European & Asian Works of Art

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

022 SAMSON

Enquiries: Matthew Barton Henrietta Grant

Consultants: Arthur Millner (Islamic, Indian, Himalayan & South East Asian) Brijeshwari Gohil (Indian Inscriptions) Peter Arney (Ceramics) Phillip Howell (Ceramics) John Culme (Silver & Vertu) Anabel Yorke (Jewellery) Online Catalogue: www.OlympiaAuctions.com www.the-saleroom.com www.invaluable.com Live internet bidding available through:

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www.OlympiaAuctions.com Matthew Barton Ltd Olympia Auctions 25 Blythe Road London W14 0PD Tel:+44 (0) 20 7806 5545 Fax:+44 (0) 20 7806 5546 Email: enquiries@matthewbartonltd.com Photography: Rolant Dafis Front Cover: Lots 54, 121 & 350 Back Cover: Lots 121 & 249

www.invaluable.com

Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART

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

VIEWING

BY APPOINTMENT

DAY OF SALE Tuesday 14th July 2020 at 11am, precisely

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Sale Day: Tuesday 14th July 2020 Lots 1-374 Starting at 11am

European & Asian Works of Art

1 AN ITALIAN MAIOLICA GROUP OF ‘THE REST ON THE FLIGHT TO EGYPT’, URBINO, LATE 16TH / EARLY 17TH CENTURY Joseph sheltering Mary and the Christ Child flanked by a fruiting tree and a well applied with a winged angel head, a palm tree under which the donkey feeds to the other side 31cm wide

3 A PAIR OF WORCESTER BASKETS, CIRCA 1765 the deep, round baskets with circular chain link piercing moulded with green dot painted rosettes at the intersections, painted with flowers in Meissen style 17cm diameter, some restoration £250-350

£800-1200

2 TWO ITALIAN PORCELAIN GROUPS, PROBABLY NOVE, LATE 18TH CENTURY in the white, each modelled with a young couple, one with a lady showing a letter to a seated gentleman with a tree between them, the other with a peasant holding a fowl and his seated companion with a basket of grapes, the mound bases on drum socles moulded with Neo-classical swags 22cm highest £300-400

4 A LIVERPOOL PORCELAIN COFFEE POT AND COVER, PHILIP CHRISTIAN & CO., CIRCA 1770 baluster, scroll handle with a characteristic drop terminal, with Rococo foliate scroll moulded spout, painted with two large mixed flower sprays featuring a variegated tulip or roses surrounded by scattered flowers, a double line punctuated with scrolls in red to the rim, 24cm high, cracks and chips; together with a Leeds creamware basket, last quarter 18th century, circular, with bound strip sides and impressed basketwork to centre, impressed ‘LEEDS POTTERY’, 26cm diameter (3) For a similar coffee pot, see Bonham’s, London, lot 310, 6 June 2007. £150-250 1

5 (illustrated online) A WORCESTER TEAPOT AND COVER, CIRCA 1765 globular, painted in enamels with flower sprays, iron red formal borders, cover with applied leaves to the flowerhead knop 14cm high, cover with rim chips and restuck knop £80-120

7 A COALPORT DESSERT SERVICE, EARLY 20TH CENTURY painted by Fred Howard each with a still life of different fruits and their foliage, each signed ‘F. HOWARD’, reserved against a mazarine blue ground enriched with gilt scroll foliage between gilt borders with raised detailing, comprising: twelve plates, a pair of shaped oval dishes, a pair of shaped square dishes and a pair of comports, impressed numbers, gilt painted ‘5351/R’, green printed marks and retailer’s marks for H.G Stephenson plates 23cm diameter (18) Fred Howard worked at Coalport circa 1900 - circa 1920; together with his colleague, Frederick Chivers, he specialised in painting fruit.

H.G. Stephenson were established in the Barton Arcade off Manchester’s Deansgate in 1868, continuing to retail ‘China & Glass’ from these premises for a hundred years.

The family company is still going, but now specialises in supplying the catering trade. £1500-2500

6 A DAVENPORT IRONSTONE PART DINNER SERVICE, CIRCA 1820 Bamboo and Peony pattern, decorated with blue printing and enamelled highlights in red, yellow, green and pink, comprising: five dishes in sizes (51-31cm long), a soup tureen with associated cover, a serving bowl, a sauce tureen and cover, eleven dinner plates (24.5cm), eleven side plates (21cm) and twelve soup plates (24cm), blue printed anchor within ‘DAVENPORT STONE CHINA’ marks and red painted pattern number ‘15’ (44) £300-500 2

10 (illustrated online) A STONEWARE VASE, BY YING YEUNG LI (CHINA, BORN 1951) the bowl-shaped cream top with brown slip rim above an elongated pink glazed ribbed cylindrical body turning to square at the base, impressed seal marks and signed and numbered 89.103 46cm high £100-200

