matthew barton ltd catalogue

Matthew Barton LtdEuropean & Asian Works of Art | London

Wednesday 25th May 2016

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Matthew Barton Ltd

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Matthew Barton LtdEUROPEAN & ASIAN WORKS OF ART

including Islamic, Indian, Himalayan & South East Asian Works of Art

TO BE SOLD BY AUCTION AT

Matthew Barton Ltd25 Blythe RoadLondon W14 0PD

PUBLIC EXHIBITION

Sunday 22nd May12 noon to 4pm

Monday 23rd May10am to 8pm

Tuesday 24th May10am to 5pm

DAY OF SALE

Wednesday 25th May 2016at 12 noon, precisely

This auction is conducted by Matthew Barton Ltd in accordance with ourConditions of Business printed in the back of this catalogue.

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IMPORTANT INFORMATION FOR BUYERS

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

A Buyer’s premium of 22% is applicable to all lots in this sale. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unlessotherwise indicated lots are offered for sale under the auctioneer's margin scheme and VAT on the Buyer’s Premium is payable by all buyers.

Export and Permits: it is the purchaser’s sole responsibility to identify and obtain any necessary export, import, endangered species orother permit for any lot. Matthew Barton Ltd makes no representations or warranties as to whether any lot is or is not subject to export orimport restrictions or any embargoes.

Buyers outside the European Union will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidenceof exportation. Further information on this matter is available on request.

Matthew Barton Ltd can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, andwill assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to complywith UK export regulations and with any local import requirements.

Matthew Barton Ltd will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to ourConditions of Business. Bids must be signed and submitted in writing in good time and lots will always be purchased as cheaply aspossible (depending on any other bids received, reserves and competition in the saleroom). To bid by telephone please contact us at least24 hours before the sale. These services are offered free of charge.

Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than therange of figures given and there are no fixed “starting prices”. Reserves are confidential but will never be higher than the low estimatefigure at the time of sale.

Cataloguing Practice

PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE AND THAT ILLUSTRATIONS ARE NOT TO SCALE. Weights may only beaccurate to within 5 grams. Weights shown as ‘(*oz)’ are in Troy Ounces and rounded down to the full ounce.

~ Lots marked with the symbol ‘~ ‘ have been identified at the time of cataloguing as containing organic material which may be subject torestrictions regarding import and export. The information is made available for the convenience of bidders and the absence of the symbolis not a warranty that there are no restrictions regarding import or export of the Lot.

It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the internationaljewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases thiscould affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report ispublished in the catalogue, prospective buyers should be aware that the gemstones or pearls could have been enhanced by some method.

Condition: not normally recorded and all lots sold as viewed. Obvious faults may be recorded in italics at the end of a description for ceramics.Condition reports can be requested prior to sale. Whilst we are pleased to provide a general report of condition, we are not professionalconservators or restorers and any statement made by Matthew Barton Ltd is merely a subjective, qualified opinion. Prospective buyers shouldsatisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them.

Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days toclear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept Visa and Mastercardcredit cards for which a surcharge will be made of 3% of the transaction total. There is no surcharge for payments made by UK debitcards. Cash and credit card payments above £6,000 and “card holder not present” payments above £2,000 will not be accepted withoutprior arrangement.

Electronic transfers may be sent directly to our Bank: HSBC Bank Plc38 High StreetDARTFORD DA1 1DG

IBAN No: GB53MIDL40190491814001BIC: MIDLGB2128KSort Code: 40-19-04Account No: 91814001Account Name: Matthew Barton Ltd

VAT Registration Number: 972118224

StorageOn receipt of cleared funds, lots can be collected from the Saleroom during the auction or immediately after its completion. Thereafter, allpurchased lots will be stored at Matthew Barton Ltd’s premises for a period of one month prior to transfer to a third party for storage. Atransfer fee of £10 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release. Please notethat collection is by appointment on +44 (0) 20 7806 5545.


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1A MEISSEN MINIATURE FIGURE OF A GUINEA FOWL, CIRCA 1745with dotted black plumage, on a tree stump base5.5cm high

Provenance: Beauchamp Galleries, London, 12 June 1963(according to invoice).

For another example see Sotheby’s, London, Property from theCollection of Sir Gawaine & Lady Baillie, 1 May 2013, lot 190 andfor a similar model see Rainer Rückert, Meissener Porzellan,Munich, 1966, No.1136

£400-600

2A MEISSEN MINIATURE FIGURE OF A COCKEREL, CIRCA 1750with red mask and brown and yellow plumage5cm high

Provenance: Beauchamp Galleries, London, 12 June 1963(according to invoice).

£300-400

3A MEISSEN MINIATURE FIGURE OF A HEN, CIRCA 1750modelled pecking at the ground, shaped base4cm high, chip to beak

£200-300

4A MEISSEN MINIATURE FIGURE OF A PEACOCK, CIRCA 1750modelled by Johann Joachim Kändler (1706-1775), the bird in fulldisplay painted with a blue breast, the gilt and puce tail-featherswith blue ‘eyes’, flower encrusted green base5.5cm high

For similar examples see Carl Albiker, Die MeissenerPorzellantiere im 18 Jahrhundert, Berlin, 1959, No.124 andChristie’s, London, 21 November 2005, lot 117

£300-500

5A MEISSEN MINIATURE FIGURE OF A DOG, CIRCA 1760seated on its haunches, 5cm high, restored; together with aContinental porcelain scent bottle and stopper, in Chelseastyle, moulded with the fable of the Fox and the Crane, on ascrolling base, the stopper as a hen, 10cm high, base restored(2)

£100-150

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Matthew Barton LtdWednesday 25th May 2016Sale Starts at 12 noon

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6A MEISSEN MINIATURE FIGURE OF A FRIESIAN SAILOR,CIRCA 1755probably modelled by J.J. Kändler or J.F. Eberlein, themustachioed figure with arms akimbo and wearing a grey knittedconical hat, pink doublet, pale green full breeches and blackshoes, on a shaped circular flower encrusted naturalistic base,underglaze blue crossed swords mark to rear base8.4cm high

This apparently unrecorded figure seems likely to be from theMeissen series of ‘Nations of the Levant’, modelled by J.J.Kaendler and J.F. Eberlein between 1748 and 1760, after printstaken from Le Hay and Ferriol’s Receuil de Cent Estampesrepresentant Differentes Nations du Levant, published in 1712-13.Confusingly this series includes non-Levantine Bulgarian andHungarian figures, so may have included a sailor from Friesland.See the British Museum No. 1871,1209.2663 for a print of a‘Matelot de Frise’, after Bernard Picart (Le Romain; 1673-1733),Amsterdam, 1728. Variant costume plates of this mustachioedFriesian sailor figure, but always in the same akimbo pose, werewidely circulated in Europe right through the 18th century.

£1000-1800

7A MEISSEN MINIATURE FIGURE OF A SPORTSWOMAN, LATE 19TH CENTURYthe black hatted lady holding her rifle to her side, wearing a whitecoat with green details over a black sprigged red dress,underglaze blue crossed swords, 43, model No.2283, painter’sNo.207.7cm high, chip to hat

£80-120

8A MEISSEN SMALL FIGURE OF A DOG, CIRCA 1745probably modelled by Johann Joachim Kändler (1706-1775),seated on its haunches with its front legs raised, its mouth openshowing teeth and red tongue, the fur markings in shades ofbrown, the oval base applied with green leaves, crossed swordsmark in underglaze blue7cm high

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

£1000-1500

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1313A MEISSEN SMALL FIGURE OF VENUS, CIRCA 1750probably modelled by Johann Friedrich Eberlein (1696-1749), the naked figure holding a rhyton in her hand and standingagainst a Renaissance dolphin, traces of crossed swords inunderglaze blue mark12cm high, fish tail chip

Provenance: The Antique Porcelain Company, London, 8 January1951 (according to invoice).

£250-350

11A MEISSEN FIGURE OF A BOY SELLING PEARS, CIRCA 1760the gaily dressed lad proffering one fruit from the basket held tohis chest, traces of crossed swords mark to rear, painter’s mark ofa cross13cm high, chips to fingers, leaves and basket handle

£200-300

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9A LUDWIGSBURG FIGURE OF CUPID IN DISGUISE, CIRCA 1765as a soldier, in black tricorn hat, belt and sword, cut-corneredsquare base with gilt line border, underglaze blue interlaced C and a green ‘L’ mark9cm high, chips

£100-150

10A MEISSEN FIGURE OF CUPID IN DISGUISE, CIRCA 1755modelled by Johann Joachim Kändler (1706-1775) as a rabbitseller, the pink scarfed figure holding the animal by its ears in thebox slung to his side, with blue drapery around his quiver, gilthighlighted scroll edged base, smudged underglaze blue crossedswords to reverse of base10cm high, chips and wings lacking

£250-350

12A MEISSEN FIGURE OF A PEASANT WOMAN, CIRCA 1750modelled by Peter Reinicke (1715-1758), standing barefooted andcarrying a basket of laundry on her back, wearing black cap, blackand brown bodice, lilac skirt and white apron, underglaze bluecrossed swords mark11cm high, restoration

Provenance: The Antique Porcelain Co. Ltd., London, 2ndNovember 1949, (according to invoice).

£400-600







15A MEISSEN FIGURAL SALT, CIRCA 1745probably modelled by Johann Friedrich Eberlein (1696-1749) as aputto holding the shell salt cellar on his head, a Renaissancedolphin between his feet14cm high

For a related figural salt from the Swan service, see Christie’s,London, 2 June 2015, lot 65.

£300-500

16A MEISSEN GROUP, ‘TASTE’, MID 19TH CENTURYfrom the set of the senses after the models by J.C. Schoenheit, theyoung woman seated beside a table supporting a flask, a bowl offruit and pastries, shaped rectangular base, crossed swords markin underglaze blue, 14cm high, some damage; together with aBloor Derby figure, second quarter 19th century, modelled as aseated musician, 16cm high, some damage(2)

£150-200

17A GERMAN PORCELAIN FIGURE OF A SETTER, PERHAPS WALLENDORF, LATE 19TH CENTURYmodelled seated on a naturalist oval base and painted with brownpatches on a grey shaded white ground, underglaze blue crossedbatons terminating in a W mark11cm high

£120-180

18A MEISSEN FIGURE OF A HUNTSMAN, LATE 19TH CENTURYafter the model by Peter Reinicke, standing before a tree stumpholding a bird in his right hand, wearing a tricorn hat, green jacketand cream breeches, crossed swords mark in underglaze blue,impressed and incised numerals14cm high, rifle and dog lacking

£80-120

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14A MEISSEN FOOTED SALT, CIRCA 1740modelled by Johann Friedrich Eberlein (1696-1749), deep circularbowl with moulded woven border, painted with deutsche Blumen,supported on three scroll feet with Frauenkopf terminals9.5cm high, restorations to feet

For a pair of salts of this design, but with handles to the basket,see Sotheby’s, New York, 24th May 2007, lot 386. Rainer Rückert,Meissener Porzellan, pl. 123, no. 487, illustrates an armorial salt ofthis form from the Sulkowski service, for which the shape wasoriginally designed, and on p. 116 cites several entries for themodelling of the form in Eberlein’s work records for 1736.

£200-300








19A MEISSEN TEAPOT AND COVER, CIRCA 1730-35with gilt dragon spout and Rococo clip handle, two quatrefoillaub-und-bandelwerk panels painted with Arcadian figures inparkland, the cover with rural scenes within red line borders andwith artichoke knop, crossed swords mark in underglaze blue,gilder’s mark ‘60.’ on both pieces9.5cm high, knop damaged

£1500-2000

20A MEISSEN CHINOISERIE TEA CANISTER, CIRCA 1725baluster octagonal, each panel painted in the manner of P.E.Schindler between the plain gilt borders with a Chinese manpicking coconuts, drinking tea, walking home with vegetables in a box, feeding a bird, admiring plants and swatting birds with a fly whisk9.5cm high, cover lacking, restoration to rim, some rubbing togilding at shoulder

For comparable hexagonal canisters painted in the manner ofSchindler see Christie’s, London, 11 December 2007, lot 19 andChristie’s, London, 21 November 2005, lot 2 and for a similarlypainted beaker see Sotheby’s, London, 9 June 2015, lot 6.

£2000-3000

21A MEISSEN SMALL TEAPOT AND COVER, CIRCA 1760brightly painted with sprays and bouquets of summer flowers, the cover with strawberry knop, crossed swords mark inunderglaze blue8.5cm high, cover glued to body

£300-500

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23TWO MEISSEN MOULDED TEA CANISTERS, CIRCA 1740/50the first domed rectangular and with cover, covered in fruit-ladenvines, 13cm high, cover glued and piece missing, the secondbaluster octagonal, the gilt-line bordered moulded panels alternatingbetween a bird in a tree and a puce flower overpainted panel with abird flying into a tree, 11.5cm high, cover lacking, restoration to base(3)

£250-350

26A MEISSEN TEAPOT AND COVER, MARCOLINI PERIOD, CIRCA 1780painted all over with a small-scale chequer pattern in tones ofgreen, the spout and handle as flowering gilt branches, the coverwith flower knop, blue crossed swords and asterisk mark9cm high, minor flakes to spout

£300-400

27A MEISSEN CUSTARD CUP AND COVER, ACADEMIC PERIOD,CIRCA 1770bulbous cup painted with a riverine scene of a hunter shootingwaterfowl below a green ground diaper and gilt scroll border, thecover with a goat and kid beside a tree and with puce bud knopand laub-und-bandelwerk gilt rim, underglaze blue crossedswords with dot mark, 8.5cm high, crack to branch-like handle;together with a Meissen tea canister and cover, circa 1780,domed rectangular, painted with arched panels of pendentflowers between gilt-roped blue pilasters and gilt hatched pinkground borders, conformingly decorated cover with appliedflower, traces of underglaze blue crossed swords mark, 11.5cmhigh, cover restored(4)

£200-300

24A MEISSEN TEAPOT AND COVER, CIRCA 1740the yellow ground painted in purple monochrome with twoquatrefoil panels of ships including a warship, the flat cover withtwo small panels of waterside scenes, crossed swords mark inunderglaze blue and red painted 198.5cm high, cover glued to body

Provenance: The Antique Home, London, 14 September 1949(according to invoice).

£300-500

22A SMALL MEISSEN TEAPOT AND COVER, CIRCA 1750-60the globular body with clip handle and dragon spout, painted withwalnuts, flowers and a partially peeled lemon, the cover with alemon finial, crossed swords mark in underglaze blue7.5cm high, foot chips

Provenance: Winifred Williams, Eastbourne, 29th August 1962(according to invoice).

£600-800

25A GROUP OF MEISSEN TABLE WARES, EARLY 20TH CENTURYPink Rose pattern, outside decorated with painted central rose andfurther scattered flowers, comprising: a soup tureen and cover, ameat dish, four dinner plates, two soup bowls, four side plates, amustard pot (cover lacking) and a sauceboat, cancelled bluecrossed swordsmeat dish 48cm wide, restoration to some plates(14)

£80-100










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28A NAPLES SAUCEBOAT STAND FROM THE HERCULANEUMSERVICE (SERVIZIO ERCOLANESE), REAL FABBRICAFERDINANDEA, 1781/82oval, painted either by Giacomo Milano or Antonio Cioffi with ascene of a winged putto grasping a goat by the horns in alandscape, the foliate guilloche moulded border interrupted byfour gilt-tooled vignettes of birds, a duck and a swan, gilt line rims,reverse titled in red MUS. ERCOL. / SERIE DI PITT. / FANCIULLO,CHE LOTTA / CON UN CAPRONE. above crowned FRF mark19.6cm long

Provenance: The collection of Robin Wigington (1932-2002).

The Herculaneum Service was commissioned by Ferdinand IV ofNaples and delivered to Madrid in the autumn of 1782 as a gift tohis father, Charles III of Spain. King Ferdinand’s newly promoteddirector at the royal porcelain factory, Domenico Venuti, created forthis commission an innovative service, departing from previousrather derivative models heavily inspired by Sèvres, taking insteaddesign inspiration from the frescos and other antiquities whichwere being excavated all around the bay of Naples. Venuti waspersonally connected with the discoveries from antiquity, as hisfather, Marcello Venuti, had been director of the archaeologicalprojects since 1740, responsible for the excavations and for manyof the influential volumes of ‘Le Antichità di Ercolano esposte’published between 1757-1798.

The Herculaneum service comprised seventy-one pieces in total,plus some serving cutlery, each piece painted by the headdecorator Milani and his colleague, Cioffi. It included twosauceboats and this present dish can be identified as the stand forone of them: the pair to this stand was sold Bonhams, London, 8December 2010, lot 146, painted with an opposing scene of a puttograsping a deer by its horns. These two stands and a plate in anItalian private collection appear to take their design directly fromthe fresco vignettes of cupids hunting or struggling with animals,originally found in the cryptoporticus of the House of the Deer inHerculaneum (see accompanying illustration, which relatesdirectly to the plate illustrated in Le porcellane dei Borboni diNapoli....., ed. A. Caròla-Perrotti, p.333).

It is not known how this famous and rare service came to bebroken up; other known surviving pieces include a plate at theVictoria and Albert Museum, four pieces in the Museo Duca diMartina in Naples and two bottle coolers in Italian privatecollections, as well as four pieces sold by Sotheby’s and Christie’sat auctions in London, and a group of three pieces from the Barillacollection, sold Sotheby’s, London, 14 March 2012, lots 228/233/234.

For an account of the service’s journey to Spain, as well as moreon the artists who worked on it, see the document published atthe end of the nineteenth century by the historian Camillo MinieriRiccio and reproduced by A. Caròla-Perrotti, La Porcellana dellaReal Fabbrica Ferdinandea, 1978, note 20, pp.56-57; also see: Leporcellane dei Borboni di Napoli, Capodimonte e Real FabbricaFerdinandea, Naples, 1986, pp.327-341, ed. A. Caròla-Perrotti.

£1500-2500

Fresco from the crytoporticus of the House of the Deer,Herculaneum, https://goo.gl/jyrSNF





29A PAIR OF GERMAN PORCELAIN ‘SCHNEEBALLEN’ VASES ANDCOVERS, LATE 19TH CENTURYbaluster, covered with blue and yellow detailed mayflowers shelteringexotic birds, with leafing entwined vine handles, the domed covers withparrots landing on fruiting cherry branches, gilt rims, blue crossed swordsmarks49cm high, damage

£2000-3000

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32A SET OF TWELVE FRUIT KNIVES AND TWELVE FORKS,THE PORCELAIN HANDLES GERMAN OR FRENCH,LATE 19TH CENTURYthe pistol handles painted with figures in landscapesbetween puce diaperwork shaped bands, with electroplateblades and two-prong tines, in a worn fitted casesome cracks(24)

£100-150

33A ‘VIENNA’ STYLE VASE, PROBABLY FRENCH, CIRCA 1900ovoid, painted with a bust of the Princesse de Lamballe(Marie Antoinette’s confidante) signed Wagner surroundedby broad and raised gilt borders, a band of green laurelsand rose swags, underside with shield mark and inscribedLamballe / Dec: 550 / Déposé and further numerals20cm high

£120-180

30A PAIR OF DRESDEN VASES, HELENA WOLFSOHN, CIRCA 1880of ovoid form with flared feet and short trumpet necks, brightly enamelledwith jungle and waterfowl subjects including parrots, cockatoos,pheasants, flamingos and exotic ducks in parkland vignettes, the neck andfeet with similar vignettes, AR monogram marks in underglaze blue35cm high

£600-800

31A SET OF SEVENTEEN FRUIT KNIVES AND SEVENTEENFORKS, SIX OF THE KNIFE HANDLES PROBABLY MEISSEN,CIRCA 1755-60, THE REMAINDER PROBABLY GERMAN,CIRCA 1900the pistol handles painted with flower sprays, electro-giltblades and tines, in a fitted mahogany case with two bluebaize lined trayssome restoration(34)

£300-500














34A PAIR OF PORCELAIN PARROT FIGURES,FRENCH OR GERMAN, LATE 19TH CENTURY,LATER MOUNTED AS ELECTRIC LAMPSeach green bird with blue and red detailsslightly differently modelled landing on aflower encrusted tree stump and affixed to adomed matted gilt-metal base supporting theslender curved lamp stem with two lights48cm high with shade support unextended

£300-400 36A BERLIN PLAQUE OF THE MADONNA DEL DITO, CIRCA 1860the head and shoulders of the ‘Thumb Madonna’ painted after Carlo Dolci shroudedin a blue cloak with one visible thumbnail, impressed KPM sceptre, monogram andinitial H and incised 13-1133 x 26cm excluding gilt frame

Provenance: Sotheby’s, Billingshurst, 15 November 1995, lot 1245

£800-1200

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37AN ENGLISH PORCELAIN DESSERT SERVICE, POSSIBLY SAMUEL ALCOCK,CIRCA 1840each painted with a central flower study inside a grey ground foliate border and giltdentil rim, comprising: two high stands, four low stands and eighteen plates, redpainted pattern number 3/No.8084some damage(24)

£300-500

35A PAIR OF STAFFORSHIRE SPANIELFIGURES, SECOND HALF 19TH CENTURY,LATER MOUNTED AS ELECTRIC LAMPSthe opposing pair typically modelled andpainted with orange highlights affixed toshaped wood plinths on oval bases supportingthe slender brass lamp stems39cm high overall

£80-120

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39A WEDGWOOD ‘JAPONESQUE’ PLATE, CIRCA 1871octagonal, the impressed border of fretworkpanels interrupted by green painted husk drops,decorated with a roundel in the style of aJapanese woodblock of a flute-playing Geisha,impressed WEDGWOOD and date cipher,painted pattern No.941824cm wide

£80-120

40A PAIR OF GEORGE JONES PATE-SUR-PATEVASES AND A JARDINIERE, ALL MODELLEDBY FREDERICK SCHENK (1849-1908), CIRCA1880the ‘Ribbon’ pattern quatrefoil jardinère withscenes in white on an dark green ground ofVenus and Cupid, gilt line rims and sage-greengilt highlighted ribbon handles, the ovoid vasessimilarly coloured each with Ceres, Flora and aMaenad above three stylised anthemion sage-green and gilt feet, gilt stencil rims, jardinièrewith indecipherable PODR lozenge, vasesnumbered in gilt 5677vases 20cm high, cracks and rivets

£400-600

41A PAIR OF MINTON PLATES, CIRCA 1865one painted with a Thames sailing barge, theother with a twin masted vessel, with broadturquoise border and gilt etched band,impressed marks23.5cm diameter

£70-100

38A PAIR OF COPELAND PORCELAIN VASES, MID 19TH CENTURYslender ovoid with angular twin handles, finely painted on a turquoise ground toeach side with the following titled views: Petrach’s House, Round TowerOberwesel, Castle of Thurmberg and Fountain at Carmelo, each on a socle footand square base finely gilt and tooled with foliate decoration, green printed mark42.5cm high, lacking covers, some cracks

£600-800









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46A SET OF THREE WORCESTER FLUTED PLATES, CIRCA 1770the blue scale ground painted with vase and mirror shaped panels withing giltframes, blue fretted square marks19cm diameter, haircrack to one, some wear

£150-250

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42A NEAR PAIR OF WORCESTER BLUE ANDWHITE BASKETS, CIRCA 1770each printed with the ‘Pinecone’ pattern withina pierced border and undulating rim, theexterior moulded at the intersections withflorets, hatched crescent marks22cm diameter

£150-250

43A DERBY FIGURE OF A RANELAGH DANCER,CIRCA 1765the young woman holding out a flower posy, aportrait miniature of a beau on her hipsuspended from a pink ribbon, her dress withfloral sprigs in the manner of the cotton-stempainter, on scrollwork base, 30cm high,restored; together with a Coalport basket, circa1830, flower wreathed rim and painted withfurther flowers and gilt scrolls to interior, paleblue exterior, 22cm long, chips and damage(2)

£60-90

44A GROUP OF WORCESTER BLUE ANDWHITE PORCELAIN, CIRCA 1770each piece printed with the ‘Fence’ pattern,comprising: a circular butter tub and cover and two large cups; together with thefollowing blue and white wares: two flowerprinted porcelain cups, a pearlware ovalsauceboat painted with a chinoiserie landscape and a pearlware printed teabowlsome damage(8)

£60-90

45A SPODE STONE CHINA ‘JAPAN’ PATTERN PART DINNER SERVICE, 1820sin underglaze blue, red and gilt with flower groups (two serving dishes with greenenamel), comprising: an octagonal soup tureen, cover and stand, eight octagonalserving dishes in sizes, a Mazarine strainer, fifty dinner plates and four soup plates,blue printed factory mark, painted pattern numbers 2053/2054 minor damage(66)

£1000-1500










47A PAIR OF CHELSEA FIGURES OF A GARDENER AND COMPANION,CIRCA 1760each standing with one arm raised, he holding a spade at his side, shewith an apron full of carrots, on shaped gilt-edged square bases withscroll moulded supports, one with gold anchor mark18cm high, restoration and damage

£400-600

48A BOW FIGURE OF A YELLOW BUNTING, CIRCA 1760brightly coloured and perched on a flowering tree stump8cm high

£300-400

49A BOW FIGURE OF A YOUTH, CIRCA 1760modelled by John Toulouse (died 1809), seated on a flowering tree stumpplaying the bagpipes, on waisted marbled plinth, impressed TO12.5cm high, some restoration and damage

Provenance: Stafford’s Antiques, London, 1949 (according to invoice)

£200-300

50A WORCESTER POLYCHROME TEABOWL AND SAUCER, CIRCA 1770fluted, painted with panels of flowers alternating with blue panelsreserved with insects, blue fretted square marksaucer 12cm diameter

£80-120

51A WORCESTER POLYCHROME TEABOWL AND SAUCER, CIRCA 1775each painted with exotic birds and scattered flowers beneath a giltundulating rim, blue fretted square marksaucer 12.7cm diameter

Provenance: Klaber & Klaber, London (according to applied paper label tosaucer).

£150-200

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52A CAUGHLEY BLUE AND WHITE SAUCER DISH, CIRCA 1780printed with the ‘Fisherman and Cormorant’ pattern, painted Smark, 21cm diameter; together with the following blue andwhite wares: a Pennington’s Liverpool pear-shaped milk jugprinted with flowers, a pair of pearlware oval pierced baskets anda Chinese Qianlong porcelain bowl painted with a river landscape(5)

£100-150

56A PEARLWARE TEAPOT AND COVER, PERHAPS FELL OFNEWCASTLE, CIRCA 1820painted in colours with a stylised peacock and flower sprayagainst a sponged green ground, the domed cover with a bunknop, numeral 3 in black mark10.5cm high, cover rim chip

£100-150

57A WORCESTER TEAPOT AND COVER, CIRCA 1770globular, the blue ground painted with fan and circular shapedpanels enclosing flowers against a powder blue ground gilt withflower sprays15cm high, cover repaired

£100-150

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53A GROUP OF WORCESTER BLUE AND WHITE PRINTEDPORCELAIN, CIRCA 1770-80comprising: a large ‘Fisherman and Cormorant’ pattern bowl,21cm diameter, a ‘Fisherman and Cormorant’ pattern teabowl, a‘Three Flowers’ pattern sugar bowl, a ‘Fence’ pattern teabowl, a‘Fence’ pattern slop bowl and a ‘Three Ladies’ pattern slop bowl(5)

£200-300

54A WORCESTER BLUE AND WHITE BOWL, CIRCA 1760-70painted with the ‘Candle Fence’ pattern, open crescent mark,12cm diameter; together with a blue and white slop bowl,‘Mansfield’ pattern, 15.2cm diameter(2)

£150-250

55A WORCESTER SMALL COFFEE POT AND MATCHED COVER,CIRCA 1785pear shaped, painted in underglaze blue with the ‘CaughleyGilliflower’ pattern, blue open crescent mark, the shallow domedcover printed with the ‘Fence’ pattern17cm high

This very rare pattern imitates a Caughley version, the Caughleypattern itself imitating a French design. See Branyan, French andSandon, Worcester Blue and White Porcelain 1751-1790, London,1981, p.206, I.E.15.

£200-30055

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6161A PAIR OF ROYAL WORCESTER FIGURES OF ‘LIBERTY’ AND‘CAPTIVITY’, 1920each classical maiden standing in blue ‘shot enamel’ robesholding aloft a dove, one restraining the bird, the other setting itfree, on gilt circular rockwork bases, puce printed marks and datecode, shape 2/116tallest 25.5cm

£300-400

62A PAIR OF GRAINGER WORCESTER BLUSH IVORYCANDLESTICKS, 1897each with foliate nozzle and on three scroll and leaf mouldedsupports and base, black printed mark and date code, shape252/G4363, 16cm high; together with a Royal Worcester smallvase, 1938, the bulbous lobed body painted by Mildred Hunt withpink Hadley style roses, signed, with moulded green and gilt ‘shotenamel’ borders beneath a pierced rim, puce printed marks anddate code, 9.5cm high(3)

£100-150

58A PAIR OF ROYAL WORCESTER KNEELING WATER CARRIERFIGURES, 1911/12modelled by James Hadley (1837-1903), the kneeling figures eachpouring from a jar, he with burnished green fez and jacket andburnished bronze shorts, she with burnished green draped robe,model No. 637, green printed marks and date codestallest 15cm

£800-1200

59A ROYAL WORCESTER ‘JERSEY BULL’ FIGURE, MODELLED BYDORIS LINDNER (1896-1979), 1965oval base in hardwood stand, black printed mark and title, editionlimited to 50020cm high overall

Miss Lindner’s model for this study was the champion LeeburnCarlisle II, owned by Mr Carter of Hartpary, Gloucestershire.

£100-150

60A KERR & BINNS WORCESTER POT POURRI VASE ANDCOVER, 1852-62modelled with three loosely draped classical maidens each seatedholding a lyre beneath a shallow pierced bowl, on a wrythenmoulded stem and triform base, the pierced cover with acornfinial, iron-red printed shield mark23cm high, restoration

£150-250

62 (part)












66A GOLDSCHEIDER POTTERY FIGURE OF A VENETIAN LADY,DESIGNED BY JOSEPH LORENZL (1893-1950), VIENNA, CIRCA 1931model number 6557, in blue cape and hat caressing the borzoi byher side, black oval base, impressed mark, incised numbers 6557 /45 /1130.5cm high

Literature: Ora Pinhas, Goldscheider, Ilminster, 2006, illustratedp.112

£300-500

67A FRENCH CAMEO GLASS VASE, PAUL NICOLAS‘D’ARGENTAL’, 1920sbulbous, with a Mediterrannean coast sunset landscape, cameosigned20cm high

£300-400

15

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63A GERMAN ‘GALLE’ TYPE CAT, MOSANIC POTTERY,MITTERTEICH, EARLY 20TH CENTURYpainted with blue motifs on a mottled green ground, pale greenglass eyes, Mosanic mark31.5cm high

£180-220

64A MOORCROFT ‘ANEMONE’ SLENDER OVOID VASE, CIRCA1950tube lined with purple and mauve flowers against a blue andgreen ground, blue painted initials, impressed MOORCROFTMADE IN ENGLAND, 27.5cm high; together with a Moorcroft‘Clematis’ baluster vase, circa 1950, tube lined with flowersagainst a mottled deep blue ground, green painted initials,impressed facsimile signature and ‘Potter to H.M. the Queen’,24cm high(2)

£100-150

65TWO FRENCH GLASS VASES, BOTH LEGRAS ET CIE, PARIS,CIRCA 1900one bulbous, painted with gilt and enamel flowering columbineon the textured red ground below a waved rim with gilt ArtNouveau scroll border, 12cm high, the other a bud vase with giltnasturtiums on the cranberry ground, 11cm high, both with giltMontjoye mark to base

£150-250

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68 ~FERDINAND PREISS (1882-1943): ECSTASYa carved ivory Art Deco figure (also called ‘Youth’), circa 1930, of anude young woman with up-stretched arms standing tip-toe on arocky base, signed in the ivory F. Preiss to back of base, onoriginal octagonal green onyx plinth21cm high overall

See Alberto Shayo, Ferdinand Preiss, Art Deco Sculptor, The Fireand the Flame, Suffolk, 2005, p.87. This model was executed in avariety of sizes and as confirmed by Shayo with variations to thehair and hands.

