FINE INTERIORS 15 September 2026 by swordersfineart

FINE INTERIORS Tuesday 15 September 2026

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FINE INTERIORS TUESDAY 15 SEPTEMBER, 10AM ORDER OF SALE Lots 1-51

The Collection of Simon Timothy ‘Tim’ Blake

Lots 52-148

Furniture and Works of Art

Lots 149-154

From the Collection of Tim Wonnacott

Lots 155-276

Furniture and Works of Art

Lots 277-287

A Private Collection of Clocks from Thornton House, Clare, Suffolk

Lots 288-408

Furniture and Works of Art

Lots 409-422

Garden

VIEWING Viewing will be held at our Stansted Mountfitchet Saleroom as follows: Friday 11 September

10am - 4pm

Sunday 13 September

10am - 1pm

Monday 14 September

10am - 4pm

BIDDING IN ROOM Attend the live auction in person ONLINE Bid live at www.sworder.co.uk (0% surcharge)

SWORDERS’ DELIVERY SER VICE Sworders offer a delivery service for item(s) purchased. Please see our website for further details.

C O N TA C T T 01279 817778 E fineinteriors@sworder.co.uk

Alexander Hallett Head of Department

Grant Mackin Cataloguer

Felicity Wood Administrator

I M P O R TA N T I N F O R M AT I O N S TO R AGE O F LOT S Sw o rd e r s a n d A b e ls Pa r t n e r s h i p Furniture and large items, and small items if they form part of the same invoice, not collected within seven working days of the auction will be removed by Abels Moving Services Ltd (Abels), at your expense, and delivered to their depot at Potters Bar, where they will be subject to collection, administration and storage fees - see below. Charges Collection Fee Collection from Sworders £25 per collection of 1 – 5 items and £50 per collection of 6-10 items listed on an invoice (plus VAT) Items will be stored free of charge for 7 days from the Sworders collection date. Storage Charges Storage charges will commence on the 8th day after being collected by Abels at £4.00 per lot, per day. Additional charges will be made for items exceeding 8 x 8ft. A Levied Liability Charge (LLC) of £0.08p / per £1k value of goods. Abels will charge to the client for storage, shipping and delivery. All costs associated with collection and storage are payable directly to Abels and must be paid prior to collection of the lot(s). You will need to provide your ID at the time of collection, or prior notification, where your items are being collected by a third party. Abels Terms & Conditions can be found at www.abels.co.uk/website-terms-and-conditions/. (All subject to VAT and 6.72% insurance on total admin charge). Collection is by prior appointment, made directly with Abels Monday – Friday, 8.30am – 4.30pm (No weekend collections) Abels Moving Services Ltd The Heights, East Cranborne Road Potters Bar EN6 3JN 0800 342 3719 collectionsPB@abels.co.uk These charges are set by Abels; once collected, Sworders will be unable to answer questions relating to items and recommend you contact Abels directly. See Sworders Terms and Conditions for more information.

The collection of Simon Timothy ‘Tim’ Blake, third-generation antique dealer Built over three generations, and remaining largely unseen until now, Sworders is very proud to present the collection of Simon Timothy ‘Tim’ Blake. Tim, the son of Vernon Blake, started dealing in English furniture in his early teens alongside his brother, John, together forming a lifelong partnership. However, it was their grandfather who started the business in the 1920s, moving to England to open an antique shop in London’s Bloomsbury. He quickly made a name for himself and was the co-author of ‘Old English Furniture for The Small Collector’, 1948. The family originated from Jersey - reputedly with links back to Admiral Blake, who captured the island during the English Civil War - and have traded on Jersey since their inception. Beyond Bloomsbury and St Helier, the family, dealing under the ‘St Ouen’ name, have also had stints in Mayfair, Portobello and Down Hall in Essex. Latterly, the business resided closer to home in Hertfordshire, with more space for storage and restoration. The following lots can be seen as the ‘greatest hits’ of a lifetime’s career in the antiques trade. Furniture and works of art that were scurried away out of the public eye, too good to be sold, and only to be seen by the rare onlooker who was invited into the family home to admire and learn. Like all great collections, the pieces offered here give an insight into the interests and personality of the individual behind them, reflecting Tim’s discerning eye for quality and craftsmanship.

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

2 LOT 1 

LOT 2

LOT 3

A George III tortoiseshell, silver and ivory tea caddy, late 18th/early 19th century, with a hinged lid revealing a two-section interior 17cm wide, 9.5cm deep, 16cm high £600 - 800

A George II walnut sofa, 18th century and later, the rectangular seat and back covered in needlework tapestry upholstery, flanked by shepherd’s crook arms, raised on front cabriole legs terminating in ball and claw feet, with swept rear legs 141cm wide, 67cm deep, 101cm high £3,000 - 5,000

A George III mahogany serpentine chest of drawers, circa 1760, in the ‘Chinese Chippendale’ taste, the moulded top above four long graduated drawers, flanked on either side by blind fret canted corners, raised on bracket feet with concealed castors 84cm wide, 55cm deep, 79cm high £2,000 - 3,000

Provenance: Christie’s, ‘Important English Furniture’, 13 April 1989, lot 40.

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 - 5 1 THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE LOT 4 A George II giltwood and gesso mirror in the manner of William Kent, circa 1735 and later, of architectural form, the broken swan-neck pediment centred by a scrolling cartouche, above an egg-and-dart-moulded cornice and foliate tableted frieze, the frame enclosing a rectangular glass mirror plate 100.5cm wide, 8cm deep, 172cm high £8,000 - 12,000 LOT 5 A George III satinwood, tulipwood and harewood marquetry commode, circa 1780, in the manner of Christopher Fuhrlohg, of breakfront outline, the crossbanded and strung top inlaid with a central flower head and interlocking wreath flanked by opposing anthemia, above three cupboard doors, each set with marquetry panels, raised on cabriole legs terminating in sabots 111cm wide, 58.5cm deep, 86cm high £10,000 - 15,000 Christopher Fuhrlohg (circa 1740-1787) was a Swedish-born cabinetmaker active in London in the latter half of the 18th century. After arriving in 1767, Fuhrlohg quickly established himself as a highly skilled inlayer and marquetry craftsman. It is widely accepted that he worked for John Linnell at his Berkeley Square workshop, where he was joined by his brother-in-law, Georg Haupt (1741-1784), who would similarly achieve considerable acclaim for his craftsmanship. Following his association with Linnell, Fuhrlohg established his own workshop at Tottenham Court Road, and by the early 1780s, was styling himself as ‘Cabinet-maker, Inlayer and Ebeniste to His Royal Highness the Prince of Wales’. Receipts from the Royal Archive show that Fuhrlohg supplied furniture to Carlton House from 1784 to 1787, namely neoclassical pieces to include commodes and ormolu-mounted tables.

An exponent of the neoclassical taste, Fuhrlohg’s work, although produced in England, shared many of the characteristics of the burgeoning French Transitional style. This commode, with its intricate neoclassical marquetry, refined proportions and slender cabriole legs, is indicative of this design vocabulary. A similar pair of commodes, catalogued as ‘in the manner of Fuhrlohg’ and each with similar elaborate marquetry and cabriole legs, realised £24,000 at Christie’s, ‘Important English Furniture and Carpets’ sale, on 24 November 2005. These commodes were possibly supplied to the Forbes family, chiefs of Clan Forbes, of Craigievar Castle. A similar example by Fuhrlohg - of breakfront outline, with three panel doors, ormolu mounts and intricate marquetry throughout - is currently housed at the Lady Lever Art Gallery, Merseyside.

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

LOT 6 A Régence-style ormolu and griotte marble jardinière, late 19th century, surmounted by an urn above a smaller urn, with each monopodia support headed by a figural mask of Apollo, the frame decorated throughout with foliate, acanthus and vine detail, terminating in paw feet 54cm wide, 54cm deep, 155cm high £7,000 - 9,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 - 5 1 THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE

LOT 7

LOT 8

LOT 9

LOT 10

Jules Moigniez (French, 1835-1894), 19th century, a bronze sculpture of a bird of prey, modelled in a naturalistic setting with its head turned towards a snake, inscribed ‘J. MOIGNIEZ’ 33cm wide, 14cm deep, 23cm high £800 - 1,200

A William IV rosewood worktable, circa 1830, of sarcophagus form, the hinged top enclosing a void velvet-lined interior, raised on a quadripartite base terminating in paw feet and castors 60cm wide, 43cm deep, 76cm high £300 - 500

A George III mahogany and silver-mounted knife box, third quarter of the 18th century, of typical serpentine outline, fitted with a fretwork escutcheon and handles, raised on ball-and-claw feet, the mounts possibly hallmarked ‘John Wall, London’, includes an assortment of silver-plated cutlery 23cm wide, 24cm deep, 38cm high (qty.) £200 - 300

A George III-style giltwood pier mirror in the manner of William and John Linnell, late 19th/early 20th century, the scrolling foliate and rocaille frame enclosing a central rectangular mirror plate flanked by margin plates 84cm wide, 16cm deep, 204cm high £4,000 - 6,000

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

LOT 11 A George III satinwood, harewood and marquetry commode attributed to Ince & Mayhew, circa 1785, of demilune outline, the crossbanded top decorated with paterae, anthemia, foliate, ribbon and drapery detail, over an anthemion-decorated frieze flanked by lion masks, each suspending a chain, above three cupboard doors enclosing a shelved interior, the central panel depicting ‘A Domestic Sacrifice’, raised on slender tapering legs, decorated throughout with Etruscan marquetry 127cm wide, 60cm deep, 87cm high £15,000 - 20,000 This commode, executed in the ‘Etruscan’ or ‘Roman’ taste popularised by Robert and James Adam in the ‘Works in Architecture’, 1779, can be firmly attributed to the Golden Square, London, enterprise of William Ince and John Mayhew. The lot conforms with a series of attributes identified by Hugh Roberts and Charles Cator in ‘Industry and Ingenuity: The Partnership of William Ince and John Mayhew’, as indicative of the ‘house style’, and these include the ‘innovative…and adventurous use of marquetry’, and the choice of form and shape as a semi-elliptical commode (pp. 28-31). Roberts and Cator go on to discuss specific characteristics of the partnership’s marquetry vocabulary, which they outline as ‘the use of large-scale motifs derived from Antiquity’, ‘extensive and delicate shading and surface engraving of the inlay’ and ‘subtle inlaying, differentiated from the ground wood only by the contrast of the natural colour and figure of the inlay’, all of which are present in the offered lot (p. 31). The commode relates closely to a documented group of satinwood and marquetry furniture produced in the ‘Etruscan’ manner at Badminton, most probably supplied to the Dowager Duchess of Beaufort between 1778 and 1798 (H Roberts and C Cator, ‘Industry and Ingenuity’, p. 129). The group includes a pair of corner cupboards, a pair of semi-elliptical side tables and an occasional table, each sharing resemblance to the offered lot, however it is the Dowager’s semi-elliptical commode, illustrated in ‘Industry and Ingenuity’, fig. 135-136, and also Lucy Wood’s ‘Catalogue of Commodes’, figs. 221-226, which offers the closest parallel. In terms of construction, the respective pieces share the same horizontal backboards, frieze drawer, canted angles and hinged central door - the reverse of which revealing the same laminated assembly. Differing from the present lot, the Badminton commode is fitted with a pair of deep interior drawers, although these could have been removed at a later date to leave cupboards, as seen in the illustrated lot. Decoratively, both contain figurative panels from Baron d’Hancarville’s publication on Sir William Hamilton’s Greek vases, the Badminton example depicting ‘Bacchus and Ampelus’, whereas the discussed corresponding vase displays ‘A Domestic Sacrifice’. This scene is not seen in the Dowager’s group but it is present on one of a pair of corner cupboards probably supplied to Archibald Douglas, c.1773, attributed to the firm, and a further pair now in Spencer House, sadly without provenance - see ‘Industry and Ingenuity’, figs. 259 and 260. The Badminton commode boasts two further figurative scenes for the side panels, whereas the offered lot opts for tripods, a further motif seen in various different guises across commissions by the partnership. Further visual comparison can be drawn when comparing the two tops, which have the same ribbon-tied drapery (another hallmark of the firm’s output), a central patera and repeating border. Moreover, the delicately veneered palm-capped legs are identical; for another compatible commode, again with the same palm-capped legs, see Christie’s, London, 24 April 2008, ‘Thomas Hope & The Neoclassical Vision & The Collector of Collections’, lot 380. Beyond the commode, the wider group at Badminton offers further crossover stylistically, with the pair of corner cupboards (made en suite with a similar commode, the whereabouts currently unknown) having near identical drapery and shading to the doors, and additionally, a similar anthemia frieze. The side tables again have a comparable layout of marquetry to their tops, and the same repeating pearls in a lighter timber to the frieze, as seen on the discussed lot at the apron.

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 - 5 1 THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE

12 LOT 12 A George III satinwood, rosewood and burr yew Pembroke table, circa 1780, in the manner of Thomas Chippendale, the crossbanded serpentine top inlaid with a central shell medallion, above a single short frieze drawer and identical dummy drawer verso, raised on square tapering legs inlaid with patera medallions, terminating in barrel castors 64cm wide, 48cm deep, 70cm high £1,000 - 1,500 LOT 13 A George III mahogany secretaire bookcase, circa 1780, the upper section with a pair of astragal-glazed doors enclosing a shelved interior, above a secretaire drawer with an inset leather skiver and an arrangement of pigeonholes and small drawers, the lower section with a pair of cupboard doors enclosing further shelves, raised on splayed bracket feet 93cm wide, 50.5cm deep, 212cm high £600 - 800

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

15 LOT 14

LOT 15

LOT 16

A set of eight George IV mahogany dining chairs, circa 1825, comprising two armchairs and six side chairs, each with a paper-scroll top rail and tablet bar back, over a caned seat, raised on turned fluted forelegs and sabre rear legs, with a tie-in squab cushion seat 45cm wide, 48cm deep, 83cm high (8) £600 - 800

A Regency mahogany twin-pedestal dining table, circa 1815, the rounded rectangular top raised on outswept reeded supports, terminating in brass caps and castors 221cm wide, 135cm deep, 72cm high £2,000 - 3,000

A late George III mahogany and marquetry sideboard, circa 1800, of serpentine outline, the crossbanded top above a single frieze drawer and shaped apron, flanked on either side by deep drawers, raised on strung tapering legs terminating in spade feet, decorated with marquetry throughout 135cm wide, 70cm deep, 91cm high £800 - 1,200

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 - 5 1 THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE

19 LOT 17

LOT 18

LOT 19

A William IV mahogany folio stand, circa 1835, the ratchet top raised on a scrolling ‘X’-frame, terminating in castors 90cm wide, 50cm deep, 54cm high £300 - 500

An ormolu occasional table by Tahan, Paris, first quarter of the 19th century, French, the circular top raised on a baluster column set with an urn, terminating in a scrolling tripod base, engraved ‘TAHAN Fr de L’EMPEREUR A PARIS’ and with paper label to the underside 47cm diameter, 69cm high £400 - 600

A Louis XVI mahogany, amaranth and ormolu secrétaire à abattant, late 18th century, French, attributed to Jean-Henri Riesener (1734-1806), the rectangular top with a pierced gallery border above a frieze drawer, the fall-front opening to reveal a gilt-tooled leather skiver with an arrangement of short drawers and pigeonholes, the lower drawer enclosing a storage shelf and drawer, raised on tapering toupie supports, bearing the stamp ‘J.H. Riesener’ to reverse 87cm wide, 36.5cm deep, 139.5cm high £2,000 - 3,000

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

21 LOT 20

LOT 21

LOT 22

A George II walnut and parcel-gilt mirror, circa 1740, in the rococo taste, the shaped rectangular plate enclosed within a rocaille frame, surmounted by a swan-neck pediment and crest in the form of a tree 66cm wide, 8.5cm deep, 112cm high £800 - 1,200

A George III mahogany serving table in the manner of Gillows, circa 1770, of shaped bow-front outline, with a long central concave frieze drawer decorated with ribbon-tied swags, raised on tapering reeded legs terminating in carved toupie feet 187cm wide, 69.5cm deep, 91cm high £3,000 - 5,000

A George II mahogany chair-back settee, circa 1740 and later, possibly Irish, each ‘chair’ with a flared top rail over a vasiform splat decorated with laurel wreaths, above a wide drop-in seat with needlework tapestry upholstery, flanked by scrolling outswept arms, raised on carved cabriole legs terminating in ball-and-claw feet 145cm wide, 62cm deep, 104cm high £4,000 - 6,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 - 5 1 THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE

25 LOT 23

LOT 24

LOT 25

A Regency mahogany bracket clock by Jennings, London, circa 1815, the 6½-inch convex enamel dial set with Roman numerals, minute track and shaped hands, with an eight-day movement striking on a gong, the brass-inlaid case surmounted by a pineapple finial and terminating in squat bun feet 25.5cm wide, 15.5cm deep, 42cm high £400 - 600

A Regency rosewood and brass teapoy, circa 1820, of sarcophagus form, the octagonal hinged lid enclosing a velvet-lined fitted interior with two cut-glass mixing pots, raised on a turned baluster column terminating in a tripod base with castors, decorated with foliate motifs throughout 38cm diameter, 76cm high £500 - 700

A pair of George III mahogany and boxwood dining pedestals, circa 1770, in the manner of Thomas Chippendale, comprising a plate warmer and cellaret, each with a fluted frieze above a strung panelled door, over two short graduated dummy drawers 41cm wide, 41cm deep, 110cm high (2) £5,000 - 7,000

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

28 LOT 26

LOT 27

LOT 28

A Regency mahogany bookcase, circa 1820, the moulded and shaped cornice above a concave central section with glazed twin doors, flanked by two further glazed doors, over a two-pedestal base fitted with one long and two short drawers above twin cupboard doors, raised on turned bun feet 158.5cm wide, 62cm deep, 224cm high £1,500 - 2,000

A bronze figural table lamp, late 19th century, French, the stem centred by classical male figure and decorated with fruit, foliage and an urn, raised on a fluted hexagonal column base, with cream shade, fitted for electricity 23cm wide, 23cm deep, 66cm high, 94cm high including shade £400 - 600

A William IV mahogany partners’ desk in the manner of Gillows, second quarter of the 19th century, the top with an inset gilt-tooled leather skiver enclosed within a gadrooned border, above three sunken and nulled drawers, each pedestal fitted with silk-lined grille doors enclosing cupboards, raised on a plinth base 189cm wide, 136cm deep, 76cm high £8,000 - 12,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 - 5 1 THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE

LOT 29

LOT 30

LOT 31

LOT 32

A pair of George III-style giltwood girandoles, late 19th/early 20th century, in the manner of Thomas Chippendale, in the rococo taste, each shaped plate enclosed within a scrolling foliate frame, surmounted by a finial in the form of an exotic bird, with two arms issuing branch sconces 46cm wide, 18cm deep, 112cm high (2) £2,000 - 3,000

A pair of Regency mahogany corner cabinets, circa 1815, each of concave form, with three drawers over cupboard doors enclosing a shelved interior, flanked by tapering reeded columns terminating in paw feet, surmounted by a marble surface 137cm wide, 97cm deep, 94cm high (2) £4,000 - 6,000

A George II mahogany tripod table, 18th century and later, possibly Irish, fitted with a birdcage mechanism, with a pie-crust top over a wrythen column, terminating in acanthus-carved outscrolling legs 76cm wide, 76cm deep, 73cm high £1,500 - 2,000

Alfred Barye (French, 1839-1882), A patinated bronze cockerel sculpture, 19th century, modelled in an upright position, mounted on a stepped oval base, inscribed ‘ALF. BARYE.’ 32cm wide, 19cm deep, 39.5cm high £500 - 700

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

LOT 33

LOT 34

LOT 35

LOT 36

A George I walnut, parcel-gilt and seaweed marquetry mirror, early 18th century and later, the shaped bevelled plate enclosed within a ‘kit-kat’ frame, decorated with giltwood drapery to the sides 66.5cm wide, 4cm deep, 91cm high £600 - 800

A George III mahogany dressing chest, third quarter of the 18th century, of serpentine outline, the top drawer fitted with a baize-lined slide over an arrangement of pigeonholes and storage compartments, above three further graduated drawers, raised on bracket feet 98cm wide, 51cm deep, 82cm high £1,000 - 1,500

A set of eight George I Anglo-Dutch walnut side chairs, early 18th century, each with an arched top rail over a vasiform splat, with a drop-in seat covered in gros point upholstery, raised on shell-carved cabriole legs terminating in pad feet 52cm wide, 51cm deep, 102cm high (8) £3,000 - 5,000

A George IV rosewood and brass-inlaid whatnot music stand, second quarter of the 19th century, with a ratchet top over two shelves, above a single short drawer fitted to the base, raised on turned supports terminating in castors stand closed 48.5cm wide, 43cm deep, 111.5cm high £600 - 800

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 - 5 1 THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE

LOT 37 After Ferdinand Pautrot, a pair of bronze pheasant sculptures, 19th century, each modelled with a turned head, mounted on a naturalistic base, inscribed ‘F PAUTROT’ 40.5cm wide, 11.5cm deep, 26cm high (2) £300 - 500 LOT 38 A George III mahogany chest of drawers, third quarter of the 18th century, the rectangular top above five long drawers fitted with rococo handles, raised on bracket feet 96cm wide, 49.5cm deep, 101cm high £300 - 500 LOT 39 A set of six George III mahogany dining chairs, circa 1770, each with a vasiform splat above a stuffover seat, raised on moulded channelled legs, united by stretchers 57cm wide, 53cm deep, 96cm high (6) £500 - 700

LOT 40 A Regency extending mahogany dining table, circa 1820, in the manner of William Wilkinson, with reeded ‘D’-shaped ends and two leaves, fitted with a Cumberland action opening, raised on ring-turned tapering legs, terminating in brass caps and castors fully extended with leaves 220cm wide, 120cm deep, 72cm high £600 - 800

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

LOT 41

LOT 42

LOT 43

LOT 44

A late Regency mahogany and burr walnut occasional table, first quarter of the 19th century, the crossbanded rectangular top enclosed within a brass gallery border, raised on a tapering reeded column, terminating in a tripod base 47cm wide, 40.5cm deep, 71cm high £600 - 800

A George III mahogany linen press, third quarter of the 18th century, the projecting dentil-moulded cornice above a pair of panelled doors decorated with rosette roundels, the doors enclosing slides, the lower section with two drawers over a further set of doors enclosing a cupboard, raised on ogee bracket feet 129cm wide, 59cm deep, 190cm high £300 - 500

A carved giltwood mirror in the manner of Thomas Johnson, 19th century and later, the rectangular plate enclosed within a carved asymmetric frame, decorated throughout with ‘C’-scrolls and foliate detail, surmounted by a finial in the form of an exotic bird 65cm wide, 18cm deep, 128cm high £2,000 - 3,000

