William Hewitt Griffin B.A. T.C.D., J.P., &c., Assistant Adjutant-General) sadly died in Canada in 1866 and was buried next to his first wife. The widowed Julia and her son returned to England, where by 1891 they are recorded as living at ‘St Oswald’s’, Norroy Road, Putney, London, where she died in 1902. Her son, H.H. Griffin, was editor of Bicycling News in 1885, sometime director of the New Beeston Cycle Co. and editor of The Wheelman and Motor Car Weekly. £100-150

663 663 A FRENCH ORMOLU AND PORCELAIN MANTEL CLOCK, ALFRED DUMAS, PARIS, CIRCA 1870 eight day bell striking movement stamped A.D, the porcelain dial and side panels painted in 16th century Limoges enamel style, the ormolu case with eclectic Classical borders and caryatid pilasters surmounted by a seated figure of Caliope, on winged paw feet 26cm high

665 THREE BURR WOOD SNUFF BOXES, ENGLISH, SECOND QUARTER 19TH CENTURY all oblong, one with gilt-metal thumbpiece and vacant shield to lid, one with gilt-metal thumbpiece and shield to lid initialled JD and one with plated thumbpiece 11.5cm longest (3) £80-120

Alfred Dumas, 44 Rue Bonaparte, Paris, is cited in the 1874 Paris Exhibition catalogue as making many of the detachable parts for his carriage and other clocks. £400-600

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666 A FRENCH PARCEL-GILT BRONZE MANTEL CLOCK, CIRCA 1820 the timepiece movement with silk suspension, signed Butte and numbered 1061, the circular rose-turned dial with Roman numerals, the canted rectangular case cast with Roman military symbols and surmounted by a gilt antique helmet flanked by trophies hung with oak wreaths, the rectangular base with ribbontied plumes, on pad feet 27cm high £400-600

666

667

667 A FRENCH GILT-BRASS REPEATING CARRIAGE CLOCK, ACHILLE BROCOT, PARIS, LATE 19TH CENTURY the movement stamped with AB monogram in a star, striking the hour and half hour on a gong, hour repeating, white enamel dial with hour Roman numerals and five minute Arabic numerals, worn retailer’s signature below, corniche case with bevelled glass panels, with key 16.5cm high with handle raised £200-300 668 AN ORMOLU-MOUNTED BLACK MARBLE PORTICO CLOCK, FRENCH, CIRCA 1800 drum movement with silk suspension striking on a bell, white enamel dial with Roman numeral hours, with eagle finial and six flanking vases of flowers, each pair of supporting columns centred by a canephore-mounted pilaster, the rectangular plinth mounted with lions and a rosette and palmettes motif, spreading ormolu feet, on a wood stand (originally intended for a glass dome) 47.5cm high excluding wood stand

668

£400-600 669 A FRENCH WALNUT BRACKET CLOCK, SECOND QUARTER 19TH CENTURY eight-day bell striking movement, white dial with Roman numerals, the glass-fronted cover released from the ogee bracket by an acorn pull-piece 40cm high £300-500

669

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670

670 A SWISS SILVER AND ENAMEL MINIATURE CLOCK, GENEVA CLOCK CO., RETAILED BY ASPREY & CO. LTD., LONDON, CIRCA 1925 rectangular, white enamel dial with Arabic numerals and signed Asprey, eight day lever escapement movement with integral key, with pink guilloché enamel to front and sides, on bracket feet, signed to movement JTC in double lozenge and numbered 57043, underside similarly signed and numbered 10862, import marked Guignard & Golay, London, 1925, in its original gilt-tooled morocco leather case 4.2cm high

671

£1000-1200 671 A FRENCH SILVER REPEATING CARRIAGE CLOCK, PARIS, CIRCA 1905 the eight-day movement striking the hour and half hour on a gong, hour repeating, white enamel dial with blue Arabic numerals and signed for the retailer ‘Goldsmiths & Silversmiths Company...’, the solid silver Corniche case, handle and base plate all import marked London, 1905, with bevelled glass, with its leather carrying case 16.5cm high with handle raised Although Edwardian silver ‘boudoir’ clocks are relatively common, it is rare to find a carriage clock with a solid silver rather than plated brass case. £800-1200 672 AN AUSTRO-HUNGARIAN SILVER AND ENAMEL DESK TIMEPIECE, UNMARKED, VIENNA, LATE 19TH CENTURY the oval clock with watch movement surmounted by a figure of a stag, the case enamelled to interior and reverse with tavern scenes, the figural stem modelled as young Renaissance hunter resting on his spear and holding a bird aloft, the domed base painted with further tavern scenes, on three grotesque mask feet 21.5cm high £800-1200

