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WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

Furniture, Works of Art & Clocks Wednesday 3rd July 2019


Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424505 446955

424506 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

411854 339161 446974

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA

424509 424598

MARKETING Sally Trench Megan Corbett

446959 446960

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Madeleine White

424500

SALEROOM MANAGER David Jordan

424500

CASTLE GATE MANAGER Matt Hill

JAPANESE ART Alexandra Aguilar Sarah Lopez-Ferreiro

424583 424591

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

CASTLE GATE RECEPTION Sally Litherland BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director Natalie Milsted FCCA Finance Director ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • Fax: 01722 424508 • www.woolleyandwallis.co.uk

FRICS FRSA


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FURNITURE, WORKS OF ART & CLOCKS Wednesday 3rd July 2019 at 10.00am at our Castle Street Salerooms, SP1 3SU

SATURDAY 29TH JUNE VIEWING – IMPORTANT INFORMATION

VIEWING TIMES Saturday 29th June Sunday 30th June Monday 1st July Tuesday 2nd July Wednesday 3rd July

10.00am – 1.00pm 10.00am - 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 8.30am – 9.45am

Please note that there will be no vehicular access to our Castle Street saleroom on Saturday 29th June owing to extensive road closures for Armed Forces Day, and central car parks are likely to be very busy. For those travelling by car we recommend using Park and Ride. For more information visit: www.wiltshire.gov.uk/salisbury-afd Additional viewing has been provided on Sunday 30th June owing to this disruption.

ENQUIRIES

Mark Yuan-Richards 01722 411854 myr@woolleyandwallis.co.uk

LIVE BIDDING PLEASE NOTE, WE NOW OFFER OUR OWN LIVE ONLINE BIDDING SERVICE, FREE OF CHARGE.

Jim Gale 01722 339161 jg@woolleyandwallis.co.uk

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 2nd July.

Suzy Becsy 01722 446974 sb@woolleyandwallis.co.uk

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 2nd July. CONDITION OF LOTS Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults COLLECTION OF LOTS Collection is available after the sale at the Castle Street Salerooms until Saturday 6th July 1pm. No collection available from the 8th to the 9th July due to lots being in transit.

ILLUSTRATIONS Front cover: From the collection of the late John F. Braund Back cover: Lot 495

From Wednesday 10th July collection is from our warehouse, Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX, please instruct carriers accordingly and note, the warehouse is closed over weekends. Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready. All accounts to be settled prior to collection.

Catalogue £12.00 (£15.00 by post)

Payment is still made at Castle Street.


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SALE INTRODUCTION Our 3rd July 2019 Furniture, Works of Art & Clocks sale will feature a number of notable collections. The sale will commence with over one hundred and twenty lots from the Estate of the late John F. Braund who ran Turpin's Antiques based in Thaxted in Essex. Along with his partner, Jane Sumner, they traded in Saffron Walden, Hungerford and London and exhibited at some of the finest antique fairs. The lots featured in the auction formed John's private collection based at his home, a converted Mill House in Essex. From treen to Windsor chairs, early boarded chests and burr tables the consignment is rich in objects of good colour, quality and rarity, a testament to John's keen eye. Following on from the Braund Collection we are delighted to be selling sculpture, works of art and carpets from the Estate of the late Mrs Mhari Brodrick of Dunley Manor, Whitchurch, Hampshire. Highlights include a late Gothic polychrome decorated limestone figure of St. John the Baptist and a marble relief in the manner of the Italian late Gothic sculptor Tino di Camaino. We are thrilled to be offering a fine 19th century North West Persian carpet of Harshang design on behalf of the Rt. Hon. The Earl Mountbatten of Burma. This wonderful carpet has graced Broadlands in Romsey for many years and is unusually almost square. The sale will also feature items from the Estate of the late Professor Rodney Fitch CBE, design guru and founder of Fitch. This collection formed part of the contents of his country residence Court House in Aldbourne, the interiors of which were designed by Robert Kime. Highlights include: two fantastic Ziegler carpets and a good George IV burr oak centre table by William Owen of Denbigh. Other highlights include: an impressive late 17th / early 18th century carved limewood relief panel depicting the Forge of Vulcan, formerly in the collection of Basil Ionides at Buxted Park, a fabulous collection of boxes, including: a Mughal ivory table cabinet, an early 18th century Vizagapatam writing box and a good Neapolitan tortoiseshell and mother of pearl casket. Finally the sale will feature three lots of furniture from Ston Easton Park, including a good George III serpentine dressing chest, and furniture and works of art from Lord Astor of Hever.

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THE ESTATE OF THE LATE JOHN F. BRAUND (1928–2019) John Braund started his antique dealing in the late 1950s in Thaxted, Essex, and he opened his first shop there, trading under the name ‘Turpin's Antiques’, in a 15th century timber framed gabled house in Stony Lane. This was reputed to have been one of the haunts of Dick Turpin, the famous highwayman. Whilst doing some restoration work to the property, John was pleasantly surprised to find a flintlock pistol hidden in the inglenook chimney. (See lot 99). John and his partner, Jane Sumner, later opened shops in Saffron Walden, London and Hungerford. Turpin's Antiques exhibited at many of the country's leading antiques fairs over a period of some 40 years. John was a member of the British Antique Dealers’ Association for 46 years: “No mean feat” as the BADA Secretary General, Mark Dodgson, noted on hearing of John’s death. Over his many years dealing in antiques he built up a fine personal collection, which for the last years of his life furnished the beautiful period mill house in Essex which he renovated and lived in until he passed away in January of this year.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

1. A pair of Charles I oak joint stools attributed to Salisbury, each with a seat with a moulded edge above a chain carved and moulded frieze, on slender baluster and ring turned legs united by peripheral stretchers, 55.4cm high, 45cm wide, 26.6cm deep. (2) ÂŁ2,000-3,000 Provenance: The estate of the late John F. Braund. For similar joint stools attributed to Salisbury see Victor Chinnery, Oak Furniture: The British Tradition (2016), p. 407, fig.4:62 and p.505.

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2. A rare mid-17th century yew joint stool, the seat with a moulded edge, above a plain frieze, on ring turned column legs united by peripheral stretchers, 49cm high, 40cm wide, 26cm deep. ÂŁ1,500-2,000 Provenance: The estate of the late John F. Braund.

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3. A small early 17th century oak boarded coffer, with thumbnail carved decoration, the lid with later hinges revealing a vacant interior, on cut-out ends, 39.8cm high, 68cm wide, 29cm deep. £300-500 Provenance: The estate of the late John F. Braund.

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4. An oak panelled back open armchair in 17th century style, the surmount carved with scrolls, grapes and leaves and two crossed swords above the date ‘1610’, above a panel carved with scrolling branches and leaves, on turned front legs united by peripheral stretchers. £300-500 Provenance: The estate of the late John F. Braund.

4 5. A small early 17th century oak boarded coffer, the hinged lid revealing an open till, on cut-out ends, 41.5cm high, 66.8cm wide, 28.8cm deep. £300-500 Provenance: The estate of the late John F. Braund.

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6. A 17th century oak joint stool, the later seat on turned legs united by peripheral stretchers, 52.4cm high, 46.3cm wide, 33.8cm deep. £300-500 Provenance: The estate of the late John F. Braund.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

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7. An Elizabeth I oak boarded coffer, the top with iron hinges, a moulded edge and crimped ends, revealing a vacant interior, the front with a thumbnail frieze and crimped bands, on cut-out ends, late 16th century, 57.2cm high, 126.7cm wide, 31.2cm deep. £2,000-3,000 Provenance: The estate of the late John F. Braund.

8. A rare Charles I oak joint stool, the seat with a moulded edge, above a moulded frieze with bicuspid rails and elaborately turned legs united by a flat ‘H’ stretcher, probably West Country, 54.1cm high, 44.2cm wide, 32cm deep. £2,000-3,000 Provenance: The estate of the late John F. Braund. For a similar joint stool see Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, p.229, pl.294 and 295.

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9. A pair of 18th century ash and elm country side chairs, each with a serpentine top rail, above a vase shape splat and a solid seat, on turned legs united by peripheral stretchers, one reduced in height. (2) £150-200 Provenance: The estate of the late John F. Braund.

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10. An early 19th century Lancashire fruitwood and beech child’s chair, the spindle back with a fan carved top rail, above a rush seat and turned legs united by stretchers. £150-200 Provenance: The estate of the late John F. Braund.

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11. A pair of early 19th century yew side chairs in the manner of Prior, each with a hoop back and a pierced splat carved with Prince of Wales plumes of feathers, above an elm seat, on turned legs united by a crinoline stretcher. (2) £200-300 Provenance: The estate of the late John F. Braund.

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12. Four brass miniature models of Windsor armchairs, two with paper labels with dates of manufacture and signed in pen ‘ROWLY BROWN’, late 20th century, 15.7cm high. (4) £50-100 Provenance: The estate of the late John F. Braund.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

13. A mid-18th century and later yew Windsor armchair attributed to John Pitt, the comb back above a burr vase shape splat, with concave arm supports, above a solid elm seat, on cabriole legs and pad feet united by turned stretchers. ÂŁ800-1,200 Provenance: The estate of the late John F. Braund. See Regional Furniture, The Journal of the Regional Furniture Society, vol. XIX, 2005, pp. 20-32 for a similar example, see also a similar cherry wood armchair attributed to John Pitt sold in these rooms 4th September 2007, lot 141.

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14. A pair of scalloped pewter plates, with moulded rims, the centres decorated with a crown and with multiple fleur-de-lis motifs, with rosette and crown marks and angel touchmarks, 23cm wide. (2) £150-250 Provenance: The estate of the late John F. Braund.

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15. An 18th century pewter gallon baluster measure, with a scroll handle, marked ‘GALLON’ with a ‘Crown 28’ mark, 26.4cm high, together with seven other pewter measures, three with brass rims. (8) £100-200 Provenance: The estate of the late John F. Braund.

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16. A George III Scottish horn and silver mounted spoon, with a thistle end and a vacant shield shape plaque, together with a latten spoon with a dog nose end, a pewter spoon with a part spiral fluted handle, the bowl stamped with ‘X N R’ and a brass example, 20.1cm long (max). (4) £100-150 Provenance: The estate of the late John F. Braund.

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17. A small collection of pewter, comprising: a porringer and cover, the lid with ball finials and a gadrooned border, with a pair of pierced handles, one with a faint touchmark, 22.5cm wide, together with three baluster measures with flat lids and scroll handles, a chamberstick and a small dish. (6) £150-250 Provenance: The estate of the late John F. Braund.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

18. A set of six early 19th century yew Windsor armchairs by Robert Prior, each with a pierced wheel back, above an elm seat, the front rail stamped ‘ROBERT PRIOR MAKER UXBRIDGE’, on turned tapering legs united by a stretcher, slight differences in sizes. (6) £2,000-3,000 Provenance: The estate of the late John F. Braund. John & Robert Prior were rustic chairmakers and turners working between 1808-1838. See Bernard D. Cotton, The English Regional Chair, pp. 76-80 for a discussion of the Prior family workshop that produced high quality Windsor chairs for at least three generations.

19. A matched pair of yew high back Windsor armchairs in the manner of Robert Prior, each with a pierced wheel back, above an elm seat, on turned tapering legs united by a stretcher, first half 19th century. (2) £500-800 Provenance: The estate of the late John F. Braund.

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20. An 18th century brass and steel flintlock pistol lighter, the handle engraved with a recumbent stag and scrolls, 19cm long. £100-150 Provenance: The estate of the late John F. Braund.

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21. A George III brass wax jack, with a scissor action holder with a dished pan, the pierced base with a scroll thumbpiece, the underside stamped with an initial ‘H’, 13cm high. £80-120 Provenance: The estate of the late John F. Braund.

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22. An 18th century wrought iron rushnip and candle holder, mounted on an elm bobbin and ring turned stem, with a rustic wood base, 63.7cm high. £300-500 Provenance: The estate of the late John F. Braund.

23. A pair of Dutch sheet brass wall sconces, each with a repoussé scrolling leaf back centred with a rondel decorated with two grape pickers, the base with twin lights, 19th century, 31.8cm high, 22.5cm wide. (2) £150-250 Provenance: The estate of the late John F. Braund.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

24. A pair of George II brass candlesticks by George Grove, each with a knopped stem and a petal base, the underside stamped ‘GEO.GROVE’, 22.5cm high. (2) £150-250 Provenance: The estate of the late John F. Braund. George Grove was active between 1748-1768 and was based in Birmingham. See Rupert Gentle and Rachael Field, Domestic Metalware 1640-1820, p.147, pl.84-85 for similar candlesticks by Grove.

24 mark

25 mark

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25. A pair of George II candlesticks, each with a knopped stem and a petal foot, the underside of each stamped with owner’s triad initials ‘S over RS’, 20.8cm high. (2) £150-250 Provenance: The estate of the late John F. Braund.

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26. A pair of George II brass tapersticks, each with a knopped stem, together with two George III tapersticks and a pair of miniature candlesticks, 15cm (max). (6) £100-150 Provenance: The estate of the late John F. Braund.

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27. Two pairs of George II brass candlesticks, with knopped stems and domed bases, 17.9cm high (max). (4) £100-200 Provenance: The estate of the late John F. Braund.

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28. A pair of George II brass candlesticks by George Grove, each with a knopped stem and a domed base, the underside with a twist-up ejection mechanism, with a butterfly handle and stamped ‘GEO. GROVE’, 18.5cm high. (2) £150-250 Provenance: The estate of the late John F. Braund. For a similar pair of candlesticks with a twist-up ejection mechanism by William Lee see Eloy Koldeweij, The English Candlestick 1425-1925, p.129. George Grove was active between 1748-1768 and was based in Birmingham. See Rupert Gentle and Rachael Field, Domestic Metalware 1640-1820, p.147, pl.84-85 for similar candlesticks by Grove.

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29. Two pairs of George II brass candlesticks, each with a knopped stem, together with a Queen Anne candlestick, with a turned baluster stem and an early George II candlestick, 18.3cm high (max). (6) £100-200 Provenance: The estate of the late John F. Braund.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

30. Two similar James II brass warming pans, each with an iron handle and a pierced hinged lid, one engraved with a central Royal Coat of Arms and inscribed ‘ GOD SAVE KING JAMES II’, the other with the Lion and Unicorn flanking a column with initials ‘I R’ and inscribed ‘GOD SAVE OUR SOVERAN LORD KING IAMES’, 105.8cm long (max). (2) £500-800 Provenance: The estate of the late John F. Braund.

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31. A Charles II brass warming pan, with an iron handle and a pierced hinged lid, the centre engraved with the Royal Coat of Arms and initials ‘C R’, and inscribed ‘GOD SAVE KING CHARLES 2’, 103.5cm long. £300-400 Provenance: The estate of the late John F. Braund.

32. A 17th century Dutch brass warming pan, with a steel and turned brass handle, the pierced hinged lid repoussé decorated with a central coat of arms, with three fleur-de-lis and a spider’s web, flanked by laurel leaves and with bands of scrolling leaves and £300-500 rosettes, 124cm long. Provenance: The estate of the late John F. Braund.

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33. A Victorian brass model of a recumbent lion, probably a fireside implement-rest, 33.8cm high, 68.3cm wide. £200-300 Provenance: The estate of the late John F. Braund.

34. A 17th century Dutch brass warming pan, with an iron and brass handle with a turned urn finial, the pierced hinged lid repoussé decorated with a central scene of two grape pickers, within bands of scrolling leaves and wriggle work, 106.8cm long. £200-300 Provenance: The estate of the late John F. Braund.

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35. A Charles II brass warming pan, with an iron handle, the pierced hinged lid engraved with the Vintner’s arms and inscribed the same and with the date ‘65’, 105cm long. £200-300 Provenance: The estate of the late John F. Braund.


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36. A large pair of George III brass bellows, inlaid with a copper panel with a pair of lions supporting a coat of arms and the date ‘1765’, with a beast’s head terminal, 85cm long. £80-120 Provenance: The estate of the late John F. Braund.

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37. Six brass dairy skimmers, with pierced decoration, one in the form of a bishop, the handle with a mitre finial, another circular in the form of a clock dial, with Roman numerals, inscribed ‘EASTMAN EXETER’, with a wrought iron handle, 18th century and later, 58.4cm long (max). (6) £100-150 Provenance: The estate of the late John F. Braund.

37 38. Three brass chestnut roasters, with pierced decoration and hinged lids, one 18th century with a turned handle, the largest stamped with a registration number ‘545964’, together with two brass toasting forks and a brass ladle with a wrought iron handle, 60.5cm long. (6) £100-150 Provenance: The estate of the late John F. Braund.

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39. A pair of George III brass ember tongs, engraved with a beast’s head, with leaves and initials ‘T. M.’ and with a bow end, together with a brass grater, with punched decoration, pierced with a hole for suspension and a brass vesta case, in the form of an African man’s head, the hinged striking lid stamped ‘REPONIST’, 27cm (max). (3) £100-150 Provenance: The estate of the late John F. Braund.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

40. A treen fruitwood tea caddy in the form of a pear, with a stalk finial, the hinged lid revealing a foil lined interior, with an oval steel escutcheon, late 18th / early 19th century, 17.2cm high, together with a silver caddy spoon. (2) £500-800 Provenance: The estate of the late John F. Braund.

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41. A treen fruitwood tea caddy in the form of an apple, with a stalk finial, the formerly hinged lid revealing an interior with traces of foil, with a navette shape steel escutcheon, late 18th / early 19th £500-800 century, 13.3cm high. Provenance: The estate of the late John F. Braund.

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42. A treen fruitwood tea caddy in the form of a pear, with a stalk finial, the hinged lid revealing a foil lined interior, with a navette shape steel escutcheon, late 18th / early 19th century, 18.5cm high, together with a Georgian bright cut silver caddy spoon. (2) £500-800 Provenance: The estate of the late John F. Braund.

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43. A near pair of George III ivory tea caddies, of octagonal shape, with tortoiseshell edging and inlaid with silver piqué work and mother of pearl dot decoration, each with a ring handle, a silver escutcheon and a shield shape plaque, one engraved with an elephant crest and the initial ‘K’, possibly for Knowles or Knollys, the other with the initial ‘C’, with vacant interiors, 11cm high, 11cm wide. (2) £1,000-1,500 Provenance: The estate of the late John F. Braund. 44. A George III harewood octagonal tea caddy, inlaid with stringing and tulipwood and planewood banding, the hinged lid with a wreath of husks and a brass ring handle, the interior with a lid with an oval burr panel, the exterior decorated with oval panels of various woods, three with book matched veneers, 13.9cm high. £300-500 Provenance: The estate of the late John F. Braund.

44 45. Two 18th century coconut cups, each with a silver rim, unmarked, on a turned treen stem and circular foot, 17.5cm high (max). (2) £300-400 Provenance: The estate of the late John F. Braund.

45 46. Two Victorian carved wood poodle heads, each with glass eyes, the larger a spill vase, the other an inkwell with a hinged top revealing a recess, 11.9cm high. (2) £100-150

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Provenance: The estate of the late John F. Braund.


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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

47. A large and rare 19th century treen fruitwood table snuff shoe, with brass laces and tack decoration and inlaid with ivory and mother of pearl rondels, with a lift off-lid with a brass suspension ring, the sole stamped with two foliate marks, 14.7cm high, 26cm long. £500-800 Provenance: The estate of the late John F. Braund.

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48. A small collection of treen, comprising: a lignum vitae and brass bound string barrel, a boot vesta holder, a candlestick with an urn shape nozzle and a baluster stem and an apple, early 19th century and later, 22.1cm (max). (4) £150-200 Provenance: The estate of the late John F. Braund.

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49. A near pair of early 19th century treen snuff shoes, with brass tack inlay with swags and flowers each with a sliding cover and a vacant plaque, 6cm high, 16.6cm long. (2) £400-600 Provenance: The estate of the late John F. Braund.

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50. A graduated set of seven bronze tankard measures, of baluster shape, each with a scroll handle, two inscribed ‘D. F. E. HOGBEN’, comprising: quart, pint, half pint, gill, half gill, quarter gill and another similar quarter gill, with various crown marks ‘VR’, GR’ and ‘ER’, 19th century and later, 16.3cm high (max). (7) £150-200

51. A matched set of six copper tankard measures by Loftus, each with two reeded bands, a scroll handle and stamped ‘LOFTUS LONDON’, comprising: two quarts, two pints and two half pints, various crown marks ‘VR’ and ‘ER’, late 19th / early 20th century, 15.7cm high (max). (6) £100-200

Provenance: The estate of the late John F. Braund.

Provenance: The estate of the late John F. Braund.

52. A harlequin set of twelve graduated copper haystack measures, possibly navy rum measures, two with trade labels for ‘FARROW & JACKSON LONDON & PARIS’ and another for ‘BURT & BROS BIRMINGHAM’, comprising: gallon to quarter gill, with various stamps, early 19th century and later, 30.4cm high (max). (12) £150-200 Provenance: The estate of the late John F. Braund.

53. Eight copper measures, including: three baluster shape measures with scroll handles, comprising: gill to a quarter gill, with various stamped marks, 19th century and later, 17.3cm high (max). (8) £100-150 Provenance: The estate of the late John F. Braund.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

54. A set of five Victorian brass and copper imperial measures, of cylindrical shape, engraved with quantities: half gallon, quart, gill, half gill and half peg, 15cm high (max). (5) £100-150 Provenance: The estate of the late John F. Braund.

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55. Four bronze measures, comprising: three tankard examples, two of baluster shape, all with scroll handles, half gallon, quart and half gill and a cylindrical banded one pint grain measure, with various crowned marks ‘VR’, ‘ER’, 19th century and later, 18.9cm high (max). (4) £150-200 Provenance: The estate of the late John F. Braund.

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56. A harlequin set of nine copper navy rum or grog measures, with loop handles, comprising: gallon, two half gallons, quart, pint, half pint, one and a half gill, gill and half gill, with inscriptions and ‘GR’ crown marks, 17cm high (max). (9) £200-300 Provenance: The estate of the late John F. Braund.

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57. A George III elm box stool, of waisted shape, the underside of the lid inscribed in ink ‘Hot Bottle Bed 2 Decr 1920’, 50.4cm high, 29.7cm wide, 29cm deep. £300-500 Provenance: The estate of the late John F. Braund.

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58. A 19th century primitive ash dairy stool, the burr seat on rustic tripod legs, 40.2cm high, 33cm wide. £100-150 Provenance: The estate of the late John F. Braund.

59.

A dug-out burr elm wood vessel, possibly a mortar, 58cm high. £150-250 Provenance: The estate of the late John F. Braund.

59

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60. A late George III burr elm tripod table, the dished top on a reeded and vase turned stem and scroll legs, 64.8cm high, 47.3cm diameter. ÂŁ800-1,200 Provenance: The estate of the late John F. Braund.

60

61. A primitive burr wood table, the rustic ash top on a tripod branch base, probably 19th century, 48.3cm high, 44cm wide. ÂŁ200-300 Provenance: The estate of the late John F. Braund.

61

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62. Circle of Henry Stacy Marks RA (1829-1898). A painting of a lake view, with three herons fishing, with bulrushes and water lilies, oil on canvas, 90 x 83cm, unframed. £200-300 Provenance: The estate of the late John F. Braund.

62

63. Continental School (early 19th century). A painting of a flower girl, oil on board, with stencil mark to verso '2 MOLLER? a Paris', 22.8 x 17.1cm, in a moulded giltwood frame. £100-150 Provenance: The estate of the late John F. Braund.

63

64. English School (19th century). A painting of a chicken with her chicks, watercolour, 38 x 55.1cm, in a glazed giltwood frame. £150-200 Provenance: The estate of the late John F. Braund.

26

65. English School (19th century). A painting of a spaniel, emerging from a pond surprising a water bird, oil on copper, 22 x 27.5cm, in a gilt composition moulded frame. £100-150 Provenance: The estate of the late John F. Braund.


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66. English School (19th century). A pair of naive paintings of King Charles spaniels, oil on canvas, 33.5 x 44cm, each in a rosewood frame. (2) ÂŁ500-800 Provenance: The estate of the late John F. Braund.

67. English School (19th century). A naive painting of a farmyard scene, with cows, pigs, ducks and chickens, with a farmer at a gate, oil on canvas, 68.8 x 90cm, in a later burr elm frame. ÂŁ200-300 Provenance: The estate of the late John F. Braund.

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68. A William and Mary olivewood oyster veneered chest, the rectangular top inlaid with boxwood stringing and with a moulded edge above two short and three long graduated drawers and later bun feet, 92.3cm high, 96.9cm wide, 58.3cm deep. ÂŁ3,000-5,000 Provenance: The estate of the late John F. Braund.

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69. A William and Mary and later prince’s wood and walnut side table, the oyster segmented veneered top with feather banding and a moulded edge, above a frieze drawer, on spiral twist legs united by an ‘X’ shape stretcher, 77cm high, 95.7cm wide, 65cm deep. £400-600 Provenance: The estate of the late John F. Braund.

69

70. A pair of turned oak candlestands, each with an urn nozzle, above a dished drip-pan, late 19th century, 88cm high, 23.5cm wide. (2) £100-150 Provenance: The estate of the late John F. Braund.

70

71. An early 18th century walnut candlestand, the dished circular top above a spiral twist stem and on tripod supports and ball feet, 74cm high, 38cm wide. £400-600 Provenance: The estate of the late John F. Braund.

71

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72. A pair of George I walnut wing armchairs, later upholstered with floral needlework, with scroll arms, on cabriole legs and pointed pad feet. (2) ÂŁ3,000-5,000 Provenance: The estate of the late John F. Braund.

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73. A George I walnut bureau, with cross and feather banding, the hinged fall with a rest, revealing a stepped interior fitted with pigeonholes and drawers, one for divisions for pens and inkwells, with a well cover and four secret compartments, above two short and two long drawers, on bracket feet, 97cm high, 88.3cm wide, 53cm deep. £800-1,200 Provenance: The estate of the late John F. Braund.

73

74. A walnut lowboy in George II style, the quarter veneered top with cross and feather banding, above three conforming frieze drawers and a shaped apron with a concave parquetry sunburst, on shell capped cabriole legs and pad feet, 72.7cm high, 81cm wide, 48.3cm deep. £400-600 Provenance: The estate of the late John F. Braund.

74

75. An early 18th century and later walnut bachelor’s chest, burr veneered, the hinged fold-over top with cross and feather banding and with a caddy moulded edge, above three long drawers, on bracket feet, 80.4cm high, 74cm wide, 33cm deep. £500-800 Provenance: The estate of the late John F. Braund.

75

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76. A continental leather four-fold screen, painted with oriental scenes of birds amidst trees, flowers and fruit, 18th century and later, 175.8 x 44.3cm each panel. ÂŁ300-500 Provenance: The estate of the late John F. Braund.