£700-1000

69A FRENCH CAMEO GLASS BUD VASE, GALLE, NANCY, EARLY20TH CENTURYwith mauve flowering clematis tendrils, cameo signed 17cm high

£150-250

70A FRENCH CAMEO GLASS VASE, GALLE, NANCY, EARLY 20THCENTURYof oval outline with an indigo and blue wooded Alpine lakelandscape below the waved rim, cameo signed13cm high

£200-300

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71A LARGE FRENCH GLASS VASE, DAUM, NANCY, CIRCA 1925elongated baluster, shaded purple with gold foil inclusions, signedDaum Nancy / France and Croix de Lorraine on the base rim66cm high

£500-800

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72A CHINESE FAMILLE ROSE GROUP OF A HORSE CROSSING A BRIDGE,QIANLONG (1736-1796)standing four-square on the shallow arched pink-paved bridge as crabs grasp reedsin the water below, the low orange washed walls gilt with eight characters16cm high, restoration

£800-1200

73A CHINESE HATCHER CARGO BLUE AND WHITE PORCELAIN SMALL BOX ANDCOVER, CIRCA 1643circular, painted with a pheonix amongst flames and flower scrolls, Marchant andHatcher labels, in a later box5.5cm diameter

Provenance: The Hatcher Cargo was recovered from a shipwrecked Chinese junk inthe seas near the port of Batavia (today Jakarta) by Captain Michael Hatcher in 1983.Hatcher Collection, Christie’s, Amsterdam, 12-13 June 1984; Marchant, KensingtonChurch Street, London.

£200-300

74A CHINESE FAMILLE ROSE TEAPOT AND COVER, YONGZHENG / QIANLONG,SECOND QUARTER 18TH CENTURYpainted with panels of roosters among peony plants against a ground of tomato redand gilt diaper within lime green trellis borders, the dome cover with a peony headand ball knop12cm high, cover glued to body

£500-800

75A CHINESE EXPORT BLUE & WHITE BASIN, MID 18TH CENTURYpainted with a pair of cranes and pine on a garden terrace within multiple borders,38.5cm diameter; together with a blue and white charger, mid 18th century, paintedwith a jar with scrolls amidst peonies, the rim similarly decorated, 40.5cm diameterboth with cracks and glued(2)

£200-300

76A CHINESE FAMILLE ROSE PORCELAIN PLATE, QIANLONG (1736-1795)octagonal, painted with figures at the seashore, with gilt highlighted borders23cm wide

Provenance: Sir Ralph Richardson (1902-1983); Sotheby’s, London, The RalphRichardson Collection, 27 April 2001, lot 210

£200-300










77 ~A CHINESE CARVED IVORY MINIATURE GROUP OF GUAN YU,MING DYNASTY, 17TH CENTURYprobably a seal, depicting the figure perched on a stool, one handlying on his thigh, the other contemplatively stroking his longbeard, leaning his elbow on the table as he gazes at a book, abrush pot to its side, all on a panelled rectangular plinth4.9cm high

The group probably represents the episode from Guan Yu’s lifewhen he completed the huge task in only a few nights ofmemorising the Confucian classics The Spring and AutumnAnnals and The Commentary of Zuo. Devotion to the general andscholar, who died in 220AD, grew over time and reached anapotheosis in 1614, when the Emperor Wanli bestowed the title“Saintly Emperor Guan the Great God Who Subdues Demons ofthe Three Worlds and Whose Awe Spreads Far and Moves Heaven”.

£1200-1800

79 ~A CHINESE IVORY BRISE FAN, PROBABLY CANTON, SECOND HALF 19TH CENTURYwith fine pierced carving of birds and trailing flowers on ascrolling fretwork ground surrounding a shield with inked initialsEBguards 20cm long

£250-350

80A CHINESE BRONZE FIGURE OF BUDAI, LATE 19TH CENTURYmodelled seated in long robes, a miniature model of Buddha onhis protruding belly7cm high

£80-120

18

78 ~AN INDO-PORTUGUESE IVORY MADONNA AND CHILD, GOA,18TH/19TH CENTURYcarved holding the Holy Infant with orb, her cloak with piercededging and standing on a seraphim set cloud13cm high

£300-500

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81A CHINESE BRONZE FIGURAL CENSER, 19TH CENTURYin the form of a goat on an openwork stand with cloud scrolls,cover lacking26.5cm high


£100-200













82A CHINESE CARVED AGATE GROUP OF A PAIR OFSQUIRRELS, QING DYNASTY, 18TH/19TH CENTURYthe animals carved clutching and nibbling two peanuts, the basepierced with a double cash coin pattern, the stone of a translucentamber-orange tone with traces of opaque golden-yellow skin, withcarved wood stand5cm long

£1200-1800

83A CHINESE CELADON JADE CARVING OF A BIXIE, 17TH CENTURYcarved recumbent, the horned beast with a bifurcated tail, thehead turned to one side and detailed with scrolled eyebrows, thestone of a celadon tone6.5cm long excluding affixed wood stand

£1800-2200

84A SMALL GROUP OF CHINESE WORKS OF ARTcomprising: a brass (paktong) lock in the form of a water buffalo,9cm; together with two bronze ‘Shang’ axe heads, each 19cmlong; a pair of gilt bronze mask escutcheons, possibly Tangdynasty, 3.5cm; and a pottery model of a goose, 6.5cm(6)

£100-150

85A CHINESE INSIDE-PAINTED GLASS SNUFF BOTTLE, 20TH CENTURYpainted with carp swimming beneath weeping willow and peony,with verse and signature7cm

£80-120

86A CHINESE JADE CARVING OF A RECUMBENT WATERBUFFALO, 19TH CENTURYof pale celadon tone with russet inclusions12cm long

£150-250

87A CHINESE SPINACH JADE BOWL, 18TH/19TH CENTURYthe plain dark jade bowl with slightly splayed lip, on a broad rimfoot10.7cm diameter


£600-900

88A PAIR OF CHINESE SOAPSTONE SEALS, 20TH CENTURYsquare with one side rounded off, carved with dragons amidstclouds, the seal faces pictogram carved, 7.5cm high; together witha jade bangle, circa 1966, plain pale green, 8cm diameter(3)

These seals and the bangle were presented to Captain WadimTaniewski sometime between May and September 1966, when hisship, the M.V. Baxtergate, was the first British vessel to enter thePort of Dalian.

£250-350

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92

89A CHINESE GOLD FILIGREE CARD CASE, HOACHING,CANTON, MID 19TH CENTURYshaped rectangular, one side decorated in relief with dragons, theother with stylized carp on basketweave grounds, filigree fishscalepattern sides, applied plaque with Hoaching gothic ‘h’ mark andchop mark11.1cm high, 81.7gr

£1500-2000

91A GROUP OF SEVEN CHINESE SILVER ROBE FINIALS, QINGDYNASTY 19TH CENTURYeach cast as Shoulao, the smiling god in long robes with sceptreand deerlargest 5cm

£300-400

20

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90A CHINESE SILVER-GILT, GEM-SET AND ENAMELLEDPEDESTAL CUP AND COVER, MID 20TH CENTURYthe green ground with corded borders and bands of wireworktendrils embellished with pale semi-precious cabochons (quartz,garnet and iolite), the circular cup on bulbous stem above a wideplatform and trumpet foot, domed cover with cone-shaped finial,iridescent blue counter enamel to interior of cup and cover,stamped SILVER to underside and 88 to rims28.5cm high

£400-600

94

92A JAPANESE NABESHIMA BLUE AND WHITE DISH, 19TH CENTURYof deep circular form on footed base, the interior painted with apeony, the exterior with three stylised peony sprays, with carvedwood stand30cm diameter


£80-120

93A JAPANESE SATSUMA BOWL, MEIJI PERIOD (1868-1912)painted with millefleurs decoration, signed17.5cm diameter

£60-80

94A JAPANESE IRON WATCH STAND IN THE FORM OF A TEMPLEGATE, MEIJI PERIOD (1868-1912)the supports and crossbar gilt with scattered aoi and other floralmon, signed22cm high


£100-150













95A JAPANESE CARVED WOOD NETSUKE,EARLY 20TH CENTURYof a hare nestled on a fruiting peach branch,signature to underside, 4.5cm wide; togetherwith a small Japanese wood carving, Meijiperiod (1868-1912), of a toad perched on abundle containing a further toad, a snakeemerging from the bottom, 4cm wide(2)

£100-150

96A JAPANESE WOOD NETSUKE OF APUPPY, 19TH CENTURYcarved in recumbent pose, playing with aball of string3.3cm, inlaid balls missing

£80-120

97 ~A JAPANESE SILVER, IVORY AND INLAIDLACQUER FAN-SHAPED DISH, MEIJIPERIOD (1868-1912)decorated in Shibayama style and inlaid inmother-of-pearl, stained ivory andtortoiseshell with a panel of pigeonsamongst blossoming peony on a goldlacquer ground, surrounded by ivory panelsinlaid with floral branches on a filigreeground, inlaid ivory fan handle, supportedon three scroll feet31.5cm long

£1000-1500

98A JAPANESE SILVER BOWL, MEIJI PERIOD(1868-1912)double skinned and worked in high reliefwith irises and lilies beside a lake onhammered ground, shaped rim, the footengraved SOUVENIR OF “FLASH” MAY 190514.5cm diameter, 394gr (12oz)

£300-400

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99 (reverse)

99 ~A LARGE SILVER-MOUNTED INLAID IVORY TWO-HANDLEDTUSK VASE, MEIJI PERIOD (1868-1912)worked in ‘Shibayama’ style in mother-of-pearl, coral andtortoiseshell and lacquered in iro-e honzogan with a peacock andother birds perched on a blossoming prunus tree, the reverse witha crested pheasant and snipe beside a stream and blossomingpeony and hibiscus, the handles with convolvulus and trailingvine, silver mounts hallmarked for Elkington & Co. Ltd., London,1897, glass base26.5cm high

£2000-3000

100A PAIR OF JAPANESE SILVER AND ENAMEL BUD VASES,MEIJI PERIOD (1868-1912)applied and enamelled with cranes amongst narcissi beside astream on a matted ground, the slender trumpet necks with foliaterim, on flared rim feet14cm high

£500-800

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103104

101 ~A JAPANESE INLAID IVORY SHAPED BOX AND COVER, MEIJIPERIOD (1868-1912)of geometric shape, worked overall with basketweave inlay,further inlaid in relief with stained ivory, coral and mother-of-pearlof a bird amongst blossoming prunus and narcissus, the interioralso with basketweave inlay19.5cm wide

£300-500

102 ~A JAPANESE IVORY ‘SHIBAYAMA’ WORK FIGURE OF ANELEPHANT, MEIJI PERIOD (1868-1912)carved standing four-square, inlaid in mother-of-pearl, stainedivory, tortoiseshell and coral, heavily caparisoned with flower-decorated howdah cloth and pendant jewelley, a large lotus on itsback and lotus flowers on its neck and forehead, signed Masayuki29cm high

£3000-5000

103 ~A JAPANESE IVORY AND LACQUER TABLE SCREEN, MEIJIPERIOD (1868-1912)the rectangular twin panels decorated in ‘Shibayama’ style inlayof mother-of-pearl, tortoiseshell and stained ivory with a diptychscene of long-tailed exotic birds on a blossoming prunus branch,on a nashiji decorated fundame ground, the ivory border carvedwith shippo motifs and cresting waves, the reverse with a sceneof wading bird beneath wistaria on a roiro urushi ground, signed24.5cm high

£1200-1800

104 ~A JAPANESE IVORY PAGE TURNER, MEIJI PERIOD (1868-1912)the ‘Shibayama’ work blade inlaid with tortoiseshell and mother-of-pearl and lacquered with a crane amongst pine and trailingvine, the handle carved with an eagle clutching a monkey in itstalons flying above spuming waves34cm long

£600-800

101












105 ~A JAPANESE SILVER, COPPER, INLAID IVORYAND ENAMEL VASE, SIGNED SHIBAYAMA, MEIJI PERIOD (1868-1912)hexagonal, the black oxidised copper body set with silver framed shaped ivory panels inlaid withmother-of-pearl, lacquer and tortoiseshell with birdsin blossoming branches, baskets and vases offlowers, the silver neck enamelled with flowerpendants above a shoulder relief chased withscrolling waves cresting on each shoulder, raised on a domed hexagonal silver foot enamelled with wisteria and peony, signed Shibayama in redlacquer panel, underside of base set with an Islamicgilt roundel containing verses from Chapter CXII ofthe Qur’an, al-Ikhlas, Purity of Faith33cm high

£2000-3000

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106A JAPANESE SILVER SAKE BOTTLE ANDSTOPPER, MEIJI PERIOD (1868-1912), CIRCA 1877of slender pear form, worked in kingin takazoganwith butterflies amongst chrysanthemums and akingfisher amongst grasses on a ground engravedwith an aoi mon within foliate scrolls on a hari-ishime ground, import marked Cornelius BrabrookPare for Londos & Co. of London, Birmingham, 187823.5cm high

This bottle is probably one of the items selected byChristopher Dresser during his trip to Japan in 1877,to be retailed by Londos & Co. of 126/127 LondonWall. C.B. Pare (1837-1890) was a partner in the‘Japanese & Chinese Merchants’ and Dresser hadbeen associated with the company since 1873,contracting to act as buying agent for them, as wellfor Tiffany’s, whilst visiting Japan. His speech onpresenting gifts to the Mikado records: “The smallpresent, of which I have been the bearer, to yourMajesty’s National Museum was got together at thesuggestion of Mr P.C. Owen, the director of theSouth Kensington Museum in London. For theobjects I am indebted to Messrs. Londos & Co., whogave the greater number...” Christopher Dresser,Japan: Its Architecture, Art, and Art Manufactures,Cambridge Library Collection, 2014, p.51

£600-800








107A PAIR OF JAPANESE CLOISONNE VASES, ANDO JUBEISTUDIO, PROBABLY TAISHO PERIOD (1912-1926)of globular form, worked in silver wire with chrysanthemum on arich red ground, with further chrysanthemum engraved beneaththe translucent enamel body, silver rims and bases, Ando Jubeimon to bases23cm high

£600-800

108 ~A JAPANESE SILVER AND INLAID IVORY DISH, MEIJI PERIOD(1868-1912)of flowerhead form, worked overall in ‘Shibayama’ style with acentral gold lacquer panel inlaid in mother-of-pearl andtortoiseshell with pigeons amongst wisteria and prunus, withinradiating ivory fan-shaped panels further inlaid with iris, peony,hibiscus and prunus on a filigree ground, signed Yoshimitsu*, onfive scroll feet25cm diameter

£800-1200

109A JAPANESE SILVER CIGAR BOX, MEIJI PERIOD (1868-1912)oblong, worked in katakiribori and iro-e honzogan with aflowering lily, prunus and hibiscus, wood lined, signed21.5cm wide, key missing

£200-300

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110 ~A JAPANESE INLAID IVORY AND LACQUERTABLE SCREEN, MEIJI PERIOD (1868-1912)the twin rectangular panels elaborately inlaidwith ‘Shibayama’ style work in coral, redlacquer, mother-of-pearl and ivory withdignitaries being entertained by musicians anddancers amongst vases and hanging baskets ofpeony, hydrangea, magnolia and prunusblossom, on a fundame ground, smallerrectangular inlaid flower panels beneath, thereverse decorated in gold with leafy shrubs ona roiro urushi ground sprinkled with nashiji,signed Masa* in red lacquer reserve39.5cm high by 40cm wide (unfolded)

For a similar screen, see Bonhams, Sydney, 20November 2011, lot 29.

£4000-6000

111 ~A PAIR OF JAPANESE IVORY HANDLEDVICTORIAN SILVER-GILT FISH SERVERS, ELKINGTON &CO. LTD., BIRMINGHAM, 1898the blade and tines engraved with Japonesquebirds and foliage and wrigglework patterning,the Meiji period ivory handles worked in‘Shibayama’ style with further birds and foliagein gilt lacquer and mother-of-pearl, in original(worn) red velvet case with ELKINGTON & CO.printed labelknife 26.5cm long

£300-400

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110 (reverse)

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113

112 ~A JAPANESE SILVER AND IVORY DISH, MEIJI PERIOD (1868-1912)of shaped circular form, the central panel inlaid in ‘Shibayama’style in mother-of-pearl and tortoiseshell with an enamelled silverelephant beside a large vase of prunus and peony, withinradiating ivory panels inlaid with further flowers on a filigreeground, raised on three pierced shaped feet, mother-of-pearlinlaid signature to underside23.5cm diameter

£1500-2500

113 ~A PAIR OF JAPANESE SILVER TEAPOTS AND COVERS AND ASILVER TRAY, EARLY 20TH CENTURYeach globular pot incised with scattered mon, short spout andivory loop handle, the covers with gilded cast chrysanthemumfinials, the tray of shaped rectangular form with scattered mon,covers and tray signedteapots 9cm high, tray 22.5cm wide(3)

£600-900





114A JAPANESE MIXED METAL CHARGER, NOBORUNOGAWA WORKSHOP, KYOTO, MEIJI PERIOD (1868-1912)of circular form, decorated in iro-e honzogan with apanoramic bridge scene of families at leisure amongst island,pine and prunus trees, within a key fret border, Nogawa markto base56cm diameter

£1000-1500

115 ~A JAPANESE SILVER AND INLAID LACQUER DISH, MEIJI PERIOD (1868-1912)of flowerhead form, worked in ‘Shibayama’ style mother-of-pearl and tortoiseshell with pigeons perched in a prunus treeon a gold lacquer ground, within radiating filigree petalsinlaid with lacquer panels decorated with vases of flowers,hanging baskets and birds, on a filigree ground enamelledwith floral motifs, mother-of-pearl signature panel (Tomin?)24cm diameter

£800-1200

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116 ~A JAPANESE LACQUER KODANSU, SIGNED SHIBAYAMA,MEIJI PERIOD (1868-1912)of rectangular form, inlaid with mother-of-pear, stained ivory andtortoiseshell with pheonix amongst prunus, the hiramakie cloudsdecorated with kirikane and hirame, the silver hinged dooropening to reveal three roiro urushi lacquer drawers worked withchrysanthemum and vine, inlaid mother-of-pearl Shibayamasignature and lacquer seal mark26cm high

£2000-3000

29

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116 (open)

116

117A JAPANESE SMALL TEA KETTLE AND COVER, MEIJI PERIOD (1868-1912)decorated in relief with a sparrow nestled in a shishiaibori prunus tree, shortcurved spout and rectangular swing handle, incised signature15.5cm high with handle raised

£300-500






118 ~A LARGE INLAID IVORY SILVER-MOUNTEDTUSK VASE AND COVER, MEIJI PERIOD(1868-1912)inlaid in ‘Shibayama’ work of mother-of-pearl, coral and tortoiseshell with an eagleperched in a prunus tree eyeing sparrows inflight, a peony bush beneath, the reversewith a kingfisher beside a lake bordered byreeds and grasses, the cover with ivory lotusfinial, mounted on a carved and piercedhexagonal wood stand, signed Masa*overall height 46cm

£3000-4000

30

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118 (reverse)

119

119A JAPANESE SILVER AND LACQUER DISH,MEIJI PERIOD (1868-1912)of flowerhead form, set with a central lacquer‘Shibayama’ worked panel with ducksswimming amongst lily pads on a lake, furtherducks flying above, the takamakie banks withnashiji and inlaid with hibiscus andchrysanthemum, the radiating filigree petalborder with enamel flower panels, on fourleaf-shaped feet, inlaid red lacquer seal panelto reverse24cm diameter

£800-1200







120 ~A JAPANESE SILVER AND INLAID IVORY LACQUERTABLE CABINET, MEIJI PERIOD (1868-1912)the double-sided cabinet with two ‘Shibayama’ workedivory panels inlaid with mother-of-pearl and tortoiseshellwith pigeons and pheasant amongst blossoming peony, thedrawers with panels of trailing wistaria, peony andchrysanthemum, the silver covered case simulating abamboo construction and decorated with further flowersamongst trellis, the interior later fitted with bone cigar racks24.5cm high

£1200-1800

121 ~A JAPANESE INLAID IVORY AND SILVER DISH, MEIJIPERIOD (1868-1912)of flowerhead form, the central lacquer panel inlaid in‘Shibayama’ style with mother-of-pearl, tortoiseshell andivory with mandarin ducks swimming amongst irises andislands of peony, within petal-shaped panels with shapedivory panels inlaid with flowers on a filigree ground,signed Yoshiharu in mother-of-pearl reserve to underside25cm diameter, small loss to inlay

£1000-1500

31

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120 (reverse)

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123

122A JAPANESE SILVER-MOUNTED AND ENAMEL BOWL,MEIJI PERIOD (1868-1912)circular, the glass body covered in pierced silver workedin relief and enamelled with peacocks and pheasantsamid partially fenced gardens abounding in butterflies,wisteria, prunus and chrysanthemum, the interior with anenamel peony spray, on silver circular foot, signedYoshimasa(?), ‘jungin’ stamp to base18cm diameter

£1000-1500

123A PAIR OF JAPANESE SILVER AND ENAMEL TWO-HANDLED VASES, MEIJI PERIOD (1868-1912)of slender ovoid form with trumpet neck and scallopedrim, basse-taille enamelled with songbirds and butterfliesamongst prunus, the shoulders set with a pair ofenamelled iris form handles19cm high

£1000-1500

124 ~A JAPANESE SILVER AND IVORY DISH, MEIJI PERIOD(1868-1912)of chrysantheum head form, the central ivory panelcarved in relief with three female harvesters threshingwheat, within radiating silver filigree panels ofchrysanthemum and foliate scrolls, on three filigree feet,inlaid mother-of-pearl signature panel to base Sozan(?)27cm diameter

£500-800

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125A JAPANESE BRONZE MINIATURE TABLE CABINET,MEIJI PERIOD (1868-1912)of rectangular form, the top decorated with scatteredpicture roundels containing scenes of temple gates, boatsand islands on a key fret ground, the rear and side panelsworked in iro-e takazogan with geese in flight, cockerelsand birds amongst trees, the twin doors worked withmandarin ducks, blossoming prunus and waterfowl, thereverses with phoenixes, opening to reveal anasymmetric arrangement of drawers with peony finialsand a depiction of Mount Fuji to the back, prunus clasp todoors, raised on rectangular base and shaped feet,signature to door with kakihan, signature panel to base14cm high

£2000-3000

126 ~A JAPANESE SILVER AND ENAMEL BOWL, MEIJIPERIOD (1868-1912)double skinned bulbous body with six shaped panels‘Shibayama’ inlaid on a gilt frosted ground with mother-of-pearl, ivory and tortoiseshell peony and vine, pigeonsamongst prunus, mandarin ducks and an eagle on apeony branch, surrounded by relief and enamelled furtherblossoming prunus branch sprays, on six shaped feetapplied and enamelled with flower motifs, Gyokuminsignature panel to underside, with hexafoil lacquer stand18cm diameter

£1200-1800

125 (open)

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128 ~A PAIR OF SILVER-MOUNTED INLAID IVORYVASES, MEIJI PERIOD (1868-1912)each cylindrical body ‘Shibayama’ worked withmother-of-pearl and tortoiseshell with exoticbirds amongst blossoming branches, peonyand hydrangea, each with silver fluted trumpetneck and set with a pair of chimera handles,raised on shaped and stepped domed footengraved with foliate scrolls, Yukimasasignature in oval mother-of-pearl reserve,‘jungin’ mark to base28.5cm high

£1500-2500

127 ~A JAPANESE ENAMELLED SILVER ANDINLAID LACQUER FAN-SHAPED DISH, MEIJIPERIOD (1868-1912)the central panel inlaid in ‘Shibayama’ stylewith ivory, mother-of-pearl, lacquer andtortoiseshell with female musicians and adancer within a room decorated with vases offlowers, within a filigree border interrupted bywire and enamelled chrysanthemums, withsilver handle, on three chrysanthemum feet,signed Ko* in red lacquer reserve36cm long

£2000-3000

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128








129A MONUMENTAL JAIN HEAD, MADHYA PRADESH, 8TH/9TH CENTURYbuff sandstone, with elongated eyes, urna on his forehead andtightly curled hair, his head surmounted by a domed usnisa40cm high

Provenance: British Private Collection, acquired by the vendor onthe London art market around 1981.

This impressive over-lifesize head typifies the transitional stylebetween the idealised naturalism if the Gupta period, and themore linear stylised idiom of the so-called medieval period. Itwould originally have formed part of a stele, as it is uncarved atthe back. With its wide rounded face and distinctive eyes, it recallsthe head of a Vishnu figure in the Norton Simon Museum: seePratapaditya Pal, Art from the Indian Subcontinent, Ahmedabad,2003, No.91.

£4000-6000

130A FRAGMENTARY ROUNDEL DEPICTING A GANDHARVA,CENTRAL INDIA, PROBABLY MADHYA PRADESH, CIRCA 11TH CENTURYpink sandstone, the flying four armed moustachioed deitywearing large disc earrings and crown, holding a garland in hisprimary hands, holding a sword and shield in his other hands,mounted on green marble stand44 x 32 x 12cm

Provenance: Art Market, New York, 1980s; Private Collection,London, 1980s-2007; Millner Manolatos, 2 Campden Street,London, October 2007; Collection of the late Bruno Cooper 2007-2012; thence by descent

In Hindu tradition, gandharvas flit through the sky, acting asphysicians to the gods and scattering flower petals from theirgarlands onto gods and heroes. For another gandharva figure ofsimilar date and from the same region, see Balraj Khanna andGeorge Michell, Human and Divine: 2000 Years of IndianSculpture, London 2000, p.73. For possible Vidyadhara attributionsee, Ronald M. Davidson; Indian Esoteric Buddhism: A SocialHistory of the Tantric Movement (2002, Columbia UniversityPress), pages 194-195.

£3000-4000

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133 134


137

131A SANDSTONE FRAGMENT DEPICTING A BUDDHA HEAD, SUKHOTHAI,THAILAND, 14TH/15TH CENTURYwith serene expression, sheltered under the seven headed cobra canopy ofMucalinda, his ears with elongated lobes, the domed usnisa with flamefinial, mounted on stand32cm high

£2500-3500

132A BAPHUON GREY SANDSTONE HEAD, CAMBODIA, MID-11THCENTURYwith full lips and serene expression, the hair gathered in a bun, mounted ona stand23cm high

Provenance: Private Collection, acquired at Spink and Son, London

Exhibited: On loan to the Ashmolean Museum, Oxford 1996-2001

£2000-3000

133A MON CHALK STONE HEAD OF BUDDHA, THATON, BURMA (NOW MYANMAR), 10TH/11TH CENTURYwith enigmatic smiling expression, his ears with elongated lobes, his hairsmooth like a cap, traces of lacquer, mounted on stand22cm high

The Mon Thaton kingdom was an important Buddhist centre in LowerBurma. It was absorbed into the kingdom of Pagan in 1057. For a closelyrelated head in the Metropolitan Museum of Art, New York, see inv.1988.246

£800-1200

134A KUSHAN MOTTLED PINK SANDSTONE HEAD OF BUDDHA,MATHURA, INDIA, 3RD/4TH CENTURYwith serene, slightly smiling expression, smooth turban or cap above theforehead, urna between the eyebrows, mounted on stand16cm high

£450-550

135A GREY STONE HEAD OF A DEITY, NORTHERN INDIA, 11TH/12THCENTURYwith wavy hair and elaborate bejewelled tapering headdress, mounted onstand13.5cm high

£300-400

136AN ANDESITE RELIEF FRAGMENT DEPICTING A HEAD OF ABODHISATTVA, PROBABLY PRAMBANAN, CENTRAL JAVA, 9TH/10TH CENTURYwearing elaborate earrings and tall headdress, mounted on stand18 x 20 x 22cm

Provenance: Private Collection, London

£700-900

137A BUFF SANDSTONE HEAD OF A DEITY, CENTRAL INDIA, 11TH/12THCENTURYwearing large earrings and tiered headdress, turned slightly to one side13cm high

£250-350

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138A GUPTA TERRACOTTA HEAD OF BUDDHA, CENTRAL INDIA,CIRCA 5TH CENTURYwith serene expression, tightly curled hair and domed usnisa,mounted on stand9.3cm high

£500-700

139A GANDHARA GREY SCHIST RELIEF, NORTH WEST FRONTIERREGION (NOW PAKISTAN), 3RD/4TH CENTURYdepicting Hariti, the female deity depicted dancing, her long hairgathered in a wide bun, within rectangular frame, a dowel at topand bottom20.7cm high

£400-600

140A GRANITE FIGURE OF SUBRAMANYA, SOUTH INDIA,PROBABLY TAMIL NADU, 17TH/18TH CENTURYstanding with body flexed, his right hand in abhaya mudra, hisleft on his hip, his vehicle the peacock at his feet, wearing tieredconical headdress46.5cm high

Provenance: Private Collection, England

£700-900

141A PINK SANDSTONE BUST OF A MALE DEITY, PROBABLYVISHNU, CENTRAL INDIA, CIRCA 11TH CENTURYprobably from a Lakshmi-Narayana group, his head turned to hisleft towards his consort, Lakshmi (now missing), her right handresting on his right shoulder, wearing large earrings and multiplenecklaces, mounted on stand38cm high

Provenance: Private Collection, London; Gordon Reece Gallery,Clifford Street, W1

£400-600

38141

140

138

139










142A PALA GREY STONE STELE DEPICTING GANESHA, BIHAR, EASTERN INDIA, CIRCA 10TH CENTURYthe the four-armed elephant headed deity seated on a cushion, holding a radish, an axe, a rosary and abowl of sweets, his right foot resting on his vehicle the rat, old iron projecting tenons for stand attachmentunderneath55cm high

Provenance: Acquired by the vendor from Patrick Dunbar Antiques, New Mexico. Patrick Dunbar purchasedthe sculpture in the late 1970s.