8 A WEDGWOOD BLUE JASPER TABLET, CIRCA 1860 after the design by Camillo Pacetti (1758-1826), the midblue jasper sprigged in white relief depicting Thetis Delivering Achilles to the Centaur and Achilles on the Back of the Centaur Hunting the Lion, applied with formal berried leaves and flowerheads delineating the outer pale blue jasper border, impressed WEDGWOOD mark, in a rectangular silvered wood frame set with canted mirror panels the plaque 19cm x 51.5cm, overall 65cm long ‘Camillo Pacetti (1758-1826) was engaged by Josiah Wedgwood in Rome from 1787 under Flaxman’s supervision. He modelled six tablets illustrating the life of Achilles in 1788. A pen and wash drawing by Pacetti of Achilles on the back of Centaur hunting a Lion is in the Wedgwood Museum, Barlaston. The source of the design was a classical marble, the Luna Disc, of c. 800-400 BC in the Capitoline Museum.’ (The Fitzwilliam Museum, Cambridge, Object No.C.36-1935) £500-700

11 A PAIR OF ‘CLOBBERED’ CHINESE EXPORT BLUE AND WHITE MEAT DISHES, LATE 18TH CENTURY each with underglaze blue pavilions and a willow on the banks of a river, scalework rim, overpainted in the early 19th century probably in Staffordshire with bright enamels 37cm long £100-200

9 A SET OF MINTON PLATES, MID 20TH CENTURY with gilt-edged fluted rims, each painted with a variety of flowers (one with plums), the six dinner plates and six dessert plates all painted by Joseph Colclough, the six side plates by a variety of artists, printed and impressed marks 27cm, 20cm and 16cm diameter (18)

12 A JAPANESE ARITA VASE ovoid, painted with two panels each of a dragon amid cloud scrolls, with flowers between and formal borders above 29.5cm high

£120-180

£500-700

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13 A JAPANESE KAKIEMON STYLE BLUE AND WHITE DISH painted with a stylised riverine scene including a fisherman beside a pavilion, within a floral and leaf border, scalloped rim, underside with trailing foliate scrolls 32cm diameter

15 A CHINESE CELADON GLAZED CENSER, PROBABLY 18TH CENTURY the compressed globular body on three pad feet carved with lotus scroll 28.5cm diameter £500-800

£600-900

16 A CHINESE CELADON GLAZED VASE, 18TH CENTURY the oviform body carved with flowering peonies, apocryphal underglaze blue four-character Chenghua mark 14cm high, cut down, rim crack £100-200

14 A CHINESE CELADON GLAZED YENYEN VASE, 18TH CENTURY carved with two bands of trailing blooms between vertical or horizontal ribbing 41cm high £800-1200

17 A PAIR OF CHINESE SANCAI GLAZED BUDDHIST LION JOSS STICK HOLDERS, KANGXI PERIOD (1662-1722) the opposing figures each applied with a leafy holder and modelled with raised front leg, one with a cub clutching it, raised on diaper patterned rectangular stands 15.5cm high Provenance: Ralph M. Chait Galleries, New York (paper label); then Roxanne Wruble Rosoman (1938-2018), London, sold by orders of the executors. £600-900

18 A CHINESE PORCELAIN VASE, 18TH CENTURY (PROBABLY SECOND QUARTER) baluster body on spreading foot, underglaze decorated in blue and red with three figures amidst clouds: a scholar, a young woman brandishing two swords and a general carrying a staff, rim with scroll pattern border 34.5cm high Provenance: Ralph M. Chait Galleries, New York (paper label); then Roxanne Wruble Rosoman (1938-2018), London, sold by orders of the executors. £700-1000

20 TWO CHINESE BLUE AND WHITE PORCELAIN LARGE DISHES, KANGXI PERIOD (1662-1722) each covered in lotus blooms issuing from stylised foliate tendrils within a line border, the undersides each with a rim foot, four symbols from the Precious Things, blue line borders and central artemisia leaf mark within double line rings 38.5cm diameter Provenance: The Baron Sandys of Ombersley Court, Worcestershire, by the 19th century. Photographed in the entrance hall in circa 1860 and probably referenced in M.H. Blutley’s ‘Ombersley Court, Inventories of Heirlooms’, 1863, p.76: ‘China / 2 blue and white Circular dishes’. £1000-1500

19 A CHINESE CELADON GLAZED VASE, KANGXI PERIOD (1662-1722) baluster, with lotus scroll below stiff leaves 23.5cm high Provenance: Ralph M. Chait Galleries, New York (paper label); then Roxanne Wruble Rosoman (1938-2018), London, sold by orders of the executors. £500-800