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673

673 AN AUSTRO-HUNGARIAN ENAMELLED SILVER DESK TIMEPIECE, EARLY 20TH CENTURY the engraved stepped rectangular base decorated in multicoloured basse-taille enamel, set with a panel of lapis lazuli supporting two split pearl-mounted hippocampi and a triton chained to a silver-mounted rock crystal snail shell fitted with the watch movement, movement signed Anton Hiebner in Wien, struck with an 1901-1921 Austrian control mark and two post-1893 French import marks 9.5cm long

674

£800-1200 674 A GEM-SET SILVER TIMEPIECE, AUSTRO-HUNGARIAN, CIRCA 1910 the engraved openwork base set with moonstone and amethyst formal foliage below a lapis lazuli set plinth, the central glazed timepiece in circular basse-taille enamelled case, the watch movement signed Breguet No. 4631, supported by two columns surmounted by baskets overflowing with gemstone and split pearl foliage, similar central basket finial 19cm high £2000-3000 675 ~ A GEM-SET IVORY LIGHTERMAN FIGURE TIMEPIECE, AUSTROHUNGARIAN, EARLY 20TH CENTURY on cut-cornered square basse-taille enamel, silver-gilt and lapis lazuli base, the ruby and sapphire studded carved ivory figure holding a halberd in one hand and a lantern in the other, the watch timepiece with split-pearl bezel hung around his neck 24.5cm high £1500-2500

675 167

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676 AN AUSTRO-HUNGARIAN SILVER AND ENAMEL NEF, RUDOLF LINKE, VIENNA, 1885-1903 with traces of gilding, the three-masted superstructure with fanciful rigging, sails, flags, figures, a cannon, a tented pavilion and an anchor, the hull painted with scenes of Neptune and Amphitrite in their hippocampidrawn boat surrounded by their escorts, on a silver triton support, the lobed base with panels of Diana and Endymion and figures emblematic of the virtues 65cm high ÂŁ4000-6000

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677

677 ~ AN IVORY, SILVER-GILT AND ROCK CRYSTAL GROUP, PROBABLY GERMAN, CIRCA 1900 depicting a tableau of chess players in 18th century style, the carved ivory figures of a seated lady and gentleman whose play is watched by a lady standing, the furniture in silver, the rock crystal rectangular base with cast mounts with Greek key pattern between scrolled foliate supports and alternate cabochon amethysts and carbuncles 24cm wide

678

£2000-3000 678 ~ A SILVER-GILT, ENAMEL, IVORY AND GEM-SET FIGURE, AUSTROHUNGARIAN, EARLY 20TH CENTURY the canted rectangular base set with lapis lazuli above basse-taille enamel flowers, the carved ivory figure of a youth studded with circular-cut rubies and sapphires standing by a silver-gilt table supporting a basket of emerald, sapphire, ruby and amethyst flowers and dove-like baroque pearls 20cm high £1500-2500 679 AN AGATE AND GEM-SET SILVER-GILT BOWL, AUSTRO-HUNGARIAN, EARLY 20TH CENTURY the oval banded agate bowl surmounted by a figure of Diana and two chained baying hounds, with trailing enamelled oak and and pearl acorns between, the domed foot with basse-taille enamel foliage and butterflies 12cm long £700-1000

679

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685 ~ FERDINAND PREISS (1882-1943): GIRL WITH BOX a German ivory figure, Berlin, circa 1930, carved as a young girl cradling to her chest her precious box, the box painted in blue, green and gilt, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 15.5cm high Related literature: Alberto Shayo, Ferdinand Preiss Art Deco Sculptor, Woodbridge, 2005, p.277 £1200-1800

680 680 ~ 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) £150-250 681 ~ A BAND OF SIX IVORY ITINERANT GERMAN MUSICIANS, PROBABLY SOUTH GERMAN OR SAXON, LATE 19TH CENTURY carved as a drummer, a bagpiper, a horn player, a clarinetist, a flautist and their conductor, each standing on a silver socle with wreath and scroll foliate borders, silver marks for Richard Garten of Dresden, Reichmarks and 800 standard marks 16.5cm high

686 ~ FERDINAND PREISS (1882-1943): BOY WITH BIRD a German ivory figure, Berlin, circa 1930, carved a young boy gazing quietly at the small bird perched on his forearm, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 15cm high Related literature: Bryan Catley, Art Deco and Other Figures, Woodbridge, 1981, p.277 £1200-1800 687 ~ FERDINAND PREISS (1882-1943): FISHER BOY a German ivory figure, Berlin, circa 1930, carved as a young boy pulling the hook from his silvery painted fish, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 15.5cm high overall, rod lacking Related literature: Bryan Catley, Art Deco and Other Figures, Woodbridge, 1981, p.266 and Alberto Shayo, Ferdinand Preiss Art Deco Sculptor, Woodbridge, 2005, p.125 £1200-1800