£5000-7000

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145A MARBLE FIGURE OF BUDDHA, BURMA (NOW MYANMAR), 19TH CENTURYseated on a lotus, his hands in bhumisparsa and dhyanamudra, his domed usnisa with bud finial, traces of giltand black pigment62cm high


£1000-1500

146A MARBLE FIGURE OF BUDDHA, BURMA (NOW MYANMAR), 18TH/19TH CENTURYseated in sattvasana, his hands in bhumisparsa anddhyana mudra, traces of red and black pigment, mountedon stand38cm


£300-500

147A MARBLE FIGURE OF BUDDHA, BURMA (NOW MYANMAR), 19TH CENTURYstanding on a double lotus throne, his right hand at hisside in varada mudra, his left at his chest, wearingearrings and an elaborate crown53cm high


£400-600

148A MINIATURE SAIVITE SHRINE, DECCAN SOUTHERNINDIA, CIRCA 18TH CENTURYcast brass, depicting Nandi and a Sivalingam on arectangular base3 x 9.5 x 5.5cm; together with a Small Brass Plaquedepicting a Chauri-Bearer, circa 1900, of rectangularform, probably from a shrine, the figure in relief withpierced and incised floral decoration behind, 11.1 x 3.5cm(2)

Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in developmentassistance.

£150-200

40

143

144

143SIX INDUS VALLEY ANTIQUITIES, MEHRGARH AND QUETTA,PAKISTAN, CIRCA 3000-2000 B.C.comprising four bone ‘button’ seals, a steatite seal in the form of a lion anda terracotta beaker, 6cm high and smaller (6)

Provenance: Private Collection, acquired on the London art market 2000

‘Button seals’, so called because of their twin holes are one of the mostdistinctive finds at the sites in the region of Harappa in the Indus Valley.

£500-800

144A BLACK STONE HEAD OF KRISHNA, BENGAL, EASTERN INDIA, CIRCA 18TH CENTURYwith raised joined eyebrows,flared nostrils, wearing a floral tiara, laterwood stand7cm high

£600-800














41

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145


149A BRASS FIGURE OF DURGA, WESTERN DECCAN, INDIA, 18TH CENTURYin three sections, standing on a raised square plinth, holding conch, rosary, bowland mace in her four hands, a five-headed naga and kirttimukha above23.5cm high

Provenance: Private Collection, UK

£400-600

150A JAIN BRASS SHRINE, GUJARAT, WESTERN INDIA, DATED SAMVAT 1504/1561 ADinlaid with silver and copper, seated in dhyanasana on a lion throne, flanked byfurther jinas and chauri bearers, seated under a parasol supported by elephants, akalasa above, the reverse inscribed in devanagari script17.5cm high

£1000-1500

151A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, DECCAN, SOUTHERNINDIA, 17TH CENTURYthe multi-armed hindu goddess brandishing various weapons and attributes whileslaying the buffalo demon, her right foot resting on her vehicle, the lion, surroundedby a serrated openwork prabha14.8cm high

Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1971,inv.JPC 71/141

£600-800

152BHU-DEVI AND SRI-DEVI, TAMIL NADU, SOUTH INDIA, 18TH/19TH CENTURYcast brass, the two consorts of Vishnu standing on lotus bases, raised on plinths,each holding a lotus in one hand, the other by her side, Sri-Devi wearing akuchabandha over her breasts18cm high each approx.(2)


£500-600

153A SHRINE DEPICTING VISHNU, SOUTH INDIA, 19TH CENTURYbronze and brass, in three sections, the bronze four-armed deity with primary handsin varada mudra and resting on his mace (now missing), his upper hands holdingcakra and sankha, on brass stand, a brass aureole behind with leaf design, a cobracanopy and kirttimukha finial at the top27.4cm high


£300-500

42

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153

151

152

150








154A SMALL BRONZE FIGURE OF SIVA NATARAJA, TAMIL NADU, SOUTH INDIA,CIRCA 16TH CENTURYthe four armed god dancing on the demon Apasmarapurusa, his left foot andprimary left hand resting on cobras, his primary right hand in abhaya mudra, hisupper hands holding damaru and flame, later brass base11.3cm high

£300-400

155A BRASS SHRINE DEPICTING VISHNU, WESTERN INDIA, CIRCA 16TH CENTURYthe four-armed deity flanked by Bhudevi and Sridevi, a pair of apsarases above, hiseyes and sash inlaid with silver12cm high

£200-300

156A BRASS SHRINE DEPICTING GAJALAKSHMI, WESTERN INDIA, 16TH-17THCENTURYthe four-armed goddess with primary hands in varada mudra and holding a waterpot, her upper hands each holding a padma10cm high

£250-350

157A JAIN BRASS SHRINE DEPICTING AMBIKA, WESTERN INDIA, DATED SAMVAT1528/1585 ADseated on a decorated stool, her child on her left knee, flanked by a diminutive lionand her other son, holding a mango and mango tree branch in her primary hands, asmall figure of Neminatha and a water pot above, inscribed in devanagari on thereverse10.2cm high

£300-500

158A BRONZE FIGURE OF NANDI, WESTERN DECCAN, INDIA, CIRCA 17THCENTURYon flared rectangular base with miniature lingam in front, with straight taperedhorns, blanket and trappings, a seven headed cobra canopy attached at the back25cm high

Provenance: Formerly in the collection of the late Peter Cochrane

£800-1200

154155

158

156

157

43









159A LARGE VIJAYANAGAR BRONZE FIGURE OF SKANDA, TAMIL NADU, SOUTH INDIA, CIRCA 15TH CENTURYstanding on a waisted lotus throne on square plantform, the four armed deity with primary left handin varada mudra, his right hand missing, holding vajra in his upper hands, wearing tiered conicalheaddress, his long hair flowing over his shoulders45.5cm high

Provenance: Private Collection, London; acquired in London c.1980 (on consignment to Spink andSon, late 1980s); said to have been in an Italian Collection prior to 1980

The identification of this image as Skanda (also known as Subrahmanya) seems most likely,although the attributes, a vajra and chisel (tanka) are seen on many images of Indra. Indra, however,is usually depicted with a third eye in the forehead and is not often depicted in South India. For a19th century watercolour depiction of Skanda in this form in the British Museum, see inv.1993,0806,0.67

£18000-22000

44

159 (detail)




45

159


160A LARGE BRONZE FIGURE OF KHANDOBA ON HIS HORSESOUTH INDIA, EARLY 20TH CENTURYcast in two sections, the Saivite deity holding sword and shield,his tall headdress with bud finial37cm high

£200-300

161KHANDOBA SEATED ON HIS HORSE, WESTERN DECCAN,INDIA, CIRCA 18TH CENTURYcast brass, holding sword and shield, his face with moustache andhis head with tall conical headdress and bud finial, his horse withbeaded trappings, wood stand22cm high

Provenance: Formerly in the collection of the late Peter Cochrane,acquired in 1977, inv. JPC 77/55

£700-900

162A PUJA LAMP, SOUTH INDIA, 19TH/20TH CENTURYin the form of Hanuman, with scrolling tail, his lamp held in front,his mace in his left hand11cm high

£120-150

163AN UNUSUAL FORM OF KRISHNA, SOUTH INDIA, 18TH CENTURYbronze, the four armed plump youthful deity, standing on a lotusbase, a pair of butter balls in his primary hands, his upper handsraised, holding attributes (now missing)10cm high

£200-300

164A BRONZE FIGURE OF KRISHNA VENUGOPALA, ORISSA,EASTERN INDIA, CIRCA 17TH CENTURYstanding on a circular beaded lotus base, wearing sandals, elaboratecrown, headdress and earrings, playing the flute (now missing)15.5cm high

£300-400

165A BRONZE FIGURE OF A YOGI, BENGAL, EASTERN INDIA,18TH/19TH CENTURYseated on a raised lotus, his legs loosely crossed, his hand injnana mudra at his chest8.3cm high

£200-300

166A BRONZE FIGURE OF DURGA ON HER LION, DECCAN,SOUTHERN INDIA, CIRCA 18TH CENTURYbronze, the eight-armed goddess brandishing weapons andattributes, her lion trampling on diminutive demons5.5cm high

£250-350

167A SMALL BRONZE VISHNU SHRINE, DECCAN, SOUTHERNINDIA, 17TH/18TH CENTURYthe four-armed deity holding gada, sankha and cakra, his primaryright hand in abhaya mudra, standing on flared rectangular base,a pointed aureole behind7.5cm high

£150-250

168A BRONZE FIGURE OF KRISHNA, TAMIL NADU, SOUTH INDIA,15TH/16TH CENTURYstanding on a circular lotus base, his left knee flexed, holding abutter ball in his left hand6.5cm high

£250-350

169A GROUP OF JAIN AND BUDDHIST FIGURES, INDIA, 18TH-20TH CENTURIESbronze, each seated in padmasana, comprising three jinas,including a figure of Parsvanatha, and a figure of the emaciatedBuddha6cm and smaller(4)

£150-20046

160

161




















170TWO KHMER FIGURES OF HINDU DEITIES, CAMBODIA, 12THCENTURYbronze, comprising Indra, riding on his elephant vehicle, Airavata,and the goddess Durga on her lion, mounted separately on stands7.2cm high approx. each(2)

£400-600

171A MAJAPAHIT BRONZE ELEMENT FROM A HANGING LAMP,JAVA, CIRCA 14TH CENTURYin the form of Nandi Bull, on double lotus base, a suspension loopfor a chain on his back13cm high

£800-1200

47

171

164166

169

170

162 163

165 168167





174A KHMER BRONZE PALANQUIN FINIAL, CAMBODIA,CIRCA 12TH CENTURYin the form of a curved hollow lotus stem, the lozenge shapedfinial with a figure of a dancing apsara in relief, framed byconcentric layers of lotus petals, the reverse with figure ofVajradhara seated on a kirtimukha face, mounted on stand27.5cm long

£800-1200

175A BRASS STANDARD FINIAL, WESTERN DECCAN, 19TH CENTURYin the form of a head of Hanuman, with stylised face and largegaping mouth with traces of red lac, on tapering shaft, mountedon stand29cm high

Provenance: Formerly in the collection of the late Peter Cochrane,acquired in 1970, inv.JPC 70/61

£400-600

176A BRONZE FIGURE OF THE GODDESS GANGA RIDING ON HER MAKARA, SOUTH INDIA, CIRCA 1900the tall headdress with bulb shaped finial, her upper handsholding kalasa and padma, her primary hands in abhaya andvarada mudra, her vehicle the makara separately cast, modernwood base22.5cm high (together)

£150-250

177A JAIN SHRINE, GUJARAT, WESTERN INDIA, 13TH CENTURYbrass with silver and copper inlay, depicting Parsvanatha, thetwenty-third tirthankara, seated on a lion throne, flanked by chauribearers and devotees, a seven-headed naga canopy above,surmounted by a pair of elephants filling a kalasa, a further kalasafinial on the arched aureole, indistinct dedicatory inscription indevanagari on the reverse13cm high

The indistinct samvat date appears to read 12[..]

£800-1200

178A BRONZE FIGURE OF VISHNU, GUJARAT, WESTERN INDIA,16TH/17TH CENTURYthe four-armed deity standing holding an attribute in each hand,flanked by two pairs of diminutive devotees, a figure of hisvehicle, Garuda, on the front of the base14cm


£400-600

179FOUR BRONZE FINIALS, INDIA, 18TH/19TH CENTURYone in the form of an elephant head, one in the form of a peacock,another with Krishna dancing on a makara head and the other ahook in the form of a double headed yali10cm and smaller (4)

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

£150-250

48

172A LARGE BRONZE FIGURE OF KHANDOBA AND MHALSA,WESTERN DECCAN, INDIA, CIRCA 18TH CENTURYcast in four sections, the god seated on a horse with his consort,each holding a sword, a small figure of a dog underneath thehorse, framed by a prabha with five headed cobra canopy33cm high


£1200-1500

172

173A BRASS FIGURE OF KHANDOBA AND MHALSA, WESTERNDECCAN, INDIA, CIRCA 18TH CENTURYthe divine couple riding a horse, on rectangular base, the god’sright hand raised, holding a sword(?), now missing22.5cm high

£700-900

173
















49

174175

177 178

176


50

180 183

181

184

182

185

183A BRONZE INCENSE BURNER(?) IN THE FORM OF A FISH,BASTAR, INDIA, CIRCA 19TH CENTURYon twin feet, the sides with abstract openwork decoration,opening on underside13cm high; 28.5cm long


£300-400

181A YONI-LINGAM, DECCAN, INDIA, 18TH CENTURYon flared rim foot, the spouted top with bearded andmoustachioed head of Siva, wearing boteh earrings and spirallingheaddress10.5cm high; 11cm max length

£500-700

184A BRONZE SHRINE, WESTERN INDIA, 19TH CENTURYcast brass, in the form of a columnar pavilion, the square platformwith bracket feet, the cusped arched roof with bud finial49cm high


£500-800

182A BRONZE STAND FOR AN OFFERING TRAY, DECCAN,SOUTHERN INDIA, 18TH CENTURYin the form of a rearing yali, perched on twin leafy branches, onlotus base with beaded rim31cm high

£600-800

185A BRASS GAURI HEAD, GUJARAT, WESTERN INDIA, 19TH CENTURYwith pronounced stylised features, with pierced ears andelongated earlobes, her hair gathered in a small bun16cm high

Provenance: Formerly in the collection of the late Peter Cochrane,acquired in 1981, inv. JPC [..], 81/3

£300-400

180A BAZUBAND AND A BRACELET, PROBABLY DECCAN,18TH/19TH CENTURYbronze, the former of convex cartouche-shaped form, with centralfigure of an animal headed deity, dancing on a demon, flanked byGanesha and another deity, the latter of circular form with four-headed Sivalingam, flanked by Nandi and a trident, the sides withother saivite symbols10 x 6.5cm; 9cm max dimensions (2)

Provenance: Formerly in the collection of the late Peter Cochrane,acquired in 1972 & 1969, invs.JPC 72/191 & JPC 69/185

£300-400












51

186A BRONZE FIGURE OF RADHA, BENGAL, 19TH CENTURYstanding on a circular lotus base, holding a padma in her raisedright hand, her body flexed, her hair gathered in a bun22cm high

£200-300

186

189

187

190

188191

189A BRASS FIGURE OF KRISHNA VENUGOPALA, ORISSA,EASTERN INDIA, 17TH/18TH CENTURYstanding on a circular lotus base, playing his flute, his eyesrecessed for inlay19.5cm high

£800-1200

187A LARGE LINGAM STONE AND ASSOCIATED BRASS COBRASTAND, INDIA, 18TH CENTURY AND LATERthe former of egg-shaped form, with coloured rope ring, the cobrastand in two sections, the lower forming a circular base, the upperwith flared canopy and single head47cm high

£400-500

190A BRASS FIGURE OF NANDI BULL, WESTERN DECCAN, INDIA,CIRCA 18TH CENTURYon a raised rectangular base with lotus decoration, a small yoni-lingam at the front, with long tapering horns13cm high

£400-600

188FIVE STONE LINGAMS, INDIA, 18TH-20TH CENTURYof varying sizes, each of egg-shaped form, the smallest set in abrass yoni, another with associated puja spoon, the third withbronze tripod stand, the two largest with coloured rope stands21cm high and smaller (9 including stands)

£200-300

191A ‘GANGAJUMNA’ WATER POT (LOTA), TANJORE, TAMILNADU, SOUTH INDIA, EARLY 19TH CENTURYcopper with brass inlay, with stylised floral decoration16.2cm high

£150-250












52

194

195

192

193

192A BRONZE FIGURE OF BUDDHA, SHAN STATE, BURMA(MYANMAR), 18TH CENTURYseated on a lotus throne, with engraved detailing, his hands inbhumisparsa and dhyana mudra, his ears with elongated lobes,his tightly curled hair with domed usnisa, the back panel withindistinct inscription in burmese23cm high


This bronze was reputedly originally acquired in the Eng tribalarea of Shan.

£500-700

193A BRONZE FIGURE OF VISHNU, SOUTH INDIA, 19TH CENTURYthe four-armed deity on double lotus base, holding cakra, sankha,mala and gada, standing framed by an aureole containing anopenwork yantra motif, the base with two pairs of carrying loops21cm high


£700-900

194A BRASS VIRABHADRA PLAQUE, WESTERN DECCAN, INDIA,18TH CENTURYof waisted arched form, the four-armed deity standing under afive-headed cobra, holding khadga, shield, trisula and damaru,flanked by Daksha and Sati20 x 16.5 x 4cm

Daksha offended Siva by not inviting him to attend a sacrificefollowing an earlier occasion when Siva had slighted him. Satiwho was Daksha’s daughter as well as being Siva’s wife waspresent and felt so insulted that she threw herself on the pyre.Then Siva appeared as Virabhadra and cut off Daksha’s head toavenge his wife. Other gods pleaded for Daksha’s life but althoughSiva decided to spare him his severed head could not be found sothe head of a goat was substituted instead. Daksha is depictedwith hands in namaskara mudra humbly paying respects.

£400-600

195A BRONZE FIGURE OF GANESHA, TAMIL NADU, SOUTHINDIA, CIRCA 18TH CENTURYthe pot-bellied multi-armed elephant-headed deity seated with hisconsort on his left knee6.7cm high


£300-500









197

196A HINDU SAINT, SOUTH INDIA, 19TH CENTURYbronze, seated with legs loosely crossed on a cushion, his handsin vitarka and dhyana mudra, wearing long earrings, his hairgathered in a bun7.8cm high

£100-120

200A BRONZE FIGURE OF TARA, NEPAL, 19TH CENTURYin walking pose, her right hand at her waist, holding the stem of apadma, her left at her breast in vitarka mudra, wearing elaboratecrown and earrings, mounted on stand, 38cm high

£2000-3000

201A SILVER AMULET BOX, TIBET, CIRCA 18TH CENTURYof oval form, with scrolling repousse decoration, set with centralcarnelian in brass mount, 3.7 x 4.8 x 6cm; together with an InlaidSilver Amulet Box (gau), Tibet, circa 18th century, parcel giltsilver, with copper back plate, of octagonal form, the central panelwith repousse foliate design around an inlaid carnelian,surrounded by a border of turquoise inlay, flanked by triple loopsinlaid with turquoises, 6.7 x 5.2cm (2)

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

£300-500

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196

200

197A TRIBAL GROUP DEPICTING VILLAGE METALWORKERS,GOND, EASTERN INDIA, CIRCA 19TH CENTURYbronze, the six figures of stylised form, seated on a circular base,each engaged on a different aspect of working metal objects,9.5cm high; 17cm diam approx.

£300-400

198A BRASS SIVA MASK (MOHRA), HIMACHAL PRADESHin the form of a stylised bust, the head with crown, large earringsand third eye, mounted19.5cm high

Provenance: Private Collection, Italy

£150-200

199A BRONZE PLAQUE DEPICTING VIRABHADRA, WESTERNDECCAN, INDIA, 18TH CENTURYbronze, the four-armed deity standing under a leafy archsurmounted by kirtimukha holding khadga, shield, bow andarrow, flanked by Daksha and Sati, mounted on cloth coveredboard,30.8 x 20cm


£80-120










54

202SIX BRASS OBJECTS, SOUTH INDIA, 19TH CENTURYcomprising two priest’s temple bells, a ritual oil lamp, an offeringtray, a cakra emblem and a holi spray gun37cm long and smaller (6)

£200-300

202 205

203 206

204

207

205A GROUP OF RITUAL OBJECTS, TIBET, 19TH/20TH CENTURYcomprising a drum (damaru), painted wood and hide with silkbrocade tasselled attachment, two brass handbells (ghanta), andthree ‘thunderbolts’ (vajra)Damaru: 7.5cm high x 11cm diam (excluding tassels); Ghanta: 17.5,14.5cm; Vajra: 11cm and smaller(6)

£400-600

203A POLYCHROMED WOOD ALTAR TABLE, TIBET, 19TH CENTURYthe folding panel legs with painted and carved openworkdecoration34.5 x 70 x 35.5cm

£700-900

206A POLYCHROMED WOOD ALTAR TABLE, TIBET, 19TH CENTURYof rectangular form, the sides and front with recessed panelspainted with floral motifs, the top supported by a carved key-pattern frieze, the legs and frame with painted and gessoedlozenge relief decoration34 x 72.4 x 31.7cm

£250-350

204AN OPIUM PIPE, TIBET OR MONGOLIA, 19TH CENTURYhorn with silver repousse, of slender tapering form, the mountswith scrolling vegetal decoration46.5cm long

For a similar, smaller, pipe sold in these rooms, see 25 BlytheRoad Ltd. 11 November 2015, lot 50.

£150-200

207 ~A RITUAL SKULL DRUM (DAMARU), TIBET, 19TH CENTURYthe twin skulls joined at the apex, each stretched with vellum, thesides decorated with repousse copper mounts with turquoise andcoral inlay, cotton and velvet tassel 18 x 14 x 12.5cm


£150-250









208A COPPER-GILT AUREOLE, KATHMANDU VALLEY, NEPAL,18TH CENTURY,the repoussé and chased relief in three sections, a wingedKirtimukha at the top, grasping two snakes with his claws, thesides richly decorated with vigorous scrolling, a pair of Kinaris ateither end, mounted on stand50cm high; 59cm wide

£3500-4500

55

208




56

209A REPOUSSE COPPER RITUAL DAGGER (PHURBU),PROBABLY KOKONOR, MONGOLIA, 18TH/19TH CENTURYdecorated with paint and gilding, with tapered three-sided bladesurmounted by triple head of Bhairava wearing vajra crown,mounted on stand34cm long

£800-1200

209 212

210 213

212A TEMPLE LAMPSTAND, NEPAL, 19TH CENTURYbronze, the flared base with openwork scrolling leaf designssurmounted by lotus borders, the faceted shaft supporting anoverhanging platform with hanging leaf elements58.5cm high

£400-600

210THREE AMULETIC PENDANTS (TOKCHA), TIBET, 15TH CENTURY OR LATERcast brass, two in the form of closed vajras, the other in the formof a yantra7 x 6cm and smaller

£300-400

211TWO TSAKLIS, TIBET, 19TH CENTURYpigment on cloth, the larger depicting Vajravarahi, the redcoloured dakini dancing while holding a karttrka and a skull,inscribed in Tibetan on the reverse, the other depictingVajrabhairava with his consort, his vahana vomiting flames,surrounded by four similar figures, a figure of Mahakala at thetop, both framed15.7 x 12.7cm; 9 x 7.1cm(2)

£80-120

213AN INLAID AMULET BOX, NEPAL, 19TH CENTURYcopper-gilt, with turquoise inlay, of rectangular form, each sidewith semicircular floral projections, suspension loops at top andbottom, removable copper back plate with compartment inside 7 x 7.4 x 1.3cm approx.

£150-250

214A THANG-KA DEPICTING MANJUSRI, TIBET, EARLY 20THCENTURYpigment on cloth, the white four-armed bodhisattva with primaryhands clasped around a conch(?), his upper hands holding arosary and a book, resting on a lotus, seated on a lotus throne in alandscape, flanked by a pair of devotees, further Buddha figuresand a lama floating in the clouds above, brocaded silk and linenmount74 x 48cm (painting)

£200-300










215 ~A CARVED FIGURE OF JAMBHALA, TIBET OR BHUTAN, 18TH CENTURYparcel gilt wood, with gold painted details, mother-of-pearl andivory inlay, the plump figure holding his mongoose on his leftknee, wearing heavy robes, boots and cap7.5cm high

This very fine carved wood figure is an exceptional example of asmall group of gold painted figures usually attributed to Bhutan.For a related figure in the British Museum see No.1947,0414.1

£2000-3000

57

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58

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217

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218

216A POLYCHROMED WOOD FEMALE FIGURE, NEPAL, 18TH/19TH CENTURYprobably depicting a dakini or attendant, wearing short greentunic and red pyjama trousers, standing on a lotus base, her lefthand raised, her right in varada mudra, mounted on stand84cm high

£2000-3000

217A FIGURE OF A MONK, TIBET, 16TH CENTURYgilt wood with traces of green paint, standing on a lotus baseholding a begging bowl in his left hand with closely shaven headand flowing robes drilled at the back for original attachment,mounted on stand14cm high

£800-1200

218A FEMALE DONOR FIGURE NEPAL, CIRCA 18TH CENTURYbronze, standing on a lotus base, wearing richly brocaded robes,her hair with traces of black pigment, tied in a bun10.7cm high

£700-900

219A TIBETAN BELT, 18TH CENTURY AND LATERcomposed of separate elements, comprising four Derge gilt-ironopenwork sections, a silver repousse central boss mounted onChinese brocade and leather strap107cm long fully extended

£400-600







59

220A TORMA PLAQUE, TIBET, 19TH CENTURYpainted and carved wood, the openwork design depicting imagesof the ‘Seven Gems’ of Tibetan Buddhism, mounted on stand12.2cm

The ‘Seven Gems’ are the key components of royal power for aBuddhist monarch, and comprise (clockwise from top) : ThePrecious Jewel, The Precious Minister, The Precious Horse, ThePrecious General, The Precious Elephant and The Precious Queen.Each of these elements contributes to the qualities of an effectiveand wise ruler.

£1000-1500

220

221A PAIR OF POLYCHROMED WOOD BOOKCOVERS, TIBET, CIRCA 18TH CENTURYeach of rectangular form, with slightly convex outer surface, theinner sides painted with a row of seven forms of the Buddha anda stupa, surrounded by yellow and red borders on pale greenground16.5 x 67 x 2.5cm; 16 x 66 x 2.5cm

£1500-1800

221





222A TEMPLE HANGING, TIBET 19TH CENTURYcomposed of a row of eight tsaklis, each depicting variousBuddhist figures, including Buddhas, bodhisattvas, dakinis andlamas, mounted on Chinese silk brocade panels with beadedtassels below42 x 151cm (excluding tassels and hanging loops)

£600-800

223A TEMPLE HANGING, TIBET, 19TH CENTURYcomposed of a row of thirty tsaklis mounted on cloth, eachdepicting a dakini, lama or Buddhist deity236cm approx. long

Provenance: Private British Collection

£200-300

224A SILK ALTAR CLOTH, TIBET, 19TH CENTURYof square form, composed of a grid of satin squares forming acruciform motif, surrounded by a Chinese brocade border, indigocotton lining94cm square approx.

£100-150

225A THANG-KA DEPICTING SAKYAMUNI BUDDHA, TIBET ORMONGOLIA, 19TH CENTURYpigment on cloth, the central figure with hands in bhumisparsaand dhyana mudra, a bowl on his lap, seated on a lotus supportedby lions in a landscape, surrounded by eighteen smaller figures ofarhats, black silk surround, mantras written in red Tibetan letterson the reverse56 x 39.4cm (painting)

£800-1200

226A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURYpigment on cloth, the central figure of Buddha Sakyamunidepicted with hands in bhumisparsa and dhyana mudra, smallerfigures of Amitayus and Green Tara below, flanking a diminutivefigure of a devotee, Chinese silk brocade surround, lined withcotton44 x 29cm (painting)

£200-300

227A SMALL MANDALA THANG-KA, TIBET, 18TH CENTURYpigment on cloth, the main diagrammatical roundel surroundedby images of Buddhist deities above and below, silk surround,leather hanging strap, lined with old linenPainting: 46 x 31cm

£200-300

228A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURYpigment on cloth, the Buddha seated in a landscape amidstblossoms, smaller figures of Manjusri, Sadaksari and Mahakalaand offerings in the foreground, silk brocade surround, threeTibetan letters on the reverse31 x 21.5cm (painting)

£250-350

229THREE THANG-KAS DEPICTING PADMASAMBHAVA, TIBET,CIRCA 18TH CENTURYpigment on cloth, in each the teacher depicted seated in alandscape, wearing cap and holding his staff, surrounded by otherBuddhist deities and characters, each with cloth mount, two withBuddhist mantras inscribed on the reverse60 x 41cm (painting, and smaller)

£700-900

60

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61

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228 229 (part)


230A POLYCHROMED BAMBOO FIGURE OF MILAREPA, TIBET,18TH/19TH CENTURYthe long haired sage seated on a leopard skin, his right handcupped to his ear9cm high

Milarepa is one of Tibet’s most popular historical characters. Helived in the 11th-12th centuries and was a poet and sage. In hisearly life he tried to wreak vengeance on his aunt and uncle forstealing his inheritance, but learned later to overcome suchinstincts through Buddhist teaching. He is usually depicted ashere with his hand cupped over his ear to symbolise listening tospiritual wisdom taught through song.

£1400-1800

231A THANG-KA DEPICTING MANJUSRI, TIBET, LATE 19THCENTURYpigment on cloth, the Buddhist deity holding book and sword,seated in dhyanasana on a lotus, diminutive figures of Sadaksariand Mahakala below, mantras inscribed in Tibetan on the reverse53 x 34cm

£200-300

232FOUR FOLIOS FROM A JAIN SUTRA, GUJARAT ORRAJASTHAN, 18TH/19TH CENTURYgouache with ink on paper, the double sided pages eachcontaining an illustration and description of three of the twenty-four tirthankaras117 x 201mm

£120-150

233TWENTY-ONE JAIN FOLIOS, RAJASTHAN, WESTERN INDIA,18TH-19TH CENTURIESGouache with ink on paper, the leaves from five differentmanuscripts, each showing evildoers facing punishmentsadministered by demons, inscribed in devanagari, all but fourwith illustrations on both sides128 x 272mm

Scenes of this type were included in Jain manuals as a warningagainst doing evil. For some other similar paintings in theMuseum of Folk Art, Gurgaon see Subhashini Aryan: UnknownMasterpieces of Indian Folk and Tribal Art, Gurgaon, 2005, p.119

£800-1200

234A GIRL ARRANGING HER HAIR, MANDI, PUNJAB HILLS, 19TH CENTURYgouache with silver on paper, with old catalogue entry, possiblyMaggs Bros., 170 x 205cm together with A Painting of a PrinceMeeting a Holy Man, Persia, late 19th/early 20th century,gouache on paper, laid on card, gold painted border, 167 x 103mm(image)(2)

£120-150

235 ~A PORTRAIT OF NOOR JAHAN, DELHI, NORTH INDIA, CIRCA 1860gouache with gold on ivory panel, the consort of the emperorJehangir depicted seated by a window, reading a book, fragmentsof old inscription in English on the reverse13 x 8cm

£150-250

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233 (part)













236TWO EQUESTRIAN PORTRAITS, MEWAR, RAJASTHAN, INDIA,LATE 19TH CENTURYgouache with gold on paper, each wearing turban, riding in averdant landscape, one accompanied by five attendants, framed292 x 205mm; 300 x 203mm(2)

£400-600

237THREE INDIAN PAINTINGS, 19TH CENTURYone depicting Ganesha seated in a shrine, the second depictingSiva and Durga by a river, the other a form of Durga(?)340 x 200mm and smaller(3)

£120-150

63

236

239

238 240

238A RULER ON HORSEBACK, MEWAR, RAJASTHAN, INDIA,CIRCA 1800gouache with gold on paper, the main richly attired, wearing aturban, a halo around his head, riding in a landscape, framed withassociated inscription on the mount222 x 154mm (image)

£500-800

240NOBLEMEN AND CONSORTS, MANDI, HIMACHAL PRADESH,INDIA, LATE 18TH CENTURYgouache with gold and silver on paper, depicting a grid of sixteenrectangular panels, divided equally between men and women, redborder, Indian numerals 123 inscribed on the reverse, framed, 266 x 195mm (folio)

£400-600

239A WHITE HORSE AND ATTENDANTS, DELHI, INDIA, MID-19THCENTURYgouache with gold on paper, each group of figures labelled innastaliq script250 x 405mm

The inscriptions read (clockwise from top left): Tasweer Sabuki,Farrash (Painting of Sabuki the Carpet (cleaner), probablymeaning steward of his household; Tasweer asp Taunat Nakar,(the painter of the horse (is) Taunat Naakar); Tasweer Meeru,Khidmatgar (Meeru who looks after things, ie. a groom); TasweerBahadur Tangni (the last word possibly a mis-spelling of Feranghi(English/foreign soldiers, who were generally called Bahadurs);Tasweer Meer Murad Khan Baazdar, (Mir Murad Khan the hawkkeeper); Dzakhira 912, (collection number 912), Tasweer Asp NatNagar (painting of a horse (by) Nat Nagar). Here the scribe hasused a G in Nagar, probably a copying error; Tasweer MohanSyce, (Mohan the grass cutter, ie. person who gets fodder for thehorse);Tasweer Bakhsh Khuda padar Farash, (painting of Bakhshthe father of Farash, as above). (We are indebted to Mr. W. Kanifor his help in interpreting these inscriptions).