76

77. A pair of George II walnut side chairs, each with a solid vase shape splat, above a bell shape drop-in seat later upholstered in damask fabric, on shell capped cabriole legs and claw and ball feet. (2) ÂŁ1,000-1,500 Provenance: The estate of the late John F. Braund.

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78. A George II walnut dressing table mirror, the arched plate within a moulded frame, with brass acorn finials, the box base inlaid with stringing and fitted with an arrangement of five drawers, 65.3cm high, 42cm wide, 22cm deep. £300-500 Provenance: The estate of the late John F. Braund.

78

79. A George II mahogany tripod table, the circular tilt-top revolving on a birdcage, above a turned stem and on cabriole legs with pad feet, 67.7cm high, 62.7cm diameter. £300-400 Provenance: The estate of the late John F. Braund.

79

80. A George II oak demi-lune tea table, the twin hinged top on a single gate support revealing a vacant interior, on turned club legs and £300-400 pad feet, 72cm high, 81.4cm high, 39.6cm deep. Provenance: The estate of the late John F. Braund.

80

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81. A pair of George III satinwood and painted card tables in the manner of Seddon, Son and Shackleton, inlaid with stringing and kingwood and amaranth banding, each of 'D' shape, the hinged foldover tops polychrome decorated with a band of scrolling flowers, on twin gate supports and with a baize lined playing surface, above panels of ribbon tied flowers, on square tapering legs and spade feet, 74.4cm high, 90.3cm wide, 44cm deep. (2) £6,000-8,000 Provenance: The estate of the late John F. Braund. The painted floral decoration contrasting with the golden colour of the West Indian satinwood is reminiscent of the London cabinet makers Seddon, Son and Shackleton. In c.1790 George Seddon took his son-in-law, Thomas Shackleton, into the business and they traded as Seddon, Son and Shackleton from premises on Aldersgate Street, London. They were famous for producing painted furniture at this period thanks to two large commissions: one for Hauteville House, St. Peter Port, Guernsey (1790) and Bridewell House, Dorset (1792-3). For a similar pair of tables see Christie’s, Important English Furniture, 24th November 2005, lot 116. Provenance: The estate of the late John F. Braund.

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82. An early 19th century French bronze Grand Tour inkwell, the lid modelled with Cupid seated, holding a quiver of arrows, revealing a glass well, on a lobed urn with lion’s masks and paw feet, 14.8cm high. £150-250 Provenance: The estate of the late John F. Braund.

82

83. A pair of Regency bronze candlesticks, each modelled with a recumbent stag before bocage, issuing an urn shape sconce decorated with flowers, 13cm high. (2) £100-150 Provenance: The estate of the late John F. Braund.

83

84. Two 16th century carved walnut figural terms, of a bearded man and woman, possibly French, 37.7cm high. (2) £100-200 Provenance: The estate of the late John F. Braund.

85. A Charles II bronze mortar, the body cast with two portraits of King Charles, with an associated pestle, 10cm high, 12.5cm diameter. (2) £100-150 Provenance: The estate of the late John F. Braund.

84 85

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86. A Regency mahogany and brass bound wine bottle holder / cooler, of staved construction, with a lift-out metal liner and clenched fist ring handles, 22.5cm high. £200-300 Provenance: The estate of the late John F. Braund.

86

87. A tôle peinte wine bottle carrier in Regency style, the body with an oval panel painted with an Italianate scene and decorated in gilt with vine leaves and grapes, 49cm high. £50-100 Provenance: The estate of the late John F. Braund.

87

88. A pair of early 19th century mahogany and brass bound wine bottle holders, of staved construction, with side carrying handles, 17.2cm high, 20cm wide. (2) £300-400 Provenance: The estate of the late John F. Braund.

88

89. Two pairs of Regency papier-mâché wine coasters, one decorated with flowers, the other in gilt with swags, 13.5cm diameter (max). (4) £200-300 Provenance: The estate of the late John F. Braund.

89

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90. A large early Victorian brass doorstop, modelled with a fox emerging from foliage, with a leaf and flower scroll handle, 42cm high. £150-250 Provenance: The estate of the late John F. Braund.

90

91

91. An early 19th century brass bucket or pail, of tapering form with reeded bands and a swing handle, 30cm high, 32.7cm wide. £50-70 Provenance: The estate of the late John F. Braund.

92. An early 19th century red leather fire bucket, the riveted body emblazoned with a transfer printed Royal Coat of Arms, 27.3cm high, 26.4cm diameter. £100-200 Provenance: The estate of the late John F. Braund.

92

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93. A George III mahogany and brass bound peat bucket, of staved construction, with a pair of grapevine and ribbon cast handles, 44cm high, 49cm wide. £400-600 Provenance: The estate of the late John F. Braund.

93

94 94. A George III mahogany and brass bound bucket, of staved construction with brass carrying handles, 25.7cm high, 35.5cm wide. £150-200 Provenance: The estate of the late John F. Braund.

95. A late George III mahogany and brass bound peat bucket, of staved construction, with a swing handle, 35cm high, 32.5cm diameter. £100-150 Provenance: The estate of the late John F. Braund.

95

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96. A large Victorian copper kettle, with a brass handle and finial, 52cm high, 52cm wide. £150-200 Provenance: The estate of the late John F. Braund.

96

97. Ten copper kettles, some with brass handles, one with repoussé decoration, of various sizes, 19th century and later, 40.2cm (max). (10) £100-200 Provenance: The estate of the late John F. Braund.

97

98. A harlequin graduated set of Victorian copper kettles, each with a brass scroll handle, some handles stamped with numbers, 40.3cm high (max). (9) £200-300 Provenance: The estate of the late John F. Braund.

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99.

A continental military walnut and brass mounted flintlock pistol, stamped with various numbers, late 18th / early 19th century, 43.5cm long. ÂŁ150-200 Provenance: The estate of the late John F. Braund.

This flintlock pistol was discovered by John Braund in the inglenook chimney of his house, a 15th century gabled property, in Stony Lane, Thaxted. The house was reputed to have been a haunt of the famous highwayman Dick Turpin.

100. A 19th century model cannon, the bronze barrel 21.5cm long, mounted on a stepped mahogany truckle with brass wheels, 22.5cm long (overall), together with another model cannon with a leaf engraved brass barrel, 19.5cm long (overall). (2) ÂŁ200-300 Provenance: The estate of the late John F. Braund.

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101. Two similar Regency copper and brass samovars, both with mermaid handles and dolphin supports, one with an urn finial the other with a dolphin, one with an ivory handle, 43.5cm high (max). (2) £200-300

102. A collection of seventeen brass muffineers / shakers and casters, of various shapes, including: bun top and baluster, mid-18th century and later, 15cm high (max). (17) £100-150 Provenance: The estate of the late John F. Braund.

Provenance: The estate of the late John F. Braund.

103. A graduated set of five Victorian copper brandy warmers by Benham & Froud, each with a turned rosewood handle, a lid and a spout, the bases with orb and sceptre marks, together with two other copper brandy warmers, 26.3cm high (max). (7) £100-150 Provenance: The estate of the late John F. Braund.

104. A collection of copper items, comprising: a Victorian jelly mould, stamped ‘216 C’, together with two smaller jelly moulds by Benham & Froud, a twin handled mug, a Neo-classical samovar with a pineapple finial and decorated with ram’s head masks and a flagon with a brass finial and handle, 33cm high. (6) £150-200 Provenance: The estate of the late John F. Braund.

105. A Victorian copper and brass watering can, 43.3cm high. £80-120 Provenance: The estate of the late John F. Braund.

42

106. A small collection of brass ware, comprising: an 18th century incense burner, with a turned mahogany handle and a pierced hinged lid on tripod supports, together with an 18th century coffee pot, a teapot and a chamberstick, both previously silvered and a Victorian miniature model of a bucket, inscribed ‘NO COAXIN IN THIS HOUSE 1895’, 34cm high (max). (5) £100-150 Provenance: The estate of the late John F. Braund.


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107. A small George III mahogany chest, the rectangular crossbanded top inlaid with boxwood stringing and with a caddy moulded edge, above a brushing slide and six long graduated drawers, on bracket feet, 82cm high, 56.4cm wide, 30.2cm deep. £600-800 Provenance: The estate of the late John F. Braund.

107

108. A Regency mahogany Canterbury in the manner of Gillows, with four dipped divisions and with faux bamboo ring turned supports, with a cedar lined drawer, on brass caps and castors, 51.2cm high, 51cm wide, 35.8cm deep. £300-500 Provenance: The estate of the late John F. Braund.

108

109. A nest of three Regency rosewood and parcel gilt occasional tables, each with a beaded top, on ring turned legs and scroll feet, 77.7cm high, 54.7cm wide, 35.7cm deep. (max). (3) £500-700 Provenance: The estate of the late John F. Braund.

109

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110. A Regency mahogany open armchair, the curved tablet top rail carved with scrolls, with a horizontal splat centred with a shell, above a drop-in seat, on sabre legs. £200-300 Provenance: The estate of the late John F. Braund.

110

111

111. A George III mahogany Pembroke table, inlaid with stringing, the oval drop-leaf top with kingwood banding, above a bowfront frieze drawer flanked by marquetry oval paterae, on square tapering legs and brass roller castors, 72.3cm high, 76 x 96.2cm (open). £200-300 Provenance: The estate of the late John F. Braund.

112. A George III mahogany dressing table mirror, with a shield shape plate and brass urn finials, the serpentine box base fitted with three drawers, on bracket feet, 62.3cm high, 46.2cm wide, 21cm deep. £150-250 Provenance: The estate of the late John F. Braund.

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113. A George III mahogany rectangular tray, with an undulating gallery and a pair of brass handles, 39.3 x 54.4cm. £150-200 Provenance: The estate of the late John F. Braund.


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114. A small Regency goncalo alves Davenport, the swivel top with a brass three quarter gallery and leaf cast handle, above a leather lined hinged slope revealing a vacant interior, with a cedar lined pen and ink drawer to the right side, a slide to the left and with pleated fabric doors to both sides enclosing shelves, on brass castors, 81cm high, 37cm wide, 47.3cm deep. £500-800 Provenance: The estate of the late John F. Braund.

114

115. A Regency yew wine table, the octagonal fixed top with a reeded edge, above a baluster turned stem, on tripod legs, 74.5cm high, 41cm wide. £300-500 Provenance: The estate of the late John F. Braund.

115

116. A George IV mahogany bergère armchair, with a cane back, sides and seat with a later upholstered cushion, head and armrests, with turned arm supports and front legs, on brass castors. £500-700 Provenance: The estate of the late John F. Braund.

116

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117. A late 19th century French brass musical automaton singing bird, perched on a bar in a birdcage, with leaf and floral decoration, on a giltwood base and a ring for suspension, 28.9cm high. £100-150 Provenance: The estate of the late John F. Braund.

117 118

118. An Austrian enamel and gilt bronze miniature clock in Rococo style, with a brass drum movement and a circular dial with Roman numerals, the scroll case decorated with an amorous couple with £100-150 cupids, Vienna, late 19th / early 20th century, 8cm high. Provenance: The estate of the late John F. Braund.

119. An early Victorian ivory pocket sundial and thermometer, with carved decoration, the curved scale in Fahrenheit and Reaumur and signed ‘STEELE & RIX NORWICH’, 9.8cm diameter, in a leather travelling case. £100-150

119

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Provenance: The estate of the late John F. Braund.


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120. A late 19th century French gilt brass and porcelain mounted carriage clock, the platform lever escapement striking on a gong, the brass movement with alarm and stamped ‘PATENT SJRETY POLLER’ and ‘PARIS 790’, the dial with Roman numerals and inscribed ‘MANOAH RHODES & SONS LD. BRADFORD’, the panels signed ‘A. Lobbmeyer’ and decorated with a couple at various ages in their lives, £1,000-1,500 in a corniche case, 16.5cm high. Provenance: The estate of the late John F. Braund.

120

121. A George III mahogany stick barometer by Fraser & Son London, the broken pediment centred with a brass urn, above a silvered dial with an adjustable Vernier scale and signed ‘Fraser & Son London’, the moulded case with a turned cistern cover, 94.5cm high. £300-500 Provenance: The estate of the late John F. Braund.

121 122. A William IV miniature terrestrial globe by Newton & Son, the 3in globe made of twelve hand-coloured engraved gores, inscribed ‘NEWTON’S New & Improved (TERRESTRIAL) GLOBE, Published by Newton & Son 66 Chancery Lane & 3 Fleet St. Temple Bar’, the oceans with Cook’s three voyages, South Africa labelled ‘CAFRERIA’, Alaska as ‘Russian Territory’ and New Zealand labelled in Maori, with iron axis pins and housed in a turned mahogany case with a domed lid, 10cm high. £1,000-1,500

122

Provenance: The estate of the late John F. Braund.

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123

123. A 19th century ivory animalier group after Pierre-Jules Mêne, carved with a spaniel hunting a game bird, on a naturalistic base, 20.3cm wide. £100-150 Provenance: The estate of the late John F. Braund. 124. An Austrian cold painted bronze model of a parrot, late 19th / early 20th century, 7.7cm high. £100-150 Provenance: The estate of the late John F. Braund. 125. A small collection of pottery, comprising: three Dutch delft blue and white tiles, a Staffordshire model of a recumbent spaniel and a pair of sheep spill vases together with a ram and a sheep, 18th century and later, 16.5cm (max). (8) £100-150 Provenance: The estate of the late John F. Braund.

124

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126

126. A Japanese bronze model of a carp, 45cm long.

£100-150

Provenance: The estate of the late John F. Braund. 127. A Japanese bronze incense burner in the form of a crane, the body with a lid, 63.1cm high. £200-300 Provenance: The estate of the late John F. Braund. Mei 128. A Japanese bronze model of a snarling tiger, with glass eyes and a signature tablet to underside, Meiji 1868-1912, 21.5cm long. £100-150 Provenance: The estate of the late John F. Braund. 129. A 19th century Chinese silkwork panel, depicting a cockerel amidst flowers and leaves, 31.8cm diameter, in a moulded hardwood circular glazed frame, together with a pair of Japanese silk pictures of birds, in glazed lacquer frames. (3) £80-120 Provenance: The estate of the late John F. Braund.

127

128

129

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130

130. A Victorian walnut open armchair, together with two nursing chairs and a balloon back side chair. (4) £100-200 Provenance: The estate of the late John F. Braund.

131. A walnut tripod table in George II style, the burr veneered top with a baluster gallery, on a turned stem and cabriole legs with pad feet, late 19th century, 77cm high, 50.5cm diameter. £150-250 Provenance: The estate of the late John F. Braund.

50

132. A mahogany stool, with a green brass studded leather seat, on moulded legs, 17.7cm high, 36.7cm wide, 30.5cm deep. £80-120 Provenance: The estate of the late John F. Braund.


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133. Robert ‘Mouseman’ Thompson (1876-1955). An oak joint stool, with a burr dished top, on faceted baluster legs united by peripheral stretchers, with a carved mouse signature, c.1930-40, 37.8cm high, 40cm wide, 27.7cm deep. £300-400 Provenance: The estate of the late John F. Braund.

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134. A late 17th century Flemish oak cupboard, the moulded cornice above a frieze carved with scrolling leaves, above a pair of doors decorated with strapwork panels enclosing a shelf, the base with a pair of conforming doors above a drawer and with carved corbels, on bun feet, 182.7cm high, 145cm wide, 64cm deep. £500-800

134

135

135. A Charles II oak coffer, the triple panelled top revealing an open till, the front with a lunette frieze above leaf, flower and whorl lozenges, flanked by strapwork panels, 67cm high, 120cm wide, £400-600 54.2cm deep.

136. An oak panelled back open armchair in 17th century style, the back carved with spirals and scroll motifs around a diamond shape centre, over a solid seat and block and turned front legs united by peripheral stretchers, with a metal trade label, inscribed ‘SIMKIN £200-300 CABINET MAKER & UPHOLSTERER COLCHESTER’.

136

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137. A 19th century Baltic painted pine cupboard, with ribbed lozenge fielded panels, the top with a pair of cupboard doors enclosing two shelves, the conforming base with a single shelf, possibly Russian or Scandinavian, 207.8cm high, 125.2cm wide, 56.2cm deep. £500-800

137

138

138. A Victorian pine farmhouse kitchen table, the boarded top with cleated ends and a frieze drawer to one end and with a blue painted base, 76.6cm high, 162cm long, 92.7cm deep. £400-600

139. A George III fruitwood child’s rocking commode chair, pierced with a handgrip. £100-150

139

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140. Two carved wood ‘poppy head’ pew ends, probably 15th / 16th century, 70cm high, together with a Flemish oak heraldic panel, boldly relief carved with a central strapwork cartouche, with a lion’s mask flanked by a pair of dragons and scrolling leaves and flowers, 17th century, 24 x 171.5cm. (3) £150-200

141. An 18th century turned lignum vitae mortar, with reeded bands, 18.7cm high, together with an associated pestle. (2) £200-300

142. An early 19th century oak cutlery tray, with two divisions and pierced with a handgrip, 36.5cm wide, together with a set of six 19th century steel knives and forks with horn handles, the blades stamped ‘S. HERRIOTT & SONS SHEFFIELD’. (13) £100-200

143. An early pine milliner’s hat stretcher, with an iron handle, probably 18th century, 30.4cm high. £100-150

144. A 19th century treen lignum vitae fid, with reeded bands to the top, 49.3cm long. £80-120

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145. An 18th century Scandinavian treen birch mangle board, with a stylised horse handle and carved with foliage and whorls, inscribed ‘Ano’ and initials ‘E H O’, with the date ‘1700’, 71cm long. £300-500

146. A 19th century Flemish treen measure, 27.5cm high, 25.5cm diameter. £500-800

147. A 19th century treen dairy bowl, probably ash or elm, with reeded bands to the exterior, 48.6cm diameter. £150-250

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148. A mid-19th century brass tavern honesty tobacco box, with a handle and two hinged flaps, inscribed ‘New Inn, This is your Bank, no speculative terms, As all Deposits Meet with good Returns’, stamped with the Royal Coat of Arms and ‘RICH PATENT’, on ball feet, 17.4cm high, 24.5cm wide. £200-300

148

149. A pair of 18th century bronze ember tongs, engraved with flowers, 33.9cm long. £100-150

149

150. A George II brass helmet shape ewer, with a scroll handle, the body with reeded bands, on a turned and domed foot, with traces of silvering to the interior and underside, 21.5cm high. £100-150

150

151. A collection of brass and other items, including: a spoon with a horn bowl, a pair of candle snuffers with repoussé decoration, a mortar and pestle, hanging scales by John Linwood, a wall bracket, four powder flasks, a pair of George III steel sugar cutters and a pair of tethers. (26) £150-250

56

151


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152. An early 19th century primitive ash stick-back armchair, with a bow top rail above an elm seat, on turned front legs, possibly Welsh. £300-500

152

153. A pair of Victorian yew low back Windsor armchairs, each with a hoop back above a burr pierced splat, with an ash seat, on turned legs united by a crinoline stretcher, possibly Nottinghamshire. (2) £600-800

153

154. Two Victorian ash high back Windsor armchairs, each with a pierced splat back, on turned legs united by a crinoline stretcher, £200-300 possibly Nottinghamshire. (2)

154

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155. A mid-17th century oak centre table, the boarded top with cleated ends, above a moulded frieze with shaped brackets, on turned gun barrel legs united by peripheral stretchers, 68cm high, 105.3cm wide, 52.3cm deep. £200-300

155

156. A Charles I oak joint stool, the seat with a moulded edge above a cable carved frieze and baluster legs, 53cm high, 46cm wide, together with another oak joint stool, the frieze carved with leaves, 56.7cm high, 39.8cm wide. (2) £200-300

156

157. An early 18th century oak centre table, the lift-off boarded top with cleated ends, above a moulded frieze and on turned legs united by peripheral stretchers, 73cm high, 103.7cm wide, 63cm deep. £200-300

157

58


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158. An Elizabeth I and later Cumbrian oak and inlaid tester bed, decorated with geometric ebonised and holly parquetry, the tester with twelve mitred panels, with a moulded cornice and fluted columns supported by panelled protruding front supports, the headboard with a pair of carved and arched panels above triple plain panels and with a pair of wing columns, together with a bed base, Lake District, 232.4cm high, 206.5cm wide, 231cm deep. ÂŁ6,000-8,000

59


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160

159. No Lot

160. A 19th century burr maple kidney shape snuff box, with a ring handle and a tortoiseshell lined interior, together with a painted lacquered snuff box, decorated with an interior scene with children in the manner of Wilkie Collins, with a tortoiseshell interior and an ebonised lacquer snuff box, 8.5cm wide (max). (3) £300-400 161. A horn powder flask, scrimshaw engraved with stylised figures and animals, with a star and scrolling leaves, possibly German, 17th century, 15cm long. £150-250

161

162. A set of 18th century travelling scales, the treen case with a hinged sliding lid with brass mounts, containing a brass pan and weight, with a piqué decorated ebony pole, 41.5cm long. £150-250 163. An early 19th century tricorn hat by S. Mason Jr., with maker’s mark ‘S, MASON JR. 166 WAS...TON ST. £100-150 BOSTON’, 36.2cm wide.

162 163

60


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164. A pair of painted wood dummy board figures, of an Elizabethan boy and girl, each with a hinged easel support and a brass suspension ring, late 19th / early 20th century, 83.5cm high, 42.8cm wide. (max). (2) £600-1,000

164

165. An 18th century carved oak figural term as Henry VIII, 39.4cm high.

£150-250

166. An 18th century carved oak figure, possibly Christopher Columbus, 25.8cm high. £100-150

166

167

167. Two folk art carved pine primitive figures, with traces of painted decoration, one of a saint with glass eyes, the other of a bearded man, each mounted on a later ebonised plinth, 18th century or earlier, 28.7cm high (max). (2) £150-200

61


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168

168. A mid-17th century West Country oak bible box, the boarded hinged top above a foliate carved lunette front, possibly Exeter, 25.8cm high, 72.2cm wide, 43.6cm deep. £200-300

169. An early 19th century Lancashire / Cheshire style ash and fruitwood armchair, the spindle back with turned wing supports, above a rush seat, on turned front legs united by stretchers. £100-150

169

170

170. An 18th century stained pine deeds box, the hinged lid revealing a vacant interior, the front painted with the date ‘1708’, 16.5cm high, 44.5cm wide, 29.4cm deep. £100-150

171. A George II oak hanging cupboard, with a hinged door, with a raised arched panel revealing two shelves and two spice drawers, 69cm high, 51.3cm wide, 25.6cm deep. £200-300

171

62


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172. An 18th century Dutch brass six-light chandelier, with a ring top above a ball turned stem, with detachable scroll branches, dished drip-pans and bulbous turned sconces, 39.7cm high, 65.5cm wide. ÂŁ800-1,200

172

173. A pair of gilt bronze wall sconce backplates, cast in relief with the Virgin and child, with angels all holding rosary beads, above a saint preaching before priests and other figures, the border decorated with religious scenes interspersed with rosettes, possibly Spanish or Italian, 18th century, 30.5 x 22.3cm. (2) ÂŁ200-300

173

174. A set of five 18th century Italian Venetian gilt bronze altar style candlesticks, each with a cylindrical sconce with a pricket, above a leaf and baluster stem decorated with lions, masks, swags of flowers and angels, the tapering bases with applied lions of St. Mark, on scroll feet, 51cm high. (5) ÂŁ2,000-3,000

174

63


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175. A William and Mary oak chest, the rectangular top with a moulded edge, above four geometric panelled long drawers, on a later oak stand, 118.8cm high, 92cm wide, 55.7cm deep. £200-300

175

176. A Victorian oak Glastonbury chair, the panelled back carved with a Ducal coronet, on ‘X’ shape supports united by a stretcher. £200-300

177. A set of six early 19th century East Anglian mahogany side chairs, each with a tablet back and a horizontal ball splat, above a dished seat, on square tapering legs united by ‘H’ stretchers, the underside of one inscribed in chalk ‘MISS BATSTONE BLUNDELL’S’. (6) £300-500

64


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178. A Victorian rolled paper diorama of a Gothic country house, with marbled paper steps, with applied grasses and a painted background, in a glazed ebonised case, 47.2cm high, 80.3cm wide, 16.6cm deep. ÂŁ600-800 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

179. An early Victorian folk art model of a miniature dog, with glass eyes and a gilt metal collar, mounted in a naturalistic setting with grasses and flowers, in a glazed stained pine case, 26.5cm high, 30.5cm wide, 13cm deep. ÂŁ800-1,200

65


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180

180. A bronze mortar, with an everted lip above five grotesque male masks, the base stamped with a shell, 16th / 17th century, together with a Chinese polished bronze incense burner on tripod beast feet, the underside with dragons chasing a pearl and a six character mark and a Japanese censer with boy feet and a nine character mark, 18cm (max). (3) £200-300 181. Horse racing interest. A George II folk art copper warming pan, with a turned fruitwood handle, the hinged lid pierced and naively engraved with flowers and leaves and centred with a stallion, inscribed ‘... A HORSE BELONGING TO THE EARL OF PORTMORE 1743’, 114cm long. £200-300 182. An 18th century treen walnut and iron coupe baguette or saladier, probably for herbs, with a fret carved end and a guillotine blade with a turned handle and a naive head finial, 69.6 x 29.7cm. £200-300 Provenance: From the Estate of the late Eila Grahame.