£1000-1500 682 ~ A PAIR OF FRENCH IVORY FIGURES, PROBABLY DIEPPE, CIRCA 1895 carved as an Incroyable and his attendant Merveilleuse, each on turned ivory plinth 24cm and 25cm high £500-700 683 ~ A PAIR OF IVORY FIGURES OF CAVALIERS, PROBABLY GERMAN, LATE 19TH CENTURY each carved figure on a scroll-bordered ivory plinth 24cm high £700-1000 684 ~ FERDINAND PREISS (1882-1943): FISHER BOY a German ivory figure, Berlin, circa 1930, carved as a young boy pulling the hook from his silvery painted fish, his rod resting in the crook of his arm, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 21.5cm high overall Related literature: Bryan Catley, Art Deco and Other Figures, Woodbridge, 1981, p.266 and Alberto Shayo, Ferdinand Preiss Art Deco Sculptor, Woodbridge, 2005, p.125 £1200-1800

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681

684

685, 686

682

683 171

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688

689

688 ~ A PAIR OF GERMAN IVORY FIGURES OF ‘MALABAR MUSICIANS’, PROBABLY DRESDEN, MID 19TH CENTURY after mid 18th century models by Friedrich Elias Meyer (circa 1723-1785) for Meissen, each wearing a distinctive conical straw hat, the woman playing a hurdy-gurdy, the man a lute, set on ivory inlaid octagonal waisted socles 22cm high £1200-1800 689 ~ AN IVORY FIGURE OF ARMINIUS, GERMAN, LATE 19TH CENTURY the figure carved blowing his horn to call the Cherusci to arms, wearing his winged helmet and animal skins, on an ebonised wood turned cylindrical pedestal 36cm high overall, ivory 24.4cm high Known in German as Hermann der Cherusker, Arminius betrayed his former Roman masters by rallying the German tribes, leading them to a famous victory over three legions at the Battle of the Teutoburg Forest in 9AD. The Unification of Germany saw him become a symbol of solidarity in the newly created nation of the later 19th century. £1500-2000 690 ~ AN IVORY TANKARD, GERMAN, CIRCA 1880 carved with a bacchic procession above foliate strapwork and lobes, the short pedestal foot with further strapwork, the spout with fruit and grotesque mask, the cover with a Cupid finial, the scroll handle with bearded herm section and metal hinge 35cm high For another similar tankard from the Collection of William and Francis Green, see Bonhams, Los Angeles, 8 December 2014, lot 1191 £3000-4000

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691 691 ~ AN IVORY BRISE FAN, PROBABLY GERMAN, CIRCA 1850 the leading guard carved in relief with figures of Cupid and emblems of Love and Hope within richly scrolling foliage and flowers, with a corded cream silk tassel 24.5cm long £120-180

692 692 A SMALL ENAMEL BOWL WITH SILVER-GILT DROP HANDLES, AUSTRO-HUNGARIAN, LATE 19TH CENTURY shaped oval, enamelled in imitation of bloodstone, the fluted bowl painted in coloured enamels with grotesques each terminating in a mask, dolphin pattern handles 8.5cm £300-500

693 693 ~ A PAIR OF LARGE FRENCH IVORY FIGURES OF A CAVALIER AND HIS COMPANION, PROBABLY DIEPPE, LATE 19TH CENTURY each fancifully carved, frilled and furbelowed, perhaps inspired by Dumas’ d’Artagnan and Constance de Bonacieux from The Three Musketeers, on ebonised shaped square short pedestal bases with scroll supports ivory cavalier 37cm high, 52cm high including base £3000-4000 694 AN AUSTRO-HUNGARIAN SILVER-MOUNTED ENAMEL BONBONNIERE, VIENNA, LATE 19TH CENTURY compressed oval, the base, sides, hinged lid and interior richly painted with vignettes of couples in romantic settings, formal borders 7cm wide £700-1000

694 173

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696

695

695 A PAIR OF AUSTRO-HUNGARIAN SILVER-GILT-MOUNTED ENAMEL VASES, RUDOLF LINKE, VIENNA, 1885-1903 painted with panels of 17th century style rustic feasting between borders of alternate female mask and vase lobed panels, the enamel and silver handles cast with helmeted herm sections 29.5cm high £2500-3500 696 AN AUSTRO-HUNGARIAN SILVER-GILT, ENAMEL AND ROCK CRYSTAL PERFUME BARREL, UNMARKED, ATTRIBUTED TO HERMANN RATZERSDORFER, VIENNA, LATE 19TH CENTURY the rock crystal barrel with stopper formed as a ronde bosse enamel bibulous king and supported by two medieval figures seated back-to-back on a cruciform base decorated with basse-taille enamelling, on king’s mask scroll feet 9.5cm high For a similar barrel, marked Hermann Ratzersdorfer, see Christie’s, London, 2 November 2016, lot 2. £2000-3000 697 A SILVER-GILT MOUNTED ROCK CRYSTAL VASE AND COVER, AUSTRO-HUNGARIAN, CIRCA 1900 the two-handled urn-shaped body carved with borders of lobes, flutes, entwined ribbon and stiff leaves, the pedestal with an enamelled girdle, the cover with similarly enamelled rim and figural finial of a young woman 22.5cm high £2000-3000