£200-300










64

244A GROUP OF MUGHAL SAINTS, DELHI, INDIA, CIRCA 1800gouache with gold on paper, the six men depicted seated under acanopy on a terrace, each figure labelled in nastaliq script, red border310 x 203mm (image)

The figures depicted are (clockwise, from bottom right): KhawajaNizam al Din (as in Nizamuddin), Sheikh Farid, Khawaja Moin alDin (founder of the Chishti order), Ghaus (?) Alim.

£200-300

245A PRINCE VISITS HIS LOVER, DECCAN, INDIA, SECOND HALF18TH CENTURYgouache with gold and silver on paper, probably from a ragamalaseries, on a palace terrace, stormy sky behind, later inscription indevanagari, silver border287 x 160mm

Provenance: Kasmin Gallery, London, circa 1980

£800-1200

246A PORTRAIT, PROBABLY OF JAWAN SINGH OF MEWAR,UDAIPUR, RAJASTHAN, INDIA, CIRCA 1830gouache with gold on paper, thin green and broad pale grey-blueborders, the ruler resting on a bolster under a canopy on a terracewhilst in conversation with a courtier, surrounded by three attendants250 x 170mm (image)


£800-1200

247AN EROTIC SCENE, PROBABLY UNIARA, RAJASTHAN, INDIA,18TH CENTURYgouache with gold on paper, the royal couple on a hanging bed,observed by two servant girls, framed205 x 140mm (image visible)


£1200-1500

248LOVERS IN A PALACE, BUNDI, RAJASTHAN, INDIA, 18TH CENTURYgouache on paper, red border, later inscription on the reverse, framed180 x 148mm (image)


£1200-1500

241

244

243

243A JAIN COSMIC DIAGRAM, RAJASTHAN OR GUJARAT, INDIA,LATE 19TH/EARLY 20TH CENTURYpigment on cloth, depicting a roundel with central holy mountainsurrounded by stylised radiating rivers, shrines and trees,interspersed with concentric oceans, a further shrine containing ajina in each corner, lined98cm square approx.

£100-150

241TWO JAIN PAINTINGS, RAJASTHAN, WESTERN INDIA,SECOND HALF 19TH CENTURYgouache with gold on card, one depicting the twenty-fourtirthankaras, each labelled in devanagari, the other depicting the‘aum’ symbol, the letters containing further jain symbols25 x 35 approx. each (2)

£300-500

242THREE JAIN PAINTINGS, A DRAWING AND SIX FOLIOS, INDIA,18TH-19TH CENTURYink and gouache on paper, the three painting depicting jinas, thedrawing depicting an emblem and the folios each comprisingfifteen lines of devanagari, two sides with small illustrations260 x 215mm and smaller(10)

£100-150
















65

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246

247 248


249TWO COMPANY SCHOOL PROCESSION SCENES, PATNA,INDIA, MID 19TH CENTURYreverse painted on mica, one depicting the muharram procession,the other a prince with attendants, being carried on a palanquin14.1 x 18.8cm; 13.7 x 18.1cm (2)


£300-500

251A PORTRAIT OF A DECCANI SULTAN, PROBABLY IBRAHIMADIL SHAH, DECCAN, SOUTHERN INDIA, 19TH CENTURYgouache with gold on paper, wearing turban with sarpech,bazubands and gold thread pathka, standing in a landscape,holding a sword, mounted324 x 177mm

The inscription reads Ali Adil Shah Bijapur, although the likenessis much closer to that of Ibrahim Adil Shah (1579-1627).

£1000-1500

66

249

251

250A TANTRIC RITUAL DRAWING (PATAKA) OF HANUMAN,RAJASTHAN, LATE 18TH/EARLY 19TH CENTURYink on paper, black with red outlining, the four armed monkeyheaded god trampling on a demoness, other deities includingGanesha in three corners, the composition scattered with mantrasin devanagari script 52 x 55cm approx.

£300-500

252SULTAN IBRAHIM VISITED BY AN ANGEL, PROVINCIALMUGHAL, NORTHERN INDIA, 18TH CENTURYgouache with gold and silver on paper, laid on an album page,concentric yellow, orange and blue borders, nastaliq inscriptionabove, mounted135 x 103mm

The inscription, which appears to contain a spelling mistake, hasbeen translated as Ibrahim, father of the prophets.

£300-500

250 252










253JAMINI ROY (INDIAN 1887-1972), NUDE FEMALEgouache on paper, signed in Bengali bottom right, framed43.5 x 23.5cm

This painting is characteristic of Roy’s new, more abstracted stylewhich he developed from the late 1940s. Although no recordsurvives of when this painting was acquired, it was part of amixed private collection of paintings which had been held instorage for several decades outside London. A considerablenumber of Roy’s paintings were acquired by British and Europeancollectors directly from the artist in the 1950s-60s, and judgingfrom the style of frame and mount, it seems likely that this mighthave been the case with this example. For two similar paintings,also in subdued grey palette, see Christie’s New York, 20 March2008, lot 12.

£2000-3000

254DESAKH RAGINI, PROBABLY BIKANER, RAJASTHAN, INDIA,17TH CENTURYgouache on paper, depicting three female acrobats in a rurallandscape, later islamic and devanagari inscriptions in topmargin, ink sketch of a ruler on the reverse, along with acollector’s stamp: Ram Gopal Vijayvargiya235 x 164mm

The artist Ram Gopal Vijaivargiya (1905-2003) was Vice-Presidentof Lalit Kala Akademi 1958-60 and then Principal of RajasthanSchool of Arts and Crafts, Jaipur, 1961-66. He was also a notedpoet, art historian and collector.

£400-600

255LOVERS IN A FOREST, JAIPUR, RAJASTHAN, LATE 18TH CENTURYgouache with silver and gold on paper, the couple depictedstanding under a tree at night, with group of four femaleattendants, framed195 x 118mm

£500-700

256TWO DRAWINGS, NORTHERN INDIA, FIRST HALF 19TH CENTURYink on paper, comprising a Pahari drawing of a compositeelephant and a Bundi drawing of a man collecting alms300 x 244mm; 150 x 65mm(2)

£100-150

257FOUR RITUAL DIAGRAMS (YANTRA), WESTERN INDIA,18TH/19TH CENTURYink and watercolour on paper, each labelled with mantras 53cm square approx. and smaller(4)

£300-50067

253

255

254









258A BALINESE POLYCHROME-PAINTED COTTON HANGING,INDONESIA, 19TH CENTURYink and pigment on cloth, of rectangular form, depicting theTemptation of Arjuna94 x 208cm

The Temptation of Arjuna is a scene from the Arjuna-wiwaha(Marriage of Arjuna), an 11th century Javanese epic based on asection of the Mahabharata. The god Indra devises a test for thepowerful hero.

£400-600

260A COMPANY SCHOOL PAINTING OF A FUNERALPROCESSION, DELHI, FIRST HALF 19TH CENTURYgouache on card, a verdant landscape interspersed with Mughalmonuments in the background, black border, later Englishinscription on the reverse reading: To my dear friends Mrs. andMr. Graven whom I had the honour to have them [sic] in my shop.Lionel [...]152 x 270mm

£120-150

68

259A MAIDEN AND HER ATTENDANT, RAJASTHAN, PROBABLYAMBER, LATE 18TH CENTURYgouache with silver and gold on paper, probably from a ragamalaseries, nastaliq inscription at the top, further inscriptions indevanagari on the reverse248 x 160mm (inside borders)

£400-600

261A SMALL SLIP PAINTED CHARGER, BOMBAY SCHOOL OF ART,WESTERN INDIA, LATE 19TH CENTURYglazed earthenware, of shallow circular form, with central figureof a ruler flanked by a pair of attendants within a floral roundel,surrounded by a border depicting a procession of figures andanimals, devanagari letters inscribed on the reverse37cm diameter

£150-200

259 261

258










265A LACQUER OFFERING URN (HSUN-OK), BURMA (NOW MYANMAR), LATE 19TH/EARLY 20TH CENTURYlacquer-coated can, with sgraffito decoration on red ground, infour sections, comprising bowl, tray, lid and upper cover,profusely decorated with intricate stylised scroll, figural andfoliate motifs39cm high(4)

£300-500

266A NEST OF LACQUER BOXES, KASHMIR, NORTHERN INDIA,CIRCA 1900each of wood, of octagonal form, with polychrome painted andgold floral decoration, the five lidded boxes each fitting insideeach other, the underside of each signed Ganemede, Srinagar,Kashmir No 99, 2810.10.5 x 20 x 14.5cm (5)


£250-350

267A GEM-SET SILVER BUCKLE, WESTERN INDIA, EARLY 19THCENTURYthe convex roundel with central rosette, set with garnets and rockcrystals, surrounded by scrolling foliage and acanthus borderaround the edge, flanked by similarly decorated rectangularelements attached to loops on either side, the reverse gilded, 6 x10cm; together with a Large Silver Earring or Button, NorthernIndia, 19th century, of circular form, with central inlaid carneliansurrounded by a floral design composed of applique beadwork,fringed with an openwork floral border, attachment loop on thereverse, 6.5cm diam. and a Buckle and a Pendant, Rajasthan,Western India, 19th century, silver, the buckle with squarecentral medallion depicting a flower vase in relief, flanked byattachment loops, the pendant of yoni form with dancing figure ofHanuman, later metal chain, 3.5 x 6.5cm; 5.8 x 3.6cm (4)


£400-600

268 ~AN AMULETIC NECKLACE, AFGHANISTAN, 19TH CENTURYsilver, with niello and beadwork decoration, strung with coral,jet(?) and silver beads, 26cm diam. approx.

Provenance: Private Collection, Germany, acquired 1974-78 inAfghanistan by the vendor while working in developmentassistance.

£250-350 69

265

262

263

264

263A KASHAN MOULDED TILE, PERSIA, 13TH/14TH CENTURYglazed earthenware, depicting a floral medallion in a cartouche,flanked by a pair of figures14 x 26 x 2.6cm

Provenance: Sotheby’s London, 1980s

£150-250

264A HISPANO-MORESQUE LUSTRE POTTERY ALBARELLO,VALENCIA, PROBABLY MANISES, 15TH-16TH CENTURYtin-glazed earthenware, of waisted cylindrical form, on rim foot,overhanging lip, decorated in lustre with stylised floral forms oncobalt ground29cm high

Lustre painting on blue ground is relatively rare in both Spanishand Islamic Mamluk pottery. For a related albarello in the Victoriaand Albert Museum, see inv. C.50-1910.

£200-300

262A CANAKKALE JUG, WESTERN ANATOLIA, 19TH CENTURYgreen-glazed earthenware, of typical zoomorphic spouted form,with barley-twist handle, the top and body with floral and leafyapplique relief motifs34cm high

£200-300













70

269FOUR NIELLO LIME BOXES (HTON BU), BURMA (NOW MYANMAR), 19TH CENTURYeach of oval form, the lids with silver repousse decoration, eachwith copper base, two embossed5 x 7.5 x 4.7cm and smaller(4)

£500-800

270A SILK AND GOLD THREAD WOVEN CLOTH (SONGKET),PALEMBANG, SUMATRA, INDONESIA, 19TH CENTURYof long rectangular form, the russet ground densely decoratedwith repeated lozenge design, the motifs with pink, blue andorange central medallions, registers of repeated stylised plant andbird motifs at either end, the whole surrounded by multipleborders with abstract motifs80 x 204cm approx.

£500-800

273FOUR JAVANESE SHADOW PUPPETS (WAYANG KLITIK),INDONESIA, 19TH CENTURYpolychromed wood and leather, each in the form of a figurecomprising three mythical deities and a European figure, carvedin low relief, with articulated arms and projecting handle below65cm high and smaller(4)

£300-500

270273

269

271A MANUSCRIPT BOX (SADAIK), BURMA (NOW MYANMAR), EARLY 20TH CENTURYwood, with lacquer and glass applique and gilt, of rectangularform, standing on four legs in the form of manok-thi-ha (doublebodied sphinx),the lid and sides decorated with relief cartouchescontaining mythical figures and beasts, bordered with lines ofcoloured glass, the hinged lid opening to reveal a plain russetpainted interior25 x 61 x 22.5cm

£120-150

272A LACQUER CHEST, PAGAN, BURMA (NOW MYANMAR), FIRST HALF 20TH CENTURYof rectangular form, on bracket feet, the hinged lid opening toreveal tray and two further hinged compartments, the exterior andinner lids profusely decorated with figures, foliage and palacescenes, with inscriptions in Burmese, 28 x 56 x 34cm


For a similar, but earlier, chest from Pagan, thought to date fromthe 18th century, see Sylvia Fraser-Lu, Burmese Lacquerware,Bangkok 1985, p.79

£150-250












274A LARGE POLYCHROMED PAINTED BANNER, THAILAND,CIRCA 1900pigment with gold on cloth, of tall rectangular form, the upperportion with standing figure of Buddha, flanked by Moggollanaand Sariputta, the lower section depicting Manjusri(?) in a chariotand other figures in the grounds of a palace, cartouche withinscription in Thai at the bottom295 x 90cm

£200-300

275A BRONZE LIMEPOT IN THE FORM OF A PEACOCK, PROBABLY DECCAN, SOUTHERN INDIA, 19TH CENTURYon flared base, the tail section with hinged opening to reveal limecompartment,13cm high, together with a Silver Limepot and Setof Implements, Northern India, 19th century, the pot in the formof a mango, with hinged lid and inner comparment, attached to aset of miniature bells and a set of six scooping implements on achain, 22cm long (laid out) (2)


£100-150

276A SMALL SILVER TRAY, SRI LANKA, 19TH CENTURYof oval form, richly decorated with chased and repousse scrollingfoliate motifs, the cavetto and rim delineated by borders ofacanthus and lozenge motifs, 27 x 21.5 x 1cm, together with TwoMiniature Ewers, Northern India, circa 1900, each with scrollinghandle and spout and splayed foot, the larger with faceted sideseach with lozenge-shaped medallion with a princely figure in reliefaccompanied by twin consorts, surrounded by a floral border, thesmaller with abstract ribbed decoration on the sides,17, 14.5cm(3)


£300-500

277A SMALL WATER POT (LOTA), DECCAN, SOUTHERN INDIA,16TH/17TH CENTURYbronze, of squat bulbous form, the shoulder with lotus decoration,the scrolling spout with yali finial, 7.4cm high; 10.2cm max. length,together with a Cast Brass Temple Bell, Southern India, circa18th century, with hooped chain attachment and ridged sides,17cm high (2)


£200-300

278A QAJAR LACQUERED WOOD ARCHER’S BOW, PERSIA, FIRST HALF 19TH CENTURYof crescent-shaped form, the surface painted with hunting scenesand arabesque decoration52cm max diam.; 5.5cm deep

£700-1000

279 ~THREE FOLDING KNIVES, TAMIL NADU, SOUTH INDIA, 19TH CENTURYivory, steel and brass, each with faceted ivory handle, foldingblade and spike, two with Tamil inscriptions on the blades, oneincised on the ivory handle, two with brass finials, one inscribedas a seal, mounted together on cane panel in carved wood frame12.7cm long and smaller (3)


£200-300

71

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280A CARVED WOOD FINIAL, AHMEDABAD, WESTERN INDIA,DATED 1912 ADprobably from a shrine, with central three line inscription in urdu,surmounted by kalasa under an elaborated cusped arch supportedby columns22 x 35 x 5.5cm

The inscription has been translated: Sitara Jamuna Das Kubera(?)Das, resident of Ahmedabad/ completed this work here(?)/ monthof Sha’ban, year 1330 of the hijrah (July-August, 1912)

£200-300















281A ROCK CRYSTAL SEAL HANDLE, QAJAR PERSIA, SECOND HALF 19TH CENTURYof trefoil section, inscribed cartouche on one side11.7cm long

£200-300

282A GREY STONE JALI, WESTERN INDIA, CIRCA 18TH CENTURYof rectangular form, with central opening, surrounded by piercedcarved semicircle motifs, flanked by beadwork borders51 x 39 x 3.5cm

£120-150

283TWO SILK EMBROIDERED COTTON DOOR HANGINGS, KUTCH OR SIND, MID-20TH CENTURYeach in two long panels, stitched together, with beaded tassels,the floral designs embellished with applique mirrored glass, 130 x18cm; 128 x 14cm; together with a Lakai Tent Hanging,Uzbekistan, Central Asia, circa 1900, silk embroidered cotton,composed of two strips of material arranged in v-shape, tasselsalong lower edge, 90cm diam. approx.(3)

Provenance: Private Collection, Germany, acquired 1974-78 inAfghanistan by the vendor while working in development assistance.

For an almost identical Lakai hanging in the Linden Museum,Stuttgart, see Johannes Kalter, The Arts and Crafts of Turkestan,Thames and Hudson, London 1984, p.59. Kalter suggests thatthese hangings are used to decorate stacked bedding.

£150-250

284AN EMBROIDERED WAISTCOAT, PUNJAB, SECOND HALF 19TH CENTURY AND LATERthe green velvet front with richly decorated silver gilt foliate andscroll motifs, later lining and plum coloured velvet back, 61cmlong approx

Provenance: Private Collection, Germany, acquired 1960-69 by thevendor while working in development assistance in India andPakistan.

£100-150

285A CAST BRASS COSMETIC BOTTLE, PERSIA, 13TH/14THCENTURYon four claw feet, the bulbous body with incised foliatecartouches, surmounted by neck with spiralled fluting,13.5cm high,together with Two Mughal Brass Spitoons, Probably Lahore,Punjab, India (now Pakistan), 18th century, each of double bell-shaped form, with incised decoration, one with registers of floralpanels, the other with repeated loop designs,11cm; 10cm high, anda Mughal Inkwell, Northern India, 16th/17th century, bronze, ofoctagonal form on eight bun feet, of architectural form, with domesurmounted by hinged lid, 8cm high (4)

Provenance: Private Collection, Germany, acquired 1960-78 in Asiaby the vendor while working in development assistance.

£300-400

286A KOFTGARI JEWELLERY BOX, PUNJAB, CIRCA 1880of octagonal form, with hinged domed lid, the exterior with goldand silver damascened foliate arabesque designs, 9cm high; 14cm max. diam.


£150-250

287A MAMLUK TINNED COPPER BOWL, PROBABLY SYRIA,14TH/15TH CENTURYwith incised geometrical, calligraphic and strapwork decorationon the sides 12cm high; 23cm diam.

Provenance: Private Collection, Germany, acquired 1974-8 by thevendor while working in development assistance in Afghanistan.

£400-600

288TWO CARVED AND INLAID WOOD PEDESTAL TABLES, EGYPT,CIRCA 1900of square tapered form, on splayed feet, the tops and side withcarved calligraphic and foliate designs, inlaid with mother of pearlstar motifs, the lower shelves fringed with mashrebiyya openworkdecorationBoth 72cm high; 41.5, 42.5cm square (tops)

£300-500

289A SMALL MARBLE FIGURE OF NANDI BULL, RAJASTHAN,WESTERN INDIA, LATE 19TH/EARLY 20TH CENTURYcrouching on a rectangular base12cm high

£120-150

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290A WOOD DOOR LINTEL PANEL, TAMIL NADU, SOUTH INDIA,19TH CENTURYcarved in relief with central figure of Gajalakshmi flanked by apair of elephants, attendants and a pair of hamsas on either side23 x 101cm


£150-200

290

293

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294

292295

293A WOOD DOOR LINTEL PANEL, TAMIL NADU, SOUTH INDIA,CIRCA 1900carved in relief, with central figure of Gajalakshmi flanked byelephants, attendants and deities on either side, framed24 x 74cm


£150-200

291A CARVED WOOD PANEL FROM A PROCESSIONAL CHARIOT(RATHA), TAMIL NADU, SOUTH INDIA, 20TH CENTURYdepicting a four-armed form of Varaha in relief, dancing on threeglobes, flanked by a pair of female chauri bearers46 x 24.5 x 7cm

£200-300

294A MUQQARNAS CEILING ROSE, PROBABLY MOROCCO, 18TH CENTURYof inverted conical form, composed of numerous interlocking woodarch elements, surmounted by a projecting suspension tenon72cm high (including tenon)

£250-350

292SEVEN BASTAR RELIEF PANELS, ORISSA, EASTERN INDIA,19TH CENTURYeach in the form of a rectangular frieze, depicting animal andhuman figures, some with erotic themes24 x 95cm (average size)(7)


£500-800

295 ~A HOSHIARPUR WORK BOX, PUNJAB, NORTH-WESTERNINDIA, CIRCA 1900shisham wood, inlaid with ivory, brass mounts, the hinged lidwith interior mirror, opening to reveal various compartmentsincluding removable tray, various miscellaneous contentsincluding an old photograph of an Indian gentleman and part of aleather islamic book binding15.5 x 38 x 25.5cm

£150-200















296A POLYCHROMED WOOD ARCHITECTURAL FINIAL, GUJARATOR RAJASTHAN, INDIA, 18TH/19TH CENTURYof tapered nagara shikhara form, surmounted by amlaka toppedwith kalasa finial, the sides and corners with further smallershikharas77cm high

£600-800

297AN OTTOMAN QUR’AN STAND, SYRIA, 19TH CENTURYcomposed of two interlocking arched wood panels, the decorationcomprising stylised floral motifs inlaid with mother-of-pearl, andgeometric bone inlaid edging30.5 x 77 x 23cm (opened out)

Provenance: Formerly Private Collection, Kent

£200-300

298A TURNED WOOD DOWRY BOX, KERALA, SOUTH-WESTERNINDIA, LATE 19TH CENTURYof bun-shaped form, decorated with concentric polychromestripes, the brass mounts with incised foliate decoration17cm high; 41cm max diam.


£80-120

74

296301

302

301A GEORGE II BELL METAL MORTAR, DATED 1754of waisted form with reeded rims, inscribed either side of acrowned Tudor rose ROBERT / LATHROP • 1754 •, 23cm diameter;together with an associated pestle, double ended, 19cm long(2)


£300-500

302A COMMONWEALTH BELL METAL MORTAR, DATED 1656moulded borders, with inscribed band EDWARD GILLES 165615.5cm diameter


£400-600

299A COLLECTION OF TEXTILE PRINTING BLOCKS, RAJASTHANOR GUJARAT, WESTERN INDIA, EARLY 20TH CENTURYcarved wood, with geometrical, arabesque and floraldesigns,13cm square, average size (49)

Provenance: Private Collection, Germany, acquired 1960-66 by thevendor in India while working in development assistance.

For a photograph of a similar printing block in use, see RosemaryCrill, Fabric of India, V&A, London 2015, p.43.

£300-400

300A BRONZE MORTAR, GREECE OR BALKANS, CIRCA 1800in the form of a chalice with flared rim and splayed foot, the sideswith ridge and impressed palmette designs17cm high; 15.3cm diam.

£150-200












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304A DUTCH BRONZE MORTAR, DATED 1726slightly flared cylindrical, reeded borders, cast with a band oftrefoils below the inscription AMOR . VINCIT . OMNIA . 1726, 14cm diameter; together with an associated pestle, doubleended, 18.5cm long(2)


£300-500

305A GROUP OF THREE BRONZE MORTARSone with moulded borders and flared lip, English or Flemish, 18th century, 19cm diameter, one waisted octagonal and oneribbed and inscribed, both Gothic style, probably French orIberian; together with three associated pestles(6)


£120-180

306AN IRON CASKET, IN 16TH CENTURY STYLEdomed rectangular with three hinged ribs and swing handle, thecentral rib concealing the lock freed by a pull hidden to theunderside, on ribbed feet, red velvet interior18cm long


£70-100

306

308

307A HORN CASE, ENGLISH, CIRCA 1652the slim rectangular pinned case perhaps for a comb (or aperpetual calendar or similar reference), with linear and archedgeometric pattern incised borders centred by a lozenge initialledTL to one side and dated 1652 to the other, with brass clasp to thehinged brass top edge lid12.7cm long


£500-800

308AN OAK BIBLE BOX, ENGLISH, LATE 17TH CENTURYthe front lunette carved flanking the metal key plate59.5cm long

£80-120

303A CHARLES II BELL METAL MORTAR, DATED 1666plain form, cast with two busts of Charles II either side of the dateand initials EN, 14.5cm diameter; together with an associatedpestle, double ended, 19cm long(2)


£400-600








309AN OPPOSING PAIR OF ‘GRAND TOUR’ MARBLE PROFILES AFTER THEANTIQUE, ITALIAN, PROBABLY SECOND HALF 18TH CENTURYcarved in giallo antico marble, approximately 10cm high, mounted circa 1830 ingilt gesso frames (A/F)


£150-250

310AN ITALIAN CARVED GILTWOOD RELIQUARY FRAME, 18TH CENTURYwith openwork scrolls and flowerheads, the oval aperture set with a red glassintaglio profile, English School, late 18th century of a young man with hair enqueue18cm high

£100-200

311 ~A GOLD BEZOAR STONE HOLDER, 17TH CENTURY STYLEspherical, each hemisphere pierced and engraved with scrolling leafage, plainrim, 4.5cm diameter, 24.5gr; containing an ivory ball


£700-1000

312A GERMAN SILVER-GILT MARTIN LUTHER CENTENNIAL JUBILEE MEDAL,SAXON, 1617the obverse with Martin Luther and the Elector Frederick the Wise drawing backthe curtains of a canopied tabernacle to reveal the light burning within, borderedby the motto DAS KLARE LIECHT VERDECKET WAR... and JEHOVAH in Hebrew,below with D. MARTINUS LUTHERUS / THEOLOGIAE, the reverse with the laurelcrowned Lutheran swan above IUBILAEUS / PRIMUS 1617, jubilee mottobordered, set in a contemporary openwork scroll mount6cm diameter

£200-300

313A GERMAN SILVER-GILT RELIGIOUS MEDAL, SAXON, 1607after Hans Reinhart the elder (1495-1581), the obverse with the titled scene ofAbraham’s Sacrifice of Isaac in relief, dated to the sacrificial altar, the reverse withLonginus piercing Christ’s side on Calvary and the prayer MISERE NOBISDOMINE, ridged loops to top and bottom5.4cm diameter

See the Victoria and Albert Museum, No. A.35-1923 for this medal dated 1539.Literature: Majorie Trusted, German Renaissance Medals, Victoria & AlbertMuseum, 1990, p.128.

£400-600

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312 (obverse) 313 (obverse)

312 (reverse) 313 (reverse)










314 ~AN ART NOUVEAU CARVED IVORY PLAQUE, FRENCH, EARLY 20TH CENTURYthe rectangular panel depicting in low relief the head of a youngwoman, her hair up and a chiffon-like material swirling below herbare shoulders, monogrammed EC or FLC and with a shield offleurs-de-lys bottom right, in original fitted green leather case gilttooled with alternate rows of fleurs-de-lys and roses, cream velvetlinedpanel 17 x 10.8cm

This panel may have been carved by Florentin-Louis Chauvet(1878-1958), see Victor Arwas, Art Nouveau: The French Aesthetic,London, 2006, pp.250/251 for a bronze inkwell with relief carvedivory panel by Chauvet, entitled Le Sommeil.

£300-400

315A GREEK PROVINCIAL TRIPTYCH ICON, 18TH CENTURYrectangular, the arch framed Madonna flanked by doors paintedwith St. George below St. Nicholas and St. Dimitrius ofThessaloniki below St. Haralambos26.5cm high

£300-400

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314

316AN ENGAGEMENT BELT (KORONA), THRACE, NORTHERNGREECE, LATE 18TH CENTURYbronze, enamelled and inlaid, the buckle composed of threeenamelled and relief decorated elements, paste-set, with crest andfloral decorated panels, inscribed in Greek, the cloth belt coveredwith a series of gilt metal elements with cartouche motifs,12.2cm high; 25cm approx. diam.

The Greek inscriptions contain the name of the groom, probablyKostas (abbreviation of Constantinos), and the bride, Vasiliki, andthe word gamilion (wedding). This type of belt, given by a futuregroom to mark the couple’s engagement, is called korona,because of the crown-like shape of the buckle. Similar examplescan be seen in the Museum of Folk Art and the Benaki Museum,Athens (see S. A. Papadopoulos, Greek Handicraft, Athens, 1969,p.229 & Angelos Delivorrias, Greece at the Benaki Museum,Athens, 1997, pl.862).

£800-1200

317A RUSSIAN ICON OF SAINT NIL SORSKY IN A SILVER OKLAD,MOSCOW, 1804rectangular, beaded border, the saint standing beside a chasedchurch12cm high

£300-400

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316

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318TWO RUSSIAN PORCELAIN GROUPS OF THE DRUNKENHUSBAND, GARDNER FACTORY, MOSCOW, LATE 19TH CENTURYone modelled with the wife struggling to raise her prostratespouse (child figure and a boot lacking), the second showing thegroup walking home, the wife carrying their child and one of herhusband’s boots, each on grassy oval bases, red printed marks,the latter also with impressed marks16cm and 22.5cm high respectively

£1200-1800

319A RUSSIAN FIGURE OF A MASKED LADY, IMPERIALPORCELAIN MANUFACTORY, ST. PETERSBURG, 1840sthe lady in a black cape and gown over a cream dress, herringletted hair adorned with pink roses, on gilt scroll base, blueNicholas I Imperial cipher mark13.5cm high, restoration

An example of this rare model is held by the State RussianMuseum, see illustration in V.V. Znamenova, ImperatorskiiFarforovii Zavod 1744-1904, St. Petersburg, 2008, p.342. Also seeAt the Tsar’s table, Russian Imperial porcelain from the RaymondF. Piper collection, exhibition catalogue, Haggerty Museum of Art,Wisconsin, 2001, pp.38/42, for a further example.