183. A Victorian ivory and steel carving set, the handles carved with dog’s heads, the knife blade stamped ‘J. WALTER & Co. 25 BURGESS STREET, SHEFFIELD’, the fork with a hinged rest, 43cm long (max). (2) £100-150

181

182

66

183


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184. A painted tôle decoy pigeon, with glass eyes, with a spring mechanism, mounted on a cane stem and log section base, 31cm high, 30.8cm long. £200-300

184

185. An ebonised wicker fruit bowl, containing thirteen painted stone models of fruit, including: a banana, apricots, peaches, pears, an apple and a fig, 33cm wide. (14) £150-250

186. Two unusual burr wood specimen wall brackets, each mounted on a green painted wood frame, late 19th / early 20th century, 64.7cm high, 24cm wide. (2) £400-600

186

67


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187. A harlequin set of eight Victorian pottery imperial shop counter weights, each with a lead weighted base, five inscribed ‘W. & T. AVERY BIRMINGHAM’, one with a ribbon border, comprising: 7lb., 4.lb., three 2lb., two 1lb. and 2oz., 11.7cm high.(max). (8) £300-500

187

188. A Victorian ‘Harwood’ Clarence pottery combed slipware dish, together with a matching tazza, impressed marks ‘HARWOOD STOCKTON’, 27.2cm (max). (2) £150-250

188

189. A Victorian Staffordshire pottery flat back goat jug / creamer, modelled with a Scottish milkmaid, together with a pair of Staffordshire cow jugs / creamers, 22.5cm high (max). (3) £150-250

189

190. An early 19th century stoneware money box, in the form of a farmer with a cow, together with a pearlware ‘frog’ two handled mug, the interior with two frogs, the printed body with a verse and an 18th century style pottery ‘pew’ type figure of a lady seated on a chair, 20cm (max). (3) £100-150

190

191. A set of eight pictorial butcher’s shop pottery tiles by Richards, depicting a bull and a ram, each made from four tiles, stamped ‘RICHARDS ENGLAND’, first half 20th century, each picture: 30.3cm square. (8) £100-150

191

68


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192  192. A rare turned ivory nutmeg grater, of urn shape, piqué decorated and applied with turquoise dots, the screw-off lid revealing a later steel grater which unscrews to reveal a compartment for nutmegs, possibly Indo-Portuguese or English, late 17th / early 18th century, 10.8cm high. £300-500

193. An Indo-Portuguese turned ivory apothecary’s mortar, with original pestle, with reeded decoration, late 17th / early 18th century, the mortar: 14.8cm high, the pestle: 18cm long. (2) £500-800

193

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194. A Victorian black japanned tôle tea bin, the cylinder lid decorated with a teapot, inscribed ‘VANITY MEANS QUALITY SINCE 1760’, the barrel front with bands of Greek key and with Chinese characters, 69.5cm high, 49.5cm wide, 47cm deep. £500-700

194

195. A Victorian red japanned tôle shop display canister, with a hinged lid, the front with a gilt border decoration, inscribed ‘CHOCOLADE 2’, the back with an oval stamp, inscribed ‘JOHN A. GILBERT & CO. MAKERS LONDON’, 25.4cm high, 33.2cm wide, 22.5cm deep. £100-150

195

196. A large Lipton tôle tea canister, the top with a flap lid and a ring handle, the sides polychrome decorated, depicting scenes of producing tea, one side with the Royal Coat of Arms being held by two Ceylonese women in traditional clothing, with the inscription ‘LIPTON LIMITED, TEA, COFFE & COCOA PLANTERS, CEYLON, TEA MERCHANTS’, 35.3cm high, 27.5cm square. £100-150

196

197. A Victorian green japanned tôle shop display canister, inscribed ‘R. Skaife & Sons Celebrated Baking Powder’, with a hinged £80-120 lid, 25.4cm high, 19.5cm square.

197

70


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198. A pair of late Victorian black japanned tôle tea canisters, decorated in gilt with Chinese figures, numbered ‘X’ and ‘7’, 39.7cm high, 22.5cm diameter. (2) £300-400

198

199. A pair of late Victorian black japanned tôle tea canisters, decorated with bands of leaves and Chinese characters, 35.5cm high, 20.7cm diameter. (2) £200-300

199

200. A Victorian black japanned tôle bombe shape coffee canister, the mahogany top with three hinged lids, the sides painted in gilt, with floral borders and Chinese characters, the front inscribed ‘COFFEE’ in red and black, 24.5cm high, 58cm wide, 30cm deep. £200-300

71


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201. A Victorian green japanned tôle shop display coffee canister, with three compartments, each with a hinged lid, with a white painted flower shaped handle and numbered consecutively, the front inscribed ‘COFFEES.’, with remains of gilt paint, 17.6cm high, 37.3cm wide, 25.9cm deep. £100-150

201

202. A Victorian red japanned tôle shop display coffee canister, with three compartments, each with a hinged lid with a knob handle and numbered consecutively, decorated in gilt, three sides inscribed ‘COFFEE’, 23cm high, 64.5cm wide, 31.5cm deep. £200-300

202

203

204

203. A Victorian verre églomisé shop sign, ‘PERFUMERY’, 7 x 57cm. £50-80

72

204. Three German polychrome decorated terracotta animals, comprising: a recumbent greyhound and a bulldog, both with glass eyes, late 19th century, together with a later model of a cat, 13.3cm high (max). (3) £150-200


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205. A German polychrome decorated terracotta model of a seated bulldog, with glass eyes, indistinctly stamped, 32.7cm high. £300-500

205

206. A German polychrome decorated terracotta model of a standing bulldog, with glass eyes, late 19th century, 20.2cm high, 23.5cm wide. £200-300

206

207. A German polychrome decorated terracotta model of a seated bulldog, with glass eyes, numbered in pencil ‘6020’, late 19th century, 19.5cm high, 15.5cm wide. £200-300

207

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208. A walnut chest on stand in George II style, the veneered crossbanded top above two short and three long drawers, the stand fitted with three drawers, on shell capped cabriole legs, 158.3cm high, 105cm wide, 56cm deep. £300-500

208

209. A William and Mary walnut cushion frame wall mirror, the later rectangular bevelled plate within a moulded frame, originally with a cresting, 60 x 53cm. £200-300

210. An early 18th century walnut chest, the quarter veneered top with cross and feather banding, above two short and three long graduated drawers, with cut-out runners, on bracket feet, 93.1cm high, 98.1cm wide, 58.4cm deep. £400-600

210

74


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211. An early 18th century walnut bureau cabinet, the moulded cornice above a pair of arched bevelled mirrored doors, revealing pigeonholes, above a hinged fall, the interior with drawers, pigeonholes and a sliding well cover, with a brass presentation plaque, inscribed ‘PRESENTED TO THE REV. E. F. D’OUVERGNE, BY HIS PARISHIONERS, ON THE OCCASION OF HIS SILVER WEDDING AND IN APPRECIATION OF HIS SERVICES FOR 22 YEARS AS VICAR OF LINDFIELD, SEPTEMBER 29TH 1908’, above two short and two long drawers, on bracket feet, 202cm high, 102cm wide, 60cm deep. £600-1,000

211 212. A William and Mary floral marquetry mirror frame, inlaid with various fruitwoods, with tulips and scrolling leaves and with a stiff leaf border, originally with a cresting, 46.3 x 40cm. £200-300

213. An Anglo-Dutch walnut and marquetry bureau, inlaid with fruitwood and mother of pearl panels of urns of flowers and scrolling foliage on an ebony ground, the hinged fall revealing a stepped interior of drawers and pigeonholes, with a sliding well cover, above two short and two long drawers, on later bracket feet, early 18th century, 106.4cm high, 100.4cm wide, 54cm deep. £400-600

213

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214. A George II walnut bureau, with cross and feather banding, the hinged fall revealing a fitted interior with holes and pigeonholes, above three long graduated drawers and bracket feet, 93.1cm high, 70.9cm wide, 44.3cm deep. £150-250

214

215. An oyster veneered and walnut lace box, the hinged lid revealing a red stained vacant interior, late 17th / early 18th century, 22.9cm wide, 18cm deep. £150-250

215

216. An 18th century oyster veneered kingwood lace box, the hinged lid revealing a later velvet lined vacant interior, with a brass escutcheon, 11.5cm high, 41.2cm wide, 27.3cm deep. £300-400

216

217. An early 18th century black japanned lace box, the domed hinged lid decorated with gilt raised chinoiserie with figures, trees and birds, with a gilt speckled interior, the brass lock with engraved decoration, 8.7cm high, 30.2cm wide, 25.5cm deep. £300-400

76

217


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218. An early 18th century English black japanned cabinet on a later stand, painted with gilt raised chinoiserie with Chinese style pagodas, figures, birds and watery landscapes, with engraved gilt brass strap hinges, mounts and lock plates, with a pair of hinged doors revealing an arrangement of ten drawers, on a Regency stand, 145.2cm high, 79.5cm wide, 48.7cm deep. ÂŁ800-1,200

77


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219. A George II needlework sampler by Jane Markham, worked in coloured silks, on a linen ground with an alphabet and the Lord’s prayer and with bands of flowers and geometric designs, inscribed ‘JANE MARKHAM BEING 13 YEAR OF AGE IN THE YEAR OF OUR LORD 1742’, 38.5 x 20.8cm, in a later glazed bird’s eye maple frame. £300-500

220. A 16th century embroidered needlework panel, possibly a coif fragment, with blue and yellow silks and worked in chain stitch with gilt and silvered metal thread, with a rinceau of scrolling leaves and flowers, 39.3 x 24.8cm, in a later glazed gilt frame. £400-600

221. A George IV needlework sampler by Ann Webb, worked with coloured thread with an alphabet, pairs of lions, rams and birds, with a house, urns of flowers and bands of scrolling flowers, inscribed ‘Blessed are the poor in spirit for theirs is the kingdom of heaven’ and signed ‘Ann Webb Aged 9 1829’, 30.2 x 32cm, in a glazed moulded wood frame. £150-200

222. An early 19th century American needlework sampler by Katron Taylor, worked with coloured threads with pairs of birds, with a George Washington quote ‘BE COURTEOUS TO ALL BUT FAMILIAR WITH FEW.’, trees, crowns above initials, urns of flowers and a ship, signed ‘KATRON TAYLOR MAY 4 1803 MOBEFBAIIK’, with a subsidiary band, 41.8 x 34.5cm, in a later glazed simulated rosewood and frame. £300-400

78

Provenance: Purchased by the current vendor from Mallett. The Property of a Lady.


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223. A Charles II needlework picture, probably canvas work with raised silver metal thread and seed pearl details, depicting the reception of the Queen of Sheba by King Solomon, with attendant figures, before a fountain flanked by a lion and a leopard, with various birds and insects, with a squirrel in a tree and two castles, the gates and doors open, 42.3 x 49.5cm, in a later glazed stained wood frame. £1,500-2,500

223 224. An 18th century naive needlework sampler, worked in coloured threads on a linen ground with a Corpus Christi, an angel, a caterpillar, a Naval officer, a cat, a rabbit, a band of scrolling flowers and other motifs, 27.2 x 24.5cm, in a £300-500 glazed, ebonised and gilt frame.

224

225. A rare Charles II spot sampler, worked with coloured silk and metal thread on a linen ground, with tent stitch, pulled thread work and various other stitches, decorated with a central coat of arms and the date ‘1674’, with triad initials ‘M I P’, with various animals, including: a leopard, a lion, parrots, a swan feeding its young and with flowers, scrolling leaves and panels of floral designs, 25.5 x 65.5cm, in a later glazed gilt frame. £2,000-3,000 Provenance: Purchased by the current vendor from Mallett. The Property of a Lady.

79


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226. A George III mahogany bookcase, the Greek key cornice above a pair of astragal glazed doors, enclosing two adjustable shelves, above a conforming base, on bracket feet, 215.2cm high, 112cm wide, 45cm deep. £300-500

226 227. A George II and later mahogany tea table, the hinged fold-over top with lobed front corners, on a single gate support, above a frieze drawer, on turned club legs and pad feet, 72.9cm high, 83.8cm wide, 40.5cm deep. £300-500

228. A George III Lancashire mahogany chest, the rectangular top with a moulded edge, above two short and three long graduated drawers, flanked by fluted quarter pilasters, on ogee bracket feet, 80.8cm high, 107.3cm wide, 51cm deep. £300-500

228

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229. A George II mahogany bureau cabinet, the moulded cornice above a pair of fielded panel doors, enclosing three adjustable shelves, above a pair of candle slides, above a hinged fall, the interior with an arrangement of pigeonholes and drawers, above four long graduated drawers, on bracket feet, 206.8cm high, 101.1cm wide, 55cm deep. £300-500

229 230. A George III mahogany serpentine front card table, the foldover top with a moulded edge on twin gate supports, above a fluted frieze and carved flower head rondels, on fluted tapering legs and turned feet, 71.6cm high, 90.8cm wide, 43.8cm deep. £800-1,200

231. A George III Lancashire mahogany chest, the rectangular top with a moulded edge, above two short and three long graduated drawers, flanked by fluted quarter pilasters, on ogee bracket feet and £400-600 castors, 81cm high, 94.6cm wide, 48.5cm deep.

231

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232. A George III mahogany open armchair attributed to Gillows, the moulded square back with three fluted vertical splats with leaf carved capitals, above a drop-in seat, on square tapering legs united by stretchers with a ‘V’ mortice, together with a later mahogany copy. (2) £200-300

232

233. A George III satinwood side table, inlaid with ebonised stringing, the rosewood banded hinged top with a moulded edge revealing a vacant interior, on square tapering legs united by an ‘H’ stretcher, 72cm high, 62.7cm wide, 39.5cm deep. £200-300

233

234. A George III mahogany tray-top bedside commode, the shaped gallery pierced with handgrips, above a pair of crossbanded cupboard doors and a converted pull-out base, 81.7cm high, 56.8cm wide, 48.7cm deep. £400-600

234

235. A George III mahogany wake style dining table, the oval dropleaf top above a frieze drawer to either end, on channelled square legs, possibly Irish, 74.9cm high, 145.2 x 144.4cm (open). £400-600

235

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236 236. An early George III mahogany silver chest on stand, the rectangular top with a moulded edge, above two drawers with blind fret decoration, the top deep drawer lined with baize and originally with a tray, the lower drawer flanked by lopers, with brass side carrying handles, the stand carved with leaves on a diaper ground, on leaf and cartouche carved cabriole legs and rocaille scroll feet, originally on castors, 71.7cm high, 80.5cm wide, 58cm deep. £2,000-3,000 Provenance: The Hippisley family collection, Ston Easton Park, Somerset.

237. A giltwood and gesso wall mirror in George II style, the arched bevelled rectangular plate within a florets carved frame, the sides with tasselled drapes and with a scroll swan’s neck pediment centred with a basket of flowers, 98 x 100cm. £500-700 Provenance: Purchased from Peter Tobin (M.P.T. de Lisle Bush) at the Chelsea Antiques Fair in 1963.

237

83


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238. A George III mahogany serpentine chest, the top with a moulded edge above four long graduated drawers, flanked by blind fret carved canted angles, on shaped bracket feet, 99.2cm high, 114cm wide, 56.2cm deep. £2,000-3,000

238

239. A George III mahogany demi-lune tea table in the manner of Gillows, inlaid with stringing, the crossbanded fold-over top on twin gate supports, the frieze with a central tablet marquetry inlaid with a fan patera, bell flower, husks and flower head paterae, on moulded square tapering legs and spade feet, 75.3cm high, 99.5cm wide, 49cm deep. £400-600 See Susan E. Stuart, Gillows of Lancaster and London, 1730-1840, vol.1, p.259, pl.260 for a similar table.

239

240. A George III mahogany butler’s tray, the three-quarter gallery with shaped ends and pierced with handgrips, on a folding ring turned stand, 80.5cm high, 77.2cm wide, 56cm deep. (2) £400-600

240

84


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241. A George III fiddleback mahogany serpentine dressing chest, inlaid with ebonised and boxwood stringing and crossbanded with goncalo alves, the fitted top drawer with a baize lined slide revealing lidded and open compartments, divisions for combs, razors and glass bottles, with a pink cushion and an adjustable shaving mirror on a ratchet, the side with a hinged pen and ink compartment, above three further long drawers, on French bracket feet, 85.5cm high, 107cm wide, 55.8cm deep. ÂŁ5,000-7,000 Provenance: The Hippisley family collection, Ston Easton Park, Somerset.

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242. A George III faded mahogany bowfront sideboard, inlaid with boxwood stringing, with a central frieze drawer flanked by a deep drawer to either side, each with a false front, on tapering legs, inlaid with intertwining stringing, 84cm high, 122cm wide, 56.8cm deep. £800-1,200

243. A late George III mahogany knife box, with kingwood banding and boxwood and ebonised stringing, the sloping lid revealing a fitted interior, the matrix with forty-five apertures, the front with a silver handle and escutcheon hallmarked for London 1809, on ball feet, 39.3cm high, 23cm wide, 30.7cm deep. £200-300

243 244. Two George III mahogany knife boxes, both with barber’s pole stringing and converted interiors, 37.3cm high, £80-120 23cm wide (max). (2) Provenance: From the estate of the late Lady Dodds.

244

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245. A George III mahogany side table, the rectangular top above a fluted frieze, on square tapering fluted legs headed by oval paterae, with applied pierced fret brackets, 86.7cm high, 214.6cm wide, 73.3cm deep. £3,000-5,000 For a closely related side table see Sotheby’s, Important English Furniture, 18th November 1994, lot 114. The table was commissioned by George Bigland for Bigland Hall, Lancashire. Entries in Gillow’s ledger reveal that they supplied furniture for Bigland Hall throughout the 1780s.

246. Literature. Thomas Chippendale (1718-1779). ‘The Gentleman Cabinet-Maker’s Director: Being a large Collection of the Most Elegant and Useful Designs of Household Furniture, In the most Fashionable Taste. The Third Edition’, ‘London: Printed for the Author, 1762’, with a dedication plate ‘To the Right Honourable Hugh Earl of Northumberland’, with two-hundred engraved plates after Thomas Chippendale, folio gilt tooled leather with a red Morocco spine. £1,000-1,500

246

247. A George III mahogany chamber table, the rectangular top with a moulded edge that runs also along the back, above a pair of frieze drawers, with shaped corner brackets, on canted and moulded legs, 74.5cm high, 93.8cm wide, 62.6cm deep. £500-800

247

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248. A carved giltwood eight-light chandelier in George II style, with a bud finial, above a stem carved with leaves, flowers and punched ground panels, with leaf scroll arms hung with tassels, late 19th / early 20th century, 62.5cm high, 58.7cm wide. £400-600

248 249. A set of six brass wall lights in George II style, each with an urn and lobed baluster backplate, issuing twin scroll arms with dished drip-pans and vase turned nozzles, 27cm high, 29.7cm wide. (6) £300-500

249

250. A set of three glass and silvered metal wall lights in George III style, hung with cut-glass drops and lustres, with a star finial and faceted obelisk style stem, with a flower head ball issuing twin scroll arms, with petal drip hands and Van Dyke sconces, late 19th century, 36.5cm high, 34cm wide. (3) £400-600

250 251. A pair of silvered wall lights in George III style, each with a tapering back plate decorated with a laurel wreath above leaves, with a pair of reeded scroll branches and faceted urn sconces, late 19th / early 20th century, 46.2cm high, 38cm wide. £300-500 (2)

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252. A Regency Scottish mahogany wine decanter coaster attributed to James Mein of Kelso, the dished top with a gadrooned edge, on four leather and brass roller castors, 25cm diameter. £500-800 For a very similar decanter / bowl stand see Woolley & Wallis, Furniture, Works of Art & Clocks, 3rd April 2019, lot 378.

252

253. A small George III mahogany tray, with a moulded pie-crust edge, 27.5cm wide. £100-150

253

254. A George III mahogany and brass bound plate bucket, of staved construction, with a brass swing handle, 32.7cm high, 35cm diameter. £300-500

254

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255. A George III oak longcase clock with automaton by George Hewett of Marlborough, the eight day brass movement with four turned pillars, with an anchor escapement striking on a bell, the arched twelve inch dial with a silvered chapter ring and centre, with Roman and Arabic numerals, the centre with subsidiary seconds dial and date aperture and engraved with a church, figures, trees and buildings, signed ‘George Hewett MARLBORO’, the arch with a ‘TEMPUS FUGIT’ automaton figure with a painted landscape, with a gilt dolphin and shell Rococo spandrels, the arched hood with brass ball and eagle finials, on bracket feet, 227cm high. £1,000-1,500 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

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256. An 18th century black japanned longcase clock by Thomas Hickson of London, the eight day brass movement with four turned and finned pillars, with an anchor escapement striking on a bell, the arched twelve inch dial with a silvered chapter ring, with Roman and Arabic numerals, the centre with subsidiary seconds dial and date aperture and signed ‘Tho Hickson London’, the engraved arch applied with a crown and boys and conforming spandrels, the case decorated with chinoiserie, in need of some restoration, 214.3cm high. £200-300


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257. A Queen Anne and later walnut and seaweed marquetry longcase clock by R. Baterson of London, the brass movement of one month duration with five turned and finned pillars with an anchor escapement and an outside countwheel and striking on a bell, the eleven inch dial with a silvered chapter ring, with Roman and Arabic numerals, the centre with subsidiary seconds dial and date aperture and signed ‘R. Baterson London’, with gilt mask and foliage spandrels, the case inlaid with scrolling leaves and cherubs, the hood with a hinged door, the trunk door with a glass lenticle, on bracket feet, 212.8cm high. £4,000-6,000 Provenance: Sold by the executors of the late Pamela Spater (d.2018), Amersham, Buckinghamshire.

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258. An 18th century brass lantern clock by William Gill of Maidstone, the brass movement with an anchor escapement striking on a bell, the dial with Roman numerals and a single hand, with engraved decoration and signed ‘William Gill Maidstone’, the case with turned urn finials and pierced crests, 35.4cm high. £800-1,200 Provenance: Sold by the executors of the late Pamela Spater (d.2018), Amersham, Buckinghamshire.

260. A late Regency ebonised and brass inlaid bracket clock by Barwise of London, with an eight day brass movement, the circular dial with Roman numerals and signed ‘Barwise LONDON’, the case with a cone finial, with nulled mouldings and lion’s mask ring side handles, on ball feet, 38cm high. £500-800

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259. A George III ebonised bracket clock by Haley & Milner of London, the eight day brass movement striking on a bell, the engraved backplate signed ‘Haley & Milner LONDON’, the circular dial with Roman numerals and also signed, the arched case with a brass handle and fish scale side panels, on bracket feet, 36.3cm high. £500-700

261. A Victorian brass lantern clock in 17th century style, the eight day brass twin fusee movement with an anchor escapement striking on a bell, the circular dial with Roman numerals and pierced hands, the engraved centre signed ‘Tho Colborne Chippenham’, the case with urn finials and engraved pierced crests, 40.1cm high. £300-400


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262. A mahogany bracket clock, the eight day brass movement with an anchor escapement, the arched silvered dial with Roman numerals and signed ‘Isaac Rogers, London’, the case with a bell shaped top with a brass handle and turned finials, with pierced spandrels and side panels, on brass ball feet, George III but the movement later, 51.4cm high. £1,000-1,500 Provenance: Lord Astor of Hever.

262

263. A Regency ebonised bracket clock by George Yonge of London, the eight day brass movement with an anchor escapement striking on a bell, the silvered circular dial with Roman and Arabic numerals and signed ‘GEO. YONGE STRAND LONDON’, the waisted case with a brass cone finial and side carrying handles, on bracket feet, 52.4cm high. £2,000-2,500 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

263

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264. A Victorian ebonised bracket clock in 18th century style, with an eight day brass movement, the backplate signed ‘John Willm Carter, 28 St. Swithins Lane London’, the arched dial with a silvered chapter ring, with Roman and Arabic numerals, with a signature plaque, the case with gilt brass cone finials and female term mounts, 36.3cm high. £300-500

264

265. A mahogany barograph by Negretti & Zambra, with a glazed lift-off cover, stamped ‘NEGRETTI & ZAMBRA LONDON No. 30131’, with a base chart drawer, 21.9cm high, 35.6cm wide. £150-250

266. An early 19th century marble portico clock holder, with a gilt recumbent lion on ribbed column, flanking a pocket watch with an enamel dial and Arabic numerals, the movement signed ‘Jenkin Davies, London’ and with four lion’s mask rondels, 25.8cm high, 17.2cm wide. £200-300

266

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267. A Regency gilt brass and marble mantel clock by Tupman of London, the eight day brass drum movement signed ‘Tupman, Gt. Russell Street, Bloomsbury’, the circular engine turned dial with Arabic numerals, the case decorated with scrolls and palmettes and with an applied swag of flowers and fruit, 17.7cm high. £800-1,200 Provenance: Sold by the executors of the late Pamela Spater (d.2018), Amersham, Buckinghamshire.

267

268. A small French Directoire gilt brass travelling clock by Janvier, the brass movement with an outside countwheel, the circular dial with Arabic numerals and with blue steel hands, the seconds with a crescent finial, the case with a swing handle, the back stamped ‘JANVIER’ ‘No. 118’, late 18th / early 19th century, 8.5cm high. £200-300 Antide Janvier (1751-1835) was a French astronomer and master watchmaker.

269. A French Empire gilt and patinated bronze Neo-classical mantel clock by Bausse, the eight day brass drum movement with an outside countwheel and striking on a bell, the circular white enamel dial with Roman and Arabic numerals and signed ‘Baufse Au Meridien Blvard d’Antin’, the case decorated with a classical maiden, an urn and an anthenienne incense burner, applied with lyres and birds, 42.5cm high, 39.3cm wide. £1,000-1,500 Provenance: Sold by the executors of the late Pamela Spater (d.2018), Amersham, Buckinghamshire.