21 TWO CHINESE EXPORT PORCELAIN MUGS, EARLY 19TH CENTURY each cylindrical with entwined reeded handles terminating in leafy sprays, gilt detailing, floral sprigs and diaperwork rim, one with blue enamelled roundel centred by a floral spray, one with orange oval centred by a vase hung with floral sprigs 15.5cm high, rim chips to blue enamelled example £100-200 5

22 A GROUP OF SEVEN CHINESE BLUE AND WHITE DISHES, PROBABLY GUANGXU (1875-1908) each painted with a bird perched in a branch of flowering chrysanthemum within a spearhead border, blue apocryphal Kangxi four character marks 10cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong £100-200

25 CHINESE EXPORT PORCELAIN FOR THE AMERICAN MARKET, 19TH / 20TH CENTURY comprising a shaped rectangular tureen and cover and a deep oval dish, enamelled and gilded with a variant of the American Great Seal surrounded by floral sprigs within a variety of borders dish 34cm long, tureen 23cm long (2) £100-200

23 A GROUP OF SEVEN CHINESE BLUE AND WHITE SMALL DISHES, GUANGXU MARK AND PERIOD (1875-1908) each painted with leaves and flowers within a double ring border, blue six character marks 8.5cm diameter Provenance: The K.A. Johnson-Hill Collection, Hong Kong £400-600

Provenance: The K.A. Johnson-Hill Collection, Hong Kong

26 A CHINESE ‘EGG-SHELL’ PORCELAIN LAMP, 20TH CENTURY the bulbous shade finely enamelled with various butterflies between red key-fret borders, with four character iron red maker’s seal mark, the stand painted with further fret borders and cylindrical stem, the bulbous foot with three foliate scroll motifs 19.5cm high

£100-200

£150-250

24 A SET OF THREE CHINESE BLUE AND WHITE SAUCER DISHES, GUANGXU MARK AND PERIOD, 1875-1908 each painted with three scattered flower sprays beneath a spearhead border, blue six character marks 10.5cm diameter

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29 A CHINESE PORCELAIN DISH, XUANTONG MARK AND PROBABLY OF THE PERIOD (1908-1912) the underglaze blue ground painted with a roundel of a dragon chasing a flaming pearl amidst flames and ruyi clouds surrounded by a border of two further dragons, the exterior sides with matching decoration, underside with underglaze blue six character reign mark 27cm diameter 27 A CHINESE EXPORT PORCELAIN MEAT DISH, 18TH CENTURY gilded and enamelled in the Mandarin Palette with a domestic garden scene of a bearded gentleman remonstrating with play-fighting children as a dog, an attendant and a mother and child in a doorway look on, with diaperwork below a border of shaped flower panels 37.5cm long

£500-800

£250-350

28 TWO CHINESE EXPORT PORCELAIN MUGS, LATE 18TH / EARLY 19TH CENTURY both slightly bulbous and moulded with beaded borders and applied with entwined branch handles terminating in flower and leaf clusters, gilded and enamelled, the taller with initials JM within ovals flanked by flower sprays and insects below a swagged flower rim, the smaller with flowered roundels 16cm & 15cm high, the taller cracked and repaired £80-120

30 A CHINESE PORCELAIN VASE AND COVER, 20TH CENTURY inverted baluster, famille verte enamelled with figures holding children in a pavilion, the rim with emblems of the scholar’s four accomplishments, the domed cover with two boys lighting a firecracker below an onion-shaped knop 41cm high £100-200

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31 A PAIR OF CHINESE PORCELAIN BOWLS AND COVERS, GUANGXU MARK AND PERIOD (1875-1908) each bowl on a rim foot and with slightly flared rim, the yellow ground incised and green enamelled with two sinuous dragons each chasing a flaming pearl, underside with underglaze blue six character mark, the covers formed as shallow bowls with rim feet, similarly decorated and marked 11cm diameter Provenance: Dutch Private Collection £2500-3500

32 A CHINESE PORCELAIN PUNCH BOWL, PROBABLY 1930s Cabbage Leaf pattern painted in the famille rose palette with central shou symbol, butterflies amid the overlapping leaves and borders of flowers with floral reserves, underside red printed ‘MADE IN CHINA’ 36.5cm diameter £120-180

33 A CHINESE WUCAI VASE AND COVER, 19TH CENTURY oviform, decorated with an archer displaying his skill to figures ranged behind him, the scene terminating in a band of cloud scrolls, a band of irregular paving below the neck and domed cover with chrysanthemums, peonies and rocks, underside with underglaze blue apocryphal Kangxi seal mark 40.5cm high, rim chips £300-500