697

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698 699

698 AN AUSTRO-HUNGARIAN SILVER-GILT AND ENAMEL TURTLE-SHAPED BOX, UNMARKED, ATTRIBUTED TO HERMANN BOEHM, VIENNA, LATE 19TH CENTURY the silver feet, head and tail enriched with translucent enamel, the lid painted with ovals of Mercury teaching Cupid to read in the presence of Venus, Jupiter and Ganymede, Venus Pandemos and Psyche gazing on the sleeping Cupid, the underside with Diana and Endymion, the interior with further painted mythological scenes, all with blue scroll white ground borders between 17cm long For a similar turtle-form box, marked Hermann Böhm, see Sotheby’s, New York, 26 October 2010, lot 29. £2000-3000 699 ~ A SMALL SILVER-GILT, GEM-SET AND IVORY TANKARD, AUSTRO-HUNGARIAN, LATE 19TH CENTURY the gem studded and scroll chased lid with seated satyr finial, the handle cast as a tree branch in which sits a further satyr, the ivory sleeve carved with Diana on her stag-drawn chariot processing with her attendent nymphs through an oak grove, on a spreading silver and gem-set foot 10.5cm high For a tankard with the same mounts but differing ivory sleeve, see Christie’s, London, 3 December 2002, lot 116, where catalogued as mid 19th century. £800-1200 700 A ROCK CRYSTAL MINIATURE EWER WITH SILVER-GILT ENAMELLED MOUNTS, KARL BANK, VIENNA, CIRCA 1900 the domed foot, ovoid body and waisted neck all scroll engraved, the mounts with enamel borders, the scroll handle surmounted by a Renaissance sphinx 15.5cm high

700

£500-700

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702

703 part

703 part 702 A PORTRAIT MINIATURE OF THE KING OF ROME, FRENCH SCHOOL, 19TH CENTURY after the portrait by Baron Gérard (François Pascal Gérard 1770-1837), the young ‘Aiglon’ shown reclining on green cushions wearing a white shirt with red sash clutching a sceptre to his chest, painted in enamels, with pink counter enamel, in a milled and beaded giltmetal frame with suspension ring oval 4cm

701

703 part

Napoleon François Charles Joseph Bonaparte (18111832), Prince Imperial, titular Emperor of the French as Napoleon II in 1815, was the son of Napoleon and his second wife, Archduchess Marie Louise of Austria, known from birth as the King of Rome. £150-200

701 ~ A PORTRAIT MINIATURE OF A LADY, BY MARIE-HONORE RENAUD (BEFORE 1797- AFTER 1857), 1812 with a large white feather to her headdress, wearing a high-necked white chemise and blue silk dress, on ivory, gilt signature and date ‘23.7bre.1811’ to right, in milled gilt-metal mount and square wood frame 7cm diameter A pupil of Louis-Francois Aubry, this artist also worked in enamels. For another example of his work on ivory at this date, see Binoche & Giquello, Paris, 6th June 2012, Lot 72, also see Leo R. Schidlof, The Miniature in Europe, Graz, 1964, p.671 £250-350

703 ~ THREE CONTINENTAL PORTRAIT MINIATURES, ALL EARLY 19TH CENTURY one of a lady with lace bonnet and dove blue dress, on ivory, French School, circa 1825, with gilt-metal milled mount and leafy suspension clip to the black tole square frame, oval 10.5cm; one of a young lady with red shawl, pearl necklace and gold ear loops, on ivory, French School, circa 1805, plain gilt-metal mount with redpainted ivory surround and tortoiseshell backed (probably originally from the cover of a portrait box), 6.5cm diameter; and one of a young lady with white dress and black lace shawl, on ivory, probably Spanish School, circa 1805, plain gold mount and cloth surround, oval 5.2cm £200-300 704 ~ TWO PORTRAIT MINIATURES, BY ELIZABETH SUSAN (NEE LAW) LADY COLCHESTER (1799-1883), CIRCA 1850 of her son and husband respectively, on ivory, the Hon. Reginald Abbot (1842-1919, 3rd Baron Colchester) in a white dress with blue details, in a gilt-metal-mounted cloth-covered frame, Charles Admiral Lord Colchester (1798-1867, 2nd Baron Colchester) in a black coat and holding a letter, in gesso framed gilt mount under glass, each with inscribed details to reverse largest image 10.7cm high (2) £120-180

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705 ~ A GOLD, DIAMOND AND PORTRAIT MINIATURE PENDANT, LATE 18TH CENTURY the English School miniature, late 1770s, of a young lady painted with dressed hair and pale blue dress with white edging, on ivory, oval 2.3cm, surrounded by a border of foiled cushion shaped and circular diamonds in cut down collet silver settings, the gold reverse of arched outline (perhaps for a ring) with hinged suspension ring and later brooch fitting 4cm high overall £1500-2000