269

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270. A French Restauration gilt bronze and Siena marble figural mantel clock, the eight day brass drum movement with an outside countwheel and striking on a bell, the circular dial cast with a grapevine and with Arabic numerals, the case modelled with Silenus feeding the infant Bacchus, whilst resting on a tree stump, on a stepped base, 53.7cm high. £800-1,200

270 271. A 19th century French ormolu mantel clock, with a brass drum movement stamped ‘105’, the silvered dial with Roman numerals, the classical case decorated with a winged figure holding a torch, with war trophies and flowers and a butterfly, 25.3cm high. £400-600

272. A 19th century French brass and tortoiseshell boulle marquetry clock bracket, 31cm high, 40.7cm wide, 21.2cm deep. £100-150

272

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273. A late 19th century French ormolu and porcelain mounted mantel clock by Achille Brocot, with a perpetual calendar and retailed by Aubert and Klaftenberger, the eight-day brass drum movement striking on a bell and stamped ‘A. BROCOT A PARIS 77’ 1877’, the calendar movement stamped ‘1956’, the circular enamel dial with Roman numerals, the recessed centre with a visible Brocot escapement and signed ‘AUBERT & KLAFTENBERGER 157 REGENT ST.’, above a perpetual calendar dial showing moonphase, day, date and month, the Louis XVI style case with four porcelain panels painted with cherubs representing the four seasons, 43cm high, together with a giltwood base and under a glass dome. (3) £4,000-6,000

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274. A modern French gilt brass repeating carriage clock by L ‘Epée, with a platform lever escapement striking on a gong, the white enamel dial with Roman and Arabic numerals, with a recessed moonphase above three calendar subsidiary dials, signed ‘L’Epée, Fondée en 1839’, in a gorge case, 15cm high, with the original box. (2). £500-800

274

275. A French gilt brass oval carriage clock, with a platform lever escapement, the enamel rectangular dial with Roman numerals and inscribed ‘DREW & CO. 156 & 157 LEADENHALL ST. LONDON E.C. FRENCH MADE’, the case with five bevelled glass panels, late 19th / early 20th century, 12.4cm high, together with its leather travelling case. (2) £200-300

275

276. An early 20th century brass and nickel moonphase Goliath pocket watch, the white enamel dial with Roman numerals and three subsidiary calendar dials and with a seconds / moonphase dial, 10cm, £200-300 with an easel backed stand. (2)

276

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 277. A late 19th century French gilt brass and champlevé enamel four glass mantel clock, the eight day brass drum movement by Japy Frères, striking on a bell, stamped with a Japy Frères medaille d’honneur pastille, inscribed ‘MADE IN FRANCE’ and numbers ‘734552’, the jewelled pendulum inset with an ivory portrait miniature of a lady, the circular jewelled dial with Arabic numerals and inscribed with the retailer’s name ‘CAHOON BROS BELFAST PARIS MAKE’, the case with Corinthian capital columns and with floral enamel bands, with bevelled glass panels, 32cm high, on a giltwood stand. (2) £500-800

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278. A Dutch walnut and brass mounted wall mirror in late 17th century style, the rectangular plate within an ebonised slip, the cushion frame repoussé decorated with scrolling leaves and flowers, late 19th century, 103.2 x 91cm. £800-1,200

278 279. A walnut and Dutch marquetry lowboy, inlaid with flowers and birds, the quarter veneered top with cross and feather banding above two drawers, on cabriole legs and pad feet, 73.4cm high, 83.3cm wide, 52.5cm deep. £200-300

279

280. A South African Cape Dutch stinkwood low occasional table, the moulded edged top with a shaped front, above a frieze drawer, on scroll carved cabriole legs and stylised claw and ball feet, with a paper Army and Navy label, 57.5cm high, 56.4cm wide, 43cm deep. £200-300

280

281. A Dutch floral marquetry bombe bureau, inlaid with scrolling leaves, flowers and birds, with chevron stringing, the hinged fall revealing a stepped interior with drawers, pigeonholes and a central cupboard, above three short drawers and three graduated long drawers, late 18th / early 19th century, 112.2cm high, 125cm wide, 60.5cm deep. £800-1,200

281

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282. An 18th century Dutch burr walnut armoire, with elm banding, the twin arched cornice with three leaf and scroll carved vase holders, above a pair of doors with scroll, leaf and shell outline mouldings enclosing a shelf and three drawers, above two short and two long ripple moulded drawers, with scroll angles and bun front feet, 228.5cm high, 190cm wide, 65.2cm deep. £800-1,200

282

283. A pair of Dutch gilt brass eight-light chandeliers in 18th century style, each with a baluster stem and with scroll branches with beast terminals and a ball pendant, 51.8cm high, 65cm wide. (2) £600-800

284. An 18th century style Dutch oak burgomaster stool, on leaf carved cabriole legs and stylised claw and ball feet and brass castors, late 19th century, 38.5cm high, 60.5cm diameter. £200-300

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285. An 18th century French gilt and painted wood wall mirror, the later rectangular plate within a reeded and leaf carved frame, with a panelled back, 128.6 x 108.2cm. £500-800

285

286. A French giltwood bergère armchair in Louis XV style, the frame carved with leaves and flowers, the serpentine front on cabriole legs, late 19th / early 20th century. £100-200

287. A French giltwood oval centre table in Louis XVI style, the inset marble top within a moulded edge on fluted legs united by an ‘X’ stretcher, late 19th century, 75.4cm high, 87.5cm wide, 58.5cm deep. £200-300

288. An 18th century giltwood wall mirror, the later arched plate with further marginal plates, within a leaf and flower carved frame on a diaper ground, with a bird surmount feeding her chicks, French or Italian, 88.5 x 57cm. £600-800

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289. A French Louis Philippe mahogany console table, the grey speckled marble demi-lune top above a plain frieze and scroll legs terminating in lion’s paw feet, the platform base on castors, 84.2cm high, 103cm wide, 51.2cm deep. £750-1,000 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

289 290. A 19th century German mahogany and giltwood wall mirror, the rectangular plate within a beaded slip surmounted by an ebonised panel, applied with a basket of fruit, 155.7 x 75cm. £200-250 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

290

291. A French Directoire mahogany and brass mounted semainier chest, inlaid with ebony banding, the white marble top with a pierced gallery, above seven long drawers, flanked by fluted columns, on toupie feet, 165.7cm high, 95.5cm wide, 44.8cm deep. £800-1,200 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

291

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292. A pair of 19th century giltwood and gesso console tables in Rococo style, each with a brèche d’alep marble top, above a frieze decorated with scrolling leaves, on a diaper ground and centred with a shell, with satyr mask cabriole legs and scroll feet, 76cm high, 85.8cm wide, 32.2cm deep. (2) £2,000-3,000

293. A pair of Italian 18th century style painted and giltwood columns or torchère bases, one supporting a sphere, with an acanthus carved stem, above a swag decorated urn and a faux marble fan shaped base, early 20th century, 142.8cm high, 67cm wide. (2) £400-600

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294. A set of six 19th century rosewood dining chairs, each with a cartouche shaped back carved with a shell and leaves, upholstered with striped fabric, on cabriole legs. (6) £300-400


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295. A pair of Napoleon III ormolu mounted porcelain pot pourri bowls in Louis XV style, one with a cover, the powder blue bodies decorated in gilt in Chinese Kangxi style, the Rococo mounts with scrolls, leaves, flowers and rocaille, one with a printed paper label, inscribed ‘LORD ASTOR OF HEVER’, 36.5cm high (max). (2) £2,000-3,000 Provenance: Lord Astor of Hever.

296. A French ormolu wall light in Louis XVI style, the backplate with a fluted and beaded oval patera, surmounted by oak and laurel leaves, with twin scroll branches entwined with two serpents and with a bud pendant, the back stamped ‘2478 AG’, 46.8cm high, 34.2cm wide. £100-150

297. A 19th century French ormolu candelabrum in Louis XV style, in the manner of Meissonier, with a leaf and cartouche baluster stem, supporting six intertwined scrolling leaf arms with conforming sconces and drip-pans, on a rocaille decorated base, 49.9cm high, 40cm wide. £300-500

105


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298. A French miniature kingwood bombe shaped commode in Louis XV style, with a grey marble top, above two long drawers, with gilt metal mounts, late 19th / early 20th century, 18.5cm high, 31.5cm wide, 16.6cm deep. £400-600

298

299. A pair of late 19th century French gilt and patinated bronze three-light candelabra, with a classical male finial, hung with chains, on a fluted stem and tripod lion’s paw monopodia, on a slate base, 44.3cm high. (2) £200-300

299

300. A French marble and gilt brass ornament attributed to Maison Charles, the egg shaped body with a screw-off leaf finial, the base drilled originally for a lamp, mid-20th century, 29.7cm high. £300-500

301. A pair of French Régence brass candlesticks, each with a detachable drip-pan and with a fluted sconce and tapering stem on a domed foot, previously silvered, 23.4cm high. (2) £200-300

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302. A pair of Italian Rococo giltwood console tables, each with a serpentine brèche violet marble top with a moulded edge, above a pierced scroll rocaille and leaf decorated frieze, with ‘C’ scroll and acanthus cabriole legs, on leaf wrapped ball feet, late 18th / early 19th century, 87cm high, 131cm wide, 54.2cm deep. (2) £8,000-12,000 Provenance: The Hippisley family collection, Ston Easton Park, Somerset.

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303. An 18th century Italian ebonised and walnut marquetry open armchair, the pierced splat back inlaid with ivory and penwork decorated leaves, the seat with fruitwood and ivory marquetry depicting a hunting scene, on cabriole legs, Lombardy. £300-400

303

304. An Italian brèche marble and carved wood occasional table, the circular top with a moulded edge, supported by an urn on a conforming square base, 20th century, 53cm high, 62.3cm diameter. £500-700

304

305. A set of six 19th century fruitwood hall chairs, with ebonised decoration, the leaf and scroll carved cartouche shaped backs centred with the initial ‘R’, by repute, for the Rockefeller family, on fluted front legs. (6) £300-500

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306. A pair of Italian giltwood console tables in Egyptian revival style, each with a brocatelle marble top, the part bronzed base decorated with a winged Isis figure and scarab beetles, on pharaoh supports, probably late 19th / early 20th century, 98.5cm high, 106cm wide, 59.5cm deep. (2) ÂŁ6,000-8,000

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307. An Italian Venetian Murano glass girandole mirror, the rectangular plate applied with four flower heads, the shaped frame painted with flowers and leaves and with a pair of twin-light scroll leaf and flower branches, 110 x 75cm. ÂŁ400-600

308. An Italian scagliola centre table, the circular inset top decorated with panels of musical trophies and cornucopiae of fruit, the centre with a faux-marble rondel, with a painted wrought iron base with four open cabriole legs united by shaped stretchers, 20th century, 77.5cm high, 120cm diameter. ÂŁ800-1,200

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309. A fine Kashan carpet, worked with kurk wool, with floral designs and birds, Central Persia, early 20th century, 204 x 135cm. £400-600

310. A fine Kashan rug, worked with kurk wool, Central Persia, late 19th / early 20th century, 219 x 133.5cm. £500-800

311. A pair of Kashan rugs, Central Persia, early 20th century, 204 x 138cm. (2)

£800-1,200

Provenance: Purchased by the vendor’s father in Persia on the 5th April 1932, a copy of the handwritten receipt is available.

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312. A pair of Khorassan prayer rugs, decorated with the tree of life, North East Persia, early 20th century, 236.5 x 142.5cm. (2) £800-1,200 Provenance: Purchased the vendor’s father in Persia from David Tehrani, Carpet Merchant, on 14th March 1929, a copy of the handwritten receipt is available.

313. A Kerman pictorial rug, decorated with trees, animals, birds, a lion, dragons, South East Persia, 190 x 128cm. £100-150

112

314. A Khamseh rug, Fars, South West Persia, early 20th century, possibly Qashqai, 236.5 x 157.6cm. £200-400


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315. A Ziegler carpet, Sultanabad, West Persia, late 19th century, 522 x 322cm.

ÂŁ2,000-3,000

Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

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THE BROADLANDS HARSHANG CARPET 316. A fine 19th century North West Persian carpet of Harshang design, of unusual square shape, the ivory field with an all-over design and with a wide floral border, probably Azerbaijan, 443 x 456cm. ÂŁ5,000-8,000 Provenance: The Rt. Hon. The Earl Mountbatten of Burma, Broadlands, Romsey, Hampshire. This carpet has graced Broadlands the home of the Earl and Countess Mountbatten of Burma for many years and most recently was in the Ante Room (see photograph below). The original manor lands, known as Broadlands, belonged to Romsey Abbey before the Norman Conquest. In the early 18th century the estate was acquired by Henry Temple, 1st Viscount Palmerston. In 1767 a major transformation involving Henry Holland and Capability Brown led to the house at Broadlands becoming the Palladian mansion seen today. During the 19th century Broadlands remained the primary country estate of the 3rd Viscount Palmerston, the famous Victorian Prime Minister, and passing down through the family it remains today the country seat of the 3rd Earl Mountbatten of Burma. Harshang from the Persian word for crab, was a design that was popular throughout Persia in the 18th and 19th century, particularly in the North West of the country. It takes its name from its principal motif, which is a large oval crab-like design. It appears that the design was first used in the Khorassan district and in origin ultimately derives from the Isfahan 'in and out palmette' design. The pattern also bears some resemblance to palmettes from the Safavid period.

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317. A Tekke Turkmen main carpet, Turkmenistan, first half 20th century, 381.5 x 275.2cm. £300-500

317

318 318. A North West Persian runner, early 20th century, 427 x 118.2cm. £150-250

319. A Baluchi rug, North East Persia, early 20th century, 173 x 100cm. £100-150

319

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

320. A Ziegler carpet, Sultanabad, West Persia, late 19th century, 647 x 419cm.

ÂŁ4,000-6,000

Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

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321. An Ushak carpet, West Anatolia, early 20th century, 302 x 216cm. ÂŁ400-600

321 322. A Bijar long rug, North West Persia, early 20th century, 354 x 163.5cm and a Kurdish runner, 300 x 99.5cm. (2) ÂŁ200-300

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DUNLEY MANOR A COUNTRY HOUSE COLLECTION We are delighted to be offering for sale the following twenty-three lots originally from the collection of the late Madeline Cecilia Carlyle Brodrick, Countess of Midleton (1876-1966), of Eastwell Park, Ashford, Kent. This small collection of sculpture, works of art and carpets passed by descent to Captain George Brodrick and his wife Mhari, late of Dunley Manor, Whitchurch, Hampshire.

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323. A Tekke rug, early 20th century, 259 x 164cm together with a modern Tekke rug. (2) £200-300 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire. 324. A Tekke Turkmen carpet, Turkmenistan, with an unusual additional alternative border design, early 20th century, 339 x 212cm. £300-400 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire. 325. A Tekke Turkmen carpet, Turkmenistan, early 20th century, 297 x 216cm. £300-400

323

Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

324

326. A Moroccan Berber long carpet, with kilim flat weave ends, first half 20th century, £100-150 540 x 156.5cm. Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire. 327. A North West Persia runner, with a Mina-khani design, late 19th century, 423.5 x 99.3cm. £200-300 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

325

326 327

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328. A Kirman Laver carpet, the border with a cartouche with Islamic script, South East Persia, late 19th century, 336 x 283.5cm. ÂŁ1,500-2,500 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

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330 329

329. A pair of Italian Venetian mirrors in Rococo style, each with a cartouche shape etched plate within a beaded and moulded frame and applied with leaves and flowers, on scroll feet, with easel backs, late 19th century, 36 x 25.2cm. (2) £300-500 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

330. An early Victorian tortoiseshell tea caddy, inlaid with pewter stringing, the hinged lid with a vacant plaque revealing an interior with ivory edging and twin lidded compartments with vegetable ivory handles, on disc feet, 12.5cm high, 19cm wide, 11cm deep. £100-200 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire. 331. A matched pair of late 19th century bronze Grand Tour classical urns, relief decorated with male and female centaurs accompanied by cupids, one with a liner, raised on verde antico marble plinths with octagonal slate bases, 25.8cm high. (2) £200-300

331

Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

332. An Italian wax profile relief bust of Cosimo II de’ Medici, probably after a medal by Guillaume Dupree (French 1574-1642), polychrome decorated, the Grand Duke wears armour and a lace ruff, inscribed ‘COSMUS II DEI MEDICI’, mounted on slate and in a glazed ebonised moulded frame, 12cm diameter. £300-400

333. Two Italian wax profile relief busts in Renaissance style, depicting a man possibly a Duke, wearing a red cap and a Comtesse wearing a headdress and a necklace with a seed pearl, each mounted on slate and in a glazed ebonised moulded frame, each with a paper label indistinctly titled in pen, 12cm diameter (max). (2) £200-300

Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

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334. A pair of continental porcelain and ormolu mounted oval jardinières, painted in the Kakiemon style with exotic birds, banded hedges and chrysanthemum branches and flowers, with brown and gilt bands, with Meissen style blue crossed sword marks and impressed numbers ‘26’, the mounts with guilloche borders and shell pendants on dolphin feet, stamped in various places with initials ‘JB’, possibly originally with lids, old damages, second half 19th century, 15.7cm high, 33cm wide. (2) £800-1,200 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

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335. A pair of 19th century Chinese pottery models of Buddhist lion dogs, with a turquoise glaze, with a ribbon tied with flowers in its jaw, 45cm high, 43.8cm wide (max). (2) £400-600 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

335

336. Four Chinese unglazed pottery figures of ladies, each simply dressed in a long robe and shawl, with hair drawn up, with traces of painted decoration, Tang Dynasty, 31cm high (max). (4) £200-300 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

336 337. Two similar Chinese figures of Guandi, with turquoise, aubergine and yellow glazes, he sits on rockwork, holding his beard in his left hand, Ming Dynasty, 35.1cm high (max). (2) £400-600 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

337

338. A Chinese pottery tile maker’s figure of the immortal Tudi, with sancai glaze, the seated dignitary with his feet on a low stand, the back with Chinese characters, Ming Dynasty, 46.9cm high, 28.7cm wide. £400-600 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

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339. A French terracotta figure of an infant in the manner of JeanBaptiste Pigalle, the young child holds a lily and sits on tasselled cushions, with Sèvres style marks ‘21’, late 19th century, 39.8cm high, 26cm wide. £300-400 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

339

340. After Claude Michel called Clodion (French 1738-1814). A late 19th century terracotta group of a Bacchic female faun, with an infant satyr, signed ‘CLODION’, 24.4cm high. £400-600 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

340

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341. A French terracotta group of Cupid and a putto in the manner of Clodion, the cherubs embracing, on a naturalistic base, the underside with an incised Sèvres mark and ‘10 B’, late 19th century, 45.2cm high, 41cm wide. £800-1,200 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

341

342. A French terracotta group of three cherubs in the manner of Clodion, grappling and falling over, one managing to catch a bird, the underside with an incised Sèvres mark and ‘162 M’, late 19th century, 23cm high. £400-600 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

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343. An 18th century marble figure of a man, thought to be St. Sebastian, wearing a billowing cloak over foliate engraved armour, on a plinth base, with an inventory number ‘1641’, 46.8cm high. £600-800 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire.

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344. An Italian marble relief of St. John the Baptist after Tino di Camaino (c.1285-1337), depicting the saint wearing a cloak over a wool tunic, holding and pointing to a scroll, inscribed ‘ECCE AGNUS DEI’, in an integral arched frame, the back inscribed ‘ESHER’ and with inventory numbers ‘28635’, possibly Napoli, 50 x 39.2cm, mounted in a later oak and velvet frame, 66 x 54.2cm (overall). £4,000-6,000 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent. Captain and Mrs Brodrick of Dunley Manor, Hampshire. Tino di Camaino (1280-1337) was born in Siena the son of the architect Camaino de Crescentino. He was a pupil of Giovanni Pisano and later followed his master to Pisa and subsequently worked in Florence where he executed the famous tomb of Bishop Orso at Santa Maria del Fiore and a bust of St. John the Baptist for the Florentine Baptistry, now in the Museo dell’Opera del Duomo di Santa Maria del Fiore. In 1323 he worked in Naples for the King Robert of Anjou and executed several funerary monuments, including the tomb of Catherine of Austria in San Lorenzo Maggiore, with further works in the church of Badia Cava dei Tirreni. The present lot bears a close resemblance to a relief of St. John the Baptist and Prophet which features in Francesca Baldelli’s 2007 Tino di Camaino monograph and which was sold by Casa Semenzato in Florence, 15th December 2001 for £128,000. Another related triple relief of the Madonna and child, St. Catherine of Alexandria and St. John the Baptist can be found in the Banca Monte dei Paschi di Siena’s collection at the Museo Son Donato.

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345. A French late Gothic carved limestone figure of St. John the Baptist, powerfully carved in contrapposto with flowing robes, his face full of sorrow, with a lamb at his feet, with remains of original polychrome decoration, the back flat, with an inventory number to verso '1015', late 15th / early 16th century, 95.4cm high. ÂŁ4,000-6,000 Provenance: The Countess of Midleton, Eastwell Park Estate, Kent, thence by descent Captain and Mrs Brodrick of Dunley Manor, Hampshire.

END OF COLLECTION

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346. A carved marble figure of Eros sleeping, lying on the infant Hercules's lion's pelt spread over a rock, resting his head on his left arm, his right lying across his body and with his legs crossed, his hair with a central plait, the underside slightly hollowed, possibly Roman 1st-2nd century AD or later, 19.6cm high, 60.5cm wide, 29.5cm deep. ÂŁ3,000-5,000 Provenance: An English private collection, acquired by the vendor's parents probably from a Country House sale in the 1940/50s. This unpublished and hitherto anonymous statue of Cupid sleeping belongs to a class of sculptures that was favoured in ancient Roman sculpture, was revived in Renaissance Italy, and was later popularised in Baroque Rome by Algardi and particularly Francois Duquesnoy, with many variations on exact pose and subject. Therefore the present statue could potentially have originated in any of these epochs and there are only its appearance (veiled by weathering from exposure out of doors-for perhaps a couple of centuries at least) and circumstantial evidence to narrow the choice. It depicts the winged child god of love sleeping on a lion's skin which is an attribute of Hercules. There is one tale that tells of Cupid stealing his club, quiver and lion's skin suggesting that even the most powerful are vulnerable to the subtle cunning ways of love. The image of sleeping Cupid was used by the Romans in a variety of ways: as a fountain or garden ornament, a dedication to the gods or as possibly in this case as a funerary monument where the statue was used as a child's grave cover. For a closely related example see National Museums, Liverpool, World Museum, Ince Blundell Roman Sculpture Collection, 59.148.74.

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347. An Italian bronze / copper alloy Corpus Christi, probably 17th century, 21 x 18.7cm. £400-600 Provenance: By repute, purchased in Florence in 1863.

347

348. A German bronze Corpus Christi, probably 14th century, 18 x 17.7cm, mounted on a later frame. £300-400

349. A German cast bronze Corpus Christi, with an open back, 17th century, 24 x 16cm. £200-300

349

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350. A late Byzantine carved ivory group of the Virgin and child, Mary is depicted breast feeding the Christ child who lies horizontally, probably Northern Italy, 13th / 14th century, 7cm high, later mounted on a velvet covered plinth. £3,000-4,000 Provenance: Purchased by the vendor from Howard Neville Antiques, 58 Davies Street, London and 21 The Pantiles, Tunbridge Wells, Kent on the 24th February 1998 as 12th century Byzantine. A copy of the receipt is available. Illustrated in ‘Gems & Jewels. Fact & Fable’ by Christopher Cavey, p. 103. This small but powerful statuette is related to a group of mysterious carvings which are little understood. There is a similar example in the V&A Museum collection and is illustrated in ‘Medieval Ivory Carvings 1200-1550’, by P. Williamson and G. Davies, cat. no. 182. The purpose of these carvings is unclear but one suggestion is that with similar ivories they would have formed a devotional panel / group.

351. A late Medieval ivory relief carved plaque of the Virgin and child, possibly originally a book cover mount, probably Flemish, 14th / 15th century, 10.3 x 4.6cm, later mounted in a velvet covered oak frame with an easel back. £1,200-1,800 Provenance: By repute, a retired priest, Hastings. Purchased by the vendor from Howard Neville Antiques, 58 Davies Street, London and 21 The Pantiles, Tunbridge Wells, Kent, c.1997/1998.

351

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352. A 15th century French Caen stone relief, depicting St. Christopher holding a branch, carrying the infant Christ, with traces of polychrome painted decoration, 44cm high, 28cm wide. £1,000-1,500 353. A bronze model of a heraldic seated lion, holding a shield, probably originally a chandelier / candelabra arm support finial, possibly South Netherlandish, Dinant, 14th / 15th century, 9.4cm high. £300-500 354. An early 18th century bronze model of a heraldic seated lion, originally supporting a banner or coat of arms, probably German, 22.4cm high. £800-1,200

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355. A Netherlandish carved oak and polychrome decorated relief fragment, depicting the Deposition of Christ, early 16th century, possibly Flemish, 39 x 18.3cm. ÂŁ1,500-2,000 Provenance: The property of a deceased estate See the SchnĂźtgen Museum, Cologne, inv. nr. 998, A1101, for a similar Calvary relief, dated c.1430-40.

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356. A pair of 19th century Italian carved pine angel wall brackets in Baroque style, each with a naturalistic top supported by a winged cherub, the angels possibly 18th century, 36.9cm high, 32cm wide. (2) £300-500

356

357. A painted and giltwood Baroque style angel, probably 18th century, 40.1cm high. £500-800

358. A pair of 18th century Spanish giltwood and polychrome decorated angels, each wall hanging, 53.3cm high and supporting a brass and coloured glass incense burner. (4) £2,000-3,000

358

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359. A South German Baroque life-size carved limewood figure of Ceres, the goddess holding a cornucopia in her right hand, with traces of painted decoration, late 17th century, 162cm high. ÂŁ2,000-3,000

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360. A large limewood relief panel depicting the Forge of Vulcan, carved with three central figures of Vulcan and his helpers, the Cyclopes, forging weapons and armour, directly copied from a painting by Theodoor Van Thulden (16061669), c.1649, with tools scattered on the floor, with a classical Renaissance style background of arches, the flaming fires of the forge visible and with a colonnade below a run of dilapidated palings and a pair of romantic figures, within a carved pine baton, shell and dart frame, later terracotta painted, Dutch or German, late 17th / early 18th century, 210.7 x 123.5cm. £8,000-12,000 Provenance: The conservatory of Buxted Park, Sussex. The Subject Matter Vulcan in Greek and Roman mythology is the god of fire and the blacksmith who forged the weapons of many gods and heroes. He is accompanied by his brawny assistants, the Cyclopes. The subject matter of Vulcan’s forge was a very popular one during the 17th century with many famous paintings, including works by Velazquez, Teniers and Lucas Giordano. The magnificent Heaven room by Antonio Verrio at Burghley House, Stamford features a wonderful depiction of Vulcan and the Cyclopes and the fashion for classical subject matter of this type was very strong throughout the country houses of England and Europe.

The Sculptor The central scene of the present lot is an almost direct copy of Theodoor van Thulden’s (1606-1669) painting ‘The Forge of Vulcan’ painted in 1649 as part of a decorative scheme for the Paleis Huis ten Bosch in the Hague which is the residential Palace of the King and Queen of Holland. Van Thulden’s painting can be found in the Oranjezaal (Orange Room) which was commissioned upon the death of Frederik Hendrik in 1647 and was built during the years 1648-1651 by Jacob van Campen. The painters chosen were considered the best in the Netherlands who painted in the style of Rubens and were mostly of Catholic origin. A total of thirty-one paintings decorate the room from floor to ceiling. Above one of the doors is a carved and painted wood relief panel by the famous Dutch sculptor Pieter Adriaensz. ‘t Hooft (16101650) and it is not inconceivable that the present panel was sculpted by a member of ‘t Hooft’s workshop or circle. It is very skilfully carved with wonderful attention to the musculature of the central figures and with great depth and perspective, with the eye being led through the various arches and colonnades. Although depicting a very Italianate classical scene it does have a Northern European feel, the arches are slightly Gothic in their shape and the ragged palings on the balcony and the pent-roof of wooden planks are reminiscent of Dürer’s engravings thus pointing to either a Netherlandish or German origin.

The Provenance Buxted Park was originally built in 1725 for Thomas Medley and in the early 19th century it passed by marriage to the Shuckburgh-Evelyn family. By the end of the 19th century Buxted again passed by marriage to the second viscount Portman who sold it in 1931 to the architect and art collector Basil Ionides and his wife Nellie, the daughter of the 1st Viscount Bearsted. With Nellie’s fortune (as the Shell Oil heiress) and Basil’s artistic eye they began restoring Buxted Park, utilising original 18th century architectural pieces from country houses around the country. A fireplace came from 19 Arlington Street, Robert Adam doors from nos. 23-25 Portland Place and an overmantel from Stowe, Buckinghamshire. Other items including the entrance doorway on the West side came from West Harling Hall, Norfolk , the seat of Richard Gipps Esq. The house was demolished in c.1932 and its contents were sold in two sales, one in 1929 conducted by Puttick and Simpson and another in 1931. Intriguingly the shell and dart carved moulding on our Vulcan relief bears close resemblance to a George II carved pine fireplace originally from West Harling Hall which was sold by Christie’s New York, Important American Furniture, 17th / 18th century, January 2019, lot 1308. One can speculate that the Vulcan relief was possibly part of an interior scheme at West Harling Hall, Norfolk, following the fashion for paintings of the Forge of Vulcan at English country houses, for example Luca Giordano’s oil, c.1660, part of Sir Robert Walpole’s Picture Gallery at the nearby Houghton Hall. The proximity to the Netherlands also adds an interesting link to a possible Dutch sculptor / place of manufacture.