A pair of mahogany, porphyry and ormolu torchères, possibly Northern European, each circular top with a gallery border, above a concave frieze set with anthemia mounts, raised on monopodia supports terminating in paw feet and a tripartite base 42cm diameter, 96cm high (2) £4,000 - 6,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

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LOT 45

LOT 46

LOT 47

A Louis XV kingwood, rosewood and gilt-metal-mounted bureau plat, mid-18th century and later, of serpentine outline, with an inset Moroccan red leather writing surface, over a central long frieze drawer flanked by two short drawers, raised on cabriole legs terminating in sabots, decorated throughout with marquetry and ormolu mounts 180cm wide, 91cm deep, 83cm high £4,000 - 6,000

A William and Mary walnut seaweed marquetry desk, circa 1680 and later, of kneehole outline, the feather-banded top set with geometric marquetry detail, above a long frieze drawer and two banks of three short drawers, each with conforming decoration, raised on bun feet 91cm wide, 55cm deep, 78cm high £2,000 - 3,000

A George III mahogany eight-day longcase clock by George Allan, Fleet Street, London, late 18th century, the arched hood, flanked by fluted columns and surmounted by finials, enclosing the brass dial with a silvered chapter ring set with Roman numerals and Arabic five minute-markers, with a subsidiary second dial and strike/silence function, fitted with a twin-train movement striking on a bell 52.5cm wide, 26cm deep, 235cm high £600 - 800

Provenance: HRH Princess Andrew Romanoff, Provender House, Teynham, Faversham, Kent.

www.sworder.co.uk

THE COLLECTION OF SIMON TIMOTHY ‘TIM’ BLAKE 1 - 51

LOT 48

LOT 49

LOT 50

LOT 51

A extensive collection of auction catalogues, various dates, to include: Christie’s, ‘Dumfries House: A Chippendale Commission’ Vols. I & II, Christie’s, ‘Nostell Priory’, 1990, Sotheby’s, ‘Castle Howard’, 1991, Christie’s, ‘Elveden Hall: The Property of The Earl of Iveagh’, Christie’s, ‘North Mymms Park’ Vol. I, and Christie’s, Scotland ‘Floors Castle’ (qty.) £300 - 500

An extensive collection of antique furniture reference books, various dates, to include: Christopher Gilbert, ‘The Life and Work of Thomas Chippendale’, Vols. I & II, Helena Hayward and Pat Kirkham, ‘William and John Linnell: Eighteenth Century London Furniture Makers’, Vols. I & II, and Geoffrey de Bellaigue, ‘The James A. De Rothschild Collection at Waddeson Manor’, Vols. I & II (qty.) £300 - 500

A set of six elm, ash and beech Windsor chairs, 20th century, each of typical stick-back form, with a pierced wheelback splat, raised on splayed baluster legs united by a crinoline stretcher 58cm wide, 64cm deep, 99cm high (6) £500 - 700

A George III polished steel and iron fire set, late 18th/early 19th century, comprising a grate in the manner of designs by Robert Adam, a pair of andirons, a pierced fender and tools grate 90cm wide, 45cm deep, 91cm high; andirons 14cm wide, 18cm deep, 31cm high; fender 160cm wide, 39cm deep, 17cm high (8) £1,000 - 1,500

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

FUR NITUR E AND WOR K S OF ART LOTS 5 2 - 1 4 8

LOT 52

LOT 53

LOT 54

LOT 55

A pair of brass wall lights by Besselink & Jones, late 20th century, each with a pair of rope-twist candle branches, with black silk Vaughan shades, fitted for electricity 34cm wide, 14cm deep, 22cm high (2) £300 - 500

A George III silk needlework picture, late 18th/early 19th century, embroidered in multicoloured threads, depicting a strawberry plant in a basket with a bird perched on top, on a black silk ground needlework 28 x 21cm; framed 35.5 x 28cm £400 - 600

A pair of brass greyhound doorstops, 20th century, inscribed ‘Dilwyn’ and ‘Harmonicon’, each raised on an integral stepped base 29cm wide, 6.5cm deep, 23cm high (2) £300 - 500

A George III mahogany bracket clock by Gravell & Tolkien, London, circa 1790, the silvered dial set with Roman numerals and Arabic five-minute markers, beneath a subsidiary ‘Chime & Strike’ setting flanked by scrolling foliate spandrels, enclosed within an arched case flanked on either side by reeded cluster columns headed by turned finials, with grille sides and lion-ring handles, numbered ‘3591’, lacking finial 34cm wide, 20cm deep, 62cm high £2,000 - 3,000

FURNITURE AND WORKS OF ART 5 2 - 1 4 8

57 LOT 56

LOT 57

A William and Mary walnut and marquetry chest of drawers, circa 1690, with two short over three long graduated drawers, decorated throughout with scrolling foliate detail, raised on squat bun feet 102cm wide, 58cm deep, 89cm high £6,000 - 8,000

A pair of George II-style mahogany hall chairs, late 19th century, each with a trellis splat over a saddle seat flanked by scrolling arms, raised on reeded and fluted tapering front legs terminating in block feet, bearing a maker’s label for C Williams of Mortimer Street, London 62cm wide, 56cm deep, 93cm high (2) £1,000 - 2,000

Provenance: With Cook of Marlborough Fine Art Ltd; West Kington House, Nettleton, Wiltshire.

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART

LOT 58

LOT 59

LOT 60

LOT 61

A pair of Bidjar wool runners, early 20th century, Persian, each woven with Herati motifs to a dark-blue ground 435 x 111cm (2) £3,000 - 5,000

An ormolu bouillotte lamp, 20th century, the adjustable green toleware shade over a dished base, with a pair of acanthus sconces issuing light bulbs, raised on turned squat bun feet, fitted for electricity 35cm wide, 22cm deep, 46cm high £200 - 400

A George II carved giltwood and gesso pier mirror, circa 1735, the rectangular mirror plate enclosed within a frame decorated throughout with scrolling foliate, rocaille and acanthus detail, surmounted by a broken swan-neck pediment centred by a scrolling foliate cartouche 65cm wide, 4cm deep, 114cm high £1,000 - 2,000

A pair of Empire mahogany bergère library armchairs, circa 1810, French, each with green leather upholstery, the scrolling reeded top rail over a drop-in seat flanked by arms with winged caryatid supports, over an apron decorated with leaves and floral roundels, raised on tapering and sabre legs, the front legs terminating in toupie feet 57cm wide, 62cm deep, 84cm high (2) £1,500 - 2,000

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Provenance: Purchased from Jeremy Ltd., Chelsea, London, in July 1966.

FURNITURE AND WORKS OF ART 5 2 - 1 4 8

64 LOT 62

LOT 63

LOT 64

An Empire mahogany and ormolu chest of drawers, circa 1820, French, with a rectangular black marble top, the three drawers flanked by pilasters surmounted by caryatid heads, decorated throughout with scrolling ormolu mounts, raised on paw feet 55cm wide, 38cm deep, 83cm high £300 - 500

A pair of composite and polished stone obelisks. 20th century, in the Egyptian Revival style, decorated with hieroglyphs, figures and serpents, each with a lion-ring handle, raised on ball feet 12cm wide, 12cm deep, 57cm high (2) £400 - 600

Frederick Leslie Kenett (1924-2012) The Parthenon Sculptures, circa 1950s six gelatin silver prints, each depicting a section of the Marbles at the British Museum, London, comprising: a study in relief of a war chariot from the North frieze, no. 242; a statue of a seated female covered with a himation from the East pediment, no. 212; a section of relief carvings from the South frieze, no. 226; a statue of a seated female covered with a himation from the East pediment, no. 268; a study in relief of a standing male figure wearing a clock from the North frieze, no. 229; a study in relief of a horse’s rear legs, no. 239’ each stamped verso ‘COPYRIGHT F.L. Kenett, The Studio, 4 Eldon Road, London W8’ with negative number 50 x 38cm; framed and glazed 63.5 x 53.5cm (6) £1,000 - 2,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART

LOT 65

LOT 66

LOT 67

LOT 68

A Napoleon III walnut and gilt-metal jardinière, third quarter of the 19th century, fitted with lion mask handles, the body centred on either side by an enamelled portrait of a lady, raised on sphinx monopodia supports terminating in scroll feet, the interior fitted with a detachable zinc liner 43cm wide, 26.5cm deep, 19cm high £200 - 400

John Macallan Swan RA (British, 1846-1910), a bronze sculpture of a reclining cat clutching a ball, inscribed ‘J M SWAN’, raised on a green hardstone plinth base 33cm wide, 12cm deep, 12cm high, 17cm high including base; base 36cm wide, 13cm deep, 5cm high £400 - 600

A rosewood and gilt-metal-mounted secretaire, 19th century, French, the slender rectangular marble top over a secretaire drawer, opening to reveal an inset blue leather skiver and an arrangement of drawers and storage compartments, the lower section with a pair of cupboard doors enclosing a shelved interior, mounted throughout with anthemia, angels, sphinx heads and other decorative motifs 159cm wide, 47cm deep, 132cm high £800 - 1,200

A Napoleon III rosewood, boxwood and ormolu portico clock, circa 1860, French, of architectural form, housing a twin-train eight-day movement striking the hours and half hours on a bell, the silvered Roman dial enclosed within a scrolling foliate ormolu bezel, flanked by four parcel-gilt columns, mounted on a stepped base decorated with floral marquetry detail and raised on a rectangular plinth, includes a glass dome cover 25cm wide, 15cm deep, 47cm high, 54cm high including stand; display dome 65cm high £400 - 600

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Provenance: Purchased from Harrods, November 2003.

FURNITURE AND WORKS OF ART 5 2 - 1 4 8

72 LOT 69 A toleware basin, cistern and candlestick, 19th century, French, the candlestick fitted with a sliding adjuster, the basin and cistern decorated with portrait medallions of Napoleon Bonaparte and Empress Joséphine candlestick 10cm diameter, 20cm high; basin 38cm wide, 27cm deep, 29cm high; cistern 31cm wide, 14cm deep, 44cm high (4) £200 - 400 LOT 70 An Oushak wool carpet, of recent manufacture, woven with bold Shah Abbasi motifs to a powder-blue ground 370 x 284cm £3,000 - 5,000 LOT 71

A Napoleon III amaranth, tulipwood and kingwood bureau plat, late 19th century, French, the rectangular top inset with a gilt-tooled leather skiver, above a single brass-mounted frieze drawer decorated with cherubs amongst foliage, with a dummy drawer verso, raised on crossbanded tapering legs terminating in toupie feet, the frame set with gilt-metal mounts throughout, the drawer stamped ‘Henri Dasson’ 114.5cm wide, 64cm deep, 72cm high £1,000 - 2,000 LOT 72 A pair of cast iron Egyptian Revival chenets, late 19th/early 20th century, Continental, each modelled as a recumbent sphinx 10cm wide, 41cm deep, 18cm high (2) £200 - 400

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5 2 - 1 4 8 FURNITURE AND WORKS OF ART

LOT 73  An Egyptian Revival kingwood and parcel-gilt occasional table attributed to Johnstone, Norman & Co., late 19th century, in the style of Sir Lawrence Alma-Tadema (1836-1912), inlaid with ivory, mother-of-pearl and boxwood, the square top of concave outline, above a galleried-undertier, raised on carved lion mask supports terminating in paw feet, decorated all-over with typical motifs 44cm wide, 44cm deep, 75cm high £7,000 - 9,000 Johnstone, Norman & Co. was formally established in 1880, although the business had existed in various guises from around 1835 onwards. Stylistically, they were known to embrace the burgeoning ‘Egyptomania’ of late nineteenth-century Britain. Known for their elaborate use of rich materials such as amboyna, ivory, bronze and enamels, they often collaborated with the Dutch-born, London-based artist, Sir Lawrence Alma-Tadema (1836-1912). Tadema gained acclaim in the Victorian era for his paintings, which primarily depicted the grandeur and opulence of ancient Greece and Rome. Greatly influenced by a trip to Pompeii in 1863, his work generally included a distinctive neoclassical flavour. However, Alma-Tadema’s interest in the ancient world did not simply extend to Greece and Rome but also included Ancient Egypt. His paintings of ancient Egyptian subjects notably include ‘The Finding of Moses’ (1904), which depicts the discovery of the infant Moses along the Nile by the Pharaoh’s daughter, and ‘The Death of the Firstborn’ (1872), based on Exodus, which presents an Egyptian palace interior following the tenth plague. Beyond painting, Alma-Tadema extended his passion for antiquity into interior design, designing furniture to complement his artwork. Similar to fellow artists at the time, such as William Morris, Alma-Tadema fused the style of his artwork with that of the decorative arts generally. This table, with its rich Egyptian symbolism, is firmly in Alma-Tadema’s oeuvre. For example, the goddess Nekhbet, the patroness of the city Nekheb and patron deity of Upper Egypt, is depicted in the frieze appliqués. These appliqués are mirrored in photographs from the Alma-Tadema collection at the University of Birmingham. Furthermore, the lion heads applied to the legs are also similar to sketches by Alma-Tadema housed in the same archive. It is well-documented that Alma-Tadema worked in close collaboration with Johnstone, Norman & Co., notably for the design and manufacture of furniture for the music room of American businessman and collector Henry Gurdon Marquand (1819-1902). Whilst there is no evidence to suggest Alma-Tadema designed this specific table for the company, it is highly likely to have been constructed in his distinctive manner. Whilst examples of identical or near-identical occasional tables are virtually impossible to find, a related couch in the collection of the V&A was designed by Alma-Tadema and possibly manufactured by Johnstone, Norman & Co. (W.3:1 to 4-1971). One of the armchairs supplied to Henry Gurdon Marquand, following the collaboration of Alma-Tadema and Johnstone, Norman & Co., is currently in the collection of the National Gallery of Victoria in Melbourne (D96-1981).

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

75 LOT 74 A mahogany mantel clock by Henry-Lepaute, Paris, circa 1810, of architectural form, the silvered 4-inch dial set with Roman numerals, marked ‘Rue St. Honoré 247’, the movement stamped ‘121’, the rear door bearing an ‘F’ cypher beneath a coronet 23cm wide, 16cm deep, 38cm high £400 - 600 LOT 75 A wax bust of Diana, second half of the 19th century, after the antique, mounted on an ebonised socle stand 43cm wide, 33cm deep, 56cm high, 72cm high including stand £600 - 800 LOT 76

A neoclassical painted wooden hall bench, late 19th century, in the manner of Jean-Joseph Chapuis, the curved top rail centred by an urn flanked by classical heads and scrolling foliate detail, over a caned seat with a drop-in buttoned cushion covered in mustard-yellow upholstery, raised on ‘C’-scroll end supports 120cm wide, 64cm deep, 91cm high £1,000 - 2,000 LOT 77 A wool carpet of antique Heriz design, of recent manufacture, woven with scrolling foliate motifs to a blue ground 356 x 271cm £2,000 - 4,000

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5 2 - 1 4 8 FURNITURE AND WORKS OF ART

LOT 78 A pair of bronze lion rampant sculptures, first quarter of the 18th century, Northern European, modelled in an upright rearing position, each mounted on an ebonised wooden base lions 21cm wide, 9cm deep, 26.5cm high, 31cm high mounted; base 21.5cm wide, 15cm deep, 4.5cm high (2) £1,000 - 2,000 LOT 79 An upholstered two-seater sofa in the Howard & Sons style, of recent manufacture, by Duresta, with removable Anatolian kilim-style upholstery, with roll arms and feather-filled cushions, raised on turned front supports terminating in brass castors 188cm wide, 90cm deep, 84cm high £400 - 600 LOT 80 A late George III mahogany waterfall bookcase, circa 1800, decorated with crossbanding throughout, with four shelves, raised on tapering reeded supports terminating in castors 110cm wide, 35cm deep, 124cm high £4,000 - 6,000

LOT 81 A pair of leather armchairs by Baxter, of recent manufacture, each square back over a drop-in seat flanked by roll arms, raised on tapering front legs terminating in castors 86cm wide, 109cm deep, 91cm high (2) £400 - 600

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

LOT 82

LOT 83

LOT 84

LOT 85

A George III longcase clock by Wyke & Green, Liverpool, circa 1770, the 13-inch brass dial with a silvered chapter ring set with Roman numerals and Arabic five-minute markers, with a subsidiary seconds dial, date aperture and moonphase arch, enclosed within a shaped hood flanked on either side by fluted columns, beneath a dentil-moulded broken-swan pediment surmounted by turned oblong finials, the eight-day weight-driven movement fitted with an anchor escapement and rack striking, striking the hours on a bell 56.5cm wide, 28cm deep, 235cm high £2,000 - 3,000

A set of three late George III reverse glass prints, circa 1800, comprising ‘Connubial Happiness’, ‘The Pleasures of Independence’ and ‘Evening’ 24.5 x 34.5cm, framed and glazed 30.5 x 40.5cm (3) £600 - 800

A Wedgwood black basalt figure of the Seated Mercury, late 19th century, after the antique, impressed ‘MERCURY’ and with maker’s mark to the rear 27cm wide, 23cm deep, 46cm high £1,500 - 2,500

After Jean de Boulogne aka ‘Giambologna’, a pair of large bronze figures, late 19th/early 20th century, depicting Fortuna and Mercury, each raised on a plinth base Fortuna 16cm wide, 16cm deep, 76cm high; Mercury 16cm wide, 16cm deep, 81cm high (2) £600 - 800

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5 2 - 1 4 8 FURNITURE AND WORKS OF ART

LOT 86 A relief plaster roundel of ‘Youth or Summer’, late 19th/early 20th century, after Bertel Thorvaldsen, enclosed within an integral circular gilt frame 26cm diameter; framed 35cm diameter £200 - 400 LOT 87 A framed group of wax seals, early 19th century, to include various classical figures, General Howard and the arms of the Earl of Shrewsbury and Baron Heytesbury 51 x 61cm, framed and glazed £300 - 500 LOT 88 A pair of neoclassical gilt-bronze urns, 19th century, Italian, in the manner of Benedetto Boschetti, each body decorated with scallop shells, scrolling foliage and Greek-key banding, flanked on either side by boar’s-head masks, the handles surmounted by double herm-head finials, raised on a stepped Nero Potoro marble base 31cm wide, 23cm deep, 45cm high (2) £4,000 - 6,000

LOT 89 An Oushak wool carpet, of recent manufacture, Anatolian, woven with bold foliate and geometric motifs to a pale field 477 x 310cm £2,000 - 4,000

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

90 LOT 90

A pair of George III mahogany Gainsborough library armchairs, circa 1780, each covered in damask upholstery, the arched top rail over a square back and wide seat, flanked by part-padded downswept reeded arms, raised on square chamfered legs united by stretchers 69cm wide, 65cm deep, 99cm high (2) £2,000 - 4,000 LOT 91 A pair of silk and hair embroidered pictures of Rome, late 18th century, each within an églomisé surround, titled ‘Rome in its Splendour’ and ‘Ruins of Rome’ respectively 30.5 x 43cm; framed 40.5 x 53cm (2) £300 - 500 LOT 92

A set of eight beech klismos dining chairs, 20th century, each concave tablet top rail over an upholstered stuffover seat, raised on ring-turned tapering and sabre legs 45cm wide, 44cm deep, 85cm high (8) £300 - 500 LOT 93 A George IV ‘imperial’ action extending mahogany dining table, circa 1830, in the manner of Gillows, with four additional leaves, raised on tapering reeded legs, terminating in castors fully extended 273cm wide, 137cm deep, 73cm high (5) £1,500 - 2,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART

95 LOT 94

LOT 95

LOT 96

A grand tour bronze, late 19th/early 20th century, depicting a classical youth, on a Nero Portoro base 19cm wide, 12cm deep, 28cm high £200 - 300

A neoclassical mahogany sofa, circa 1830, with carved acanthus and anthemion detail, upholstered in geometric fabric, with two square and two bolster cushions in matching fabric 177cm wide, 71cm deep, 91cm high (5) £800 - 1,200

A George III mahogany tripod table, third quarter of the 18th century, the circular top above a birdcage and wrythen-turned column, raised on carved outswept ball-and-claw supports 91cm diameter, 74cm high £300 - 500 LOT 97 Spare lot

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

100

99 LOT 98

LOT 99

LOT 100

A George III mahogany tripod table, third quarter of the 18th century, the dished circular top fitted with a snap action, raised on a tapering baluster column, terminating in three outswept supports 64cm diameter, 67cm high £300 - 500

An Oushak wool carpet, of recent manufacture, Anatolian, woven with scrolling foliate motifs to a pale-blue ground 355 x 265cm £2,000 - 4,000

A pair of grand tour patinated bronze and fluorspar Medici vases, late 19th/early 20th century, each of campana form, the body centred by a processional figural scene, flanked by handles terminating in satyr masks, decorated throughout with acanthus leaves, fruit and foliage, mounted on integral square base 21cm wide, 21cm deep, 37cm high (2) £2,000 - 4,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART LOT 101 A rococo carved giltwood pier mirror, first half of the 18th century, Italian, the mercury margin plates enclosed within a scrolling foliate frame 92cm wide, 9cm deep, 214cm high £6,000 - 8,000 LOT 102 A George III satinwood, Siena marble and porphyry commode, circa 1780 with a later top, of demilune outline, the Siena marble and porphyry top above a frieze decorated with painted foliate and ribbon detail, the crossbanded central panel centred by a copper plaque depicting the Judgement of Paris, flanked on either side by crossbanded doors, also centred by copper plaques depicting classical scenes, enclosing a shelved interior, raised on tapering square feet 138cm wide, 69cm deep, 82cm high £5,000 - 7,000 Provenance: Sotheby’s, New York, 21 April 2021, lot 354; Sotheby’s, New York, 23 January 1993, lot 137; Hyde Park Antiques, New York.

