Robin Woodhead, former CEO and Chairman of Sotheby’s (1998-2020)
To think of Ken Bolan is to enter a world where human artistry, invention, and imagination coalesce - a realm not unlike the great Wunderkammers, cabinets of curiosity of the past. For decades, Ken has been a distinctive figure in the world of collecting and dealing, bringing together pieces that often seem drawn from a dreamworld of craftsmanship, theatre, art and design.
Yet what sets Ken apart is not only his exceptional eye, but his deep understanding that these treasures are meant to move on - to new homes, new contexts, and new admirers. We are invited by this sale to seek renewed purpose in each object and to search with that same rewarding enthusiasm.
At the heart of Ken’s work is an insatiable curiosity - a restless drive that has shaped not just his personal style, but an entire business. His rooms and installations, from Talisman to his most recent ventures, have been masterclasses in visual seduction, where each item is chosen not just for what it is, but for the emotional and actual space it occupies. There is often a touch of the baroque, a sense of theatricality and layered allure, but always with clarity of presentation. Ken understands the importance of the space an object occupies, giving it life and appeal, and suggesting an all-important narrative.
Yet behind the enticing atmosphere lies an intuitive commercial instinct. Ken has built a career not only on passion and a fine eye but on keen values - knowing what will sell, to whom, and at what price. His genius lies in balancing beauty and business, wonder and transaction - and in that, he remains one of the most original and admired dealers of his generation. It is that exciting opportunity to participate in his world that draws us in today.
An Opening Note
Cars, planes, antiques, jewellery – and now the countryside. Ken’s career and life are as varied and different from many of us mere mortals.
When you first meet Ken, you realise he has a zest and a passion unrivalled in most. He is wired differently. Seb, his son, said, when we first met, that his father works to a forty-eight-hour day. Preparing for this sale, he has thrown himself into gathering the works and collaborating with his team to ensure everything meets his exacting standards.
Starting out selling vintage and classic cars, Ken moved on to exporting English furniture to Switzerland. From there, he set up Talisman in Dorset, and later on the King’s Road in London. In between? He somehow found the time to train as an acrobat pilot – a fact he casually dropped in over one of his legendary lunches he ‘throws together’ at the Studio. He’s also spent years designing and sourcing interiors and statuary for the rich and famous.
The Studio, where the auction will be on view, overlooks a valley of meadows, a stream-fed series of pools, and woods beyond – where, over the hill, he lives with his wife, Caryn, a successful TV producer of shows such as Roseanne and 3rd Rock from the Sun , and owner and producer of the hit series Peaky Blinders . Ken and Caryn celebrated ten years together this August.
Current and past projects at Donhead St Mary have included planting trees and truffles, constructing and transforming the Studio (built using wood cleared from across the valley), and lovingly restoring his most amazing Delahaye. His next project, ‘once you lot have finished,’ is to construct a workshop nestled at the bottom of the valley – in the heart of his wildlife haven.
Apparent throughout his life, once Ken decides to change direction, he never looks back. The Studio is now for sale, and, in his words, ‘everything has to go’. So, enjoy browsing the auction online – and do come and visit during the viewing in Dorset, to appreciate both the view and the objects, and to share in Ken’s extraordinary vision.
John Black
July 2025
Natur e F ollows Fo rm
Wednesday 24 September 2025 | 10am
O RD ER OF SALE
Lots 1-24 7 | Furni t u re, Pa i n t in g s an d Works of Art
Lots 24 8 -2 7 1 | Jewe l l ery
Lots 272 -4 3 3 | Fu rnit u re, Painting s, Gl ass and Wo rks o f Art
Lots 43 4 -4 6 8 | Garde n
VIE W I NG
Viewing will be held at a t The S tud io, B er rywood Lane, Donhead St Mary, Shaft e sbury, Dorset S P7 9DH a s follows
Saturday 20 September | 10am – 4pm
S un d ay 21 September | 11am – 4pm
Monday 22 September | 10am – 4pm
Tuesday 23 September | 10am – 4pm
Please note that no lots will be available to view at the Stansted Mountfitchet saleroom, either b efo re or during the sale.
B I DDING
Auction to be held at Sworders Fine Art Auctioneers, Cambridg e Ro ad, Stansted Mountfitchet, Ess ex CM24 8 GE
I N PER SON Attend the live auction i n per s on O N L I NE Bid live at www.sworder. co.uk (0% surcharge)
ENQUIRIES
S aturday 20 September – Friday 3 Octo b er:
T The Ken Bolan Studio 01747 828047
Outside of these dates:
T 01279 817778 E pr i v ateco llections@sworder.co.uk
ACKNOWLEDGEMENTS
Wi t h ou r gra te f u l thanks fo r th ei r collabo ration on t his au ct i on:
Pho togra phy | D an G la ss er and D av i d Brook
Vi d eo g r aphy | Ol i Cro ssla n d
Please note some areas may prove difficult for those with mobility issues.
D i rections:
F r om L ondon t o The Studio M 3 and A303 west | A350 to Shaft e sbu r y | Follow signs to Donhead S t M ary
Parking is available on-site at the St udio. Please be aware t hat t h e roads and lanes around Donhea d S t Mary are narrow.
w hat3words: ///aimlessly.prom ine nt.stones
COL L ECTION AND DELIVERY
AVMT are our shipping partner for t h is sale and are able to de liver or s tore items purchased.
For all enquiries, please conta ct a u cti on@avmt.co.uk | 01202 600012
SCAN TO BROWSE THE FULL CATALOGUE
Valeria Di Cola Head of Jewellery
John Black Director
Grace Julier Sale Co-ordinator
IMPORTANT INFORMATION
COLLECTION AND DELIVERY OF LOTS
Free storage at The Studio for clients for up to nine days, after which AVMT will start to remove lots.
COLLECTION FROM THE STUDIO
Items will be available for collection until Thursday 2 October from:
The Studio, Berrywood Lane, Donhead St Mary, Shaftesbury, Dorset SP7 9DH
Thursday 25 September 11am – 3pm
Friday 26 September 11am – 3pm
Monday 29 September 11am – 3pm
Tuesday 30 September 11am – 3pm
Wednesday 1 October 11am – 3pm
Thursday 2 October 11am – 3pm
R E MOVA L O F LOTS FR O M T HE STU D IO
Furniture and large items, and small items if they form part o f the same invoice, not collected within seven working d ays w ill be co l l ected and stored by AVMT.
Items that remain uncollected w ill be sent to AVMT on Friday 3 October.
AVMT Collection Charges: £25.00 ex c lud ing VAT per client
S torage Charges to be effective from Friday 10 October
AV MT, Unit 5 Benridge Park, Holyroo d Clos e, Poole, Dorset BH17 7BD
Te l 01202 600012
E ma i l auction@avmt.co.uk
O n ce at AVMT’s store, the daily storag e charge will be £5.00 per lot, per day, excluding VAT.
Al l charges will be subject to 6.5 % insurance charges ex cluding VAT.
Additional charges for items ove r t h e va lue of £25,000.
Al l lots will only be released upo n conf irmation from Sworders t h at t h e purchase has been paid in f ull.
Any third-party carriers must be aut h orised by the purchaser to col le ct and photo ID will be re q uired to complete collection.
Al l transport, storage and i nsurance charges must be paid in full by b ank t r ansfer prior to col le ct ion. Credit and debit cards are NOT accepted.
I MP O R T A N T I NF O RM A TION
Th ese charges are set by AV MT; on ce collected, Sworders w ill be unable to ans wer qu est ions relating to items and we recommend t h at you please contact AVMT direct.
Se e Sworders Terms and Conditions for a dd itional information.
1973–1981
SWISS BEGINNINGS
14 September 1973:
Ken opened his first antique shop in Bern, Switzerland, in a modest cellar space.
Over the next eight years, this expanded to four shops - including a prominent branch in Zurich - specialising in late-18th to early-19th-century English mahogany furniture.
MID-2000s
LONDON EXPANSION
2006:
Moved Talisman to a 22,000 sq. ft modernist garage on New King’s Road, Fulham, London, after rescuing the building from demolition.
Continued sourcing unusual pieces - from 17th- and 18th-century sculptures to 18th-century Swedish painted furniture - through networks in Sweden and beyond.
1982–2005
TALISMAN LAUNCH IN DORSET
1982 :
Returned to the UK and established the Talisman brand in a former brewery in Gillingham, Dorset.
Quickly gained traction: after an introduction to a Paris contact, Ken began importing French furniture and garden statuary, establishing Talisman’s distinctive, eclectic style.
2021 - PRESENT DORSET
LATE 2000s–2010s INTERNATIONAL SHOWS AND ONLINE GROWTH
2009:
Participated in high-end fairs, including North Miami; witnessed rising demand for vintagemodern pieces and responded by importing over 40 containers for the London showroom. Ken purchased his beloved Delahaye and begins the restoration.
2018–2019 TRANSITION
June 2021:
Launched Ken Bolan Studio, an appointmentonly showroom in Dorset, marking a ‘return to the countryside’ while continuing his career.
2025 :
Announced retirement from showroom operation to focus on personal interests, including nature and land stewardship. The studio will be put on the market once the auction has taken place.
December 2018:
Spoke in a Chelsea Design Quarter Q&A about Talisman’s legacy and plans for a shift in business structure.
Mid-2019: Closed the London Talisman showroom.
FURNITURE, PAINTINGS AND WORKS OF ART
LOTS 1-247
LOT 1
Marco Zanuso (Italian, 1916-2001), 1950s, a ‘Lady’ armchair, designed for Arflex, upholstered by the Ken Bolan Studio in an abstract festival fabric, raised on turned brass supports, 66cm wide
70cm deep
75cm high
£600 - 800
Marco Zanuso was a leading Italian architect and designer. He was part of the modern design movement and, whilst building warehouses and offices for public and residential spaces, he pushed boundaries right up to the end of the 20th century. Alongside his design and architecture, he also worked in journalism, co-editing both Domus and Casabella magazines in the late 1940s/early 1950s, and, around the same time, was also a founding member of the Association of Industrial Design.
His furniture design had started in 1949, experimenting with bent metal and foam rubber to design a chair for a Milanese theatre. Shortly after, he was commissioned to produce seating for Pirelli’s furniture division, Arflex, resulting in Zanuso’s ‘Lady’ chair. Released in 1951, it won first prize at the Milan Triennale that same year.
Between 1959 and 1977, Marco partnered with Richard Sapper to design electronics designs which were innovative and intellectual to the user. From 1969 to 1991, Zanuso was also the professor of architecture, design and town planning at the Politenico di Milano (Milan Polytechnic). Alongside numerous awards, his distinguished and varied career earned him an honorary degree in industrial design in 1999.
LOT 2
A pair of Art Deco-style chrome uplighter table lamps, of recent manufacture, each with a white acrylic centre and white glass shade, set on a chrome stepped plinth, 26cm diameter
69cm high (2)
£300 - 500
LOT 3
A white lacquered chest, 1950s, designed by Paul Frankl, lacquered by Ken Bolan, with an arrangement of ten drawers with ‘X’-shaped handles, 184.5cm wide
57.5cm deep
82cm high
£2,000 - 3,000
4
B... (20th century)
Untitled abstract, mid-20th century indistinctly signed l.r., oil on canvas
76.5 x 71.5cm
£500 - 700
LOT 5
An adjustable crane floor light, 1970s, by Curtis Jeré, with chrome stanchions and wire tensioners, the hinged beam with a counterweight, fitted with two lights with ‘barn door’ shades, raised on a six-prong stand, 172cm high approximately £500 - 800
‘Curtis Jeré’ is the collaboration of two metal sculptors, Jerry Fells and Kurt Freiler, who founded the company ‘Artisan House’ in the USA, in 1964. These two brothers-in-law worked side by side creating wall and floor sculptures, mirrors, hanging fixtures and some illuminated pieces, all with accentuating shapes, colours and textures in copper, steel, brass, bronze and other mixed media.
6
A pair of simulated bamboo nickel-framed side tables, 1970s, each with two glass-mounted tiers, 45.5cm wide
46cm deep
39.5cm high (2)
£200 - 400
LOT
LOT
LOT 7
A pair of ‘Heroic Sunburst’ doors, c.1971, American, by Billy Joe McCarroll and David Gillespe, impressed and bronzed resin on wood, with cast bronze handles, by Forms + Surfaces Inc., titled ‘Heroic Sunburst’, 185cm wide overall
5cm deep
213cm high (2)
£5,000 - 7,000
LOT 8
A floor lamp, 1970s, in the manner of Edgar Brandt, in the form of a coiled cobra, on a circular plinth, mounted with a glass shade, 23cm diameter
93cm high
£1,200 - 1,800
LOT 9
A pair of upholstered tub chairs, 1970s, designed by Milo Baughman, each upholstered in Ken Bolan-designed ‘Brush Stroke’ fabric, raised on a circular brass revolving plinth, 75cm wide
90cm deep
80cm high, seat 43cm high (2)
£2,000 - 3,000
Milo Baughman (American, 1923-2003) established his eponymous company in 1947, with an early commission, in 1948, for Glenn of California, creating the ‘California Modern’ collection incorporating pieces by Greta Magnusson-Grossman. Baughman also ran his own custom design shop with Olga Lee in Los Angeles between 1951 and 1953. He was, however, better known for his contributions to other companies, such as the work he created for Thayer Coggin, Pace, John Stuart, Directional, Design Institute of America and Drexel. His simple and unpretentious furniture appealed to people looking for modern forward-thinking design.
LOT 10
A brass and wood table lamp, with three brass pillars and two hanging ‘pendulums’, raised on a concave wood-veneered plinth, with a square cloth shade, 48.5cm wide
38.5cm deep
105cm high
£500 - 700
LOT 11
An aluminium sculpture, 1970s, attributed to Curtis Jeré, modelled as a bird perched on a stand, plinth 30.5cm diameter
166cm high
£300 - 500
12
A copper and brass wall sculpture of a yacht, 1970s, in the manner of Curtis Jeré, modelled with jib and mainsail, with a pennant and flag,
76.5cm wide
13cm deep
92cm high
£400 - 600
LOT 13
A faux marble painted coffee table, 1950s, designed by Kittinger, the revolving circular top raised on an ebonised stand, 107cm diameter
36cm high
£400 - 600
LOT 14
After Pierre-Jules Mêne, a small bronze of two dogs, 13.5cm wide, and a painted ceramic lion, stamped ‘PJPace 241’, 15.5cm wide
8.2cm deep
8cm high (2)
£150 - 200
LOT
15
A red leather and chrome ‘Apollo’ steel armchair, 1970s, designed by Lennart Bender for Charlton Company, Massachusetts, model no. 170, 106cm wide
103cm deep
75cm high
£800 - 1,200
LOT 16
A glass-topped coffee table, 1980s, Italian, raised on reeded supports, each topped with a patinated panther head, with brass mounts united with a rail,
122.5cm wide
121.5cm deep
46.5cm high
£600 - 800
LOT 17
A steel and glass étagère, 1970s, American, with an arrangement of shelves, 107cm wide
43.5cm deep
176cm high
£800 - 1,200
LOT
LOT 18
A pair of sculptural Lucite table lamps, 1970s, each with triangular details on a stepped base, signed ‘Van Teal’, with a blue shade, 43.5cm diameter
81.5cm high (2)
£400 - 600
LOT 19
A Lucite and chromed-steel dining table, in the style of Karl Springer, with a glass top, raised on cylindrical Lucite supports, united with a double ‘X’-framed stretcher, 203.5cm wide
101.5cm deep
73.5cm high
£800 - 1,200
LOT 20
A carved and gilt wall clock by Wester, Stockholm, 18th century, Swedish, the 10½-inch painted convex dial with Arabic numerals, enclosing an eight-day movement striking the hour, mounted in an elaborate case, with griffins flanking the dial and a visible pendulum cage, decorated with swag and lion masks, a cloak, a spear, a hoof and a dagger, 58cm wide
10.5cm deep
80cm high
£600 - 800
LOT 21
A set of four chalk white painted and upholstered dining chairs, 1960s, Italian, each with a harp-shaped back, raised on carved legs, and upholstered in a printed linen fabric, 56cm wide
63cm deep
114cm high (4)
£400 - 600
LOT 22
A carved wood mask, c.1900, Angola, Chokwe people, 17.5cm wide
11cm deep
43cm high
£400 - 600
LOT 23
A Lucite and glass side table, 1970s, American, with a circular glass top, raised on a ‘C’-shaped stand, 107cm diameter
41.5cm high
£200 - 300
LOT 24
A set of six aluminium uplighters, 1970s, three pairs in three different powder-coated colours, 15cm wide
22cm deep
30.5cm high (6)
£400 - 600
LOT 25
A painted ‘throne’ armchair, 19th century, Anglo-Indian, painted in blue-grey, mounted with grey bosses, ivory inlay and brass studwork to the edges, with matching blue upholstery, 70cm wide
65cm deep
125cm high
£600 - 800
26
A green spun resin ceiling light, 1960s, with a brass suspension ring, 32cm high
50cm diameter
£150 - 200
LOT 27
A pair of Arius plaster wall lights, 1930s, each trumpet-shaped, 42.5cm wide
22cm deep
28cm high (2)
£300 - 500
LOT 28
A patinated cast iron stick stand, late 19th century, with a pierced back, rail and removable tray, 59cm wide
17cm deep
75.5cm high
£250 - 450
LOT
A two-seater ‘Fielding’ sofa by Howard & Sons, reupholstered in green herringbone fabric, with walnut supports and brass castors, 210cm wide
90cm deep
90cm high, seat 56cm high
£5,000 - 8,000
A rosewood table, 1960s, Danish, designed by Finn Juhl, with a plain veneered top, the frame with tongue-and-groove joints, with side stretchers, 170.5cm wide
100cm deep
72cm high
£400 - 600
LOT 29
LOT 30 §
31
George Tudzarov (American, 1944-2000), c.1997, American, a raku-fired pottery figurative sculpture, signed ‘Zaro’ and numbered ‘8/950’, 59cm wide
19cm deep
22cm high
£150 - 200
LOT 32
An aquamarine-lacquered table lamp, 20th century, mounted with a cream cloth shade, shade 41.5cm diameter 105.5cm high £200 - 400
LOT 33
A pair of Lucite pedestals, 1970s, each with spiral stacked panels, and a square top and plinth, 46cm square
73cm high (2)
£300 - 500
LOT
LOT 34
A pine farmhouse table, 19th century, Swedish, the five-plank top with chamfered corners, over a central drawer to one side, with plain supports and stretchers, 222cm wide
92cm deep
77cm high
£800 - 1,200
LOT 35
An iron-verdigris-finished wall mirror, 1970s, the bevelled-glass plate, with a scrolled border and frame, 98cm wide
131.5cm high
£400 - 600
LOT 36 ▲
Willi Soukop RA (1907-1995)
‘Head’, a patinated bronze sculpture, signed ‘Soukop’, 19cm wide
20.5cm deep
40.5cm high
£3,000 - 5,000
Born in Vienna in 1907, to an Austrian mother and a Czech father, the young Wilhelm (‘Willi’) Soukop displayed a natural artistic talent, producing an accomplished chalk drawing of a tree, aged four. He went on to study at the Academy of Fine Arts in Vienna, but when the political situation in Austria became darker ahead of the Second World War, Willi took up the offer of a sympathetic Englishwoman, who invited him to England to escape, at least for a few weeks. So it was that, in 1934, Soukop went to stay at Dartington Hall, near Totnes, in Devon. The Hall was owned by Leonard and Dorothy Elmhirst, who created a virtual international centre for the arts, providing refuge for many other émigrés from across Europe. Soukop was given the use of a studio and was able to carve, even sell, his work in a congenial atmosphere. Soukop had become settled in England and had no wish to return to Vienna, but war was approaching, and after the fall of France in 1940, he, like many others, was classified as an ‘alien’. Interned first at Aintree racecourse, he was then shipped off to Canada, where he remained for nine months until he was released. Finally able to return to Devon, he was offered the job of Art Master at Blundell’s School, where he set up the sculpture department so well, that the work created there was exhibited in London. He then set up other sculpture departments, first in Bryanston School in Dorset, and then the Downs School in Worcestershire.