£1200-1800

320A PAIR OF RUSSIAN SILVER BUD VASES, KHLEBNIKOV,MOSCOW, 1908-1917each richly chased as a fern-clad tree trunk rising from three rootsupports, with Imperial warrant mark12.8cm high, 261gr (8oz)

£600-800

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321A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARKNF (IN CYRILLIC), MOSCOW, 1882rectangular, the lid with a view of the Kremlin against a rayedbackground, chequered sides and base, gilt interior, 875 standard8.7cm long

Provenance: Christie’s, London, 19 November 1979, lot 81 (part)

£400-600

322A RUSSIAN SILVER CHEROOT CASE, MAKER’S MARK IA (IN CYRILLIC), MOSCOW, 1886oblong, with basketweave panels, the sprung lid with a shapedoval scene probably of the Kremlin in niello, the underside withshaped oval of trailing foliage in niello surrounding a vacantroundel, gilt interior, 875 standard9cm long

£200-300

323A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARKEE, MOSCOW, DATE PUNCH INDECIPHERABLE, MID 19THCENTURYrectangular, geometric foliate patterning, gilt interior, 875standard, 7.7cm long; together with a Russian silver andcloisonné enamel triptych icon, unmarked, 19th century, theobverse panels of openwork foliage with white bead bordersfolding to close as a clasped box, 17cm wide(2)

£150-200

324A RUSSIAN PARCEL-GILT-SILVER AND NIELLO SNUFF BOX,MAKER’S MARK I.O (IN CYRILLIC), MOSCOW, 1819oblong, lightly curved, the lid with a depiction of Falconet’s Peterthe Great equestrian figure in St. Petersburg against a matted giltground, the underside with a military trophy, with applied castfoliate thumbpiece, 875 standard9.4cm long

Provenance: Christie’s, London, 19 November 1979, lot 81 (part)

£700-1000

325A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARKOB (IN CYRILLIC), ASSAY MASTER NIKOLAI DUBROVIN,MOSCOW, 1838rectangular, the lid with a hunter and his hounds resting under atree, the underside with a townscape, the sides with fencedenclosures, gilt interior8.5cm long

£150-250

326A RUSSIAN SILVER AND NIELLO SNUFF BOX, PETR ABROSIMOV,MOSCOW, 1896-1908rectangular, chequered decoration, the lid with an oval view of theKremlin, the underside with a vacant roundel, gilt interior, 875 standard6cm long

£150-200

327A RUSSIAN SILVER AND NIELLO PURSE, PETR ABROSIMOV,MOSCOW, 1896-1908in the form of a handbag with curb link chain, with shaped panelsof scrolling foliage and to one side with a view of a house in thecountry, interior with three red watered silk concertinacompartments, 875 standard8cm wide

£300-50079

321

322

323 (part)

324

325

326

327

















328A RUSSIAN SILVER-GILT AND CLOISONNE ENAMELCIGARETTE CASE, MAKER’S MARK D.G. (INCYRILLIC), MOSCOW, CIRCA 1930oblong, enamelled with stylised foliate motifs and lineborders in an asymmetric layout, carbuncle setthumbpiece, 875 standard11.8cm long

£400-600

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328

329A RUSSIAN SILVER AND CLOISONNE ENAMELCIGARETTE CASE, MAKER’S MARK ‘SM?’ (INCYRILLIC), MOSCOW, 1896-1908oblong, each side enamelled with stylised trailingflowers, a blue ground quadrant to one corner andwhite pellet borders, 875 standard11.3cm long

£300-400

329

330A CLOISONNE ENAMELED SILVER-GILT SMALL JARAND COVER, 20TH CENTURYthe sperical body enamelled on a white ground withscrolling foliage, on domed foot, with cone-shapedfinial, bearing spurious Fabergé and kokoshnik marks8.5cm high

£100-150

330

331

332

332A CLOISONNE ENAMELLED SILVER-GILT PUNCH BOWL, 20TH CENTURYoctagonal, with panels of scrolls and foliage on alternate pale blue or greengrounds below the concave shoulder of stylised stiff leaves on a mattedground, on lobed ball feet, bearing spurious marks for Maria Semenova,Moscow, 189423.5cm wide

£400-600

331AN ENAMELLED SILVER-GILT BOWL AND LADLE, 20TH CENTURYthe bulbous bowl with a band of shaded cloisonné enamelled profilesflanking a Bogatyr holding aloft a mug of frothing ale above a band of blackeagles between pan-Slavic type borders and a rim with bears in a snowylandscape, applied with cast wolf mask handles, the ladle with foliatecloisonné enamelling on a matted gilt ground, all bearing spurious Fabergéand kokoshnik marks21cm wide, 1289gr all in

For an original and larger version of this bowl, by Feodor Rückert, Moscow,circa 1910, see Sotheby’s, New York, 22nd April 2009, lot 265, sold for$482,500.

£600-900












335A RUSSIAN SILVER-MOUNTED CLARET JUG, CIRCA 1900spiral ribbed tapering oval glass body, simple neck mountwith bound reeded rim, bearing spurious Fabergé andkokoshnik marks26.5cm high

£250-350

336A PAIR OF SILVER-MOUNTED NOVELTY CLARET JUGS,20TH CENTURYin the form of eagles, each vase shaped glass body cut andengraved with the feathered torso and wings of the bird, thesilver neck mount and hinged head with further feathering,bearing spurious Fabergé and Moscow 84 standard marks,in a fitted blond wood case, cream silk and velvet lined andwith spurious gilt Fabergé stamps31.5cm high

£600-800

81

333A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL CREAM JUG,MAKER’S MARK DS (IN CYRILLIC), MOSCOW, 1899-1908with bulging ‘Boteh’ shaped panel enamelled with flowers and exotic birds,875 standard8.5cm high

£700-1000

334A RUSSIAN ENAMEL AND SILVER-GILT BOWL, 11TH ARTEL, MOSCOW,1908-1917the shaped rim with plique-à-jour enamelling, the almost spherical bodywith cloisonné enamelled panels of flowers and geometric patterning, thepedestal engraved with an inscription, the shaped foot rim with furthercloisonné enamelling, 875 standard11.5cm high

£700-1000

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337 (top view)

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339

337A FABERGE SILVER-GILT AND ENAMEL BELLPUSH, WORKMASTER AUGUST HOLLMING,ST. PETERSBURG, CIRCA 1900compressed spherical, with bluish whiteguilloché enamelling of basket-weavepatterning, the cabochon ruby buttonsurrounded by a beaded border and band ofstiff leaves, girdled by a band of ribbon-tiedleaves, on five lobe-headed pad feet,workmaster’s initials and ‘88’ marks4.8cm diameter

Provenance: Sotheby’s, Zurich, 17 May 1979,lot 207

£2000-3000

338A SILVER-GILT AND ENAMEL BOX,VLADIMIR SOLOVIEV, ST. PETERSBURG,PROBABLY FOR FABERGE, 1908-1917oval, the off-white guilloché enamel with wavypatterning, with dash and dot decorated silver-gilt line borders and two borders of opaquewhite enamel, the gilt interior set to the lidwith a mirror, 916 standard kokoshnik,workmaster’s initials, also bearing a laterstamped and spurious Fabergé mark5cm long

For a similar Soloviev for Fabergé box seeChristie’s, New York, 18 April 2007, lot 298.

£2000-3000

339 ~A RUSSIAN SILVER FIVE-PIECE TEA ANDCOFFEE SET, ADOLPH SPERR, ST.PETERSBURG, 1851gourd shaped, engraved with scrolling initialsIZ, on leaf-headed volute feet, with cast flowerfinials to the lids and branch-like handles, giltinteriors, comprising: a teapot with leaf chasedspout, a coffee pot with similarly chased spout,a lidded two-handled sugar bowl, a milk jugand a slop bowl, 875 standardcoffee pot 21.5cm high, 2938gr (94oz) includingivory insulators

£1800-2200












341

340A PAIR OF SILVER-MOUNTED CLARET JUGS, 20TH CENTURYcut-glass bulbous bodies, the silver neck mounts andlids cast and chased with rocaille and bulrushes on awatery ground, with cast bud finials and plaited tendrilhandles, bearing spurious Fabergé, Rappoport andkokoshnik marks25cm high

£600-900

83

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341A SET OF TWELVE RUSSIAN SILVER-GILTTEASPOONS, MAGRENA ANDREEVIA ANDREEVA,MOSCOW, 1908-17with spiral twist stems, the bowls frosted to the reverseand engraved with scrolling initials in a ribbon-tiedwreath, 875 standard, 14cm long, 238gr (7oz); supportedin parcel-gilt electroplate confiturier stand,surmounted by a bird, the tapering cylindrical copperelectrotype body with fruits and strapwork, probablyFrench, third quarter 19th century, 16.5cm high(13)

£200-300

342A RUSSIAN SILVER DESSERT KNIFE AND FORK,KARL FABERGE, MOSCOW, 1896-1917silver-gilt tines and blade, loaded silver handles flutedand with Neo-Classical decoration, fork with firstKokoshnik mark, knife with second Kokoshnik, French‘swan’ import marks, in a later blond wood case withspurious printed Fabergé labelknife 18cm long

£700-1000

343A NORWEGIAN GUILLOCHE ENAMEL SILVER MILK JUG ANDSUGAR BOWL SET, DAVID ANDERSEN, KRISTIANIA (OSLO),CIRCA 1903each red enamelled compressed bulbous body below a border ofenamelled stylised thistles and cornflowers on a white ground, onArt Nouveau scroll panel silver feet and with scroll silver handles,David Andersen marks, ‘1903’ and ‘925’, in original fitted case withgilt stamped David Andersen labelsugar bowl 12cm wide

£600-900

344A FINNISH SILVER PURSE, HERMAN WIST, VIIPURI, 1921oblong, obverse applied with initials HW and facsimile signatures,elongated belcher link chain, cabochon thumbpiece, interior withthree pale blue silk concertina compartments, 813 standard12cm long

Herman Wist started his career in St Petersburg, in his father AdolfWist’s workshop at 33 Gorohovaya Street, going to Finlandfollowing the Russian Revolution.

£120-180













345A FRENCH SILVER-GILT-MOUNTED LAPIS LAZULI CASKET,RAPHAEL BERTOLANI, PARIS CIRCA 1865rectangular, the sides and top of lapis panels, the lid surmounted by acast lion passant figure, the front and back applied with openworkscroll flanked grotesque masks surrounded by open scrollworkspandrels, the canted corners with early Renaissance style caryatids,winged caryatid handles, on lobed bun feet14cm long

£800-1200

346AN AUSTRIAN SILVER-GILT, ENAMELLED AND GEM-SET SMALLEWER AND BASIN, KARL RÖSSLER, VIENNA, CIRCA 1900in Renaissance style, with scrolling enamelled handle topped by aputto and applied below the lip with a winged grotesque femalefigure, chased with a band of foliage on a matted ground above a bandof rubies alternating with enamelled stylised leaves and a band oflapis lazuli drops, the basin similarly banded15cm high, 392gr (12oz)

£500-800

347A SILVER-GILT-MOUNTED ROCK CRYSTAL PEDESTAL CUP,UNMARKED, GERMAN OR AUSTRIAN, LATE 19TH CENTURYin 16th century style, the oval bowl and domed foot each cut with aband of flutes, the spherical knop stem between pierced mountsapplied with female masks or scroll sections10.3cm high


£400-600

348A GERMAN ELECTROPLATE JAR AND COVER, STORCK &SINSHEIMER, HANAU, CIRCA 1900in Louis XVI style, on four short sabre legs, the bulbous body withhusk swags and borders between oval profiles of Roman emperors,the cover with further husks and an egg-shaped finial, pseudo marks19cm high, 577gr (18oz)

£120-180

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351AN ITALIAN TRAY, EUGENIO STANCAMPIANO, PALERMO,POST 1968plain oval with fluted border, stamped 80055.5cm across end handles, 1370gr (44oz)

£300-400

352A PAIR OF GERMAN SILVER SALT CELLARS, CIRCA 1905oval, pierced with cherubs holding foliate swags between lionmasks and vacant ovals, Sterling import marked Faudell Philips &Sons, London, 1906, 9cm long; together with a German silvercake server, J.D. Schliessner & Söhne, Hanau, circa 1900, theblade cast with a grape harvesting infant Bacchus, the openworkterminal with a milk maid, 800 standard195gr (6oz) excluding blue glass liners(3)

£80-120

85

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350

350A DUTCH SILVER TOY CANDLESTICK, AMSTERDAM, 1737traces of gilding, hexagonal base and turned and knopped stem,later Dutch tax (crowned V) and French ‘swan’ marks, maker’smark and another indecipherable circular mark6cm high

£350-450

352 (part)

351

349A PAIR OF ITALIAN SILVER CANDLESTICKS, TURIN, MID 18THCENTURYshaped circular step moulded bases rising to baluster stems withlobed knops and girdled sconces, town mark and assayer/maker’smark V.C19cm high, 690gr (22oz)

£1000-1500







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354AN AMERICAN SILVER TEAPOT, BALDWIN GARDINER & CO.,NEW YORK, CIRCA 1840the pedestal bulbous body with borders of stiff leaves and flatchased with a foliate band around two vacant oval cartouches,cast leafy spout and silver handle, stylised pineapple finial,underside stamped B. GARDINER / NEW YORK, coin silverstandard27cm high, 1106gr (35oz) including insulators

£200-300

355AN ITALIAN SILVER FOUR-PIECE TEA AND COFFEE SET, A. CESA & C, ALESSANDRIA, 1934-44comprising: teapot, coffee jug, cream jug and sugar basin andcover, 800 standard, the coffee jug 16cm high, 1051gr; togetherwith a matching electroplate two-handled tray, 52.5cm wideover handles (5)

£200-300

354

353AN AMERICAN FOUR-PIECE TEA SET, BARBOUR SILVER CO.,HARTFORD CT, MID 20TH CENTURYpedestal vase shaped on square bases, with wrigglework bordersand engraved laurel wreaths, comprising a teapot, a hot waterjug, a sugar bowl and cover and a milk jug, stamped STERLING,hot water jug 21.5cm high; together with a George V silver milkjug and sugar bowl set, part lobed pattern, gilt interiors, WilliamHutton & Sons Ltd., London, 19121547gr (49oz)(6)

£400-600

356A POLISH SILVER FIVE-LIGHT CANDELABRUM, MAKER’SMARK JS, CRACOW, 1920swrigglework borders and sparsely engraved foliage, square footrising to a domed base and square tapering stem supporting fourfixed arms and central light, 800 standard62cm high, 1760gr (56oz)

£400-600










360A SET OF TWELVE ITALIAN DINNER PLATES AND TWOSERVING DISHES IN SIZES, I.M.A. DI GUERCI & C.,ALESSANDRIA, 1944-68applied stiff leaf borders, 27.5 and 30cm diameter; together with aset of six Italian small dishes, Antonio Francesco Cella, Milan,1944-68, en suite, 9cm diameter; all stamped ‘800’6177gr(20)

£1200-1800

361A SET OF TWELVE ITALIAN SILVER SIDE PLATES, FELICEBERETTA, MILAN, 1934-44ropework rims, 19.5cm diameter; together with eleven Italiancoasters, moulded rims, Zaramella, Padua, 1944-68, 12cmdiameter; all stamped ‘800’2730gr(23)

£600-800

87

357

358 (part)

360

357A PAIR OF DANISH SILVER CANDELABRA, MID 20TH CENTURYin 19th century style, the loaded sticks with fluting and foliage, thefive-light screw-in branches each with four scroll arms and centrallight, stamped 830S / DENMARK40cm high overall, 960gr (30oz) branches only

£400-600

358AN ITALIAN MILK JUG AND SUGAR BASIN AND COVER,MARIO GALIAZZO & C., PADUA, 1944-68baluster swirl-fluted bodies, gilt interiors, milk jug, 15.5cm high;together with a small ice bucket and pair of ice tongs; allstamped ‘800’1208gr(4)

£250-350

359AN ITALIAN GRISSINI (BREAD STICK) BASKET, ENRICOZACCHETTI, VALENZA, 1944-68beaded border, fixed handle, on four supports, 28cm long; togetherwith a fluted vase-shaped caster, 16cm high; and a circular platewith applied decoration, 25cm diameter; all stamped ‘800’720gr(3)

£180-220

361

359 (part)

365 (part)












363

364364AN ITALIAN FLOWER VASE, ROBERTO CALLEGARI / RINOGREGGIO, PADUA, 1944-1968spot-hammered and fluted, tapering above bulbous base, 17cm,the underside stamped ‘BATTUTO A MANO’; together with a budvase and and double bud vase in the form of exotic blooms onleaf-shaped bases, 11.5 and 21cm wide; all stamped ‘800’543gr(3)

£200-300

363AN ITALIAN FOUR-PIECE TEA AND COFFEE SET AND ASWEETMEAT BOWL AND COVER, MAKER’S NO.INDECIPHERABLE, ALESSANDRIA, 1944-1968in Empire style, the vase-shaped bodies with formal stiff leafborders, all stamped ‘800’coffee pot 27cm high, 1555gr including insulators(5)

£350-450

362A PAIR OF ITALIAN MEAT DISHES, MAKER’S MARK BADLYSTRUCK, APPARENTLY 1944-1968gadroon bordered oval, both stamped ‘800’50 and 54cm wide, 4115gr

£800-1200

88

362

366

367

366AN ITALIAN SILVER FRUIT DISH, EARLY 20TH CENTURY circular, the raised border richly embossed with fruit and foliage,800 standard, stamped: MADE IN ITALY32.5cm, 547gr (17oz 11dwt)

£120-180

367A PAIR OF GERMAN SILVER-GILT-MOUNTED BOHEMIANGLASS DECANTERS, THE MOUNTS J.D. SCHLEISSNER &SOEHNE, HANAU, CIRCA 1920the faceted bell-shaped bodies alternately flashed in yellow andengraved with scrolling foliage and flowers, the neck mounts die-stamped with pairs of cherubs in rococo cartouches, castmilkmaid finials to the stoppers, inscribed beneath stoppersJ.F.L.C. June 30 1925 and stamped STERLING33.3cm high

£500-800

365AN ITALIAN FRUIT DISH, I.M.A. DI GUERCI & C.,ALESSANDRIA, 1944-68shaped circular, applied scroll border above three supports,25.5cm; together with a square Italian bon-bon dish with appliedstylized shell handles, 21cm wide, 1944-68, both stamped ‘800’;also a small American bon-bon tazza, beaded and fluted shapedcircular bowl, stamped STERLING and ‘0925’, mid 20th century,12.5cm high841gr(3)

Partly illustrated p.87

£200-300















369A GERMAN SILVER PEDESTAL BOWL, HERMANN JULIUSWILM, BERLIN, MID 19TH CENTURYwith applied scroll and leaf rim, the bowl with a band of lappets,the knopped pedestal chased with flowerheads19cm high, 450gr (14oz)

£150-250

370A PAIR OF GERMAN SILVER TWO-HANDLED VASES, CIRCA 1900the baluster bodies die-stamped in neo-classical style above lobesand plain circular bases, 800 standard,16cm high, 430gr (13oz 16);together with an electroplate two-handled pedestal bon-bondish, Continental, probably Swedish, circa 1860(3)

£80-120

371A BELGIAN SILVER BEAKER, LOUIS WOLFERS, BRUSSELS,CIRCA 1880in Japonesque taste, the cylindrical body applied withflowerheads and engraved with a potted plant and box against ahammer-finished ground, W over a boar’s head mark, 800 standard7.8cm high, 110gr (3oz)

£70-100

372A SILVER FILIGREE SALVER, PERHAPS AYACUCHO, PERU,19TH CENTURYwith beaded borders between bands and panels of scrollpatterned filigree work, scalloped rim, on four wirework cup-shaped feet24.5cm diameter, 517gr (16oz)

£120-180

89

368

372

371

370 (part)

368AN ITALIAN FRUIT BOWL, RICCI & C., ALESSANDRIA, 2ND HALF OF THE 20TH CENTURYfluted oval, on spreading foot, applied vine pattern grips, stamped‘800’39cm wide, 759gr

£200-300

369











373A GROUP OF EGYPTIAN SILVERcomprising: an Ottoman sweetmeat bowl, everted rimscroll pierced, a milled guilloche band to the bowl, onthree openwork cast scroll feet, with Tughra stamp,stamped ‘90’ (in Arabic) presumably for 900 standard,assay scrape, also with marks for Cairo, 1935/36, 19.5cmdiameter, a bowl, plain circular excepting a beadedborder and milled band of formal leaves, stamped ‘90’(in Arabic) presumably for 900 standard, Cairo, 1941/42,22cm diameter, a set of four and a set of three counterdishes, milled geometric decoration, stamped ‘90’ (inArabic) presumably for 900 standard, Cairo, 1941/42 andcirca, largest 8.5cm diameter; and an Indian box andcover, oval, covered in scroll foliate chased bands,probably second quarter 20th century, 8.5cm long1010gr (32oz)(10)

£200-300

374AN OTTOMAN SILVER CUP, COVER AND SAUCER,PROBABLY THE LEVANT, CIRCA 1900engraved with flowers, fruits and strapwork on a mattedground, baluster body with applied cast scroll and birdhandle, domed cover with cast bird and leaf finial, eachpiece stamped ‘90’ (in Arabic) presumably for 900standard13cm high, 312gr (10oz)

£200-300

375AN OTTOMAN SILVER TWO-HANDLED CUP ANDCOVER, EARLY 20TH CENTURYthe vase shaped body and pedestal with beaded andmilled borders, applied with cast scroll handles, domedcover with cast flower finial, body with Tughrastamp, body and cover stamped ‘80’ (in Arabic)presumably for 800 standard and anotherindecipherable stamp14.5cm high, 332gr (10oz)

£150-250

376A SET OF SIX OTTOMAN SILVER DESSERT SPOONS,TURKISH, CIRCA 1900the shaped flat handles with scrolls and initials, all with Tughraand Sah marks197gr (6oz)

£80-120

377TWO SETS OF GREEK DESSERT SERVICES, MID 20THCENTURYeach set comprising six knives, forks and spoons, both withfiligree panels to the terminals, stamped 800; together with aGreek paper knife, mid 20th century, the handle cast with SeeNo Evil, Hear No Evil and Speak No Evil monkeys standing oneach others shoulders, stamped 925774gr

£150-200

378A SET OF CONTINENTAL ELECTROPLATE FLATWARE,MAKER’S STAMP WS, PROBABLY BELGIAN OR GERMAN,THIRD QUARTER 19TH CENTURYshaped handles with reeded rims and shell and scroll decoration,comprising: thirty tablespoons, twenty-four table forks andsixteen table knives (ten with steel blades stamped RIET, six withreplacement stainless steel blades)(70)

£60-80

90

373 (part)

375

376

374













379A SET OF FOUR GERMAN SILVER-GILT TEASPOONS, MAKER’SMARK INDECIPHERABLE, AUGSBURG, LATE 17TH CENTURYTrefid pattern with rat-tail bowls, typically decorated with fruitsand foliage, the terminals with oval townscape vignettes11.5cm long

£180-220

91

379

380

381

383

380A GEORGE IV SILVER MARROW SCOOP, WILLIAM EATON,LONDON, 1823Fiddle pattern, engraved with a crest23cm long

£60-90

381A PAIR OF VICTORIAN SILVER FISH SERVERS, JOHN LOWE,CHESTER, 1849the tines and blade with foliate bright-cutting, the shaped loadedsilver handles engraved with a crest surrounded by stampedscrolls, handles maker’s mark of John Nowill, Sheffield, knife34cm long, in original fitted leather case; together with a set ofsix fish knives, six forks and a pair fish servers, withelectroplate tines and blades and loaded silver Queens patternhandles, C.H. Beatson, Sheffield, 1934(16)

Lowe and Sons silversmiths (before 1864 known as John Lowe)was founded in Chester by George Lowe in 1770 and since 1804continues to occupy the same premises in Bridge Street Row.

£150-250

383A GEORGE III SILVER SOUP LADLE, RICHARD CROSSLEY,LONDON, 1794Old English pattern, crested, 33.5cm long; together with fourVictorian decorated silver berry spoons, of typical form, a pairLondon, 1825, one Edinburgh, 1815 and one London, 1787469gr (15oz)(5)

£150-200

384AN EDWARDIAN SILVER GRAVY SPOON, FRANCIS HIGGINS &SON, LONDON, 1902Fiddle Shell pattern31cm long, 179gr (5oz)

£80-120

385A VICTORIAN SILVER CRUMB SCOOP, HARRISON BROTHERS& HOWSON, SHEFFIELD, 1898with Albany pattern loaded handle and plain scoop34cm long

£80-120

386A GEORGE II SILVER SOUP LADLE, ELIAS CACHART, LONDON,1759Hanoverian pattern, the terminal engraved with a crest, EliasCachart, London, 1759; together with the following miscellaneousEnglish table silver: a set of five bright-cut crested teaspoons,Smith & Fearn, London, 1787, two pairs of bright-cut sugar tongs,a Scottish dessert spoon, a sauce ladle; also two electroplate saltspoons and two odd small spoons342gr (10oz 19dwt) of silver(14)

£150-250

382VARIOUS ITEMS OF USEFUL AND DECORATIVE TABLE SILVER,LONDON AND SHEFFIELD, 1806-1856comprising: a pair of Old English pattern tablespoons, laterchased with fruit, gilt bowls, Thomas Wallis, London, 1806, infitted case with label of Reid & Sons, Newcastle upon Tyne; acased pair of Apostle pattern spoons, G.M. Jackson for J. Williams& Co of Bristol, London, 1889; a Fiddle pattern tablespoon andtwo sauce ladles, the terminals engraved with identical crests,various makers, London, 1813, 1818 and 1852; and a cased three-piece Christening set, comprising a knife, fork and spoon, withmother of pearl handles, Fenton Brothers, Sheffield, 1875/76448gr (14oz 8dwt) of weighable silver(10)

£120-180

384

385

386 (part)

















387A SET OF CANADIAN TABLE SILVER, HENRY BIRKS & SONS,MONTREAL, MID 20TH CENTURYChantilly pattern, comprising:twelve tablespoonstwelve table forkstwelve table knives with stainless steel bladestwelve dessert spoonseighteen dessert forkstwelve dessert knives with stainless steel bladestwelve fish knives with electroplate bladestwelve fish forks with electroplate tinestwelve butter knives with stainless steel bladestwelve seafood forkstwelve cake forkstwelve grapefruit spoonstwelve bouillon spoonstwelve ice cream sporksand the following serving pieces with loaded silver handles: twopairs nutcrackers, a pair of fish servers, a meat carver and fork, apoultry carver and fork, a pair asparagus tongs, a cake server, acake knife, a bottle opener, a cheese scoop and a C.J. Schneider’s(Toledo, Ohio) patent Angel Food cake breakerall stamped Birks, Sterlingweighable silver 4770gr (153oz)(194)

£1200-1800

388A SET OF SEVEN ENGLISH PROVINCIAL GEORGE IV SILVERTABLE FORKS, JAMES BARBER & WILLIAM WHITWELL, YORK,1820/21Fiddle pattern, initialled WH; together with the following furtherFiddle pattern table silver: four forks, crested, London, 1823/37,and a pair of sugar tongs, crested, Harrison Brothers & Howson,London, 1865842gr (27oz)(12)

£200-300

92

387

389A SET OF TWELVE VICTORIAN SILVER FISH FORKS ANDELEVEN KNIVES, JOHN GILBERT, BIRMINGHAM, 1855/66with Queens pattern loaded crested handles, the tines and bladesfoliate bright-cut, the blades additionally engraved withRenaissance dolphins floating on a gently rippled sea(23)

£120-180

389








390A SET OF ITALIAN TABLE SILVER, CLEMENTI dì GIOVANNIMANTEL & C. S.p.A., BOLOGNA, 1944-68with leaf pattern terminals, comprising: three tablespoons, twelvetable forks, twelve table knives with stainless steel blades, elevendessert spoons, twelve dessert forks, twelve dessert knives withstainless steel blades, twelve fish knives, twelve fish forks, a pairof fish servers, a serving spoon, two serving forks and a soupladle; also a tablespoon and a table fork by the same maker,differently patterned; all stamped ‘800’3513gr of weighable silver(94)

£1000-1200

391A FRENCH SILVER DESSERT SERVICE, MAISON ODIOT, PARIS,THIRD QUARTER 19TH CENTURYwith reeded rims and foliate strapwork terminals initialled toreverse ES, comprising: eighteen dessert spoons, eighteendessert forks, nine teaspoons and a sifter ladle, 950 standard2326gr (74oz)(46)

£600-1000

392A MATCHED SET TABLE SILVER, HALF MAKER’S MARK JHOVER AH (UNRECORDED), LONDON, 1840, HALF GLADWINLTD., SHEFFIELD, 1939all Queens pattern, the first half crested and comprising eleventable forks and ten dessert spoons, the second half comprising sixtablespoons and twelve dessert forks3122gr (100oz)(39)

£800-1200

393A VICTORIAN SILVER FISH SLICE, CHARLES LIAS, LONDON,1844Kings pattern, pierced blade, 31cm long; together with a pair ofVictorian silver fish servers, loaded Beaded pattern handles,bright-cut and scroll pierced blade and tines, Martin, Hall & Co.,Sheffield, 1889, slice 32.5cm long(3)

£180-220

93

393

391

392

390










94

395

395A SET OF GEORGE V TABLE SILVER, COOPERBROTHERS & SONS, SHEFFIELD, 1935Strathmore pattern, comprising eight of each of thefollowing:table forkstable knives with stainless steel bladesdessert spoonsdessert forksdessert knives with stainless steel bladessoup spoonsfish forksfish knivescake forks with stainless steel tinesand teaspoons2688gr (86oz) excluding steel bladed knives and cake forks(80)

£700-1000

396A MATCHED SET OF SCOTTISH TABLE SILVER,EDINBURGH, MANY ANDREW WILKIE, 1829-1868single struck Kings pattern, comprising: twelve tablespoons (six 1840, six 1868)twelve table forks (six 1841, six 1829)twelve dessert spoons (six 1840, six 1851)ten dessert forks (five 1851, five 1849)eight teaspoons (five 1868, three 1862);together with fourteen electroplate table knives, ofmatching pattern, twelve James Ryals, Sheffield, modern2778gr (89oz) excluding knives(68)

£600-900

394A GROUP OF SILVER FIDDLE PATTERN SPOONS, VARIOUS MAKERS,LONDON, 1829-75comprising twelve initialled tablespoons and twelve crested dessert spoons;together with three Russian silver tablespoons, Moscow, 1872, plainFiddle pattern1541gr (49oz)(27)

£400-600

394 396








397A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME,WILLIAM COMYNS & SONS, LONDON, 1900rectangular, with die-stamped bats-wing fluting and vacantroundel surmount, worn blue velvet easel backing37cm high

£120-180

398AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME,WILLIAM NEALE & SONS OF BIRMINGHAM, CHESTER, 1903rectangular, the silver die-stamped with Art Nouveau floweringtendrils on a rippled ground, plain wood back with easel support30cm high

£120-180

399AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, E.MANDER & SON, BIRMINGHAM, 1902shaped rectangular, the silver border die-stamped with ArtNoveau stylized irises, worn green velvet easel backed29.5cm high

£120-180

400A PAIR OF SILVER CANDLESTICKS, W.I. BROADWAY & CO.,BIRMINGHAM, 1973circular, with reeded borders throughout, waisted and girdledstems25.5cm high, loaded

£100-150

401A VICTORIAN SILVER HOT-WATER JUG, MAKER’S MARK OFC.C. PILLING FOR SIBRAY, HALL & CO., LONDON, 1899plain faceted oval, on four curved supports, wood handle andfibre finial23cm high, 622gr (20oz) all in

£150-250

402A PAIR OF GEORGE V SILVER CAFE-AU-LAIT POTS, MAPPIN &WEBB LTD., LONDON, 1939vase shaped bodies intialled S, stepped spreading feet17.5cm high, 757gr (24oz) including angular composition handlesand disc finials

£180-220

95

397

402

401

399398














406A CASED SET OF FOUR VICTORIAN SILVER SALT CELLARSAND SPOONS, FENTON BROTHERS, SHEFFIELD, 1882lobed boat-shaped, each with two handles, 9.5cm wide overall,the engraved spoons Samuel Whitford, London; together with aset of four silver menu holders, shield-shaped, each engravedwith a crest, John William Barrett, Birmingham, 1910/11, stampedwith P.O.D.R. No. 454426 and ‘ROWELL / OXFORD’ in fitted casewith Rowell’s label270gr (8oz 13dwt)(12)

£120-180

407AN EDWARDIAN SILVER SALVER, WILLIAM AITKEN,BIRMINGHAM, 1904shaped moulded rim, on three volute pad feet26cm diameter, 461gr (14oz)

£100-150

96

405

409

408 (part)

408A VICTORIAN SILVER NOVELTY PEPPERETTE, HENRYMATTHEWS, BIRMINGHAM, 1899in the form of a drinking horn with grotesque mask terminal,volute feet and scroll handle, covered in scroll foliage surroundinga vacant cartouche, 13cm high; together with a pair of Edwardiansilver pedestal sweetmeat dishes, with shaped applied rims andknopped pedestals, Edward Barnard & Sons Ltd., London, 1908,13.5cm diameter405gr (13oz)(3)

£150-250

409A VICTORIAN SILVER THREE-PIECE COFFEE SET, THOMASBRADBURY & SONS OF SHEFFIELD, LONDON, 1897part lobed and engraved with scrolled initials, gadroon and leafyshell rims, on paw and patera panel feet, undersides withretailer’s stamp ROBt. JONES & SONS / SILVERSMITHS /LIVERPOOLcoffee pot 23cm high, 1355gr (43oz) including wood handle andfinial

£300-400

403AN EDWARDIAN SILVER BOWL, ATKIN BROTHERS,SHEFFIELD, 1909oval, pale and pellet pierced below a waved bead and rail rim,bifurcated simple scroll handles and elongated feet31cm wide, 490gr (15oz)

£150-200

404 ~A GEORGE V SILVER TEA CADDY, CHARLES PACKER & CO. OFLONDON, SHEFFIELD, 1912flared oval, with scroll pierced and beaded gallery below the lidrising to an ivory-mounted finial, manufacturer’s ‘lamp’ mark ofRoberts & Belk Ltd., 11cm wide; together with a George V silvermilk jug and sugar bowl set, Regency style bellied oblong form,gadroon rims, ball feet and gilt interiors, S. Blanckensee & SonsLtd. of Birmingham, Chester, 1933, sugar bowl 17.5cm acrosshandles655gr (21oz) all in(3)

£150-250

405A VICTORIAN SILVER HOT WATER JUG, EDWIN CHARLESPURDIE, LONDON, 1899plain baluster body, rim foot, lid with gadroon rim and spiralribbed cone finial, wicker-wrapped silver handle20cm high, 455gr (14oz) all in

£100-150

404 (part) 403

















410AN ARTS AND CRAFTS SILVER QUAICH, GEORGE LAWRENCE CONNELL, LONDON, 1902the hammered circular bowl applied with shaped flathandles pierced with thistles8.5cm long, 155gr (5oz)

G.L. Connell is credited with introducing ‘modern,artistic silverware’ to the firm’s wares from the late1890s. His wife Christine was a silversmith, whosework bearing the GLC maker’s mark was sold by thefirm, and who may well have had a hand in thedesign of this quaich.