101

102

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

103

104

105

LOT 103

LOT 104

LOT 105

A Victorian-style chesterfield sofa, of recent manufacture, with geometric kilim upholstery in brownish tones, raised on turned front supports 176cm wide, 92cm deep, 73cm high £1,000 - 2,000

Étienne Baudet (French, 1638-1711), late 17th century, a collection of nine engravings, from the ‘Tableaux du cabinet du roi, statues et bustes antiques des maisons royales’ series 35 x 27cm; framed 48 x 40cm (9) £1,000 - 1,500

A George III-style mahogany barrel-back armchair, 20th century, covered in pleated red leather upholstery, raised on tapering legs terminating in castors 79cm wide, 82cm deep, 108cm high £600 - 800

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART

106

107 LOT 106

LOT 107

A George III-style carved giltwood pier mirror, 19th century, in the manner of Thomas Johnson, the margin plates enclosed within a scrolling rococo frame decorated with rockwork, birds and foliage, flanked on either side by eagles, the pediment centred by a squirrel 135cm wide, 12cm deep, 211cm high £8,000 - 12,000

A pair of George II-style carved wooden pier tables, 20th century, after a design by Matthias Lock, each with a veined white marble top, over a frieze set with egg-and-dart moulding and Vitruvian scrolls, above a carved apron centred by a mascaron, raised on scrolling acanthus-carved monopodia supports 151cm wide, 72cm deep, 90cm high (2) £10,000 - 15,000

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

108

109 LOT 108

LOT 109

A pair of Louis XVI-style suede leather armchairs, of recent manufacture, each with a square back over a wide stuffover seat, flanked by part-padded downscrolling arms, raised on tapering fluted legs terminating in toupie feet 62cm wide, 63cm deep, 96cm high (2) £300 - 500

A wool carpet of Heriz design, of recent manufacture, woven with geometric foliate motifs to a blue ground 301 x 244cm £1,000 - 2,000

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5 2 - 1 4 8 FURNITURE AND WORKS OF ART

LOT 110 Albert Hinrich Hussmann (German, 1874-1946), ‘The Olympic Champion’, a patinated bronze figure group, signed to the base and inscribed ‘A. Hussmann fec. Akt.-Ges. H. Gladenbeck Berlin - D625 ‘, raised on an oak pedestal base 92cm wide, 33cm deep, 94cm high, 163cm high including pedestal base £10,000 - 15,000 Albert Hinrich Hussmann was both a sculptor and artist who specialised in equine subjects. A graduate of the Prussian Academy of Arts, his extensive career included exhibiting at the Great Berlin Art Exhibition and designing pieces for Rosenthal, the German porcelain manufacturer. Patrons of Hussmann included the Krupp family, who acquired a monumental bronze horse sculpture for their Villa Hügel residence in Essen, North Rhine-Westphalia. The sculpture remains in situ today near the former main entrance to the house. This lot presents a rare offering at auction as Hussmann’s oeuvre is predominantly rooted in realism, with only a small proportion of his work in the neoclassical taste. A loosely comparable example - albeit smaller in scale and depicting a Valkyrie, a supernatural figure from Norse mythology - was offered at Sotheby’s, London, ‘19th and 20th Century Sculpture’, 11 December 2019, lot 84. www.sworder.co.uk

FURNITURE AND WORKS OF ART 5 2 - 1 4 8

111

112

113 LOT 111

LOT 112

LOT 113

After Andrea del Verrocchio, a bronze statue of Bartolomeo Colleoni, 19th century, mounted on a stepped Verde Levanto marble and ebonised base 36cm wide, 21cm deep, 56cm high £600 - 800

A pair of white marble column pilasters, 19th century, each of Ionic form, fitted with brackets 20cm wide, 9cm deep, 53cm high (2) £300 - 500

Attributed to Francesco Pozzi (Italian, 1779-1844), a carved marble figure group of a boy and a cat, mounted on a painted wood column base, simulating marble 73cm wide, 43cm deep, 68cm high; base 79cm wide, 52cm deep, 79cm high; 147cm high overall £6,000 - 8,000 For a similar example, see Christie’s, ‘The Opulent Eye - 500 Years: Decorative Arts Europe’, 20 September 2012, lot 212.

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5 2 - 1 4 8 FURNITURE AND WORKS OF ART

114

115 LOT 114

LOT 115

A three-seater sofa in the style of Christopher Guy, of recent manufacture, covered in cream Alcantara fabric, the wide drop-in cushion seat flanked by roll arms, with three additional cushions 250cm wide, 87cm deep, 78cm high (4) £600 - 800

A flat-weave wool carpet of Scandinavian design, of recent manufacture, inspired by the work of Märta Måås-Fjetterström, woven with repeating geometric motifs 430 x 310cm £2,000 - 4,000

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

LOT 116 A pair of George II-style carved giltwood eagle console tables, late 19th/early 20th century, in the manner of William Kent, each with a serpentine rouge marble top above an egg-and-dart moulded frieze, supported by an eagle with outspread wings, raised on a rockwork base and shaped faux marble plinth 132cm wide, 66cm deep, 88cm high (2) £40,000 - 60,000 Provenance: Sotheby Parke Bernet Inc., New York, 29 September 1973, lot 60; Angelo Donghia (1935-1985); Christie’s New York, 8 April 2004, lot 245; Sotheby’s New York, ‘Hyde Park Antiques: Past, Present and Future Part I’, 20-31 January 2023, lot 13. Literature: Emily Eerdmans, ‘Classic English Design and Antiques: Period Styles and Furniture, The Hyde Park Antiques Collection’, New York 2006, p. 253. William Kent (1685-1748) was a pioneering architect, furniture designer and painter, who was one of the leading figures in the introduction of the Palladian style of architecture to England in the early Georgian period. A native of Yorkshire, Kent travelled to Italy in his youth where he studied classical architecture and was exposed to the work of Andrea Palladio, the leading proponent of Palladian architecture. On his return to England, he is largely credited with ‘importing’ this architectural style and for subsequently contributing to the design of some of Britain’s finest houses such as Holkham Hall, Houghton Hall and Chiswick House. With a clear affection for classical design, Kent’s Palladianism extended beyond his architectural activities to include painting and furniture design. Kent’s furniture formed part of his wider Palladian vision; inspired by ancient Rome and the Renaissance, his furniture is characterised by rich carvings, gilding and classical motifs such as acanthus leaves, scrolls, shells, masks and eagles. His oeuvre proved fashionable and popular in the context of the developing grandeur and classical tastes of Georgian Britain. The eagle was a recurring motif in William Kent’s decorative vocabulary, owing to its classical significance. The eagle was a significant symbol in the classical world: it was the sacred bird of Zeus, was a symbol of Roman authority and power, and was generally seen as having aristocratic and noble connotations.

Examples of Kent’s ‘eagle tables’ can most notably be found on the east and west walls of the Saloon at Holkham Hall in Norfolk. Another example is currently in the collection of Sudbury Hall, Derbyshire (NT 652695). Whilst virtually no genuine giltwood console table by Kent has been sold at auction, several in the ‘Kentian’ manner have realised high prices. For similar examples, see Christie’s, London, ‘Jasper Conran: The Collection Part I’, 14 September 2021, lot 106 (NB: this was attributed to Francis Brodie but is firmly in the manner of Kent), and Christie’s, South Kensington, ‘Interiors Style & Spirit’, 29 January 2013, lot 227. A pair of tables of the same design and period were sold from the collection of Dame Barbara Cartland (1901-2000), Christie’s, London, 8 July 1993, lot 94. Those examples were almost certainly supplied between 1891 and 1894 for Duncombe Park, Yorkshire, the seat of William Duncombe, 1st Earl of Feversham (1829-1915). Related ‘Kentian’ eagle console tables were commissioned for Sir Julius Wernher’s celebrated house at Luton Hoo, Bedfordshire, during the extensive refurbishment of c.1900-05 overseen by the renowned architects and decorators Charles Mewès and Arthur Davis. These tables were previously in the collection of Angelo Donghia (1935-1985). Donghia was one of the most influential American interior designers of the late twentieth century, celebrated for creating interiors that combined understated luxury with modern comfort. Born in Pennsylvania in 1935, he studied at Parsons School of Design in New York before rising to prominence through his work with Yale R Burge Interiors and, later, his own firm, Donghia Associates. Donghia’s interiors rejected ostentation in favour of elegant simplicity, drawing inspiration from the refined modernism of Jean-Michel Frank. His signature style - characterised by rich textures, tailored upholstery, subtle glamour and exceptional attention to comfort appealed to an international clientele that included Ralph Lauren, Halston, Diana Ross and Barbara Walters. Beyond interior design, Donghia built a design empire encompassing furniture, textiles, showrooms and product licensing, helping to shape the look of American luxury interiors during the 1970s and 1980s. By the time of his death in 1985, he was widely regarded as one of the defining figures of modern interior decoration, and his influence remains evident in contemporary design today.

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5 2 - 1 4 8 FURNITURE AND WORKS OF ART

117

119

118

120 LOT 117

LOT 118

LOT 119

LOT 120

A patinated bronze figure of the Apollo Belvedere, late 19th/early 20th century, after the antique, mounted on a square plinth base, illegibly inscribed ‘du Vatican’ 32cm wide, 24cm deep, 50cm high £2,000 - 4,000

A large grand tour patinated bronze figure of Narcissus, 19th century, Italian, after the antique, signed ‘G. Nisini, Roma’, raised on a veined marble revolving base 27.5cm wide, 27.5cm deep, 67cm high £3,000 - 5,000

A grand tour bronze figure of The Dancing Faun, 19th century, Italian, after the antique, mounted on a Siena marble plinth base 18cm wide, 12.5cm deep, 31cm high £400 - 600

A group of six black and white engravings of Rome, 18th century, depicting the Baths of Titus, St Peter’s Basilica, the Colosseum, the Trevi Fountain and two of the Papal Basilica of St Mary the Great various sizes: smallest 38.5 x 50cm, framed 57.5 x 69cm; largest 49.5 x 72.5cm, framed 74.5 x 95.5cm (6) £800 - 1,200

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

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LOT 121

LOT 122

LOT 123

LOT 124

A Qum wool carpet, circa 1930, Persian, with a central ivory field, woven throughout with repeating foliate motifs 346 x 236cm £2,000 - 4,000

A collection of five doorstops, late 19th/early 20th century, comprising a cast-iron example in the form of a cherub and four brass examples consisting of a mythical dolphin, a classical female figure, a basket of fruit and a cherub with a serpent cherub 20cm wide, 6cm deep, 41cm high; dolphin 23cm wide, 9cm deep, 35cm high; female 14cm wide, 6.5cm deep, 45cm high; fruit 15cm wide, 4.5cm deep, 35cm high; serpent 20cm wide, 9.5cm deep, 38cm high (5) £400 - 600

Francesco Bartolozzi RA (Italian, 1727-1815) after Giovanni Battista Cipriani, a ticket for the Mansion House Ball, 1775, the original engraved ticket stuck down on pen and bodycolour ground, titled ‘The Ball at the Mansion House April XVII MDCCLXXV The Right Hon. John Wilkes, Lord Mayor’, mounted within a scrolling gilded cartouche frame 34cm wide, 4cm deep, 35cm high £200 - 400

A pair of Paris porcelain topographical urn vases, 19th century, French, twin-handled, each with gilt highlights and an enamelled reserve, raised on a faux marble socle base 13cm wide, 10cm deep, 23cm high (2) £800 - 1,200

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART

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126

127 LOT 125 A plaster relief panel of a child, 20th century, by l’Atelier de moulage du Louvre factory, possibly depicting St John the Baptist as an infant, carved in relief, with maker’s cartouche verso 30.5cm wide, 5cm deep, 40.5cm high £200 - 400 LOT 126 A small glass hanging lantern by Rose Uniacke, of recent manufacture, the opaline shade of ovoid form, fitted with a suspension chain and bracket 24cm diameter, 31cm high £200 - 400 LOT 127 A three-seater sofa in the style of George Smith, of recent manufacture, covered in light blue-grey upholstery, with three drop-in cushion seats, raised on turned supports terminating in brass caps and castors 220cm wide, 102cm deep, 87cm high £400 - 600 LOT 128 A baroque ebonised fruitwood cabinet, late 17th/early 18th century, Flemish, Antwerp, twin-handled, with a long drawer above a pair of panelled cupboard doors, decorated throughout with ripple-moulded detail, lacking fitted interior 69cm wide, 39cm deep, 54cm high £600 - 800

128

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

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129

132 LOT 129

LOT 131

LOT 132

A large glass hanging lantern by Rose Uniacke, of recent manufacture, the opaline shade of ovoid form 30cm wide, 43cm high £400 - 600

A pair of painted wood candlesticks, 18th century and later, in the baroque taste, each fitted with a large faux candle 25cm wide, 25cm deep, 78cm high, 121cm high including candle (2) £400 - 600

A baroque-style painted giltwood mirror, 18th century with a later plate, the rectangular mirror plate enclosed within a scrolling acanthus frame, painted in green with gilt highlights 67cm wide, 5.5cm deep, 89cm high £400 - 600

LOT 130 Spare lot

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART

134

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135

136 LOT 133

LOT 134

LOT 135

LOT 136

A large Meissen porcelain vase, first quarter of the 20th century, with twin handles in the forms of snakes, the body decorated with floral sprays and gilt highlights, raised on a fluted circular base, marks to base 32cm wide, 22cm deep, 47cm high £600 - 800

A large Meissen porcelain vase, circa 1860, with handles in the form of snakes, the body decorated with fruit, foliage and gilt highlights, raised on a fluted circular base, marks to base 35cm wide, 22cm deep, 48cm high £600 - 800

A large glass hanging lantern by Rose Uniacke, of recent manufacture, the opaline shade of ovoid form, fitted with a suspension chain and bracket 32cm wide, 42cm high £400 - 600

A Gustavian painted wooden settee, early 19th century, Northern European, with a pierced top rail above a padded back, open arms and seat, raised on tapering fluted supports 177cm wide, 67cm deep, 85cm high £2,000 - 4,000

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

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LOT 137

LOT 139

A large glass hanging lantern by Rose Uniacke, of recent manufacture, the opaline shade of ovoid form, fitted with a suspension chain and bracket 32cm wide, 49cm high £400 - 600

A Black Forest carved wooden hall stand, early 20th century, Swiss, in the form of a large bear against a tree, with a pair of smaller bears climbing the branches, on a naturalistic rockwork base with four feet 50cm wide, 65cm deep, 207cm high £3,000 - 5,000

LOT 138

LOT 140

A pair of carved walnut side chairs, 17th century and later, in the manner of Daniel Marot, each with a scrolling pierced and caned back, decorated with foliate detail, above a velvet-upholstered seat, raised on carved cabriole legs terminating in paw feet, united by stretchers 53cm wide, 61cm deep, 126cm high (2) £300 - 500

After Jean-Louis Delignon, late 18th/early 19th century, four coloured ornithological engraving plates, signed ‘Delignon sculp’ 13.5 x 9cm; framed in pairs 28 x 34.5cm (2) £300 - 500

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

5 2 - 1 4 8 FURNITURE AND WORKS OF ART

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141

143

LOT 141

LOT 143

A patinated bronze figure of a putto, late 19th century, French, in the manner of Clodion, mounted on an integral plinth base 21cm wide, 19cm deep, 43cm high £300 - 500

An emerald glass table lamp, 20th century, with an octagonal baluster stem, raised on a gilded stepped base 18cm base diameter, 76cm high £500 - 700

LOT 142

A baroque painted pine cabinet, 18th century, French, with an arched top and two sets of panelled doors enclosing shelves, raised on bracket feet 115cm wide, 66cm deep, 198cm high £1,500 - 2,500

Two Black Forest carved wall sculptures, 20th century, German, depicting a game bird and hare, mounted on scrolling cartouche plaques 39cm wide, 69cm high (2) £200 - 400

LOT 144

144

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FURNITURE AND WORKS OF ART 5 2 - 1 4 8

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146

147 LOT 145 A shellwork box, 19th century, French, with a hinged lid opening to reveal storage compartments 29cm wide, 26cm deep, 15cm high £400 - 600 LOT 146 A sorcerer’s mirror, mid-19th century, the circular plate set with seventeen roundels, enclosed within a reeded frame 39.5cm diameter £600 - 800 LOT 147 A pair of fruitwood, bone and mother-of-pearl-inlaid side tables, 20th century, Syrian, Damascus, each with a panelled square top above a short drawer, raised on cabriole supports, with geometric decoration throughout 44cm wide, 44cm deep, 47cm high (2) £300 - 500 LOT 148 A painted wooden cupboard, 20th century, Continental, the rectangular top above two short drawers and a pair of cupboard doors enclosing shelves, raised on square supports 100cm wide, 36cm deep, 100cm high £300 - 500

148

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

FROM THE COLLECTION OF TIM WONNACOTT LOTS 1 4 9 - 1 5 4

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151 LOT 149 A small Regency bookrack, circa 1820, composed of various specimen woods, with pierced folding handles 42cm wide, 23cm deep, 11cm high £200 - 400 LOT 150 An Anglo-Chinese thuya and brass-bound collector’s cabinet, 19th century and later, the hinged panelled doors enclosing seven slender graduated drawers, raised on a later stand united by stretchers 57cm wide, 37cm deep, 48cm high, 114cm high including stand £1,500 - 3,000 LOT 151 An automaton picture clock, early 19th century, oil on metal board, depicting a Continental landscape scene, centred by a church and windmill surrounded by various figures, with ships in the distance, the chain fusee movement with verge escapement 30 x 42cm; framed 37 x 49cm £300 - 500

150

FROM THE COLLECTION OF TIM WONNACOTT 1 4 9 - 1 5 4

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153

154

LOT 152

LOT 153

LOT 154

A Regency upholstered rosewood and brass footstool, circa 1820, in the manner of George Bullock, covered in green and gold silk brocade upholstery, the frame decorated with a brass-inlaid floral border, raised on arched supports 36cm wide, 36cm deep, 26cm high £1,000 - 2,000

An Aesthetic period ebonised, painted and parcel-gilt wooden low chair, circa 1880, in the manner of William Burges, the turned spindle back surmounted by ball finials, over a demilune seat upholstered in polychrome foliate silk upholstery, raised on ring-turned tapering legs 45cm wide, 47cm deep, 69.5cm high £200 - 400

A Victorian collector’s cabinet enclosing various plaster intaglios, all 19th century, mostly of classical interest, with other examples to include Sir Walter Scott, Michelangelo and Jean-Jacques Rousseau, contained within ten baize-lined display trays 37cm wide, 32cm deep, 41cm high (qty.) £300 - 500

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

FUR NITUR E AND WOR K S OF ART LOTS 1 5 5 - 2 7 6

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LOT 155

LOT 157

A cast bronze wall mirror, circa 1880, with a cast monogrammed crest initialled ‘RCI’ for the Royal Insurance Company, above the motto ‘Tutum Te Sistam’ (I will keep you safe), and flanked with a coat of arms to the arched pediment 84cm wide, 10cm deep, 153cm high £1,000 - 1,500

An Edwardian rosewood, boxwood and marquetry parlour chair, first quarter of the 20th century, the shaped top rail decorated with a lyre flanked by foliage, above a spindle back centred by a shell motif, with a wide upholstered seat, raised on tapering legs united by arched stretchers, the frame inlaid with boxwood stringing and marquetry throughout 45.5cm wide, 48cm deep, 91cm high £400 - 600

LOT 156 A carved and polychrome painted wooden figure, 18th century, Southern European, depicting a saint 46cm wide, 29cm deep, 105cm high £800 - 1,200

LOT 158 A Heriz wool carpet, 20th century, Persian, woven with geometric foliate motifs to a red ground 295 x 248cm £1,000 - 1,500

FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

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161 LOT 159

LOT 161

A marble and hardstone centre table, of recent manufacture, the circular top set with polychrome floral inlays, raised on a painted composition fluted column, terminating in a plinth base 120.5cm surface diameter, 74cm high £800 - 1,200

A set of ten painted oak dining chairs, circa 1900, each with lion mask finials and turned supports, with suede upholstery elbow chair 58cm wide, 68cm deep, 102cm high (10) £500 - 700

LOT 160

LOT 162

A mahogany and nickel ‘Oval Yacht Table’ by Soane, of recent manufacture, the oval top with a banded edge, raised on a column pedestal and stepped circular base 166cm wide, 116cm deep, 77cm high £1,000 - 2,000

A mahogany chest of drawers, late 18th century, Dutch, with a moulded rouge marble top, above four graduated drawers set with rococo gilt-metal mounts, raised on bracket feet 95cm wide, 57cm deep, 86cm high £400 - 600

Provenance: The Richard Collins Collection; supplied by Soane Britain, 2021.

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Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

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165 LOT 163

LOT 164

LOT 165

LOT 166

A Shahsavan kilim, of recent manufacture, Persian, woven in tones of pale orange 336 x 257cm £1,500 - 2,500

A silver footed bowl, late 19th/early 20th century, German, intricately decorated with pierced foliate and figural detail throughout, raised on supports modelled as putti, stamped ‘800’ 28cm diameter, 13.5cm high; 23.7ozt £800 - 1,200

A pair of lacquered and parcel-gilt side tables, of recent manufacture, each surface set with a raised single short drawer, over a frieze with a concealed deep drawer, raised on straight tapering legs terminating in castors 70cm wide, 35.5cm deep, 65cm high (2) £200 - 400

A large painted pine cupboard, late 19th/early 20th century, Italian, the moulded projecting cornice over cupboard doors set with lozenges, enclosing a shelved interior, raised on ogee bracket feet 160cm wide, 57cm deep, 221cm high £800 - 1,200

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

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LOT 167

LOT 168

LOT 169

LOT 170

An armorial porcelain centrepiece urn, early 19th century, in the manner of Spode, twin-handled, decorated in green with gilt highlights on a white ground, with scrolling foliate and leaf detail, bearing the arms of Viscount Falkland, with a removeable liner 34cm wide, 27cm deep, 23.5cm high £400 - 600

A green toleware chandelier, 20th century, French, decorated all over with branches and foliage, with six candlesticks and three lightbulbs, fitted for electricity 51cm wide, 51cm deep, 66cm high £300 - 500

A flat-weave wool runner of Scandinavian design, of recent manufacture, inspired by Barbro Nilsson 996 x 73cm £2,000 - 4,000

A pair of marble-topped sideboards, of recent manufacture, each of concave outline, with a marble top over four long drawers 120cm wide, 50cm deep, 81cm high (2) £300 - 500

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

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173 LOT 171

LOT 172

LOT 173

A pair of large baroque-style silver-plated gondola lanterns, 19th century, Venetian, each of hexagonal form with repoussé floral and foliate decoration, with glazed panels enclosing a candle sconce, supported on a long black-painted shaft and triform base 45cm wide, 45cm deep, 265cm high (2) £1,000 - 2,000

A pair of woven curtains, 20th century, of William Morris ‘Dove and Rose’ design, lined 125cm wide, 150cm drop (2) £200 - 400

A leather chesterfield-style sofa by Baxter, of recent manufacture, of typical form, with a large drop-in cushion seat, raised on bulbous tapering legs 243cm wide, 109cm deep, 72cm high £300 - 500

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

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LOT 174

LOT 175

LOT 176

LOT 177

A pair of upholstered armchairs in the style of Howard & Sons, 20th century, each covered in textured cotton fabric, with buttoned scroll arms, raised on tapering square legs terminating in brass castors 79cm wide, 102cm deep, 87cm high (2) £1,000 - 2,000

A pair of brass table lamps, 20th century, each with a dished top over a tapering column, terminating in a waisted base, lacking shades 20cm wide, 20cm deep, 62.5cm high (2) £300 - 500

An Eastern Orthodox icon of the Three Holy Hierarchs, 19th century, oil and gold on panel 22 x 17.5cm £200 - 400

A bespoke burr walnut, cherry and sycamore sideboard by David Linley, of recent manufacture, the crossbanded rectangular surface with concave corners, over a pair of frieze drawers set with velvet-lined storage compartments, above a pair of quarter-veneered cupboard doors enclosing a shelved interior, flanked on either side by shelved corner compartments, raised on an integral plinth base 180cm wide, 55cm deep, 85cm high £2,000 - 4,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

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LOT 178

LOT 179

LOT 180

LOT 181

A set of five pairs of silk bed curtains and a lambrequin, of recent manufacture, in the manner of Colefax & Fowler, the fringe curtains decorated with purple and gold stripes, with associated pelmets and mounts curtains approximately 160cm wide, 320cm drop; lambrequin 85cm wide, 44cm deep, 77cm high (10 curtains) £400 - 600

A pair of baroque giltwood and silvered altar candlesticks, 18th century, each with a turned nozzle over a pierced scrolling stem, terminating in a tripartite base 24.5cm wide, 15.5cm deep, 93cm high (2) £400 - 600

A carved oak, fruitwood and marquetry chest, second half of the 17th century, probably Yorkshire, the hinged lid above a strapwork-inlaid frieze and triple-panel front, the central example with geometric detail, above a long drawer with iron pulls, raised on stile supports 147cm wide, 59cm deep, 85cm high £800 - 1,200

A painted pine commode, 19th century, French, of serpentine outline, with a moulded top above three drawers, raised on bracket feet 130cm wide, 65cm deep, 77cm high £800 - 1,200

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Provenance: With Tomasso, Leeds and London, UK.

FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

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LOT 182

LOT 183

LOT 184

A group of forty-seven blue glass apothecary bottles and jars, late 19th century/early 20th century, French, each with a red toleware cover and an etched white label, including ‘Teinture Citron’, ‘Antipyrine’ and ‘Talc Venise’ jars 12cm diameter, 23cm high (47) £3,000 - 5,000

A pair of mahogany shop display cabinets, circa 1900, each with a raised and mirror-backed cabinet, fitted with a single glass shelf, with a hinged back, over a shaped glass cushion-shaped display cabinet, the back panel hinged, and fitted with two trays, each with a shaped cornice 65cm wide, 61cm deep, 75cm high (2) £400 - 600

A Regency silkwork picture, early 19th century, depicting a peacock on a branch with flowers and leaves, stitched in polychrome silk threads 26.5 x 21.5cm; framed 31 x 26cm £200 - 400

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

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186 LOT 185

LOT 186

LOT 187

An oak antler-mounted bookcase, 20th century, probably German or Swiss, mounted throughout with various antlers, the upper section with glazed doors enclosing a shelved interior, above cupboard doors enclosing void storage compartments 194cm wide, 53cm deep, 174cm high £1,000 - 2,000

A set of six Renaissance Revival oak dining chairs, 20th century, comprising two armchairs and four side chairs, each upholstered in ostrich leather, the gadrooned top rail flanked by lion head terminals, above a square back and stuffover seat, raised on turned and gadrooned tapering front legs terminating in castors, the legs united by a stretcher armchairs 63cm wide, 78cm deep, 116cm high; side chairs 51cm wide, 62cm deep, 106cm high (6) £400 - 600

A pair of baroque-style painted and parcel-gilt wooden torchères, 19th century, Italian, each in the form of a caryatid centred by a grotesque mask and drapery, raised on a scrolling quadripartite base terminating in paw feet 44cm wide, 44cm deep, 127cm high (2) £6,000 - 8,000

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

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190 LOT 188

LOT 189

LOT 190

A Regency painted faux bamboo elbow chair, circa 1820, with a spindle-back splat above a rush seat, raised on tapering ring-turned front legs, the legs united by stretchers 56cm wide, 48cm deep, 85cm high £300 - 500

A flat-weave wool carpet of Anatolian design, of recent manufacture, woven with geometric motifs in blue tones 337 x 246cm £800 - 1,200

A set of twelve vernacular oak, ash and elm harlequin dining chairs, 19th century, Lancashire, each with an arched top rail and two-tier baluster splat, over a rush seat, raised on tapering legs terminating in pad feet, the legs united by stretchers largest 51cm wide, 48cm deep, 100cm high; smallest 51cm wide, 47cm deep, 94cm high (12) £800 - 1,200

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART LOT 191 A Regency-style giltwood overmantel mirror, 19th century, the moulded cornice decorated with ball moulding, above a frieze with classical motifs to include winged putti and a chariot scene, with three bevelled margin plates flanked by Corinthian columns 131cm wide, 11cm deep, 86cm high £300 - 500 LOT 192 A Regency mahogany console table in the manner of George Oakley, circa 1810, the rectangular ebony-strung surface over a frieze drawer, centred by a foliate roundel and palmettes, flanked on either side by lion ring handles, raised on tapering reeded legs terminating in ebonised paw feet 122cm wide, 52cm deep, 90cm high £5,000 - 7,000 George Oakley (fl.1773-1840) was a leading cabinetmaker of the late 18th and early 19th centuries. A native of Herefordshire, he trained in London where he would stay and cultivate his career. In 1799, following a visit by Queen Charlotte and the Duke and Duchess of York to his Bond Street showroom, Oakley so impressed the royal party that he was granted a Royal Appointment. Securing royal patronage helped solidify his position as one of the eminent cabinetmakers of the late George III and Regency eras. A key exponent of the burgeoning neoclassical Regency taste, Oakley’s work often incorporated Grecian and ‘Buhl’ or boullework elements. His reputation during the Regency era was such that, in 1810, he even supplied the Prince Regent himself with a ‘capital mahogany pedestal library table, inlaid with Bhull bordering... the top covered with black leather and raised on brass castors’. Further to royal patronage, Oakley’s furniture was also acquired by Sir John Soane, the Marquess of Bath and institutions including the Bank of England.

191

Similar examples to this lot by Oakley include a pair of side cabinets supplied to Charles Madryll Cheere for Papworth Hall, Cambridgeshire, in 1810, and a sideboard and side table supplied for the ballroom of Mansion House, the official residence of the Lord Mayor of London. A similar serving table attributed to Oakley, although larger in scale to this example, was described by Christie’s as being ‘virtually identical to a table supplied to the Bank of England in the early 19th century’. Christie’s further noted that, ‘The present table, and the Bank of England table, are closely related to one supplied in 1810 to Charles Madryll Cheere of Papworth Hall’. It realised £15,000 in their ‘An Adventurous Spirit: An Important Private Collection Sold to Benefit a Charitable Foundation’ sale, 13 December 2018, lot 161. Another serving table, albeit not attributed to Oakley but rather described as ‘in the manner of of Oakley’, realised £4,000 at Reeman Dansie, ‘Fine Art & Antiques’, 10 August 2022, lot 1303.

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

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195 LOT 193

LOT 194

LOT 195

A Regency painted faux bamboo toleware stick stand, circa 1820, surmounted by a finial in the form of a clenched fist, with four swept supports terminating in a dished base 24cm base diameter, 77cm high £300 - 500

A Regency-style leather library armchair, late 19th century, the square back over a stuffover seat, flanked by downswept studded arms, raised on tapering legs terminating in castors 65cm wide, 73cm deep, 92cm high £300 - 500

A Bauhaus-inspired flat-weave wool carpet, of recent manufacture, woven with alternating black and white stripes 354 x 263cm £800 - 1,200

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

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197 LOT 196

LOT 197

A Regency-style rosewood, mahogany and parcel-gilt centre table, late 19th century, the crossbanded circular top raised on dolphin supports and a triform base, terminating in bun feet 137cm diameter, 79cm high £1,000 - 2,000

A Regency-style brass and leather étagère, late 19th century, composed of two tiers, each fitted with an inset gilt-tooled leather surface, raised on castors 47cm wide, 32cm deep, 55cm high £300 - 500 Provenance: By repute Apter-Fredericks, Fulham Road, London, circa 1960.

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

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199 LOT 198

LOT 199

A pair of large Louis XVI-style painted and parcel-gilt wooden pier mirrors, late 19th century, French, each rectangular mirror plate enclosed within a carved frame decorated with guilloché and acanthus detail, surmounted by a scrolling foliate pediment 117cm wide, 6cm deep, 223cm high (2) £3,000 - 5,000

A pair of Regency-style rosewood low bookcases, early 20th century, each of concave outline, with a green marble top above a pair of brass grille doors, raised on lobed bun feet 100.5cm wide, 39cm deep, 89cm high (2) £2,000 - 4,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

THE JOURNAL Autumn 2026

Credit: The HALO Trust

Shah Mahmood’s Story Shah Mahmood Akhlaqi has an infectious laugh and a curl of grey hair escaping from his Khandahari cap. He farms land along the Helmand river in southern Afghanistan, in an area that was long fought over between the Taliban and Afghan Army. The fighting has left a deadly legacy of mines and unexploded bombs. ‘We will feel happy when HALO finishes clearing our land. Our income will increase, and our children will be able to play safely,’ said Shah Mahmood. HALO is The HALO Trust, which has been saving lives in Afghanistan and around the world since 1988. Multiple conflicts from 1979 to 2021 have left the country littered with explosive dangers. To survive, families are faced with a stark choice. They can farm dangerous land just to eat – last year 23 million people, over half of the Afghan population, were in need of humanitarian assistance. Or, they can turn to the only other option in this part of the country, which is just as hazardous: collecting and selling unexploded shells, grenades and rockets as scrap metal. A harrowing reality when there are at least 50 civilians killed or maimed by explosives in Afghanistan each month, usually while farming or handling explosive ‘scrap’. In the south of Afghanistan, Helmand Province was once at the centre of heavy fighting. Today, the war has ended, but the danger has not disappeared. Since August 2021, at least 111 people have been killed and 199 injured, making it one of the most dangerous provinces in Afghanistan. In Adam Khan village, Gereshk district, Shah Mahmood is rebuilding his life after years of displacement. When the fighting intensified in 2009, he and his family were forced to leave their home, and they spent a year living under tents in Gereshk city, struggling to survive. ‘We spent one year under hot temperatures in the centre of Gereshk to survive the war,’ said Shah Mahmood. Shah Mahmood was struggling to find income and to support his 17-member family. When the family returned home in 2021, they found their house and farmland impacted by the war. ‘We felt scared when we returned to our village. Our houses were damaged and our agricultural land was destroyed,’ he says. The threat to the community is high as displaced families return home, looking for new land to rebuild their houses and to use for farming. The danger soon had a devastating impact. In Adam Khan village, one person was killed and four others, including three women, were injured when their vehicle hit a roadside IED. To reduce the threat and help families return safely, HALO began clearing the area in March 2025. The teams focused on land close to homes and farmland, where the risk to civilians was highest. By March 2026, HALO had cleared more than 88,000 sq. metres of land in Adam Khan village and safely destroyed 11 IEDs in the process. Each removed device means one less threat to people’s lives. As HALO has safely released the highest priority area to the villagers, farmers are using their land again and children are walking and playing freely outside without fear. HALO Afghanistan has destroyed almost 860,000 landmines, and over a million other explosives. More than 140,000 hectares of land has been cleared - that’s an area 400 times the size of New York’s Central Park - but the work is not finished. With the support of partners and donors, HALO will continue to clear dangerous land to save lives and help families rebuild their futures peacefully.

To find out more about HALO’s life-saving work in Afghanistan and to watch a video on Shah Mahmood, scan the QR code. www.halotrust.org

Nourishing: Reflections of Resilience This September, our London Gallery will present Nourishing: Reflections of Resilience, a selling exhibition by contemporary artist Courtney Bae. Bringing together a collection of portraiture and landscapes, the exhibition explores the complexities of eating disorders, recovery and the quiet resilience of those living with, and affected by, these experiences. Bae gained national recognition as a semi-finalist on Sky Arts Portrait Artist of the Year in 2025 and has exhibited internationally, with solo exhibitions at Bermondsey Project Space, London, and Sideshow Gallery, Brooklyn. Her work has also featured at the Saatchi Gallery, the Royal Birmingham Society of Artists and Denise Bibro Fine Art, New York. In Nourishing, she turns her attention to a subject that is at once deeply personal and widely felt, using painting as a vehicle for empathy, awareness and connection. The exhibition has been developed in partnership with SWEDA, a charity supporting those affected by eating disorders across the south and west of England. Featuring sitters with lived experience, Nourishing seeks to create a space in which stories, often held privately, can be acknowledged with care and dignity. In support of SWEDA’s essential work providing counselling, guidance and support, 20% of the proceeds from every work sold in the exhibition will be donated directly to the charity. For Bae, the subject matter is informed by a long-standing close relationship with a loved one living with an eating disorder. Her work reflects not only the internal battles faced by those on the journey to recovery, but also the emotional impact these experiences can have on the relationships that surround them. Rather than presenting recovery as a simple or linear process, Bae’s paintings acknowledge its complexity: the vulnerability, shame, tenderness, endurance and hope that can exist alongside one another. Through bold strokes and expressive, unrestrained line work, Bae’s portraits look beneath the surface of lived experience. The sitter is not reduced to their struggle, but presented with depth, strength and individuality. In parallel, her landscapes offer moments of reflection and release, expanding the emotional landscape of the exhibition beyond the body and into a wider meditation on care, growth and renewal. At the heart of Nourishing is a call to look more closely: at one another, at the invisible difficulties people may carry, and at the ways in which art can open up difficult but necessary conversations. Bae’s work seeks to dismantle stigma and create a language of compassion around a subject that is still too often misunderstood. Transforming Sworders’ London Gallery into a site of empathy, education and reflection, Nourishing: Reflections of Resilience is both a powerful selling exhibition and a deeply human project. It offers not only an opportunity to encounter Bae’s compelling portraits and landscapes, but also to support a cause dedicated to care, recovery and hope.

Nourishing: Reflections of Resilience by Courtney Bae Selling Exhibition at Sworders London from 1-11 September

brynsayles@sworder.co.uk | 01279 817778

A Life Among Artists The James Birch Collection Art dealer, curator, gallerist and author James Birch has spent more than four decades championing artists, staging ambitious exhibitions and collecting works that tell the story of an extraordinary career. This October, approximately 300 lots from his private collection will form the opening day of Sworders’ Modern and Contemporary Art sale. Birch was brought up surrounded by art. His parents met at Chelsea School of Art, where his mother was taught by Henry Moore, and his own career began at Christie’s, first in the Old Master Pictures department and later as a specialist in rock and roll memorabilia. It was, however, as a pioneering dealer in British contemporary art that he made his name, opening James Birch Fine Art on the King’s Road in 1983. Among the most significant works in the collection is a group by Sir Grayson Perry, to whom Birch gave his first solo exhibitions in 1984 and 1985. More than a dozen ceramics will be offered, including the early green pot, titled Il Douche, estimated at £40,000-60,000, and Crown of Penii, 1982, estimated at £60,000-80,000. Birch first encountered Perry through his then girlfriend Jennifer Binnie, co-founder of the Neo Naturists performance group. Having previously exhibited Binnie’s work, Birch was told that her boyfriend was a sculptor working in clay. ‘On seeing the pieces, I thought they were fantastic,’ he recalls. His personal favourite is Saint Diana (Let them Eat Shit), a mixed-media miniature throne from Perry’s first exhibition, now estimated at £40,00060,000. ‘It’s just an extraordinary piece, and he hasn’t really made anything like that since,’ Birch says. The work was included in the Holburne Museum’s 2020 exhibition Grayson Perry: The Pre-Therapy Years, which revisited the artist’s overlooked early career. Other objects relate directly to Birch’s fascination with the Soviet Union and his role in organising Francis Bacon’s landmark Moscow exhibition in 1988, during the era of perestroika. The idea arose unexpectedly while Birch was visiting artists’ studios in Russia and asked which British painter they most wished to see. ‘All replied with Francis Bacon,’ he remembers. ‘They would bring out old magazines and books which were falling to pieces, they had

been looked at so many times.’ Back in London, Birch took the opportunity of approaching Bacon, who was attending an exhibition at his London gallery, and asked the artist whether he would consider a show in Russia. Bacon agreed , and the remarkable project began. Birch later documented the experience in his book Bacon in Moscow. The collection includes letters and telegrams from Bacon discussing the exhibition, including one in which he calls Birch ‘Rawhide’, a reference to Birch’s childhood obsession with the television series starring Clint Eastwood. Also included is Moscow Nights, an anonymous 20th-century painting given to Birch by his KGB minder, Sergei Klokov. Bacon later reciprocated, giving Klokov an original Bacon oil. ‘Moscow Nights hanging at home, was a constant and amusing reminder that I had received this, and he a Francis Bacon,’ Birch says. Many of the works were acquired directly from artists Birch exhibited. They include pieces by Keith Coventry, David Robilliard, Mary Lemley and members of the Neo Naturists. There are also works connected to Christine Keeler, whom Birch exhibited in My Life in Pictures at the Mayor Gallery in 2010, including a gelatin silver print of a David Bailey contact sheet and a portrait commissioned from Nina Fowler. The collection’s more unusual objects reveal Birch’s broad curiosity. Alongside paintings, prints and sculpture are Oliver Cromwell’s death mask, a Victorinox Swiss Army knife automaton and the reconstructed egg of an elephant bird, acquired from a West Country taxidermist who claimed it had appeared in a David Attenborough documentary. Although estimates range widely, Birch makes little distinction between the valuable and the affordable. ‘I’ve never really approved of the art-forinvestment idea,’ he says. ‘I’ve always just bought things I liked. If they go up in price, that’s a bonus. If they don’t, that’s fine too.’ For Birch, the sale marks a moment of transition rather than an end to collecting. ‘It’s time to move things on,’ he says. ‘It’s a time to change one’s taste and views of what one likes.’

Modern and Contemporary Art | to include the James Birch Collection Tuesday 6 & Wednesday 7 October | 10am pictures@sworder.co.uk

State Glass, Individual Vision: Honzík, Rozínek and Exbor In recent years, interest in post-war Czech glass has grown considerably, helped by an increasing number of publications and a wider reappraisal of the techniques and design language developed by Czech glassmakers during the 20th century. While comparisons can readily be drawn with contemporary Italian and Scandinavian output, Czech designers approached the medium in a distinctly individual way. Cut, blown, polished, and engraved decoration were often combined within a single object, allowing designers to explore both the sculptural and optical qualities of the material. Nationalisation of the industry following the Second World War is instrumental in the understanding of Czech glass of this period, with numerous glassworks and workshops being brought under a centrally organised state system. Various divisions and tradenames were extant from the late 1940s until the end of the 20th century while they remained in state ownership. Exbor was one such trademark, used specifically for the production of art glass. Exhibitions often spotlight the most capable and daring designers of an era, and that moment was the Milan Triennale of 1957 for post-war Czech glassmakers. Several Czech designers received awards, including František Zemek, Jan Kotík and Oldřich Lipský. Displaying their creations alongside icons of the decorative arts, and securing plaudits for their work, helped demonstrate the remarkable level of experimentation taking place within the country, and established its designers alongside their counterparts elsewhere in Europe. It was against this backdrop that Stanislav Honzík (1926-1998) and Josef Rozínek (1911-1992) collaborated on their wonderfully inventive series of glass fish for Exbor. Conceived around 1958 and produced into the following decades, the range included several different forms, among the most recognisable being the angelfish. Each example was individually blown and shaped before being cut and polished by hand. Although produced to an established pattern, this labour-intensive process ensured that no two examples were entirely identical, with subtle variations giving each fish its own character. The inspiration for the series is thought to have come, at least in part, from the work of fellow Czech glassmaker Věra Lišková, whose designs for Moser were exhibited at the Brussels World’s Fair of 1958. Her own exploration of fish forms may have provided an important reference point for Honzík and Rozínek. Additionally, there was also a more personal connection to the subject, as Rozínek was himself a keen angler, perhaps explaining the pair’s particularly convincing interpretation of their aquatic subjects. We are fortunate to be offering three examples from the series in The Glass Sale. The example illustrated here is arguably the finest of the group: a superb angelfish whose bold form, carefully worked surfaces, and combination of blown and cut glass demonstrate the experimental spirit that makes post-war Czech glass so appealing. It is an object that manages to be both decorative and distinctly sculptural, and a wonderful illustration of the unique design language developed by Czech glassmakers.

The Glass Sale Tuesday 13 October | 10am alexfroggatt@sworder.co.uk | 01279 817778

Guy Lartigue: Sculpting beauty, movement and memory Water is and has always been the source of all life. It is where everything springs from, however mighty or insignificant it may seem. Some of the most beautiful things in the history of our planet are because of the bond between hydrogen and oxygen. Few artists can say that water is a muse for them, let alone a medium within their work. Guy Lartigue (1927-2021) defied this notion and conjured some of the most magnificent and ethereal forms with this precious liquid. Lartigue was born in Paris and trained at the Académie de la Grande Chaumière in Montparnasse. Whilst at the academy, he studied under sculptors Jean Souverbie, Emmanuel Auricoste and Ossip Zadkine. His first encounter with using water was in the 1960s, when he was commissioned by the King of Spain to create what would eventually become the Fontaine de la Promenade Larvotto in Monte Carlo. Officially named ‘Hommage à la princesse Grace’ and constructed from copper, brass and bronze, this monumental work centres around a 12-metre-high column with cascading bowls that culminate in a large round basin. Of course, the star of the show is water, which is programmed like a piece of choreography to dance amongst the metal. At night, the fountain is lit up, and the truly magical qualities of the work are revealed. Each one of Lartigue’s fountains could almost be considered a kind of poem to water; they explore its ebb and flow and how it dresses solid sculptural forms such as marble, copper, bronze and granite. This enchanting dialogue between solid and liquid is seen in ‘La Bouche de la Vérité’ or ‘The Mouth of Truth’, a piece located in front of the Jussieu campus of the Sorbonne in Paris. Originally, the idea of ‘La Bocca della Verità’ dates back to the Roman period - you simply had to place your hand inside the mouth, and if it was bitten off, it would reveal you as a liar. Rather than internalising the secrets, Lartigue uses it in his work to expose the hidden water beneath the streets of Paris, acting as a kind of metaphysical portal between the subterranean and the surface, the conscious and the subconscious. It is through these optical illusions that memories can be evoked, and the secrets of a place can be unlocked through water, stone and metal. Throughout his life and career, Lartigue considered water a ‘friend’, and constantly sought to find a harmony between it and the physical world around him. Although fountains were his mainstay, Lartigue also created a monumental tapestry in 1982 from hanging coloured nylon cables from a large inner courtyard wall at Porte de Versailles. Sadly, the wall, along with the work, was destroyed by the owner fifteen years later. The tapestry may have been demolished, but his monumental water sculptures remain, becoming ever permanent in their settings, as if they were always there. We are pleased to include a water fountain by Guy Lartigue in our 27 October Design sale. This water feature is crafted from patinated brass and features a tiered construction, over a large metal rectangular basin, its scale perfectly formed for an interior water feature.