At the end of the war, Soukop moved to London and taught at Bromley, Guildford, and Chelsea Schools of Art - one of his pupils being Elisabeth Frink. In 1969, he accepted the additional position of Master of Sculpture at the Royal Academy Schools and became a member of the faculty for the British School in Rome. He received many commissions, both for portrait busts and larger pieces for public buildings. Over the years, he exhibited in numerous mixed shows, including ‘Sculpture in the Open Air’ at Battersea Park in 1949 and 1950, and many Arts Council exhibitions and Biennales.
LOT 37 ▲
Catriona McLeod (b.1946), two stoneware slab dishes, each with crystalline glazes to the centre and geometric details, each signed with initials ‘CMc’, 43 x 38cm, and another similar dish, signed with initials ‘CMc’, 25 x 25cm (3)
£150 - 300
LOT 38
A pair of walnut marquetry double chair-back settees, mid-19th century, Dutch, each profusely inlaid with satinwood flora, cherubs, birds and masks, with a shaped serpentine drop-in seat upholstered in sky-blue velvet, with acanthus-carved cabriole legs on claw feet,
113cm wide
60cm deep
113cm high (2)
£1,500 - 2,500
LOT 39
A pair of chrome and acrylic floor-standing lights, of recent manufacture, each with a central column mounted with five cylindrical shades, on a stepped plinth, 217cm high
30.5cm square with plinth (2)
£1,000 - 1,500
LOT 40
An aluminium and glass coffee table, 1970s, with a bevelled-edge glass top, 183cm wide
106.5cm deep
45cm high
£200 - 400
LOT 41
A pair of acrylic and chrome wall lights, 1960s, Italian, designed by Adalberto Dal Lago for Esperia, with one original label, 43cm diameter 23cm deep (2)
£200 - 400
LOT 42
A set of six salon chairs, c.1880, Swedish, each carved and painted, with an oval upholstered back and serpentine upholstered seat, 52cm wide
58cm deep
95cm high (6)
£600 - 800
A mahogany side cabinet, 1960s, in the Chinese style, designed by Renzo Rutili for Johnson Furniture Co., with a pair of cupboards, mounted with fretwork lattice fronts and inset with acid-etched metal panels, the interior copper-lined and fitted with glass shelves by Ken Bolan, raised on a conforming stand,
167.5cm wide
49.5cm deep
78.5cm high
£800 - 1,200
Lorenzo (‘Renzo’) Rutili (American, 1901-1966) was born in Pennsylvania, but studied design in Europe for several years, later becoming well known for his mid-century modern furniture designs, which featured clean lines, organic shapes and rich materials. He was a designer at several prominent furniture manufacturers, including Baker Furniture Co. and Johnson Furniture Co. - this particular cabinet was designed for the latter to help modernise their furniture line and appeal to a younger customer base. With Renzo’s designs, Johnson Furniture Company began producing sleek, minimalist furniture pieces that became popular with consumers in the post-Second World War era.
A mustard lacquered and chrome side cabinet, of recent manufacture, by Talisman, with two drawers with ‘porthole’ cut-chrome handles, on a chrome plinth, labelled, 44.5cm wide
44.5cm deep
65cm high
£200 - 300
LOT 43
43 & 44
LOT 44
LOT 45
Six brass and silvered musical instruments, 20th century, French, most stamped, comprising: two silvered baritone saxophones, a silvered tuba, 61cm long, a trumpet, stamped, 51cm long, a coronet, 33cm long, and a French horn, 49cm long (6)
£200 - 400
LOT 46
Five brass and silvered musical instruments, 20th century, comprising: a baritone saxophone, stamped ‘Couturier Lyon-Paris’, 95cm long, another saxophone, stamped, a soprano saxophone, stamped ‘L C Muller’, 63cm long, and two brass tubas, 55cm long (5) £200 - 400
LOT 47
Four wood and silvered clarinets, 20th century, each variously stamped, 58 to 70cm long (4)
£100 - 200
LOT 48
A bronze and brass ring stand, late 19th century, modelled with a parrot perched on top, with three branches, on a dished stand, 20.5cm high, and a brass begging dog match striker, 11.5cm high (2)
£150 - 250
49
A sculptural cast-aluminium uplighter floor lamp, mounted with a tiki face supporting a polished aluminium conical shade, raised on a black steel tripod stand, on a circular steel plinth, 151.5cm high plinth 27cm diameter
£400 - 600
LOT 50
A Lucite and glass dining table, 1970s, with a glass top, raised on an hourglass and sandwiched Lucite stand, 143cm wide
70.5cm deep
73.5cm high
£600 - 800
LOT 51
A steel and upholstered armchair, 1970s, in the manner of Milo Baughman, upholstered with yellow fabric, 78cm wide
70cm deep
67cm high
£300 - 500
LOT
52 §
A rosewood desk chair, 1960s, Danish, designed by Eric Buck for Erik Christensen, with a high back and leatherette seat,
51cm wide
60cm deep
106.5cm high
£200 - 400
LOT 53
A Coalbrookdale patinated cast iron stick stand, late 19th century, of demilune form with four shaped rails, in a fern pattern with naturalistically cast leaves and branches, with two removable trays, a lozenge registration mark and inscribed in the cast ‘C B Dale Co.’, 62cm wide
35cm deep
62cm high
£500 - 700
A chrome-framed reclining armchair, 1970s, with geometric upholstery, with a reclining back and an integral footrest, 68cm wide
80cm deep
99cm high
£300 - 500
A patinated and polished-brass coffee table, 1970s, by Mastercraft, with a square glass top, raised on a stand with cross-stretchers, 152cm wide
151cm deep
42cm high
£300 - 500
LOT 54
LOT
LOT 55
LOT 56
A bronze figure of Spinario, late 19th century, French, modelled as a boy pulling a thorn from his foot, inscribed ‘F Barbedienne, Fondeur’ and with a medallion reading ‘Réduction Mécanique A. Collas Brevete’, 18cm wide
10cm deep
25cm high
£400 - 600
LOT 57
Eight Nailsea glass walking sticks, mid-19th century, each with spiral glass, in amber, green, blue and twisted brown and green, largest 47.5cm long (8)
£400 - 600
Established by John Robert Lucas, Nailsea Glassworks operated in Nailsea, Somerset, from 1788 to 1873. Lucas chose Nailsea as his glassworks site due to the quantity of coal in the immediate area and the proposed canal to Taunton; unfortunately, the canal was never developed, and the coal ran out, which eventually led to the factory closing.
LOT 58
Georges Marie Valentin Bareau (French, 1866-1931), early 20th century, French, ‘La Poésie’, a bronze of an allegorical figure reading a scroll, with a gilt-bronze laurel wreath adorning her head, signed and inscribed ‘F. Barbedienne Fondeur’ and with ‘A Collas’ medallion, mounted on a brown marble plinth, 52cm wide
27.5cm deep
65cm high
£1,200 - 1,800
LOT 59
A large pair of screens, 1960s, each with a latticed plastic insert, with a frosted acrylic and wired panel, in an oak moulded frame, 133cm wide 3.5cm deep
224cm high (2)
£400 - 600
LOT 60
A dinanderie table lamp, 20th century, French, the ovoid vase decorated with chinoiserie gilt and engraving, set with an adjustable mount, fitted with two lights, 57.5cm high to the top of the light fitting
£200 - 300
LOT 61
J Lee (20th century)
Untitled signed and dated ‘J. Lee 80’ l.r., oil on canvas
74 x 116cm
£800 - 1,200
LOT 62
An ebonised standard lamp, 1950s, with a tapering column, raised on a dished circular plinth, with a square cream cloth shade, 198cm high overall
late 19th century, French, a patinated bronze bust of the painter Albrecht Dürer, signed to the rear ‘A Carrier’, mounted on a gilt socle and red marble plinth, 33cm wide
19.5cm deep
50.5cm high
£2,000 - 3,000
Albert-Ernest Carrier-Belleuse started his career as an apprentice to a goldsmith, before being encouraged by David d’Angers to study at the famous École des Beaux-Arts. He worked in England, Belgium and France, where, in 1862, he was a founding member of the Parisian Société Nationale des Beaux-Arts. In England, he worked as a designer for Minton China Works in Stoke-upon-Trent, and branched out to design for other firms such as Coalbrookdale and Wedgwood.
A brass and green-lacquered standard lamp, 1950s, Italian, mounted with an arched branch, with a disc-shaped shade, fitted with a Perspex diffuser, 134cm high
£300 - 500
A painted games table, 20th century, French, the square moulded top with canted corners, the frieze applied with brass mounts, on swept supports with moulded feet, 76cm square
74.5cm high
£200 - 400
LOT 66
A tessellated stone side table or desk, 1980s, by Maitland-Smith, the serpentine-shaped top, brass-banded, over a single drawer, raised on cabriole legs, 133cm wide
74.5cm deep
74cm high
£500 - 700
Maitland-Smith was established in Hong Kong in 1979 and, using highly skilled artisans and quality raw materials, they created decorative accessories and furniture inspired by 18th-century designs. Following a move to the Philippines in 1981, they introduced the use of unusual materials, such as rattan, stone mosaic, coconut shell inlay, faux tortoiseshell, pen shell inlay, mother-of-pearl, faux malachite and fossil stone, amongst others, paying meticulous attention to quality and details.
LOT 64
LOT 65
A monumental painted corner cupboard, c.1770, Swedish, in two parts, painted in cream-yellow with pale-green details, with a pierced and shaped cornice over glazed doors, the interior painted in burnt orange, with two shelves, the lower section with a cupboard enclosing a shelf, raised on block supports, 136cm wide
78cm deep approximately
298cm high
£1,000 - 2,000
LOT 68
Two polished wood stands, 20th century, each multi-branched, on a fixed stand, 204 and 216cm high approximately (2)
£1,200 - 1,500
LOT 69
A pair of painted armchairs, 20th century, in the 18th-century style, each painted cream with a plain upholstered drop-in seat, 61cm wide
57cm deep
96cm high (2)
£300 - 500
LOT 67
68 69 67
LOT 70
Alber t-Ernest Carrier-Belleuse (French, 1824-1887), late 19th century, French, a bronze of a young couple, the man seated, signed ‘A Carrier’ to the chair back, 33cm wide
20cm deep
46.5cm high
£300 - 500
LOT 71
A bronze ‘Venus De Milo’ figure, 19th century, French, a bronze figure, by Collas et Barbedienne, signed F. Barbedienne Fondeur and complete with the ‘A Collas Réduction Mécanique’ seal and numbered ‘55’ to the underside, 47cm high
£1,200 - 1,500
Achille Collas (French, 1795-1859) invented a machine that involved copying sculptures on a smaller scale while maintaining the details of the original. This enabled smaller versions of famous museum pieces to become accessible to a larger audience. The process was called ‘réduction mécanique’ and these pieces of sculpture are stamped with the seal ‘réduction mécanique A. Collas, Brevete’.
Ferdinand Barbedienne (French, 1810-1892) was a metalworker who built one of the most important bronze foundries in France. He went into partnership in 1838 with Achille Collas, selling miniature bronzes, and they founded the company ‘Collas et Barbedienne’. In 1843, they extended their works to living artists, but had to pause their business activities in 1870 to make cannons for the Franco-Prussian War. Barbedienne was elected President of the Reunion of Bronze Makers from 1865 to 1885.
The Venus de Milo figure was the first ‘reduced’ sculpture made by Collas et Barbedienne. Their miniatures were particularly popular with the grand tour patrons who sought to add antiquity to their homes.
LOT 72
A baroque marble-topped table, mid-18th century, Swedish, with a rectangular Öland marble top, raised on a wood stand, with turned legs and a moulded ‘X’ stretcher, 186cm wide
86.5cm deep
79cm high
£1,500 - 2,500
A pair of carved walnut armchairs, c.1870, French, each profusely carved, the back with leaf moulding, the arms with pierced ‘compass’ supports, with turned and carved stretchers, upholstered in red cloth, 57cm wide
70cm deep
95cm high (2)
£800 - 1,200
A carved and painted model of a horse, 19th century, Swedish, modelled prancing, painted white with painted eyes, lacking mane and tail, now mounted on a limed wood plinth, 101cm wide
30cm deep
80.5cm high
£400 - 800
A Lucite and glass console table, 1970s, the glass top raised on a chrome stand, mounted with Lucite cubes to each side, the Lucite legs tapering and chamfered, 152.5cm wide
81cm deep
72.5cm high
£1,200 - 1,800
LOT 75
LOT 74
LOT 73
A pair of brass or bell-metal candlesticks, 18th century, Flemish, each with an iron pricket to the terminal, 14cm diameter
33.5cm high (2)
£300 - 500
A carved bamboo libation cup, Qing dynasty (1644-1911), Chinese, the conical body carved with bamboo, with a branch forming the handle, 9.5cm wide
9cm deep
6.5cm high, on a carved and stained wood stand (2)
£400 - 600
A model no. 2408 ‘Gondola’ sofa, 1950s, by Adrian Pearsall for Craft Associates Inc., with a walnut frame, now upholstered by Ken Bolan Studio in an ivory weave fabric, 260cm wide
83cm deep
76cm high
£2,000 - 3,000
LOT 78
LOT 77
LOT 76
A pair of brass and fret-cut wall-mounted ‘world’ sculptures, 1970s, by Curtis Jeré, each with a brass wirework frame, 70cm diameter
15cm deep (2)
£600 - 800
A brass and painted four-branch table lamp, 1950s, in the manner of Tommi Parzinger, the lozenge-shaped plinth with scrolled branches and mounted with frosted glass shades,
57cm wide
13cm deep
81.5cm high
£500 - 700
An walnut extending coffee table, 1960s, American, by John Keal for Brown Saltman, 232cm extended 61cm deep
38cm high
£400 - 600
LOT 81
LOT 80
LOT 79
Arthur Umanoff (American, 1923-1985), 1970s, a pair of chromed steel armchairs designed for Dillingham, each with a high button-upholstered back, with seat and arm pads,
57cm wide
60cm deep
100cm high (2)
£400 - 600
In common with the majority of American mid-century modern design, Arthur Umanoff’s furniture is best known for its apparent simplicity of design. However, it is evident in his large output - ranging from case pieces to the dining chairs on offer - that his work was anything but simple.
Having graduated from the Pratt Institute, New York, in the 1950s, he experimented largely with wood until his first job with Post Modern Ltd., a manufacturer primarily of wrought iron. He soon began producing work combining iron with wood and plastic, as well as other materials such as wicker, steel and leather.
From the 1950s to the early 1980s, he designed for many manufacturers, including Howard Miller, Shaver Howard, Bouvier Scott and Dillingham.
LOT 83
An aluminium and white acrylic ‘pyramid’ table lamp, 1970s, mounted with five acrylic shades and fitted with a single light, 33cm wide
22cm deep
66.5cm high
£200 - 400
LOT 84
A pair of walnut console tables, c.1820, Italian, each with a white marble top, with carved cabriole legs with acanthus details and a carved frieze, with a mirrored back flanked with reeded columns, raised on a shaped plinth, 142.5cm wide
64cm deep
97.5cm high (2)
£1,000 - 2,000
LOT 82
A Regenc y-style wingback armchair, of recent manufacture, with an ebonised frame, and upholstered in a striped cotton velvet in yellow, green, and blue,
76cm wide
100cm deep
115cm high
£300 - 500
86
A pair of painted wood pricket candlesticks, c.1780, Italian, each with a turned column, raised on a triangular plinth and bun feet, 28cm diameter
135cm high overall (2)
£500 - 700
A lacquered-copper and slate coffee table, 1970s, of rectangular form, with a raised inset top, on a square-section frame, 156cm wide
102cm deep
41cm high
£800 - 1,200
LOT 87
LOT
LOT 85
LOT 88
A black leather three-seater settee, c.1970s, Danish, in the manner of Børge Mogensen, 200cm wide
85cm deep
78cm high, seat 40cm high
£600 - 800
LOT 89
A cast iron lamp base, c.1870, modelled with eagles and scrollwork, on a shaped plinth, with a modern cloth shade,
29.5cm wide
29.5cm deep
112.5cm high overall
£800 - 1,200
LOT 90
A walnut, Formica and tile-top coffee table, 1970s, Danish, 161.5cm wide
52.5cm deep
39.5cm high
£200 - 300
LOT 91
After Jean de Boulogne aka ‘Giambologna’, 19th century, a grand tour bronze of Mercury, raised on a faux marble plinth, 6.5cm diameter
29.5cm high
£150 - 250
LOT 92
A set of four wrought-iron ceiling lights, 20th century, each of conical form, with fret-cut details, paper-lined and with loop suspension, 21cm diameter
32cm high (4)
£200 - 400
93
A pair of polished steel ‘Cityscape’ cabinets, 1970s, American, designed by Paul Evans (1931-1987) for Directional’s ‘Cityscape’ collection, each with three pairs of doors, the central sections enclosing shelved interiors, one fitted with a drawer, each flanked with a cupboard, the top inset with slate, signed, 228.5cm wide
58.5cm deep
84cm high (2)
£10,000 - 15,000
Ken redesigned the original 4.5m cabinet into a pair, as he felt they would fit into more spaces. Born in Pennsylvania, Paul Evans went on to study sculpture, metalwork, silversmithing and goldsmithing. In the 1950s, Evans began his career making copper chests and sculpting steel-front cabinets. In 1964, he became the designer for furniture manufacturer Directional Furniture, where he introduced several furniture lines, such as the ‘Argente’ series of one-off studio pieces, ‘Sculpted Bronze’ series and the popular ‘Cityscape’ series. Evans set a very high standard for creative manufacturing, insisting that every piece was made and finished by hand under his strict supervision. His pieces were almost always signed, and the custom items mostly have a signature and a date.