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34 ~ A BOXED CHINESE SILVER THREE-PIECE TEA SET AND SUGAR TONGS, ARTISAN MARK OF HENG LAI, RETAILER’S MARK OF WA CHUN, HONG KONG, SECOND HALF 19 TH CENTURY each bulbous body chased with a dragon, the handles simulating bamboo, the teapot with ‘bamboo’ spout and detachable cover with lobed knop, the milk jug and sugar bowl with gilt interiors, the pair of tongs cast with dragons, underside of bodies stamped W.A and two character mark, tongs with two character mark only, all in the original blue silk lined fitted wood box with sliding cover teapot 20cm long; 795gr (25oz) including ivory insulators to teapot handle We are grateful to Adrien von Ferscht for identifying the artisan workshop and retailer’s mark. See Adrien von Ferscht, ‘Chinese Export Silver 1785-1940 – The Definitive Collectors’ Guide’, 4th Edition, Glasgow and Beijing, January 2015 for discussion of this mark. Also see H.A. Crosby Forbes, Chinese Export Silver, 1785 to 1885, p.140, nos. 219-221 for silver stamped with the W.A mark where the author notes that it is rare to find silver with this mark and suggests a date for this maker of the second half of the nineteenth century.

This lot is being sold for the benefit of Catwel (Cardiff, Registered Charity No.1086255). £1000-2000

35 A CHINESE JADE FLASK, 18TH CENTURY of flattened form, the short neck with openwork scroll handles, the body carved with a chilong clambering around each outer edge and covered in low relief carving of stylised clouds below a moulded arabesque border, on a rim foot with incised edge, even celadon tone with some russet highlights to one side, with a carved wood stand 12.5cm long (2) Provenance: Private English Collection, acquired from Louis Joseph, 28 Knightsbridge, London, 10th November 1960 for £70 £2000-3000 9

38 A CHINESE WHITE JADE ‘LINGZHI AND MONKEY’ RUYI SCEPTRE naturalistically carved as a ‘lingzhi’ with large ruyi head, the curved shaft carved and pierced in high relief with two monkeys and small leafy ‘lingzhi’ shoots, the stone of creamy-white tone 46.5cm long Provenance: Swiss Private Collection of Chinese Jades: sold for the benefit of Mission Bambini.

36 A CHINESE JADEITE BRUSH WASHER, LATE 19TH / EARLY 20TH CENTURY the bowl naturalistically carved as a lingzhi with three fernlike fronds and two further lingzhi adhering to its sides, of variegated green somewhat translucent tones with darker inclusions, with its carved wood naturalistic stand 11cm long (2) Provenance: Private English Collection

“Mission Bambini is an independent, non-profit organization, created in Italy by Goffredo Modena, engineer and entrepreneur, in 2000. Our mission is to help and support children living in poverty, sickness and without education, giving them the opportunity and hope of a better life.

In 18 years of activities Mission Bambini has helped more than 1,350,000 children through 1,500 projects in 73 countries around the world. Our Balance sheet is public and certificated and at least 75% of funds raised are used for humanitarian work. Early in 2015 the Italian Foundation created Mission Bambini Switzerland and Friends of Mission Bambini USA.” Maria Elena Di Fazio (International Development, Mission Bambini Switzerland Foundation, March 2019) For further information, please see the charity’s website: www.missionbambini.org/en/ £700-1000

£800-1200

37 ~ A CHINESE IVORY CARD CASE, PROBABLY CANTON, SECOND HALF 19TH CENTURY rectangular, carved each side with an arabesque panel of figures amid garden pavilions and roses to the spandrels, 11.4cm long; together with a Japanese ivory case, Meiji period, rectangular with rounded sides, the lid inlaid in ‘Shibayama’ style with a bird (inlay lacking) alighting on a flowering branch, oval signature panel, 10cm long (2) £150-250 10

39 A CHINESE GREY JADE PEBBLE CARVING OF A BAT carved and pierced with body and tail feathers curled and wings held open, the head with large hooked beak, the stone of mottled greyish-white tone 13.5cm long Provenance: Swiss Private Collection of Chinese Jades: sold for the benefit of Mission Bambini. See lot 38 for further information on the charity. £200-300

40 A CHINESE CELADON JADE BIRD AND LINGZHI GROUP carved and pierced in high relief with a bird perched on a ‘lingzhi’ spray holding a fruiting spray in its beak, the stone of pale celadon tone 13.5cm long Provenance: A Swiss Private Collection of Chinese Jades: sold for the benefit of Mission Bambini. See lot 38 for further information on the charity. £ 250-350

41 ~ A CHINESE FLUORSPAR, ROCK CRYSTAL AND CORAL COURT NECKLACE, QING DYNASTY, 19TH CENTURY comprised of one hundred and thirty-eight fluorspar beads spaced by coral and four large rock crystal beads, the fota suspending a flattened rock crystal pendant and terminates in a gilt-metal-mounted jade dewdrop, with three further tassels terminating in similar jade dewdrops, lacquer box 192cm long