£200-300

411A VICTORIAN SILVER DISH LINER, R. & S.GARRARD & CO, LONDON, 1870beaded oval, 26cm wide; together with a silvercircular coaster with die-stamped gadroon andfoliate border, Royal Irish Silver Co.,commemmorative mark, Dublin, 1973, 14cmdiameter468gr (15oz)(2)

£150-200

412AN EDWARDIAN SILVER THREE-PIECE TEA SET,WILLIAM AITKEN, BIRMINGHAM, 1904shaped oblong, each with a band of bold lobesteapot 23cm long, 434gr (14oz) includingcomposition handle and finial

£120-180

413AN EDWARDIAN SILVER HOT WATER JUG,FATTORINI & SONS, BIRMINGHAM, 1903part lobed oblong urn shaped, 16cm high; togetherwith three silver milk or cream jugs: one bulbousGeorgian example but later chased with scrollfoliage, London, 1812 and two part lobed examples,the larger Sheffield, 1910, the smaller Birmingham,1900571gr (18oz) including composition handle and finial(4)

£120-180

414AN ARTS AND CRAFTS SILVER MUSTARD POT, DESIGNED BY CHARLES ROBERT ASHBEE (1863-1942), GUILD OF HANDICRAFT LTD.,LONDON, 1902the hammered cylindrical body on spreading foot, the looping double wirehandle bifurcating at the top to encircle two carbuncles (garnet cabochons) setto the body, the curved conical lid with acorn-like carbuncle set finial9cm high, 99gr (3oz)

Provenance: Sebastian Henry Petre (1856-1934) and his wife Elise (née Sibeth1855-1946) of Tor Bryan House, Ingatestone; thence by family descent to thepresent vendor.

A related Ashbee design for a mustard pot is illustrated in his Modern EnglishSilverwork, London, 1909, p.27. Another version of this design (without thecabochons and with stylised flower finial) was sold by Bellmans Auctioneers,Billingshurst, 19 March 2009, lot 852.

£2000-3000

97

410

414













415AN ARTS AND CRAFTS SILVER MUFFIN DISH AND COVER,DESIGNED BY CHARLES ROBERT ASHBEE (1863-1942), GUILDOF HANDICRAFT LTD., LONDON, 1906hand hammered, the domed cover engraved with the arms ofPetre of Writtle (Co. Essex) below a wirework stylised corolla finialwith chrysoprase cabochon, the everted rim to the bowl with innerapplied beaded border and outer punch beaded border22.5cm diameter, 583gr (18oz) all in

Provenance: Given as a silver wedding present to SebastianHenry Petre (1856-1934) and his wife Elise (née Sibeth 1855-1946)of Tor Bryan House, Ingatestone, by their sons Henry Aloysius(1864-1932) and Edward (1886-1912); thence by family descent tothe present vendor. Sebastian Petre was a grandson of William,11th Baron Petre, from whose son he acquired the land named TorBryan after family estates in Devon. Henry and Edward Petre,although trained as a solicitor and an architect respectively,became pioneering aviators. In the workshop at Tor Bryan, theybuilt an aircraft which was exhibited at the 1910 Olympia AeroShow. Unfortunately Henry subsequently crashed this craft on its

maiden flight at Brooklands, since although possessed of theskills to build a plane, the brothers had yet to acquire to skills tofly one. Henry went on to master the art of flying, becoming afounder of the Australian Flying Corps and commander of theMesopotamian Half Flight, although returning to the law after thewar. Greater tragedy struck his brother Edward, who crashedfatally on Christmas Eve 1912, attempting the first solo flight fromBrooklands to Edinburgh. These brothers had always beeninterested in metalwork and making things and by family reputehad a hand in executing this dish, perhaps visiting the workshopsof the Guild of Handicraft at Chipping Camden.

Although electroplate versions of the dish may be found,examples in silver are rare; for a similar dish and cover (withmore elaborate finial and chrysoprase cabochons set to the rim ofthe body), hallmarked 1900, see the Victoria and Albert MuseumNo.M.42:1 to 3-1972; also for another version (with amethystcabochon and plain rim) hallmarked 1906, see Bonham’s, NewYork, 18 June 2007, lot 2000.

£2000-3000

98

415





99

416AN ARTS AND CRAFTS SILVER BUTTER DISH AND KNIFE, DESIGNED BY CHARLES ROBERTASHBEE (1863-1942), GUILD OF HANDICRAFT LTD., LONDON, 1902hammered circular bowl, elongated looping twin-wire handle set at the shoulder with a chrysoprasecabochon, the knife with curved wirework handle bulging at a central bead and terminating inanother chrysoprase cabochondish 19cm long, 217gr (6oz) all in

Provenance: Sebastian Henry Petre (1856-1934) and his wife Elise (née Sibeth 1855-1946) of Tor BryanHouse, Ingatestone; thence by family descent to the present vendor.

It is rare to find this dish together with its accompanying knife, but for another example seeSotheby’s, London, 5 October 2004, lot 23; also see Alan Crawford, C.R. Ashbee, Architect, Designerand Romantic Socialist, Yale University, 1985, p.334 pl.167, and see the Victoria and Albert Museum,Silver, room 67, case 16, shelf 1, for a dish (without its knife). Ashbee’s related double handled designversion of the dish is illustrated in his Modern English Silverwork, London, 1909, p.22.

£3000-4000

416




419A GEORGE V SILVER CIGAR BOX, ATKIN BROTHERS, LONDON,1910oblong, plain excepting the slightly domed cover initialled GSC,cedar lined14.5cm long

£60-80

420THREE SILVER WAITERS, HAWKESWORTH, EYRE & CO LTDAND ATKIN BROTHERS LTD, SHEFFIELD, 1915 AND 1936, ANDJEWELLERY & METAL MANUFACTURING CO LTD, DUBLIN, 1977all shaped circular, one engraved with a crestapproximately 15.5cm diameter, 499gr (16oz)

The crest probably that of Sir James Fergusson GCSI. PC. (1832-1907).

£180-220

421A FOUR-PIECE SILVER CONDIMENT SET, HENRY CLIFFORDDAVIS LTD., BIRMINGHAM, 1959plain bulbous below shaped rims, comprising a pair pepperettes,a mustard pot and a salt cellar242gr (7oz) excluding blue glass liners

£70-100

422A GEORGE V SILVER SALVER, BARKER BROTHERS SILVERLTD., BIRMINGHAM, 1927crested, moulded rim, on four pad feet26.5cm diameter, 556gr (17oz)

£150-200

423A SILVER SALVER, VINERS LTD., SHEFFIELD, 1959shaped circular, moulded rim and engraved presentationinscription, on three volute feet31.5cm diameter, 848gr (27oz)

£150-250

100

417

418A VICTORIAN SILVER BUTTER DISH STAND AND COVER,JONES & STEVENSON, BIRMINGHAM, 1894the rectangular with canted cornered base centred by acanthusleafage, on ball feet, the frame of conforming outline, the coverwith further acanthus below the flame finial, ovolo rims, glassliner lacking, 19cm across end handles, 328gr (10oz); together witha plated Onslow pattern sifter ladle(2)

£80-120

418

417AN EDWARDIAN SILVER COW CREAMER, C.S. HARRIS &SONS LTD., LONDON, 1907the lowing horned beast with tail handle and hinged cover setwith a horsefly16cm long, 172gr (5oz)

£600-900















424 ~A SCOTTISH VICTORIAN SILVER BACHELOR’S TEAPOT, JAMES REID & CO., GLASGOW, 1880in Indian taste, of bullet form, initialled CRA, chased all over witha band figures in panels between a variety of foliate andgeometric patterned borders19.5cm long, 316gr (10oz) including ivory insulators

£150-250

425 ~A VICTORIAN SILVER COFFEE POT, MAKER’S MARKOVERSTRUCK BY THAT OF GEORGE RICHARDS ELKINGTONFOR ELKINGTON, MASON & CO OF BIRMINGHAM, LONDON,1857the tapering cylindrical body engraved with shaded stylizedshells, foliage and strapwork, one side engraved with a crest andcollar motto, cast flower finial, silver handle with ivory fillets22cm high, 870gr (27oz 19dwt) all in

£300-400

426A GEORGE V SILVER BASKET, R.F. MOSLEY & CO., SHEFFIELD,1923shaped oval, pierced below the waved rim with panels of scrollfoliage29.5cm long, 345gr (11oz)

£80-120

427A GEORGE V SILVER WAITER, MAPPIN & WEBB LTD.,LONDON, 1915moulded rim, on scroll feet19.5cm diameter, 253gr (8oz)

£60-100

428A GEORGE V SILVER SALVER, WALKER & HALL LTD,SHEFFIELD, 1924shaped rim with beading interrupted by rosettes and foliage, onthree ball and claw feet31cm diameter, 791gr (25oz)

£180-220

429A PAIR OF VICTORIAN SILVER DESK CANDLESTICKS,CHARLES STUART HARRIS, LONDON, 1886/87in Charles II taste, the wood filled domed bases with a band ofcurved alternate lobes and flutes below small platforms and flutedstems, detachable nozzles, crimped rims throughout12cm high

£150-200

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431431A VICTORIAN SILVER CHAMBERSTICK, ROBINSON, EDKINS &ASTON, BIRMINGHAM, 1838circular base with ribbed edge, crested to base, detachable nozzleand conical extinguisher, leaf-capped handle18cm long, 349gr (11oz)

£200-300

432A VICTORIAN SILVER SALVER, RICHARD SIBLEY II FOR SIBLEY& WAPLE, LONDON, 1842shaped circular, crested, moulded border with reeded rim, onthree scroll panel feet, underside with Makepeace & Walfordretailer’s stamp MAKEPEACE / LONDON22cm diameter, 401gr (12oz)

The retail goldsmiths and jewellers, Makepeace & Walford, of 5 SearleStreet, Lincoln’s Inn Fields, appear to have been supplied regularlywith pieces from workshops connected with the Sibley family.

£80-120

433A VICTORIAN SILVER BASKET, JOSEPH ROUND & SON, 1895oblong, chased with flowers and scrolls, the rim additionallypierced, with cast openwork swing handle, the short pedestal witha band of flat-chasing above a gadroon rim foot28cm long, 775gr (24oz)

£200-300

430A VICTORIAN SILVER COLLAPSIBLE BEAKER, THOMASJOHNSON, LONDON, 1864tapering cylindrical, of four engine-turned sections, the topsection engraved with a crest and garter motto, with screw-ondomed rim foot, underside with retailer’s stamp AUSTIN / DUBLIN7.5cm high, 101gr (3oz)

£150-250

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434TWO EDWARD VII SILVER SALVERS, WILLIAM HUTTON &SONS LTD AND THE GOLDSMITHS & SILVERSMITHS CO LTD,LONDON, 1902 AND 1905shaped circular, each engraved with a crest or crest and mottoand on three hoof supports24.5 and 20cm diameter, 771gr (24oz 15dwt)

£250-350

435A LARGE PAIR OF ELECTROPLATE CANDLESTICKS, DEYKIN &HARRISON, BIRMINGHAM, EARLY 20TH CENTURYin mid Victorian style, die-stamped with foliage, complete withdetachable nozzles, the undersides stamped: 157036cm high

£100-150

436A PAIR OF VICTORIAN ELECTROPLATE CANDLESTICKS,UNMARKED, CIRCA 1845cast, baluster, richly decorated with scrolled borders, completewith detachable nozzles30cm high

£70-100

437A VICTORIAN ELECTROPLATED COPPER ELECTROTYPEDWARF CANDLESTICK, ELKINGTON & CO., BIRMINGHAM,CIRCA 1870after a late 16th century stem of a tazza, profusely decorated withscenes, foliage and masks, gilded detachable nozzle14.5cm high

For an Elkington’s electrotype of the tazza, see Victoria and AlbertMuseum No. REPRO.1869-44

£60-80



















438A PAIR OF VICTORIAN SILVER ENTREEDISHES, COVERS AND HANDLES,BENJAMIN PRESTON, LONDON, 1841oblong, the bases with broad cast and appliedapplied shell and scroll rims, the coversengraved with a later Continental coat of armsand further applied foliate borders, heart-shaped leafy handles, each piece numbered 1 or 231cm long, 4411gr (141oz)

£1500-2000

439A VICTORIAN SILVER FOUR-PIECE TEA ANDCOFFEE SET, PROBABLY J. WHITEHOUSE,LONDON, 1839/40compressed fluted baluster, each chased withpanels of flowers and two vacant cartouches,cast volute and foliate scroll feet, leaf-cappedscroll handles, milk jug and sugar bowl withgilt interiors, teapot and coffee pot with castfoliate spouts and flowerhead finialscoffee pot 22.5cm high, 2513gr (80oz) includinginsulators

£1000-1500

440A VICTORIAN SILVER MILK JUG ANDSUGAR BOWL, JOSEPH & ALBERT SAVORY,LONDON, 1840fluted bulbous bodies, each with one vacantand one cartouche initialled T, chased withpanels of convolvulus and other flowers on amatted ground, cast foliate panel feet, leafcapped handles, gilt interiorsmilk jug 16cm high, 848gr (27oz)

£180-220

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444A PAIR OF GEORGE IV SILVER PEPPERETTES, WILLIAMELLIOTT, LONDON, 1829baluster, cast with bands of stiff leafage, arcaded lobes and foliatesprigs on a matted ground, pierced screw-on covers with ballfinials8cm high, 201gr (6oz)

£120-180

445A GEORGE III SHEFFIELD PLATE CHAFING DISH, CIRCA 1800oval, reeded rim, lid engraved with a crest below the bun finial,with screw-in wood handle to the water reservoir, 31.5cm long;together with a George III Sheffield plate salver, circa 1800,plain except for engraved matching crest, on fluted panel feet,underside with double-struck serrated punch reading SILVER /EDGES, 25cm long(2)

£70-100

446A PAIR OF SHEFFIELD PLATE DISH COVERS, CIRCA 1830in sizes, cushion oval, each with engraved coat of arms to silverinset and applied foliate reeded border, 41 & 36cm long; togetherwith a Victorian electroplate meat dish cover, Joseph Rogers &Son, Sheffield, late 19th century, oval, beaded rim, 30cm long(3)

£150-250

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441TWO EARLY VICTORIAN SILVER MUSTARD POTSone hexagonal, floral engraved below a shaped band ofdiaperwork, chairback thumbpiece, John James Keith, London,1845, 7cm high, the other octagonal, engraved with pendants offlowers below arches of wrigglework vermiculation, faceteddomed lid with bun finial, Edward Edwards, London, 1846, 8.5cmhigh275gr (8oz) excluding blue glass liners

£180-220

442A GEORGE III SILVER MUSTARD POT, ROBERT HENNELL,LONDON, 1778drum-shaped, the sides pierced and bright-cut with formal foliage,7cm high; together with an Edwardian silver mustard pot, oval,Alexander Clark Manufacturing Co. Ltd., Birmingham, 1909, bothwith a blue glass liner; and a George II silver salt cellar, plaincompressed circular, on three hoof supports, Edward Wood,London, 1744, 7.5cm diameter303gr (9oz 14dwt) of silver(3)

£250-350

443A PAIR OF GEORGE II SILVER SALT CELLARS, DAVID MOWDEN, LONDON, 1759with gadroon rims, each on three pad feet, 6cm diameter;together with a Victorian silver mustard pot, Hilliard &Thomason, Birmingham, 1882, cylindrical, bright-cut decorated,with blue glass liner 6.5cm highweighable silver 233gr (7oz)(3)

£200-300

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452A WILLIAM IV SILVER SUGAR BOWL, EDWARD FARRELL,LONDON, 1836circular, chased with a floral and foliate band, on three scroll legsending in shell pad feet, gilt interior, 11.5cm diameter; togetherwith a George III silver milk jug, oval, with wrigglework andbright-cut bands, on four ball feet, gadroon rim, maker’s markrubbed, London, 1815, 13cm long; and another George III silvermilk jug, oval, wrigglework bands, probably Alexander Field,London, 1800, 10cm high376gr (12oz)(3)

£120-180

447A GEORGE III SILVER TEAPOT, PETER & ANN BATEMAN,LONDON, 1793oval, with wrigglework borders and bright-cut bands of lunettesbetween shaped oblong cartouches, one vacant, the other laterengraved with the crest of Petre of Writtle (Co. Essex)18cm long, 453gr (14oz) including wood handle and finial

Provenance: Sebastian Henry Petre (1856-1934) and his wife Elise(née Sibeth 1855-1946) of Tor Bryan House, Ingatestone; thence byfamily descent to the present vendor.

£300-500

448A GEORGE III SILVER COASTER, MICHAEL PLUMMER,LONDON, 1792the sides pierced with curved trellis interrupted by leaf motifsbelow a reeded rim, turned wood base, 12.5cm diamter; togetherwith another silver wine coaster, plain sides presentationinscribed below a corded rim, turned wood base, John &Maureen Surtees, London, 1987, 12.5cm diameter(2)

£200-300

449A SILVER WINE COASTER, HERSEY SILVERSMITHS, LONDON,2000with slightly bellied sides, turned wood base centred by a vacantsilver roundel13cm diameter

£50-70

450A GEORGE III SILVER WAITER (OR TEAPOT STAND), ROBERT & SAMUEL HENNELL, LONDON, 1805oblong, crested, wrigglework Greek key border, gadroon rim, onshaped panel corner feet14cm long, 153gr (4oz)

£100-200

451A SET OF FOUR GEORGE III SHEFFIELD PLATE GOBLETS,CIRCA 1800the plain bowls on waisted and girdled stems and spreading feetwith beaded rims, 16cm high; together with a George IIISheffield Plate chamberstick, Matthew Boulton, Birmingham,early 19th century, gadroon rims, urn shaped sconce withdetachable nozzle, the C-shaped handle with crested thumbpieceand supporting the conical extinguisher, 17cm long(5)

£100-150

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453A GEORGE II SILVER COFFEE POT,THOMAS WHIPHAM & CHARLES WRIGHT,LONDON, 1757the baluster body engraved to one side witha contemporary coat of arms within aRococo foliate cartouche, the other side laterengraved with the crest of Petre of Writtle(Co. Essex), lid with spiral ribbed cone finial24.5cm, including wood handle

The arms might be those of Alderson.

Provenance: Sebastian Henry Petre (1856-1934) and his wife Elise (née Sibeth1855-1946) of Tor Bryan House, Ingatestone;thence by family descent to the presentvendor.

£800-1200

454A GEORGE IV SILVER SUGAR BASIN,JOSEPH ANGELL, LONDON, 1820oblong, engraved with scrolled initials and acrest above curved lobes, shell, leaf andgadroon applied rim, leaf-headed paw feet,gilt interior, 20.5cm across end handles;together with two silver cream jugs, bothpedestal baluster, punched rims and scrollhandles, one Thomas Shepherd, London,1783, the other Nathan & Hayes,Birmingham, 1872; and the followingmiscellanous silver: a pair of cherubpattern die-stamped napkin rings, J.C.Cooke, London, 1893, and five various die-stamped bonbon dishes699gr (22oz)(10)

£180-220

455A GEORGE III SILVER CASTER, ROBERTPEASTON, LONDON, 1776plain baluster, wrythen finial to thedetachable cover14cm high, 100gr (3oz)

£100-150

456A GEORGE III SILVER CASTER, THOMASSHEPHERD, LONDON, 1786the otherwise plain baluster body laterengraved with a crest and motto, reededborders15.5cm high, 89gr (2oz 17dwt)

£150-200

457A GEORGE III SILVER WINE FUNNEL,JOSEPH SCAMMELL, LONDON, 1794typical form, base with crested clip,detachable nozzle with reeded borders14cm long, 84gr (2oz)

£120-180

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458AN IRISH GEORGE III SILVER DISH RING, MAKER’S MARK WHIN SERRATED RECTANGLE, DUBLIN, 1774typical waisted form, pierced and chased with vignettes of ayoung boy fishing, swans, an obelisk and ruins against abackground of various foliage and fruits and laurel ovals, onecrested20.5cm diameter, 346gr (11oz)

Provenance: Sotheby’s, London, 16 May 1996, lot 335

£1200-1800

460A PAIR OF GEORGE III SILVER SALT CELLARS, SOLOMONHOUGHAM, LONDON, 1799oval, pierced with a band of ovals, wrigglework borders, panelfeet, blue glass liners cellars 9cm long; together with thefollowing English condiment silver: a pair of Old English patternsilver salt spoons, London, 1813, a Victorian mustard pot, bombécircular and pierced with scroll foliage, blue glass liner, Deakin &Francis, Birmingham, 1899, 8.5cm long, a pair of girdled balusterpepperettes, Birmingham 1912, 9cm high, and a wireworkmustard pot, blue glass liner Sheffield, 1910, 7cm longweighable silver3 38gr (10oz)(8)

£150-250

461A PAIR OF GEORGE III SILVER WINE LABELS, GEORGEKNIGHT, LONDON, 1818cut-cornered rectangular, reeded border, engraved for Sherry orClaret, 4cm wide; together with a Victorian silver bottle ticket,Reily & Storer, London, 1841, shaped, pierced on a banner forSherry surrounded by vines and flowers, 6.5cm wide; and aplated bottle ticket, second quarter 19th century, shaped,pierced for Port, shell and foliate rim, 5.5cm wide(4)

£100-150

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459A GEORGE II SILVER LEMON STRAINER, MAKER’S MARK ‘?.L’A SCALLOP BELOW, LONDON, 1730pellet pierced bowl, openwork scroll handles15.5cm wide, 116gr (3oz)

£200-300

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462H.R.H. PRINCESS MARGARET’S GEORGE III SILVER-MOUNTED TRAVELLING INK AND PEN SET, UNMARKED,CIRCA 1780the rectangular case covered in green-stained fine fishskin withsilver hinge, button and fitment, the interior fitted with slidingpencil cum nib holder, three screw-in nibs and two square glassbottles for ink and pounce with ripple decorated silver covers (twoimplements missing), lot label to underside; with the ‘Certificateof Provenance’ with Princess Margaret’s wax seal accompaniedby its brown leather folder gilt stamped with her crowned M andKENSINGTON PALACEcase 7.3cm long

Provenance: H.R.H. The Princess Margaret, Countess of Snowdon(1930-2002); Christie’s, London, 14 June 2006, lot 822

£400-600

463A GEORGE IV SILVER BOTTLE COLLAR (WINE LABEL),CHARLES RAWLINGS, LONDON, 1827pierced twice for SHERRY between gadroon rims, 7.6cm diameter;together with a Victorian silver bottle collar, engraved with acrest, the opposing side pierced for MADEIRA, H.J. Lias & Son,London, 1867, 8cm wide(2)

The crest on the Madeira label is that of the Worshipful Companyof Mercers.

£200-300

464A GROUP OF FIVE GEORGE III SILVER WINE LABELS (OR BOTTLE TICKETS), ALL LONDONone banner shaped with Prince of Wales feathers cresting forMadeira, Peter & William Bateman, 1806, two oblong with reededrims for Port and Madeira, maker’s mark indecipherable, 1813 andWilliam Ellerby, 1816 respectively, one rounded oblong withreeded rim for Madeira, John Whittingham, 1801 and one plainoval for Brandy, maker’s mark WB, no date letter, late 18th century(5)

£200-300

465A SET OF THREE GEORGE III SILVER WINE LABELS (OR BOTTLE TICKETS), JOHN REILY, LONDON, 1810shaped oval, with shell and reeded scroll rims, pierced for PORT,SHERRY, or BUCELLAS5.5cm long

Bucellas, sometimes described as Portuguese Hock, is a whitewine from near Lisbon. Apparently it became highly sought afterin Britain after Wellington’s discovery of the variety during thePeninsula War. For another Reily ticket of the same pattern anddate, pierced for KETCHUP see Jane Stancliffe, Bottle Tickets,Victoria and Albert Museum, p.12

£150-250108

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466A PAIR OF WILLIAM IV SILVER SPURS, GEORGE FREDERICKPINNELL, LONDON, 1835plain, each complete with silver buckles and steel rowells15cm long, 127gr all in

£150-250

467A GEORGE IV SILVER-GILT VINAIGRETTE, NATHANIEL MILLS,BIRMINGHAM, 1829rectangular, the lid with scroll leafage in relief on a mattedground, with incurved sides, the underside engine-turned, appliedfoliate borders, scroll foliate grille3.6cm long

£200-300

468A VICTORIAN SILVER ‘CASTLETOP’ VINAIGRETTE, JAMESFENTON, BIRMINGHAM, 1871shaped oblong, the lid engraved with a view of Edinburgh’s ScottMonument, the underside with bright-cut foliage surrounding agartered roundel initialled EH to MD, gilt interior with scroll foliategrille4.4cm long excluding suspension ring

£300-500

469AN AUSTRIAN SILVER AND ENAMEL VESTA OR PILL BOX,VIENNA, CIRCA 1900rectangular, the sprung lid with white guilloché enamelling andsilver-gilt line border, rear of box with a reserve for emery paper,gilt interior, Austrian 900 standard assay mark and bearingspurious Fabergé marks4.5cm long

£100-150

470A VICTORIAN SILVER-GILT POSY HOLDER, ALEXANDERMACRAE, LONDON, 1867trumpet shaped, with a beaded rim set below with turquoisecabochons and chain swags and engraved to the body with aband of anthemions above a further band of turquoise cabochons,the three sprung legs contained by a sprung terminal13cm long

£400-600

471A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME,WILLIAM COMYNS & SONS, LONDON, 1897shaped oblong, profusely pierce stamped with cherubs, birds andflowers, worn blue velvet easel backed, 20cm high; together witha silver-mounted watch holder, oblong, pierce stamped, wornleather easel case containing its Goliath watch, William Comyns &Sons, London, 1902, 11cm long; a silver sweetmeat bowl, shapedcircular, die-stamped foliate scrolls, monogrammed, FentonBrothers, Sheffield, 1895, 13cm diameter; and a silver lidded cutglass toilet jar, cylindrical, bright-cut with ferns around a vacantroundel, J. & R. Griffin of Birmingham, Chester, 1912, 7cmdiameter(4)

£100-200

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472A VICTORIAN SILVER SNUFF BOX, NEUSTADT & BARNETT,BIRMINGHAM, 1840oblong, covered in engraved scroll foliage surrounding a shieldinitialled WC7cm long

£120-180

473TWO WILLIAM IV SILVER SNUFF BOXES, BOTH BIRMINGHAMeach rectangular and with reeded sides, applied foliatethumbpiece and gilt interior, one crested, engine-turned lid andbase, Edward Smith, 1831, the other reeded top and bottom,vacant rectangular cartouche, Francis Clark, 1832both 6.2cm long(2)

£200-300

474A VICTORIAN SILVER ‘CASTLETOP’ CHEROOT CASE,NATHANIEL MILLS, BIRMINGHAM, 1839oblong, inset with a stamped panel of Windsor Castle to theobverse and Warwick Castle to the reverse surrounded by deeplychased scrolls, flowers and foliage on a matted ground, the lidwith banner inscribed Oliveira12.3cm long

£400-600

475A GROUP OF VICTORIAN AND EDWARDIAN SILVER SMALLWORKcomprising: a ring box, oblong, foliate die-stamped, interior fittedfor six rings, Nathan & Hayes of Birmingham, Chester, 1904, 9cmlong, a patent card case, plain oblong, the sprung openingcontaining a propelling pencil, gilt interior, S. Mordan & Co.,London, 1900, 9.5cm long, a snuff box, rounded oblong, bright-cut with leaf-filled strapwork, flush-hinged lid with 1872presentation inscription, gilt interior, George Unite, Birmingham,1871, 8.5cm long, and a ring tray, heart-shaped, die-stamped withbirds, mask and foliage around a vacant cartouche, WilliamComyns & Sons, London, 1898, 10cm long(4)

£150-250

476A VICTORIAN PARCEL-GILT-SILVER NOVELTY SOVEREIGNCASE, RAWLINGS & SUMMERS, LONDON, 1874in the form of a cloth handbag with double belcher chain strap,opening by a push button to the gilt clasp to reveal three blue silkconcertina compartments12.5cm long with chain extended

£300-400

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477 ~A SILVER-MOUNTED MOTHER-OF-PEARL ANDTORTOISESHELL BOX, PROBABLY NETHERLANDISHOR NORTHERN FRENCH, SECOND QUARTER 18THCENTURYoval, the nacre-set lid carved with a Nativity scene within areeded silver rim mount and shaped silver hinge, plaintortoiseshell sides and base13.5cm long

£150-250

478A SILVER AND MOTHER-OF-PEARL MAGNIFYINGGLASS, UNMARKED, PROBABLY NETHERLANDISH ORNORTHERN FRENCH, CIRCA 1730the lens with reeded rim mount hinging out from betweentwo plain oval nacre panels with pinned reeded ribsbetween8.5cm long

£300-500

479 ~AN IVORY CASED FRENCH SILVER-GILT SEWINGNECESSAIRE, AUGUSTE BELLEAU, PARIS, 1880/81plain oval case complete with silver-gilt implements: athimble, a needle case, a bodkin, a steel-mounted awl anda pair steel-mounted scissors, boar’s head markcase 11.8cm long

£150-250

480 ~A SILVER-MOUNTED AND CARVED IVORY TOPPEDWALKING STICK, PERHAPS RUSSIANthe ivory terminal carved as a bear’s head above a broadscroll foliate silver collar, malacca cane, 87.5cm; togetherwith a ‘Black Forest’ limewood walking stick, Swiss,circa 1900, the terminal with carved bear’s head, knobblycane, 93cm(2)

£300-400

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481A GROUP OF FIVE GOLD-CASED FOB SEALS, ENGLISH,SECOND QUARTER 19TH CENTURYvarious patterns, chased decoration, the matrix of the largestengraved with a coat-of-arms, crest and motto, another with thesame crest and motto enclosing the initials JAD, the matrixes ofthe remainder engraved respectively with a motto and blastedtree, a standing figure after the Antique, and the name Elizabeth;together with a Russian silver-gilt religious medal, oval(6)

The arms on the large seal in this group are those of Douglass forJames Alexander Douglass (1800?-1862), son of James Douglass(1757-1833) of Oundle, Northamptonshire, who married atBillericay on 29 October 1838 Mary Agnes Petre (1820-1886), elderdaughter of William Henry Francis, 11th Baron Petre (1793-1850),by his first wife, Frances ‘Fanny’ Charlotte Bedingfeld (1796-1822).J.A. Douglass (or Douglas), a solicitor and sometime a director ofthe Law Union Fire and Life Insurance Company, was living at thetime of his death (at Cowes, Isle of Wight), with his wife at 16Russell Square, Bloomsbury, London. Mr. and Mrs. Douglass had several children including Elizabeth,who was born about 1839, who may have been the owner of thesmall seal in this lot, whose matrix is engraved ‘Elizabeth.’Another seal in this lot is engraved with the initials JAD, mottoand crest, for James Alexander Douglass. See lot 571 for a jewelgiven by Douglass to his wife.