LOT
LOT 94
A pair of painted toleware table lamps, of recent manufacture, each with a conical-shaped shade and urn-shaped plinth, 27.5cm wide
23cm deep
54cm high overall (2)
£200 - 300
LOT 95
Spare lot
LOT 96
Niels Pedersen Mols (Danish, 1859-1921) ‘The Nursery’ signed ‘N. P. Mols’ and indistinctly inscribed on stretcher verso, oil on canvas
52.5 x 44.5cm
£300 - 500
Niels Pedersen Mols was a Danish animal and landscape painter. He studied at the Royal Danish Academy of Fine Arts in Copenhagen, and exhibited his works at Charlottenburg and abroad, receiving several awards and honours.
LOT 97
A pair of contemporary glass-topped tables, 1970s, each with a circular glass top, one larger, one smaller, on a Lucite and nickel-mounted stand, 100 and 108cm diameter
75cm high (2)
£400 - 600
LOT 98 ▲
A wrought-iron coffee table, c.1930, in the manner of Piquet of Lyon, with a stencilled glass top with leaf details, the stand with scrolled supports, united with a spiral-twist shaft, centred with a ball,
100cm wide
50cm deep
54cm high
£300 - 500
99
A Paco Rabanne ‘Space Curtain’, 1960s, with tesserae mounts, and suspended, 153cm wide
216cm high
£800 - 1,200
A chrome and black-lacquered sideboard, 1970s, by Mastercraft, the slender cabinet, with demilune ends, fitted with two cupboards enclosing shelves, 203cm wide
46cm deep
73cm high
£2,000 - 3,000
LOT 100
LOT
101
A birch toilet mirror, c.1830, Swedish, with a rectangular mirror plate, mounted on turned supports, over a single drawer, 35cm wide
19cm deep
47cm high
£100 - 200
LOT 102
A polished granite centre table, c.1830, Swedish, with a rectangular top, raised on a pedestal base, 105cm wide
68cm deep
73cm high
£1,500 - 2,500
Probably Bohus granite from Bohuslän on the west coast of Sweden.
LOT 103
Spare lot
LOT 104
Marianna von Allesch (German-American, 1886-1972) a reverse-painted glass and sand ceramic dish, of square form, signed with a monogram and inscribed to the reverse, 40cm square
£200 - 400
Marianna von Allesch was born in Germany, but emigrated to America in 1928.
LOT
105
A carved and pierced wood mask, c.1900, Angola, Chokwe people, with a carved headdress above pronounced eyebrows and narrow eyes, the cheeks inlaid with circular panels, above the open mouth, 13.5cm wide
11cm deep
20.5cm high
£200 - 400
LOT 106
A carved wood figure, Central Africa, Bakongo people, modelled mounted with a feathered headdress, 39cm wide
30cm deep
75cm high
£300 - 500
LOT 107
A carved and painted wood deer head, 19th century, with painted eyes, deer horns, and with leather ears, 38cm wide
18.5cm deep
25cm high
£200 - 300
108
A carved wood mask, c.1900, Ivory Coast, Dan people, with narrow eye slits, and carved nose and mouth, 16cm wide
11cm deep
24cm high
£200 - 300
LOT 109
A cast iron inkwell, 19th century, in the form of a font, of hexagonal form with a circular cover, fitted with a pounce pot and a glass well, lacking one other 18.5cm high, a cast brass urn, with a fixed finial, 21cm high, and a cast spelter cassolette, 19.3cm high (3)
£200 - 300
LOT
LOT
60cm deep
58.5cm high
54cm
75cm high
£800
LOT 110
A pair of camphor wood trunks, c.1830, each with a domed top with brass mounts, a ring handle over a lock, and brass carrying handles, 113cm wide
(2)
£800 - 1,200
LOT 111
A Lucite and marble console table, 1970s, the marble top with a chamfered edge, raised on a bevelled-edged Lucite stand, united with twin stretchers, 127cm wide
deep
- 1,200
A Sculpted Aviary
The Bird Forms of Guy Taplin
The work of British sculptor Guy Taplin (b.1939) has long been admired by Ken Bolan.
The collection offered was purchased by Ken from a private estate, the then owner being an artist and sculptor who was a great enthusiast of Taplin. This auction offers a rare opportunity to acquire a significant grouping of Taplin’s work: thirteen hand-carved and painted birds that beautifully showcase his craftsmanship and artistic vision.
Included in the group are three of Taplin’s signature swans - graceful, elongated forms that embody the artist’s instinctive understanding of movement and stillness - as well as five curlews, those long-legged, shore waders that have become emblematic of Taplin’s coastal inspirations. The remaining works span a charming variety of waterfowl and shorebirds, each carved from reclaimed wood and imbued with a tactile, time-worn beauty that reflects both the weathered materials and the artist’s deep affinity with nature.
Taplin, who began his career as a birdkeeper at Regent’s Park before turning to sculpture, has long drawn on the wild landscapes of the Essex coast for inspiration. His birds are not literal representations, but poetic distillations - forms pared down to their essence, full of character, wit and grace. Much like Ken’s own collecting ethos, Taplin’s practice blends the raw and the refined, the intuitive and the timeless.
Together, this ‘flock’ of Taplin sculptures forms a personal aviary - one that speaks to Ken’s lifelong love of nature, craftsmanship and individuality in art. Whether displayed singly or as a group, these birds carry with them the quiet magic of a maker whose work is as evocative as it is enduring.
LOT 112 ▲
Guy Taplin (b.1939), a curlew, carved and painted with black beaded glass eyes, titled and signed, mounted on an iron rod, a cork float and a two-part ‘fletched’ plinth,
47cm wide
14cm deep
75cm high
£2,000 - 3,000
113 ▲
Guy Taplin (b.1939), ‘Mallard’, carved and painted, signed and inscribed with title, 47cm wide
19.5cm deep
19cm high
£600 - 800
LOT 114 ▲
Guy Taplin (b.1939), a group of four flying ‘Lapwing’, signed and inscribed with title, painted, with metal scrolled crests and glass eyes, mounted on iron rods, and a shaped driftwood stand, 107cm wide
53cm deep
71.5cm high
£3,000 - 5,000
LOT
a carved and painted swan,
82cm wide
30cm deep
51cm wide
43cm deep
73cm high
£2,500 - 3,500
68cm high
£2,000 - 4,000
a wall-mounted sculpture of a curlew, carved and painted, mounted on a painted panel, 110cm wide
48cm deep
80cm high
£3,000 - 5,000
LOT 117 ▲
Guy Taplin (b.1939),
LOT 116 ▲
Guy Taplin (b.1939),
with glass eyes,
LOT 115 ▲
Guy Taplin (b.1939),
‘Six Storm Petrels’, carved and painted, with black glass beaded eyes, raised on iron rods and a painted square plinth, signed and inscribed with title,
LOT 118 ▲
Guy Taplin (b.1939), a carved pine swan, with glass eyes,
80cm wide
28cm deep
71cm high
£2,000 - 4,000
LOT 119 ▲
Guy Taplin (b.1939), a carved swan, its neck arched back over the body, painted and with glass eyes,
85cm wide
27cm deep
35.5cm high
£2,000 - 4,000
LOT 120 ▲
Guy Taplin (b.1939), ‘Curlew’, carved and painted, with black glass beaded eyes, with bound copper wire to the beak, mounted on an iron support with a cork float, on a two-part plinth, signed and inscribed with title, 49cm wide
116cm high
plinth 21cm square
£2,000 - 4,000
LOT 121 ▲
Guy Taplin (b.1939), a wall-mounted sculpture of four sandpipers, carved, painted and with bound copper wire, mounted on a moulded framed panel, 85cm wide
11cm deep
56cm high
£2,000 - 4,000
LOT 122 ▲
Guy Taplin (b.1939), ‘Curlew’, carved and painted, with black beaded eyes, on an iron support and cork mount, on a painted plinth, signed and inscribed with title,
80cm wide
10cm deep
26.5cm high
£1,500 - 2,000
LOT 123 ▲
Guy Taplin (b.1939), an owl feeding a mole to her chicks, carved and painted, the owl with glass marble eyes, her young and the mole with black beaded eyes, mounted with wire in a driftwood frame,
40cm wide
25cm deep
53.5cm high
£1,000 - 2,000
LOT 124 ▲
Guy Taplin (b.1939), ‘Curlew’, carved and painted, with black beaded eyes and bound copper wire to the beak, signed and inscribed with title, mounted on a spiral-turned iron rod, on a wood plinth, 54cm wide
66cm high
£1,500 - 2,500
125
A Howard & Sons armchair, c.1890, reupholstered with cream herringbone upholstery, with a square cushion, raised on turned front legs with castors, 90cm wide
120cm deep
76cm high, seat 45cm high, together with a matching Victorian armchair (2)
£4,000 - 6,000
LOT 126
Two shell-encrusted mirrors, of recent manufacture, one octagonal with a bevelled glass plate, the other arched, 53cm diameter, and 35cm wide
41cm high (2)
£200 - 300
127 ▲
Hamish Mackie (b.1973), ‘Boxing Hares’, a two-piece bronze sculpture, each element signed and dated ‘2009’, and numbered ‘2/12’, 78cm wide
29cm deep
78.5cm high (2)
£8,000 - 12,000
LOT 128 §
A rosewood coffee table, 1960s, Danish, designed by Severin Hansen for Haslev Møbelsnedkeri, with a square top and tapering supports, 95.5cm square
50.5cm high
£300 - 500
LOT
LOT
127
126 128
A green ceramic ‘meiping’ table lamp, mounted with a cream conical shade, 32cm diameter
109cm high
£150 - 200
LOT 130
A large cast iron ‘funerary’ urn, 19th century, the urn mounted with a ‘cloth’, the front cast with an hourglass flanked by wings, with cast leaf details, on a socle plinth, 30cm diameter
58.5cm high, and a pair of similar cast iron urns, 30cm wide
19cm high (3)
£300 - 500
131
A carved oak corbel, 19th century, of slightly bowed form, centred with a lion mask and husk, flanked with scroll and leaf carving, 98cm wide
14cm deep
84cm high
£800 - 1,200
LOT 132
A carved and gilt wall mirror, 19th century, with classical details, centred with a rectangular plate, 38cm wide
70cm high
£250 - 350
LOT 129
130
LOT
LOT 133
A ceramic table lamp, of recent manufacture, of ribbed ovoid form, with a duck-egg-blue glaze and a mustard-coloured shade,
46cm diameter
80cm high
£200 - 400
LOT 134
A camphor wood campaign chest, c.1860, in two parts, with two short and a single long drawer to the upper section, over two long drawers to the lower section, the edges carved with stiff leaf and Chinese motifs, with recessed brass handles, the locks stamped ‘Yuschun Singapore’, raised on a plain plinth base, the sides mounted with carrying handles, 112cm wide
51cm deep
117.5cm high
£800 - 1,200
LOT 135
A carved portrait bust of Samuel Pepys, probably 19th century, modelled wearing a wig and a lace scarf, the lower part carved as a corbel bracket, 64cm wide
30cm deep
107cm high
£1,500 - 2,000
Possibly removed from a public house or an institution.
Samuel Pepys was a Member of Parliament and one of the most important diarists of the 17th century. Born in 1633 in Fleet Street, London, he came from an extended family of
government officials. It was due to this that he received a good education at the University of Cambridge and went on to work for George Downing, a leading figure in pubic finance who was Teller of the Exchequer. In 1660, Pepys started his diaries, recording his personal feelings amongst accurate records of daily life and major events at the time, including the Plague, the Great Fire of London, and the Anglo-Dutch wars. He ceased writing in 1669 due to poor eyesight and, after a couple of imprisonments on suspicion of Jacobitism (a political movement to restore the House of Stuart line to the throne), he died in Clapham in 1703.
136
A Regency cast bronze inkstand, c.1820, the handles modelled as coiled serpents, centred with a lidded box, flanked with removable inkwells with liners and covers, with four penholders, 33.5cm wide
10cm deep
10.5cm high
£300 - 500
LOT
137
A lime-green glazed table lamp, of recent manufacture, with brass lug handles, raised on a Lucite plinth, and fitted with a green cloth shade, 41.5cm diameter
64.5cm high
£250 - 350
LOT 138
A pair of nickel-plated wall lanterns, 1960s, each fitted with three bulbs, 50cm wide
30cm deep
85cm high (2)
£800 - 1,200
LOT 139
A pair of bronze ceiling lights, c.1950, each of rectangular form, the shaped sides with scrolled motifs, mounted with Perspex panels, 189.5cm long
80.5cm wide
19cm deep (2)
£2,000 - 4,000
Reputedly removed from a theatre in Liverpool.
LOT
LOT 140
A palm-veneered, redwood and ebonised cabinet, late 20th century, in the manner of Eugène Printz (French, 1889-1948), with a pair of geometric water-gilt doors, the interior with black lacquer, raised on shaped supports, 194.5cm wide
28cm deep
109cm high
£1,500 - 2,000
LOT 141
A Lucite and steel pedestal stand, 1970s, of cylindrical form, 40cm diameter
72cm high
£300 - 500
LOT 142
A ‘Chanel’ Lucite table lamp, 1970s, with three interlinked ‘C’s’, raised on a square Lucite plinth, with a conical cloth shade, shade 50cm diameter
90cm high overall
£150 - 200
LOT 143
Spare lot
LOT 144
A chrome dining table, 1970s, Italian, designed by Tobia Scarpa, the glass top raised on a latticed stand, with plain column supports, 203cm wide
106.5cm deep
74.5cm high
£600 - 800
A patinated cast iron model of the Warwick Vase, 19th century, after the antique, with two entwined handles and decorated with depictions of Bacchus and animal masks, 84cm wide
58cm deep
57cm high, and
a patinated bronze plinth to match, 19th century, the circular top on a cast column, socle and plinth, top 43cm diameter
97cm high
45.5cm square with plinth (2)
£1,500 - 2,500
The Earl of Warwick acquired the original marble vase, which was of great proportions, and displayed it in a specifically made summer house at Warwick Castle. The vase had been excavated in 1771 from Lake Pantanello, which was inside the grounds of Villa Tiburtina, Tivoli, the ruined villa of the Roman Emperor Hadrian. The excavated vase was restored by Granjacquet for Sir William Hamilton, before it passed to his nephew, George Greville, 2nd Earl of Warwick. The vase now sits within the Burrell Collection, Glasgow.
A bronze figure of Narcissus, 19th century, Italian, after the antique, 26.5cm diameter
62.5cm high
£600 - 800
Jean-Baptiste Auguste Clésinger (French, 1814-1883), ‘La Femme piquée par un serpent’ (Woman Bitten by a Serpent), a bronze, signed ‘J Clesinger Roma 1861’ and cast by ‘Collas et Barbedienne’, inscribed ‘F. Barbedienne Fondeur’ and with Collas medallion, 48.5cm wide
15.5cm deep
22cm high
£400 - 600
LOT 145
LOT 146
LOT 147
148
A bronze putto, 18th century or earlier, after the antique, the nude figure, except for a garland of flowers and sandals, standing holding a posy and raised on a painted terracotta plinth, 18.5cm wide 17cm deep
67cm high overall
£6,000 - 8,000
LOT
149
A monumental adjustable crane floor lamp, 1970s, by Curtis Jeré, with chrome stanchions and wire tensioners, the hinged beam with a counterweight, fitted with two lights with ‘barn door’ shades, raised on a six-prong stand,
290cm high
£800 - 1,200
150
A grey lacquered desk, of recent manufacture, the floating waterfall top fitted with two drawers with Lucite handles, a cupboard to one side, and polished steel details,
120cm wide
80cm deep
76cm high
£1,000 - 1,500
151
A large Lucite sculptural ‘tusk’ table lamp, 1980s, Italian, by Oggetti, the Lucite ‘tusk’ mounted on a polished brass plinth, labelled to the underside, 45cm wide
16.5cm deep
109cm high
£300 - 500
LOT
LOT
LOT
152
A black ceramic table lamp, 1970s, French, the vase-shaped base etched with horizontal bands, fitted with a black cloth shade, 40cm diameter
75.5cm high
£200 - 400
153
A monumental crane floor lamp, 1970s, by Curtis Jeré, with chrome stanchions and wire tensioners, the hinged beam with a counterweight, fitted with two lights with ‘barn door’ shades, raised on a six-prong stand, 290cm high
£800 - 1,200
A pair of chrome and glass side tables, 1970s, Italian, designed by John Mascheroni for Vecta, each with an inset glass top, on a tubular chrome frame, 79cm square 54cm deep (2)
£200 - 400
LOT 154
LOT
LOT
An Art Deco-style armchair, 1980s, mounted with a nickel-plated frame, upholstered by Ken Bolan in a yellow geometric fabric, 69cm wide
72cm deep
68cm high
£600 - 800
156
A pair of Lucite table lamps, 1970s, each of triangular form, with a Lucite finial, and a turquoise cloth shade, 46.5cm diameter
74.5cm high (2)
£200 - 400
A burrwood-veneered plinth or side table, 1970s, of plain form, 53.5cm square 66.5cm high
£200 - 300
An Indian rosewood miniature ‘longcase’ clock, c.1960s, American, designed by George Nelson for Howard Miller Clock Company, Zeeland, Michigan, with a chrome-mounted dial with Arabic numbers, with pendulum and weights, 23cm wide 23cm deep
96.5cm high
£200 - 400
LOT 155
LOT
LOT 157
LOT 158
159
Two cast iron door-porter table lamps, one example cast as a lion rampant, the other a dolphin, each fixed on a Lucite plinth, 30cm wide
18cm deep
53cm high (2)
£300 - 500
LOT 160
A set of six Art Deco-style wall lights, each with a dish-shaped shade, fitted with a single bulb and mounted with a Perspex cylindrical column, 30cm wide
19.5cm deep
32.5cm high (6)
£400 - 600
LOT 161
A brown moulded lacquer cabinet, of recent manufacture, centred with four drawers flanked by cupboards, with brass handles, mounted on splayed block supports, 140cm wide
48cm deep
83cm high
£400 - 600
LOT 162
A collection of four plaster animals, 20th century, each a maquette ready for casting, modelled as a lion, a hippopotamus, a warthog and a bulldog, largest 47cm wide (4)
£200 - 400
LOT
LOT 163
A chrome and brass-mounted ceiling light, 1970s, with geometric panels, fitted with nine lights, with a chain suspension,
51cm diameter
51cm high
chain 37cm long approximately
£400 - 600
LOT 164
Two camphorwood trunks, 19th century, each brass-mounted, with brass plaques to the top and escutcheon, the smaller with carrying handles,
larger 102cm wide
52cm deep
49.5cm high, smaller 69cm wide
38cm deep
32.5cm high (2)
£400 - 600
LOT 165
A marble fountain mask or gargoyle, mid-19th century, Italian, modelled as a moustachioed face, 17cm wide
8cm deep
22.5cm high
£150 - 200
LOT 166
A blue-cobalt crackle console table, of recent manufacture, with polished steel lozenge details to the side, 167.5cm wide
41cm deep
67.5cm high
£800 - 1,200
167
A matched pair of gold-leafed cast-metal bookends, c.1970, by Curtis Jeré, modelled as male and female symbols, each labelled ‘Sauteur B-2264 Sex’s Bookends’, 10cm wide
10cm deep
18cm high (2)
£300 - 500
LOT 168
A carved and painted settee, c.1880, Swedish, upholstered in Nicole Farhi fabric with matching braid, raised on carved and moulded supports, 185cm wide
85cm deep
91cm high
£700 - 900
LOT 169 §
A rosewood table, c.1970, by Pieff, with a veneered rosewood top, raised on a pair of ‘T’-shaped supports,
200cm wide
100cm deep
75cm high
£200 - 400
LOT
171 ▲
Waldemar Smolarek (Polish-Canadian, 1937-2010)
Untitled signed and dated ‘Smolarek/1963(?)’, with artist’s label verso, oil on canvas
97 x 79cm
£600 - 800
Born in Warsaw, Poland, Smolarek’s childhood was blighted by the Second World War, with the family being separated and the eventual death of his father whilst trying to escape from Mathausen concentration camp. Post-war, Waldemar took up art studies, particularly in metalwork and painting. During the 50s and 60s, his early works were exhibited in Warsaw, and usually involved metal sculpture applied to canvas. Smolarek moved to Sweden in 1968 due to Russian occupation and, two years later, moved permanently to Canada. His later works used oils on canvas and paper, and are held by many galleries, museums and private collections worldwide.