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Andre Parinaud, https://meublesetlumieres.com/creators/guy-lartigue. Last accessed 6 August 2026. Guy Lartigue, https://guylartigue.fr/sculpture-fontaine-paris-odeon-la-sphere-en-tranche-1977/. Last accessed 6 August 2026.

Design Tuesday 27 October 2026 | 10am design@sworder.co.uk

Asian and Islamic Art: A Kangxi Treasure Certain objects demand a moment of stillness - an opportunity to step back, admire their presence, and reflect on the skill and craftsmanship behind their creation. This blue and white rouleau vase is one such example. Produced in China during the reign of the Kangxi Emperor (1662-1722), the third emperor of the Qing dynasty and one of the longestreigning emperors in Chinese history, it belongs to a period widely regarded as a golden age of porcelain production. Kangxi porcelain is celebrated for its technical excellence, vibrant enamels, sophisticated decoration and artistic innovation. The use of cobalt blue, so masterfully achieved during this period, became one of the defining characteristics of Kangxi porcelain. However, the cobalt pigment itself did not originate in China, but rather was the result of a wider exchange of materials, knowledge and technologies through international trade networks, particularly those connecting China with Central Asia and Persia. Cobalt was valued across the Islamic world long before it became central to Chinese porcelain. High-quality cobalt ores from regions within the Islamic world were traded into China, particularly during the Yuan dynasty (1271-1368), when increased contact under the Mongol empire facilitated the movement of materials across Eurasia. Known in Chinese as qingliao (青料), meaning ‘blue material’, imported cobalt produced the intense blue tones that became highly prized by Chinese potters. At Jingdezhen, craftsmen combined this imported pigment with their advanced porcelain technology, developing the technique of painting cobalt beneath a transparent glaze to create the celebrated tradition of blue and white porcelain. The vase is painted in this distinctive underglaze blue, depicting four deer beside a winding river and three cranes perched among pine trees, all set within a continuous mountainous landscape. These motifs are far more than decorative elements; they convey layers of auspicious symbolism associated with longevity, prosperity, immortality, virtue and harmony with nature. Such imagery was especially favoured on scholar’s objects, imperial wares, and ceramics created as prestigious gifts, where decoration often carried deeper cultural meaning. Adding to the vase’s rarity is its distinguished provenance and connection to Dr Lowell Young, an American collector whose approach was defined by connoisseurship and quality. In November 2012, Marchant, the renowned London Asian art gallery founded in 1925, held an exhibition dedicated to Dr Young’s private collection, presenting 38 carefully selected examples of Ming and Qing blue and white porcelain. This vase was featured as no. 28 in the exhibition catalogue, a designation still evidenced by the original label preserved on its base. This finely crafted object will be offered for auction in our Asian and Islamic Art sale on Friday 6 November. Viewing will be available at our London Gallery from Friday 30 October to Wednesday 4 November.

Asian & Islamic Art Friday 6 November | 10am asianart@sworder.co.uk | 01279 817778

Tastemakers: Francis Bacon in his Battersea studio, 1960, by Cecil Beaton We are delighted to be offering a Cecil Beaton silver print of Francis Bacon in his Battersea studio, from 1960, in our upcoming inaugural auction Tastemakers: Modern and Contemporary Art & Design. Cecil Beaton (1904-1980) and Francis Bacon (1909-1992) were two of the defining cultural figures of twentieth-century Britain. Although they worked in very different media, both were remarkable figures whose distinctive visions shaped the visual language of their age: true tastemakers. Beaton established the ideal of elegance and sophistication through photography, fashion, theatre and design, while Bacon redefined modern painting with a raw, uncompromising aesthetic that transformed perceptions of portraiture and the human figure. Together, they occupied the centre of London’s post-war artistic and social circles, influencing not only how their contemporaries looked, but also how they understood beauty, identity and style. Beaton first came to prominence in the 1920s through his work for Vogue and Vanity Fair, quickly becoming the photographer of choice for royalty, aristocrats, artists and Hollywood stars. His carefully composed portraits and theatrical sense of glamour helped define an aspirational aesthetic that resonated far beyond the pages of magazines. As a costume and set designer, he extended this influence to the stage and screen, creating celebrated productions for ballet, opera and film, including the Academy Award-winning designs for My Fair Lady. With an extraordinary eye for composition, fashion and spectacle, Beaton became one of the foremost arbiters of taste of his generation, shaping the way elegance was imagined and represented throughout the twentieth century. Bacon’s influence was no less profound, though it operated in a radically different register. Rejecting conventional ideals of beauty, he developed a highly personal visual language of distorted figures and psychologically charged portraits that challenged the conventions of modern painting. His work captured the anxieties and complexities of the post-war era, while demonstrating that taste could be defined not only by refinement but also by emotional intensity and intellectual courage. Bacon’s uncompromising approach transformed figurative art and inspired generations of artists, collectors and critics, establishing him as one of the most influential cultural figures of his time. The two men shared overlapping social circles and a mutual admiration for each other’s work, often meeting in Soho and moving within the same artistic and literary milieu. Beaton photographed Bacon on several occasions, beginning in 1951 at Beaton’s country house, Reddish House in Wiltshire, and returning in 1959 and 1960 to photograph the artist in his Battersea studio at Overstrand Mansions. These later photographs have become some of the most iconic images of Bacon, presenting him amid the extraordinary disorder of the studio where many of his greatest paintings were conceived. In his diaries, Beaton memorably described the space as ‘a Dostoevsky shambles of discarded paints, rags, newspapers and every sort of rubbish’, observing how its apparent chaos stood in complete contrast to the elegance with which Bacon presented himself. Their artistic exchange culminated when Bacon painted Beaton’s portrait in the same studio. Expecting a flattering likeness, Beaton was dismayed by Bacon’s uncompromising interpretation and expressed his disappointment. Bacon, characteristically irreverent, destroyed the painting - a decision Beaton later regretted. The episode perfectly encapsulates the dynamic between these two extraordinary tastemakers: one celebrated for defining glamour and refinement, the other for challenging convention and revealing uncomfortable truths. Together, they represent two complementary visions of twentieth-century taste, each leaving an enduring mark on British art and culture.

Tastemakers: Modern and Contemporary Art & Design Tuesday 24 November 2026 | 10am matthewyeats@sworder.co.uk | brynsayles@sworder.co.uk

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A Regency giltwood convex mirror, circa 1820, the mirror plate enclosed within a moulded beaded frame, surmounted by an eagle above scrolling acanthus leaves 66cm wide, 24cm deep, 133cm high £2,000 - 4,000

A Louis XV-style coromandel lacquer and gilt-metal commode in the manner of Maison Millet, late 19th century, French, of bombé outline, the shaped serpentine brocatelle marble top above two long drawers, decorated throughout in the ‘le goût chinois’ 106cm wide, 49cm deep, 82cm high £6,000 - 8,000

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203 LOT 202 A near pair of Regency painted wooden klismos chairs, circa 1815, each concave top rail centred by a floral roundel, over a caned seat with a pink drop-in cushion, raised on tapering ring-turned front legs and sabre rear legs 59cm wide, 62cm deep, 86cm high (2) £2,500 - 3,500 LOT 203

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A Regency mahogany and brass wall clock by Leplastrier, London, circa 1810, with a 12-inch white enamel Roman dial, the strung case decorated with inlaid stylised foliate motifs 36cm wide, 16cm deep, 58cm high £600 - 800 LOT 204 A Regency mahogany hall bench, first quarter of the 19th century, the slender rectangular top with baluster ends, raised on tapering baluster legs 169cm wide, 31cm deep, 50cm high £600 - 800 LOT 205 A flat-weave wool carpet in the Scandinavian-style, of recent manufacture, inspired by the work of Märta Måås-Fjetterström, woven with repeating zigzags in pale tones 366 x 283cm £800 - 1,200

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Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

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206 LOT 206 A Regency amboyna and ebony-strung sofa table, circa 1810, the rectangular reeded top above two frieze drawers to each side, one fitted and one dummy, raised on outscrolling supports terminating in paw feet and castors fully extended 147cm wide, 68cm deep, 71cm high £1,000 - 1,500 LOT 207 A pair of Regency-style painted and parcel-gilt wooden elbow chairs, 20th century, each gilded top rail tablet centred by a mask flanked by winged lions, above a striped velvet drop-in cushion seat, flanked by scrolling parcel-gilt arms terminating in lion heads with paw feet supports, raised on part-fluted spiral splayed front legs and sabre back legs 58cm wide, 62cm deep, 89cm high (2) £1,200 - 1,800 LOT 208 A large Regency mahogany serving table in the manner of Thomas Hope, circa 1820, Irish, of breakfront outline, raised on leopard monopodia supports terminating in paw feet 260cm wide, 87cm deep, 103cm high £4,000 - 6,000

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LOT 209 A Regency silkwork embroidered map of England and Wales, early 19th century, worked by Elizabeth Coulson, depicting the counties of England and Wales, enclosed within an oval foliate border, inscribed verso ‘This map was embroidered by Elizabeth Coulson, who was born at Sherwood Hall, Yorkshire, on Nov. 3 1807...’ 50 x 42cm; framed and glazed 59.5 x 51.5cm £200 - 400

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A Regency tortoiseshell, ivory and silver-mounted tea caddy, first quarter of the 19th century, centred by a silver thistle cartouche, beneath a strung segmented hinged lid opening to reveal a pair of lidded storage compartments, raised on ball feet, with a label for Thomas Burn Hopgood of 202 Bishopsgate Street, London 20.5cm wide, 12.5cm deep, 19.5cm high £1,500 - 2,500

A Regency rosewood and brass library table, circa 1810, the oval surface of breakfront outline, inset with a black leather writing surface, over a brass-inlaid ebonised banded frieze with a pair of short drawers fitted to each long side, flanked by a single short drawer to each end, raised on reeded tapering legs terminating in brass caps and castors 138cm wide, 76cm deep, 73cm high £600 - 800

A pair of Regency-style rosewood and brass étagères, 20th century, each composed of two tiers, raised on tubular supports surmounted by acorn finials, and terminating in castors 51cm wide, 41cm deep, 64.5cm high (2) £2,000 - 4,000

A flat-weave wool carpet, of recent manufacture, inspired by the work of Colefax & Fowler, woven with repeating poppies to a pale ground 300 x 245cm £800 - 1,200

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

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A large Regency-style brass and glass hall lantern, 20th century, of hexagonal form, with six arms issuing light bulbs, surmounted by scrolling supports terminating in a chalice finial, fitted for electricity 65cm diameter, 122cm high £1,000 - 2,000

A Regency mahogany extending dining table by Thomas Butler, circa 1810, with a rounded rectangular top and five additional leaves, raised on tapering reeded legs, terminating in brass castors, with a stamp for ‘Butler’s, Patent, 14 Catherine Street, Strand, London’ 382cm wide, 142cm deep, 72cm high (6) £3,000 - 5,000

A set of eight Regency mahogany klismos dining chairs, circa 1820, comprising a pair of armchairs and six singles, each with strung Greek-key decoration, upholstered in black leather with gilt-brass detail, raised on sabre supports armchairs 57cm wide, 64cm deep, 87cm high (8) £600 - 800

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A pair of Regency-style beech bergère library armchairs, 20th century, each of tub form, the caned seat and back enclosed within a faux bamboo frame, raised on ring-turned tapering legs 58cm wide, 63m deep, 84cm high (2) £400 - 600

A Heriz wool carpet, 20th century, Persian, woven with geometric foliate motifs to a red ground 290 x 203cm £800 - 1,200

A pair of Regency-style brass and verre églomisé glass side tables, mid-20th century, in the manner of Maison Jansen, each of rectangular form with two tiers, raised on fluted supports with ‘X’-frame sides 55cm wide, 35cm deep, 49cm high (2) £2,000 - 4,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

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A Regency-style painted and parcel-gilt specimen marble coffee table, 20th century, with an inset specimen marble top, enclosed within a painted and gilded border, raised on splayed faux bamboo legs 60cm wide, 60cm deep, 44cm high £800 - 1,200

A George IV rosewood and brass side cabinet attributed to Gillows, circa 1830, of breakfront outline, with grille doors and cut-brass detail, raised on gadrooned bun feet 167cm wide, 44cm deep, 98cm high £7,000 - 9,000

A Mahal wool carpet, early 20th century, Persian, woven with geometric and foliate motifs to a red ground 416 x 332cm £800 - 1,200

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A large cast iron fireback, late 19th/early 20th century, depicting a lion beneath a thistle, flanked by a crowned rose and fleur-de-lys 79cm wide, 70cm high £200 - 400

A painted beech Sussex-style side chair, late 19th century, with a spindle back splat, above a rush seat flanked by outswept arms, raised on tapering legs united by stretchers, with a tie-on upholstered cushion seat 54cm wide, 47cm deep, 85cm high £400 - 600

A set of three stained-glass panels, circa 1900, comprising ‘Somerton’, ‘Glastonbury’ and ‘Ladies’, each in a lead frame Glastonbury 21.5 x 60cm (3) £200 - 400

An ash and elm comb-back Windsor armchair, late 18th century, West Country, with a moulded arm bow and an incised saddle seat, raised on spreading supports 58cm wide, 67cm deep, 97cm high £1,000 - 2,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

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LOT 227 A George I walnut and feather-banded bachelor’s chest, circa 1725, with a fold-over top above four long graduated drawers, raised on bracket feet 75cm wide, 32.5cm deep, 77.5cm high £1,500 - 2,000 LOT 228 A group of seven decoy ducks, 20th century, of various sizes, all painted in polychrome with impressed marks to base smallest 26cm wide, 11.5cm deep, 13cm high; largest 38cm wide, 18cm deep, 20cm high (7) £400 - 600 LOT 229 A pair of two-seater sofas, of recent manufacture, each with all-over crewelwork upholstery and a tasselled border 158cm wide, 89cm deep, 75cm high (2) £800 - 1,200

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LOT 230 A Charles II oak coffer, circa 1680, the front centred by three arched panels, with a hinged panelled lid enclosing a void interior space, decorated throughout with carved geometric detail, raised on square chamfered supports 132cm wide, 54cm deep, 67cm high £800 - 1,200

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LOT 234

An ash Windsor chair, 19th century, with a hooped stick-back over a dished seat, raised on splayed legs, with traces of paint 57cm wide, 57cm deep, 83cm high £400 - 600

A Victorian scumbled pine linen press, second half of the 19th century, the stepped cornice over two panelled doors enclosing shelves, above two short frieze drawers and a further pair of cupboard doors, raised on turned feet 118cm wide, 50cm deep, 196cm high £800 - 1,200

A pair of George II-style painted metal and glass wall lanterns by Colefax & Fowler, of recent manufacture, each of convex outline, with a twin mirrored back and bulbous baluster lamp holder, enclosed behind a removeable glass pane, fitted for electricity 25.5cm wide, 18cm deep, 30.5cm high (2) £300 - 500

An ash stick-back chair, 19th century, with a thick slab seat, raised on splayed legs united by stretchers 59cm wide, 54cm deep, 85cm high £200 - 400

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

235

237

238

236 LOT 235

LOT 236

LOT 237

LOT 238

A pair of golden oak hall chairs, mid-19th century, each with a moulded shield-shaped back and serpentine seat, raised on ring-turned supports 39cm wide, 49cm deep, 88cm high (2) £500 - 700

A Victorian mahogany apothecary cabinet, late 19th century, consisting of an arrangement of thirty labelled drawers, each with glass knobs 183cm wide, 23cm deep, 61cm high £600 - 800

A primitive elm cheese-top cricket table, 19th century, with a thick circular top raised on splayed legs 63cm diameter, 73cm high £250 - 350

A pair of featherwork and watercolour bird pictures, 19th century, depicting a waxwing and a great tit waxwing 22 x 17cm, framed and glazed 27 x 22cm; great tit 22.5 x 16.5cm, framed and glazed 30 x 24cm (2) £300 - 500

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

239

241

240

242

LOT 239

LOT 240

LOT 241

LOT 242

A vernacular elm and beech Windsor armchair, early 19th century, West Country, with a three-part arm and a low stick-back splat, above a saddle seat flanked by outscrolling arms, raised on tapering baluster legs 68cm wide, 49cm deep. 73cm high £300 - 500

A Renaissance walnut draw-leaf table, late 16th century and later, French, with a rectangular top above a floral and foliate-moulded frieze, with an architectural base supported on reeded and fluted columns, united by a moulded ‘H’-stretcher with acanthus scroll feet, with historic restorations 229cm wide, 82cm deep, 82cm high when open; 129cm wide when closed £3,000 - 5,000

An oak tester bed, 17th century and later, with baluster supports, the carved backboard decorated with scrolling foliate detail and centred by a pair of arches, flanked on either side by caryatids, includes later crewelwork pillow and duvet 139cm wide, 224cm deep, 188cm high £800 - 1,200

A Queen Anne walnut bureau bookcase, circa 1710, the moulded projecting cornice over arched mirrored doors, enclosing a fitted interior comprising a shelf and an arrangement of pigeonholes and drawers, the lower section with a fall-front drawer enclosing further pigeonholes and drawers, over two short and two long crossbanded drawers, raised on bracket feet 80cm wide, 47cm deep, 188cm high £1,200 - 1,500

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

243

244

245

246

LOT 243

LOT 244

LOT 245

LOT 246

An ash and elm comb-back Windsor armchair, second half of the 18th century, Thames Valley, with a central vase-shaped splat, above a saddle seat and spreading supports 62cm wide, 63cm deep, 109cm high £500 - 700

A mahogany cased servants’ bellboard, circa 1900, inscribed ‘Harry Smith, St Albans, Phone: 1880’ 39cm wide, 8cm deep, 27cm high £200 - 400

A George III oak dresser base, mid-18th century, with three short frieze drawers over two long drawers flanked by panelled cupboard doors enclosing a shelved interior, raised on block feet 191cm wide, 59cm deep, 83cm high £800 - 1,500

An ash Windsor chair, 19th century, of typical stick-back form, raised on four splayed legs 61cm wide, 60cm deep, 94cm high £400 - 600

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

249

247

248 LOT 247

LOT 248

LOT 249

Two pairs of crewelwork curtains, of recent manufacture, lined, the cream ground decorated with polychrome foliate detail 167cm wide, 210cm drop (4) £300 - 500

A Charles II fruitwood and pine side table, circa 1680 the moulded rectangular surface over a single long panelled frieze drawer, raised on turned baluster legs united by stretchers 91cm wide, 63cm deep, 67cm high £400 - 600

A walnut-framed leather wing armchair, 18th century, Spanish, with a high wing back over a stuffover seat, raised on square notched supports united by stretchers 63cm wide, 54cm deep, 124cm high £400 - 600 LOT 250 Spare lot

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

254

251

252

253

LOT 251

LOT 252

LOT 253

LOT 254

A late George III yew and elm Windsor chair, circa 1800, north-east Midlands, of typical stick-back outline, with a pierced vasiform splat over a saddle seat, raised on ring-turned splayed legs, united by a crinoline stretcher 55cm wide, 54cm deep, 91cm high £300 - 500

A Queen Anne walnut chest-on-stand, circa 1710, with two short over three long graduated drawers, mounted on an arched stand with a fitted frieze drawer, and baluster legs united by stretchers 103cm wide, 61cm deep, 151cm high £500 - 700

A pair of Victorian-style leather wing armchairs, 20th century, each covered in green leather upholstery, with a buttoned back over a drop-in cushion seat flanked by roll arms, raised on straight chamfered legs united by stretchers 85cm wide, 82cm deep, 109cm high (2) £500 - 800

A painted beech ‘Gibson’ chair, 19th century, Irish, with a concave top rail over a stick back splat, raised on splayed legs, with traces of original paint 61cm wide, 72cm deep, 87cm high £200 - 400

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

255

256

257

258

LOT 255

LOT 256

LOT 257

LOT 258

A Sorrento walnut and olivewood occasional table, 19th century, the revolving circular crossbanded top centred by a figural scene depicting a gentleman and lady in period dress, enclosed within concentric geometric borders, over a short frieze drawer and baluster stem, terminating in a scrolling tripod base 60cm wide, 74cm high £200 - 400

A needlework picture, late 17th century, depicting figures, a lion, birds, insects and flowers, appliquéd on to a silk satin ground framed and glazed 56 x 60cm £300 - 500

An oak metamorphic chair table, early 18th century, Welsh, the arched top rail over a panelled back, with a wide seat extending to a hinged drop-leaf, raised on turned baluster gateleg supports 62cm wide, 55cm deep, outfolded 84cm deep, 102cm high £300 - 500

A Heriz wool runner, 20th century, Persian, decorated with geometric and foliate motifs to a red ground 421 x 68cm £800 - 1,200

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

262

259

260

261 LOT 259 A beechwood longcase clock by James Wady, Newport, circa 1740, with a later case, the 11½-inch brass dial set with Roman numerals and Arabic five-minute markers, with a date aperture, subsidiary seconds dial, alarm dial and strike/silent dial, fitted with an eight-day striking movement, all housed within a carved case decorated throughout with scrolling foliate detail, raised on paw feet 55cm wide, 32cm deep, 224cm high £1,000 - 2,000 James Wady was probably born in London around 1706 and is believed to have trained there before emigrating to North America. By about 1729, he was working in Newport, Rhode Island, as a journeyman for the celebrated clockmaker, William Claggett (1696-1749). Wady remained associated with the Claggett workshop www.sworder.co.uk

for nearly two decades and became its best-known employee. He later married Claggett’s daughter, Mary, strengthening the family connection. After William Claggett’s death in 1749, Wady attempted to establish himself as an independent clockmaker. His surviving work shows a high level of technical skill and often follows the distinctive ‘Newport’ style developed in the Claggett shop, including elaborate tall-case clocks with tide indicators, moonphase displays and finely engraved brass dials. Only a small number of clocks signed by Wady are known today, making his work relatively rare and highly valued by collectors and museums. A longcase clock with a near-identical dial signed by Wady realised $666,000 at Christie’s New York, ‘Important American Furniture, Silver and Folk Art’, 18-19 January 2002, lot 388.