705

706 EIGHTEEN CARART GOLD, ENAMEL AND DIAMOND BROOCH, FRENCH, LATE 19TH CENTURY designed as an orchid decorated naturalistically in matte and translucent enamel with rose and circular diamond detailing, French assay mark, detachable brooch fitting, in a fitted later case stamped ‘Tessier’ Flowers feature in jewellery from earliest times, but the 19th century is arguably when they bloomed most prolifically. New species of flowering plants were pouring in from all over the world and jewellers began to focus on ever greater accuracy in their imitations of nature. By the end of the century many were suffering from ‘Orchidomania’ or ‘Orchidelirium’. New species of the exotic flower were sort after by obsessive collectors and became symbols of wealth and power. Joseph Chamberlain, Britain’s Secretary of State for the Colonies in 1895, was never seen in public without an orchid in his button hole. Plants were dispatched daily from London to his Highbury estate near Birmingham, where he nurtured them in his orchid house. The Parisian jewellers, Duval and le Turq created an exceptional series of orchid and butterfly jewels which were exhibited at the Paris Exposition Universelle in 1889 (D.Bennet & D.Mascetti, Understanding Jewellery, ACC Books Ltd, 2017, pl.344). At the same time Tiffany & Co.’s head designer, Paulding Farnham, designed twenty-five similarly enamelled orchid brooches. They were awarded the Gold Medal and sold out by the second day.

Jay Gould, the American financier, who also collected real orchids, purchased a number of the Tiffany jewelled versions for his wife.

Tiffany went on to design a further forty-one different varieties which sold in their London and Paris shops. Each enamelled orchid brooch was precisely modelled on an exotic variety using the latest reference book, or sketched straight from newly imported specimens. Ecstatic at their success, John Loring, Tiffany’s design director, declared: ‘Nature sells!’

706

£1800-2200

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708 SARCAR, GENEVA: TWO GOLD POCKET WATCHES COMMEMORATING THE SHAH OF IRAN’S CORONATION, CIRCA 1967 both with manual wind 17 jewel movements signed Sarcar, the gilt satin dials with the Shah’s emblem and applied baton indexes and baton hands, the medallion form cases with broad bezel decorated with burnished stars on a frosted ground, milled edges, Swiss 18 carat gold marks, one with dial signed Sarcar, the reverse stamped with a scene from the coronation ceremony of the Empress kneeling before the Shah, with black tassel, black slip-case and its black box, the other with conjoined profiles of the Shah and the Empress Farah Diba to the reverse and with black tassel, black slip case and its fitted blue box, both boxes gilt stamped with the Shah’s emblem 3.1cm diameter A number of variants of these medallion form watches, all with the same bezel but differing backs, appear to have been produced as gifts from the Shah. For examples signed to dial and movement ‘Vacheron & Constantin’ see Sotheby’s, Geneva, 10 November 2015, lot 153, and Phillips, Geneva, 12 November 2016, lot 83. £800-1000 709 EIGHTEEN CARAT GOLD ‘TAURUS’ PENDANT, CIRCA 1988 designed as the head of a bull, London hallmarks for 1988, maker’s mark HL 43.5gr £1000-1200 710 TWO CHAINS both of rope design, the smaller chain with 9 carat gold import marks for 1997, length approximately 400mm, the larger chain length approximately 520mm 4.8gr and 16.2gr respectively £220-280 711 KNOT BRACELET signed Puig Doria length approximately 180mm, 13.4gr £250-300

707 707 ROLEX, OYSTER PERPETUAL DAY-DATE, REF. 18038: A GENTLEMAN’S EIGHTEEN CARAT GOLD BRACELET WATCH, CIRCA 1987 No.9545722, cal.3055 automatic twenty-seven jewel movement, champagne dial with applied gold Roman numerals, baton hands and outer minute track with luminescent indicators, aperture for day (in English) at twelve and magnified date aperture at three o’clock, Oyster case with fluted bezel and screw-down back and crown, the President three-row block link bracelet with fold-over Crown clasp, dial, case, movement and bracelet signed, case and bracelet with 18 carat Swiss gold convention marks, bracelet No.8385 36mm diameter With Rolex chronometer papers and receipt from Tyme (Watches of Switzerland Ltd.), 1 Old Bond Street, London, dated 20 February 1988.