Maurice Jean Micha (Belgian, 1890-1969)
Nude with bracelet signed ‘Micha’ l.l., oil on canvas
80 x 70cm
£200 - 400
172
A Lucite and brass-mounted table lamp, 1970s, designed by Frederick Cooper of Chicago, with a cylindrical column, 21cm diameter plinth, 52cm high to top of the light fitting
£200 - 400
LOT 173 §
A Maitland-Smith tortoiseshell-mounted console table, 1970s, with a shaped tortoiseshell mosaic top, inset with a glass panel, raised on three painted cabriole supports, on a fan-shaped plinth, 214cm wide
50.5cm deep
80cm high
£1,500 - 2,500
LOT 170
170 171
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173
172
A toleware tray, mid-19th century, painted with a red-crested heron standing in a river, a parakeet in flight overhead, surrounded by foliage, bordered with a gilt scrolled band,
58.5 x 73.5cm
£200 - 300
A harlequin set of six Gustavian dining chairs, late 18th century, Swedish, each with original distressed grey paint, upholstered with a striped silk seat, raised on cabriole legs, 51cm wide
56cm deep
92cm high (6)
£600 - 800
A Gustavian painted longcase clock, c.1790, Swedish, the painted 12-inch dial with Roman numerals, enclosing an eight-day movement striking the hours, in a shaped and mounted case, with a glazed panel to the trunk and oval glass panels to each side of the hood, 47cm wide
22.5cm deep
230cm high
£1,000 - 2,000
LOT 175
LOT 174
LOT 176
LOT 177
A two-seater settee, c.1880, Swedish, the carved painted frame with scrolled arms, upholstered in a peppermint-green and grey damask, 170cm wide
73cm deep
85cm high
£800 - 1,200
LOT 178
A bronze camel, modern, raised on a marble plinth, with a cast leaf band,
21.5cm wide
10.5cm deep
38cm high
£150 - 200
LOT 179
A carved wood manglebraet, dated 1827, Swedish, carved in low relief with animals and figures, and with ‘DKD 1827’, with a horse handle, 6cm wide
14cm deep
14.5cm high
£150 - 200
LOT 180
A mahogany brass-bound campaign secretaire, c.1860, with a central secretaire drawer, revealing four pull-out drawers with turned ivory handles and a writing slope, flanked by four small drawers and a long drawer, the lower section with two further long drawers, raised on turned supports, the lock plates stamped ‘Bramah’, 111cm wide
50cm deep
118.5cm high
£800 - 1,200
LOT 181
A pair of tessellated bone dining armchairs, 1970s, designed by Enrique Garcel for Karl Springer, each with scrolling arms and sabre legs, with deep purple, waxed velvet upholstery, 58cm wide
68cm deep
100.5cm high (2)
£600 - 800
Karl Springer (German-American, 1931-1991) established a small workshop in Manhattan and began focusing solely on his furniture designs in the 1960s, drawing inspiration from pure, classical designs and translating them into custom-made furniture. He demanded the highest quality of materials and workmanship, using wood, Lucite and metals, often customising pieces for specific clients. His signature furniture styles were Art Deco, classical Chinese and Bauhaus, and he travelled extensively, constantly looking to discover new forms, techniques and materials. He experimented widely with exotic finishes including lacquered parchment, shagreen, rare woods, leather and horn.
179 178
181 180
LOT 182
A majolica pottery ceiling light, c.1870, of dished form, the top edge with fret-cut details, mounted with Medusa masks and raised leaf divisions, terminating with a shaped finial, 40cm diameter
30cm high
£400 - 600
LOT 183
A pair of Palissy ware dishes, c.1870, Portuguese, each with applied decoration of a duelling snake and salamander, on a ground of green shredded clay and insects, each stamped to the base ‘Jose Cunha, Portugal, Caldas, Spain’ and numbered ‘4’, 25cm diameter (2)
£300 - 500
For a similar example, see M P Katz, ‘Portuguese Palissy Ware’, pp.71-73.
LOT 184
A Palissy ware serving dish, c.1880, French, with moulded decoration of snails, frogs and vines, 39cm wide
£200 - 300
185
A Palissy ware shaped plaque, c.1889-91, French, probably by Alfred Renoleau, with applied decoration of a fish and a lobster on a leaf, the underside stamped ‘Polakowski & Cie, Roumazières’, 40cm long
£200 - 400
186
A Palissy ware oval dish by Achille Barbizet, c.1860, French, with applied decoration of a fish surrounded by foliage and shells, 39cm long
£200 - 400
187
A Palissy ware-style large oval dish, late 19th/early 20th century, French, with an applied snake to the centre, surrounded by a stream, fish, insects and lizards on a leafy ground, 44cm long
£200 - 400
LOT
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A Palissy ware dish by Alfred Renoleau, c.1889-1891, French, with applied decoration of snakes, lizards and frogs, on a ground of leafy foliage, stamped ‘Polakowski & Cie, Roumazières’, ‘A Renoleau’ and ‘Ceramiste’ to the underside, 32cm diameter
£200 - 400
For a similar example, see M P Katz & R Lehr, ‘Palissy Ware’, p.177.
A Palissy ware shaped oval dish, c.1890, French, with applied decoration of four fish on a green mossy ground, 36cm long
£200 - 400
A Palissy ware oval dish, c.1889-1891, French, with applied decoration of fish and a lobster, on a leafy ground, incised ‘A.R’ to the underside, 36cm long
£200 - 400
LOT 188
LOT 189
LOT 190
A set of three resin-mounted panels, of recent manufacture, each with a naturalistically moulded resin panel, within a limed frame,
57cm wide
5.5cm deep
229cm high (3)
£600 - 800
A tessellated horn, crimson veneer and brass-mounted dining table, 1970s, in the manner of Mastercraft, 244cm wide
102cm deep
78cm high
£2,000 - 3,000
A painted plaster bust of Nefertiti, 20th century, mounted on a simulated wood plinth, with impressed medallion and inscribed ‘598’, 13.5cm wide
14cm deep
29cm high
£150 - 200
191
LOT 191
LOT 192
LOT 193
193
192
LOT 194
A pair of clear moulded glass table lamps, of recent manufacture, Italian, each with a polished chrome mount, raised on a square plinth, 45.5cm diameter
70.5cm high (2)
£300 - 500
LOT 195
A pair of brass and cased-glass desk lamps, each raised on a stepped plinth, with an adjustable green overlaid-glass shade,
28cm wide
25cm deep
43cm high (2)
£400 - 600
LOT 196
An apple green lacquered lightbox side table, 1970s, with an opaque acrylic inset top, with two polished steel bands, 66.5cm square
61cm high
£400 - 600
LOT 197
A burgundy leather three-seater settee, 1960s, Danish, in the manner of Børge Mogensen, 200cm wide
85cm deep
80cm high
£600 - 800
LOT 198
A patinated brass desk lamp, 20th century, Russian, the disc shade mounted with green fabric and cast plaques, fitted with two lights on a reeded column, on a circular plinth,
39cm diameter
57cm high
£200 - 400
LOT 199
A brushed steel and glass console table, 1980s, in the style of the Design Institute of America, the glass top raised on a steel column stand, with a pink steel cylinder suspended by wires, on a black steel plinth,
143cm wide
36cm deep
81.5cm high
£800 - 1,200
The Design Institute of America (‘DIA’) worked with many high-end designers in the 1970s, including Thayer Coggin, Milo Baughman and Kaizo Oto.
LOT 200
A set of six steel cantilever armchairs, 1970s, each upholstered in deep green Alcantara material, 60cm wide
62cm deep
85cm high (6)
£1,000 - 1,500
After Bertel Thorvaldsen, mid-19th century, a carved wood figure of Hebe, with an ebonised finish, raised on a turned ebonised plinth, 16.5cm diameter
55cm high overall
£600 - 800
A camphor wood campaign secretaire chest, c.1860, with a carved back and fret-cut three-quarter gallery, with brass moulding, the eight drawer fronts with brass-inlaid panels, centred with a drawer which hinges to a sloped writing surface, enclosing two hinged wells, one plain at the front, the other fitted with pigeonholes and centred with a cupboard, raised on castors, with side carrying handles,
104.5cm wide
52cm deep
127cm high
£2,000 - 3,000
A pair of painted armchairs, mid-20th century, French, each with a wicker back, floral carving and upholstered in striped fabric, 60cm wide
52cm deep
106cm high (2) £300 - 500
LOT 201
LOT 202
LOT 203
204
A bronze figure of Narcissus, 19th century, Italian, after the antique, 15.3cm diameter
40.5cm high
£400 - 600
205
A painted oval mirror, 19th century, Swedish, with a black moulded frame, with a ring suspension, 85cm wide
106.5cm high
£400 - 600
An Empire carved giltwood and composition console table, 19th century, Swedish, with a Carrara marble top, the centre modelled as a griffin, the plinth of simulated marble, 81cm wide
40cm deep
81cm high
£600 - 800
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LOT 206
An opalescent glass dressing mirror, 1950s, Italian, by Seguso, with brass mounts, 52cm wide
22cm deep
53cm high
£1,200 - 1,500
LOT 208
A pair of ‘Punch and Judy’ door porter table lamps, each cast iron figure on a fixed Lucite plinth, 26cm wide
18cm deep
42cm high (2)
£400 - 600
LOT 209
A lacquered and glass coffee table, 1980s, the circular glass top raised on three spheres and mounted on a double-stepped plinth, 107cm diameter
40.5cm high
£500 - 700
210
A steel and upholstered armchair, 1970s, designed by Milo Baughman for Milo Baughman Design Inc., upholstered with a patterned jacquard fabric, raised on a revolving circular stand, 67.5cm wide
74cm deep
64cm high
£500 - 700
LOT 207
208
210
209 207
LOT
A rococo cartel clock with bracket, c.1760, Swedish, with original paint and traces of gilding, the cartouche-shaped frame carved with foliage, mounted with glass to the front and sides, surmounted with an urn of flowers and ribbon work, the dial with pierced brass hands, enamelled blue Roman numerals, and signed ‘Petter Ernst’, 42cm wide
18cm deep
clock 76cm high (2)
£2,000 - 4,000
Petter Ernst (1714-1784) was one of Sweden’s leading clockmakers, producing pieces ranging from grandfather clocks to pocket watches. His renown saw him commissioned to make clocks and timepieces for public spaces across Stockholm, including astronomical instruments.
LOT 212
A pair of lacquered cabinets, 20th century, each fitted with a single and a double cupboard, enclosing shelves, the front with wax-resist brass panels with brass loop handles, on scrolled front supports with sledge plinths,
126cm wide
48.5cm deep
89cm high (2)
£4,000 - 6,000
LOT 211
A black stone and glass console table, 1980s, by Reflex for Roche Bobois, the glass top raised on the ‘X’-framed glass and marble stand, 120cm wide
46cm deep
76cm high
£400 - 600
LOT 214
A set of four brown fibreglass ‘S’ chairs, of recent manufacture, after a design by Verner Panton, 49cm wide
70cm deep
81cm high (4)
£200 - 300
LOT 215
A glazed pottery wall pocket or salt box, late 19th century, French, modelled as a fishing creel, mounted with prawns and a crab, centred with a ‘paper’ label inscribed ‘Ma Peche a Villers’,
16.5cm wide
14cm deep
11cm high
£100 - 150
LOT 216
An American walnut and chrome-mounted clock, 1980s, by Ridgeway Clocks, the walnut case mounted with chrome Roman numerals, with a battery-operated movement, a faux pendulum and weights, over a plinth base, fitted with an uplighter, 35.5cm wide
23cm deep
173cm high
£800 - 1,200
Ridgeway Clocks started out as the Gravely Furniture Company in 1926, but after the purchase of the furniture company in 1985, it was renamed Ridgeway Clocks. It was purchased again in 2004 when it became a division of the Howard Miller Clock Company. 216
LOT 213
214
215
213
217
Arthur Upham Pope and Phyllis Ackerman, A Survey of Persian Art, twelve volumes, printed for the Asia Institute, Oxford University Press, 1964 (12)
£100 - 200
LOT 218
A large ebonised ash wall cabinet, designed by Ken Bolan, with a pair of routed cupboards, 150cm wide
33cm deep
222cm high
£400 - 600
LOT 219
An oak Gothic Revival dressing mirror, c.1860, the mirror plate mounted in a carved frame with pinnacles, over a hinged box plinth, 30.5cm wide
15cm deep
74cm high
£200 - 300
LOT 220
A Lucite and glass console table, 1970s, with a glass top, raised on a chamfered and frosted Lucite stand, on a bevelled plinth, 120cm wide
46cm deep
56cm high
£200 - 400
LOT 221
Spare lot
LOT
222
A pair of ‘Punch and Judy’ door porter table lamps, each cast iron figure, on a fixed Lucite plinth, 26cm wide
18cm deep
51cm high (2)
£400 - 600
LOT 223
A set of four nickel-framed dining chairs, 1960s, each with ribbed silk upholstered seats,
50cm wide
60cm deep
82cm high (4)
£400 - 600
LOT 224
A lacquer cabinet on an ebonised stand, c.1950, American, by the Kittinger Furniture Company, with nine drawers, the upper central drawer stamped ‘Kittinger, Buffalo’, 103cm wide
52cm deep
93cm high
£500 - 700
The Kittinger Furniture Company was founded in 1866, in Buffalo, New York, by Irvine J Kittinger. Well known for their Colonial Williamsburg reproduction furniture, of which several pieces feature in the White House, they also produced pieces with European and Asian influence.
LOT
225
Three chrome bar stools, 1980s, each upholstered with a textured Pasha fabric, the seat sprung and rotating, raised on a chrome column with a footrest, on an arched plinth, 53cm wide
55cm deep
94cm high (3)
£400 - 600
LOT 226
... Slater (20th century)
Abstract signed ‘Slater’, oil on canvas 101 x 127cm, unframed
£200 - 400
LOT 227
A Lucite and glass coffee table, c.1970s, with a rectangular glass top, raised on an ‘S’-shaped stand, with a double-routed band, 143cm wide
70.5cm deep
35cm high
£200 - 400
LOT 228
A walnut executive desk, c.1960s, Danish, designed by Kai Kristiansen, with a bank of drawers and an extension table, on brushed steel supports, 205cm wide
100cm deep
73cm high, extension 200cm wide
50cm deep
59cm high, drawers 47cm wide
82cm deep
60cm high (3)
£1,000 - 1,500
LOT
227
226
225
Michel Zadounaïsky (Russian-French, 1903-1983), a wall mirror, c.1930, centred with a sculpted and patinated-steel parrot relief panel, stamped ‘Zadounaïsky’, mounted with a mirror plate, 110cm wide
93.5cm high
£4,000 - 6,000
Michel Zadounaïsky was born in Russia, but his family emigrated to France when he was a child. He attended the Beaux-Arts de Lyon when he was sixteen, however, he quit after a year, and apprenticed with a firm of chandelier-makers to learn the trade of crafting wrought iron. It was during the 1920s that Zadounaïsky developed his style of curves and intricate lacework, as well as his strong interest in animals, which can be seen in many of his works. He soon became an expressive voice of the French Art Deco scene due to his unique designs and superb craftsmanship, and became popular with the French elite, who commissioned works from him. 229
Michel Zadounaïsky (Russian-French, 1903-1983), a rare sculpted and cast-metal panel, dated 1933, depicting a silver patinated shark surrounded with shoals of fish and abstract metalworks, mounted in a red steel frame, stamped ‘Zadounaïsky 1933’.