43 A JAPANESE BRONZE VASE, GENRYUSAI SEIYA, TOKYO, MEIJI PERIOD (1868-1912) ovoid, finely worked in relief with three tigers attacking an elephant, with bracketed rim, underside with signature tablet ‘Seiya Sei’ 40cm high £600-900

Provenance: Swiss Private Collection of Chinese Jades: sold for the benefit of Mission Bambini. See lot 38 for further information on the charity. £500-700

42 A CHINESE ARCHAISTIC JADE PIG carved as a recumbent animal, the stone of olive-green tone, 12.5cm long; together with a Chinese greyish-white jade carving of a boy, carved standing holding a basket and wearing an animal skin on his back, the stone of very pale greyish-white tone, 7.5cm high (2)

44 A JAPANESE BRONZE VASE, MEIJI PERIOD (1868-1912) bulbous, the matted ground applied with a cast fruit-laden trailing vine, signature seal to underside 20.5cm high £100-200

Provenance: Swiss Private Collection of Chinese Jades: sold for the benefit of Mission Bambini. See lot 38 for further information on the charity.

45 (illustrated online) A MATCHED SET OF FIVE JAPANESE KOZUKA HANDLED KNIVES, MEIJI PERIOD (1868-1912) the parcel-gilt bronze handles with raised motifs, with unmarked silver blades 18.5cm long

£150-250

£70-100 11

48 (illustrated online) A GROUP OF JAPANESE WOODBLOCK PRINTS comprising: ‘Spring Rain At Tsuchiyama’ after Utagawa Hiroshige, framed, 34 x 21cm within mount; a woodblock print by Kuniyoshi, part of the triptych The great battle at Kawanakajima in Shinano Province, 23.5 x 35 cm within mount; two Hokusai prints from an album, framed together, each 10.5 x 19cm within mount; a print after Ito Jakuchu, ‘Rooster and Hen with Hydrangeas’, framed, 19 x 36.5cm within mount (4) £100-200

46 A JAPANESE WOODBLOCK PRINT, UTAGAWA HIROSHIGE (1797-1858) ‘Night Rain at Akasaka Kiribatake’ (Akasaka Kiribatake uchu yukei), from the series ‘One Hundred Famous Views of Edo’, publisher’s seal Uoya Eikichi, bearing date seal for 1859, framed 24.5 x 27cm within mount £80-120

49 A JAPANESE WOODBLOCK PRINT, UTAGAWA HIROSHIGE (1797-1858) ‘Clear Weather after snow at Kameyama’ (Kameyama yukibare), number 47 from the series ‘Fifty-three Stations of the Tokaido’, framed 34 x 22cm within mount £150-250 50 (illustrated online) A JAPANESE WOODBLOCK PRINT, UTAGAWA HIROSHIGE (1797-1858) ‘The outskirts of Koshigawa in Musashi Province’ (Musashi Koshigawa zai), from the series ‘Thirty-six Views of Mount Fuji’, publishers seal for Tsutaya, bearing date seal for 1858, framed 20.5cm x 32.5cm within mount £100-150 51 (illustrated online) A JAPANESE WOODBLOCK PRINT, UTAGAWA HIROSHIGE (1797-1858) ‘Clear Evening on the Sea in Tsushima Province’ ( Tsushima kaigan yubare), number 69 from the series ‘Views of Famous Places in the Sixty-odd Provinces’, publishers mark for Koshimuraya Heisuke, framed 21.5 x 32.5cm within mount £80-120

47 A JAPANESE WOODBLOCK PRINT, UTAGAWA HIROSHIGE (1797-1858) ‘Shiojiri Pass in Shinano Province’ (Shinano Shiojiri toge), from the series ‘Thirty-six Views of Mount Fuji’, publisher’s seal for Tsutaya, bearing date seal for 1858, framed 32.5 x 21cm within mount £80-120

52 (illustrated online) A JAPANESE WOODBLOCK PRINT, UTAGAWA HIROSHIGE (1797-1858) ‘Shisaku in Iki Province’ ( Iki Shisaku), number 68 from the series ‘Views of Famous Places in the Sixty-odd Provinces’, signed, publisher’s seal for Koshimuraya Heisuke, framed 33 x 21.5cm within mount £150-250

53 A GLAZED POTTERY SHRINE OR ORNAMENT, BURMA, EARLY 20TH CENTURY honey glazed slip decorated red earthenware, depicting two devotees flanking an altar, on an elaborate raised plinth, a scrolling openwork finial at the back 39cm high Provenance: Private Collection, London, acquired about 60 years ago Although Burma is better known for other crafts, such as wood and stone sculpture, lacquer, metalwork and painting, glazed pottery figural tilework was produced in Pegu in 15th century an example of which is in the Victoria and Albert Museum (IS 2 1966) as well as a later example thought to date from the early 19th (04160A IS). This lot was probably produced during the late colonial period for the British market. £250-350 54 A PRE RUP STYLE GREY SANDSTONE HEAD OF HARIHARA, CAMBODIA, CIRCA 10TH CENTURY the dual deity with tall tiered coiffure, jewelled tiara, moustache and elongated earlobes, the side depicting Siva with half-eye on the forehead and half moon crescent in the headdress, mounted 36cm high Provenance: Private Collection, Southern England, acquired in the United Kingdom about 40-60 years ago.