£250-350

482A LACQUER AND PIQUE SNUFF BOX, FRENCH, CIRCA 1765oval, inlaid with mother-of-pearl, silver and gold piqué wire andpoints, the lid with a basket of flowers and a bird, the sides andbase with further floral clusters, gilt-metal hinge mounts andflowerhead thumbpiece8.4cm wide

£300-400

483A FRENCH GOLD-MOUNTED BLONDE HORN SNUFF BOX,CIRCA 1780the base and sides decorated with stars and circles within plainborders, the detachable lid with transparent glass enclosingscrolled wirework and a ribbon-tied bunch of feather flowers6.5cm diameter

£150-250

484 ~A FRENCH GOLD-MOUNTED VERNIS MARTIN PICTURE SNUFFBOX AND COVER, CIRCA 1780circular, the cover set with an ivory moving-part roundel paintedwith the bust of a young man, his arm moving via a handle to theunderside to shield his face with a mask, within a leaf and linearengraved gold border, reeded rim mounts, the Vernis Martin ofgilt and red lozenge patterning, tortoiseshell lined6.2cm diameter

£400-600

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485A SOUVENIR OF ROBERT BURNS’S COTTAGE: A FRENCHNOVELTY COMBINED PROPELLING PENCIL AND SEAL, CIRCA 1900the handle of celluloid simulating banded agate, the electroplatemount with a Stanho-scope of titled micro-photographs:Brigadoon Ayr, Alloway Kirk, His Birthplace, Robert Burns, HisMonument, Tam O’Shanter and Souter Jonny, and Old & NewBrigs o’Ayr, and further inscribed Bought in the Cottage / Made inFrance5cm with pencil extended

£50-80

486A GEM SET SILVER FIGURE OF A SPARROW, PROBABLYHUNGARIAN, CIRCA 1920modelled perched on a tree stump with emerald set leaf, hiswings encrusted with rubies and sapphires, with enamelled tailand head and ruby eyes, on an amethystine quartz shaped squaresocle, unmarked excepting Austrian import mark6.8cm high

£300-400

487A FRENCH SILVER-GILT AND ENAMEL SCENT FLASK, CIRCA 1875the body with raised enamel insects and a phoenix amidstbamboo fronds on a pale blue ground, engine-turned base andneck, the hinged cap initialled ES for Elise Sibbeth, with groundglass stopper, French boar’s head standard mark only, in originalretailer’s purple velvet fitted case with printed gilt label J.W.BENSON / WATCHMAKER & JEWELLER / 99 WESTBOURNEGROVE8.5cm long

Provenance: Elise Sibbeth (1855-1946), daughter of W. EdmundSibeth of the Merchant Bankers Suse & Sibeth and who lived atRowney Abbey, Herts. Elise Sibbeth married Sebastian HenryPetre (1856-1934) of Tor Bryan House, Ingatestone, Co. Essex;thence by family descent to the present vendor.

£300-500

488A SCOTTISH MARKET VICTORIAN SILVER-GILT-MOUNTEDAGATE CHEROOT CASE, SCOTTISH OR BIRMINGHAM, CIRCA 1850rectangular, veneered in a variety of agates and further appliedwith two agate ovals, the hinge mounts and borders to the ovalsengraved with scrolled leafage, lid with silver-gilt interior, bodyinterior later lined in leatherette13cm long

£700-1000

489TWO GEORGE III SILVER SNUFF BOXES, BOTH BIRMINGHAMthe first rounded oblong with bulging sides, wriggleworkdecorated, Samuel Pemberton, 1799, 6.5cm long, the second ofpocket-fitting oblong form, plain excepting worn initials, JohnShaw, 1813, 6.5cm long; together with a silver pill or comfit boxand cover, circular, initialled wrigglework decorated, unmarked,probably Birmingham circa 1800, 2.5cm diameter; a Dutch silverpill box and cover, cylindrical, stamped with figures amidstscrolls, import marked London, 1892, 3.5cm high; and a silverVesta case, typical form, scroll foliate bright-cut, vacantcartouche, Smith & Bartlam of Birmingham, Chester, 1912(5)

£100-200

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490A GERMAN GOLD EGG CUP, UNMARKED, AUGSBURG, CIRCA 1735the ovate and circular bowls each with a finely detailedraised band of cornucopiae and shells on a granulatedground, with a knopped oblong stem between, with 180Austrian control mark6cm long, 48.4gr

£1200-1800

491A GEORGE III GOLD-MOUNTED BEADLE’S STAFF (OR GENTLEMAN’S LONG WALKING CANE), CIRCA1780the long malacca cane with narrower top section, withbright-cut gold mounts to the shoulder and tip, initialled tothe top AC, with long brass ferrule152cm high

Long canes of this type were popular in the late 18thcentury; see the portrait of John Milnes, 12th Duke of St.Albans in the Louvre, RF 1985-11, painted by Joseph Wrightof Derby in 1776 with the Duke holding a similar cane withlong ferrule and narrower top section, detail illustrated left.

£150-250

492A SILVER-GILT AND ENAMEL SNUFF BOX, UNMARKED,PROBABLY GERMAN, THIRD QUARTER 19TH CENTURYoblong, with shaped panels of turquoise enamelled beadssurrounded by scrolling borders of enamelled flowers andleaves on a matted ground7.2cm long

£600-800

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Portrait of John Milnes, 12th Duke of St. Albans in the Louvre, RF 1985-11,painted by Joseph Wright of Derby,holding a cane similar to lot 491

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493TWO ENAMEL SNUFF BOXES, GERMAN, THIRD QUARTER18TH CENTURYboth oblong and painted on a white ground, one with waistedsides and scenes of courting couples, the other straight sided andwith military trophies bordered by raised leafage8cm wide

£200-300

494AN ENAMEL SNUFF BOX, COMPOSITE, THIRD QUARTER 18TH CENTURYoblong, the English base painted with flower sprays on a whiteground, the lid set with an associated finely painted panel,probably German, depicting a seductive young woman in pinkrobed dishabille and straw hat leaning on a scroll plinth andholding a basket of flowers below a butterfly8.2cm wide

£100-150

495AN ENAMEL ETUI, PROBABLY FRENCH, LATE 19TH CENTURYtapering oval, the gilt diapered white ground painted with avariety of peopled riverine scenes, white-metal-mounted rim andhinge mounts, fitted interior with two sewing implements missing9.8cm long

£120-180

496AN ENAMEL SPANIEL BONBONNIERE, SOUTH STAFFORDSHIRE,CIRCA 1770moulded with the black and white dog curled on a pink cushion,hinged lid with flower spray4.3cm diameter

£100-150

497A FRENCH SILVER-GILT-MOUNTED PORCELAIN SMALLPENDENT BOX, EDME SAMSON & CIE, PARIS, CIRCA 1900the Samson porcelain modelled and painted after 18th centuryFrench snuff boxes as the face of a masked woman with diamondset eyes, the silver-gilt back with hatching to the rim mount, thehinged flat cover engraved with a buttercup, Emile Samson andboar’s head marks5.5cm long including suspension loop

Samson, as well as producing contemporary wares, wererenowned for their high quality copies of earlier European andOriental porcelain and enamel; items which sometimes came tobe thought of as the real things. Since their wares were oftenunmarked (or bear spurious marks), it is unusual to be able toascribe with certainty an object to the firm.

£200-300

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498A CARVED AGATE CAMEO PROFILE PORTRAIT OF NAPOLEON I,EMPEROR OF THE FRENCH, BY NICOLA MORELLI (1771-1838),CIRCA 1810facing right, after the Antique with short cropped hair and laurelcrown, signed below truncation MORELLIoval 4.9cm

Nicola Morelli (1771-1838), was a Roman gem carver, best knownfor his cameo works commissioned by the Bonaparte family,including the famous parure of 1807, set with cameo portraits ofthe family and given by Cardinal Fesch to his sister LetiziaBonaparte, Napoleon’s mother. Morelli is thought to have beentrained by Angelo Amastini, whose daughter he married. He isrecorded in 1799 as teaching Benedetto Pistrucci and in 1810 wasinducted as a gem engraver by the Accademia di S. Luca, beingadmitted to the Academy’s order of merit in 1812. See Lucia PirzioBiroli Stefanelli, ‘Nicola Morelli, Incisore in Pietre Dure,Accademico di Merito di S. Luca, Virtuoso del Pantheon’, Bollettinodei Musei Comunali di Roma, 1992, vol. VI, pp. 63-116, figure 2 foran illustration of a similar cameo, from the Castellani collection,now in the Museo di Villa Giulia, Rome. Napoleon was particularlyfascinated by the glyptic arts (gemstone carving and engraving),founding a Parisian school, based on the Roman Academy, toteach the skill.

£3000-4000

499 ~A PORTRAIT MINIATURE OF HOLY ROMAN EMPERORLEOPOLD II, AUSTRIAN SCHOOL, CIRCA 1790wearing white uniform with gold braid, lace jabot, black stock,with the sash and star of the Order of Maria Theresa, on ivory,gold frameoval 3.6cm

£200-300

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500 ~A PORTRAIT MINIATURE OF A GENTLEMAN, BY JEREMIAH MEYER (1735-1789),CIRCA 1775with hair en queue wearing a maroon coat, on ivory, gold frame, oval 4cm; togetherwith a portrait miniature of a gentleman, English School, circa 1775, wearing awhite coat, on ivory, gold slide frame, oval 3.9cm(2)

£150-250

501 ~A PORTRAIT MINIATURE OF A GENTLEMAN, BY GUSTAVUS HAMILTON (1739-1775), 1762with a powdered wig, wearing a blue coat and waistcoat and a pleated jabot, on ivory,signed with initials and dated, gold slide frame, oval 3.4cm; and another portraitminiature of a gentleman, by Penelope Carwardine (1730-1801), circa 1755,wearing a grey coat, on ivory, signed with initials, gilt-metal frame, oval 3.3cm(2)

£200-300

502A PORTRAIT MINIATURE OF THE COMTE D’EVREUX, FRENCH SCHOOL, CIRCA 1710with full grey wig, breastplate and blue shirt, on vellum, later gilt-metal frame, titledpaper label to reverseoval 6.8cm

Louis Henri de la Tour d’Auvergne, Comte d’Evreux (1674-1753), was a Field Marshall,who went on to build the Parisian hôtel particulier now known as the Elysée Palace,the French president’s official residence.

£200-300

503 ~A GRISAILLE PROFILE OF ARCHIBALD CAMPBELL, BY SAMUEL ANDREWS (1767-1807), CALCUTTA, 1803after the Tassie glass paste profile, on ivory, signed, inscribed and dated, gilt-metal-mounted rectangular stained Indian hardwood frameoval 10.7cm

The inscription reads: Sir A. Campbell K.B. / died 31 March 1791 / aged 52 / Tassie f 1779

Major-General Sir Archibald Campbell KB (1739 - 1791); as Chief Engineer of theBritish East India Company at Bengal he headed the works on Fort William in Calcutta.Captured during the American Revolutionary War, he was released in exchange for thefamous American rebel, Ethan Allen. Serving as Governor of Jamaica and thenMadras, Campbell is credited with numerous civil improvements. He married thedaughter of the portraitist Allan Ramsay in 1779 but died in London without issue.

Andrews worked in India from 1791 until his death, first in Madras and later Calcutta.Unlike most of his grisaille profiles taken from life, this posthumous profile was basedon the Tassie portrait of 1779.

£100-150

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504A PORTRAIT MINIATURE OF CHARLES II, ENGLISH SCHOOL, LATE 17TH CENTURYwith long curling hair and a white lace cravat,enamel, the turquoise counter enamel paintedwith the crowned cipher CIIR flanked by palms,in probably slightly later silver-gilt frame withscroll surmountoval 2.2cm

£500-700

505A PORTRAIT MINIATURE OF LOUIS LE GRANDDAUPHIN (MONSEIGNEUR), STUDIO OF JEAN PETITOT (1607-1691) CIRCA 1670with a full bottomed fair wig, lace cravat and redbow, enamel, silver-gilt frame with milled edgeand ribbon-tied surmountoval 2.1cm

£600-800

506A PORTRAIT MINIATURE OF QUEEN ANNE,ENGLISH SCHOOL, CIRCA 1710wearing a gold dress, ermine lined cape and theGreater George about her neck, enamel,unframedoval 6.1cm

This enamel appears to be based loosely on fulllength State portraits with versions by both SirGodfrey Kneller and Charles Jervas.

£250-350

507A PORTRAIT MINIATURE OF A GENTLEMAN,FRENCH SCHOOL, CIRCA 1700wearing a full-bottomed grey wig, armour andblue drape, on vellum laid on card, later gilt-metal frame, oval 4.7cm: together with a portraitminiature of a lady, French school, 19thcentury, in 17th century style, wearing a lacecap, striped dress and blue drape, on vellum laidon card, gilt-metal mount, oval 5.2cm(2)

£100-150

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508A PORTRAIT MINIATURE OF A LADY, BY NATHANIEL HONE(1718-1784), CIRCA 1760with brown hair and black neckband, wearing an erminetrimmed blue gown and gold sprigged white dress, enamel,gold frame with plaited hair border, wrigglework edge andlater brooch pin, frame hinging open to reveal a glazedcompartment set with a gouache of an eventide landscapeoval 3.2cm

£700-900

509A PORTRAIT MINIATURE OF THE ARTIST’S WIFE, MARIA HONE, BY NATHANIEL HONE (1718-1784), 1749in profile to left, her brown hair adorned with a string ofpearls, wearing a yellow gown and white chemise, enamel,verso signed with monogram and dated, rectomonogrammed, inscribed and dated, gilt-metal mountoval 5.4cm

Maria Earle (1721-1791), apparently a lady of some property,married Nathaniel Hone at York Minster in February 1742. Ithas been suggested she was the illegitimate daughter of JohnCampbell, 4th Duke of Argyll. The marriage produced fiveboys and five girls, many of whom Hone went on to depict ina series of tender oil paintings. Hone painted this vividportrait of his wife after they had been married seven years,carefully noting her identity on the counter enamel.

£1000-1500

510A PORTRAIT MINIATURE OF A LADY, CIRCLE OF GIUSEPPEMACPHERSON (1726-1779), MID 18TH CENTURYwith elaborately coiled and bound hair, wearing a red dresswith a blue sleeve and white chemise, enamel, gilt-metalmountoval 3.1cm

£200-300

511A MINIATURE OF A COUNTRY GIRL, PROBABLY FRENCHSCHOOL, 1770swearing a conical hat, yellow waistcoat and red drape,enamel, stamped gilt-metal mountoval 5.5cm

£70-100

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514515

512A PORTRAIT MINIATURE OF ARTHUR WELLESLEY, 1ST DUKE OFWELLINGTON, BY WILLIAM ESSEX (1784-1769) AFTER SIR THOMASLAWRENCE, 1848head and shoulders wearing a dark coat and the order of the GoldenFleece, enamel, recto signed with initials W.E, verso signed, extensivelyinscribed and dated, gilt-metal frameoval 9.6cm

Based on the famous portrait by Lawrence exhibited at the RoyalAcademy in 1822.

£800-1200

513A PORTRAIT MINIATURE OF QUEEN VICTORIA, ENGLISH SCHOOL,MID 19TH CENTURYthree quarter length wearing a white dress, lace shawl and the sash ofthe Order of the Garter, a document in her hand, enamel, unframedoval 5cm

£250-350

514A PORTRAIT MINIATURE OF A LADY, ENGLISH SCHOOL, 1733her head partly covered by a blue veil, wearing a white dress and a reddrape, landscape background, signed Alexr / pinx and dated, oil oncopper, gilt-metal mountoval 8.4cm

£200-300

515 ~A PORTRAIT MINIATURE OF A NUN, FRENCH SCHOOL, CIRCA 1760wearing a black habit tied with white rope, on ivory, silver-gilt frame withribbon-tied surmount and palm spray to baseoval 4cm

£150-250









516 ~A PORTRAIT MINIATURE OF A LADY, BY JOHN SMART (1740-1811), CIRCA 1770with brown hair, wearing an ermine trimmed blue gown and lilac dress, on ivory, signed withinitials, oval 2.2cm, set in an oval gold pendant, the blue glass reserve decorated in simulatedpearls with ribbon ties and fluttering birds, glazed reversependant 4.3cm long excluding suspension loop

£3000-4000

519 ~A PORTRAIT MINIATURE OF A LADY, BY GEORGEENGLEHEART (1750-1829), CIRCA 1790with powdered and curled hair bound by a blue and white scarf,wearing a white dress with a ruff collar and blue bow at corsage,sky background, on ivory, gilt-metal frame (back lacking)oval 5cm

£500-700

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517 ~A PORTRAIT MINIATURE OF A YOUNG LADY, ATTRIBUTED TOFELICITAS HOFFMAN (NEE SARTORI, CIRCA 1714-1760),CIRCA 1740wearing a lace-trimmed blue dress with a white drape, on ivoryoval 6.8cm glazed but unframed

£120-180

518 ~A PORTRAIT MINIATURE OF A LADY, GEORGE ENGLEHEART(1750-1829) AND WORKSHOP, CIRCA 1785with powdered and curled hair, wearing a lace trimmed whitedress, gold necklace and a portrait miniature hung on a blueribbon at her corsage, on ivory, later metal frame (back lacking)with scallop bevelled glassoval 5.8cm

£400-600

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520 ~A PORTRAIT MINIATURE OF KING GEORGE III, BY RICHARD COLLINS (1755-1831), CIRCA 1785in a blue uniform with red collar and gold lace, whitewaistcoat, with the sash and star of the Order of the Garter,on ivory, gilt-metal frameoval 5.1cm

This miniature is based on a full length portrait by ThomasGainsborough, commissioned by George III and exhibited atthe Royal Academy in 1781.

£400-600

521 ~A PORTRAIT MINIATURE OF A GENTLEMAN, BY FREDERICK BUCK (1771-ABOUT 1840), CIRCA 1795with powdered hair, wearing a brown coat and a pleatedjabot, gold frame, on ivory, the glazed reverse withopalescent glass reserve overlaid with hair locks andwirework and blue glass oval set with initials EWRoval 6.3cm

£300-400

522 ~A PORTRAIT MINIATURE OF A GENTLEMAN, BY PHILIPJEAN (1755-1802), CIRCA 1795with powdered hair, wearing a blue coat, striped waistcoatand pleated jabot, gold fausse-montre frame with blue glassreserve, the reverse with plaited hair border bound by rosediamond ribbons surrounding a finely painted allegoricalscene of Honour, Prudence and Virtue, both on ivoryoval 5.6cm

£800-1200

523 ~A PORTRAIT MINIATURE OF A LADY, SIGNED BRYER,1839with dark brown hair wearing a brown dress with a lacecollar, signed and dated, on ivory, gilt-metal mountoval 10cm

£60-90

524 ~A PORTRAIT MINIATURE OF A GENTLEMAN, ENGLISHSCHOOL, CIRCA 1790with powdered hair, wearing a dove-grey coat and yellowwaistcoat, on ivory, gilt-metal mount, oval 6.2cm; togetherwith two further miniatures, English School, late 18thcentury, of a lady wearing a black lace shawl and a gentlemanin a brown cloak, on ivory, gold frames with glazed reverses,the latter in red leather case, oval 7.6cm largest(3)

£150-200

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525 ~A PORTRAIT MINIATURE OF A YOUNG LADY, BY SIR WILLIAMCHARLES ROSS (1794-1860), DATED 1819with elaborately dressed brown hair, wearing a lilac gown withpink trimming, on ivory, signed and dated, ormolu framerectangular 8cm

Provenance: Collection of Carl Lugner, Wawra Auction, Vienna, 23-25 February 1918, lot 293

£500-700

526 ~A PORTRAIT MINIATURE OF A LADY, SIGNED C. A*, ENGLISHSCHOOL, 1842wearing a lace cap, white dress with triple ruff collar, dated andindistinctly signed, on ivory, gilt-metal framerectangular 9cm

£80-120

527 ~A PORTRAIT MINIATURE OF A GENTLEMAN, POSSIBLYRUSSIAN SCHOOL, CIRCA 1840wearing a black cape, white coat with a blue collar and a blackstock, a black and orange decoration ribbon, possibly the Order ofSt George, part concealed by his cape, on ivory, gilt-metal mountoval 9.4cm

£200-300

528 ~A PORTRAIT MINIATURE OF A GENTLEMAN, ATTRIBUTED TOSAMUEL JOHN STUMP (CIRCA 1779-1863), CIRCA 1815with brown hair, wearing a slate coloured coat and whitewaistcoat, on ivory, stamped gilt-metal mount, oval 7.5cm;together with a portrait miniature of a young man, EnglishSchool, circa 1815, in a blue coat, on ivory, gilt-metal mount, oval7.3cm (2)

£100-150

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529 ~A PORTRAIT MINIATURE OF A LADY, BY ANTONIO TOMASICHY HARO (1820-1890), 1873wearing a dark purple dress, with a tied lace shawl and pearlnecklace, on ivory, signed and dated, gilt-metal mount, originalfitted dark leather caseoval 11.9cm

Antonio Tomasich y Haro trained in Paris and subsequentlyworked in Spain, Mexico, Cuba and, for a while, in England. Hepainted numerous portraits of the Spanish Court, examples ofwhich he exhibited in Madrid in the 1870s.

£400-600

530 ~A PORTRAIT MINIATURE OF A YOUNG BOY, BY NELSONMULNIER (BORN 1817), CIRCA 1840wearing a brass-buttoned black coat, white waistcoat and blackcravat, on ivory with mother-of-pearl backing, signed, in goldbrooch frame with engraved scroll foliate decoration and originalfitted leather caseoval 5.2cm

This miniature is an example of the connections between earlyphotography and miniature portraiture (see lot 531). The differentmembers of the Mulnier family of miniaturists are often confused.It would appear Nelson Mulnier was the elder son of EtienneFerdinand Mulnier and grandson of Jean-Baptiste Mulnier. Nelsonwent on to work as a photographer in Marseilles in associationwith Chapelier. His younger brother, another Jean-Baptiste, had aphotography studio in Paris. (www.portraitsepia.fr/articles-323-6,accessed 12.04.2016)

£250-350

531 ~A PORTRAIT MINIATURE OF EUGENIE, EMPRESS OF THEFRENCH, BY MORITZ CONRADI (ACTIVE 1840-1876), 1855her hair with a tiara and white flowers, wearing a white dress withlace collar and a sash of the Order of Queen Maria Luisa of Spain,on ivory, signed and dated, gilt metal mountoval 9.2cm

Conradi was an associate of the photographer Antoine Claudet.Claudet operated one of the first daguerreotype studios in Londonfrom June 1841. Conradi, who had studied at the Dresden andBerlin academies, exhibited portraits and miniatures 1865-76 from23 Berners Street, London. See Royal Collections (RCIN 421896)for a Conradi portrait of Queen Victoria.

£250-350

532 ~A PORTRAIT MINIATURE OF A LADY, BY YVONNE GREGORY(1889-1970), CIRCA 1910with dark brown hair, white dress with a black shawl to oneshoulder, on ivory, signed, set in an earlier gilt-metal fausse-montre frame (loop missing)oval 4.9cm

This miniature is another example of the link between miniaturepainting and photography, that dates back to the 1840s: see lots530 & 531 for early examples of this link. The present miniature,signed by Gregory, predates her better-known later career as aphotographer. With her husband, Bertram Park, whom shemarried in 1916, she set up a photography studio in Dover Street,that developed to become one of the most fashionable andsuccessful studios in London.

£150-250














537A GILT-BRASS CARRIAGE CLOCK, GAY, LAMAILLE & CO. OF PARIS AND LONDON, CIRCA 1880 French eight day movement hour and half hour striking and hourrepeating on a gong, silvered platform escapement, back platestamped G.L and Patent Surety Roller in ovals and numbered1711, the pearl-finished English Anglaise type case with silveredchapter ring with Roman numerals surrounded by pierced andengraved foliate strapwork in which perch a pair of birds, glazedside panels with similar strapwork, with key and morocco leathercarrying case18.5cm high with handle raised

According to Allix and Bonnerts’s Carriage Clocks, The HorologicalJournal of March 1880 mentions Gay, Lamaille & Co. of Paris andLondon as securing the patent for an improved star-wheelapplicable to carriage clock strike and calendar work.

£400-600

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533A VICTORIAN MAHOGANY MANTEL CLOCK, MID 19TH CENTURYeight-day fusee movement timepiece, white dial with Romannumerals, rectangular case with caddy top, sides with gilt brassdrop rings above brass fret work panels on brass ball feet, withkey26.5cm high

£100-150

534AN ENGLISH BRASS COMPOSITE LANTERN CLOCK, 18TH CENTURY AND LATERassembled and fitted in the late 19th century with a twin fuseemovement twin stricking the hours and the quarters, the dialsigned John Maynard above scrolling foliage within the Romannumeralled chapter ring, hinged doors to sides and back betweenthe turned column frame with urn finials, scroll and Renaissancedolphin frets to three sides under the lantern bell, with key37cm high

£400-600

535A FRENCH GILT-BRASS CARRIAGE CLOCK, EARLY 20THCENTURYeight-day timepiece movement, white dial with Roman numerals,corniche type case, with key and leather carrying case14.5cm high including swing handle

£40-60

536A FRENCH GILT-BRASS CARRIAGE CLOCK, LATE 19THCENTURYeight day movement striking on a gong, white dial with Romannumerals, Anglaise case, with key19cm high with handle raised

£200-300









542LADY’S GOLD WATCH, REGLIA, 1950sthe circular ivory dial with hands and Arabic numerals behindraised glass between shoulders of wire ring design on a blackleather strap, French assay mark, numbered 42196dial diameter 13mm approximately

£80-120

543BULOVA ACCUTRON: A LADY’S EIGHTEEN CARAT GOLDBRACELET WATCH, 1974the square textured gold dial with gold baton indicators andhands on a tapering ribbon smooth link bracelet with jewelleryclasp, movement signed and numbered 2300, Swiss 18 carat goldand London import marks to inside case back, case numbered 2-644512, clasp with London import marks for 1974

£200-300

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540GARRARD: A GENTLEMAN’S GOLD WRISTWATCH, CIRCA 1970automatic movement, silvered dial with numeral 12 andremaining hours with gold batons excepting date aperture to 3o’clock, plain circular case inscribed to back, associated leatherstrap, in probably original rexine covered metal casecase 33mm diameter

£120-180

541RODANIA: A GENTLEMAN’S NINE CARAT GOLDWRISTWATCH, 1964silvered dial with gold batons and subsidiary seconds dial, dial andmovement signed, plain circular case ‘STOLKASE’ Birminghamhallmarked 1964, case back engraved with a presentationinscription, with associated gilt-metal sprung braceletcase 3.2cm diameter

£100-200

539GIRARD-PERREGAUX, GYROMATIC: A GENTLEMAN’S GOLDWRISTWATCH, 1960sautomatic 17 jewel movement, silvered signed dial with goldbatons, circular gold case with Swiss 18 carat gold marks,associated Omega leather strapcase 34mm diameter

£300-400

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544BUECHE-GIROD: A LADY’S NINE CARAT GOLD BRACELETWATCH, 1976one jewel unadjusted France Ebauche quartz movement, oblongfrosted signed dial with gilt batons, gilt-metal Bueche-Girodcrown, textured mesh bracelet with jewellery clasp, case andbracelet gold hallmarked for Bueche-Girod, with original suedecase, guarantee and boxlength 170mm approximately

£250-350

545OMEGA ‘DE VILLE’, REF.8270: A LADY’S SILVER BRACELETWATCH, CIRCA 1972manual wind, brushed dark blued dial with white batons andhandles, wide oblong case with snap-on back and bevelled glass,integral Omega openwork fancy link bracelet, case, dial, movementand strap signed, movement No.35176785, case No.8332/384, case35mm wide; together with a Universal Geneve gentleman’s gilt-metal bracelet watch, quartz movement, brushed white dial withArabic numerals, rounded oblong case, integral nine row linkbracelet, dial, case and bracelet signed, case 27mm wide(2)

£150-200

538A ‘MUST DE CARTIER’ TRAVELLING ALARM CLOCK, CIRCA 1990lacquered brass, quartz movement, plain white circular dial signedCartier surrounded by a broad plain bezel painted with large redRoman numeral hours, dial cover hinging round to form stand, inred suede pouch gilt stamped Cartier and with red leatherette casegilt stamped must de Cartier, complete with guarantee andmanual in a gilt-tooled red leatherette folder5.4cm diameter

£120-180
















546CHOPARD, GENEVA: A LADY’S GOLD BRACELET WATCH,CIRCA 1970manual wind 17 jewel movement, the lapis lazuli dial gilded withbatons, circular case with hatched bezel, Milanese bracelet withjewellery clasp, signed to dial, crown, case and bracelet, 18 caratSwiss gold marks, case numbered 64203, in retailer’s case forWest of Dublincase 2.5cm diameter, length approximately 17cm

£500-800

548‘ROLLS ROYCE’ PENDANTthe textured plaque depicting the ‘R R’ logo within a black enamelsurround on a fancy link back chainchain length approximately 450mm, 28.7gr

£500-800

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550GENTLEMAN’S MOTHER OF PEARL AND SAPPHIRE DRESSSET, 1920scircular, mother of pearl with a millegrain-set central French-cutsapphire, one collar stud later replacement with central pearl andblack enamel decoration.