119cm wide
210cm high
£15,000 - 20,000
LOT 229 ▲
LOT 230 ▲
A sculpted-steel table lamp, created in 2013, with a pierced panel, raised on a stepped plinth, and with an oval crimson shade,
42cm wide
24.5cm deep
100.5cm high
£400 - 600
LOT 232
A brushed and polished steel console table, c.1980, American, by Jay Spectre, with a linear etched-glass top, 96cm wide
41cm deep
85cm high
£400 - 600
Jay Spectre (American, 1929-1992) was a New York-based interior and furniture designer. He set up Jay Spectre Inc. in 1968, which predominantly showcased Art Deco-influenced furniture, incorporating high-tech and hand-carved elements. The company provided designs and furniture for large offices, aircraft, yachts and homes across the world.
LOT 233
A stitched leather-mounted coffee table, 1980s, designed by Jean-Pierre Audebert for Jori, centred with a black-tinted glass panel, the underside with canted panels, 79.5cm square
37cm high
£200 - 300
LOT 234
A pair of upholstered armchairs, 1960s, each with a revolving seat, upholstered in patterned linen by Ken Bolan Studio, and raised on a brushed steel plinth,
63.5cm wide
67cm deep
80cm high, seat 46cm high (2)
£800 - 1,200
LOT 231
A pair of chrome table lamps, 1950s, by the Rembrandt Lamp Company, each with black stylised details on a tapering plinth, mounted with a velvet and copper-lined shade, 40cm diameter
75.5cm high (2)
£400 - 600
Irving Penn (American, 1917-2009)
‘Circus People’, 1947
gelatin silver print
visible 19 x 16.5cm
£1,000 - 2,000
Provenance: With the André Emmerich Gallery, New York; Keith de Lellis Fine Art Photography.
Irving Penn was one of the 20th century’s great photographers. His fashion and beauty photographs appeared regularly in ‘Vogue’ magazine, and he also produced advertising photography for Issey Miyake, who he was good friends with. One of the first photographers to shoot his subjects against a simple white or grey background, Penn also experimented with printing on different surfaces - such as aluminium with platinum emulsion finishes - inspired by his earlier studies in creative painting.
The gelatin silver process is still used to this day in black and white photographic prints, but became less popular when colour and digital photography came into being in the 1960s.
A Louis XIV-style centre table or ‘table de milieu’, 20th century, French, with an inset red and white variegated marble top, 157.5cm wide
99cm deep
85cm high
£2,000 - 3,000
LOT 235
LOT 236
LOT 237
238
Two storage boxes, 20th century, Balinese, each mounted with bamboo, hides, and cowrie shells, with a shaped roof and door shutter to the upper section, worn, 56cm wide
49cm deep
77.5cm high, and
46.5cm wide
35.5cm deep
60cm high (2)
£150 - 300
LOT 239
An oak and giltwood panel of St Peter and the Rooster, late 17th/early 18th century, probably Netherlands, the low-relief carved oak panel depicting the repentance of St Peter, holding two keys, with a tear in his eye and accompanied by a rooster standing on a gnarly tree stump, framed within a giltwood backdrop with scroll-decorated drapes hung with tassels, the reverse with a label inscribed ‘Mrs Weeden, 4 Lennox St, Edinburgh’, 46 x 32.5cm
£300 - 500
LOT 240
A carved and painted wood mask, c.1900, Himalayan, possibly of Hanuman, with deep set eyes and prominent nose and ears, 24cm wide
16cm deep
28cm high
£200 - 300
LOT 241
A carved mask, Democratic Republic of Congo, Boa people, 25cm wide
17cm deep
33cm high
£200 - 300
LOT 242
A carved mask, West Africa, Mali, Bambara people, the long, pierced ears over a broad forehead incised with geometric decoration, with narrow eyes and nose, the mouth open and showing pointed teeth, 16cm wide
16cm deep
50cm high
£400 - 600
LOT 243
An N’toma ceremonial mask
West African, Bambara people, the mask metal-bound, with square pierced eyes below a carved and incised forehead, 22cm wide
7cm deep
59cm high
£200 - 400
LOT
244
Carlos Sanchez (Colombian, b.1957)
A 1980s-style figure of a lady serigraph in colours, signed and numbered ‘241/350’, and inscribed to the mount in pencil ‘For my friend Brachi Guggisberg and his three women in the Castle of Gerzensee, with affection, Carlos Sanchez’
115 x 90.5cm, framed and glazed
£400 - 600
LOT 245
Carlos Sanchez (Colombian, b.1957)
A 1980s-style figure of a lady serigraph in colours, signed, numbered ‘273/350’, and inscribed to the mount in pencil ‘For my friend Brachi Guggisberg and his three women in the Castle of Gerzensee, with affection, Carlos Sanchez’
115 x 93cm, framed and glazed
£400 - 600
LOT 246
Carlos Sanchez (Colombian, b.1957)
A 1980s-style figure of a lady serigraph in colours, signed and numbered ‘233/350’, and inscribed to the mount in pencil ‘For my friend Brachi Guggisberg and his three women in the Castle of Gerzensee, with affection, Carlos Sanchez’
87.5 x 122cm, framed and glazed
£400 - 600
LOT 247
Carlos Sanchez (Colombian, b.1957)
A 1980s-style figure of a lady serigraph in colours, signed and numbered ‘234/350’, and inscribed to the mount in pencil ‘For my friend Brachi Guggisberg and his three women in the Castle of Gerzensee, with affection, Carlos Sanchez’ 115 x 87cm, framed and glazed
£400 - 600
LOT
Ken Bolan Jewellery
This remarkable collection of jewellery was conceived and created by Ken in collaboration with Swiss designer Marinette Domon. The original vision, over a decade ago, was to launch a distinctive jewellery brand. Every piece was meticulously crafted in Switzerland by master jeweller Denis Domon, working from his atelier in La Chaux-de-Fonds.
After a year of development and an investment of over £300,000, Ken came to the difficult decision to step back from the project. While the creative journey was deeply rewarding, it became clear that bringing the full collection to market would require a significantly larger investment.
Since then, the collection has remained in safe storage. Now, for the first and only time, these unique pieces are being offered for sale. Each one is entirely original and no duplicates will ever be produced.
LOT 248
Ken Bolan and Marinette Domon: a white gold diamond ‘Touche de Soie’ necklace, the highly textured torque necklace of asymmetrical design, adorned with pavé set round brilliant cut diamonds, mounted in white gold marked 750, Denis Domon, total diamond weight approximately 7.66ct, 183.50g, inner circumference 430mm approximately
£10,000 - 15,000
LOT 249
Ken Bolan and Marinette Domon: a pair of white gold diamond ‘Touche de Soie’ earrings, each of textured asymmetrical design, adorned with pavé set round brilliant diamonds, mounted in white gold, post and clip fittings, one replacement stud post, total weight approximately 2.96ct, marked 750, Denis Domon, 27.80g, 55mm long
£1,500 - 2,000
LOT 250
Ken Bolan and Marinette Domon: a white gold ‘Touche de Soie’ diamond ring, of sculptural design, accented with pavé set round brilliant diamonds on a textured and polished ground, total diamond weight 1.05ct, mounted in white gold, marked 750, Denis Domon, 29.50g, ring size L-M
£2,000 - 3,000
LOT 251
LOT 252
Ken Bolan and Marinette Domon: a two-tone gold diamond ‘Touche de Soie’ bangle, the textured abstract design bangle comprising a white gold front and a yellow gold back, accented throughout with round brilliant cut diamonds, total diamond weight 6.03ct, marked 750, Denis Domon, 85.00g, inner diameter 70mm approximately
£5,000 - 7,000
LOT 253
Ken Bolan and Marinette Domon: a white gold diamond ‘Touche de Soie’ collar, the highly textured free-form open collar, highlighted with round brilliant cut diamonds, stated diamond weight 2.78ct, mounted in white gold stamped 750, signed Denis Domon, 122.00g, inner circumference 310mm approximately
£6,000 - 8,000
Ken Bolan and Marinette Domon: a white gold diamond ‘Touche de Soie’ pendant necklace, the highly textured pendant of sculptural form, adorned with round brilliant cut diamonds, total diamond weight 0.36ct, mounted in white gold marked 750, Denis Domon, suspended by a satin finish omega chain, marked 750, 41.00g, chain 450mm long pendant 71mm long
£3,000 - 5,000
LOT 254
Ken Bolan and Marinette
Domon: a white gold diamond ‘Touche de Soie’ necklace, the highly textured torque necklace, hinged at the back, pavé set with round brilliant cut diamonds, mounted in white gold stamped 750, signed Denis Domon, 134.00g, inner circumference 330mm approximately
£8,000 - 12,000
LOT 255
Ken Bolan and Marinette
Domon: a white gold diamond ‘Touche de Soie’ bangle, the open cuff bangle of sculptural form, highlighted with round brilliant cut diamonds, total diamond weight 1.23ct, mounted in white gold marked 750, Denis Domon, 74.50g, inner diameter 62mm
£4,000 - 6,000
LOT 256
Ken Bolan and Marinette Domon: a pair of rose gold diamond ‘Touche de Soie’ earrings, each of sculptural design, adorned with pavé set round brilliant diamonds, mounted in textured rose gold, post and omega clip backs, marked 750, stated diamond weight 0.37ct, 9.87g, diameter 25mm approximately £500 - 700
LOT 257
Ken Bolan and Marinette Domon: a diamond and green tourmaline ‘Touche de Soie’ pendant necklace, the highly textured pendant of abstract design, adorned with a trillion-cut green tourmaline weighing 14.73ct and round brilliant diamonds, mounted in white gold marked 750, Denis Domon, total diamond weight 1.05ct, suspended by a satin finish omega chain, marked 750, 39.00g, chain 460mm long pendant 75mm long
£3,000 - 5,000
LOT 258
Ken Bolan and Marinette Domon: a white gold diamond and aquamarine ‘Touche de Soie’ ring, of abstract design, centrally featuring a chatoyant aquamarine between highly textured diamond set shoulders, mounted in white gold, marked 750, stated diamond weight 0.19ct, 12.81g, ring size L
£800 - 1,200
LOT 259
Ken Bolan and Marinette Domon: a diamond ‘Touche de Soie’ cuff bangle, the open cuff bangle of sculptural form, highlighted with vari-sized single cut and round brilliant diamonds, estimated total diamond weight approximately 2.00ct, mounted in yellow gold stamped 750, 60.97g, inner diameter 60mm
£4,000 - 6,000
LOT 260
Ken Bolan and Marinette Domon: a gold diamond ‘Touche de Soie’ bangle, designed as an open cuff of sculptural form, highlighted with graduated round brilliant cut diamonds, mounted in yellow gold, marked 750, Denis Domon, total diamond weight 1.34ct, 76.80g, inner diameter 60mm
£5,000 - 7,000
LOT 261
Ken Bolan and Marinette Domon: a diamond and Tahitian pearl ‘Baroque’ pendant necklace, of twisted ribbon design, adorned with round brilliant cut diamonds and a Tahitian keshi pearl, mounted in white gold stamped 750, total diamond weight 2.60ct, suspended by a white gold omega chain stamped 750, 50.00g, chain 460mm long pendant 70mm long
£3,500 - 4,500
LOT 262
Ken Bolan and Marinette Domon: a pair of diamond and Tahitian pearl ‘Baroque’ earrings, each designed as a swirling ribbon, adorned with pavé set diamonds and a Tahitian keshi pearl, to a brushed finish mount with post and omega clip backs, total diamond weight 1.52ct, marked 750, Denis Domon, 29.70g, 46mm long
£1,800 - 2,000
LOT 263
Ken Bolan and Marinette Domon: a pair of white gold diamond ‘Baroque’ earrings, each of abstract ribbon form, pavé set throughout with round brilliant diamonds, to a brushed finish mount with post and clip fittings, total diamond weight 2.53ct, marked 750, Denis Domon, 25.00g, 34mm long
£1,800 - 2,000
LOT 264
Ken Bolan and Marinette
Domon: a diamond and Tahitian pearl ‘Baroque’ necklace, modelled as an abstract twisted ribbon, partially articulated, set with round brilliant-cut diamonds and vari-sized Tahitian keshi pearls, mounted in white and rose gold marked 750, Denis Domon, total diamond weight 3.20ct, 109.10g
£5,000 - 7,000
LOT 265
Ken Bolan and Marinette Domon: a rose gold diamond and Tahitian pearl ‘Baroque’ pendant necklace, of twisted ribbon design, adorned with round brilliant cut diamonds and a Tahitian keshi pearl, mounted in textured rose gold stamped 750, total diamond weight 0.57ct, suspended by a rose gold omega chain stamped 750, 25.75g, chain 380mm long pendant 53mm long
£1,500 - 2,000
LOT 266
Ken Bolan and Marinette Domon: a rose gold, Tahitian pearl and diamond ‘Baroque’ ring, designed as a wraparound abstract ribbon, pavé set with round brilliant diamonds and highlighted with a Tahitian keshi pearl, mounted in textured rose gold, marked 750, Denis Domon, 9.86g, ring size O
£500 - 800
LOT 267
Ken Bolan and Marinette Domon: a diamond and Tahitian pearl ‘Baroque’ pendant necklace, of twisted ribbon design, adorned with round brilliant-cut diamonds and a Tahitian keshi pearl, mounted in textured white gold stamped 750, total diamond weight 0.68ct, suspended by a satin finish omega chain, 27.40g, chain 430mm long pendant 60mm long
£1,800 - 2,000
LOT 268
Ken Bolan and Marinette Domon: a pair of diamond and Tahitian pearl ‘Baroque’ earrings, of asymmetrical design, each modelled as a stylised folded ribbon, adorned with round brilliant diamonds and a Tahitian keshi pearl, mounted in white gold, to post and omega clip backs, diamond weight approximately 2.60ct, marked 750, Denis Domon, 25.90g, 46 and 50mm long
£1,800 - 2,000
£6,000
£5,000
£1,200
LOT 269
Ken Bolan and Marinette Domon: a white gold, Tahitian pearl and diamond ‘Baroque’ bangle, modelled as a stylised swirling ribbon, round brilliant diamonds pavé set throughout, highlighted with Tahitian keshi pearls, mounted in textured white gold, marked 750, Denis Domon, total diamond weight 5.67ct, 100.00g, inner diameter 60mm approximately
- 8,000
LOT 270
Ken Bolan and Marinette Domon: a white gold Tahitian pearl and diamond ‘Baroque’ ring, of sculptural open form, pavé set with round brilliant diamonds and highlighted with two Tahitian keshi pearls, mounted in textured white gold, marked 750, Denis Domon, 20.90g, ring size S-T approximately
- 1,500
LOT 271
Ken Bolan and Marinette Domon: a diamond ‘Jazz’ bangle, of hinged pierced design, comprising a series of two-tone diamond set abstract motifs, raised on a similarly adorned hinged hoop, mounted in white gold with rose gold detailing, stamped 750, total diamond weight 5.18ct, 78.22g, inner diameter 57mm
- 7,000
FURNITURE, PAINTINGS, GLASS AND WORKS OF ART
LOTS 272-433
Four Murano glass vases, mid-20th century, two of square section, and two with angular facet sides, 30, 31.5 (x2) and 32cm high (4)
£150 - 200
LOT 273
Six Murano Sommerso glass vases, mid-20th century, three facet and three lozenge section, one with an old label, 18.5 to 29cm high (6)
£250 - 350
274
Eight Murano coloured vases, 20th century, 20.5 to 36cm high (8)
£200 - 400
275
Three Murano Sommerso cobalt and yellow glass vases, mid-20th century, of square and octagonal section, 17.7, 22 and 30cm high (3) £100 - 200
LOT 272
LOT
LOT
Murano Glassware
A Legacy of Light and Colour
In the early 2000s, Ken – through his wife – came into possession of a remarkable collection of Murano glassware, acquired from a discerning Swiss collector whose passion for Venetian glass spanned decades. This was no ordinary assemblage; it was a museum-worthy trove that embodied the very essence of Murano craftsmanship – vivid colour palettes, daring forms, and a level of technical mastery passed down through generations of glassblowers.
Murano glass, produced for centuries on the Venetian island of the same name, has long been revered for its artistry and innovation. From the Renaissance onward, Murano artisans pioneered techniques such as filigrana, Sommerso, and millefiori, blending alchemy with aesthetics to create glass that was as complex as it was beautiful. This collection encapsulated that rich heritage, yet it also felt distinctly modern – a balance that would later prove key to its appeal.
When Ken first encountered the pieces, he immediately recognised their expressive power. Each vessel, vase, and sculpture seemed to pulse with life – twisting organic forms caught mid-motion, with jewel-like hues refracting light in mesmerising ways. He understood that these were not just decorative objects; they were statements – embodiments of cultural legacy, craftsmanship and creative daring.
It was a natural fit to introduce the collection through Talisman, Ken’s visionary platform for decorative arts and interiors. Known for blending historical gravitas with contemporary relevance, Talisman offered the perfect stage to showcase the Murano works. The reaction was immediate and enthusiastic. Collectors were drawn to the rarity and provenance. Designers appreciated their sculptural qualities and versatility. Tastemakers embraced them as both artefacts and objets d’art – functional yet deeply emotive.
The success of the collection didn’t merely reflect the appeal of Murano glass; it affirmed Talisman’s role as a curator of exceptional and soulful design. These pieces weren’t simply revived from obscurity - they were recontextualised for a new generation, bridging the old world and the new.
Today, that same collection continues to inform and inspire – a testament not only to the enduring legacy of Murano but to the eye and instinct that saw its potential afresh.