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361. An Italian bronze figure of Hercules, the divine hero standing holding his club, his left shoulder draped with the Nemean lion’s pelt, with bulging veins to his arms and feet, probably Florence, late 17th century, 48.5cm high, later mounted on a black marble plinth, 63.8cm high (overall). £15,000-20,000

For a comparable bronze almost certainly by the same sculptor see Sotheby’s, European Sculpture and Works of Art: Medieval to Modern, 5th December 2012, lot 61. The main difference between the two is the position of the clubs.In the present lot the club is resting on the floor, in the Sotheby’s example Hercules is holding the club diagonally across his chest. In their catalogue note Sotheby’s stated that the only other known cast of the bronze was attributed to Vincenzo de Rossi by Herbert Keutner in the bronze exhibition ‘Die Beschworung des Kosmos’. De Rossi is known to have worked on a series of the ‘Labours of Hercules’ for Duke Cosimo I. The closest comparison from De Rossi’s oeuvre is his statuette of Vulcan in the Studiolo of Francesco I in Palazzo Vecchio. This shares with the present bronze the closely cropped hairstyle and exaggerated musculature.

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362. Two bronze figures of Cupid in the manner of Andrea Riccio, one gilded, both holding a pair of love birds, 13.5cm high. (2) £150-250

362

363. An Indo-Portuguese carved ivory group of the Virgin and child, with traces of polychrome and gilt decoration, Goa, late 17th / early 18th century, 11.7cm high. £200-300

364. A European naive carved pine and polychrome decorated figure of St. Anthony Abbot, holding a staff and with a pig at his feet, 17th / 18th century, 35.2cm high. £150-250

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365. A gilt bronze bust of a bearded gentleman, possibly English, 18th century, 10.8cm high, mounted on a later ebonised plinth. £300-400


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366. A Flemish bronze figure of Mars the Roman God of War, wearing a plumed helmet and with a sash over his left shoulder, he holds a spear in his right hand, on a later wood and bronze stepped plinth, 17th century, 42.4cm high (overall). £1,000-1,500 Provenance: Purchased from Chiswick Auctions, 24th May 2017, lot 38 for £5,000. This bronze of the Roman god Mars is after a French monumental statue commissioned by King Francois I of France from Benvenuto Cellini to crown a large square fountain in the courtyard of Fontainebleau. For this colossus Cellini says that he produced a model about 60cms high. The present smaller statuette (known in various casts with minor variations), of which Hildburgh owned an example (now in the V&A, A4-1944), differs from the larger Mars most obviously in the position of the helmet, here firmly on the head and there under the right foot. Nevertheless there does seem to be a vague connection and it is usually assumed that the statuettes reflect a wax model left behind in Cellini’s studio when he fled from France, perhaps for the Mars in the series of life-size silver statues bearing candlesticks in a raised hand, that he produced for the gallery of Francois I inside the chateau of Fontainebleau, whose actual appearance is unknown. See C. Avery ‘Cellini’s silver statues of the Gods for Fontainebleau’, in Studies in the Decorative Arts, The Bard Graduate Centre for Studies in the Decorative Arts, Design, and Culture, New York, XIV, no. 1, Fall-Winter 2006-2007,pp.2-18.

367. An Italian bronze triton candlestick in the manner of Francesco Fanelli, modelled with the merman blowing his conch shell which contains a pricket, possibly 18th century, 15.4cm high, 14cm long, later mounted on a walnut plinth. £1,000-1,500

366

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368. Two giltwood and gesso polychrome decorated Baroque style angel heads, early 20th century, 19.7cm high (max). (2) £200-300

368

369. A pair of giltwood and gesso polychrome decorated Baroque style angels, one holding a mandolin, the other with a sheet of music, 20th century, 32cm high (max). (2) £150-250

369

370. A giltwood and gesso polychrome decorated Baroque style angel, blowing its trumpet, late 19th / early 20th century, 44cm long. £200-300

371. A 19th century brass crucifix, with a Corpus Christi, 56.8cm high, together with an Italian polychrome terracotta model of St. Nicholas of Bari, holding a book and four apples, 27cm high. (2) £150-200

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372. Giovanni Francesco Pieri (1699-1773). A mid-18th century Italian polychrome wax relief picture after Raphael’s ‘Madonna del Passeggio’, depicting the Holy Family with the infant St. John the Baptist, indistinctly inscribed to remnants of label to verso, 20 x 14.5cm, in a later giltwood frame. £2,000-3,000 Provenance: Christie’s, London, 3rd July 1990, lot 9. Pieri was born in Tuscany and worked under Giovacchino Fortini in Florence and came to the attention of the Grand Duke, Gian Gastone whom appointed him as head of the tapestry manufactory in 1733. Following the Duke’s death he moved to Naples where he was employed at the royal court of Carlo di Borbone and later Ferdinando IV. A similar relief to the present lot is in the Museo Nazionale di San Martino, Napoli and a smaller relief was sold in these rooms Furniture & Works of Art, 9th November 2010, lot 432 which was signed and dated ‘1750’ for £3,800.

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373. After the antique. An Italian patinated bronze Grand Tour model of Silenus, the drunken figure holding a serpent entwined corona aloft, on a domed base with incised decoration, Napoli, late 19th century, 42.4cm high. £150-250

373

374. After the antique. A patinated lead figure of the Dancing Faun of Pompeii, 75cm high. £150-250

375. After the antique. An Italian patinated bronze Grand Tour model of Silenus, the drunken figure holding a serpent entwined corona aloft, on a domed base with incised decoration, Napoli, late 19th century, 60cm high. £300-400

375

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376. After the antique. A 19th century Italian marble bust of Zeus, the bearded god wearing a stylised leaf crown, 34cm high, mounted on a later black marble plinth, 56.4cm high (overall). ÂŁ2,000-3,000

376

377. After the antique. An Italian marble Grand Tour figure of Apollo, leaning on a serpent entwined tree stump and holding the remains of his lyre in his left, probably late 18th / early 19th century, 50.3cm high. ÂŁ800-1,200

377

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378. A pair of classical plaster relief casts, depicting lions devouring men, 42 x 77cm. (2)

379. An Italian bronze bust of Dionysius / Bacchus, in his guise as a Greek philosopher, the bearded god with vine leaves and grapes in his hair, on a lappet decorated square base, late 18th / early 19th century, 15.7cm high. £300-500

150

£400-600

380. After the antique. A late 19th century Italian Neapolitan bronze fountain head, depicting a fisherman seated on a rocky outcrop, 20cm high. £400-600


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381. Attributed to Icilio Federico Joni (Italian 1866-1946). A pair of Italian giltwood and tempera book covers or ‘Tavolette di Biccherna’ in Renaissance style, with steel mounts, one decorated with panels of scrolling foliage, with seven Sienese shields and an inscription and date ‘1475’, the other with conforming foliage panels and a standing courtly male figure holding a sword and a feather, late 19th / early 20th century, joined with a leather binding each 38 x 28cm, mounted as one in a glazed giltwood frame. £3,000-4,000 Provenance: By repute, the estate of the late L. P. Hartley. Purchased from Sotheby’s, Billingshurst, 2nd March 1995. Icilio Federico Joni was a Sienese painter and restorer who produced imitations of the wooden panel bindings (tavolette della biccherna) used to cover the accounts of the Commune of Siena from the middle of the 13th to the end of the 17th centuries.

382. A bronzed metal charger in Renaissance style, the central well encircled by a classical relief decorated border, with fauns, maidens dancing and satyrs playing music, 46cm diameter. £300-400

383. A pair of gilt bronze sphinx desk ornaments, mounted on porphyry and white marble stepped bases, early 19th century and later, 8.7cm high. (2) £400-600

382

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385. A pink marble obelisk, on a painted wood base, 49cm high. £100-200

384. A late 19th century Italian green serpentine pedestal, the revolving square top on a part fluted stem and an octagonal base, 108.7cm high. £150-250

152

386. A pair of amethyst and slate Grand Tour style obelisks, 38cm high. (2) £200-300


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387. A 19th century Italian specimen marble Grand Tour paperweight, inlaid with radiating concentric panels of forty-one various hardstones, including: malachite, porphyry and alabastro fiorito, within a verde antico and Siena marble border, 13.5cm diameter. ÂŁ300-500

388. A late 19th century Italian bronze Grand Tour oil lamp, modelled with a crane and a snake supporting a Roman style lamp with a rat cover, on a naturalistic base and tripod hoof monopodia feet, ÂŁ200-300 hung with a pair of tongs and a poker, 34cm high.

388

389. A late 18th century Italian painted vellum and ivory Grand Tour fan, the leaf decorated with a central oval panel with classical female figures, probably Diana with her bow leaning on a column accompanied by Peace flanked by panels of storks and leaf swags with two classical maidens / muses emblematic of music and dance, with gilt foil borders, the guards and sticks relief carved and pierced with figures, urns of flowers and a central classical garden scene with columns, 49.7cm wide, in an associated red leather case. (2) ÂŁ800-1,200

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390. A late 18th century Italian painted vellum Grand Tour fan leaf, with a central oval panel with a view of the Pantheon, flanked by panels of grotesques, with laurel borders, the verso with an urn, 55cm wide. £300-400

390

391. A late 18th century painted vellum and tortoiseshell Grand Tour fan, decorated with a central oval panel of a lake scene, with a classical temple on an island admired by two figures, with panels of grotesques and views of the Pantheon and the Temple of Vesta, the guards and sticks inlaid with silver leaves, probably Rome, 45cm wide, in an associated case. (2) £400-600

391

392. A late 18th century Italian painted paper and ivory fan, the leaf decorated with a central oval panel with a female opera singer, flanked by oval panels of flowers and scrolling leaves, with gilt foil borders, the guards and sticks relief carved and pierced with cherubs, birds, flowers and leaves, the verso with a laurel wreath, 42.7cm wide, in an associated box. (2) £400-600

392

393. A late 18th century Italian painted vellum and mother of pearl Grand Tour fan, the leaf decorated with a central panel depicting a classical temple, an urn, figures and further buildings, indistinctly signed, flanked by panels of grotesques, with gilt borders, the guards and sticks pierced with leaves, the verso with swags and leaves, 36.8cm wide. £400-600

154

393


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394. After Guillaume Coustou (French 1677-1746). A pair of late 19th century bronze Marly horse groups, the naturalistic bases signed ‘Coustou’, 40.3cm high, 31cm wide. (2) £500-700

395. After Francois Duquesnoy (French 1597-1643). A 19th century marble bust of Cupid, on a socle base, 25cm high. £500-800 Provenance: The property of a Gentleman.

396. After Jean-Antoine Houdon (French 1741 - 1828). A pair of 19th century French ormolu busts of Voltaire and Benjamin Franklin, each on a Siena marble plinth, mounted with a band of lappets, 28.4cm high. (2) £500-800

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397. William Theed the Younger (1804-1891). A 19th century portrait bust of a gentleman, signed ‘W. THEED. FCT. ROMAE 1845’, 40cm high, 22.6cm wide. £1,500-2,000

397

398. A 19th century French marble bust of a boy, with painted inventory number to back ‘23017’, on a veined pink marble socle, 33.3cm high. £800-1,200 Provenance: The property of a Gentleman.

398A. English school (17th / 18th century). A Baroque marble bust of a boy, his hair tied back and wearing a classical toga, 41.3cm high, 32cm wide. £800-1,200

398A

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399. A late 19th century Italian marble figure of a young lady begging, wearing a head scarf and a shawl, with a patched dress, her left hand holding a bowl, on a naturalistic base, 85cm high. £500-800

399

400. A late 19th century Italian Florentine marble bust of a lady, wearing a headdress, her dress finely relief carved with leaves, 35.4cm high, 31cm wide. £200-300

401. Odoardo Fantacchiotti (Italian 1811-1877). A 19th century carved marble bust of a bearded gentleman, signed and inscribed ‘ODOARDO FANTACCHIOTTI SCOLPIVA IN FIRENZE L’ANNO 1875’, 70cm high, on a fluted stained wood plinth, 92.3cm high. £600-800

401

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402

403

402. Four small bronzes, each mounted on a marble or alabaster base, comprising: a French bust of a man, a spaniel vesta holder, a seated lion and a bust of a girl, 19th / early 20th century, 13cm (max). (4) £100-150 403. A 19th century French bronze Bacchanalian group, of a young girl feeding a ram with grapes, on an ebonised base, together with a bronze model of a recumbent lion with his right paw on a sphere, 17cm (max). (2) £150-200 404. A mid-19th century French bronze group of Cornelia and her sons, Gaius and Tiberius Gracchus, 24.7cm high, 18.5cm wide. £200-300 405. Georges Van Der Straeten (Belgian 1856-1928). ‘Acting Coy’, an Art Nouveau patinated bronze bust of a young lady, inscribed ‘Van Der Straeten’ and with ‘Societe Des Bronzes De Paris’ foundry mark, on a marble plinth, 18.8cm high, together with a 19th century French vesta holder in the form of an infant faun. (2) £100-150

404

405

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406. After Ernest-Louis Barrias (French 1841-1905). A bronze figure of a veiled semi-naked lady, ‘Nature revealing herself to Science’, signed ‘BARRIAS KT’, 77cm high. £4,000-6,000

407. Louis Ernest Barrias (French 1841-1905). A pair of French bronze groups of mermaids and mermen, each with three entwined figures, each signed ‘Barrias’ and mounted on verde antico marble plinths, late 19th / early 20th century, 21.8cm high (max). (2) £800-1,200

406

407

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408. Attributed to Léon-Nöel Delagrange (French 1872-1910). A bronze figure of a Medieval page boy, holding a sword, mounted on a painted wood plinth, 55.2cm high (overall). £400-600

409. An Arts & Crafts bronze group of Pegasus and Bellerophon, with the Greek hero seated on Pegasus’ back, weary after having defeated the Chimera which is entwined round his body, previously mounted, late 19th / early 20th century, 16.3cm high, 27cm wide. £300-400

408

‡ 410. Victor Heinrich Seifert (Austrian 1870-1953). An early 20th century bronze figure of a cobbler boy, smoking a cigarette, the base signed ‘V. Seifert’, on a marble plinth, 19.3cm high (overall). £200-300

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411. After Auguste Rodin (French 1840-1917). A bronze model of ‘The Thinker’, signed and numbered ‘Rodin 1233’ and with foundry pastille ‘BRONZE GARANTI PARIS J. B DEPOSEE’, mounted on a black marble plinth, 19.3cm high. £200-300


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412. After Camille Claudel (French 1864-1943). ‘Jeune Romain ou Mon Frère’, a bronze bust of Paul Claudel, aged sixteen, signed ‘C Claudel’ and stamped with the foundry mark ‘A Valsuani’ and edition ‘0/6’, 49.3cm high, 41cm wide. £8,000-12,000 See Reine-Marie Paris & Arnaud de La Chapelle, L‘Oeuvre de Camille Claudel, Catalogue raisonné, Paris, 1990, illustration of another cast p. 100, and Anne Rivière, Bruno Gaudichon & Danielle Ghanassia, Camille Claudel, Catalogue raisonné, Paris, 2001, no. 13-5, illustration of the plaster p. 67, illustration of another bronze cast p. 68.

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413

414 413. An Austrian onyx and cold painted bronze desk stand, the circular base mounted with a model of a woodcock in the manner of Bergman, early 20th century, 17.5cm high, 20cm diameter. £300-400 414. An Austrian onyx desk stand, mounted with a cold painted bronze group of two rabbits before a tree, early 20th century, 11cm high, 13.5cm wide. £150-200 415. A pair of Austrian onyx bookends, mounted with cold painted bronze models of pheasants, early 20th century, 10.8cm high, 8cm wide. (2) £100-200

416. An Art Deco cold painted bronze and ivory figure, of a young boy fishing, one heel stamped ‘5703’, the other indistinctly signed, on an alabaster base, 19.5cm high. £300-400

415 417. An Austrian cold painted bronze model of a dog, 16cm long, together with an Austrian cold painted bronze model of a bird, late 19th century. (2) £300-400

417

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416


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418

418. A pair of Victorian ebonised hourglass plinths or socles, each top with a circular outline moulding and applied with four rosettes, 39cm high, 36.8cm wide, 36.3cm deep. (2) £300-500 419. An oak sundial pedestal, of tapering form, carved with flowers, cones and fruit, on a stepped plinth base, late 17th / early 18th centuy, 59.5cm high, 32cm wide. £500-800

420. A rare carved coral rectangular plaque, relief carved with a Rococo fête champêtre scene with figures, with two courting couples, one playing a mandolin, accompanied by a horse and a dog in a wooded garden landscape, possibly 18th century, 4.7 x 7.6cm. £100-150 421. A Russian orthodox bronze icon, depicting Christ on the cross, with scenes from the Bible and with angels and saints, inscribed in Cyrillic to the front and back, probably late 18th / early 19th century, mounted on a later wooden plinth, 24 x 12.5cm. £100-150

419

421

420

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A COLLECTION OF ANTIQUE BOXES & CADDIES FROM ANTIGONE CLARKE & JOSEPH O’KELLY

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422. A Regency tortoiseshell and mother of pearl tea chest, of canted rectangular shape, with ivory stringing and edging and inlaid with harlequin parquetry panels, with a silver ring handle and escutcheon, the hinged lid revealing a pair of lift-out canisters with sliding lids, 9cm high, 14.9cm wide, 10.3cm deep. £2,000-3,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.142, fig. 201.

422

423. A George IV tortoiseshell and mother of pearl tea caddy, inlaid with pewter stringing and engraved mother of pearl flowers, with ivory edging and stringing, the pagoda hinged lid revealing a twin lidded interior with traces of foil, on ivory bun feet, 15.9cm high, 19.5cm wide, 12cm deep. £1,000-1,500 Provenance: Antigone Clarke & Joseph O’Kelly.

423

424. A George III tortoiseshell and ivory tea caddy, with a silver ball finial, escutcheon and an oval shape monogrammed plaque with the initials ‘HM’, with piqué point decoration, the interior with ivory edging and with twin compartments, with ivory veneered lids and traces of foil, 12cm high, 15.3cm wide, 8.8cm deep. £1,000-1,500 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.136, fig.188.

424

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425. A George IV tortoiseshell sewing box by Thomas Lund, inlaid with pewter stringing, the pagoda shape hinged lid centred with a mother of pearl plaque inscribed ‘Mrs Brown.’, the interior with ivory edging and two tone green silk lining, the underside of the lid with a mirror and a letter pouch, with a printed green paper label inscribed ‘Bought at THOS LUND’S Superior Manufactory, 56 & 57 Cornhill, London’, the lift-out tray with lidded compartments and divisions fitted with high quality spools and various other utensils, 13.5cm high, £2,000-3,000 30.5cm wide, 23cm deep.

425 open

Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.148, fig.209. Thomas Lund was at 56 and 57 Cornhill, London from 1819 until 1840 as a 'Manufacturer of Improved Letter Copying Machines for Counting Houses or Travelling, Portable Writing Desks, Dressing Cases, Pocket Books &c, &c,'.

426. An early Victorian tortoiseshell tea caddy, of sarcophagus shape, inlaid with pewter stringing, the mother of pearl inset hinged lid with a vacant metal plaque, the serpentine front with mother of pearl uprights, the interior with ivory edging and a lidded compartment, on flattened bun ivory feet, 10.2cm high, 14.7cm wide, 10.6cm deep. £300-500 Provenance: Antigone Clarke & Joseph O’Kelly.

426

427. An early Victorian tortoiseshell work box, the hinged lid inset with a reverse glass patent pearl picture of St Paul’s Cathedral, attributed to Thomas Lane, titled ‘SAINT PAULS’, the interior with ivory edging and a lift-out tray, 11.7cm high, 27.8cm wide, 20.1cm deep. £500-700 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.67, fig.85. Thomas Lane (fl. c.1821-1855/6) was based at the Royal Papier-Mâché Works, 91 Great Hampton Street, Birmingham and 20 Upper Hockley Street. He is best known for his wares with designs and pictures highlighted with thin flakes of mother of pearl on the underside of the glass which he called 'patent pearl glass', although this was first patented by a Joseph Gibson.

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λ 428. A mid-18th century Italian Neapolitan tortoiseshell casket in the manner of Giuseppe and Gennaro Sarao, of serpentine outline, finely inlaid with mother of pearl and gold piqué pose, point and cloute, the hinged lid decorated with a classical scene with a lady being abducted, with a gold chariot accompanied by cupids and with attendant figures, framed by Rococo shell scrolls, and cartouches, on a diaper ground, with a gold thumbpiece and a push button handle revealing a divided interior, probably for scent bottles, Napoli, c.1740-50, 8.7cm high, 15cm wide. £4,000-6,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.133, fig.182. Gennaro Sarao was working in Napoli between 1730 and 1772 and worked for King Charles of Naples and Sicily. His works can be found in the Wallace Collection in London and the Palasciano Collection, Bari. See Christie's Milan, 20th November 2002, lot 546 and Sotheby's, European Sculpture and Works of Art, London, 12th December 2003, lot 175, for similar boxes.

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429. An 18th century tortoiseshell and silver box, the domed hinged lid with a central classical scene depicting three women kneeling in front of Roman soldiers and in a desert setting with tents and buildings, with leaves, birds and butterflies, highlighted with piqué pose and piqué point, with further Rococo scrolls, with a cartouche shape escutcheon, with a silk lined divided interior, on cast lion’s paw feet, 13cm high, 32.5cm £3,000-4,000 wide, 26cm wide. Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.134, fig.183.

429

430. An 18th century French boulle marquetry and ebony casket, of sarcophagus shape, with gilt bronze mounts, decorated with engraved cut brass on a red tortoiseshell ground, with scrolls, swirls, leaves and flowers, the hinged lid with a central musician figure flanked by birds, revealing a silk lined interior, 13.2cm high, 32.5cm wide, 27cm deep. £1,000-1,500 Provenance: Antigone Clarke & Joseph O’Kelly.

430

431. A Spanish tortoiseshell and ivory box, with kingwood / prince’s wood banding and with five panels of engraved ivory and tortoiseshell silhouettes depicting scenes of rural life, with figures, buildings and animals, the back panel with a stag hunt, within stiff leaf borders, late 17th / early 18th century, 9cm high, 14cm wide, 7.8cm deep. £1,500-2,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.130, fig.179.

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detail 432. A Regency rosewood and brass dressing box / case, of sarcophagus form, the hinged lid boldly carved with gadrooned borders and bands of stiff leaves, inset with a bronze plaque engraved with a talbot crest, with initials ‘W. D.’, revealing a plush lined interior, the underside of the lid with a letter compartment above a divided interior fitted with finely cut glass bottles and jars, eight with silver gilt lids hallmarked for Thomas and James Phipps, London 1819, all with a talbot crest, with a shaving brush holder, the tapering body inlaid with stringing and flower heads above a band of lappets and leaf carved ball feet, 24cm high, 37.2cm wide, 29.3cm deep. £4,000-6,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.43, fig.52.

detail

433. A rare Regency rosewood and brass mounted metamorphic writing / sewing box, possibly naval or campaign, inlaid with lozenges, with a twin hinged top and a hinged front revealing six short and one long drawers, with a leather and velvet lined lift-out tray, with turned bone handles, above a baize lined writing slope, with a sprung pen and ink drawer to the right side and a divided drawer fitted with ivory sewing utensils, barrel reel holders, thimbles and pin cushions, with sunken brass military style handles, 22.4cm high, 36cm wide, 27.3cm deep. £3,000-4,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.49, fig.63.

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434. A George IV rosewood and brass sewing box by D. Edwards, of sarcophagus shape and inlaid with cornucopiae issuing scrolling leaves and flowers, the pink watered silk lined interior with a divided lift-out tray fitted with four cut-glass and silver plated topped bottles with initials ‘M.F.W.’, a needle case, lidded compartments, ten turned ivory reel holders with stylised chrysanthemum ends, a filigree tape measure, a thimble and various utensils, with two printed paper trade labels inscribed ‘D.EDWARDS Manufacturer of WRITING & DRESSING CASES To his Majesty THE DUKE OF YORK, & c. No. 21 King Street Bloomsbury Square, Old Desks, Dressing Cases & c. repaired or exchanged for new: NB. Cut Glass, Silver-Fine Cutlery & c.’ the brass lock stamped ‘GR’ twice, on bracket feet, 15cm high, 33.4cm wide, 25.7cm deep. £2,000-3,000 Provenance: Antigone Clarke & Joseph O’Kelly. David Edwards of 21 King Street, Bloomsbury Square, London was a writing box and case maker to the Royal family and was the inventor of the patent military travelling case. He was renown for using the best quality timbers and using intricate inlays and complex mechanisms for secret compartments. The business was eventually acquired by Asprey in 1859.

436

435. A Victorian coromandel and brass mounted dressing case in the manner of George Betjemann, the hinged lid with a leather and plush lined mirror and a letter pouch to the underside, above engraved and monogrammed silver topped cut-glass bottles, boxes and jars hallmarked for London 1884 by Wright & Davies, with a tray fitted with silver handled utensils and steel scissors, the twin hinged front fitted with glass bottles revealing push button activated leather and plush lined drawers, one with a comb holder, with a brass Bramah lock, 20.7cm high, 31.3cm wide, 25cm deep. £1,000-1,500

435

Provenance: Antigone Clarke & Joseph O’Kelly.

detail

170

436. A Regency whitewood painted Tunbridge ware sewing box, decorated with gilt bands of scrolling flowers and foliage, the hinged lid with a central printed interior scene of a lute player and a lady seated at a table, the painted interior with a hinged compartment to the underside of the lid with an engraving of 'THE ROYAL HOSPITAL OF ST. KATHERINE, REGENT'S PARK', above a divided interior with lift-out lidded boxes and a secret drawer, containing various sewing accoutrements and other items, with brass lion's mask ring handles and paw feet, 16.2cm high, 40.8cm wide, 35cm deep. £1,000-1,500 Provenance: Antigone Clarke & Joseph O'Kelly.