£250-350

549GENTLEMAN’S MOTHER OF PEARL AND CULTURED PEARLDRESS SET, EARLY TWENTIETH CENTURYthe double sided circular mother of pearl cufflinks bordered by adesign of laurel leaves and decorated with a central culturedpearl; together with four buttons and three studs of matchingdesignfitted leather Tiffany and Co case

£400-600

547NINE CARAT GOLD PARURE, CIRCA 1970of plain brick links, comprising: a choker, a bracelet, a pair half-hoop earrings and a ring, hallmarked maker’s mark CM&S,London, 1969/70, in original burgundy leather fitted case withretailer’s stamp for Collingwood (Jewellers) Ltd.74gr approximately

£700-1000










553DIAMOND HINGED BANGLEset to the front with a row of brilliant-cut diamondsinner diameter approximately 57mm

£700-1000

554AQUAMARINE PENDANTthe cushion shaped aquamarine surmount suspending a pearshaped stone on a fine back chainchain length approximately 430mm

£1200-1500

555DIAMOND CROSS PENDANTset throughout with brilliant-cut diamonds on a fine zip link backchainlength approximately 405mm

£500-700

556PAIR OF WHITE JADE AND DIAMOND EAR PENDANTSeach designed as a series of interlocking circular jade linkssuspended from a row of collet-set brilliant-cut and baguettediamondslength 54mm approximately

£600-800

557SILVER BRACELET, GEORG JENSEN, 1970sdesigned as a series of six hinged geometric links, French swanimport mark, signedlength approximately 178mm, 61.6 gr approximately

£1200-1500

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551SILVER AND MOONSTONE NECKLACEthe row of graduated cabochons in broad collet settings, Londonhallmarkedlength 470mm approximately

£400-600

552SILVER, CITRINE, AMETHYST AND SMOKY TOPAZ NECKLACEthe row of roughly cut and shaped stones in textured colletsettings, London hallmarkedlength approximately 510mm

£400-600

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558SILVER ‘MOONLIGHT BLOSSOM’ BROOCH, GEORG JENSEN,COPENHAGEN, CIRCA 1971designed by Arno Malinowski as a roundel pierced with a pair ofbutterflies perched on a flowering geranium stem, Danish marks,numbered 283 and London import marksdiameter 45mm approximately

£200-250

559GENTLEMAN’S DIAMOND RINGthe filed curb link chain set to the front with single-cut diamondssize Z

£120-180





560SAPPHIRE AND DIAMOND RING, VAN CLEEF & ARPELS, 1970sof bombé design, set with four rows of graduated circular-cutsapphires with collet set single cut diamonds inbetween (onediamond deficient), stamped VCA / ITALY / NY and PT for platinumsize O

£600-900

561PAIR OF PERIDOT EARCLIPSthe Indian style flower set throughout with facetted peridotssuspending a briolette peridot between smaller peridot drops

£800-1000

562PAIR OF MINOAN INSPIRED HOOP EARCLIPS, ILIASLALAOUNISeach hinged hoop designed as a series of hollow spheres, makersmark, suede leather pouch29.1 grs

£700-900

563EIGHTEEN CARAT GOLD, GARNET AND CITRINE RING, KIKIMcDONOUGH, CIRCA 2007the collet set cushion cut garnet between similarly set triangularshaped citrine shoulders, tapering shank, Birmingham hallmarks,maker’s mark KMcD, with Kiki McDonough boxsize I ½

£300-400

564FOUR EIGHTEEN CARAT GOLD AND COLOURED GEMSTONESTACKING RINGS, KIKI McDONOUGH, CIRCA 1999set with either a square mixed cut tourmaline, peridot, amethystor citrine, each stone tension held in a tapering wide band,Birmingham hallmarks, one maker’s mark KMcD, with whiteleatherette Kiki McDonough pouchsize N 1/2

£800-1000

565EIGHTEEN CARAT GOLD AND BERYL ‘BOMBE’ RING,SOLANGE AZAGURY-PARTRIDGE, CIRCA 1997designed as a raised cluster of circular and oval cabochons,maker’s mark, hallmarked London 1997size N

£1200-1800

566CITRINE RINGclaw-set with a step-cut citrinesize Q½

£80-100

567AMETHYST, EMERALD AND DIAMOND RINGdesigned as a cluster of circular amethyst and brilliant-cutdiamond flowers accented by pear shaped emerald leavessize U

£100-150

568EIGHTEEN CARAT GOLD, PINK TOURMALINE AND GARNETRING, SOLANGE AZAGURY-PARTRIDGE, CIRCA 1997the wide tapering band set with a central square pink tourmalineframed by four rectangular garnets, maker’s mark, hallmarkedLondon, 1997, with leather boxsize M

£1200-1800

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567 584 (part)568


571VICTORIAN ENAMEL, SEED PEARL AND GARNET BROOCH,MID 19TH CENTURYof stylised crowned heart design, centred by a twin-heart-shapedpolished garnet entwined in a blue guilloché ribbon decorated atintervals with seed pearls and terminating in a kite-shaped furtherpolished garnet, original fitted morocco leather case

Provenance: James Alexander Douglass (1800?-1862), thence bydescent through the Petre family to the present vendor. JamesDouglas(s) of Lincoln’s Inn Fields and Ealing married in 1838 MaryAgnes Petre (1820-1886), elder daughter of William Henry Francis,11th Baron Petre, at the Petre’s seat of Thorndon Hall in Essex.Crown heart brooches, often in silver, are commonly known asLuckenbooth brooches, given traditionally in Scotland as weddingpresents. This brooch, known in the family as the ‘Douglas Heart’is also symbolic of the heart featuring in the Douglas coat ofarms. Sir James Douglas carried Robert the Bruce’s heart onCrusade in 1330, but died at the battle of Teba in Andalucia. Hisheart (together with Robert the Bruce’s) was brought back toScotland and apparently thereafter the arms of the Douglas familywas changed to incorporate the crowned heart. See lot 481 forseals belonging to James Alexander Douglass.(http://www.educationscotland.gov.uk/scotlandshistory/warsofindependence/brucesheart/index.asp - accessed 16.03.2016)

£400-600

572EIGHTEEN CARAT GOLD, SAPPHIRE AND DIAMOND RINGthe central oval sapphire set between two circular stones withsimilarly cut diamonds inbetween, faintly hallmarked Londonsize O

£600-800

573FOURTEEN CARAT GOLD, RUBY AND DIAMOND RING,AUSTRO-HUNGARIAN, CIRCA 1900the carved oval ruby centred by a collet set circular cut diamondin an openwork eye-shaped mount with spearhead shoulders,reeded shank, gold marksize T

£600-800

574COLLECTION OF RINGS AND JADE BROOCHthe nine rings comprising: gold band collet-set with three ovalturquoise, size T, hallmarked 18ct; gold band mounted with threecircular banded agates, size P; black enamel mourning ring,inscribed ‘J.A.D, died 11th June 1862’, size P; carved mourningring with white agate bezel, inscribed ‘WP obt, 3rd July 1850’,hallmarked London, indistinct date letter, size M; five stone ringset with cushion-shaped rubies, size Q ¾; oval cameo ring, 19thcentury, size P, indistinct makers mark; turquoise cabochon ringwith chased shoulders, late 19th century, off round size O (inpresent state); seed pearl eternity ring, size N; ring mount, size Q;together with a carved jade button mounted as a brooch, length64mm approximately, fitted leather box by Carrington & Co.

£300-500

132

569

570

570GUILLOCHE ENAMEL AND DIAMOND BROOCH, CIRCA 1910the circular mauve enamel plaque with a central floral motif setwith rose and single-cut diamonds bordered by similarly cutstones within a pierced detailed surround also set with similarlycut diamondsdiameter approximately 430mm, in probably original leather caseby Asprey

£800-1200

569ENAMEL AND DIAMOND PENDANT, EARLY 19TH CENTURYdesigned as a lyre set to the centre with a foiled rose diamondwith blue enamel border and similarly set throughout, on abelcher link back chainlength of chain 373mm (to 420mm) approximately

£400-600










133

575RUBY AND MOONSTONE BROOCH,LATE 19th CENTURYdesigned as a flower set with carvedmoonstone petals to a centre mountedwith a circular ruby and rose diamonds later clasp, diameter 26mm approximately

£200-300

576AGATE AND GOLD BROOCH, LATE 18THCENTURYthe oval polished agate within a framecarved with floral and foliate decoration

£120-180

575

576

572

573

574 (part)

571

577 (part)

577 (part)

577MULTI COLOURED GEM STONE BROOCHdesigned as a floral spray set with various circularstones including: variously coloured sapphires,tourmalines; garnets and a step-cut aquamarine, length approximately 60mm; together with a gem set and pearl ‘Giardinetto’ brooch/pendant, the open work basket set with circular gemstonesincluding sapphires, emeralds and rubies with pearl accents, length 450mm approximately,sapphire deficient; and a collection of antique paste, comprising: a marquise shaped buckle; a pair of oval buckles; a brooch of three cartouches(one paste deficient); pair ofcluster cufflinks; and a singlependent earring

Partly illustrated p.137

£150-250






578PAIR OF SEED PEARL AND EMERALD EAR PENDANTSeach designed as a carved emerald amphora suspended by chains decorated withseed pearls

£300-400

579GOLD, HARDSTONE AND TURQUOISE CROSS PENDANT, 1870seach tapering arm decorated with various agates including: lapis lazuli; carnelian;malachite and turquoise terminating in filigree trefoils accented with turquoisecabochons, later silver pendant fitting, one turquoise deficient, fitted morocco case,the ivory silk lining gilt stamped J. EDMONDS, Goldsmith & Jeweller, 67, Baker,LONDON, the heel of the case stamped with the case maker’s mark G in Gothic script,95mmx75mm approximately

Provenance: Monsignor William Petre, (1847-1893), who became 13th Baron Petre onthe death of his father in 1884, a Roman Catholic writer and educator. Ordained in1874, he founded a school in 1877 at Woburn Park, Addlestone. Run on highlyunconventional lines, the school failed in 1884, but undaunted Monsignor Petreestablished another school at Northwood Park on the Isle of Wight the same year;sadly this too was doomed to failure within a twelvemonth. Presumably thesescholastic miscarriages contributed to his early death aged forty-six. Thence by familydescent to the present vendor.

£150-250

580AMETHYST NECKLACE, 1900sdesigned with three circular amethysts accented with seed pearls connected by knifewire to pear shaped amethyst drops on a fine link back chainlength approximately 420mm, one drop detached, one pearl missing

£100-150

581PAIR OF TURQUOISE AND CULTURED PEARL EARRINGSeach circular earring decorated with a central cultured pearl within a floral turquoisesurround

£400-600

582PAIR OF AMETHYST EAR PENDANTS AND BROOCH, LATE 19th CENTURYeach earring designed as a row of four oval amethysts within granulated surrounds,the brooch of similar design (central stone deficient)

£150-200

583PAIR OF GOLD CUFFLINKSeach circular link depicting Tsar Nicholas II on chain and baton fittingsbearing suprious Fabergé marks7 grs

£80-120

584AMETHYST BRACELETdesigned as a series of eight oval amethysts within twisted rope borders, lengthapproximately 190mm, together with a ring set with a step-cut amethyst, size M½(2)

Ring illustrated p.131

£600-800

134









135

578

581

579

582 (part)

580

583

584 (part)


585DIAMOND RINGthe step-cut diamond weighing 2.61 caratssize N

£6000-8000

586DIAMOND FIVE STONE RINGthe graduated circular diamonds in a millegrain settingsize R

£1000-1500

587DIAMOND HALF HOOP RING, CIRCA 1897set with a graduated row of cushion shaped diamonds with rosediamonds inbetween in a scrolled gallery mount, hallmarkedBirmingham 18 carat, 1897, one rose diamond deficient size P

£800-1200

588DIAMOND RING, CIRCA 1870the cushion shaped diamond mounted by long claws in a taperingshank, hallmarked Londonsize U

£400-600

589PAIR OF DIAMOND PENDENT EARRINGSeach surmount designed as a graduated swirl set with baguettediamonds suspending a crescent motif enclosing an articulatedpear-shaped diamond decorated with single- and brilliant-cutstones throughout

£1500-2000

590RUBY AND DIAMOND BRACELETthe central diagonal line of brilliant-cut diamonds flanked by rowsof circular rubies and textured pellet links, length approximately190mm, weight 34.5 grs

£600-800

591RUBY AND DIAMOND PENDANT/BROOCHthe shield shape set with a central circular ruby within a floralsurround set with brilliant-cut diamonds and similarly cut rubies

£200-300

592DIAMOND AND EMERALD RING, 1960sdesigned as a cluster of brilliant-cut diamonds within a row ofcircular emeralds surrounded by a border of similarly cutdiamondssize M1/2

£200-300

593EMERALD AND DIAMOND RING, 1970sof abstract design, set with single-cut diamonds and a cascade ofgraduating pear-shaped emeraldssize J

£120-180

594DIAMOND CLUSTER RINGset with a brilliant-cut diamond within a surround of similarly cutstonessize M

£1500-2000

136

585

586 587 588












137

589

590

591

595 (part)

592

594

593


595DIAMOND PENDANT AND PAIR OF SEED PEARL EARRINGSthe leaf shaped open-work pendant set throughout with lasque-cut diamonds; the earings of mother-of-pearl and seed pearls,1840s, fitted leather case stamped for Edward Birch, Brighton;together with a paste brooch of twisted leaf design(4)

Pendant and brooch illustrated p.137

£100-200

596CULTURED PEARL AND RUBY NECKLACEthe long row of pearls measuring 5.8mm-7.7mm approximately onan oval clasp set with four circular rubieslength approximately 1150mm

£200-300

597CULTURED PEARL NECKLACEthe knotted graduated pearls measuring from 2.8mm-6.4mmapproximately on a pierced oval clasp set with single-cutdiamondslength approximately 425mm

£100-200

598CULTURED PEARL AND DIAMOND PENDANT, 1880slozenge shaped, set throughout with cushion shaped and circularcut diamonds accented with cultured pearls37mm approximately long excluding diamond set bale

£1200-1800

599CULTURED PEARL AND DIAMOND BROOCH / PENDANT, 19TH CENTURY COMPOSITEdesigned as a double bow with two circular cut stones in cutdown collet mounts and set throughout with similarly shaped andcushion shaped diamonds suspending a later cultured pearl drop

£2000-2500

600EMERALD AND DIAMOND RINGof cluster design, millegrain set with a square emerald within asurround of similarly set circular diamonds, Birminghamhallmarks for platinum, maker’s marksize R

£1500-2000

138

595 (part)









139

601SAPPHIRE AND DIAMOND RING, CIRCA 1900

the circular cut sapphire between similarly cut diamonds in anengraved platinum mount, unmarked

size J

£1000-1200

598

599

600

601

577 (part)

597

596



602RUBY AND DIAMOND BROOCH, WEST OF DUBLIN, 1970sas a radiating textured openwork annular spray, irregularly setaround the inner ring with circular-cut rubies and brilliant-cutdiamonds, stamped WESTapproximately 52mm high

£300-400

603DIAMOND LAPEL PIN, WEST OF DUBLIN, 1970sthe brilliant-cut diamond within a textured matrix-like setting,stamped WEST

£300-400

604TURQUOISE AND DIAMOND BROOCH, WEST OF DUBLIN,1970sof asymmetric curved form, the textured linear motifs set atintervals with turquoise cabochons and brilliant-cut diamonds,double pin to reverse, stamped WESTheight approximately 58mm

£300-400

605HINGED PANEL BRACELET, WEST OF DUBLIN, 1970seach of the twelve rectangular panels diagonally divided betweenjumbled hexagonal motifs over textured irregular ripples,stamped WEST, in original ‘West’ caselength approximately 193mm, 107.7gr approximately

£1800-2200

606RUBY AND DIAMOND PENDANTof negligée design, the tubular knotted chain terminating in a pearruby and diamondlength approximately 420mm

£700-1000

607GOLD, CULTURED PEARL AND SAPPHIRE DEMI-PARURE,1950seach earring designed as a flower head set with a central culturedpearl with circular sapphire accents, Italian marks for 18 carat,Alessandria; together with a curving leaf brooch decorated withsapphiresbrooch measures 66mm x 20mm approximately(3)

£300-400

608COLLECTION OF GOLD JEWELLERYcomprising: an enamel and textured dress ring designed withgreen and blue stripes, size N; a brooch of leaf design; and threepairs of foliate and floral earclips48.1gr total(8)

£400-600

140

602

605

604

603









609NINE CARAT GOLD AND AMETHYST RING AND BROOCHPENDANT,1970s,the oval cluster of amethysts set in a naturalistic textured mount;together with a brooch/pendant with similar centre surrounded byan openwork asymmetric petal border, both signed BU, Londonhallmarks 1975 and 1973 respectivelysize N

£300-400

610GOLD BRACELET, 1950sthe articulated brick link bracelet fastened with a flower head clasplength approximately 193mm, 150gr

£1800-2200

141

End of Sale

Next Sale 22nd November 2016

Closing end September 2016

607

608 (part)

608 (part)

609 (part)

609 (part)

610606




144

1. Introduction (a) The contractual relationship of Matthew Barton Ltd and Sellers

with prospective Buyers is governed by:(i) these Conditions of Business for Buyers;(ii) the Conditions of Business for Sellers displayed in thesaleroom and available from Matthew Barton Ltd; (iii) Matthew Barton Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the salecatalogue, in each case as amended by any saleroom notice orauctioneer's announcement.

(b) As auctioneer, Matthew Barton Ltd acts as agent for the Seller.Occasionally, Matthew Barton Ltd may own or have a financialinterest in a lot.

2. Definitions “Bidder” is any person making, attempting or considering

making a bid, including Buyers;; “Buyer” is the person who makes the highest bid or offer

accepted by the auctioneer, including a Buyer’s principal whenbidding as agent;

“Seller” is the person offering a lot for sale, including their agentor executors;

“MBL” means Matthew Barton Ltd., Auctioneers, 25 Blythe RoadLondon W14 0PD, company number 6504692.

“Buyer’s Expenses” are any costs or expenses due to MatthewBarton Ltd. from the Buyer;

“Buyer’s Premium” is the commission payable by the Buyer on theHammer Price at the rates set out in the Guide for Prospective Buyers;

“Hammer Price” is the highest bid for the property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s

Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer

Price at which the Seller has agreed to sell the lot.

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

3. Examination of Lots (a) MBL’s knowledge of lots is partly dependent on information

provided by the Seller and MBL is unable to exercise exhaustivedue diligence on each lot. Each lot is available for examinationbefore sale. Bidders are responsible for carrying outexaminations and research before sale to satisfy themselvesover the condition of lots and accuracy of descriptions.

(b) All oral and/or written information provided to Bidders relatingto lots, including descriptions in the catalogue, conditionreports or elsewhere are statements of MBL’s opinion and notrepresentations of fact. Estimates may not be relied on as aprediction of the selling price or value of the lot and may berevised from time to time at MBL’s absolute discretion.

4. Exclusions and limitations of liability to Buyers (a) MBL shall refund the Purchase Price to the Buyer in

circumstances where it deems that the lot is a counterfeit,subject to the terms of MBL’s Authenticity Guarantee.

(b) Subject to Condition 4(a), neither MBL nor the Seller:- (i) is liable for any errors or omissions in any oral or writteninformation provided to Bidders by MBL, whether negligent orotherwise; (ii) gives any guarantee or warranty to Bidders and anyimplied warranties and conditions are excluded (save in so faras such obligations cannot be excluded by English law), otherthan the express warranties given by the Seller to the Buyer(for which the Seller is solely responsible) under theConditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions(whether negligent or otherwise) by MBL in connection withthe conduct of auctions or for any matter relating to the sale ofany lot.

(c) Without prejudice to Condition 4(b), any claim against MBLand/or the Seller by a Bidder is limited to the Purchase Price forthe relevant lot. Neither MBL nor the Seller shall be liable forany indirect or consequential losses.

(d) Nothing in Condition 4 shall exclude or limit the liability ofMBL or the Seller for death or personal injury caused by thenegligent acts or omissions of MBL or the Seller

5. Bidding at Auction (a) MBL has absolute discretion to refuse admission to the auction.

Before sale, Bidders must complete a Registration Form andsupply such information and references as MBL requires.Bidders are personally liable for their bid and are jointly andseverally liable with their principal, if bidding as agent (in whichcase MBL’s prior and express consent must be obtained).

(b) MBL advises Bidders to attend the auction, but MBL willendeavour to execute absentee written bids provided thatthey are, in MBL’s opinion, received in sufficient time and inlegible form.

(c) When available, written and telephone bidding is offered as afree service at the Bidder’s risk and subject to MBL’s othercommitments; MBL is therefore not liable for failure to executesuch bids. Telephone bidding may be recorded.

6. Import, Export and Copyright Restrictions MBL and the Seller make no representations or warranties as to

whether any lot is subject to import, export or copyrightrestrictions. It is the Buyer's sole responsibility to obtain anycopyright clearance or any necessary import, export or otherlicence required by law, including licenses required under theConvention on the International Trade in Endangered Species(CITES).

7. Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or re-

offer lots for sale (including after the fall of the hammer) if (s)hebelieves that there may be an error or dispute, and may alsotake such other action as (s)he reasonably deems necessary.

(b) The auctioneer will commence and advance the bidding insuch increments as (s)he considers appropriate and is entitledto place bids on the Seller’s behalf up to the Reserve Price forthe lot, where applicable.

(c) Subject to Condition 7(a), the contract between the Buyer andthe Seller is concluded on the striking of the auctioneer'shammer.

(d) Any post-auction sale of lots shall incorporate theseConditions of Business.

8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase

Price is due in pounds sterling immediately after the auction(the "Payment Date").

(b) Title in a lot will not pass to the Buyer until MBL has receivedthe Purchase Price in cleared funds. MBL will generally notrelease a lot to a Buyer before payment. Earlier release shallnot affect passing of title or the Buyer's obligation to pay thePurchase Price, as above.

(c) The refusal of any licence or permit required by law, asoutlined in Condition 6, shall not affect the Buyer’s obligationto pay for the lot, as per Condition 8(a).

(d) The Buyer must arrange collection of lots within 10 workingdays of the auction. Purchased lots are at the Buyer's risk fromthe earlier of (i) collection or (ii) 10 working days after theauction. Until risk passes, MBL will compensate the Buyer forany loss or damage to the lot up to a maximum of thePurchase Price actually paid by the Buyer. MBL’s assumption ofrisk is subjected to the exclusions detailed in Condition 5(d) ofthe Conditions of Business for Sellers.

(e) All packing and handling of lots is at the Buyer's risk. MBL will

Conditions of Business for Buyers


145

not be liable for any acts or omissions of third party packers orshippers

9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the

Buyer without prior agreement fails to make payment for the lotwithin 5 working days of the auction, MBL may in its solediscretion exercise 1 or more of the following remedies:-

(a) Store the lot at its premises or elsewhere at the Buyer’s solerisk and expense;

(b) Cancel the sale of the lot; (c) Set off any amounts owed to the Buyer by MBL against any

amounts owed to MBL by the Buyer for the lot; (d) Reject future bids from the Buyer; (e) Charge interest at 4% per annum above HSBC Bank Plc base

Rate from the Payment Date to the date that the Purchase Priceis received in cleared funds;

(f) Re-sell the lot by auction or privately, with estimates andreserves at MBL’s discretion, in which case the Buyer will beliable for any shortfall between the original Purchase Price andthe amount achieved on re-sale, including all costs incurred insuch re-sale;

(g) Exercise a lien over any Buyer’s Property in MBL’s possession,applying the sale proceeds to any amounts owed by the Buyerto MBL. MBL shall give the Buyer 14 days written notice beforeexercising such lien;

(h) Commence legal proceedings to recover the Purchase Price forthe lot, plus interest and legal costs;

(i) Disclose the Buyer’s details to the Seller to enable the Seller tocommence legal proceedings.

10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot

within 20 working days of the auction, the lot will be stored atthe Buyer's expense and risk at MBL’s premises or inindependent storage .

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

11. Data Protection

(a) MBL will use information supplied by Bidders or otherwiseobtained lawfully by MBL for the provision of auction relatedservices, client administration, marketing and as otherwiserequired by law.

(b) By agreeing to these Conditions of Business, the Bidder agreesto the processing of their personal information and to thedisclosure of such information to third parties worldwide forthe purposes outlined in Condition 11(a) and to Sellers as perCondition 9(i).

12. Miscellaneous

(a) All images of lots, catalogue descriptions and all othermaterials produced by MBL are the copyright of MBL.

(b) These Conditions of Business are not assignable by any Buyerwithout MBL’s prior consent, but are binding on Bidders’successors, assignees and representatives.

(c) The materials listed in Condition 1(a) set out the entireagreement between the parties.

(d) If any part of these Conditions of Business be heldunenforceable, the remaining parts shall remain in full forceand effect.

(e) These Conditions of Business shall be interpreted inaccordance with English Law, under the exclusive jurisdictionof the English Courts, in favour of MBL.

Matthew Barton Ltd’s Authenticity Guarantee

If Matthew Barton Ltd sells an item of Property which is latershown to be a “Counterfeit”, subject to the terms below MatthewBarton Ltd. will rescind the sale and return the Buyer the totalamount paid by the Buyer to Matthew Barton Ltd. for thatProperty, up to a maximum of the Purchase Price.

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

“Counterfeit” means an item of Property that in Matthew Barton Ltd’sreasonable opinion is an imitation created with the intent to deceiveover the authorship, origin, date, age, period, culture or source, wherethe correct description of such matters is not included in the cataloguedescription for the Property.

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

Please note that this guarantee does not apply if either:- (i) the catalogue description was in accordance with the generally

accepted opinions of scholars and experts at the date of thesale, or the catalogue description indicated that there was aconflict of such opinions;

(ii) the only method of establishing at the date of the sale that theitem was a Counterfeit would have been by means ofprocesses not then generally available or accepted,unreasonably expensive or impractical; or likely to havecaused damage to or loss in value to the Property (in MatthewBarton Ltd’s reasonable opinion)

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

To claim under this guarantee the Buyer must:- (i) notify Matthew Barton Ltd in writing within one (1) month of

receiving any information that causes the Buyer to question theauthenticity or attribution of the Property, specifying the lotnumber, date of the auction at which it was purchased and thereasons why it is believed to be Counterfeit; and

(i) return the Property to Matthew Barton Ltd in the samecondition as at the date of sale and be able to transfer good titlein the Property, free from any third party claims arising after thedate of the sale.

Matthew Barton Ltd has discretion to waive any of the aboverequirements. Matthew Barton Ltd may require the Buyer to obtain atthe Buyer's cost the reports of two independent and recognisedexperts in the relevant field and acceptable to Matthew Barton Ltd.Matthew Barton Ltd shall not be bound by any reports produced bythe Buyer, and reserves the right to seek additional expert advice at itsown expense. In the event Matthew Barton Ltd decides to rescind thesale under this Guarantee, it may refund to the Buyer the reasonablecosts of up to two mutually approved independent expert reports,provided always that the costs of such reports have been approved inadvance and in writing by Matthew Barton Ltd.


Matthew Barton LtdSale TitleEuropean & Asian Works of Art

Date25 May 2016

Code: LOTTIE

Please mail, fax, or scan and email to:Matthew Barton Ltd25 Blythe RoadLondon W14 0PDFax: +44 (0) 207 806 5546Email: [email protected]

ImportantPlease bid on my behalf at the above sale for thefollowing Lot(s) up to the hammer price(s)mentioned opposite. These bids are to be executedas cheaply as is permitted by other bids or reservesand in an amount up to but not exceeding thespecified amount. The auctioneer may open thebidding on any lot by placing a bid on behalf of theseller. The auctioneer may further bid on behalf ofthe seller up to the amount of the reserve by placingresponsive or consecutive bids for a lot.

I agree to be bound by Matthew Barton Ltd.’s Conditions ofBusiness. If any bid is successful, I agree to pay a buyer’spremium on the hammer price at the rate stated in the frontof the catalogue and any VAT, or amounts in lieu of VAT, whichmay be due on the buyer’s premium and the hammer price.

Methods of PaymentMatthew Barton Ltd. welcomes the following methods ofpayment, most of which will facilitate immediate release ofyour purchases.

Wire Transfer to our BankElectronic transfers may be sent directly to our Bank:HSBC Bank Plc38 High StreetDartfordKent DA1 1DGPlease ensure all bank charges are met so that wereceive the total invoiced amount

IBAN No.: GB53MIDL40190491814001BIC.: MIDLGB2128KSort Code: 40-19-04Account No.: 91814001Account Name: Matthew Barton Ltd.

Credit/Debit CardA 3% surcharge is payable on all credit card transactions;there is no charge for UK debit cards. Please note we do notaccept American Express. By signing this form you areauthorising payment for this sale.

Sterling Bankers DraftDrawn on a recognised UK bank.

Sterling Cash or ChequeCheques must be drawn on a recognised UK bank. Werequire seven days to clear a cheque without a letter ofguarantee from our bank.

Absentee Bid Form(Please print or type)

Name

Address

Postcode

Telephone/Home Business

Fax Vat No.

Email

Signed Date

Card type (Visa/Mastercard/Debit)

Card Number

Cardholder Name

Expiry Date

Billing Address (if different from above)

Cardholder Signature

Lot Description £ Bid Price

Date and time received Staff initials For Office Use Only


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Matthew Barton Ltd25 Blythe Road London W14 0PD

Tel: +44 (0) 20 7806 5545 Fax: +44 (0) 207 806 5546 Email: [email protected]

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matthew barton ltd catalogue

Art & Photos