LOT 276
Four Murano and French coloured glass vases, 20th century, 17 to 27cm high (4)
£150 - 200
LOT 277
Four Murano glass vases, 20th century, of square and facet section, two with labels, 20 to 30.5cm high (4)
£200 - 300
LOT 278
Seven Murano Sommerso glass vases, mid-20th century, of square and facet section, in different colours, 17 to 24.8cm high (7)
£300 - 500
LOT 279
Six Murano Mandruzzato Sommerso glass vases, mid-20th century, all of squat form, in red and yellow, and turquoise and yellow, 15.5 to 20cm high (6)
£200 - 400
LOT 280
Seven Murano glass vases, mid-20th century, each of square section form, in clear and buff, 19.5 to 28.3cm high (7)
£200 - 300
LOT 281
Six Murano coloured glass vases, 20th century, 22.5 to 54cm high (6)
£200 - 400
LOT 282
Five Murano Sommerso cobalt and yellow glass vases, mid-20th century, each of square form, 15.7 to 30.5cm high (5)
£300 - 500
LOT 283
Three Murano Sommerso glass vases, mid-20th century, one square and two of hexagonal section, 25.5, 26.5 and 28.5cm high (3)
£100 - 200
283 282
281 280
LOT 284
Two Murano glass vases, mid-20th century, one of square section, and another with canted corners, 26 and 27.5cm high, and three Schott Zwiesel green and crackled glass vases, 12, 20.5 and 21.5cm high (5) £100 - 200
LOT 285
Five Murano Mandruzzato Sommerso glass vases, mid-20th century, each of shaped form, 13 to 16.5cm high, and an ashtray, 7cm high (6) £150 - 200
LOT 286
Massimiliano Schiavon (Italian, b.1971) of recent manufacture, of tapering form, the battuto cut and frosted top over a cased black and white body, signed and numbered ‘1/1’, 37.5cm high
£400 - 600
LOT 287
Giampaolo Seguso (Italian, b.1942), a Murano glass vase, dated 1993, of squat form, with a central incalmo latticed band, engraved signature ‘... Seguso Murano 1993 59/99’, 21.5cm diameter
15cm high
£800 - 1,200
Michael Higgins (1908–1999) and
Frances Higgins (1912–2004)
Michael and Frances Higgins met at the Chicago Institute of Design, where their shared passion for glass and its experimentation first took shape. Married in 1948, they went on to establish the Higgins Glass Studio, where they developed a groundbreaking approach to modern glass art.
Pioneers in the field of fused glass, the Higginses explored the possibilities of kiln-formed techniques –taking sheets of glass and embedding them with coloured enamels before firing. The result was a bold and distinctive style, rich in pattern, colour and texture, that set their work apart from traditional blown glass.
During the 1950s and ’60s, their innovative designs gained wide acclaim and were carried by leading retailers, including the iconic Marshall Field’s department store. Their work continues to be celebrated today, held in prestigious collections such as the Smithsonian American Art Museum, the Corning Museum of Glass, and numerous private collections around the world.
Ken acquired this group of works from a collector in Miami in the early 2000s, recognising their historical significance and enduring visual appeal.
LOT 288
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), a rare Wells Studio clear glass, c.1951-57, centred with a gold design, signed ‘Higgins’ and with impressed dancing man, 37.8cm diameter
£200 - 400
LOT 289
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), two Wells Street Studio ‘Coral’ fused glass dishes, c.1951-1957, both with etched signatures and impressed dancing man, 25cm square (2)
£200 - 300
LOT 290
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), a ‘Country Garden’ fused glass charger, in orange and blue with gold inclusions, etched ‘Higgins’, 43cm diameter
£200 - 300
LOT 291
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), a ‘Mandarin’ circular fused-glass charger, c.1957-1965, in a purple and mauve colour, signed ‘Higgins’ in gold, 43cm diameter
£150 - 200
LOT 292
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), c.1960-75, a ‘Coral’ fused-glass charger, the coral patterns in green, orange, red and green, etched ‘Higgins’, 38cm diameter
£200 - 300
LOT 293
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), c.1960-70, a ‘Classic Line’ fused-glass charger, centred with a gold spiral and border, etched ‘Higgins’, 31.5cm diameter
£100 - 150
LOT 294
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), two large Wells Street Studio fused-glass dishes, c.1951-1957, ‘Abstract Coral’ and ‘Star Burst’, each of dished wedge form, both with etched signatures, and impressed dancing man, 37.5cm wide
34cm deep
3.5cm high (2)
£300 - 500
LOT 295
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), two rectangular fused-glass plates, c.1957-1965, ‘Thistledown’ and ‘Coral’, one signed ‘Higgins’ in gold, the other with the dancing man mark, 25 x 12.5cm, and a rectangular fused-glass ashtray, with etched signature and impressed dancing man, dated ‘02’, 35.5 x 18cm (3)
£200 - 400
LOT 296
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), two ‘Patchwork’ rectangular fused-glass ashtrays, c.1957-1965, each with gilt highlights and signed ‘Higgins’ in gold, 15 x 16.5cm, and three smaller fused-glass ashtrays, each signed ‘Higgins’ in gold, 17.5 x 12cm (5)
£300 - 500
LOT 297
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), a clear fused-glass dish, c.1951-1957, signed with an etched signature and dancing man, 18 x 19cm, and three further ‘Patchwork’ fused-glass dishes, with gilt highlights, each with etched signatures, two 17.5cm square, the other 17.7 x 12.7cm (4)
£150 - 250
LOT 298
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004), five items of fused glass, c.1957-1965 comprising, a lavender-coloured ashtray, 18.3 x 18.5cm, a ‘Siamese’ glass dish, 20.5cm diameter, a ‘Castilian’ glass bowl, with gilt spirals, 21cm diameter, and a ‘Roulette’ glass ashtray, 13.8cm diameter, all signed ‘Higgin’ in gold, and a ‘Coral’ dish, with etched mark and dancing man, 8.8cm square (5)
£250 - 450
LOT 299
Michael Higgins (American, 1908-1999) and Frances Higgins (American, 1912-2004) a fused-glass desk or wall clock, 1960s, designed for General Electric, mounted on a shaped stand, 20cm diameter
20cm high
£300 - 500
A collection of carved and painted marble fruit, 20th century, comprising five oranges, four figs, twenty-two small green apples and nineteen small yellow apples, most complete with stalks, yellow apples 5.5cm diameter approximately, in a shallow bowl, 32cm diameter (51)
£300 - 500
A painted terracotta lion mask, of recent manufacture, with pierced eyes and mouth, 35cm wide
20cm deep
40cm high
£200 - 400
A matched pair of ‘griffin’ console tables, 20th century, each with a pair of carved and lacquered griffins, a glass top, and textured chamfered plinth, 167cm wide
40.5cm deep
82.5cm high
glass 170 x 46cm (2)
£3,000 - 5,000
LOT 303
A pair of Lucite and chrome table lamps, 1970s, each with two tiers of Lucite drops, the support also with drops, on a square chrome plinth,
43.5cm wide
43.5cm deep
60.5cm high (2)
£1,500 - 2,000
LOT 302
LOT 300
LOT 301
A leather settee, 1960s, Danish, with a shaped buttoned back and seat, worn, 150cm wide
90cm deep
96cm high, seat 42cm high
£400 - 600
LOT 305
A monumental coconut-shell-veneered coffee table, 1980s, designed by Karl Springer, with an inset glass top, 160cm wide
120cm deep
41cm high
£1,200 - 1,500
LOT 306
A set of four ebonised and brass-framed dining chairs, 1970s, designed by Mastercraft, in the Empire style, each upholstered in grey linen, 53cm wide
75cm deep
100cm high (4)
£600 - 800
LOT 304
A pair of cream-painted table lamps, of recent manufacture, each of classical urn shape, with gilt swags and lion masks, each with a square turquoise cloth shade, 31cm wide
30.5cm deep
62.5cm high (2)
£200 - 400
A Lucite and glass console table, 1970s, with a slender glass top, raised on a three-part Lucite column, on a shaped plinth, 143cm wide
30.5cm deep
78cm high
£300 - 500
A pair of tall black-metal table lamps, of recent manufacture, each mounted on a square plinth, 71.5cm high to top of fitting plinth 23cm square (2)
£200 - 300
An aluminium diamond-shaped coffee table, 1970s, with a shaped rectangular glass top, 131cm wide
68cm deep
41.5cm high
£200 - 300
LOT 307
LOT 308
LOT 309
LOT 310
311
A pair of yellow ‘Crackle’ lacquer occasional tables, 2018, designed by Ken Bolan, each with polished brass to the inside of the supports,
60cm wide
40cm deep
41cm high (2)
£400 - 600
LOT 312
A Lucite ceiling light, 1970s, with nine tiers of hanging drops, fitted with six lights, with a cast mount, 90cm diameter
66cm high
£1,500 - 2,000
LOT 313
A Lucite and glass coffee table, 1970s, the oval glass top mounted on a two-part ‘butterfly’ stand, 150cm wide
75cm deep
53.5cm high
£200 - 400
LOT
LOT 314
A pair of brass and potter y-mounted table lamps, designed by Stiffel, USA, each with brass support mounted on a white pottery urn, raised on a shaped square plinth, plinth 15cm square
shade 45cm diameter
85.5cm high overall (2)
£150 - 250
Three lacquered burrwood cabinets, 1970s, by Milo Baughman, each fitted differently, mounted with chrome handles, one with three drawers, one with a fall-front enclosing a shelf, one with a cupboard enclosing a shelf,
76cm wide
40.5cm deep
50.5cm high (3)
£400 - 600
LOT 316
A pair of steel and glass coffee tables, 1970s, each with a rectangular glass top, on cylindrical supports, 122cm wide
61cm deep
38cm high (2)
£400 - 600
LOT 315
LOT 317
A pair of Lucite-framed armchairs, 1960s, designed by Hill Manufacturing Company, USA, each with red upholstery, 57cm wide
66cm deep
97cm high (2)
£300 - 500
LOT 318 §
A rosewood and steel executive desk, 1960s, Danish, by Posborg + Meyhoff for Sibast, mounted with a floating top, over three drawers, the return fitted with a top slide enclosing a filing space, the outer with a sliding cupboard enclosing three oak slides, desk 200cm wide
90cm deep
73cm high, return 184cm wide
47cm deep
61.5cm high
£1,000 - 1,500
LOT 319
A set of four Art Deco-style wall lights, 20th century, each fitted with a moulded glass shade, mounted on a patinated wrought-iron branch and mount, 15cm wide
16cm deep
28cm high
shade 12cm diameter (4)
£200 - 300
LOT 320
A patinated wrought-iron and glass coffee table, 1970s, in the manner of Silas Seandel, naturalistically modelled with columns, scrolls and centred with a flower, 143cm wide
70.5cm deep
39.5cm high
£300 - 500
LOT 321 ▲
Charles Levier (French, 1920-2003)
Boats at low tide, c.1960 signed ‘Levier’ l.l., oil on canvas
60 x 73cm
£600 - 800
Charles Levier was born in Corsica in 1920, to a French father and American mother. After studying at the École Nationale Supérieure des Arts Décoratifs in Paris, and following wartime service, he divided his time between France and the US, exhibiting his works in both countries. Well known for his abstract and cubist techniques of still-life, harbours, cityscapes and figurative works, some of his works are signed with one of his pseudonyms, ‘Villard’ or ‘Verrier’.
LOT 322 ▲
Hans Richter (German, 1888-1976)
Untitled abstract
signed with initials and dated ‘61’ l.r., mixed media on canvas laid on board, numbered ‘212’ on ‘Hans Richter Private Collection’ label verso
59 x 29cm
£1,000 - 2,000
An abstract artist, Hans Richter was part of the Dada movement, an anti-establishment movement that came about as a reaction to the First World War. Richter was co-founder of the ‘Artistes Radicaux’, formed in Zurich in 1919, with the aim that art should be a way of political protest, particularly against a society that had enabled the war. Collages in different materials were very typical of Dadaism, as collage was, by nature, riotous and anarchic.
LOT 323 ▲
Jordi Vila Rufas (Spanish, 1924-2011) ‘Cabeza’ (head)
signed ‘J. Vila Rufas’ l.l., also signed and inscribed with title verso, oil on canvas
61 x 51cm
£1,000 - 1,500
Jordi Vila Rufas trained at the Escola Massana, where he became a teacher in 1952. He exhibited solo across Barcelona and was known for his religious portrayals. He won the First National Competition of Domestic Religious Art in 1963.
A large painted cabinet, dated 1772, Danish, with two doors, each centred with masks and starburst moulding with winged masks to the spandrels, opening to reveal two shelf brackets, over two further drawers, the pediments and friezes carved with Nordic script, possibly regarding river deities, mounted with pierced brackets and masks, the frieze mounted with turned cup finials, profusely painted in polychrome colours and the frame in simulated marble, 212cm wide
85cm deep
205cm high
£4,000 - 6,000
‘During my 15 years of travelling Europe, I discovered this glorious cupboard, which became part of my personal collection. This wardrobe was close to becoming museum stock and I am honoured that my family and I got to enjoy it - so it is, for the first time in 30 years, that this Danish cupboard is now available.’
Ken Bolan
LOT 325
Two bronze peacocks, Meiji Period (1868-1912), Japanese, modelled as a cock with outspread plumage and a submissive hen, each raised on a bronze plinth, the cock 80cm wide
55cm deep
115cm high (2)
£4,000 - 6,000
A carved wood ‘Lion of Lucerne’, c.1890, after Bertel Thorvaldsen, commemorating the Swiss Guard, carved with a lion, shields and halberds, carved to the front ‘Helvetiorum Fidei ac Virtuti’ (To the loyalty and bravery of the Swiss),
27cm wide
7cm deep
12cm high
£150 - 200
An export camphorwood campaign dressing chest, late 19th century, Chinese, attributed to Sui Kee Chan, Hong Kong, in three parts, the upper section with a bevelled glass mirror, carved and pierced panels and cornice, fitted with four drawers, the two further sections fitted with four drawers, each with moulded panel fronts and recessed brass handles, the corners with carved details, the sides with carrying handles, raised on lion paw feet,
119.5cm wide
51.5cm deep
227cm high
£1,000 - 1,500
A cast iron door porter, cast with a Medusa head and entwined serpents, on a fixed Lucite plinth, 31.5cm wide
18cm deep
42cm deep
£200 - 400
A clear glass moulded table lamp, c.1960s, Italian, modelled as a twin-handled urn, raised on a column, fixed on a square chrome plinth, fitted with two lights, 47cm diameter
99cm high
£300 - 500
LOT 326
LOT 327
LOT 328
LOT 329
A brutalist block table lamp, 1960s, Brazilian, fixed on a chrome plinth, plinth 20cm wide
15cm deep
47cm high to the top of the fitting
£200 - 400
A Regency burr ash centre table, c.1820, with an elliptical four-plank boarded top, with a single frieze drawer, on tapered turned legs, 124cm wide
90cm deep
75cm high
£600 - 800
A tortoiseshell and gilt brisé fan, c.1900, Japanese, the sticks decorated with fishermen in a boat, with ivory details, beside a village with houses, hills and birds beyond, the reverse with cranes beside a river, ribbons lacking, with a gilt-metal suspension ring, open 45.5cm wide
splines 25.5cm high
£300 - 500
A pair of table lamps, 1960s, by the Rembrandt Lamp Company, each mounted with a polished metal ‘trident’, on an ebonised shaft, raised on a moulded circular plinth, with a blue cloth shade, 46cm wide
36cm deep
83cm high overall (2)
£400 - 600
LOT 330
LOT 331
LOT 332
LOT 333
334
A Lucite and glass coffee table, 1970s, the rectangular glass top mounted on a two-part ‘butterfly’ stand,
143cm wide
71cm deep
73cm high
£200 - 400
LOT 335
A large black and white acrylic table lamp, of square form, mounted with Lucite panels, 23cm wide
23cm deep
66cm high to the top of the fitting
£200 - 400
LOT 336 §
A chrome and rosewood dining table, 1970s, Danish, the rectangular top with chrome supports, mounted through the top, 213.5cm wide
91cm deep
73.5cm high
£800 - 1,200
LOT
LOT 337
A pair of revolving armchairs, 1990s, each upholstered in lime leopard-print fabric and raised on a polished steel stand, 95cm wide
87cm deep
73cm high (2)
£800 - 1,200
LOT 338
Two Staffordshire cow creamers, c.1800, each modelled with a milkmaid, with spongeware details, on a stepped plinth, 14.5 and 16cm wide (2)
£150 - 200
LOT 339
A Lucite and glass table, 1970s, designed by Karl Springer, the octagonal glass top raised on a sectioned ‘X’-frame stand, with brass bolt details, 100cm diameter
74cm high
£300 - 500
339
Aldo Tura (1909-1963) started designing and manufacturing his furniture in the 1930s, opening a production workshop in Lombardy, Italy, in 1939. He was influenced by the Art Deco movement, but rather than focus on its straight lines and angles, Tura designed pieces with flowing lines and much freer shapes. He created works of the highest craftsmanship, produced in limited numbers and favouring traditional techniques. Due to his outstanding skill as a craftsman and artist, he also experimented with a wide range of unusual materials including eggshell, parchment, leather and wood veneer.
Tura’s ambition was to create aesthetically pleasing pieces of furniture with natural and unrestrained shapes. He was very much against the mass manufacturing of products and, in his later years, he made his pieces more intricate and therefore harder to replicate in a factory, meaning this music cabinet is potentially a one-off.