712 A NINE CARAT GOLD FOB CHAIN / BRACELET double graduated filed curb links, hallmark, maker’s mark WHW Ltd length185mm, approximately, 29gr £300-400 713 SAPPHIRE AND DIAMOND RING, CIRCA 1979 the circular sapphire within a border of single-cut diamonds, hallmarked London, 1979, maker’s mark EJ size K £200-300 714 EIGHTEEN CARAT GOLD, SAPPHIRE AND DIAMOND RING, 1880s the tapering band collet with a cushion shaped sapphire between circular diamonds and similarly cut sapphires, hallmarked Chester, date letter indistinguishable, maker’s mark I.J. size Q £600-800

£5000-7000

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709

710

711

712

708

713 714

715

716 715 GOLD HALF SOVEREIGN BRACELET, COMPOSITE the articulated bracelet composed of a series of eight George III half sovereigns dated 1797-1810, connected by oval chain links length approximately 200mm, 27gr

716 NINE CARAT GOLD RETRO BRACELET, 1950s designed as an articulated row of geometric links, Birmingham hallmarks for 1952, maker’s mark C & F length approximately 190mm, 53.5gr

£600-800

£1000-1200

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719

717

718 720

717 GARNET PENDANT, EARLY 19TH CENTURY the pear shaped garnet in a foil back setting suspended within a surround of oval garnets similarly set; together with a pair of paste cluster buttons, late 18th century of whorl design with later earring post fittings (one paste deficient) (3) £200-300 718 CHRYSOBERYL BROOCH, PORTUGUESE, 18TH CENTURY designed as a flowerhead with cushion shaped and calibré-cut ‘chrysolites’ in foiled closed back settings, later pin diameter 32mm approximately £300-400 719 PEARL AND ENAMEL LOCKET, MID 19TH CENTURY the oval black enamel locket decorated with a pearl wreath opening to reveal two photographic compartments on a fine back chain, length approximately 695mm excluding locket (locket length approximately 34mm from base of bale); together with a banded agate brooch, circa 1867, designed as a cartouche and suspending three plaque drops with granulated detail to the frames £300-400

720 GOLD AND DIAMOND LOCKET, LATE 19TH CENTURY of heart design with a central circular diamond opening to reveal a photograph compartment £250-300 721 PURPLE TASSIE TYPE GLASS INTAGLIO RING, CIRCA 1800 the oval amethyst coloured glass carved with a profile of a bearded man after the Antique (gold shank sawn through, one piece provided, one small section lacking); together with a gold mourning ring the blue enamel shank inscribed ‘In memory of Geo.Hen.Earl of Litchfield. 1772’ (central stone deficient), size K½; two further gold mourning rings: one enamelled in black and white inscribed ‘John.Townson.Esqr. OB.3.Mar.1797.AE 71’, hallmarked London 1796, size N ½, the other wide band with white border enamel (original black enamel to centre now deficient) engraved to the inside of the shank ‘Frances Penelope Thackthwaite Obt 21st May1793 at 28’, size W ½ (4) George Henry Lee, 3rd Earl of Lichfield (1718-1772) was a Member of Parliament for the county of Oxford in 1741-42, inheriting the title from his father in 1743. In 1760 he became the High Steward of the University of Oxford and in the same year Lord of the Bedchamber to King George III, in which position he may have been witness to a brief episode in 1765 of the King’s mania (probably caused by porphyria). Having joined the Privy Council in 1762, Lord Lichfield assumed the role of Chancellor of the University of Oxford in the same year. £250-350

Illustrated on the opposite page

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722 AMETHYST PENDANT, MID 19TH CENTURY the embellished cruciform set with oval amethysts and granulated detailing length approximately 55mm (including bale) £800-1000

723

722

724

723 GOLD LONG CHAIN, CIRCA 1840 each triple textured gold link decorated with granulation on an engraved barrel clasp length approximately 975mm, 44gr £800-1200

721

724 TWO DIAMOND BROOCHES, 18TH / 19TH CENTURY one bow brooch set throughout with foil backed rose and lasquecut diamonds in cut down collet settings, the other a composite brooch of ribbon, garland and floral design similarly set (two diamonds deficient, one supplied in detached claw setting) (2) £400-600

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725

726

727 MULTI COLOURED GEMSTONE NECKLACE spectacle set with oval blue topaz, citrine, amethyst, peridot and garnet length approximately 540mm £400-600 728 PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGS, 1960s each oval shaped amethyst detachable drop decorated with graduated single- and brilliant-cut diamonds suspended from a circular amethyst surmount similarly decorated length of entire earring 50mm approximately

727

£300-400

Illustrated on the opposite page

725 PAIR OF MULTI COLOURED GEMSTONE PENDENT EARRINGS each designed as an articulated cascade of oval stones including citrines, garnets, amethysts and smoky quartz

729

£200-300 726 MOONSTONE, AQUAMARINE, SAPPHIRE AND DIAMOND LONGCHAIN the filed curb link chain spectacle set with oval aquamarines alternating with similarly shaped cabochon moonstones, accented with oval sapphires and brilliant-cut diamonds length approximately 740mm

729 ROCK CRYSTAL AND PASTE RING the foiled pink paste cabochon centrally set between rose cut rock crystal and granulated decoration, size I; together with a gold and carnelian intaglio ring depicting the helmeted profile of Minerva, size K, damage to carnelian