For a complete sandstone figure in Pre Rup style in the Norton Simon Museum, see P. Pal, ‘Art from Sri Lanka and South East Asia’, Pasadena 2004, no.142. There is also a related figure in the Avery Brundage Collection, Asian Art Museum of San Francisco (B65S7). £4000-6000

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55 A JAVANESE TERRACOTTA CORNER ANTEFIX, INDONESIA, CIRCA 10TH CENTURY in the form of a kirtimukha mask, with fierce expression, bulging eyes and flaming hair 20 x 20 x 18cm approx.

Provenance: Private Collection, London £250-350

£120-180

Provenance: Private Collection, London

58 A TSAKLI DEPICTING A DHARMAPALA, TIBET, 19TH CENTURY ink and gouache on paper, the deity with green complexion, third eye and skull crown, wielding a javelin with black pennant, stepping to the right on prostrate corpses, nine lines of Tibetan script on the reverse, framed 8.4 x 6.7cm

£150-250

£200-300

56 A MAJAPAHIT CARVED PUMICE HEAD OF A DEITY, JAVA, INDONESIA, 13TH / 14TH CENTURY the hair curled at the forehead, tied in a bun on top, wearing elaborate earrings, mounted 14.5cm

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57 A THANG-KA DEPICTING THREE ARHATS, TIBET, 19TH CENTURY pigment with gold, painted on cloth, each wearing voluminous robes, seated in a hilly landscape amidst clouds, offerings and lotuses, a smaller figure of Amitayus in upper left corner, fragmentary cotton surround 54 x 40cm

62 (illustrated online) TWO BUDDHIST RITUAL SPADES, TIBET, 20TH CENTURY each with long flat shaft with repousse medallions attached, rectangular plate at one end, engraved with the eight auspicious symbols and lantsa letter, one with multiple elephant head finial, the other with half vajra 102, 83cm £400-600

59 A GILT-BRONZE HEAD OF BUDDHA, TIBET, 19TH CENTURY his face cold gilded with painted details, with elongated earlobes, tightly curled hair and bud usnisa 18cm high £300-400 63 A BRASS MOUNTED COPPER TEAPOT, TIBET, 19TH CENTURY with tinned interior, the lotiform lid attached with chain, with short faceted spout and flared foot 26cm high Provenance: Private collection, Northern England £100-150

60

61 (part)

60 A BRONZE FIGURE OF A NAGA, NEPAL, 19TH CENTURY the winged female cobra deity holding a gem in her hands, her crowned head sheltered by five cobra heads 11.5cm high Nagas are semi-divine beings in the Hindu pantheon, half human-half snake, probably with animistic, pre-Hindu origins, associated with fertility, water and trees. £80-120 61 TWO BRONZE IMAGES, NEPAL, 20TH CENTURY comprising a figure of Vishnu, the four-armed deity on a single lotus base, surrounded by flaming prabha, and a small head of Buddha 12, 7.5cm £80-120

64 A NECROMANCER’S BONE APRON, TIBET, 17TH CENTURY AND LATER comprising a row of carved bone plaques depicting tantric Buddhist imagery, linked with strings of spherical beads, further multiple strings of beads with tassels hanging below; together with a pair of silk arm bands, with applique plaques of similar form 53 x 80cm approx. (apron) (3) £1000-1500

15

65 A SINO-TIBETAN BRONZE FIGURE OF YAMA IN YAB-YUM, 19TH CENTURY stepping to the right on a buffalo and prostrate human figure on a lotus throne, the buffalo headed deity with billowing hair, clasping his consort in erotic embrace, holding a skull staff in his raised right hand 13.5cm high

68 A TEMPLE LAMP IN THE FORM OF A LOTUS, NORTHERN INDIA, CIRCA 1900 the lotus burner resting on the back of a diminutive figure of Nandi, on octagonal base, with stylised cobra canopy 21.5cm high £80-120

£400-600

66 A SINO-TIBETAN GILT BRONZE FIGURE OF YAMANTAKA, CIRCA 18TH CENTURY the fierce buffalo headed deity with pot belly and skull crown, stepping to the right, his hands in karana mudra, his face with painted details 12.5cm high