A neoclassical-style plaster panel, 20th century, centred with an ox skull, with low-relief cast and sculptured scrollwork, within an integral moulded frame, 90 x 175cm
£500 - 700
A patinated and gilt cast iron table mirror, mid-19th century, Swedish, centred with an oval hinged mirror, the frame surmounted with a crown, flanked with flags, helmets, armour and oak leaves, the chamfered plinth similarly decorated, 42cm wide
14.5cm deep
56cm high
£200 - 400
A lacquered goatskin side cabinet, c.1955, Italian, by Aldo Tura, with concertina cupboards to the front and back, the doors decorated with stringed musical instruments, the sides decorated with books, the front doors opening to a satinwood-lined interior and an original music system, with hidden speakers within the base, 200.5cm wide
50cm deep
101cm high
£1,500 - 2,500
LOT 340
LOT 341
LOT 342
A brass console table, of recent manufacture, by Ken Bolan Studio, with polished brass, diamond-shaped inlaid panels,
168.5cm wide
40.5cm deep
86.5cm high
£1,000 - 1,500
A steel and glass ‘Pinnacle’ dining table, 1970s, designed by Jay Wade Beam for Brueton, the rectangular glass top with rounded ends, raised on a conical polished steel stand, bisected with a bevelled semicircular glass panel, 240cm wide
112cm deep
74.5cm high
£2,000 - 3,000
A set of four chrome dining chairs, 1970s, designed by Milo Baughman, each with slanted arms, upholstered in black and white fabric, raised on a square-section tubular frame, 65cm wide
65cm deep
100cm high, seat 47cm high (4)
£300 - 500
LOT 343
LOT 344
LOT 345
LOT 346
... (20th century)
Woman in a target
signed and dated ‘Iva(?) 88’ l.c., oil on canvas laid on board, tondo
29cm diameter, framed
34cm diameter overall
£200 - 400
An aluminium and upholstered ottoman, of recent manufacture, the seat upholstered in fuchsia pink houndstooth fabric, 132cm wide
48cm deep
44.5cm high
£200 - 400
A two-tiered black-lacquered occasional table, 1970s, with two tiers, inset with faux python panels, raised on splayed supports, 68cm wide
48.5cm deep
62cm high
£200 - 400
LOT 347
LOT 348
LOT 349
A tubular polished-chrome étagère, 1970s, presently fitted with two glass shelves, 91cm wide
41cm deep
183cm high
£400 - 600
LOT 350
A tapering Lucite table lamp, 1970s, of sectional form, centred with a nickel stem, plinth 24cm wide
24cm deep
56cm high to the top of the light fitting
£200 - 400
LOT 351
A brutalist patinated-resin and glass coffee table, 1980s, in the manner of Paul Evans, 107cm wide
56cm deep
30.5cm high
£400 - 600
LOT 352
A brutalist wall mirror, 1960s, by Lane for the ‘Pueblo’ collection, the rectangular plate mounted with geometric wood blocks, in a silvered and chamfered frame, 117.5cm wide
82cm high
£200 - 400
LOT 353 ▲
Bernard Buffet (French, 1928-1999) ‘Still Life with a Bottle’; ‘Clown on Red Background’; ‘On the Beach’ three lithographs in colours, signed in the plate visible 30 x 23cm (3)
£200 - 400
LOT 354 ▲
A pair of inlaid wood side tables, 2013, by Paul Vann, each with a leaf-shaped top, the fret-cut stand modelled as a trunk, signed and dated ‘2013’, 65.5cm wide
54.5cm deep
60.5cm high (2)
£400 - 600
LOT 355
A hexagonal Lucite table lamp, of recent manufacture, with a sectional plinth and a lime-coloured shade, 46cm diameter 78cm high, the plinth 22cm wide 15cm deep
£250 - 450
356
A circular coffee table, of recent manufacture, with a circular glass top, raised on a gilded wrought-iron stand,
106.5cm diameter
46cm high
£300 - 500
357
A brutalist ash and brass-mounted wardrobe, 2018, designed by Ken Bolan, fitted with brass additions to the doors and drawer base, with an ebonised interior mounted with a rail,
132cm wide
56cm deep
220.5cm high
£700 - 900
LOT 358
A matt brown polished-nickel backgammon table, 2015, designed by Ken Bolan, with a tilt-top games table, the swivel top revealing the playing surface, each end with a drawer containing the playing discs,
138cm wide
73cm deep
74cm high
£2,000 - 3,000
LOT
LOT
359
A Meccano No.2 Motor Car Constructor, a two-seater sports racing car, the body with a tapered tail, finished in green and yellow with red seats and a driver, a spare wheel mounted on the rear, labelled on a yellow wood stand, 33.5cm wide
12.5cm deep approximately 11cm high (2)
£500 - 800
From the collection of Eric Morgan - see David Pressland, ‘The Art of the Tin Toy’, London, 1976, for a similar illustration on p.184.
LOT 360
A Meccano No 2 Motor Car Constructor, a two-seater sports racing car, the body with a tapered tail, finished in red and cream with red seats and a driver, a spare wheel, in brown with a blue band, mounted to the rear, labelled, 33.5cm wide
10.5cm deep
9cm high
£300 - 500
LOT 361
Two CIJ Ref No. 5/12 Renault Nervasport 28CV 1934 Record cars, one in red, with a hinged door, the other blue, lacking a wheel, both with wear, 25cm long, and a Girard Pierce Arrow sports car, 36.5cm long (3)
£150 - 200
LOT 362
An André Citroën painted tinplate model open two-seater tourer, c.1926, registration number 142-E-3, worn, stencilled to the underside, 31cm wide
13cm deep
15cm high
£300 - 500
LOT 363
Two tinplate toy cars, a Roy Cox ‘Thimble Drome’ Champion tether car, 24.5cm long, and a John Cobb Speed Record car, tinplated, with clockwork, 27cm long (2)
£150 - 200
LOT
LOT 364
Two car mascots, 20th century, ‘Spirit of Ecstasy’ and ‘Isis’, each fixed on a cylindrical painted wood or marble plinth, 13.5 and 17cm high (2)
£300 - 500
LOT 365
Six chrome-plated Mack
Trucks mascots, American, each in the form of a bulldog, five with cast marks, later mounted, largest 12cm high (6)
£200 - 300
LOT 366
A Flying Mascots chrome-plated swift, 1930s, with moving wings, by ‘Flying Mascots Ltd. Pat. No. 344943, 199 Piccadilly WI, England’, 27cm wide
23cm deep, and a Boyce Motometer Gem Model temperature gauge, with a circular gauge display, flanked by a pair of chrome wings, mounted on a wood plinth, 14cm high (2)
£150 - 250
LOT 367
A mauve crystal ‘Tête d’Aigle’ car mascot by René Lalique, c.1928, moulded ‘R Lalique France’ on the circular edge, mounted on a Breves Galleries lighting display stand, and later plinth, 14cm wide
8cm deep
15.5cm high
£800 - 1,200
LOT 368
A 1969 Rover P5B coupé, Registration Number: 2 KUO (‘To Knock You Out’)
Chassis Number: 84502372C
Engine Number: 45200273C
Mileage: 44,354
£20,000 - 25,000
The stately P5B was the choice of a succession of Prime Ministers and HM The Queen, benefitting from the powerful ex-Buick 3528cc all-alloy OHV V8 engine, through a 3-speed automatic transmission, boasted 210lbft of torque and a top speed of 115mph. The P5B’s leather and walnut ‘club style’ interior provided a very comfortable and relaxing drive, competing very ably with the other luxury brands of the day.
First registered on 20 February 1969, this P5B is only a two-owner car, having lived in Brough, Yorkshire, until 1991, when the current owner purchased the car as a daily driver. Soon realising how nice it was, they decided to undertake some remedial works to the body and, more recently, to the engine. Receipts for the works amount to a little over £50,000, including an odometer change at 22,169; with a current mileage of 44,354, it would appear that this Rover has only covered 66,523 from new.
Presented in Admiralty blue with an ivory leather interior, walnut dash and door cappings, and set on the correct Rostyle wheels, this car comes with a current V5C, but non-transferrable number plate.
Please note the buyer’s premium for this lot will be 15% plus VAT.
LOT 369
A pair of chrome floor-standing uplighters, of recent manufacture, each with a black trumpet-shaped shade, raised on a chrome circular plinth, 46cm diameter
201cm high (2)
£400 - 600
LOT 370
A collection of twenty-four relief-moulded architectural design cards, c.1900, French, by Monroco Editions, most titled and numbered, each stamped ‘Reliefs-Brevetes S.G.D.G. Monroco Editr Paris’, each perforated and ring-mounted to the top edge, 22.7 x 26.2cm (24)
£150 - 250
LOT 371
A Gustavian painted three-seater settee, mid-19th century, Swedish, the carved and fluted frame with a barrel back and scrolled arms, in light striped upholstery, 200cm wide
75cm deep
100cm high
£800 - 1,200
LOT 372
A bicolour brass and glass coffee table, 1970s, designed by John Widdicombe for Mastercraft, with a bevelled inset glass top, 136cm wide
61cm deep
42cm high
£200 - 400
LOT 373
A brutalist metal wall sculpture, 1970s, with torch-cut details, mounted on a wire frame, 89cm wide
90cm high
£200 - 400 LOT 374
A large cut-steel brutalist wall sculpture, 1960s, in the manner of Silas Seandel, unsigned, 128cm wide
17cm deep
70cm high
£400 - 600
A brutalist torch-cut steel wall sculpture, 1970s, fixed with wire supports, 80cm wide 12cm deep
107cm high
£300 - 500
Four brutalist wall panels, 1970s, each patinated, textured and polished brass, with geometric designs, largest 75 x 75cm (4)
£500 - 800
LOT 375
LOT 377
A brutalist metal sculpture, 1950s, Mexican, modelled as a bearded figure standing on an armillary sphere, mounted with four candle sconces, with torch-cut details, fixed on a stained wood plinth, 73cm wide
25cm deep
85cm high
£600 - 800
LOT 378
Lee Reynolds Burr (American, 1936-2017)
Brutalist abstract
signed ‘LEE REYNOLDS’ l.r., oil on canvas with collage
75.5 x 101cm, unframed
£400 - 600
LOT 379
A set of three brutalist panels, 1970s, each of patinated and textured copper and brass, with geometric designs, 60.5 x 119.5cm (3)
£400 - 600
LOT 380
A pair of impressed and bronze resin doors, c.1971, ‘Heroic Sunburst’, by McCarroll and Gillespie, resin laid over wood, finished on both sides, with cast-bronze handles by Forms + Surfaces, each door 94cm wide
5cm deep
201cm high (2)
£5,000 - 7,000
LOT 381 §
A rosewood table and sixteen matching chairs, 1960s, Danish, the monumental wedge-shaped table raised on six supports, 473cm long
244cm widest, 129cm narrowest 75cm high, together with sixteen rosewood armchairs, model no. ‘51A’, c.1965, designed by Arne Vodder for Sibast Møbelfabrik, each upholstered in mustard ribbed fabric, labelled with ‘Danish Furniture Makers’ Control’ label and ‘Sibast Møbelfabrik’,
67cm wide
56cm deep
80cm high (17)
£10,000 - 15,000
Commissioned for the Det Gamle Rådhus (Old Town Hall) in Ribe, Denmark.
Arne Vodder (1926-2009) is recognised as one of the most important Danish designers and architects of the 20th century. Initially mentored by Finn Juhl, in 1950 he set up his own studio in Copenhagen. During the 1960s and 70s, Vodder designed most of the Sibast Furniture range and collaborated with the manufacturer Erik Jørgensen. As well as working with many Danish designers, his furniture appeared in the White House, the United Nations and in the offices of international banks, airlines, embassies, hotels and department stores.
382
After Édouard Lantéri, ‘Duo’, a terracotta sculpture of two ladies seated on a klismos settee, signed ‘Ed Lanteri’ and inscribed with title, 42cm wide
32cm deep
50.5cm high
£400 - 600
LOT 383
An Art Deco salesman’s model of a bed, 1930s, nickel-plated, with hinged ends, 25.5cm wide
40cm deep
18.3cm high
£150 - 200
LOT 384
A pair of table lamps. 20th century, in the Grecian style, each with a frosted glass urn, mounted in a verdigris patinated-bronze tripod frame, with hoop details, fitted with a hexagonal red cloth shade, 52cm wide
45cm deep
86.5cm high (2)
£800 - 1,200
LOT 385
A copper and brass cockatoo, 1970s, by Bustamente, modelled seated on a perch, the feathers engraved and embossed, 40.5cm wide
17cm deep
87cm high
£400 - 600
LOT
LOT 386
Three spun-resin ceiling lights, 1960s, in buff, amber and orange, 34cm (x2) and 33cm diameter (3)
£200 - 300
LOT 387
A carved wood throne chair, 20th century, in the Moorish taste, the arched back and frame profusely carved, an embroidered seat pad, the undertier with mashrabiya panels,
61cm wide
57cm deep
166cm high
£300 - 500
LOT 388
A bronze figure of Diana of Versailles, c.1880, French, modelled reaching for an arrow from her quiver in one hand, the other hand resting on a deer’s head, inscribed ‘F. Barbedienne Fondeur’ and with ‘Collas’ cast medallion,
34cm wide
30cm deep
60cm high
£1,000 - 2,000
Achille Collas (French, 1795-1859) invented a machine that involved copying sculptures on a smaller scale while maintaining the details of the original. This enabled smaller versions of famous museum pieces to become accessible to a larger audience. The process was called ‘réduction mécanique’ and these pieces of sculpture are stamped with the seal ‘réduction mécanique
A. Collas, Brevete’.
Ferdinand Barbedienne (French, 1810-1892) was a metalworker who built one of the most important bronze foundries in France. He went into partnership in 1838 with Achille Collas, selling miniature bronzes, and they founded the company ‘Collas et Barbedienne’. In 1843, they extended their works to living artists, but had to pause their business activities in 1870 to make cannons for the Franco-Prussian War.
President of the Reunion of Bronze
from 1865 to 1885.
Barbedienne was elected
Makers
LOT 389
A carved mask, Indonesian, West Timor, Atoni people, the mask with an upturned mouth housing two teeth, small circular eyes and a narrow nose, 18.5cm wide
44cm high
£200 - 400
LOT 390
A carved and painted gon (gorilla) mask, Republic of Congo/Cameroon, Kwele people, the low-set triangular brow above two half-moon eyes, 18cm wide
16cm deep
41cm high
£400 - 600
LOT 391
An aluminium-bound carved wood mask, Democratic Republic of the Congo, Lwalwa or Lwalu people, the broad forehead above square, stepped eyes, a rounded nose, small mouth and pointed chin, 28cm wide
19cm deep
40cm high
£200 - 400
LOT 392
A wrought-iron sculpture, 2013, by Jean Brown & Partners, with a hanging ring, inset with a sphere to the top, a suspended dragon to the centre and fitted with LED lights to the inner of the ring, 116cm diameter
130cm high
£1,000 - 1,500
LOT 393
A pair of faux snakeskin and brass column table lamps, 1960s, by the Rembrandt Lamp Company USA, each with a cream paper shade, 56cm diameter
85cm high (2)
£300 - 500
LOT 394
A neoclassical brass table lamp, of recent manufacture, with two urn-shaped, glass and Greek key stencilled shades, raised on a twin-branch and tapering column, on a square marble plinth, 41cm wide shade 17.5cm diameter
69.5cm high overall
£400 - 600
LOT 395▲
Nicolas Lavarenne (French, b.1953), a patinated bronze and stainless steel sculpture, numbered ‘2/8’ and stamped ‘Lavarenne 13 Cire Perdue Bronze 2013’, 70cm wide
60cm deep
79cm high
£2,000 - 3,000
Nicolas Lavarenne was born in Chamalières, Puy de Dôme in 1953. A self-taught sculptor he describes his work thus: ‘I sculpt in a realistic manner by seeking expression through the attitudes of the human body; I work on the paradoxical duality of situations. Perfectly balanced, but instantaneous, the bodies oscillate before the spectator, who makes them fall over or get up’.
In 1984, Lavarenne won the Prix du Public at the Biennale of UMAM in Nice. He has had many solo exhibitions and his work is in private and public collections throughout Europe and the USA.
LOT 396
Spare lot
394
393
A patinated bronze figure of Narcissus, 19th century, Italian, after the antique, raised on a cast circular plinth, 11.5cm diameter
25cm high
£200 - 300
A neoclassical-style Lucite and brass table lamp, 1970s, the base with Hermes cast heads, raised on frosted Lucite columns, each mounted with a light, raised on a chamfered Lucite plinth, fitted with a green cylindrical shade, plinth 25.5cm wide
18cm deep
86cm high
£600 - 800
A mahogany cabinet, c.1820, Russian, with a glazed door, mounted with arrow mouldings modelled as a gate, with inlaid and ebonised panels, raised on cuboid supports,
182cm wide
40cm deep
162cm high
£400 - 600
LOT 399
LOT 398
LOT 397
398 397
Nicolas Lavarenne (French, b.1953),
a patinated bronze and stainless steel figural sculpture, numbered ‘1/IVEA’ and stamped ‘Lavarenne 8 Cire Perdue
Bronze 2013’, 58.5cm wide
30cm deep
47cm high
£2,000 - 3,000
A rosewood desk, 1960s, Danish, the rectangular top over a moulded edge, with three drawers on either side, the reverse fitted with shelves,
150.5cm wide
76cm deep
72cm high
£1,000 - 1,500
A patinated cast iron stick stand, late 19th century, with an arched pierced panel mounted with finials, a shaped rail, and with a removable tray,
49.5cm wide
17.5cm deep
76.5cm high
£300 - 500
LOT 402
LOT 401 §
LOT 400 ▲
LOT 403
Thirteen figures of a Scoutmaster and Boy Scouts, 1930s, German, painted, with variously printed marks, 13 and 18cm high approximately (13)
£100 - 150
LOT 404
An Art Deco clear and tinted triptych dressing table mirror, 20th century, centred with an arched plate and hinged sides, mounted with pink-tinted glass panels, open 91.5cm wide
75cm high
£200 - 300
LOT 405
An oak Ox Art floating cabinet, 1970s, Danish, with two pairs of doors mounted with ceramic panels, signed, enclosing two compartments, one side with two baize-mounted slides, and each with a single shelf, 183.5cm wide
46cm deep
51.5cm high
£400 - 600
LOT 406
A pair of walnut armchairs, 1970s, each with a tub-shaped back, scrolled arms and upholstered in orange fabric, 72cm wide
65cm deep
69cm high (2)
£300 - 500
LOT 407
A flame-inspired frosted-glass table lamp, 1980s, designed by Ken Bolan, on a heavy nickel base, 25cm diameter
48cm high
£200 - 300
LOT 408
A walnut desk, 1960s, by Baker Furniture, with three drawers to the side, mounted with hinged nickel handles, the larger drawer fitted with angled dividers, with stamped metal maker’s label, 150cm wide
71cm deep
71.5cm high
£400 - 600
Baker Furniture was a family business, originally called Cook, Baker & Co., founded by Siebe Baker. He was a Dutch emigrant, who had settled in the US, and set up his woodworking company there in 1890. In the 1940s, Baker adopted a crown logo, to signify tradition, and a tulip, to signify Dutch craftsmanship. The company has employed well known designers such as Finn Juhl, T H Robsjohn-Gibbings and Donald Deskey.