£1000-1200

£150-250

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733

728

732

734 730

731

735

730 AMETHYST AND DIAMOND RING, 1960s the oval amethyst within an asymmetric surround set with singlecut and cushion and baguette diamonds (one diamond deficient) size R½

733 DIAMOND HAIR SLIDE of abstract leaf design, set with a row of brilliant-cut diamonds and a line of marquise-cut stones length approximately 62mm

£200-300

£600-800

731 DIAMOND RING the two central brilliant-cut diamonds set asymmetrically within two undulating rows of brilliant- and single-cut stones size N

734 BLACK OPAL DOUBLET AND DIAMOND RING, 1970s the oval black opal doublet within a surround of single-cut diamonds in millegrain settings size O

£600-800

£400-600

732 AMETHYST NECKLACE of negligeé design, set throughout with oval amethysts in collet settings adjustable length (not including pendant maximum length approximately 42mm) 490mm-530mm approximately

735 THREE STONE DIAMOND RING claw set with three brilliant-cut diamonds size K £400-600

£1000-1200

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736 BALTIC AMBER NECKLACE, CIRCA 1920 the row of thirty one graduated knotted ovoid amber beads measuring from 19.6mm to 35mm approximately, together with a photograph of the vendor’s mother wearing the necklace taken in the early 1920s length approximately 890mm, 146gr all in Accompanied by a certificate from Gemmological Certification Services, London, No.78148-05, stating that the beads are natural Baltic amber with no indications of heating, dated 26 March 2018. £1200-1800

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737

737 OPAL NECKLACE, GERMAN, 1970s the asymmetric pendant mounted with three graduating opals in a bi-coloured wire surround to a similarly coloured back chain of hinged ball links length approximately 415-450mm (excluding pendant length approximately 40mm)

738

£1000-1200

738 AQUAMARINE AND TOURMALINE NECKLACE designed as a row of alternating oval aquamarines and similarly cut pink tourmalines length approximately 530mm £800-1000

739 JADE NECKLACE designed as a row of knotted beads measuring between 5mm-10mm approximately, length approximately 710mm; together with a pair of carved jade pendent earrings (3) £100-150

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740 GOLD, TURQUOISE, PEARL AND ENAMEL NECKLACE, NORTH INDIA, PROBABLY JAIPUR OR DEHLI, CIRCA 1860 designed to one side as a series of stylised blossoms ‘kundan’ set with turquoises, each motif with seed pearl and enamel bead surmount and articulated pendant, a central larger pendant featuring facing birds similarly set, the other side decorated with ‘meenakari’ enamelling in red, green, blue and white, on a golden cord with tassel terminals, two seed pearls deficient, in its contemporary leather case with cream velvet and silk lining, underside gilt stamped ‘HOWELL / JAMES & CO. / REGENT STREET’ length approximately 440mm to later bale clasp, 770mm to the start of the tassel terminals Provenance: the Cecil family of Hatfield House, Marquesses of Salisbury. Within the Cecil family this piece was always called ‘The Palmerston Necklace’ since it was reputedly given by the 3rd Viscount Palmerston (1784-1865) to a member of the Cecil family; thence by descent until given by Lady David Cecil (née Rachel McCarthy, 1909-1982) to the present vendor in the mid sixties.

While most Indian jewellery favoured colourful stone combinations, the elegant and rare restraint of just turquoise and pearl to one side of this necklace probably indicates outside influence on the jeweller, perhaps a commission specifically for the British market. Although the use of the probably Persian mined turquoise to one side is unusual, the colourfully rich enamelling of the other side is typical of Mughal ornamentation. Comparable work is found on a hair ornament attributed to Delhi, circa 1850, published in S. Stronge, N. Smith and J.C. Harle, A Golden Treasury: Jewellery from the Indian Subcontinent, Exh. cat., Cartwright Hall, Bradford Art Galleries and Museums, 24 Sept.-27 Nov. 1988; Zamana Gallery, London, 13 April-25 June 1989, p.57.

Howell, James & Co. was a successful and innovative Victorian luxury goods retailer, dealing in a broad range of goods including haberdashery, jewellery and clocks. As well as showing at the International Exhibitions of the period, they mounted variously themed ‘Exhibitions’ at their premises. These exhibitions were perhaps forerunners of those held rather later by another famous retailer, Liberty’s. It is possible Lord Palmerston may have purchased this necklace at an Indian themed exhibition held by Howell, James & Co. Located in Lower Regent Street, a visitor in 1865 described their main room as ‘arranged in the best style of modern shop-building: the carpeted floor soft to the tread and pleasing to the eye; and around the room are arranged time-pieces of every variety and design, and counters glazed like ferneries, but containing white velvet cases in which repose jewels of every kind and value’ (John Culme, The Directory of Gold & Silversmiths, Woodbridge, 1987, pp.241/2). £4000-6000