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437. A fine late 18th century Russian walrus ivory sewing box, with finely reticulated panels to imitate lace, with relief carved ribbon tied swags of flowers and beaded borders, the hinged lid centred with a horn of plenty, the symbol of harvest, revealing a velvet lined interior, with a hinged mirror to the underside of the lid, with a lift-off panelled lid revealing divisions with sewing utensils above a base drawer fitted with cotton reels and table reels, on ball feet, Archangel, 15.6cm high, 26.7cm wide, 19.1cm deep. £3,000-5,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.298, fig.453. See Russian Decorative Arts by Cynthia Coleman Sparke, pp.248-49, pl.281 for a similar example.

detail

438. A Chinese export black lacquer sewing box, of curved octagonal form, decorated in gilt with panels of figures, pagodas and dragon borders, the hinged lid enclosing a divided interior, with a lift-out central tray, with a silk pink cushion and carved ivory utensils and implements, including: reel holders, needle cases, clamps and a thimble, flanked by a pair of lidded compartments, above a drawer with further divisions, with side carrying handles, on carved giltwood dragon feet, first half 19th century, 16.5cm high, 34 cm wide, 25cm deep. £600-800 Provenance: Antigone Clarke & Joseph O’Kelly.

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439. A 19th century Chinese export black lacquer games board, the exterior with a chequer board, the interior for backgammon, decorated in gilt with panels of figures, flowers and foliage, 56cm wide, together with a Chinese ivory Burmese pattern chess set, stained red and natural, the king: 9.7cm high and with thirty-two ivory draught/backgammon counters with two matching shakers carved with figures, £1,000-1,500 in lacquer boxes. (69)

439

Provenance: Antigone Clarke & Joseph O’Kelly.

440. A 19th century Chinese export black lacquer games board, the exterior with a chequer board the interior for backgammon, decorated in gilt with panels of figures before buildings, with fern borders, 49.6cm wide, together with a Chinese ivory Burmese pattern chess set, stained red and natural, the king: 9cm high and with thirty-two pierced ivory draught/backgammon counters in a lacquer box. (66) £600-800 Provenance: Antigone Clarke & Joseph O’Kelly.

440

441. An early 19th century Chinese export black lacquer sewing and writing box, decorated in gilt with pagodas and other buildings in watery landscapes, the hinged lid with an inset floral woolwork panel to the underside, above a fully fitted tray with ivory boxes and covers, a thimble, barrel reel holders and a cross, with further divisions and a pair of lacquer lidded compartments, with a base drawer with a lacquer writing slope with divisions for inkwells and a pen tray, with side carrying handles, 15.7cm high, £500-800 45cm wide, 29.5cm deep.

441

172

Provenance: Antigone Clarke & Joseph O’Kelly.


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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

442. A rare early 19th century Chinese export lacquer compendium cabinet, all over finely decorated in gilt with panels of figures on terraces and in gardens, and pavilions, the pagoda hinged lid decorated to the underside with an oval border with battle scenes, the banners refer to the three armies of the Romance of the Three Kingdoms, together with peacocks and other birds and leaves, revealing a divided liftout tray with lidded compartments and fitted with carved ivory sewing utensils, above a pair of fan and cartouche panelled doors, the insides decorated with urns revealing three conforming drawers, the top one with a plush lined tray, the lower drawer with a sunken brass handle is a boxed writing slope with a plush lined writing slope and divisions for inkwells and pens, on carved giltwood dragon feet with a pearl held in its mouth, the back decorated with a large urn with peacocks, 42.6cm high, 40cm wide, 24.5cm deep. £2,000-3,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.170, fig.237.

443. A Chinese export black lacquer sewing box, decorated in gilt with panels of figures in various pursuits, pagodas and animals, the hinged lid enclosing a divided interior, with a lift-out tray with a pin cushion, carved ivory utensils and implements, including: reel holders, needle cases, clamps and a thimble, flanked by a pair of lidded compartments, above a drawer with further divisions and a glass travelling inkwell and sander, with side carrying handles, early 19th century, 12.5cm high, 34cm wide, 24cm deep. £400-600 Provenance: Antigone Clarke & Joseph O’Kelly.

443

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444. A 19th century Anglo-Indian octagonal ivory and sadeli work games board, for solitaire and ‘fox and geese’, decorated with geometric panels, with twenty-three bone and eight ebony pegs, Bombay, 21cm wide. £150-200 Provenance: Antigone Clarke & Joseph O’Kelly.

444

445. A mid-19th century Anglo-Indian sandalwood and porcupine quill basket, with a horn swing handle, and decorated with ivory and lac bands, with a vacant interior and on disc feet, Vizagapatam, 24cm high, 23.1cm wide, 16.7cm deep. £200-300 Provenance: Antigone Clarke & Joseph O’Kelly.

445

446. An Anglo-Indian ivory box, decorated with bands of floral lac, the hinged lid revealing a vacant sandalwood interior, Vizagapatam, c.1800, 22cm wide, 14cm deep. £200-300 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.190, fig. 266.

446

447. A mid-19th century Anglo-Indian sandalwood and porcupine quill basket, with a horn swing handle, and decorated with ivory and lac bands, with a vacant interior and on disc feet, the underside inscribed in pen ‘To Francis West from her darling Mother E. W. 55. Our Indian Present from Mr B. W.’, Vizagapatam, 13.2cm high, 27.6cm wide, 20.4cm. £300-500 Provenance: Antigone Clarke & Joseph O’Kelly.

447

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448

448. A 19th century Anglo-Indian buffalo horn tea chest, of sarcophagus shape, all over engraved with scrolling leaves and flowers, with panels of ribbed decoration, the hinged lid with a gadrooned finial, revealing a sandalwood and ivory interior, the ivory with lac floral bands, with a pair of lift-out hinged canisters flanking a cut-glass sugar bowl, on nulled flattened bun feet, Vizagapatam, c.1830-50, 23.5cm high, 36.2cm wide, 20cm deep. £3,000-5,000 Provenance: Antigone Clarke & Joseph O’Kelly.

449

detail

449. An Anglo-Indian sadeli mosaic and ivory combined sewing and writing box, retailed by Halstaff and Hannaford, inlaid with ebony banding with a green floral mosaic ground, the hinged lid with a pull-out mirror to the underside, above a sandalwood divided interior fitted with a lift-out lidded compartment, oval ivory boxes, barrel reel holders, a shuttle and a thimble, with a pin cushion, the central plush lined liftout tray fitted with steel scissors, tweezers, a needle case, a glass bottle and ivory handled utensils, with a base drawer fitted with a baize lined writing slope, the underside with a printed retailer’s label ‘HALSTAFF & HANNAFORD, Manufacturers, 228 REGENT STREET’, inkwells, a pen tray and a lidded compartment, with silver handles, Bombay, early 19th century, 12.7cm high, 43.2cm wide, 28cm deep. £1,800-2,200 Provenance: Antigone Clarke & Joseph O’Kelly. In 1842 William Halstaff went into partnership with Thomas Charles Hannaford and the business became known as Halstaff & Hannaford. They mutually dissolved their partnership in 1858 but the business continued trading under their names until 1898. The method of veneering sadeli mosaic involves the binding together of geometrically-shaped rods, each about two feet in length, of various materials, for example: tin, ivory, stained ivory, sappan wood, horn and ebony. They are arranged geometrically and then sliced through transversely and arranged into sheets of repeating patterns which are then glued onto the carcass. The main centre of production in India was Bombay and the earliest known pieces appear to have been produced in the first decade of the 19th century.

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450. An Indo-Portuguese tortoiseshell and ivory box, decorated with cartouche shape panels of foil backed and pinned tortoiseshell, framed by floral engraved and lac decorated ivory borders, with brass strapwork hinges, the interior with a later red leather lining and with divisions and pigeonholes, the base with a paper label inscribed in pen ‘I Rae’, Gujarat, late 17th / early 18th century, 10.3cm high, 35.5cm wide, 27.7cm deep. £2,000-3,000 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.131, fig.180.

451. A late 19th century Anglo-Indian ivory and buffalo horn sewing basket, the swing handle above two sloping hinged lids, all over lac decorated with flowers, leaves, berries and scrolls, with fret pierced ivory scrolls and beads and panels depicting gods and birds, enclosing a sandalwood interior with two compartments divided by a fret pierced scroll panel, on ivory lion’s paw feet, probably Vizagapatam, 24cm high, 31cm wide, 21cm deep. £600-800 Provenance: Antigone Clarke & Joseph O’Kelly.

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λ 452. A Mughal Indian hardwood and engraved ivory table cabinet, inlaid with narrow panels of stylised flowers and leaves, within scrolling flower and foliage borders, the fall front revealing an interior fitted with six conforming drawers, with brass side carrying handles and escutcheon, Gujarat or Sindh, late 17th century, 18.5cm high, 30.5cm wide, 23.2cm deep. £5,000-8,000 Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.186, fig. 261. For similar cabinets see the V&A Museum, no. 1599-1903 and Christie’s, 20th April 2007, lot 218.

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453. An Anglo-Indian ivory box, lac decorated with a central urn of flowers, writhing bands of scrolling foliage and swags of husks, the hinged lid revealing a sandalwood and paper lined interior with an open compartment, Vizagapatam, late 18th century, 20.2cm wide, 15.2cm deep. £600-800 Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.189, fig. 265.

454. An Anglo-Indian ebony and ivory box, of sarcophagus shape and decorated with sadeli mosaic bands of flowers, the ivory heightened with lac, the hinged lid inlaid with a monkey feeding her baby with berries, with birds and butterflies, with an outer band of flowers, with a £400-600 velvet lined interior, on silvered bun feet, early 19th century, the panels probably earlier, 8.9cm high, 23cm wide, 17cm deep. Provenance: Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.206, fig. 295.

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455. An early 18th century Anglo-Indian rosewood writing box, inlaid with ivory flowers and leaves boldly engraved and highlighted with lac, the hinged lid centred with a floral interpretation of the Tree of Life, with leaves and flowers issuing from a nautilus shell, with wide borders of conforming scrolling foliage, revealing a divided interior with secret drawers, with an iron side carrying handle and escutcheon, £3,000-5,000 Vizagapatam, c.1730, 11.8cm high, 53.4cm wide, 39.5cm deep. Provenance: A handwritten note in the box states ‘Mother’s Indian Box from Lady Lyttleton given 1957’ and ‘Apphia, Lady Lyttelton by descent to Mrs G. Woodroffe to her daughter Mrs M. J. Neville (1957) by descent’. Antigone Clarke & Joseph O’Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.187, fig. 262. Apphia, Lady Lyttelton, née Witts (1743-1840) was born on the 27th April to a prosperous Oxfordshire family. After the death of her parents she set sail to India arriving in Calcutta in 1769 where she was set to marry her cousin, Richard Witts. However, he had died six months before she left England. More tragedy struck when her first husband, Colonel Joseph Peach of the 1st Bengal Regiment, died within six months of their marriage. In 1773 she married Thomas Lyttelton, 2nd Baron Lyttelton. See ‘Apphia, Lady Lyttelton: From the Cotswolds to Malvern by Way of India 1743-1840’ by Christine Bannister. See ‘Furniture from British India and Ceylon’ by Amin Jaffer, p. 188, no. 39. for a closely related box. Also, Christie’s, Le Gout Steinitz, III, 6th December 2007 for a very similar box, with an identical central panel. Work-boxes such as these were used by the English expatriates in India and were naturally used by the merchants of the East India Company. The densely scrolling foliage borders inlaid in ivory are typical of the manufactures of Vizagapatam, on the eastern Coromandel Coast of India.

456. Duke of Wellington interest. An Anglo-Indian ivory writing slope, lac decorated with scrolling leaves and flowers and with further bands of leaves, the hinged lid with a shield shape escutcheon with initials ‘AW’ possibly for Arthur Wellesley, 1st Duke of Wellington (17691852), the sandalwood interior with a gilt tooled blue leather writing surface, fitted with inkwells and a pen compartment, with a base drawer and silver handles with navette shape backplates, Vizagapatam, c.1800-1810, 13cm high, 36cm wide, 26cm deep. £1,000-1,500 Provenance: The vendor of this box is a direct descendant of the Duke of Wellington’s brother, Richard, Marquess Wellesley (1760-1842) and it is thought to have passed down to his illegitimate son, Richard Wellesley (1787-1831), who was an Anglo-Irish Member of Parliament and thence by descent. The Duke of Wellington arrived in Calcutta in 1797 and was involved in the Fourth Anglo-Mysore war. His brother, Richard (Lord Mornington), was Governor-General of India between 1798 and 1805.

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457. An Anglo-Indian tortoiseshell and ivory casket, decorated with pierced fret carved panels, the ivory heightened with lac, the vacant interior with a plush lining, Vizagapatam, late 19th / early 20th century, 18.6cm wide. £100-150

458

458. A small collection of Indian and Chinese carved ivory, including: a model of an elephant hung with textiles and a howdah on its back, with four attendant figures, a group of two oxen pulling a cart, a rickshaw group and two puzzle balls on turned stands, a miniature model of a mouse etc., late 19th / early 20th century, 19.3cm (max). (A lot) £150-250

459. An Indian horn globular bowl and cover, with a turned finial and a white metal band, on a thin foot, 18th / 19th century, 11.4cm high, £150-250

460. An Indian Hindu bronze of the god Shiva, with eight arms, one holding a sword, on a lobed plinth, 29.3cm high. £200-300

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461. An Anglo-Indian hardwood occasional table, inlaid with ivory, bone and ebony with scrolling leaves and flowers and with chevron borders, the octagonal lift-off top on a folding base with mihrab arches, Hoshiarpur, late 19th / early 20th century, 54.2cm high, 55cm wide. £300-500

461

462

462. An Anglo-Indian hardwood occasional table, inlaid with brass and ebony with scrolling leaves and flower heads, the octagonal fixed top above a base with mihrab arches, late 19th / early 20th century, 47.5cm high, 49cm wide. £300-500

463. An Anglo-Indian hardwood occasional table by Kanhaya Lal Brij Lal, inlaid with ivory, bone and ebony with scrolling leaves and flowers and with chevron borders, the octagonal lift-off top on a folding base with mihrab arches, with two printed paper trade labels ‘KANHAYA LAL BRIJ LAL, Ivory, Brass, Inlaid and carved Wood Work Manufacturers, PO HOSHIARPUR, (India)’, late 19th / early 20th £300-500 century, 53.5cm high, 55cm wide.

463

464. An Anglo-Indian hardwood occasional table, carved with vine leaves and grapes, the lift-off top on an octagonal folding base, stamped ‘MADE IN INDIA’, late 19th / early 20th century, 61.5cm high, 64cm wide. £150-200

464

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465

465. An 18th century colonial hardwood and brass mounted chest, the hinged top revealing a till, with flush strap-work mounts and side carrying handles, possibly Dutch East Indies, 41.7cm high, 94.5cm wide, 44.4cm deep. £200-300 466. An Indian brass and copper charger, with engraved and applied decoration of elephants, riders on horseback and seated gods, in a wooded landscape, late 19th century, 70.7cm diameter. £80-120 467. An 18th century colonial mahogany and brass mounted chest, the hinged top revealing a vacant interior, with a paper label, inscribed ‘Lady Anne...’, with leaf and bird engraved gilt brass mounts, and gilt brass side carrying handles, possibly Dutch East Indies, 60.9cm high, 141cm wide, 63.5cm deep. £300-500

466

467

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468. A Ceylonese carved ebony model of a crab, the body hinged to form a box, with a baize lined interior, late 19th century, 12.2cm high, 36.5cm wide. ÂŁ800-1,200

468

469

469. A Ceylonese carved ebony model of a crab, the body hinged to form a box, with a baize lined interior, late 19th century, 13cm high, 33.2cm wide. ÂŁ600-800

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470. A late 19th century Kashmiri lacquered papier mâché and polychrome decorated writing box, the hinged lid painted with a courtly garden scene with figures in various pursuits, with a central seated Shah, the body with further figures and animals and hunting scenes, the interior originally with a hinged writing slope and with divisions for pens and inkwells, 15.2cm high, 48cm wide, 25cm deep. £150-250

470

471. A bronze rectangular wall plaque, decorated with crossed swords above an Islamic script, 15.5 x 23cm. £100-150

472. A pair of 19th century Qajar lacquer book covers, polychrome decorated with groups of young women and babies, one depicting probably the birth of a Shah, with gilt foliage borders, one with an old auction paper label for ‘HOTEL DROUOT 8TH FEBRUARY 1943 LOT 79’, 15.3 x 23.8cm. (2) £200-300

473. A pair of Moorish hardwood octagonal occasional tables, inlaid with mother of pearl flowers and with pewter stringing, the tops with bone edging, 48.5cm high, 40.8cm wide. (2) £300-400

473

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474. A 14th century Fars brass bowl, with interlaced decoration to the rim, the body engraved with oval cartouches with thuluth prayer inscriptions interspersed with rondels containing a seated ruler flanked by attendants, above bands of trefoil palmettes, with several inscriptions relating to previous owner’s ‘Owned by Ghiath Ad-Din Mohammad bin Hajji Mohammad Mo’men’, then part scratched out and replaced with ‘ya hafeez’ and another ‘Owned by Abu Mohsen’, originally inlaid with gold and silver, traces of gold and black composition visible, West Iran, Ilkhanid period, 23.5cm diameter. £1,000-1,500 See ‘The Arts of Islam’, Hayward Gallery, 8th April-4th July 1976, Exhibition Catalogue, p.184, pl. 205 for a similar example at the British Museum. Also, Christie’s Art of the Islamic and Indian World, 5th October 2010, lot 173 for a similar example.

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475. Five Qajar damascened steel animals, comprising: a pair of peacocks, a stag and a pair of camels, Iran, 19th century, 38.8cm high (max). (5) £400-600

476. A Safavid copper basin, of tapering form, decorated with panels of animals, scrolling leaves, flowers and Islamic calligraphy, the underside of the rim with owner’s marks, Persia, 17th century, 18.7cm high, 40cm diameter. £300-500

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477. An early 16th century Mamluk copper dish, with a lobed rim and inner bands of scrolling leaves and elliptical designs on a geometric diaper ground, the centre decorated with a blazon encircled by naskh calligraphy, the underside with ownership inscriptions, Egypt, c.1500, originally tinned, 42.3cm diameter. £600-800 For a similar dish see Sotheby’s, London, Arts of the Islamic World, 25th October 2017, lot 142.

478. An Ottoman Islamic copper crescent form finial, the base edged with initials ‘AJ’ and the date ‘1922’, possibly 18th / 19th century, 101.4cm high. £200-300 The inscribed date of ‘1922’ on this present lot probably relates to the Greek/ Turkish war which came to an end in October of the same year. There is a possibility that it was removed from a mosque or building by one of the armies.

478

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479

480 479. A late 19th century Japanese Kutani baluster vase, painted with exotic birds, lion dogs and panels of flowers, the base with a nine character mark, 55.6cm high. £100-200

480. Two Japanese ivory okimono of geishas, with engraved decoration, one holding a fan, the other with a red inlaid signature tablet to the base, Meiji 18681912, 21cm high (max). (2) £100-150

481. A Japanese ivory tusk box and cover, the body relief carved with three tigers attacking an elephant, with a conforming lift-off cover, on a naturalistic carved wood stand, Meiji 1868-1912, 23cm high. £300-500

482. A Japanese Shibayama carved ivory model of a bell pepper, with a realistic stalk finial, onlaid with thirteen mother of pearl insects, with a four character engraved mark, Meiji 18681912, 6.7cm. £300-400

481

482

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483. Three Japanese ivory netsuke, two carved with figures, the other with leaves, fruit and a spider, one signed, together with a boxwood netsuke in the form of a gourd, Meiji 1868-1912, 4.5cm (max). (4) £100-200

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484

485

484. A 19th century Chinese Canton porcelain vase table lamp, decorated in the famille rose palette with panels of birds, butterflies and courtly figures, with applied gilt chilong and dogs, with shade, 44.9cm. (2) £300-500 485. A Chinese porcelain pear shaped vase table lamp, decorated in the famille rose palette with panels of birds and flowers, with a yellow ground and £300-500 gilt brass mounts, with shade, 44.3cm high. (2)

486. A Chinese carved ivory figure of happy Buddha, 7cm high, on a carved hardwood base, together with a Chinese ivory and bone model of a shrine, with figures and a prunus tree, on a hardwood base. (2) £200-300 487. A 19th century Chinese Canton ivory card case, relief carved with figures in various pursuits amongst buildings and trees, 11.6cm high, together with a Chinese ivory box, carved with dragons, the interior with a mirror and a lift-out tray, late 19th / early 20th century, 11.7cm wide. (2) £200-300 488. A pair of horn-rimmed folding spectacles, possibly Chinese, late 18th / £100-150 early 19th century, 10cm wide.

486

487

488

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489

489. A Chinese export padouk writing / document box, in Dutch colonial style, the top with a moulded edge and brass strapwork hinges, revealing a divided lift-out tray with a hinged central section, above a base drawer, with brass side carrying handles and escutcheons, early 18th century, 19cm high, 54.3cm wide, 35cm deep. £800-1,200 490. A Chinese elm side cabinet, the panelled top above three frieze drawers, with a central cupboard flanked by two banks of three further drawers, 84.8cm high, 103cm wide, 55cm deep. £200-250 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime. 491. A Tibetan lacquered wood ‘Dragon ‘Chest’, partially covered with canvas and with metal mounts, on a wood stand, late 19th / early £150-250 20th century, 64cm high, 128cm wide, 44.5cm deep

490

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492. A Burmese carved ivory matched chess set, the king carved with a face, stained green and natural, first half 19th century, the king: 12cm high, the pawn: 7cm high. (32) ÂŁ500-800

492 493. A 19th century Chinese export carved ivory chess set, stained red and natural, the Kings and Queens modelled as Emperors and Empresses, the bishops as Mandarin officials and the rooks as elephant and castles, the king: 9.7cm high, the pawn: 4.2cm high. (32) ÂŁ100-200

492

494. A mid-19th century Chinese carved ivory figural chess set, stained red and natural, the white King and Queen modelled as George III and Charlotte, opposing an Emperor and Empress, the knights as riders on horseback and the rooks as elephants and castles, the king: 11.5cm high, the pawn: 7cm high, contained in an associated lacquer box, together with a Chinese lacquer games board (hinges broken). (34) ÂŁ500-800

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495. A rare Regency giltwood girandole wall mirror attributed to Thomas Fentham, with a Chinese reverse glass plate, the circular mirror plate painted with a charming lake scene with figures and deer before a bridge leading to a pagoda, with boats and a country house in the distance, within a reeded ebonised slip and a leaf moulded and wrapped frame, with an ebonised eagle and rockwork surmount above a pair of quiver and scrolling leaf arms with brass urn sconces, the scrolling leaf base with a lion’s mask and a bud pendant, 94 x 78cm. £8,000-12,000 This fine Anglo-Chinese girandole mirror has a carved giltwood frame attributable to Thomas Fentham who was a leading Regency carver, looking glass and picture frame maker based in the Strand in London. His notable clients included: the 3rd Earl of Egremont, Charles Townley and the Yorke family of Erdigg Hall, Wrexham. It is highly unusual for a convex style girandole mirror to have a Chinese reverse glass painted plate. The fashion for Chinese interiors was popularised at this period by the Prince Regent, later George IV, initially with his Chinese drawing Room at Carlton House and later at the remarkable Royal Pavilion in Brighton. For a similar pair of Regency convex mirrors with Chinese reverse glass mirror plates see Bearne’s, Hampton and Littlewood, Exeter, 23rd October 2013, lot 1150, which sold for £17,500.

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496. An early 19th century mahogany barrel front cabinet, with ebonised decoration, fitted with a pair of panelled cupboard doors enclosing a later shelf, above two drawers flanked by reeded pilasters, on turned feet, 79.7cm high, 68.8cm wide, 53.5cm deep. £300-400 Provenance: Lord Astor of Hever.

496

497. A Regency rosewood and brass mounted Canterbury, the foliate decorated handle and two divisions above a base drawer, on turned legs and brass castors, 59cm high, 51cm wide, 30.8cm deep. £150-250 Provenance: From the estate of the late Lady Dodds.

497

498. A George IV mahogany and brass mounted music stool, the circular needlework seat on ring turned and ribbed tapering legs, 50.4cm high, together with another mahogany music stool with an adjustable seat. (2) £100-200

498

499. A Victorian mahogany stool, the floral needlework seat on £100-150 lappet carved legs, 57.2cm high, 32.5cm square.

499

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500. A George IV Welsh burr oak breakfast table by William Owen of Denbigh, the circular crossbanded tilt-top with segmented veneers and ebony banding, above a faceted gadrooned stem and a platform base, with nulled bun feet and brass castors, the block stamped ‘WM OWEN DENBIGH’, with the remains of a printed paper label ‘LIVERPOOL’, 73cm high, 131cm diameter. £2,000-3,000 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime. A William Owen is recorded as a cabinet maker and undertaker c.1812, in the Dictionary of English Furniture Makers, 1660-1840, edited by Geoffrey Beard and Christopher Gilbert. On 13th September 1812 he supplied a pair of dressing glasses to Erddig Hall, Wrexham, North Wales.

501. A pair of William IV mahogany and gilt metal mounted side chairs by J. Kendell & Co., later upholstered, on sabre front legs and Cope’s Patent brass caps and castors, each with a printed paper trade label ‘J. KENDELL & CO. No.’ and inscribed in pen ‘86881 workman’s name Fletcher’. (2) £800-1,200

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502. A William IV rosewood library table, the rectangular top with a moulded edge above a scroll rosette and anthemion carved frieze, with twin baluster lifts to either end, on scroll trestle ends united by a turned stretcher and on brass castors, 74.2cm high, 150.5cm wide, 72.6cm deep. £200-300

502

503. A George IV mahogany hall table, with a raised back, above a frieze drawer, on fluted front legs, 90.5cm high, 116.6cm wide, 51.5cm deep. £300-500

503

504. A Regency mahogany the galleried top with turned finials, with reeded decoration, on brass caps and castors, 97.1cm high, 91cm wide, 50.5cm deep. £300-500 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

504

505. A William IV mahogany library table in the manner of Gillows, the top with a reeded edge, above a frieze drawer to either side, with false fronts and with tablet panels, on conforming tapering trestle ends and on gadrooned bun feet and sunken brass castors, 72.2cm high, 107cm wide, 71.1cm deep. £500-700

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506. A rare quartetto nest of George IV rosewood occasional tables in the manner of Gillows, each with a beaded rectangular top, the largest with a pair of demi-lune hinged lidded compartments, one inlaid with a chequer board, the smallest inset with a pull-out lyre shape music stand, with a lion’s mask ring handle, on baluster turned legs united by conforming stretchers, 69.7cm high, 69.5cm wide, £1,500-2,000 33.8cm deep. (4) For a similar set see Bonham’s, Fine English and Continental Furniture and Works of Art, London, 14th March 2006, lot 105.

506

507. A mahogany and brass bound cylindrical stickstand in Regency style, with a lift-out metal liner and lion’s head brass ring handles, late 19th century, 63.3 cm high, 29.5cm diameter. £400-600

507

508. A pair of George IV mahogany bedside cupboards, each with a reeded three quarter gallery with a scroll front, above a cupboard door, on ribbed tapering legs, 88.4cm(high, 42.1cm wide, 39.1cm deep. (2) £700-900 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

508

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509. An early 19th century Napoleonic prisoner of war bone figural sewing table clamp, modelled with a Queen like figure wearing a crown and a sash, with a pin cushion and with traces of £200-300 polychrome decoration, 16.9cm high.