69 A BRASS SIVA MASK (MOHRA), HIMACHAL PRADESH, 15TH CENTURY OR LATER in the form of a stylised bust, the head with crown, large earrings and third eye, wearing beaded necklace and pendant 21.4cm high £600-800

£500-800

67 A GILT-BRONZE FIGURE OF LAKSHMI, ORISSA, EASTERN INDIA, 19TH CENTURY seated on a lotus with legs loosely crossed, her primary hands in abhaya and varada mudra, her upper hands holding lotuses (now missing) 9.5cm high £250-350

16

70 A BRONZE FIGURE OF GARUDA, HIMACHAL PRADESH, NORTHERN INDIA, 19TH CENTURY the winged, beak-nosed deity crouching on one knee, his hands in anjali mudra, wearing multiple necklaces and elaborate tiered crown 18cm high £600-800

73 A BRONZE FIGURE OF GAJALAKSHMI, ORISSA (ODISHA), EASTERN INDIA, 19TH CENTURY the four-armed goddess seated in padmasana on a flared circular lotus throne, her primary hands in abhaya and varada mudra, her upper hands holding lotus flowers each with an elephant pouring water on her crowned head 16.5cm high £600-800

71 A BRONZE MONUMENTAL CAKRA, SOUTH INDIA, 18TH / 19TH CENTURY the wheel-shaped central element encircling a stylised openwork lotus flower, flanked by attached elements comprising a further cakra and a flame motif, a similar flamed motif on the top, supported by a turned shaft, mounted 51cm high

74 A BRONZE FIGURE OF NANDI BULL, WESTERN DECCAN, INDIA, 17TH / 18TH CENTURY on raised rectangular base, with prominent horns and hump, a small lingam in front 10.5cm high £250-350

The cakra, or wheel of the law, represents the rotation of the world, and through it, authority. As such it is an important emblem of Vishnu. This symbol probably either formed part of a large image of the deity or was carried as a standard during Vaisnavite processions.

75 (illustrated online) A BRONZE SHRINE DEPICTING LAKSHMI-NARAYANA, WESTERN INDIA the four-armed figure of Vishnu seated with his consort on his knee, a diminutive figure of Garuda below, flanked by attendants, surrounded by an aureole 12.5cm high

£800-1200

£200-300 76 A BRONZE FIGURE OF PARVATI, WESTERN DECCAN, INDIA, 18TH CENTURY seated with legs flexed on a square plinth, holding mala and lingam, a five-headed cobra sheltering her head, surrounded by a flaming aureole with kirtimukha finial 13.5cm high £250-350

72 A LARGE CAST BRASS FIGURE OF A HAMSA, SOUTHERN INDIA, 19TH CENTURY with small wings, scrolling crest and tail, a scrolling jet of water issuing from his beak, later wood stand 26cm excluding stand

77 A BRASS FIGURE OF GANESHA, HIMACHAL PRADESH, NORTHERN INDIA the pot bellied elephant headed deity with long thin stylised trunk, a diminutive rat and frog at his feet, 14.4cm high

Provenance: Henry Brownrigg, London (1943-2016)

£250-350

£250-350 17

78 A BRASS FIGURE OF GANESHA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY the elephant headed deity seated on a square base, his vehicle the bandicoot at his left knee, a bowl of sweets in his right hand 6.5cm high £120-150 79 A SMALL BRONZE FIGURE OF VARAHA, TAMIL NADU, SOUTH INDIA, 19TH CENTURY the four-armed boar-headed avatar of Vishnu seated in lalitasana with his consort on a lotus throne, his right hand in abhaya mudra, with prominent tusks and conical headdress, 6.5cm high £200-300 83 A BRONZE FIGURE OF GARUDA, TAMIL NADU, SOUTH INDIA, LATE 18TH / EARLY 19TH CENTURY standing on a lotus on square base, his winged arms with hands in anjali mudra, wearing large earrings and tall conical headdress with bud finial 27.5cm high

80 TWO SMALL BRONZE FIGURES OF GANESHA, WESTERN DECCAN, INDIA, 18TH / 19TH CENTURY the four-armed-elephant headed deity in each case seated on square plinth, eating sweets with his trunk 5.5, 5cm high

Provenance: Private Collection, London, acquired by the vendor’s great-grandfather in Thailand during the 1920s-1930s £800-1200

£200-300 81 A SINHALESE GILT BRONZE FIGURE OF BUDDHA, SRI LANKA, 17TH / 18TH CENTURY seated in sattvasana on a rectangular throne, his hands in dhyana mudra, surrounded by a scrolling aureole, the figure with elongated earlobes, plaited hair and flame usnisa 13cm high £700-900 82 A BRONZE FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, 19TH CENTURY the four-armed deity standing erect on a lotus, his primary right hand in varada mudra, his left resting on his gada (now missing), cakra and sankha in his upper hands, wearing tall headdress with bud finial 20cm high