LOT 409
A postmodern two-tiered extendable coffee table, 1980s, in the manner of Roger Rougier, with jet-black lacquered drum bases, mounted with a silver-leafed biomorphic table top, cut into the side and supported, complete with a rotating, circular glass, tier top, glass 76cm diameter, 140cm wide overall 123cm deep
44.5 and 54cm high
£600 - 800
LOT 410
A faux parchment box or side table, 1980s, with a brass-banded cover, enclosing a plain interior, 41.5cm square
41.5cm high
£150 - 200
410
409
407
408
LOT 411
A pair of faux leather mannequins, 1940s, each with stitched details, 51cm wide
25cm deep
85cm high (2)
£200 - 400
LOT 412
A chrome and glass console table, 1980s, in the manner of Karl Springer, raised on a polished and brushed-steel plinth, 250cm wide
80cm deep
76.5cm high
£600 - 800
LOT 413
A set of eight steel high-back dining chairs, 1970s, designed by Milo Baughman, each upholstered in a grey/blue herringbone, comprising of two armchairs, and four singles, armchairs 62cm wide
62cm deep
101.5cm high (6)
£600 - 800
LOT 414
After Galeazzo Mondella aka ‘Il Moderno’, ‘The Flagellation of Christ’, c.1510, later cast, a bronze relief plaque, 13.2 x 10cm
£250 - 450
LOT 415
A Mastercraft brass extending dining table, 1970s, with two extra leaves, the top inset with bevelled smoked-glass panels, raised on a brass frame with a moulded edge, extended 306cm long each leaf 50cm long
108cm wide
74.5cm high
£1,200 - 1,500
LOT 416
A pair of Art Deco cast iron stools, each with a circular beige seat,
34.5cm diameter
51.5cm high (2)
£600 - 800
LOT 417
A ‘Sphinx’ side table, 1970s, by Maitland-Smith, in tessellated marble and coconut shell, brass-mounted, with inset malachite eyes, and a circular glass top,
91.5cm wide
30cm deep
45.7cm high
£400 - 600
LOT 418
A pair of Lucite and faux marble table lamps, 1970s, each with a square column with an Ionic capital, on a stepped plinth, 18cm wide
18cm deep
54cm high to top of fitting (2)
£200 - 300
416
418 417
415
LOT 419 ▲
Micky Pfau (French, b.1954)
A child in a swing
signed and dated ‘M Pfau/97’ verso, oil on canvas with string
120 x 42cm
£400 - 600
Provenance: Ken purchased lots 419-423 directly from the artist in the 1990s for his own private collection.
LOT 420 ▲
Micky Pfau (French, b.1954)
Three heads
signed and dated ‘M Pfau/97’
l.l., oil on linen canvas
40 x 80cm
£400 - 600
LOT 421 ▲
Micky Pfau (French, b.1954)
Three figures
signed and dated ‘M Pfau/95’
l.r., oil on linen canvas
60 x 92cm
£400 - 600
LOT 422 ▲
Micky Pfau (French, b.1954)
A reclining figure
signed and dated ‘M Pfau/96’
l.l., oil on two linen canvases
60 x 81cm overall, unframed
£400 - 600
LOT 423 ▲
Micky Pfau (French, b.1954)
Figure study
signed and dated
‘M Pfau/95’ l.l., mixed media on linen canvas
54 x 81cm
£400 - 600
Dame Elisabeth Frink CH RA (1930-1993), Aesop’s Fables: ‘The Monkey and The Dolphin’, a rare and unique mosaic panel, once the base of the swimming pool at Woolland House, mounted and on a wood support,
434.5cm wide
19cm deep
309cm high
£300,000 - 500,000
A Rare Work by Dame Elisabeth Frink
The Monkey and the Dolphin
A remarkable and unique mosaic panel by renowned British sculptor Dame Elisabeth Frink (1930–1993) once formed a striking centrepiece in the swimming pool at Woolland House, her country estate in Dorset. Now rediscovered and restored, The Monkey and the Dolphin - inspired by the ancient Aesop fable - stands as a singular example of Frink’s exploration of mosaic as a medium, and is believed to be the only work of its kind in her oeuvre.
Ken first encountered Frink, known to friends as ‘Lis’, in 1986, when she visited his shop in Bath. ‘At that time, I had just begun buying Swedish painted furniture, which she absolutely adored,’ he recalls. ‘Over the next few months, after she discovered my old brewery showroom in Gillingham, she bought numerous pieces, and we developed a close friendship.’ Around this time, Lis was creating the most extraordinary mosaic for her swimming pool, inspired by Aesop’s fable of The Monkey and the Dolphin (the moral of which is that dishonesty will eventually be exposed and lead to consequences). The completed mosaic was created entirely by Lis, solely carrying out all the work herself, and is well documented.
Ken was once again at Woolland in 2020, when he purchased the mosaic from the then owners. Over the coming months, the mosaic was carefully removed from the swimming pool, expertly conserved and mounted on to a custom-made aluminium framework. The mosaic measures an impressive 4.34 by 3.09 metres and, due to the mounting, can either be reinstalled as a functioning pool mosaic or displayed upright as a free-standing work.
‘It’s all original,’ Ken emphasises. ‘All the work you see is her work. We haven’t had to rebuild any of it.’ Monumental in scale and deeply personal in provenance, The Monkey and the Dolphin represents not only a rare artistic departure for Frink but also one of the largest single works she ever produced.
This significant piece leads the sale with an estimate of £300,000–500,000, offering collectors and institutions an extraordinary opportunity to acquire a major - and virtually unknown - work by one of Britain’s most celebrated 20th-century sculptors.
LOT 425
A carved figure of Christ, 20th century, Mexican, 27.5cm wide
8cm deep
73.5cm high
£200 - 300
LOT 426
A carved wood Corpus Christi, 18th century, Flemish, mounted on a brass lozenge-shaped panel, 47.5cm wide
12cm deep
69cm high
£200 - 400
LOT 427
A Pace brass and glass dining table, 1970s, the glass top raised on a hexagonal pedestal, 183cm wide
106cm deep
72cm high
£600 - 800
The Pace Collection, founded by Irving and Leon Rosen, was a high-end furniture company based at East 62nd Street, Manhattan, between 1960 and 2001. They mainly offered their services to the contract interior design trade, and were known for their exotic wood veneers and high gloss and polish finishes.
LOT 428
A set of four tessellated bone armchairs, 1970s, designed by Enrique Garcel for Karl Springer, each with scrolling arms and sabre legs, with deep purple, waxed velvet upholstery, 58cm wide
68cm deep
100.5cm high (4)
£1,200 - 1,500
LOT 429
A carved mask, Ivory Coast, Dan people, the oval face a with high forehead over incised eyebrows and narrow eyes, the mouth partly open, within a woven cloth frame inset with cowrie shells, 25cm wide
10cm deep
33cm high
£200 - 400
LOT 430
A metal-bound N’tomo mask, Mali, Bambara people, the eight projections above a rounded forehead, protruding eyebrows and an elongated nose, 18cm wide
15cm deep
60cm high
£200 - 400
LOT 431
A painted Ngil-type mask, Gabon, Fang people, the elongated nose leading to raised, arched brows, with narrow cut-out eyes below, 26cm wide
13cm deep
63cm high
£300 - 500
LOT 432
A brass and glass table, 1960s, with a rectangular, rounded-end glass top, raised on a scrolled brass stand, 213cm wide
120.5cm deep
74cm high
£800 - 1,200
LOT 433
A glass and brass side table, 1970s, with a glass top and reeded supports, united with an ‘X’ stretcher, 75cm wide
71cm deep
52cm high
£200 - 400
431
430 429 432
GARDEN LOTS 434-468
LOT 434
A pink plaster mask of Medusa, 20th century, 38cm wide
16cm deep
40cm high
£200 - 300
LOT 435
A large Mussidae coral (Pseudodiploria strigosa) specimen, c.1900-1920, 37cm wide
34cm deep
25cm high
£200 - 400
LOT 436
A bronze sundial, with a solid gnomon, the circular plate finely engraved with a compass, signed ‘Pattrick London’, 22.3cm diameter 12cm high, and another octagonal sundial, engraved ‘Ever Moving 1723’, lacking gnomon, 20.5cm diameter (2)
£200 - 400
Thomas Pattrick, active between 1799 and 1811, and described as ‘Optician, Globe Maker and Spectacles Maker, 8 Orange Street, Leicester Square, 20 Plumtree Street, Bloomsbury, and 29 King Street, Covent Garden’.
A marble plinth, 18th century, with a carved moulded edge, a plain column and a carved socle, 38cm diameter
92cm high
£1,500 - 2,000
A cast iron garden table, repurposed by Ken Bolan, with an antique pierced grille panel, 155cm wide
65cm deep
42cm high
£400 - 600
A cast iron conservatory heater, c.1880, French, of hexagonal form, in the Chinese taste, the frame naturalistically cast as bamboo latticework with vase details, mounted with red-tinted glass panels, a full-length door, with a removable pagoda-shaped cover, 32cm diameter, 43cm diameter overall
84cm high
£400 - 600
LOT 439
LOT 438
LOT 437
439
437
438
LOT 440 ▲
Brendan Hesmondhalgh (b.1973), ‘Frog on Stone’, a ceramic and carved stone sculpture, raised on a square stone plinth,
51cm wide
48cm deep
81cm high
£1,000 - 1,500
LOT 441
A plaster maquette of a marble bench, of recent manufacture, Italian, after the 18th-century original, cast with recumbent lions and floral carvings to the seat, flanked with scrolled arms, 141cm wide
50cm deep
70cm high
£400 - 600
LOT 442
An ‘Antelope’ patinated and glass dining table, 20th century, in the manner of Alain Chevert, with a rectangular glass top, with round plastic caps, the stand modelled as antelope heads, 203cm wide
122cm deep
75cm high
£800 - 1,200
LOT 443
A figure of Venus, late 18th century, after the antique, modelled as a partially robed female, in the manner of Eleanor Coade, 140cm high, raised on a fluted octagonal pedestal, stamped, 101.5cm high (2)
£6,000 - 8,000
LOT 444
A marble bath, 19th century, Italian, with rounded ends, carved with ring ‘handles’, the interior with a raised section and three plugs, 173cm wide
74cm deep
60cm high
£4,000 - 6,000
LOT 445
Spare lot
stepped paved plinth 175cm diameter
128cm high overall
£3,500 -
LOT 446
A carved stone sundial, mid-18th century, of large proportions, decorated with cartouche and swag ribbon details, the engraved slate dial with a bronze gnomon, standing on a substantial stepped, octagonal, paved surround, dial 36cm diameter
4,500
447
A set of eight arched cast iron panels, 20th century, each with honeycomb latticed panels, some with lug supports,
97.5 x 89.5cm (8)
£600 - 800
448
A Coalbrookdale cast iron garden bench, late 19th century, cast with a pierced lily-pad design
to the back and sides, centred with a mask, cast ‘C.B.DALE C No.195629’ and with registration lozenge, polychrome painted and with replaced wood slats,
93cm wide
70cm deep
87.5cm high
£1,000 - 1,500
449
A cast iron bench, with a pierced fern and blackberry design, with wood slats, 153cm wide
60cm deep
89.5cm high
£800 - 1,200
LOT
LOT
LOT
A carved apple crusher, 19th century, West Country, of shaped cylindrical form, 128cm long
34cm diameter approximately
£200 - 400
A cast iron garden bench, cast with a fern and berry design, naturalistically painted, with a replaced slatted seat, 151cm wide
65cm deep
94cm high
£800 - 1,200
A sandstone sundial, 19th century, inset with a bronze engraved dial and solid gnomon, engraved ‘Briggs Plymouth’, the square stepped top raised on a chamfered square tapering column, on a stepped plinth, sundial 29.5cm diameter
top section 35.5cm square
base plinth 54cm square
123cm high
£800 - 1,200
LOT 452
LOT 451
LOT 450
LOT 453
A cast-bronze bench, after the antique, a copy of an 18th-century Italian marble example, from a cast of six by Morris Singer foundry, 145cm wide
48.5cm deep
69cm high
£3,000 - 5,000
LOT 454
A cast iron two-tiered fountain, by Coalbrookdale, with graduated shallow cast tiers, raised on a triform swan-mounted plinth, cast with registration mark and ‘CBDale Co’, tiers 41 and 68cm diameter
105cm high
£2,000 - 3,000
453
LOT 455
A pair of cast iron gateposts, 19th century, each arched, and pierced with anthemia and scrollwork, 206 x 33cm (2)
£600 - 800
LOT 456
A pair of Istrian stone pedestals, 17th century, each with two moulded supports raised on a plinth, now with a carved rectangular stone top, each 72cm wide
30cm deep
77cm high, 73cm high overall approximately top 81 x 238 x 6cm
£2,000 - 3,000
A cast iron two-seater bench, late 19th century, with leaf and blackberry cast supports and back, with replaced wood slats, 115cm wide
33cm deep
88cm high
£600 - 800
A ‘Coade of London’ half figure of a lady, of recent manufacture, now mounted with a shaped marble top, engraved ‘Coade 2009’ to the base edge, 82cm wide
39.5cm deep
100cm high overall
£1,000 - 1,500
A cast lead fountainhead or gargoyle, 19th century, modelled as a dolphin, 22cm wide
26cm deep
26cm high
£200 - 400
LOT 459
LOT 458
LOT 457
a
90cm deep
124cm high
£1,000 - 1,500
A terracotta strawberry planter, late 19th century, of naturalistic form, modelled as a tree trunk with various planting holes, 66cm wide
92cm high
£400 - 600
LOT 462
LOT 461
A cast iron dolphin fountain, c.1880, Swedish, formerly with
large central fountain, the plinth in two parts, stamped ‘Walter Kastan’, tail spurs missing, 107cm wide
(5)
LOT 460
A pair of Regency cast iron pier lights, 19th century, later mounted with patinated copper lanterns, 260cm high approximately stone plinths 51cm square (2)
£2,000 - 3,000
57cm deep
114cm high
£5,000
A terracotta sculpture of a young girl, late 19th century, an allegory of ‘Sculpture’, modelled as a young girl, a sculpting knife in hand, on a fluted column with an Ionic capital, signed in the cast ‘JD’, possibly for Juliette Delorme, 40cm diameter approximately 120cm high,
on a later associated marble plinth, 52cm wide
53cm deep
67cm high
£4,000 - 6,000
LOT 464
LOT 463 ▲
Ian Scott (b.1940), a patinated bronze sculpture, from his ‘Uncast Collection’, cast in 2005, 84cm wide
- 8,000
463
464
78cm
LOT 465
In the manner John Michael Rysbrack, three carved stone putti, most probably forming part of a fountain plinth, with losses, largest 44cm wide
42cm deep
high (3)
£12,000 - 15,000
These three figures are almost identical to three putti mounted on a fountain in the north garden, in front of the Orangery, at Longleat House, Wiltshire.
LOT 466
A Cotswold stone sundial, late 19th century, mounted with a bronze plate and gnomon, inscribed ‘Cary’s, London’, on a slate top, stone column, and raised on a hexagonal sectional stone base, dial 27.5cm diameter
plinth section 94cm diameter
85cm high, 104cm high overall
£800 - 1,200
LOT 467
A marble bath, late 18th century, Italian, of large proportions, the ends with a carved rounded edge, the front carved with a laurel wreath, 175cm wide
75.5cm deep
66cm deep
£4,000 - 6,000
LOT 468
A keystone fountain mask, of recent manufacture, in the manner of Coade, modelled as a bearded man, wearing a wreath of ears of wheat, his mouth open, 32cm wide
23cm deep
62cm high
£800 - 1,200
467 & 468
466
A Shift in Perspective From Galleries to the Great Outdoors
After returning to the West Country from decades of life in London, Ken reopened his studio with renewed energy and familiar anticipation. But the landscape - both literal and figurative - had changed. ‘With Brexit, then Covid, the dealing world transformed almost overnight,’ he reflects. ‘What was once a business rooted in relationships, in conversation across a table, in stepping into someone’s home and seeing the way art lived with them, suddenly became transactional. The majority of sales are now internet-based. Everything is online. Everyone presses a button to buy.’
For someone whose joy came from those rich human interactions, the shift was seismic. Yet rather than retreat, Ken simply pivoted. ‘My focus has shifted,’ he says, ‘to the regeneration of 140 acres of woodlands and meadows that I am rewilding…and absolutely loving.’ The act of nurturing the land has become a new form of creative expression for him - one that draws deeply on his aesthetic sensibility and instinctive eye.
‘It’s like land sculpting,’ he explains. ‘You’re still working with shape, texture, light and time. So, in that sense, my “eye” hasn’t closed - it’s just opened in a new direction.’
Ken’s journey from dealer to rewilding visionary is not a departure from art, but a continuation of it - an evolution that speaks to resilience, reinvention, and the enduring power of seeing the world with clarity, curiosity and care.
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 10,000 euros equivalent. 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, at 25%, except for our Fine Wine and Spirits auctions when it is 18%. In addition, VAT is charged on these Premiums (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 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, whilst the actual cost is based on Hammer Price. 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 elephant 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.
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
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. 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.
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.
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.
2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.
2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 8, 9 and 10.
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.
‘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;
‘Consumer’ means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;
‘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;
‘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;
‘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;
‘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.
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.
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.
3.5 Bidders will be deemed to act as Principals, even if the Bidder is acting as an agent for a third party.
3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.
3.7 We may refuse to accept any bid if it is reasonable for us to do so.
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.
4. The purchase Price As the Buyer, you will pay:
a. the Hammer Price;
b. a Premium of 25% plus VAT of the Hammer Price or 18% plus VAT for our Fine Wine and Spirits Auction;
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.
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.
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:
9.1.1 you have paid us the total amount due, including any additional charges, in cleared funds; and
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
9.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 3pm on Thursday 2 October, between 11am and 3pm, from the Ken Bolan Studio, Berrywood Lane, Donhead ST Mary, Shaftsbury, Dorset, SP7 9DH.
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 Purchased lots not collected within the time period will be
removed from the premises on Friday 3 October by AVMT for storage at their Shaftsbury 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 AVMT free of charge until Thursday 9 October. Storage charges will commence thereafter All costs associated with collection and storage in these cases are payable directly to AVMT 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 stored by AVMT, must be collected by prior appointment at:
AVMT, Unit 5, Benridge Park, Holyrood Close, Poole, Dorset, BH17 7BD.
01202 600012auctions@avmt.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 AVMT.
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.
9.10 Lots will only be released to you upon confirmation from Sworders that the purchase price has been paid in full.
9.11 All third-party carriers must be authorised by the buyer to collect and photographic identification will be required to complete the collection.
10. Costs Relating to Collection and Storage services
10.1 These fees relate to the collection and storage of your purchases by AVMT and are payable directly to them by bank transfer. Credit and Debit cards are not accepted
10.2 Collection from Ken Bolan Studios on 3 October for onward transportation to AVMT storage, £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 storage cost of £5 per Lot per day (plus VAT):
*Additional charges apply for items with a value over £25,000.00
*All charges are subject 6.5% insurance on total charges
*All charges are subject to VAT.
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:
11.1.1 take action against you for damages for breach of contract; 11.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;
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 9.7). 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;
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;
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
11.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.
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.
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.
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.
14.5 Restricted Items containing Ivory
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 elephant ivory material.
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.
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.
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 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
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.
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
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@swordersfineinteriors
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 July 2025
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