510. A 19th century French prisoner of war straw-work sewing box, the hinged lid decorated with a central panel of flowers and with further panels of musical and war trophies, the interior with a mirror and with a lift-out tray fitted with three lidded compartments, inlaid with urns of flowers, quivers of arrows and musical instruments, with a pair of pin cushions, on bun feet, 12.8cm high, 33cm wide, 25.8cm deep, together with another straw-work box, the interior inlaid with figures, 24.2cm wide. (2) £200-300 Provenance: Purchased from Piccadilly Antiques, 280 High Street, Bath in 2002 for £170.

509

511. A Victorian Tunbridge ware and walnut box, the hinged lid marquetry inlaid with a three-masted sailing ship, with two lighthouses in the background, with thuya panels, with a vacant interior originally with a tray, 14.4cm high, 34cm wide, 24.7cm deep. £200-300

198

512. A 19th century pottery salve box and cover by James Crawford, decorated with a three-masted sailing ship and with Britannia and two figures, described ‘Success To Ship Trade’, the interior inscribed ‘JAMES CRAWFORD’, 8cm diameter. £80-120


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513 513. A Victorian naive half-block ship model, depicting a brig, with a carved figurehead, mounted on a painted backboard, the launching masts hung with the Red Ensigns, the Union Jack and International Maritime signal flags, with mountains in the distance and a lighthouse on a headland, in a moulded oak frame, 59.2 x 124cm. £600-1,000

515

514. Nelson interest. A set of five early 19th century brass knob handles, each decorated with a foul anchor and stamped ‘NELSON LORD OF THE NILE’, 4.5cm wide. (5) £100-150 For a similar example see the National Maritime Museum Greenwich OBJ 0703. 515. An early 19th century mahogany naval writing slope, with brass mounts and banding, the hinged lid centred with a vacant cartouche, revealing gilt tooled green leather writing surfaces, with sunken brass military style carrying handles, the underside with a pair of screwholes for securing it with two bolts, 21cm high, 47.3cm wide, 34.7cm deep. £500-800

516. A Victorian mahogany and brass campaign gentleman’s dressing case by Turrill, the hinged lid with a vacant plaque, the underside with a lift-out shaving mirror and a pink printed trade label, inscribed ‘TO THE QUEEN TURRILL MANUFACTURER OF Dressing Chest, Writing Desks, Leather Travelling Cases & c. 250 REGENT ST LONDON’, above divisions for silver plated topped glass bottles and jars, shaving case, a razor hone, with a base drawer fitted with various steel utensils, including ivory handled razor, boot pulls, scissors and a cork screw, 27cm wide, 27cm deep. £300-500

516

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517

517. A Victorian kingwood and burr walnut casket, with ebonised and amaranth banding, the hinged lid revealing a mahogany hinged lidded lift-out jewellery compartment with a baize lining, 16.9cm high, 29.8cm wide, together with a late George III mahogany tea caddy. (2) £80-120 Provenance: From the estate of the late Lady Dodds. 518. A 19th century mahogany apothecary’s box, with sunken brass military style handles, the interior with fourteen divisions, containing eight glass bottles and stoppers, the base drawer with divisions, two metal boxes and a lift-out tray, 19.5cm high, 18.2cm £150-200 wide.

519. A George III ivory octagonal tea caddy, with tortoiseshell stringing and mother of pearl dot inlay, with a silver ring handle and escutcheon, with a vacant shield shape plaque and piqué decoration, the hinged lid revealing an interior with traces of foil, 10.6cm high, 11cm wide. £200-300 520. A Regency blonde tortoiseshell tea caddy, inlaid with pewter stringing, the hinged lid with a plaque with initials ‘ESS’, with a twin lidded interior with ivory handles and with horn edging, on ball feet, 12.5cm high, 14cm wide. £200-300

518

520

200

519


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521 521. A William IV mahogany miniature sideboard, possibly an apprentice piece, the moulded raised back above an inverted breakfront fitted with a drawer, with a pair of cupboards with panelled doors flanked by faceted columns, the right side with a cellaret drawer, 21.7cm high, 34cm wide, 12.6cm deep. £300-500 522. A Regency penwork work box, the hinged lid decorated with chinoiserie figures, peacocks, trees and a building, the body with flowers, leaves, buildings and trees in a rural setting, the paper lined interior with a tray with divisions and a pin cushion, on gilt brass claw and ball feet, 11.7cm high, 25.2cm wide, 20.5cm deep. £300-400

523. A William IV amboyna and rosewood tea chest, of waisted sarcophagus shape, the hinged lid with nulled mouldings, revealing an interior with a pair of hinged lidded lift-out canisters flanking an associated glass sugar bowl, 23cm high, 36.5cm wide, 20.8cm deep. £300-500 524. A Regency tortoiseshell tea caddy, of sarcophagus shape, inlaid with pewter stringing, the hinged lid with a vacant silver plaque, the interior with twin lidded compartments, with ivory edging and on ball feet, 13.3cm high, 15cm wide. £300-400

522

523 524

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525

525. A set of six William IV mahogany dining chairs attributed to Gillows, each with a buckle back carved with lappets, spindles and a rosette, above a later upholstered drop-in seat, on ribbed tapering front legs. (6) £300-500 526. A Regency mahogany lamp table, inlaid with ebonised stringing, the crossbanded top above a frieze drawer, on moulded sabre legs, 70cm high, 38.4cm wide, 39cm deep. £200-300

526

527. A Regency rosewood console table, with nulled decoration, the later rectangular brèche violet marble top supported by giltwood flower head baluster front supports, with a later pleated silk back centred with a giltwood flowerhead, 86.3cm high, 103cm wide, 40.8cm deep £400-600 Provenance: Purchased from H. W. Keil Ltd, 12th September 1964 for £182. From the estate of the late Lady Dodds.

202

527


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528. A Regency rosewood breakfront side cabinet, the top with a raised back, above two frieze drawers and three cupboards with pleated fabric doors enclosing a shelf, flanked by fluted corbels, 95.8cm high, 244cm wide, 56cm deep. £1,000-1,500

529. A George IV rosewood lamp table in the manner of Gillows, with a turned baluster and lappet carved stem, with nulled decoration and a triform base, 71.8cm high, 53.6cm wide, 47.6cm deep. £400-600

529

530. A Regency rosewood console table, the black marble top supported by a pair of turned columns with anthemion and engine turned decorated gilt brass mounts, with a mirrored back and a gadrooned base with disc feet, 91.4cm high, 69.5cm wide, 46cm deep. £400-600

530

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531

532

531. A William IV rosewood occasional table, the rectangular top with a leaf carved edge, above flower and lappet carved lyre supports united by a stretcher, on scroll feet and brass castors, 78cm high, 68.7cm wide, 48cm deep. £500-700 532. A Regency mahogany Pembroke table, the drop-flap top with a reeded edge, above a frieze drawer, on ribbed tapering legs and brass caps and castors, £300-500 68.7cm high, 76.4 x 108cm (open). 533. A George IV mahogany pedestal pot cupboard, of canted shape, the raised top above a door enclosing a shelf, 81.4cm high, 38.5cm wide, 40.8cm deep. £200-300 534. An early 19th century mahogany linen / napkin press attributed to Gillows, with a beechwood screw stem and a turned handle, 56.8cm high, 54cm wide, 32.3cm deep. £300-400

533

204

534


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535. A large mid-19th century giltwood overmantel mirror, the rectangular plate flanked by cluster columns with Corinthian capitals, with an inverted breakfront frieze, 221 x 174cm. £1,500-2,000 Provenance: By repute Hillersdon House, Cullompton, Devon.

535

536. A Regency satinwood dressing table mirror, with ebonised stringing, the bowfront base fitted with three drawers, on ball feet, 56.8cm high, 51.5cm wide, 22cm deep. £150-250

537. A 19th century giltwood and gesso convex wall mirror, the circular plate within an ebonised reeded slip and a ball decorated frame carved with ribbons, with an eagle and rockwork surmount flanked by leaves, the base with ‘C’ scrolls and foliage, 103 x 63cm. £500-700

537

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538

538. An early Victorian mahogany box stool by Doveston, Bird & Hull, the later red leather and brass studded seat above a hinged door with outline mouldings, stamped ‘DOVESTON, BIRD & HULL MANUFACTURERS’, on brass castors, 47cm high, 64.8cm wide, 52.5cm deep. £800-1,200 George Doveston is recorded as a cabinet maker and undertaker c.1832-40 in King Street Manchester, in the Dictionary of English Furniture Makers, 1660-1840, edited by Geoffrey Beard and Christopher Gilbert. The business operated under the name of Doveston, Bird & Hull, c.1860-1881. Their leading designer was Bruce Talbert, followed by Alfred Waterhouse when they were involved in the furnishing of Manchester Town Hall.

539. A William IV rosewood three-tier whatnot, with urn finials and lappet carved turned supports, on brass castors, 113cm high, 40cm wide, 40.3cm deep. £100-150 540. A Regency black lacquer papier-mâché tray, decorated in gilt with chinoiserie scenes of figures, pagodas and watery landscapes, on an associated folding stand and with a plate glass top, 73.4cm high, 82.2cm wide, 60.1cm deep. (3) £500-700

539

detail 540

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541

541. An early Victorian rosewood double sided library bookcase, the top inset with gilt tooled red leather, with two adjustable shelves to either side, with panelled ends and fluted corners, on brass castors, the iron mounts stamped ‘COPE’S PATENT’, 108cm high, 106cm wide, 79.4cm deep. £4,000-6,000

542. A George IV mahogany table coin collector’s cabinet, with a stylised urn finial above a pair of arched panelled doors, flanked by faceted and lappet carved columns, the interior with forty-two burr veneered and graduated drawers, the majority with coin apertures and with ivory knob handles, 39.4cm high, 38.3cm wide, 32.6cm deep. £300-500

542

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543. A Swedish Neo-classical giltwood pier mirror, the rectangular plate within a ribbon slip and a lappet carved frame, the frieze with an egg and dart moulding above a pair of reverse glass panels decorated with birds, flanking an etched glass panel decorated with ribbon tied war trophies, flanked by leaf batons, the base with a floret and ribbon band, Gustavian, late 18th / early 19th century, 160 x 107.6cm. ÂŁ2,000-3,000

543

544. A Regency giltwood pier mirror, the rectangular bevelled plate within a beaded and leaf moulded frame, the corners with carved Egyptian style masks in the manner of Thomas Hope, 126 x 73cm. ÂŁ600-800

544

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545. A George IV mahogany hall chair in the manner of Gillows, the gorget back carved with scrolls and a central shell and painted with a circlet for Sir Nicholas Harris Nicolas with plumes of feathers and the motto 'AUSPICIUM MELIORIS AEVI' and hung with two medals for the order of St. Michael and St. George and the Royal Guelphic order, on ribbed front legs. ÂŁ80-120 The painted circlet on this present chair relates to Sir Nicholas Harris Nicolas (1799-1848), an antiquarian. He studied law and was called to the bar in 1825, however, he devoted the rest of his time to the study of genealogy and history. He was made a knight of the Royal Guelphic Order in 1831 and in 1832 chancellor and knight-commander of the Order of St. Michael and St. George, being advanced to the grade of cross in 1840.

545

546. A rare late Regency panorama, with a continuous hand-coloured engraved view after Henry Alken 'To Epsom, a Ludicrous Amusement consisting of Modern Costume, Characters, Equipages and Horsemanship', depicting a procession to the horse races, with various figures, horses, coaches and carriages, rolled within a white ware cylindrical drum case, with a turned lignum vitae lid and an ebonised handle, the printed sheet extends to 400cm long, 10.8cm high. ÂŁ500-800

209


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547

548

547. A Victorian bronze greyhound’s head card holder, with an articulated jaw, mounted on a turned marble socle, 8.8cm high. £150-250 548. A Victorian walnut country house letter box, with mother of pearl inlay, the hinged lid with a single slot and turned knob handle, the front with a glass panel and inscribed ‘LETTERS FOR POST’, 24.5cm wide, together with a George III decanter box, decorated with yew panels, the interior with three glass £150-250 decanters and stoppers, 20.8cm high. (2) 549. A William IV ebonised wood policeman’s truncheon, decorated in gilt with initials ‘WR IIII’, together with two Victorian truncheons, one stamped ‘PARKER HOLBORN 223’, the other Scottish stamped ‘McNAUGHTON GLASGOW’, 46cm long (max). (3) £150-250 550. A 19th century ebony oval tray, carved with a stylized leaf and swag band and with open brass spiral twist handles, possibly Anglo-Indian, 6.5cm high, 63.7cm wide. £200-300 551. A pair of red wax seal pictures, each with eleven seals mounted on a handwritten letter backing, the seals imprinted with various initials and coats of arms, 12.7 x 22.7cm, in a glazed giltwood box frame. (2) £200-300

549

550 551

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552. An early 19th century ivory ornamentally turned urn and cover, with ribbed and fluted decoration, with a slender stem and square base, 19.5cm high. £600-800

552 553. James Tassie (Scottish 1735-1799). A white glass paste portrait relief bust of the Reverend Hugh Blair (1718-1800), inscribed ‘HUGH BLAIR D.D. 1791, Tassie F.’ together with another example of Thomas Reid inscribed ‘THOS. REID. D.D. ACAD. GLASG. AET. 81, 1791 Tassie F.’, both in ebonised fruitwood oval glazed frames, together with a white glass paste portrait relief bust of Mary Queen of Scots, titled ‘MARIA SCOTORUM REGINA’ and inscribed ‘AX. MON. WEST’ and an engraved portrait of Lord Nelson, 15cm (max). (4) £200-300 Hugh Blair FRSE (7 April 1718 - 27 December 1800) was a Scottish minister of religion, author and rhetorician, considered one of the first great theorists of written discourse.

554. An early 19th century ivory and gold mounted monocular, in a shagreen case, 7cm high. £200-300

555. A 19th century carved ivory bust of a gentleman, possibly the Duke of Wellington, together with two similar ivory sanders, an ivory whistle and two lapis lazuli desk seals, 7.8cm (max). (5) £100-150

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LADY GERTRUDE ELEANOR CRAWFORD Lady Gertrude Eleanor Crawford, née Molyneux (1868-1937), was the daughter of William Philip Molyneux, the 4th Earl of Sefton and known as ‘GEM’ by her close friends and family. She was a remarkable woman, becoming in 1918 the 1st Chief Commandant for the Women’s Royal Air Force, an organisation aimed to provide female mechanics to free up men who were needed to fight on the front. She was the co-owner of a racing garage and also an estate agent. Another of her passions was ornamental turning following in the footsteps of her father and grand-father which she continued to practice after her marriage to Captain John Halket Crawford in 1905. Ivory was turned at Croxteth Hall (the family seat) on a Holtzapffel lathe and she was awarded prizes at the Worshipful Company of Turners where an annual prize for ornamental turning is still awarded under her name. She produced turned ivory items for Queen Mary’s dolls house and some of her turnings can be found in the Science Museum, London.

556. Lady Gertrude Eleanor Crawford’s despatch box. An Edwardian black japanned tin despatch box by Bramah, with gilt stringing, the hinged lid inscribed ‘LADY GERTRUDE E. MOLYNEUX’, the underside of the lid with a maker’s label ‘BRAMAH & Co. LOCK & DESPATCH BOX MANUFACTURERS, TO HIS MAJESTY THE KING’. 100 NEW BOND STREET. W.’, 35.2cm wide, containing a quantity of photographs of Lady Gertrude Crawford, her Holtzapffel lathe, of her ornamental turnings, together with newspaper cuttings, letters and related ephemera, and a glass seal. (A lot) £100-150

557. A Ministry of Munitions Identification Card belonging to Lady Gertrude Eleanor Crawford, No. 573, together with an H. M. Factory, Gretna Permit, a Gretna Staff Club Honorary Member’s Card from 1916/17 and a Royal Air Force below air cap badge. (4) £100-150

558. Seven exhibition catalogues relating to Lady Gertrude Eleanor Crawford, including: ‘ROYAL ACADEMY EXHIBITION OF BRITISH ART IN INDUSTRY JANUARY -MARCH 1935’, in which were exhibited five items, including: a candlestick in the Royal Collection, Lent by her Majesty the Queen, ‘Ornamental Turning LADY GERTRUDE CRAWFORD’ at Leighton House, November 25th-30th 1929, with one hundred and three items exhibited in various woods and materials, including: zebra, snake and iron woods and three ‘SOCIETY OF WOMEN ARTISTS EXHIBITION OF PAINTINGS, SCULPTURE CRAFTS & c. ROYAL INSTITUTE GALLERIES, 195 PICCADILLY, W.’ catalogues, 1929, 1931 and 1932. (7) £80-120

559. A Victorian ivory brush, with initials ‘C.R.M.’ possibly made by Lady Gertrude Eleanor Crawford for her nephew Cecil Richard Molyneux (1899-1916) and an ivory pin cushion and box which bear the initials for her sister Rose Mary Molyneux (1870-1905), 12cm (max). (3) £100-150

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Cecil Richard Molyneux (1899-1916) was the son of Osbert Cecil Molyneux, 6th Earl of Sefton. He enlisted in the Royal Navy and was killed in action on board of H.M.S. Lion.


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560. Lady Gertrude Eleanor Crawford (1868-1937). An ornamental turned ivory and vegetable ivory necklace, c.1930, 25cm long, together with a black and white photograph showing the necklace in an exhibition. (2) £200-300

560

561

562. Lady Gertrude Eleanor Crawford (1868-1937). Seven ornamentally turned ivory bell-push stands, of various shapes and designs, 7.7cm (max). (7) £100-150

561. Lady Gertrude Eleanor Crawford (1868-1937). A small collection of ornamentally turned wood items, including: iron and partridgewood, comprising: a four handle quaich, branded with the initial ‘H’, an oblong box and cover, a jug, a shell shape disc, a stand, a case and an ivory mounted circular stand, 15.5cm (max). (7) £100-150

563. Lady Gertrude Eleanor Crawford (1868-1937). Nine ornamentally turned ivory stands and frames, of various shapes, 11.3cm (max). (9) £100-150

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564

565

564. A large collection of ivory objects, the majority almost certainly made by Lady Gertrude Eleanor Crawford, including: a blotter, napkin rings, plastic discs, one with a coronet above the initial ‘S’, handles, buckles and other items, 14.5cm (max). (A lot) £100-150 565. Lady Gertrude Eleanor Crawford (1868-1937). A small collection of ornamentally turned ivory match related items, comprising: two white metal mounted vesta holders, a matchbox case, and two cylindrical vesta boxes and covers, the bases with strikes, 6.4cm (max). (5) £100-150

566

567. Three horn handled walking canes, comprising: a late Victorian example with possibly a buffalo horn handle, a Birmingham silver ferrule and a Malacca shaft, one with a shepherd’s crook handle and an 18ct gold ferrule with a hardwood shaft and an ebony cane with a bird’s head handle, 89.8cm long (max). (3) £100-150

214

566. Lady Gertrude Eleanor Crawford (1868-1937). A collection of mainly sewing related ornamentally turned ivory items, including: a vegetable ivory tape measure, pots and covers, an oval box and cover, needle cases and a shuttle, together with a fid and a finial, 12.8cm (max). (10) £100-150

568. A horn walking cane, possibly rhinoceros, the handle carved with a hoof with ivory dot initials ‘F. R. H.’, with a hardwood shaft, early 20th century, 90.3cm long. £100-150

569. Five walking canes, comprising: a folk art naive stick with an eagle’s head handle, an ebony cane with a turned ivory handle and terminal, a rustic branch stick, a horn handled example with a brass ferrule and an antler handled bamboo cane with a plated ferrule, 19th century and later, 94.5cm long (max). (5) £100-200


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570

571

572

570. An Edwardian walking cane, the Japanese Shibayama-style ivory handle carved with a hand and onlaid with three insects, with an embossed silver ferrule, the ebonised shaft with a brass terminal, 84.5cm long. £200-300 571. A French walking cane, the ivory / bone handle carved with a naked female figure with flowing hair, kneeling on rocks, above a band of leaves, signed ‘Dombraux Paris 1871’, above a white metal ferrule, a Malacca shaft and a brass terminal, 93.3cm long. £150-250

573

572. An Edwardian erotic walking cane, the ivory handle carved with a semi-naked lady, above a silver ferrule hallmarked for London, above an ebonised shaft and brass terminal, 97.2cm long. £200-300 573. A novelty walking cane, with an ivory box handle carved with a flowerhead, hinged to reveal a four-division purse, with a white metal ferrule and an ebonised stem, late 19th / early 20th century, 95cm long. £100-150 574. An 18th century walking cane, the ivory handle with piqué decoration, with a Malacca shaft and a brass terminal, 86.4cm long. £200-300 575. An Edwardian ivory handled walking cane, the handle carved in the form of a greyhound’s head, with glass eyes, with a silver ferrule, hallmarked Birmingham 1902, with a palmwood shaft, 89cm long. £150-250 576.

574

An early 18th century ivory handled walking cane, with a Malacca shaft, 77.6cm long. £100-150

575

576

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577

578

579

577. An erotic walking cane, the carved ivory handle modelled as a female pelvic area, with a thin white metal ferrule, above an ebonised shaft and brass terminal, late 19th / early 20th century, 91.7cm long. £300-400 578. A Burmese silver handled walking cane, the lion’s head handle with gemstone eyes, with a scrolling £250-350 foliage ferrule and an ebony shaft, probably late 19th / early 20th century, 92cm long.

580

579. An Indian or Burmese silver handled walking cane, the handle in the form of a parrot perched on scrolling foliage, with a palmwood shaft and ivory terminal, late 19th / early 20th century, 88.3cm long. £250-350 580. An Austro-Hungarian walking cane in the Renaissance revival style, the champlevé enamel handle in the form of a helmet, inset with a pearl and gemstones, with an ebonised shaft, late 19th century, 90.4cm £200-300 long. 581. A blue john handled walking cane, with a white metal ferrule, a hardwood shaft and a brass terminal, early 20th century, 90.3cm long. £300-400 582. A folk art walking cane, the handle carved with a parrot’s head with glass eyes, 93.4cm long. £150-250 583. A modern sterling silver mounted walking cane by Comyns, with a toucan handle, with glass eyes and stamped ‘Comyns’ and with ‘925’ sterling marks, with a part ribbed walnut stem and silver terminal, in a plush material sleeve, 93.8cm long. £80-120

581

582

216

583


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584. A Victorian tortoiseshell and brass boulle marquetry inkstand, decorated with scrolling leaves borders, with a cut-glass inkwell and a tray for pens, together with a matching blotter by Asprey, the leather interior with a pouch and stamped in gilt ‘ASPREY LONDON’, 35.2cm (max). (2) £300-500

584

585. A Napoleon III brass and tortoiseshell boulle marquetry inkstand, with a pair of associated glass inkwells flanking a central lidded aperture and with a pen tray above a drawer, on winged paw feet, 12.9cm high, 32cm wide. £500-800

586. A Victorian black leather writing slope by Asprey, the hinged lid with a sunken brass handle and gilt tooled initials ‘M.F.H.’, the interior fitted with a sprung stationery compartment to the underside of the lid with monogrammed utensils and a steel corkscrew, with a lift-out tray with a portable lighter and inkwell, with a hinged slope with compartments and a triple panel ivory notepad, the brass lock stamped ‘ASPREY 166 BOND ST.’, 18.5cm high, 41cm wide, 28cm deep. £400-600

217


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588 587

587. A French Napoleon III thuya writing slope, with ebonised decoration and parquetry banding, the hinged fall inlaid with brass and mother of pearl with leaf scrolls and a central cartouche, inscribed ‘FROM M E S’, revealing a gilt tooled leather lined writing surface with a pair of glass inkwells, a pen tray and divisions for stationery, the further hinged top revealing divisions for stationery, 18cm high, 33.4cm wide, 27.7cm deep. £150-250 588. A Victorian ebonised and brass mounted inkstand, of sarcophagus shape, with a central section for two glass inkwells with bone and brass tops and a glass and brass sander, flanked by two pen trays with a brass edging, the sides with flower and leaf mounts, above a drawer with a bone handle, 15.4cm high, 26cm wide, 18.6cm deep. £100-150

589. A late Victorian tortoiseshell serpentine tea caddy, the interior with ivory edging and twin lidded compartments, with a silver escutcheon and ivory flattened bun feet, 9.5cm high, 12.7cm wide. £250-350

589

590. A late 19th century gilt brass jewellery casket in Louis XVI style, with five bevelled glass panels, with beaded borders and scroll and ball feet, the underside stamped ‘MORFAU’, 18.9cm wide. £200-300 591. An oriental studded leather and brass bound trunk, the hinged lid decorated with knights jousting, with a castle and a sleeping lion, with a vacant interior and brass side carrying handles, early 20th century, 20.3cm high, 41cm wide, 25cm deep. £100-150

590

591

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

592

592. A 19th century French rosewood writing slope, inlaid with brass stringing, the hinged slope with a cartouche engraved with initials ‘L C’, revealing a tooled velvet lined slope and a pen tray with a lid with an ivory handle, the further hinged top revealing divisions for pens and ink, 29.7cm wide, 24.7cm deep. £100-150

593

593. A late 19th century French burr veneered musical decanter box, the hinged lid with a vacant brass plaque, when opened plays two airs, revealing a lift-out tray, fitted with four etched decanters and stoppers and sixteen liqueur glasses, with hinged sides, 25.2cm high, 32.5cm wide, 24.8cm deep. £150-250

594. A late 19th century French kingwood and ivory box, the lid and serpentine front inlaid with parquetry panels, with a silk lined interior, on brass feet, 11.3cm high, 29cm wide, 24.2cm deep. £300-400 595. A Black Forest box, the hinged lid carved with a dying stag on a naturalistic tree stump and ivy base, the body with three panels depicting a hunting scene, deer and wild boars, late 19th / early 20th century, 19.5cm high, 33cm wide, 19.3cm £300-400 deep. 596. A 19th century Dutch mahogany and floral marquetry decanter box, inlaid with an urn of flowers, the hinged lid revealing a velvet lined interior fitted with six glass decanters and stoppers and a pair of liqueur glasses, all with gilt decoration, 22.3cm high, 28cm wide, 19cm deep. £250-350

594

595 596

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A PRIVATE COLLECTION OF MAPS LOTS 597 - 607

597. Joan Blaeu (Dutch 1596 - 1673). A 17th century hand-coloured engraved map, of Huntingdonshire, inscribed ‘HUNTINGONENSIS COMITATUS HUNTINGTON SHIRE’, in a later glazed ebonised and gilt frame, 39.5 x 50.1cm. £100-150

597

598. Joan Blaeu (Dutch 1596 - 1673). A 17th century hand-coloured engraved map, of Cambridgeshire, inscribed ‘CANTABRIGIENSIS COMITATUS CAMBRIDGE SHIRE’, in a later glazed ebonised and gilt frame, 41.7 x 52cm. £100-150

598

599. Joan Blaeu (Dutch 1596 - 1673). A 17th century hand-coloured engraved map, of Nottinghamshire, inscribed ‘COMITATUS NOTTINGHAMIENSIS NOTTINGHAM SHIRE’, in a later glazed ebonised and gilt frame, 38.5 x 49.7cm. £100-150

599

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

600. John Speed (1552-1629). ‘CORNWALL’, a handcoloured engraved map with an inset view of Launceston, English text to verso, dated ‘1610’, 39.7 x 52.7cm, in a later glazed double-sided ebonised and gilt frame. £500-800

600

601. John Speed (1552-1629). ‘SURREY DESCRIBED AND DIVIDED INTO HUNDREDS’, a hand-coloured engraved map with an inset view of Richmond and Nonsuch palaces, English text to verso, dated ‘1610’, 38.3 x 51cm, in a later glazed double-sided ebonised and gilt frame. £300-500

601

602. John Speed (1552-1629). ‘OXFORDSHIRE’, a handcoloured engraved map, titled ‘OXFORDSHIRE described. with ye Citie and the Armes of the Colledges of ty famous University. Ao. 1605.’, with an inset plan of Oxford, English text to verso, 39.8 x 53.2cm, in a later glazed double-sided ebonised and gilt frame. £400-600

602

603. John Speed (1552-1629). ‘CAMBRIDGESHIRE’, a hand-coloured engraved map, titled ‘CAMBRIDGESHIRE described with the devision of the hundreds, the Townes situation , with the Armes of the Colleges of that famous Universiti.’, with an inset plan of Cambridge, dated ‘1610’, English text to verso, 41.5 x 53.7cm, in a later glazed double-sided ebonised and gilt frame. £300-500

603

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604. John Speed (1552-1629). ‘HUNTINGDONSHIRE’, a handcoloured engraved map, titled ‘HUNTINGTON BOTH SHIRE AND SHIRE TOWNE WITH THE ANCIENT CITIE ELY DESCRIBED.’, with an inset plan of Huntington, English text to verso, dated ‘1610’, 40 x 52cm, in a later glazed double-sided ebonised and gilt frame. £150-250

604

605. John Speed (1552-1629). ‘WARWICKSHIRE’, a hand-coloured engraved map, titled ‘THE COUNTI OF WARWICK THE SHIRE TOWNE AND CITIE OF COVENTRE described’, with two inset plans of Warwick and Coventry, dated ‘1610’, English text to verso, 40.5 x 53cm, in a later glazed double-sided ebonised and gilt frame. £150-250

605

606. John Speed (1552-1629). ‘SUFFOLK’, a hand-coloured engraved map, titled ‘SUFFOLKE described and divided into Hundreds, The situation of the fayre towne IPSWICH shewed, with the ARMES of the most noble families that have bene either Dukes or Earles both of that Countie as also of Clare’, with an inset plan of Ipswich, dated ‘1610’, English text to verso, 40.2 x 52.6cm, in a later £150-250 glazed double-sided ebonised and gilt frame.