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740 back

743 part

744 742 741 741 LADY’S ENAMEL, GOLD AND DIAMOND FOB WATCH, SWISS, LATE 19TH CENTURY the blue guilloché enamel case decorated with a bird and foliage set with rose diamonds opening to reveal a white face with Roman numerals suspended from an associated swirling pin brooch, cuvette signed ‘Ate Aubert à Lausanne’ and numbered 1414 £300-400 742 SILVER-GILT AND CLOISONNE ENAMEL EGG PENDANT, RUSSIAN LATE 19TH CENTURY the turquoise girdle flanked by geometric and stylised foliate motifs in variously coloured enamels, suspension ring with maker’s mark YaR (in Cyrillic) and ‘84’ 28mm approximately long overall £80-120

743 COLLECTION OF JEWELLERY comprising: a cultured pearl necklace with single-cut diamond clasp, length approximately 930mm; a pair of cultured pearl and brilliant-cut diamond earrings, 1960s; a turquoise and diamond cluster ring, 1960s, size P½; a sapphire and cultured pearl bombé ring, size J½; and a five stone step-cut amethyst mesh bracelet, length approximately 191mm (6) £700-900

Partly illustrated on the following page 744 TURQUOISE BROOCH, PROBABLY IRANIAN, 1970s designed as a perched ‘Bird of Paradise’ decorated with oval and circular turquoise, two turquoise unset (provided), in velvet presentation case £600-800

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746 747 745

743 part

743 part

748

749

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745 PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS, 1960s each detachable surmount set with single-cut, marquise shaped and baguette diamonds suspending a similarly set articulated drop terminating in a cultured pearl length of entire earring 66mm approximately £1200-1500 746 CULTURED PEARL, SAPPHIRE AND DIAMOND NECKLACE, 1950s the clasp of geometric design set throughout with brilliant- and single-cut diamonds, circular and calibré-cut sapphires on two rows of graduated knotted cultured pearls measuring from 6-9mm approximately (one row deficient) length approximately 553mm £700-900 747 PEARL, EMERALD, RUBY AND SAPPHIRE BRACELET, 1930s designed as an articulated chain accented with carved emerald, sapphire and ruby beads with pearl decoration (pearls untested) length approximately 195mm £1200-1500 748 EMERALD AND DIAMOND RING the oval emerald within a plaque surround of brilliant-cut diamonds and calibré-cut emeralds with shaped quatrefoil accents to the terminal points size N £2200-2500 749 SET OF THREE GEMSTONE ETERNITY RINGS, EARLY 20TH CENTURY each channel set with calibré-cut ruby, sapphire or emerald stones respectively size N/O £600-800

End of Sale Next Sale 21 November 2018 Closing for entries by end September

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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

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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not be liable for any acts or omissions of third party packers or shippers 9.

Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, MBL may in its sole discretion exercise 1 or more of the following remedies:(a) Store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) Cancel the sale of the lot; (c) Set off any amounts owed to the Buyer by MBL against any amounts owed to MBL by the Buyer for the lot; (d) Reject future bids from the Buyer; (e) Charge interest at 4% per annum above HSBC Bank Plc base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) Re-sell the lot by auction or privately, with estimates and reserves at MBL’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in MBL’s possession, applying the sale proceeds to any amounts owed by the Buyer to MBL. MBL shall give the Buyer 14 days written notice before exercising such lien; (h) Commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) Disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 20 working days of the auction, the lot will be stored at the Buyer's expense and risk at MBL’s premises or in independent storage .

(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, MBL will re-sell the lot by auction or privately, with estimates and reserves at MBL’s discretion. The sale proceeds, less all MBL’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.

11. Data Protection (a) MBL will use information supplied by Bidders or otherwise obtained lawfully by MBL for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties worldwide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i).

12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by MBL are the copyright of MBL. (b) These Conditions of Business are not assignable by any Buyer without MBL’s prior consent, but are binding on Bidders’ successors, assignees and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of MBL.

Matthew Barton Ltd’s Authenticity Guarantee If Matthew Barton Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below Matthew Barton Ltd. will rescind the sale and return the Buyer the total amount paid by the Buyer to Matthew Barton Ltd. for that Property, up to a maximum of the Purchase Price.

The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in Matthew Barton Ltd’s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property.

Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating.

Please note that this guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Matthew Barton Ltd’s reasonable opinion)

(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this guarantee the Buyer must:(i) notify Matthew Barton Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (i) return the Property to Matthew Barton Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

Matthew Barton Ltd has discretion to waive any of the above requirements. Matthew Barton Ltd may require the Buyer to obtain at the Buyer's cost the reports of two independent and recognised experts in the relevant field and acceptable to Matthew Barton Ltd. Matthew Barton Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Matthew Barton Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by Matthew Barton Ltd.

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Matthew Barton Ltd

25 Blythe Road London W14 0PD Tel: +44 (0) 20 7806 5545 Email: enquiries@matthewbartonltd.com www.matthewbartonltd.com