LOT 260

LOT 261

LOT 262

A set of nine Charles II-style oak dining chairs, 20th century, each covered in red leather studded upholstery, the stuffover seat raised on baluster barley-twist legs united by stretchers 47cm wide, 58cm deep, 92cm high (9) £400 - 600

A large elm farmhouse kitchen table, late 18th/early 19th century, the plank top above a frieze drawer fitted to one short end, raised on square chamfered legs united by stretchers 274cm wide, 84cm deep, 74cm high £1,500 - 2,500

A vernacular mahogany and oak occasional table, 19th century, with a circular top, a faceted column and a quadripartite base 46cm diameter, 55cm high £200 - 400

FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

263

264

265

266 LOT 263

LOT 264

LOT 265

LOT 266

A woolwork picture of a stag, first quarter of the 19th century, depicting a recumbent stag in a landscape setting, with trees and a house in the distance 23.5 x 28.5cm; framed and glazed 33.5 x 38.5cm £500 - 700

A late George III fruitwood, ash and elm Windsor chair, circa 1800, Thames Valley, the shaped top rail over a stick back centred by a vasiform splat, above a wide saddle seat, raised on splayed legs united by stretchers 59cm wide, 56cm deep, 104cm high £800 - 1,200

A carved giltwood dove, 19th century, modelled in an upright position, with a suspension ring affixed to the rear 12cm wide, 15cm deep, 34cm high £200 - 400

A modernist wool carpet, of recent manufacture, woven with linear decoration in pale tones to a blue ground 294 x 190cm £600 - 800

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

267

268

269

LOT 267

LOT 268

LOT 269

A William IV mahogany longcase clock by J Warr, Greenock, circa 1830, the white enamel 12-inch Roman dial with subsidiary seconds and date dials, enclosed within a drumhead hood, surmounted by scrolling acanthus leaves and centred by a cartouche, over a tapering fluted column trunk 54cm wide, 29cm deep, 219cm high £800 - 1,200

A painted ash and elm Windsor chair, circa 1820, West Country, Yealmpton, with a hoop back and applied arms, raised on splayed legs united by stretchers, retaining traces of original green paint 51cm wide, 45cm deep, 90cm high £400 - 600

A collection of eight botanical studies, early 20th century, watercolour and gouache, each depicting flowers and butterflies 20.5 x 26.5cm; 32.5 x 38.5cm framed (8) £600 - 800

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FURNITURE AND WORKS OF ART 1 5 5 - 2 7 6

270

272

271

273

LOT 270

LOT 271

LOT 272

LOT 273

A George I-style mahogany tripod chair, late 19th century, with a vasiform splat over a curved stuffover leather seat, the front carved cabriole leg terminating in a ball-and-claw foot, the rear legs terminating in pad feet 50cm wide, 59cm deep, 94cm high £1,000 - 2,000

A baroque walnut cabinet, late 17th/early 18th century, French, Alsace, twin-handled, fitted with an arrangement of rippled-moulded drawers, the central pair of panelled cupboard doors enclosing three short drawers over a void interior space, the base fitted with two drop-down doors opening to reveal further void storage compartments 112cm wide, 43cm deep, 79cm high £2,000 - 4,000

An early Victorian mahogany bracket clock by Brysons, Edinburgh, circa 1840, with an 8½-inch silvered Roman dial enclosed within an architectural case, fitted with a two-train movement striking on a bell 34.5cm wide, 18cm deep, 42.5cm high £300 - 500

A Karabagh flat-weave wool rug, 20th century, Caucasian, decorated with foliate detail to a red ground, within a border of flower head motifs 244 x 138cm £1,000 - 2,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

1 5 5 - 2 7 6 FURNITURE AND WORKS OF ART

274

275

276

LOT 274

LOT 275

LOT 276

A painted birdcage, late 19th century, French, of architectural form, surmounted by tapering finials throughout, with a carry handle 63cm wide, 25cm deep, 63cm high £300 - 500

A late Victorian leather armchair, circa 1890, the square buttoned back over a wide stuffover seat flanked by scrolling arms, raised on turned tapering legs terminating in castors 83cm wide, 85cm deep, 86cm high £400 - 600

A William IV mahogany occasional table, circa 1835, in the manner of Gillows, the hexagonal verre églomisé top depicting Scarborough Castle, raised on a spiral-twist column terminating in a tripartite base 49cm diameter, 69cm high £300 - 500

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A PR IVATE COLLECTION OF CLOCK S FROM THOR NTON HOUSE, CLAR E, SUFFOLK LOTS 2 7 7 - 2 8 7

278

277

279

2 7 7 - 2 8 7 A PRIVATE COLLECTION OF CLOCKS FROM THORNTON HOUSE, CLARE, SUFFOLK

LOT 277 A William & Mary ebonised longcase clock by Thomas Johnson, Ratcliff Cross, circa 1690, of architectural form, the sloped pediment above an 11-inch brass dial with a silvered Roman chapter ring and date aperture, flanked by floral and cherub spandrels, fitted with a 30-hour movement 48.5cm wide, 25.5cm deep, 208cm high £600 - 800 LOT 278 A William III brass lantern clock, circa 1700, unsigned, the pierced fretwork pediment above a 7-inch Roman chapter ring, with a weight-driven birdcage movement striking on a bell, mounted on a carved oak wall bracket decorated with a lion 17.5cm wide, 15cm deep, 30cm high, bracket 54cm high £400 - 600 LOT 279 A William III brass lantern clock by John Clowes, London, circa 1700 and later, with a 6½-inch Roman dial and subsidiary 12-hour dial, enclosed within a pierced pillared case decorated with foliate detail and surmounted by a turned finial, with latched side doors, fitted with a Victorian spring-driven two-train movement 16.5cm wide, 15cm deep, 41cm high £300 - 500 LOT 280 A Queen Anne marquetry longcase clock by Sam Barrow, Hermatage, London, circa 1710, the case decorated throughout with seaweed and floral marquetry, the silvered chapter ring set with Roman numerals and Arabic five-minute markers, with a subsidiary dial, date aperture and ringed winding holes, all flanked by scrolling foliate and cherub spandrels, with an eight-day movement and quarter striking on five bells 49cm wide, 27cm deep, 236cm high £5,000 - 8,000

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280

A PRIVATE COLLECTION OF CLOCKS FROM THORNTON HOUSE, CLARE, SUFFOLK 2 7 7 - 2 8 7

LOT 281 A Queen Anne Anglo-Dutch walnut longcase clock by Fromanteel & Clarke, circa 1710, the 10-inch brass dial set with a silvered Roman chapter ring and apertures for day and date, the eight-day movement with alarm, striking the half-hours on a bell via an inside countwheel strike, fitted with an anchor escapement and latches to the dial feet and five ringed pillars, with a separate sub-assembly to the right-hand side of the plates for the alarm, the case fitted with an oval lenticle and surmounted by a scrolling foliate crest 47.5cm wide, 29cm deep, 228cm high £5,000 - 7,000

281

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 7 7 - 2 8 7 A PRIVATE COLLECTION OF CLOCKS FROM THORNTON HOUSE, CLARE, SUFFOLK

282 LOT 282 A brass winged lantern clock by Joseph Windmills, London, late 17th century, the four-pillar domed top above a 6½-inch silvered Roman chapter ring and subsidiary 12-hour dial, flanked by winged doors surmounted by pierced fretwork mounts, with a weight-driven movement fitted with an alarm, the case mounted on a later wall bracket 30cm wide, 18cm deep, 37.5cm high, bracket 53.5cm high £3,000 - 5,000 LOT 283 A walnut month-going longcase clock by Markewick, London, 17th century and later, the 12-inch brass dial with subsidiary moonphase, date aperture and ringed winding holes, the silvered chapter ring with Roman numerals and Arabic five-minute markers, the movement with inside rack striking, surmounted by a caddy top with gilt ball finials 51cm wide, 27cm deep, 242cm high £4,000 - 6,000 LOT 284 A George II seaweed marquetry longcase clock by Sam Bradley, Worcester, circa 1750, the moulded projecting cornice above a blind-fret frieze, and 12-inch brass dial set with a silvered chapter displaying Roman numerals and Arabic five-minute markers, with a subsidiary seconds dial, date aperture and scrolling foliate spandrels surmounted by a crown flanked by cherubs, the trunk door, set with a lenticle, and case decorated throughout with seaweed marquetry and crossbanded detail, with an eight-day movement 53cm wide, 27cm deep, 222cm high £1,000 - 2,000

283

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284

A PRIVATE COLLECTION OF CLOCKS FROM THORNTON HOUSE, CLARE, SUFFOLK 2 7 7 - 2 8 7

285

287 LOT 285 An oak longcase clock by John Tribe, Thackham, mid-18th century, the carved slender case enclosing a hook-and-spike escapement, with a brass Roman dial set with foliate fretwork spandrels 40cm wide, 22.5cm deep, 207cm high £800 - 1,200 LOT 286 A brass lantern clock by William Donning, Petworth, first quarter of the 18th century, the pierced four-pillar domed top surmounted by a turned finial, above a silvered Roman chapter ring flanked by latched doors, enclosing a weight-driven movement, mounted on a later mahogany wall bracket 16cm wide, 14.5cm deep, 37cm high, bracket 53cm high £500 - 800 LOT 287 A George II lacquer and parcel-gilt longcase clock by Nathaniel Hedge, Colchester, circa 1760, the case decorated throughout in the chinoiserie taste, with a silvered chapter ring set with Roman numerals and interspaced with fleur-de-lys motifs, fitted with a 30-hour single-hand birdcage movement 51cm wide, 26cm deep, 211cm high £600 - 800

286

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

FUR NITUR E AND WOR K S OF ART LOTS 2 8 8 - 4 0 8

288

291

289

290

LOT 288

LOT 289

LOT 290

LOT 291 

A Regency-style patinated metal hall lantern, 20th century, of rectangular form, with a foliate finial and pierced detail, with four glass panes enclosing a pricket candle sconce 30.5cm wide, 30.5cm deep, 61cm high £300 - 500

A George III mahogany cockpen armchair, late 18th century, Scottish, the lattice back over a concave stuffover seat covered in black geometric horsehair upholstery, raised on front cluster column legs, united by stretchers 56cm wide, 55cm deep, 85cm high £300 - 500

A Regency mahogany, rosewood and parcel-gilt centre table, circa 1815, in the manner of Henry Holland, the crossbanded circular tilt top raised on a parcel-gilt fluted column, terminating in a tripartite base with paw feet 113cm diameter, 73cm high £2,000 - 4,000

An export gold lacquered workbox, second quarter of the 19th century, Chinese, Fuzhou, of irregular octagonal outline, with a hinged lid enclosing a detachable storage tray composed of various compartments with ivory fittings, over a short drawer enclosing further compartments, flanked by twin handles and raised on gilt feet in the form of Buddhist lions, decorated with all-over polychrome foliate detail on a gold ground 38cm wide, 26cm deep, 19cm high £3,000 - 5,000

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

292

293

294

295

LOT 292

LOT 293

LOT 294

LOT 295

An export painted leather chest, late 19th century, Chinese, the hinged lid enclosing a void interior, decorated throughout with floral motifs 90cm wide, 46cm deep, 41cm high £300 - 500

A pair of giltwood wall brackets, late 19th/early 20th century, each with a moulded demilune top over a beaded border, raised on a scrolling acanthus support 23.5cm wide, 14.5cm deep, 24.5cm high (2) £600 - 800

A George III-style mahogany Gainsborough library armchair, late 19th century, covered in green damask silk upholstery, the square back over a wide seat flanked by outscrolling arms, enclosed within a blind-fret carved frame decorated with scrolling foliate detail 73cm wide, 80cm deep, 102cm high £2,000 - 4,000

A Kashan wool carpet, circa 1930, Persian, woven with palmettes and stylised foliate motifs to a pale ground 426 x 327cm £3,000 - 5,000

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

296

299

297

298 LOT 296

LOT 297

LOT 298

LOT 299

Four hand-painted delft-style plates by Isis Ceramics, late 20th century, for Sibyl Colefax and John Fowler, comprising two from the ‘Exotic Animal’ series, depicting an elephant and rhinoceros respectively, and two examples decorated with pastoral scenes, each with marks to base 27cm diameter (4) £300 - 500

An ebonised hardwood armchair, late 19th century, probably Anglo-Indian or Anglo-Ceylonese, of tub form, the flared top rail over a pierced back and spindle splat, with an upholstered circular seat decorated with geometric detail, raised on sabre legs united by an ‘X’-framed stretcher 48cm wide, 54cm deep, 84cm high £500 - 700

A Regency-style mahogany and rosewood dining table, 20th century, the crossbanded oval top raised on a quadripartite base, terminating in brass caps and castors 243cm wide, 176cm deep, 72cm high £1,000 - 2,000

A large silver ewer and basin, 20th century, Turkish, each with embossed scrolling foliate decoration throughout, stamped ‘MELDA 925’, 118ozt ewer 18cm wide, 25cm deep, 35.5cm high; basin 46cm diameter, 14cm high; total 118ozt (2) £3,000 - 5,000

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

300

301 LOT 300 A William IV marble-topped occasional table, circa 1830, the inlaid circular black marble top decorated with neoclassical motifs including chariots and cherubs, raised on a carved tapering column, terminating in a tripartite base with paw feet 57cm diameter, 75cm high £400 - 600 LOT 301 A pair of Regency mahogany elbow armchairs, circa 1820, probably Irish, in the manner of Mack, Williams & Gibton, each turned reeded top rail above a lattice back rail, over a red leather stuffover seat, flanked by reeded scrolling arms terminating in paw feet supports, raised on part-fluted spiral splayed front legs and sabre rear legs 53cm wide, 63cm deep, 88cm high (2) £1,500 - 2,500 LOT 302 A late George III satinwood pier cabinet, circa 1800, the shaped marble top over a fitted frieze drawer, above grille doors enclosing a shelved interior, flanked on either side by baluster columns, raised on turned tapering feet 140cm wide, 43cm deep, 85cm high £4,000 - 6,000

302

LOT 303 A pair of carved ebony stools, mid-19th century, Anglo-Ceylonese, each sectional caned seat enclosed within a scrolling reeded frame decorated with floral roundels, raised on outscrolling paw feet 142cm wide, 66cm deep, 48cm high (2) £2,000 - 4,000

303

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

304

305

LOT 304 An ebony centre table, second quarter of the 19th century, Ceylonese, the moulded circular marble top raised on a fluted column support, terminating in a quadripartite base with turned bun feet 122cm diameter, 76.5cm high £2,500 - 3,500 LOT 305 A George III mahogany dressing chest, circa 1770, of serpentine outline, the moulded, crossbanded and strung top over a fitted drawer and three further long graduated drawers, terminating in ogee bracket feet 98cm wide, 62cm deep, 84cm high £700 - 900 LOT 306 A lacquered wood and riverstone centre table, early 20th century, Chinese, with a rectangular variegated inset top, raised on tapering square supports 180cm wide, 89cm deep, 77cm high £1,000 - 2,000 LOT 307 A late Victorian walnut club armchair by Howard & Sons, circa 1890, upholstered in blue chequered fabric by Nina Campbell, raised on ring-turned front supports terminating in brass castors, the rear legs and castors stamped 81cm wide, 113cm deep, 72cm high £2,000 - 3,000

306

307

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

308

309

310

311

LOT 308

LOT 309

LOT 310

LOT 311

A cotton dhurrie carpet, mid-20th century, Indian, woven with geometric motifs in pastels to a pale-blue ground 351 x 261cm £800 - 1,200

A pair of cotton Vaughan curtains, of recent manufacture, lined and interlined, decorated with red and white geometric motifs 235cm wide, 180cm drop (2) £300 - 500

A William and Mary-style scarlet and gilt-japanned mirror, 19th century, of rectangular outline, with a cushion frame decorated with chinoiserie motifs, enclosing a bevelled glass plate 86cm wide, 7cm deep, 79cm high £800 - 1,200

A Victorian teak and brass-bound campaign chest, 19th century, composed of two sections, the upper section with two short drawers, a long drawer, and a secretaire drawer with a leather writing surface and stationery compartments, the lower section with two long graduated drawers, raised on baluster feet 99cm wide, 50cm deep, 114cm high £800 - 1,200

100

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

312

313

314

315

LOT 312

LOT 313

LOT 314

LOT 315

A satinwood and ebony centre table, early 20th century, Ceylonese, the detachable rectangular top raised on barley-twist legs united by a wavy ‘X’-shaped stretcher 182cm wide, 76cm deep, 80cm high £2,000 - 4,000

A flat-weave wool carpet of Anatolian design, of recent manufacture, woven with repeating geometric motifs in polychrome tones 297 x 198cm £600 - 800

A pair of Regency-style mahogany and parcel-gilt pier tables, 20th century, each with a Siena marble top over a mirror back, flanked by spiral-twist supports and raised on reeded ball feet 92cm wide, 28cm deep, 88.5cm high (2) £1,000 - 1,500

A set of five cushions by Birdie Fortescue, of recent manufacture, of Indian block-printed cotton, decorated with marigolds on a white ground, each with a yellow backing 39 x 56cm (5) £300 - 500

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101

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

316

319

317

318

LOT 316 

LOT 317

LOT 318

LOT 319

A near pair of carved teak, bone and ivory side tables, early 20th century, Indian, each circular top with carved detail, raised on elephant-head supports, with bone and ivory tusks approximately 64cm diameter, 64cm high (2) £300 - 500

A George III-style mahogany silver table, late 19th/early 20th century, in the ‘Chinese Chippendale’ taste, decorated with pieced fretwork throughout 78cm wide, 48cm deep, 77cm high £800 - 1,200

A satinwood and ebony cupboard, 19th century, Ceylonese, the projecting cornice over ebony-beaded panelled cupboard doors, enclosing a shelved interior, flanked by turned baluster columns, above an ogee-shaped base set with two short drawers with bone detail, lacking handles 151cm wide, 47cm deep, 183cm high £1,500 - 2,000

A reverse glass painting, 19th century, Chinese, depicting figures in traditional dress 40.5 x 56.5cm; framed 53.5 x 69.5cm £300 - 500

Provenance: David Djanogly (1938-2026).

102

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

320

321

322

323

LOT 320

LOT 321

LOT 322

LOT 323

A glazed earthenware vase in the manner of Minton Pottery, late 19th century, possibly by Charles Toft, of cylindrical form, decorated in the Japanese taste with birds, butterflies and foliage on a purple-red ground with gilt highlights, mounted on an ebonised base 16cm diameter, 21cm base diameter, 38.5cm high £1,000 - 1,500

A Queen Anne-style green and gilt-japanned dressing table mirror, late 19th/early 20th century, the arched bevelled mirror plate enclosed within a frame decorated throughout with chinoiserie motifs, terminating in scroll feet and fitted with a strut 59cm wide, 4cm deep, 70cm high £200 - 400

A Regency mahogany library table, circa 1820, the surface with an inset rectangular gilt-tooled leather skiver, over three frieze drawers fitted to either side, raised on reeded supports terminating in castors, the supports united by a central turned stretcher 137cm wide, 105cm deep, 74cm high £1,500 - 2,500

A Qum wool carpet, circa 1930, Persian, the central ivory field decorated with arabesque and foliate detail 310 x 218cm £2,500 - 3,500

A loosely similar pair by Toft for Minton realised $20,000 at Christie’s, New York, ‘500 Years: Decorative Arts Europe’, 17-18 October 2012, lot 560.

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

324

325

326

LOT 324

LOT 325

LOT 326

Two reverse glass pictures, late 19th/early 20th century, Chinese, one of a seated lady in traditional attire holding a fan, accompanied by a child with fruit, the other depicting children at play 48.5 x 33.5cm; framed 54.5 x 39.5cm (2) £300 - 500

A lacquered table lamp, 20th century, with a bulbous baluster stem raised on a domed base, decorated throughout with chinoiserie motifs 28.5cm base diameter, 82cm high £200 - 400

A pair of ebony side tables, 19th century, Anglo-Ceylonese, each with an ogee moulded circular top, raised on a turned baluster column terminating in a tripod base 63cm diameter, 79cm high (2) £800 - 1,200

104

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

327

329

328 LOT 327

LOT 328

LOT 329

An Oushak wool carpet, early 20th century, Anatolian, woven with a central medallion to a red and yellow ground 286 x 233cm £400 - 600

A carved ebony settee, mid-19th century, Anglo-Ceylonese, the caned seat and back enclosed within a scrolling reeded frame, decorated with shell motifs, raised on tapering baluster legs 233cm wide, 77cm deep, 102cm high £2,500 - 3,500

A Damascus-style walnut and bone-inlaid Savonarola settee, late 19th/ early 20th century, Italian, with a shaped back and rectangular seat, decorated throughout with geometric motifs, raised on scrolling supports 119cm wide, 52.5cm deep, 91.5cm high £500 - 700

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

LOT 330 A painted and parcel-gilt wooden and cast iron strongbox, 17th century and later, the hinged lid enclosing a steel and iron-clad interior, decorated all over with foliate strapwork, simulated tortoiseshell and chinoiserie motifs, fitted with a pair of large carry handles, on a later painted and parcel-gilt wooden stand strongbox 80cm wide, 60cm deep, 60cm high, 79cm high including stand (2) £15,000 - 25,000 Provenance: The Arkwright family, Kinsham Court, Herefordshire. Strongboxes were commonly used in the 17th century to safeguard valuables such as coins, jewellery and important documents. Effectively the precursor to the modern safe, they served the same function and were used by the likes of merchants, wealthy families, banks and members of the clergy. Most typical strongboxes were produced in Central Europe, mainly coming from Germany, Austria and Bohemia, with cities such as Nuremberg and Augsburg emerging as the de facto capitals of strongbox production. Typically constructed from iron and reinforced with thick strapwork and rivets, many were decorated with pierced or engraved detail, typically depicting floral or geometric motifs and often personalised to include a coat of arms or other heraldic devices. This example is intricately decorated in such a manner, richly showcasing foliate, gilded and chinoiserie designs. Beyond its notable craftsmanship, this piece is further enhanced by its compelling provenance, emanating from the prominent Arkwright family of Kinsham Court, Herefordshire. Luminaries of the family include Sir Richard Arkwright (1732-1792) who was a key figure in the Industrial Revolution, responsible, alongside John Kay, for the development of the spinning frame used to spin thread or yarn. His great-great-grandson, Sir John Stanhope Arkwright (1872-1954), was Member of Parliament for Leominster from 1900 to 1912 and authored the First World War hymn, ‘O Valiant Hearts’. In 1911, Sir John purchased Kinsham, beginning the family’s association with the house. Located approximately three miles from the Welsh town of Presteigne, Kinsham is a Grade II listed Georgian house constructed in the early 18th century. Originally owned by the Harley family, scions of the Earls of Oxford, the house’s eclectic history perhaps gained its strongest acclaim through its association with the poet Lord Byron (1788-1824). Byron rented the house for a six-month period from October 1812 and wrote of Herefordshire, this ‘county is very much to my taste...I have taken a seat of Ld. Oxford’s’. Byron consistently spoke highly of his time at Kinsham, stating that ‘I always feel happier here or at Newstead than elsewhere’. He ‘left his mark’ on Kinsham quite literally by etching his signature into an upstairs window. Undoubtedly, Byron had a strong affection for his time at Kinsham and his period in Herefordshire was an important, albeit brief, chapter in his life story.