606

607. John Speed (1552-1629). ‘KENT WITH HER CITIES AND EARLES DESCRIBED AND OBSERVED’, a hand-coloured engraved map with two inset plans of Canterbury and Rochester, English text to verso, 38 x 52cm, in a later glazed double-sided ebonised and gilt frame. £200-300

607

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

608. Two early Victorian embossed relief maps of the Middle East by Richard Palmer, paper and papier-mâché on wooden board, published by Dobbs, Bailey & Co.134 FLEET ST & 13 SOHO SQUARE LONDON’, comprising: ‘RELIEVO MAP OF ARABIA PETRAEA AND IDUMAEA Illustrating the Prophetical Scriptures, the Journeyings of the Israelites & c.’ and ‘RELIEVO MAP OF PALESTINE OF THE HOLY LAND Illustrating the Sacred Scriptures AND THE Researches of Modern Travellers’, 55.5 x 44.6cm, each in a stained pine frame. (2) £300-500 609. No lot

610. ‘C.6. CHART SHEWING THE NORTH WEST PASSAGE DISCOVERED BY CAPT. R. LE M. McCLURE’ by E. A. Inglefield, a lithograph chart after W. H. Fawkener, published by the ‘HYDROGRAPHIC OFFICE ADMIRALITY 14th OCTR 1853 PRICE ONE SHILLING’, 47 x 94cm. £300-500

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611. A Victorian mahogany campaign chest, in two halves, with brass mounts, fitted with two short and three long drawers, with sunken military style handles, on later bun feet, with side carrying handles, 92.9cm high, 106.5cm wide, 49.7cm deep. £200-300

611 612. A Victorian walnut writing table, the top with a three quarter gallery and with a later green leather writing surface, above a pair of frieze drawers, on fluted twin column ends and scroll feet and brass castors, 72.3cm high, 104.5cm wide, 55cm deep. £200-300

612

613. A mahogany twin pedestal dining table by Arthur Brett, the crossbanded top with a reeded edge and with an additional leaf, above turned stems and reeded splay legs terminating in lion’s paw sabot and castors, with an applied brass trade label and numbered ‘9589’, 74cm high, 221cm long, 101.6cm deep. £400-600

613

614. A pair of mahogany armchairs in George III style, each with a serpentine top rail and a pierced splat back carved with an anthemion motif, above a stuffed-over leather serpentine seat with a studded front rail, on moulded square tapering legs united by stretchers. (2) £200-300

224

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615. A Victorian walnut kidney shape desk, the top with a brass gallery and inset with a gilt tooled green leather writing surface, the front with two banks of three drawers, the back with open shelves, on brass castors, 77cm high, 148cm wide, 62.8cm deep. ÂŁ1,500-2,000 Provenance: Lord Astor of Hever.

616. A Victorian mahogany serpentine three seater sofa in George II style, later upholstered with damask fabric, on leaf carved cabriole legs and claw and ball feet, with two bolster cushions, 94cm high, 200cm wide, 68cm deep, together with a similar stool, 48.2cm high, 82.6cm wide, 55cm deep. (2) ÂŁ2,000-3,000

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617. A brass colza style three-light chandelier, the drum body issuing three leaf wrapped scroll branches, with lappet sconces and frosted glass shades, with a bud pendant, 53cm high, 57.5cm wide. £300-500

618. A pair of gilt brass and glass six-light chandeliers, hung with drops, each with a baluster stem, above scroll branches applied with flowerheads, the circular drip-pans hung with drops and lustres, above a ball pendant, 38.5cm high, 56.5cm wide. (2) £200-300

619. A glass and gilt brass sixteen-light chandelier, of open scroll form, with a part baluster stem and hung with drops and pear shaped pendants, 20th century, 64cm high, 73cm wide. £300-500

620. A brass and cut-glass basket thirteen-light chandelier in Empire style, hung with drops and lustres, applied with anthemion motifs with eight scroll branches and turned nozzles, with a cone pendant, early 20th century, possibly Swedish, 88.5cm high, 71cm wide. £600-1,000

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

621. A pair of Victorian ebonised and painted demi-lune commodes, with gilt highlights, the tops decorated with a Rococo scrolling lattice and flower border, the base with three panels painted with still lives of flowers and urns, with outline mouldings, the central panel as a hinged cupboard door revealing a painted interior with a shelf, on square tapering legs, 93.3cm high, 155.5cm wide, 61.8cm deep. (2) ÂŁ4,000-6,000

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622. A late Victorian mahogany lazy susan, in the form of an 18th century tripod table, the revolving top with a pie crust edge, on hoof feet, 20.7cm high, 45cm wide. £100-200

622

623. A pair of Victorian walnut footstools, each with a needlework seat decorated with a spaniel and a cat lying on a tasselled cushion, 19cm high, 32cm wide, 28cm deep. (2) £100-150

623 624. A Victorian mahogany lazy susan, with a dished revolving top, 48.5cm high, 12.7cm diameter. £100-150

624

625. A pair of Victorian walnut Scottish stools by Wylie & Lochhead, each with a floral velvet seat, on fluted tapering legs, both stamped ‘WYLIE & LOCHHEAD GLASGOW’, 17.8cm high, 30cm diameter. (2) £100-150

626

228

626. A Victorian pitch pine stool, the plush seat above scroll carved cabriole legs and hoof feet, 42.3cm high, 43.3cm wide, 36.8cm deep. £100-150


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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

627. A Victorian walnut and specimen wood centre table, the circular tilt top parquetry inlaid with various woods, including: palmwood, amboyna, bird’s eye maple, kingwood, oak, goncalo alves, rosewood, plainwood and birch, within a satinwood and olive wood dogtooth border and an ebony outer band, on a leaf and flower carved tripod base and Cope’s patent castors, 73.4cm high, 130cm diameter. £1,500-2,000

628

628. A 19th century mahogany and marquetry Pembroke table, inlaid with boxwood and ebonised stringing, the satinwood crossbanded top with breakfront leaves and inlaid with a central fan patera and scrolling leaves, flowers, ribbon tied husks and urns, with a frieze drawer, on square tapering legs, with applied ankles and on brass caps and castors, 73.9cm high, 75.1cm wide, 97cm deep (open). £800-1,200

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629 629. A Victorian three-fold decoupage screen, with gilt bronze and amber glass handles, on ceramic castors, 172.5 x 63cm each panel. £300-500 630. A late Victorian mahogany and floral marquetry display cabinet, with gilt metal mounts, the glazed door enclosing three shelves, 163.9cm high, 66.8cm wide, 46.3cm deep £300-500 631. A George III and later mahogany corner cabinet, with inlaid boxwood and ebonised decoration, with an astragal glazed door enclosing three shaped shelves, originally a hanging cupboard, later converted to floor standing, 115cm high, 75cm wide, 42.7cm deep. £40-60 Provenance: From the estate of the late Lady Dodds. 632. Two similar mahogany open waterfall bookcases in Regency style, with brass side carrying handles, on turned feet and brass caps and castors, 103cm high, 81.4cm wide, 33.1cm deep and 102.8cm high, 81.8cm wide, 33cm deep. (2) £500-700

631

630

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

633. A walnut wing armchair in early 18th century style, upholstered in green fringed plush fabric, on cabriole front legs and Braganza style feet, late 19th / early 20th century. £300-500

633 634. A William IV burr oak occasional table, the circular fixed top on a turned and lappet carved stem, on scroll feet and brass castors, 73.5cm high, 58cm diameter. £300-400

635. A walnut stool in early 18th century style, the damask silk seat on scroll and shell capped cabriole legs and pointed pad feet, early 20th century, 44.8cm high, 48.5cm wide, 38.3cm deep. £200-300

635

636. A Victorian walnut occasional table, the circular burr veneered top on a spiral twist stem and tripod scroll supports, 71.7cm high, 55cm diameter. £200-300

636 637. A beechwood stool in William & Mary style, with a brown leather drop-in seat, on six tapering legs united by a double ‘X’ frame stretcher, late 19th / early 20th century, 44.3cm high, 103.6cm wide, 49.8cm deep. £200-300

637

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638. A Victorian brass lion’s paw doorstop, with a foliate handle and stem, on a weighted base, 36.1cm high. £100-150 639. A Victorian brass bell shape doorstop, the ring handle in the form of a coiling snake, above a rope twist stem and a weighted base, 44.4cm high. £100-150 640. A Victorian brass bell shape doorstop, the loop handle above a turned stem and a weighted base, 39.7cm high. £100-150 641. A Victorian brass lion’s paw doorstop, the stem and handle decorated with foliage, with a weighted base, 36.9cm high. £100-150 642. A Victorian brass doorstop, in the form of a basket of fruit and flowers, the loop handle and stem entwined with wheat ears, on a weighted base, 35.5cm high. £100-150 643. A Victorian brass doorstop, in the form of a wheatsheaf, the screw-off laurel wreath handle above £100-150 a rope twist stem and a weighted base, 39.5cm high. 644. A William IV bronze doorstop, the shell decorated loop handle above a turned stem, on a scroll weighted base, 37cm high. £100-150 645. A Victorian brass doorstop, in the form of a basket of fruit and flowers, the loop handle and stem entwined with wheat ears, with a cast iron weighted base, 36.4cm high. £100-150 646. Two Victorian brass lion’s paw doorstops, each with a foliate handle and stem, on a weighted base, 38.8cm high (max). (2) £200-300 647. A Victorian cast iron doorstop by Coalbrookdale, in the form of a knight under an arch, with a leaf decorated handle, indistinctly marked ‘THE COALBROOKDALE COMPANY REGISTERED OCTOBER 28TH 1841 NO 893’, 44.7cm high, together with a cast iron doorstop with two dolphins. (2) £150-250 648. A pair of Victorian brass doorstops, each with a solid ring handle above a bobbin and disc turned hollow stem, with a bell shaped weighted base, stamped ‘T.5665’, 34.5cm high. (2) £150-250

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638

639

640

641

642

643

644

645

646

647

648

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650

651

649. A Victorian green painted cast iron doorstop by Coalbrookdale, in the form of a knight under an arch, with a leaf decorated handle, 45.3cm high. £150-200 650. A Victorian serpentine doorstop, with a brass ring handle, probably Cornish, 24cm high. £80-120

649

651. Hunting interest. A Victorian bronze fox’s head doorstop, the loop handle above a weighted base, 37.2cm high. £200-300 652. An oak and brass bound stickstand, of staved construction, with a ‘spitoon’ rim and a pair of carrying handles, 59.2cm high, 35.3cm diameter. £100-150 653. A 19th century oak and brass bound bucket, of staved construction, with a swing handle and a lift-out metal liner, 35.5cm high, 38cm wide. £50-100 654. A Victorian cast iron boot scraper by Kenrick & Sons, with flower and scroll supports, £100-150 the bottom of the base stamped ‘KENRICK & SONS’, 22.2cm high.

652 653

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655. A Victorian cast iron heraldic doorstop, in the form of a chained greyhound with its paw resting on a shield, with a faint registration lozenge on the reverse, 45.4cm high, 32cm wide. £400-600

656. A Victorian painted cast iron fox’s head wall mount, on a mahogany circular moulded plaque with a beaded collar, 18cm high. £150-200

655

657. A late Victorian brass corner stickstand, with six divisions, turned supports and a cast iron base, stamped twice with a registration number ‘33366’, 61.7cm high, 41.5cm wide, 20cm deep. £150-200

657

658. A Victorian mahogany demi-lune stickstand, with five divisions and a metal tray, on disc feet, 76cm high, 59.3cm wide, 30cm deep £120-150

658

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659

660

661

659. A matched pair of Victorian ruby glass tazze, with gilt Greek key bands, each with a baluster stem and a domed foot, 19.5cm high, 23cm diameter. (2) £200-300

660. A pair of late 19th century Bohemian ruby glass candlesticks, with petal shaped sconces and faceted stems, 21cm high. (2) £80-120

661. A pair of early Victorian gilt bronze candlesticks, decorated with scrolling leaves with a blue glass stem, 20.8cm high. (2) £100-150

662

662. A pair of late 19th century gilt bronze and glass storm lanterns, the shades etched with flowers and leaves, above a guilloche collar and on Louis XV style Rococo bases, 37.8cm high. (2) £200-300

663. An Edwardian cut-glass vase, of Campana shape, on a square foot, 24.1cm high, 21.5cm diameter. £100-150

663

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664. A Victorian papier-mâché panel, well painted with a still life of flowers and a butterfly with clouds, 35.8 x 25, in a gilt and composition moulded frame. £100-150

664

665. A William IV cut paper forget-me-not picture, decorated with panels of hand painted flowers on a scrolling leaf ground with a monkey and parrots, the central cartouche inscribed in pencil and dedicated ‘To Belinda’ with a forget-me-not and the date ‘MAY 1.1837’, 27.3 x 21cm, in a glazed moulded rosewood frame. £100-150

665

666. A Victorian Meerschaum pipe by Freidrich Edwards, the bowl carved with a portrait bust of Benjamin Disraeli (1804-1881), with an amber mouthpiece, the leather case with a trade label, inscribed ‘F. EDWARDS & Co. 25 GLASS HOUSE ST. REGT. ST. MANUFACTURERS’, 16.5cm long. (2) £100-150

666

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668

667

667. A late 19th century French ormolu inkwell, modelled with a cherub painting an urn, with a ceramic liner, on a moulded marble base, 15.2cm high. £200-300 668. A late 19th century French gilt brass and verde antico marble ink stand, with a pair of hinged inkwells with ceramic liners, with a dished pen holder, 18cm wide. £150-250 669. A near pair of late 19th century bronze desk ornaments, in the form of cranes standing on turtles, raised on serpentine plinths, slight differences to bases, 24cm high (max). (2) £150-200 670. A late Victorian mahogany and marquetry oval tray in George III style, with a gilt brass balustrade gallery and a pair of open handles, inlaid with a central fan patera and ribbon tied leaves and urns, 66cm wide. £100-150 671. A Victorian patent seal, in a tooled leather box, the hinged lid centred with a gilt Royal Coat of Arms, containing a vellum letters patent, no:2994, awarded to John Fowler of 28 Cornhill and William Worby of Ipswich for ‘the invention of and Improvement in Apparatus used when ploughing, tilling or cultivating land’, valid for a period of 14 years, with a wax seal. £100-150

669

670 671

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672. A pair of Victorian Elkington electroplated door handles, each decorated with Cupid, ribbon tied handles and with a lion’s mask and with a registration lozenge, 17.7cm long. (2) £150-200

672

673. A 19th century French leather and silver gilt mounted card case, the cover with in the Gothic style with a central rondel depicting figures playing musical instruments, and four further figures representative of the arts, with lozenge marks, 9.7cm high. £80-120 674. A 19th century French silvered bronze athénienne incense burner, with a pierced lid above satyr tripod monopodia on an £150-200 alabaster base, 18.5cm high.

674

675. A German novelty folding corkscrew, in the form of a pair of lady’s legs with boots, the steel stamped and registered, 6.6cm long. £150-250

676. An Art Deco shagreen and ivory cylindrical box and cover, together with a similar pen pot and a pierced steel folding pen knife with foliate decoration, 8cm (max). (3) £100-150

676

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677

677. A large Edwardian country house dappled grey rocking horse, on a green painted bow base, 125.7cm high, 228.3cm long. £500-800 678. An early 20th century French papiermâché and felt model of a French bulldog, with glass eyes, a nodding head and a lead operated growler mechanism, on wooden castors, 35cm high, 44cm long. £400-600

678

679. A carved hardwood architectural caryatid, of a naked maiden, with a leaf and flower carved term base, late 19th / early 20th century, 123cm high, 31cm wide. £200-300

680

240

680. Two Victorian stained pine bowl carriers, each with an iron handle and four divisions, fitted with four lignum vitae bowls, numbered with bone dots, 23.5cm high, 33.7cm square (max). (2) £200-300

679


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681. A pair of early 20th century wire-work country house topiary frames, in the form of running foxes, 69.7cm high, 244cm long. (2) ÂŁ2,000-3,000

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682. A Victorian white painted cast iron garden table, the grey marble top with a moulded shaped edge, above a lobed base with vines and scrolling leaves, terminating in lion’s paw feet, 74.9cm high, 78.5cm diameter, together with four white painted cast iron chairs. (5) £400-600

683. A pair of Japanese bronze models of cranes, 84.8cm high, together with a lead fountain spout in the form of a dolphin, 34.8cm high. (3) £80-120 Provenance: Sold by the executors of the late Pamela Spater (d.2018), Amersham, Buckinghamshire.

684. A pair of late 19th century white painted lead garden fountain figures, in the form of Pan playing his pipes, 80cm high, 25cm wide. (2) £800-1,200

242

685. A set of eight Victorian cast iron garden border railings, decorated with scrolls and fleur-de-lis motifs, 36.2 x 85.5cm each. (8) £200-300


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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

686. An Italian marble garden urn, the leaf carved rim above a shallow bowl, the underside decorated with dragons, stylised shells and coats of arms, with a ribbon and floret border, the triform base carved with scrolling acanthus leaves and with lion’s paw feet, late 18th / early 19th century, 43cm high, 67cm wide. £800-1,200

687. An Australian aboriginal bark painting attributed to Sadle Milidij, painted in natural pigments on bark, the back inscribed ‘Sacred Creek - Mortory Ceremony,Tribe - Mialli, Beswick Creek, Lorrgon - Lizard Dance, Artist - Sadla 60 yrs, 1958 Lorrgon Series – 8’, 96 x 21cm. £300-500

688. A French Art Deco butterfly wing collage picture, of radiating designs, 96 x 95.6cm, in a later glazed oak frame. £800-1,200 Provenance: By repute, Edward Thomas Kellett-Bowman and Dame Elaine KellettBowman, Ampfield, Romsey.

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689. An Art Deco style overmantel mirror, the arched bevelled plate within a pink moulded glass frame, 54 x 97cm.

£100-200

690. A Louis Vuitton travelling trunk, covered in damier chequered canvas, with metal and brass mounts, inscribed ‘MARQUE L. VUITTON DEPOSEE’, applied with old paper travelling labels with initials ‘A. H.’, the top with previous owner’s name in red paint ‘SUSAN HAW...’, with side carrying handles, the interior with an original paper trade label, numbered ‘103450’, 51.4cm high, 61cm wide, 42.7cm £500-800 deep. Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

690

691. Two Louis Vuitton canvas suitcases, with brass mounts and locks and decorated with the ‘L V’ monogram, each with a paper label to the interior, numbered ‘878680’ and ‘879710’, both painted with stripes, c. 1960, 21.8cm high, 80.2cm wide, 51.9cm deep (max). (2) £1,500-2,000 Provenance: The estate of Lady Hesketh, Sotheby’s, 7th March 2007, lot 277.

244

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692. A red japanned display cabinet in George III style, decorated with raised gilt chinoiserie, with figures, pagodas, birds, flowers and trees, the pagoda roof top above a pair of astragal glazed doors enclosing two glass shelves, the tray-top base with two short drawers flanking a mirrored recess and two long drawers, with a pierced apron and bracket feet, early 20th century, 202.5cm high, 85.4cm wide, ÂŁ400-600 45cm deep. Provenance: Sold by the executors of the late Pamela Spater (d.2018), Amersham, Buckinghamshire.

692

693. A red japanned and giltwood cabinet on stand in early 18th century style attributed to Tibbenham of Ipswich, decorated with chinoiserie scenes, with a pair of doors enclosing a shelf, the stand carved with scrolls, leaves and with shell pendants, early 20th century, 144cm high, 90cm wide, 48.2cm deep. ÂŁ400-600

693

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694

694. A pair of late Victorian giltwood wall mirrors in Gothic style, each with a rectangular plate, within chamfered frames, 137 x 112.4cm. (2) £150-200 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime. 695. A Victorian giltwood and gesso wall mirror, the oval bevelled plate within a bead £250-350 and laurel leaf frame with a ribbon tied floral surmount, 100 x 69.3cm. 696. A large giltwood and composition wall mirror, with nine rectangular plates applied with gilt rosettes, the leaf moulded frame with ebonised panels, the back with a printed label inscribed ‘A. S. & S. Ltd’ and inscribed in ink ‘The Grerbet’, late 19th century and later, 182 x 263.5cm. £800-1,200

695

246

696


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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

697. A late Victorian walnut Chesterfield sofa by Howard & Sons, with a serpentine front seat, on turned front legs and brass caps and castors, stamped ‘HOWARD & SONS LONDON’, the inside of the back left leg stamped ‘11074 5345’, 58cm high, 192.5cm wide, 91cm deep £800-1,200

698. A pair of late Victorian walnut easy open armchairs, on turned front legs, with ceramic castors, stamped ‘3779’ and ‘3727’. (2) £500-800 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

698

699. A late Victorian walnut day bed in the manner of Howard & Sons, button upholstered in pink fabric, on turned legs and ceramic castors, 79.4cm high, 162cm long, 76cm wide. £400-600

699

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700. A late Victorian walnut octagonal centre table by James Shoolbred & Co., in Gothic style, the parquetry top crossbanded and with a moulded edge, supported by four turned columns and a cruciform chamfered base, on sunken ceramic castors, stamped ‘JAS SHOOLBRED & CO’ and numbered ‘0554’, 71cm high, 105cm wide. £800-1,200 Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime. For an identical example see Sotheby’s Fine Art Society, 142 years on New Bond Street, lot 72.

700

701. A walnut pedestal in George II style, of tapering shape carved with shells and husks, early 20th century, 112.3cm high, 30.5cm square. £150-250

702. A painted cabinet in Adam revival style, decorated with ribbon tied swags and baskets of flowers, with an astragal glazed door enclosing three shelves, the base with a cupboard fitted with a shelf, late 19th / early 20th century, 194.6cm high, 65.7cm wide, 39cm deep. £200-300

702

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price.

703. A set of six Victorian giltwood dining chairs in the manner of Holland & Sons, after a design by Alfred Stephens, each with a padded back and seat, on leaf decorated square tapering legs, on Cope’s Patent brass castors. (6) £800-1,200

704. A late Victorian oak refectory style dining table in the manner of Howard & Sons, the rectangular top with chequered parquetry decoration, with a moulded edge, above block and spiral twist legs united by an ‘H’ stretcher, on ball feet, 74.7cm high, 210.5cm long, 109.5cm wide. £500-800

END OF SALE

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TRIBAL ART & ANTIQUITIES

Wednesday 18th September 2019 Entries close on 28th June

Johny Rarriga Gunwinggu Tribe, Australia Eucalyptus bark with natural pigment 128cm x 65cm

ENQUIRIES Will Hobbs | Tel: +44 (0)1722 339752 | wh@woolleyandwallis.co.uk


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FURNITURE, WORKS OF ART & CLOCKS Wednesday 2nd October 2019 Entries are now being accepted for this sale

A late 19th century French brass and porcelain repeating carriage clock. Estimate: £800 - £1,200* ENQUIRIES Mark Yuan-Richards | Tel: +44 (0)1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price


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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification:

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01962 622 133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.


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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega () have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked  may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.


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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol () indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is


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unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.


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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

21. English law applies to the interpretation of these Conditions.

Lots marked with a ‡ symbol are potentially subject to the levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000


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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below. From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us. THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;


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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available


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Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 2998482 VAT No: 631 9832 29

Design & Production by Jamm Design Ltd. 020 7424 7830 jammdesign.co.uk


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WOO L LE Y & WA L LI S

Absentee Bid Form Furniture, Works of Art & Clocks

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 3rd July 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. ID is required for all first time bidders.

Signature

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508

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Woolley & Wallis  

Furniture, Works of Art & Clocks | Wednesday 3rd July 2019

Woolley & Wallis  

Furniture, Works of Art & Clocks | Wednesday 3rd July 2019