106

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

332

331

333

334

LOT 331

LOT 333

A Rapa Nui dance paddle or ‘rapa’, first half of the 20th century, Easter Island, carved wood, of figural form, with two blade-shaped lobes 120.3cm long £4,000 - 6,000

A bronze sculpture of a hand, late 19th/early 20th century, with the index finger and wrist adorned with jewellery, mounted on a slender plinth base 13.5cm wide, 8cm deep, 4.5cm high £200 - 400

LOT 332

LOT 334

Martín Chambi (Peruvian, 1891-1973) ‘Fiesta Familiar, Cusco 1930’ and ‘Ezequiel Arce y su cosecha de papas, Cusco 1924’ two gelatin silver prints, later printed, each stamped verso and numbered 1/4 ‘Ezequiel’ 31 x 46cm; ‘Fiesta’ 33 x 46cm; framed and glazed 50 x 62cm (2) £300 - 500

A silver part dinner service, 20th century, Peruvian, comprising twelve dinner plates with twelve matching side plates, each with a notched scalloped border, stamped ‘STERLING 925 PERU’ small plates 16.5cm diameter; large plates 27.5cm diameter; 287ozt (24) £8,000 - 10,000

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107

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

335

336

337 LOT 335

LOT 336

LOT 337

A large Louis XIV-style boulle and ormolu bracket clock, 19th century, the 9½-inch brass dial set with enamelled Roman numerals and an engraved seconds track, enclosed within an arched case decorated with boulle marquetry and scrolling foliate and acanthus detail throughout, surmounted by an angel playing the trumpet, raised on scrolling supports 40cm wide, 17cm deep, 92cm high £200 - 400

A pair of cut-glass and gilt-metal wall lights, 20th century, in the manner of Maison Baguès, each frame decorated throughout with branches and petals, issuing three candle branches with droplets 34cm wide, 19cm deep, 49cm high (2) £400 - 600

A pair of Louis XV-style kingwood, marquetry and ormolu pier cabinets, second half of the 19th century, French, each with a shaped inset marble top, over a panelled cupboard door centred by a pastoral scene and opening to reveal a shelved interior, flanked on either side by canted edges surmounted by masks, decorated throughout with scrolling foliate ormolu mounts 79cm wide, 44cm deep, 99cm high (2) £12,000 - 18,000

108

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

338

339

340

341

LOT 338

LOT 339

LOT 340

LOT 341

A leather jewellery box, mid-20th century, the hinged lid fitted with a tubular gilt-brass mount, opening to reveal a void silk-lined interior 22.5cm wide, 19cm deep, 9cm high £200 - 400

A pair of Louis XVI-style carved marble and ormolu table lamps, late 19th century, French, each of urn form, the body decorated with a ribbon-tied floral garland swag and flanked on either side by satyr masks, mounted on a stepped gilded base 34cm wide, 29cm deep, 64cm high (2) £2,000 - 4,000

A flat-weave wool carpet of Anatolian design, of recent manufacture, woven with repeating geometric motifs in polychrome colours 248 x 167cm £300 - 500

A neoclassical giltwood and gesso pier mirror, late 18th century, Italian, the feather-crested and notched frame with scrolling foliate detail, enclosing a rectangular mercury glass plate 52cm wide, 3cm deep, 109cm high £300 - 500

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

342

343

344

345

LOT 342

LOT 343

LOT 344

LOT 345

A pair of Empire-style mahogany-framed armchairs, late 19th/early 20th century, each covered in antique gold upholstery, the wide stuffover seat flanked by downscrolling arms, raised on sabre legs 57cm wide, 65cm deep, 90cm high (2) £400 - 600

A Louis XV-style painted bedside dressing table, late 19th/early 20th century, French, the painted top depicting a pastoral scene in the ‘fête galante’ style, opening to reveal a blue baize-lined mirrored dressing surface, above three drawers decorated with foliage, raised on slender cabriole legs terminating in sabots 51cm wide, 40cm deep, 82cm high £500 - 700

A Régence carved giltwood centre table, first quarter of the 18th century, French, the rectangular rouge marble top over a heavily carved frieze, decorated with scrolling acanthus leaves, foliage and rocaille detail, raised on cabriole legs surmounted by cherub masks, the legs united by a wavy ‘X’-stretcher, terminating in scrolled feet 131cm wide, 73cm deep, 83cm high £4,000 - 6,000

A matched pair of Louis XV-style mahogany and ormolu side tables, late 19th century, French, each with a shaped serpentine rouge marble top, over an undertier enclosed within a pierced gallery border, raised on slender cabriole legs terminating in sabots, decorated throughout with scrolling foliate ormolu mounts 32cm wide, 32cm deep, 76cm high (2) £2,500 - 3,500

110

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

346

347

349 LOT 346

LOT 348

A pair of Brunschwig & Fils curtains, of recent manufacture, of ‘Grilly’ design 264cm wide, 220cm drop (2) £200 - 400

A Kashan wool runner, circa 1930, Persian, woven throughout with foliate motifs to a pistachio field 446 x 113cm £1,000 - 2,000

LOT 347

LOT 349

A Regency-style giltwood wall mirror, 20th century, the rectangular mirror plate enclosed within a moulded frame, surmounted by a scrolling shell crest 56cm wide, 6.5cm deep, 107cm high £300 - 500

A Louis XV transitional-style provincial walnut and kingwood commode, 20th century, the moulded top over two long crossbanded drawers, flanked by canted edges, raised on scrolling acanthus carved legs 79cm wide, 40cm deep, 75cm high £300 - 500

348

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

350

351

352

LOT 350

LOT 351

LOT 352

A pair of Louis XV-style cobalt-blue porcelain and ormolu candelabra, second half of the 19th century, French, in rococo taste, each with scrolling foliate arms terminating in candle nozzles, the domed cover surmounted by a flame finial, raised on a pierced rocaille base 36cm wide, 39cm deep, 53cm high (4) £3,000 - 5,000

A Louis XVI-style mahogany and alabaster centre table attributed to François Linke, late 19th century, French, the figured top over a frieze decorated with ribbon-tied floral garlands and putti, fitted with a single drawer, raised on tapering fluted legs terminating in toupie feet 65cm wide, 42cm deep, 74cm high £5,000 - 7,000

A pair of Louis XVI-style painted and parcel-gilt wooden armchairs, late 19th/early 20th century, Italian, each covered in floral brocade upholstery, with a medallion back over a drop-in seat flanked by scrolling downswept notched arms, raised on tapering fluted legs headed by floral roundels 61cm wide, 57cm deep, 97cm high (2) £2,000 - 4,000

112

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

353

354

355 LOT 353

LOT 354

LOT 355

A George II walnut chest on chest, circa 1730, the moulded projecting cornice above three short over three long graduated drawers, the lower section composed of two short over two long drawers, raised on bracket feet 107cm wide, 52cm deep, 175cm high £3,000 - 5,000

A pair of Louis XV-style satinwood and tulipwood étagères, 19th century, each with two tiers enclosed within a pierced gallery border, fitted with a single short frieze drawer, raised on slender cabriole legs terminating in sabots 69cm wide, 43cm deep, 65cm high (2) £1,500 - 2,500

A rococo carved giltwood pier table, circa 1850, the ogee-moulded serpentine white marble top, over a frieze decorated with ‘C’-scrolls and ‘S’-scrolls, floral sprays and rocaille detail, raised on scrolling acanthus-carved legs with later feet supports 203cm wide, 53cm deep, 94cm high £1,500 - 2,500

Provenance: West Kington House, Nettleton, Wiltshire.

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113

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

356

357

358

LOT 356

LOT 357

LOT 358

A pair of Louis XVI-style marble and ormolu urns, late 19th century, French, each body decorated with beaded and foliate banding, flanked by satyr masks to either side, the top surmounted by a pine cone finial, raised on a carved scrolling gilt base terminating in a plinth 19cm wide, 17cm deep, 43cm high (2) £3,000 - 5,000

A pair of mahogany and leather library chairs by Howard & Sons, circa 1880, each covered in buttoned brown leather upholstery, the rounded back over a stuffover seat, raised on ring-turned tapering front legs terminating in brass caps and castors, the rear legs both numbered ‘7885/3164’ and stamped ‘HOWARD AND SONS LTD BERNERS ST’ 52cm wide, 58cm deep, 89cm high (2) £800 - 1,200

An Oushak wool carpet, of recent manufacture, woven with repeating polychrome geometric and foliate motifs to a blue and cream ground 403 x 310cm £3,000 - 5,000

114

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

359

361

360 LOT 359

LOT 360

LOT 361

A painted mirror, early 19th century, Italian, the mercury glass margin plates enclosed within a carved guilloché frame 39cm wide, 3cm deep, 44cm high £500 - 700

A pair of button-upholstered sofas by Howard & Sons, first half of the 20th century, each of concave shape, covered in scrolling fabric and raised on tapering square supports terminating in brass castors, with stamps to the back legs and one bearing a maker’s label to the hessian beneath 180cm wide, 90cm deep, 82cm high (2) £8,000 - 12,000

A flat-weave wool runner of Anatolian design, of recent manufacture, woven with repeating geometric motifs 496 x 82cm £400 - 600

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115

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

362

365

363

364

LOT 362

LOT 363

LOT 364

LOT 365

A pair of Chinese-style famille rose porcelain table lamps, 20th century, each of baluster form, decorated with floral sprays, gilt highlights and an armorial coat of arms, mounted on a waisted base, includes Fermoie lampshades, fitted for electricity 29cm diameter, 54cm high (2) £300 - 500

A Heriz wool carpet, circa 1920, Persian, decorated throughout with geometric and floral motifs to a red ground 355 x 247cm £2,500 - 3,500

A walnut and marquetry centre table, 19th century, Dutch, the crossbanded top decorated with floral marquetry, raised on tapering folding supports 85cm wide, 77cm deep, 75cm high £300 - 500

A reverse glass silhouette painting of a ship, 19th century, depicting a square-rigged ship flying the Red Ensign 25.5 x 36.5cm, framed and glazed 36.5 x 47.5cm £400 - 600

116

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

366

368

369

367 LOT 366

LOT 367

LOT 368

LOT 369

An upholstered armchair in the Howard & Sons ‘Bridgewater’ style, early 20th century, upholstered in striped floral fabric, raised on tapering square front supports, terminating in brass caps and castors 76cm wide, 94cm deep, 72cm high £400 - 600

A George III oak high-back dresser, circa 1760, the upper section with a shaped pediment over three open shelves, the lower section with three short frieze drawers over three central short drawers flanked by cupboard doors, raised on square chamfered legs 154cm wide, 50cm deep, 194cm high £1,500 - 2,000

A flat-weave wool carpet of Anatolian design, of recent manufacture, woven with repeating geometric motifs in polychrome colours 247 x 180cm £300 - 500

A set of oak library steps, late 19th/early 20th century, consisting of five steps, with a handle pole 45cm wide, 79cm deep, 168cm high £300 - 500

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117

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

370

371

372 LOT 370

LOT 371

LOT 372

A baroque-style wall mirror, late 19th century, Italian, the rectangular mirror plate enclosed within a ripple-moulded frame 50.5cm wide, 4cm deep, 60.5cm high £400 - 600

A pair of gilt-metal bouillotte lamps attributed to Ferdinand Barbedienne, late 19th century, each bulbous stem decorated with scrolling foliate fretwork, issuing two candle arms, with black shades, inscribed ‘F. BARBEDIENNE’ to base, fitted for electricity 32.5cm wide, 12cm deep, 41cm high (2) £300 - 500

A pair of fur-covered sideboards, of recent manufacture, each with four long drawers, flanked to one side by a pair of cupboard doors enclosing a void interior, lacking shelves 181cm wide, 50cm deep, 84cm high (2) £300 - 500

118

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

373

375

374 LOT 373

LOT 374

LOT 375

A Louis XVI-style painted giltwood pier table, late 18th century and later, Italian, with a serpentine green-marble top, raised on a carved, gilded and painted base, decorated with acanthus leaves, scrolling foliate and rocaille detail, the bottom rail centred by an urn 70cm wide, 43cm deep, 89cm high £500 - 700

A large Tabriz wool carpet, circa 1940, Persian, with a central red field, decorated throughout with vine and foliate detail 447 x 327cm £3,000 - 5,000

A pair of painted and parcel-gilt wooden vitrines, 20th century, Italian, each of bombé form, with painted and gilded decoration 54cm wide, 31cm deep, 176cm high (2) £600 - 800

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Provenance: Jade Jagger, Kempsford Manor, Fairford, Gloucestershire.

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

376

377

378

LOT 376

LOT 377

LOT 378

A set of twelve Louis XVI-style ormolu wall sconces, second quarter of the 20th century, French, each with a ribbon-tied back crest and three scrolling arms issuing drip pans and sockets, the body decorated with acanthus leaves, foliage, grapes and tassels 29cm wide, 17cm deep, 67cm high (12) £2,000 - 4,000

A carved giltwood mirror, 20th century, of slender rectangular outline, with a bevelled glass plate 75cm wide, 6.5cm deep, 179cm high £500 - 700

A late George III mahogany library bookcase, circa 1800, of breakfront outline, the stepped moulded cornice above astragal-glazed doors enclosing shelves, over panelled cupboard doors, with slides to the centremost, raised on a plinth base 218cm wide, 62cm deep, 248cm high £2,000 - 3,000

120

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

379

380

381

382

LOT 379

LOT 380

LOT 381

LOT 382

An Oushak wool carpet, 20th century, Anatolian, woven with foliate motifs to a pale ground 312 x 243cm £1,000 - 2,000

A pair of Victorian brocatelle marble and gilt-metal Athénienne lamps, second half of the 19th century, each of typical form, the scrolling acanthus-carved supports headed by griffins, above a circular rouge marble beaded base, terminating in turned tapering feet, with a tasselled shade, fitted for electricity 23cm diameter, 47cm high, 87cm high including shade (2) £300 - 500

A patinated copper relief plaque, late 19th/early 20th century, depicting a Roman battle scene 23 x 64cm £200 - 400

A pair of printed cotton Bennison curtains, of recent manufacture, lined, decorated with stripes on a beige ground 165cm wide, 225cm drop (2) £300 - 500

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121

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

383

385

386

384

122

LOT 383

LOT 385

A giltwood pier mirror, 19th century, with a rectangular mirror plate, surmounted by an eagle crest 64cm wide, 6.5cm deep, 103cm high £500 - 700

A group of seven giltwood convex mirrors, 20th century, each with a different frame smallest 40.5cm diameter; largest 57cm diameter (7) £300 - 500

LOT 384

LOT 386

A flat-weave wool runner of Anatolian design, of recent manufacture, woven with repeating geometric motifs in polychrome tones 496 x 80cm £400 - 600

A George IV mahogany writing table, circa 1825, with an inset green leather writing surface, over a pair of slender frieze drawers and conforming dummy drawers verso, raised on castors 112cm wide, 70cm deep, 71cm high £600 - 800

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

387

389

388

390

LOT 387

LOT 388

LOT 389

LOT 390

A group of ten modernist brass bookends, of recent manufacture, each of abstract geometric form, with an impressed ‘H’ mark 10cm wide, 10cm deep, 15cm high (10) £200 - 400

A pair of upholstered Louis XVI-style armchairs, of recent manufacture, each covered in plaid upholstery, with a square back over a wide stuffover seat, flanked by part-padded downscrolling arms, raised on tapering fluted legs terminating in toupie feet 62cm wide, 64cm deep, 96cm high (2) £300 - 500

A pair of ebonised and parcel-gilt wooden wall mirrors, 20th century, each rectangular mirror plate enclosed within a scalloped frame 76cm wide, 4cm deep, 96cm high (2) £400 - 600

A pair of George IV rosewood étagères, circa 1825, Irish, each composed of three tiers, the central tier fitted with a short drawer, raised on spiral-twist supports surmounted by acorn finials and terminating in castors 48cm wide, 40cm deep, 100cm high (2) £2,000 - 4,000

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123

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

391

392

393 LOT 391

LOT 392

LOT 393

A large Persian Heriz wool carpet, 20th century, the indigo field woven with geometric and foliate motifs 450 x 340cm £1,000 - 2,000

A multiplate mirror, of recent manufacture, composed of sixteen mirror plates, enclosed within a reeded frame 103.5cm wide, 3cm deep, 154cm high £300 - 500

A modernist desk, of recent manufacture, the rectangular surface with an inset leather writing surface, raised on two banks of three graduated drawers 200cm wide, 90cm deep, 73cm high £400 - 600

124

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

394

397

395

396

LOT 394

LOT 395

LOT 396

LOT 397

A sorcerer’s mirror, 19th century, the oval mirror plate set with nine roundels, enclosed within a giltwood frame decorated with a repeating foliate border 44cm wide, 3.5cm deep, 53cm high £800 - 1,200

A collection of three carved alabaster fragments, 20th century, comprising sculptural heads of Zeus, the Virgin Mary and a shrouded figure shrouded figure 10.5cm wide, 7.5cm deep, 16cm high; Zeus 13cm wide, 14.5cm deep, 17cm high; Virgin Mary 18cm wide, 15cm deep, 16cm high (3) £200 - 400

A Queen Anne walnut chest of drawers, first quarter of the 18th century and later, with two short over three long graduated drawers, with later handles and bracket feet 98cm wide, 55cm deep, 91cm high £400 - 600

A toleware chandelier, first quarter of the 19th century, French, the scrolling frame decorated with leaves and cherries 29cm wide, 29cm deep, 54cm high £200 - 400

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125

FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

398

399

401 LOT 398

LOT 400

A George II painted pine overmantel mirror, circa 1740, the green-painted fluted frame set with floral roundels and flanked by scrolling foliate detail, enclosing three later margin plates 155cm wide, 4cm deep, 69cm high £1,000 - 2,000

A Heriz wool runner, 20th century, Persian, woven with geometric motifs to a red ground 572 x 75cm £1,000 - 2,000

LOT 399

A mahogany silver table, second half of the 18th century, Dutch, the twin-handled, rectangular, galleried top over a frieze drawer, raised on cabriole legs terminating in ball-and-claw feet 80cm wide, 56cm deep, 74cm high £2,000 - 4,000

A plaster panel of the Youthful St John the Baptist, 20th century, after the antique, cast in relief 24cm wide, 5cm deep, 50cm high £200 - 400

400

126

LOT 401

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

2 8 8 - 4 0 8 FURNITURE AND WORKS OF ART

402

403

404

405

LOT 402

LOT 403

LOT 404

LOT 405

A large brass, oak and leather club fender, of recent manufacture, with a buttoned seat, tubular supports and a stepped base 241cm wide, 30cm deep, 48cm high £600 - 800

A Renaissance-style painted and parcel-gilt mirror, 19th century, Italian, with a shaped frame decorated with Florentine and heraldic motifs, enclosing a mercury glass plate 38cm wide, 2cm deep, 55cm high £300 - 500

A pair of hardwood lion monopodia pedestals, 20th century, intricately carved throughout, each with a detached capital 24cm wide, 24cm deep, 74cm high (2) £400 - 600

A pair of armchairs in the style of George Smith, of recent manufacture, each square back over a drop-in cushion seat flanked by downswept arms, covered in segmented geometric velvet upholstery 72cm wide, 77cm deep, 93cm high (2) £1,000 - 2,000

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FURNITURE AND WORKS OF ART 2 8 8 - 4 0 8

408

406

407 LOT 406

LOT 407

LOT 408

A pair of WMF silver-plated ewers, circa 1900, German, retailed by Henri Hypollite Decugis of Constantinople, each with a blue glass liner, decorated throughout with neoclassical motifs, the base marked ‘H. DECUGIS’ 15.5cm wide, 11.5cm deep, 42cm high (2) £600 - 800

A pair of George III mahogany commodes in the manner of Gillows, circa 1785 and later, each of bow-front outline with lobed corners, above two short and one long drawer with beaded detail, raised on tapering reeded and fluted supports, terminating in brass caps and castors 104cm wide, 58cm deep, 73cm high (2) £3,000 - 5,000

After David Dietrich, a set of eight plates from ‘Flora Universalis’, hand-coloured engravings, depicting various plant and flower specimens, titled in Latin with plate numbers smallest 34.5 x 20.5cm, framed 49.5 x 35.5cm; largest 36 x 23cm, framed 49.5 x 35.5cm (8) £700 - 900

Provenance: Donnington Castle House, Newbury, Berkshire.

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Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

GAR DEN LOTS 4 0 9 - 4 2 2

409

410

411

LOT 409

LOT 410

LOT 411

A painted folk art weathervane, late 19th century, in the manner of L W Cushing & Sons, depicting a galloping horse and jockey 121cm wide, 16cm deep, 83cm high £200 - 400

A pair of patinated cast iron whippets, of recent manufacture, each modelled in an upright seated position, raised on an integral hexagonal base 33cm wide, 31cm deep, 92cm high (2) £500 - 700

A marble-topped cast iron garden table, early 20th century and later, possibly French, the grey-painted scrolling frame decorated with foliate detail and centred by a lion-head finial, surmounted by a later moulded Carrara marble top 130cm wide, 57cm deep, 83cm high £400 - 600

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GARDEN 4 0 9 - 4 2 2

412

413

414 LOT 412

LOT 413

LOT 414

A pair of bronze figure groups, 20th century, each in the form of a seated putto holding a dolphin, raised on a stepped circular base 44cm wide, 33cm deep, 79cm high (2) £800 - 1,200

A patinated bronze fountain, of recent manufacture, modelled as three putti, each mouth issuing a water spout 33cm wide, 37cm deep, 95cm high £400 - 600

An iron-framed limestone garden table, 19th century and later, the rectangular top raised on turned legs united by similar stretchers 131cm wide, 73cm deep, 69cm high £400 - 600

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Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

4 0 9 - 4 2 2 GARDEN

415

416

417

LOT 415

LOT 416

LOT 417

A marble sculpture of a lioness, late 19th/early 20th century, modelled in a recumbent position, mounted on an integral plinth base 71cm wide, 44cm deep, 47cm high £4,000 - 6,000

A pair of Victorian-style cast iron urns, 20th century, each body decorated with gadrooning throughout, terminating in a square plinth base 43cm diameter, 57cm high (2) £300 - 500

A small painted cast iron garden bench, second half of the 19th century, in the manner of Coalbrookdale, in the ‘Hound and Serpent’ pattern, with pierced scrolling ends united by a plank back and seat 99cm wide, 62cm deep, 75cm high £1,000 - 2,000

www.sworder.co.uk

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GARDEN 4 0 9 - 4 2 2 LOT 418 A pair of buff terracotta tiles by J Stiff & Sons of Lambeth, late 19th century, each with a moulded top and acanthus detail 63cm wide, 21cm deep, 39cm high (2) £200 - 400 LOT 419 A pair of buff terracotta tiles by J Stiff & Sons of Lambeth, late 19th century, each with a moulded top and acanthus detail 63cm wide, 21cm deep, 39cm high (2) £200 - 400 LOT 420 A pair of buff terracotta tiles by J Stiff & Sons of Lambeth, late 19th century, each with a moulded top and acanthus detail 63cm wide, 21cm deep, 39cm high (2) £200 - 400

418

419

420

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Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20%

4 0 9 - 4 2 2 GARDEN LOT 421 A carved marble figure of a Tudor figure, late 19th/early 20th century, modelled in typical attire with a pointed helmet, raised on an integral plinth base 63cm wide, 52cm deep, 171cm high £2,500 - 3,500 LOT 422 A wrought-iron-framed garden table 20th century, with a rectangular stone top, raised on a scrolling frame 218cm wide, 101cm deep, 79cm high £600 - 800

421

422

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N O W I N V I T I N G CO N S I G N M E N TS For a complimentary valuation and sales advice, please contact our specialists pictures@sworder.co.uk | 01279 817778

Gillis Claeissens (Flemish, 1526-1605) Portrait of a gentleman, formerly identified as Sir Philip Sidney oil on panel, 35 x 28cm, Sold for £53,300 (inc. fees)

FINE INTERIORS

N o w C o n s i g n i n g fo r D e c e m b e r For a complimentary valuation and sales advice, please contact our specialists fineinteriors@sworder.co.uk | 01279 817778

TERMS AND CONDITIONS For Specialist Live Auctions Our conditions of business consist of: 1.

Information for Buyers;

2. [Terms of Consignment for Sellers – not detailed here, but can be viewed at www.sworder.co.uk] 3.

Terms of Sale for Bidders and Buyers.

1. INFORMATION FOR BUYERS Introduction The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand. Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale. Methods of payment Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of £5,000. Any cheques will need to be cleared before you can take the Goods away. Collection and storage All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees. Furniture and large items sold in our Fine Interiors, Design or Specialist Single-Owner Sale Auctions, and small items if they form part of the same invoice, not collected within seven working days of the auction will be sent to Abels Moving Services Ltd. at your expense. Refer to clause 10 in Sworders Terms of Sale for more information. Agency As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer. Estimates Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive. Buyer’s Premium The Terms of Sale oblige you to pay a Buyer’s Premium on the Hammer Price for each lot purchased. The amount you will pay is: prior to 1 July 2026: • 25%, or • 18% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles from 1 July 2026: • 27% for the first £20,000 • 25% from £20,001 to £500,000 • 20% from £500,001 and over, or • 20% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles In addition, VAT is charged on these Premiums at the standard rate (see below). Value Added Tax (VAT) Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot. Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax. Shipping Costs are liable for VAT and are payable by the Buyer. If you are exporting the items from the UK, you may be able to claim a reimbursement of the VAT, where: 1. you are using Sworders Delivery service. In these cases, a zero rated (VAT exempt) invoice can be issued

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where the following criteria are met: a. the items are exported within three months of the date of the auction b. the total amount of VAT payable would exceed £75 per shipment There is no administrative charge for clients using Sworders Delivery Service. If you cancel shipping through Sworders Delivery Service, we will reinstate the VAT, which must be paid prior to the release of goods. 2. you arrange shipping through a private logistics company, agent or courier and the following criteria are met: a. the invoice is paid in full, including VAT b. the items are exported from the UK within three months of the date of the auction c. the certificate of shipment and export documents are provided to us within a year of the date of export from the UK d. the total amount of VAT to be claimed exceeds £75 (from which you will be deducted a £25 administration fee. See Terms of Sale clause 5 for more information relating to VAT. Inspection of Goods by the Buyer As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 16.2 and 16.4. Condition reports We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view. Shipping of Goods We offer a delivery service for Lots purchased, either by shipping ourselves, in partnership with Bradleys Shipping Services, or use of a third party logistics company. Estimates for Shipping Costs for smaller items may be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. Lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world after you have purchased an item, by clicking the link in your invoice. Estimates of Shipping Costs on our website are based on the low estimate, however, these are subject to change where the method for delivery of Lots changes. Furniture and large items sold in our Fine Interiors, Design of Specialist Single Owner Sale Auctions, and small Items if they form par of the same invoice, will be removed from the premises after 4pm seven working days following the sale, by Abels Moving Services Ltd., the cost of which you will be liable for. See clauses 9 and 10 in the Terms of Sale for Title and Collection of Purchases and Costs relating to Collection Services, for more details. Electrical Goods These are sold as ‘antiques’ only for their historical or decorative attributes. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them. Export of Goods If you intend to export Goods you must find out: a. whether an export licence is needed; and b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials. Restricted Items We do not sell items that are prohibited under UK legislation from sale. The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. For goods that contain ivory, you should satisfy yourself that they are correctly registered or certified and meet the exemption criteria as set out in applicable legislation. If you intend to export goods that may fall to be a protected species, or one that requires to be registered or listed as exempt, you should find out: a. whether you need an export licence b. if there is a prohibition on the export of goods of that nature outside of the UK or on the import of goods into your intended country, for example, if the goods contain prohibited materials such as ivory or protected fauna and flora Post 1950 Upholstered Furniture All items of furniture included in a sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling.

Furniture made of Brazilian Rosewood (Dalbergia nigra) To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items must have an Article 10 certificate in place, prior to being offered for sale. If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. It is the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §. Bidding Bidders are required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction to allow us sufficient time to carry out the necessary checks. In some cases, we may require a deposit to be paid against Lot, prior to confirming your bid. Lots will be invoiced to the name and address as registered for bidding. You may need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you, if you do not provide us with all the information and documentation that we ask for or at our discretion. Commission bidding You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time. Telephone bidding If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is generally for Lots with an estimate of £500 or more. The number of lines may be limited so we urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason. Online bidding Lots purchased via a live online bidding service may be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. These are charged at 0% if bidding via Sworders Website. If bidding through other online bidding platforms, you will be charged additional surcharges, which will be payable to us on top of the Hammer Price and our Buyer’s Premium at their advertised rate. Artist’s Resale Right Lots marked with a ▲ indicate the item is subject to additional Artist’s Resale Right charges, payable by the buyer. Financial Checks As auctioneers we may have to conduct various checks into our customers under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 (as amended), under sanctions legislation and other related legislation. If you are successful in your bid, and your hammer total is in excess of £6,000.00, you may need to provide the documentation, as set out below, unless we confirm we already have this information from you: a. For individuals 1.a.1. official photo identification (driving licence, passport or equivalent); and 1.a.2. proof of address (less than three months old) b. For corporate entities 1.b.1. the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address 1.b.2. details and ID documentation for directors and beneficial owners of the entity c. For trusts and estates 1.c.1. details and ID documentation for executors/trustees; and 1.c.2. details of beneficiaries and settlor We may ask you for further information if we deem this necessary. We may use third party software, to enable you to provide us with your identification documents, to verify your identity and ensure compliance with our legal responsibilities. If you are bidding for another person (your “principal”) you will be required to provide the above information for yourself and your principal, along with a signed letter from your principal authorising you to bid on his/her behalf.

If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of, or cancel, any contract made by you and the Seller in the event you have made a successful bid.

2. TERMS OF CONSIGNMENT FOR SELLERS

1. Definitions and interpretation 1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning: In these Terms of Sale, the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.

Not detailed here, but can be viewed at www.sworder.co.uk

2. Information that we are required to give to Consumers 2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

3. TERMS OF SALE FOR BIDDERS AND BUYERS

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale.

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 8, 9 and 10.

Please note that these Terms of Sale relate to auctions conducted by an Auctioneer only, where the opportunity is available to view the lots. We have separate terms for online only auctions and those where viewing is not available.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 9 and 10. 2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 15.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale. 2.7 If you have any complaints, please send them to us directly at auctions@sworder.co.uk. 2.8 We also refer you to your warranties as a Bidder and Buyer as set out in Clause 6. 3. Bidding procedures and the Buyer 3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid. If you are bidding on behalf of someone else, you will be required to provide us with all information on the ultimate owner of the goods as we may require, to satisfy our checks under the Money Laundering Legislation. 3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics.

‘Auctioneer’

means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;

‘Art Market Participant’

means an art market business registered with HMRC under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017;

‘Bidder’

means a person who places a bid for Goods at our auction;

‘Bidding Platform’

means the bidding platform on which the online auction is held operated by the Auctioneer, or by a third party service provider on the Auctioneer’s behalf;

‘Bidding Platform Fee’

means the fee equal to a % of the hammer price charged on the sale of a Lot, as advertised on the bidding platform on which the online auction is held, operated by a third party service provider;

‘Buyer’

means the person who makes the highest bid for the Goods accepted by the Auctioneer;

‘Buyer’s Premium’

means the commission we charge you on the purchase of a Lot;

‘Commission’

means the Commission that we charge a vendor on the sale of their Goods;

3.5 Bidders will be deemed to act as Principals, even if the Bidder is acting as an agent for a third party.

‘Consumer’

means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;

3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

‘Deliberate Forgery’

means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;

3.7 We may refuse to accept any bid if it is reasonable for us to do so.

3.3 If you instruct us we may execute Commission bids on your behalf. We will confirm receipt of your instruction by sending you an email acknowledging your request and confirming your bid. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded, we have the right to prefer the first bid made (where this can be reasonably ascertained). 3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. The Auctioneer shall retain discretion on the running of the auction and retains the right not to accept a bid and to prefer a bid over any other bids received at the same time. Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice). 3.9 If you participate in the auction using the services of an Independent Bidding Platform, other than Sworders Live, you will incur an additional fee or additional commission payable to that platform. We will collect this fee as part of the Total Amount Due if you are successful in your bid.

‘FCA’

means the Financial Conduct Authority;

‘Goods’

means the Goods that have been consigned to us for sale at our auction;

‘Hammer Price’

means the level of the highest bid for a Lot accepted by the Auctioneer and recorded in the Auctioneer’s sale book;

‘Lot(s)’

means the goods that we offer for sale at our auctions;

‘Money Laundering Legislation’

means the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 and related legislation, together with any applicable terrorist financing legislation and legislation on restrictive measures;

3.10 We reserve the right to accept an after-auction offer from you on a Lot, if it has not sold in the auction, at the agreed Reserve price or above. After-auction offers may be accepted up to three days after the auction has closed. In these cases, the same charges will be payable as if the Lot had been sold at auction, and so far as appropriate these Terms of Sale will apply.

‘Premium’

means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale as set out in clause 4;

4. The purchase Price As the Buyer, you will pay:

‘Price’

means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT;

‘Principal’

means a person or entity you are acting on behalf of for the purposes of the consignment of the goods to the Auctioneer;

‘Proceeds’

means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;

‘Reserve’

means the minimum Price at which the Goods may be sold;

Restrictive Measures’

means economic or financial sanctions, export controls, embargoes or any other restriction on trade under the laws of the European Union, the United Kingdom or the United States, or in the jurisdiction in which you, your Principal, or any agent acting for you does business;

‘Sale Proceeds’

means the net amount due to the seller;

‘Seller’

means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);

‘Shipping Costs’

means the charges applied to the shipping of all Goods purchased, should the Buyer ask for Sworders shipping agent to deliver the Goods (if applicable);

‘Terms of Consignment’

means the Terms on which we agree with sellers to offer Lots for sale in our auctions, as agent on their behalf;

‘Terms of Sale’

means the Terms of Sale for Bidders or Buyers at our auctions (as updated from time to time);

‘Total Amount Due’

means the hammer price for a Lot, the Premium, any applicable artist’s resale right royalty, any service charge or fee levied by an independent bidding platform through which the successful bid was placed, any VAT due and any additional charges payable by a defaulting buyer under these terms of sale;

‘Trader’

means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);

‘VAT’

means any value added tax or equivalent sales tax; and

‘Website’

means our Website available at www.sworder.co.uk.

a. the Hammer Price; b. a Premium on the hammer price of: prior to 1 July 2026: • 25%, or • 18% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles from 1 July 2026: • 27% for the first £20,000 • 25% from £20,001 to £500,000 • 20% from £500,001 and over, or • 20% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles In addition, VAT is payable on the buyers premium at the standard rate; c. any artist’s resale right royalty payable on the sale of a Lot; and d. any Independent Bidding Platform fee payable on a Lot; and e. any VAT due. 5. Value Added TAX (VAT) 5.1 As the Buyer, you shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot, at the appropriate rate prevailing by law at the date of the auction. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information. Please see 5.6 for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK 5.2 Lots affixed with (†): VAT on the Hammer Price and Buyer’s Premium is imposed on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the UK and is not operating under a Margin Scheme. 5.3 Lots affixed with (‡): A reduced rate of Import VAT on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outside the UK.

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5.4 Lots affixed with [Ω]: Standard rate of 20% of Import VAT on the Hammer Price and premium is payable. This applies to items that have been imported from outside the UK and do not fall within the reduced rate category. 5.5 Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay Sworders the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. 5.6 Export from the UK: For lots offered under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £75. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please note that all customs formalities of the destination country are the responsibility of the buyer. 6. Buyer Warranties 6.1 You warrant, and where you are acting on behalf of someone else, you will procure that your Principal warrants, that: 6.1.1 the funds to be used for the purchase of the lot(s) are not connected with, nor derived from, any criminal activity, including without limitation tax evasion, money laundering or terrorist financing; 6.1.2 neither you, or an agent acting for you, nor your Principal, are to the best of your knowledge either under investigation, nor have you been charged with or convicted of without limitation tax evasion, money laundering, terrorist financing or other criminal activities; and 6.1.3 neither you, nor any agent acting for you, nor your Principal, are subject to restrictive measure or owned, partly owned or controlled by person(s) subject to such restrictive measures. 6.4 Where you are bidding on behalf of another person and you are an Art Market Participant, you warrant that: (i) you have conducted appropriate customer due diligence on the ultimate Buyer of the goods, in accordance with all applicable Money Laundering Legislation (ii) upon request, you will provide us, or any independent third party auditor (employed at our cost), with any identification and any other relevant documents you have obtained for customer due diligence purposes on the ultimate buyer of the goods (iii) you consent to us relying on this due diligence; and (iv) you will retain for a period of not less than five years the documentation evidencing the due diligence 6.5 Where you are acting on behalf of another person and you are not an Art Market Participant, you warrant that you will provide accurate and complete information about your Principal to us. 7. The contract between you and the Seller 7.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning bidder in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by us under the Money Laundering Regulations in accordance with our internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by us as complete. 7.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment. 7.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim. 7.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot). 7.5 In addition to any other rights we may have to cancel a contract for sale under these Terms of Sale, we may delay completion of a sale, delay the release of a lot or cancel the sale of a lot in the event: 7.5.1 you are in breach of your warranties in clause 6; 7.5.2 we have not completed our enquiries pursuant to the Money Laundering Legislation to our satisfaction; 7.5.3 we have reason to believe that the transaction might be unlawful for any reason or that the sale might put us under a civil or criminal liability. 8. Payment 8.1 Immediately following your successful bid on a Lot you will: 8.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering obligations); and 8.1.2 pay to us the total amount due in any way that we agree to accept payment. 8.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to Sworders shipping agent delivering the Goods. 8.2 If you owe us any money, we may use any payment made by you to repay these debts.

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9. Title and collection of purchases 9.1 You are bound by the contract for the purchase of a lot at the recording of the winning bid in the auctioneers sale log, however, the transaction is not complete, and ownership will not pass to you and you and may not claim or collect a Lot until:

11.1.6 keep that Lot, or any other Lot sold to you, until you pay the total amount due, including Shipping and Storage Costs where applicable;

9.1.1you have paid us the total amount due, including any additional charges, in cleared funds; and

11.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

9.1.2 you have provided us with the information, and we have completed our enquiries, in relation to our responsibilities under Money Laundering Legislation, as set out in clause 8.1

11.2 We will act reasonably when exercising our rights under Clause 11.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale.

9.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue, on our Website or agreed with us subsequently. 9.3 If you agree to using our delivery service, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent. 9.4 If you do not collect the Lot within the time period under Clause 9.2, you will be responsible for removal and storage charges in relation to that Lot – see clause 9.5 -9.7 below. 9.5 Furniture and large items sold in our Fine Interiors, Design or Specialist Single Owner Sale Auctions, and small items if they form part of the same invoice, will be removed from the premises after 4pm seven working days following the sale, by Abels Moving Services Ltd, for storage at their Potters Bar depot and subject to collection, storage and administration costs, the cost of which you will be liable for. See clause 10 for Costs relating to Collection and Storage Services 9.6 Items will be stored by Abels Moving Services Ltd free of charge for seven days from the date of collection. Storage charges will commence thereafter. All costs associated with collection and storage in these cases are payable directly to Abels Moving Services Ltd and must be paid prior to collection of the lot – see clause 10 on Costs Relating to Collection and Storage Services. 9.7 All lots must be collected by prior appointment at: Abels Moving Services Ltd, The Heights, East, Cranborne Road, Potters Bar, EN6 3JN. 0800 342 3719 collectionsPB@abels.co.uk Collections Monday – Friday 08:30-16:30 only. 9.8 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot, or it is collected by Abels Moving Services Ltd. 9.9 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you but will deduct any storage charges or other sums that have been incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot. 10. Costs Relating to Collection and Storage services 10.1 These fees relate to the collection and storage of your purchases by Abels Moving Services Ltd. and are payable directly to them. 10.2 Collection from Sworders £25 per collection of 1-5 items and £50 per collection of 6-10 items listed on an invoice (plus VAT). 10.3 Free storage for one week thereafter, then: 10.3.1 £4.00 (plus VAT) per lot, per day* *Additional charges apply for items exceeding 8 x 8ft *A levied liability charge (LLC) of £0.08 per £1,000 value of goods is payable *Admin fees will be payable on collection of goods from Abels Moving Services Ltd. *All charges are subject to VAT and 6.27% insurance on total charges.

11.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or

12. Health and safety Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence. 13. Sellers warranties 13.1 The Seller warrants to us and to you that: 13.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the Lot at auction; 13.1.2 the Seller is able to transfer good and marketable title of the Lot to you free from any third party rights or claims; and 13.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction), and any documentation provided to you by the seller in relation to the Lot, are correct. 13.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below. 13.3 Please note that many of the Lots that you may bid on at our auction are second-hand. 13.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 13.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots. 13.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded. 14. Descriptions and condition 14.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot). To Note: The actual colour of a Lot may vary from images in the auction catalogue or online listing. 14.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction. 14.3 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 will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently, but not otherwise.

11. Remedies for non-payment or failure to collect purchases 11.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale, we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures:

14.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots, for their fitness or purpose, or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue, online listing, the condition report for a lot (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.

11.1.1 take action against you for damages for breach of contract;

14.5 Restricted Items containing Ivory

11.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;

14.5.1 The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. In these cases, where these items are offered for sale, we rely on information provided to us by the Seller confirming that the item satisfies the relevant legal exemptions. We will display the Ivory Declaration Submission Reference relating to the application for exemption in the Lot description. Lots marked  contain ivory material.

11.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot, and the Price we sell it for as well as the charges outlined in Clause 8). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller; 11.1.4 remove, store and insure the Lot at your expense; 11.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;

14.6 Post 1950 Upholstered Furniture 14.6.1 All items of furniture included in a sale are offered for sale as works of art and may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988; for this reason, they should not be used in a private dwelling.

14.7 Furniture made of Brazilian Rosewood (Dalbergia Nigra) 14.7.1 To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture will have an Article 10 certificate in place, prior to being offered for sale and we will display the Certificate Number in the information for each lot. These items are marked with this sign §. 14.7.2 If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. 14.8 Electrical items 14.8 Lots with electrical components are sold as ‘antiques’ only for their historical or decorative attributes and for display purposes only. If you buy electrical Goods for use, you must ask a qualified electrician to check them for compliance with safety regulations before you use them. 14.9 Fire Safety 14.9 All items of furniture are sold as a Collector’s item, for display purposes and are not supplied for use. Such lots may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, you must first ensure that they are refurbished and rendered compliant with any applicable furniture and safety regulations. 15. Deliberate Forgeries 15.1 You may return any Lot which is found to be a Deliberate Forgery to us within twelve months of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects. 15.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery, and it has been returned to us within the specified time, in the condition in which it was released to you, we will refund the money paid by you for the Lot (including any Premium and applicable VAT), You will have no right to a refund under this clause if: 15.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or 15.2.2 you personally are not able to transfer good and marketable title in the Lot to us 15.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot. Your rights under this clause are given to you as a Buyer in our auction; they are not given to, and may not be transferred or assigned to, any third party. 15.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale.

foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen. 16.3 Lots are sold as antiques for their decorative attributes rather than for use, and are often of considerable age and uncertain manufacture; neither we, nor the seller, accepts liability for loss or damage to Lots, or any other loss or damage that is caused by, or results from, any inherent vice or defect affecting the Lots 16.4 Subject to Clause 15.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase Price paid by you to us for any Lot. 16.5 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for: 16.5.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977); 16.5.2 fraudulent misrepresentation; or 16.5.3 any liability which cannot be excluded by law. 17. Notices 17.1 All notices between you and us regarding these Terms of Sale must be in writing and either from your registered email address, our email address, or if in hard copy letter, signed by or on behalf of the party sending it. 17.2 Any notice referred in Clause 17.1 may be given: 17.2.1 by delivering it by hand; 17.2.2 by first class pre-paid post or recorded delivery; or 17.2.3 by email 17.3 Notices must be sent: 17.3.1 by hand or registered post; a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and b. to you, at the last postal address that you have given to us as your contact address in writing; or 17.3.2 by email: a. to us, by sending the notice to the following email address: auctions@sworder.co.uk b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing. 17.4 Notices will be deemed to have been received: 17.4.1 if delivered by hand, on the day of delivery; 17.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or

16. Our liability to you 16.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.

17.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt.

16.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a

17.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, any form of messaging via social media or text message (including WhatsApp).

18. Data Protection 18.1 We respect your privacy and are committed to protecting your personal data. We do not share your data unless there is a business, or legal reason for us to do so. We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our Website at www.sworder.co.uk. 18.2 We reserve the right, where we deem we are required for regulatory purposes, to reveal your identity and contact details (and those of your Principal) to the Seller). 18.3 In agreeing to these terms of sale, you agree that: • should you decide to use Sworders delivery service, we may share relevant personal data that we hold with the shipping agent to allow effective communication between the shipping agent and you, and to enable delivery • should you fail to collect your items within seven working days of the date of the auction, we may share your details with the shipping agent to allow effective communication between them and you, to arrange for the payment of storage and collection of your items from their store. 19. General 19.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person. 19.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale. 19.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues or online listing. 19.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect. 19.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them. 19.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term. 19.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts. These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers. Updated May 2026

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