18

Provenance: Private Collection, Northern England

84 A JAIN BRASS SHRINE DEPICTING CANDRAPRABHA, GUJARAT, WESTERN INDIA, CIRCA 16TH CENTURY the eighth tirthankara depicted seated on a lion throne in padmasana, flanked by further jinas and chauri-bearers, a parasol lustrated by a pair of elephants above, offerings and further diminutive figures below, with copper and silver inlaid details 18.5cm high

£200-300

£1500-2500

85 A CAST BRASS VIRABHADRA PLAQUE, WESTERN DECCAN, INDIA, 19TH CENTURY the four-armed god depicted in relief holding various weapons and arms, sun and moon emblems above, flanked by diminutive figures of Daksha and Sati, sheltered by a cobra canopy at the top, set into later carved wood frame 20.5 x 11 x 3cm approx. (plaque) Daksha had offended Siva at a sacrifice and his daughter.

Sati, who was Siva’s wife, felt so insulted that she threw herself on the pyre. Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. The gods pleaded for Daksha’s life but his severed head could not be found, so the head of a goat was substituted instead. £300-500

88 A GANDHARA GREY SCHIST FRAGMENTARY FIGURE OF BUDDHA, NORTH-WEST FRONTIER REGION, PAKISTAN, 3RD / 4TH CENTURY leaning to his left, his hands in dhyana mudra, holding a lotus, mounted, 23cm high Provenance: Private Collection, London £200-300 89 A GANDHARA GREY SCHIST RELIEF FRAGMENT, NORTHWEST FRONTIER REGION, PAKISTAN, 3RD / 4TH CENTURY depicting two Buddhist devotees, with hands in anjali mudra, wearing voluminous robes, one wearing a turban, the hand of a further figure behind, mounted, 34.5cm high Provenance: Private Collection, London £300-500

86 FOUR SUNGA TERRACOTTA PLAQUES, LOWER GANGETIC REGION, INDIA, 2ND-1ST CENTURY B.C. each with moulded relief decoration, two depicting yakshis, one with corn issuing from her head, the other with an infant, the others depicting a young couple and a male figure respectively, three mounted 16.5cm high and smaller

90 A GANDHARA STUCCO HEAD OF BUDDHA, NORTH-WEST FRONTIER REGION, INDIA (NOW PAKISTAN), 4TH / 5TH CENTURY with thick waving hair, his face coloured with pink pigment, mounted 13cm high

Provenance: said to have been acquired in the Allahabad region before the First World War

Provenance: Private Collection, London

Two terracotta fragments with similar bunches of corn are in Allahabad Museum (Inv.No.90/218&9).

£300-400

£250-350 87 (illustrated online) TWO SMALL GANDHARA GREY SCHIST FRAGMENTS, NORTH-WEST FRONTIER REGION, PAKISTAN, 3RD / 4TH CENTURY comprising a relief depicting a couple within an arched niche, and a figure standing against a scrolling finial, both mounted 10.5cm high approx. each Provenance: Private Collection, London £150-250

91 A GANDHARA STUCCO HEAD OF BUDDHA, NORTH-WEST FRONTIER REGION, INDIA (NOW PAKISTAN), 4TH / 5TH CENTURY with thick waving hair, his face with traces of pink pigment, mounted 13cm high Provenance: Private Collection, London £300-400 19

94 THREE COMPANY SCHOOL PAINTINGS, 19TH CENTURY comprising a painting on mica of a deity, probably Khandoba, Trichinopoly, South India, and two paintings of Indian couples, watercolour on paper, each framed 14 x 9.5cm (mica); 20 x 12cm each (watercolours) £120-180

92 A GANDHARA TERRACOTTA HEAD OF BUDDHA, NORTHWEST FRONTIER REGION, INDIA (NOW PAKISTAN), 4TH / 5TH CENTURY his hair arranged in rows of crescentic curls, with slender elongated eyes, mounted 21cm high Provenance: Private Collection, London £1000-1500

95 FOUR PAINTINGS OF INDIAN CHARACTERS, COMPANY SCHOOL, TRICHINOPOLY (TIRUCHIRAPALLI), SOUTH INDIA, MID 19TH CENTURY gouache on mica, depicting a lady on a palanquin, servants washing dishes, a village barber and rice winnowing, each framed, 10 x 13.3 approx. each Provenance: Private Collection, London; acquired Arthur Millner Ltd. 14th November 2000 £500-700 93 THREE JAGANNATH PAINTINGS, ORISSA, EASTERN INDIA, 20TH CENTURY gouache on card, each depicting the trio of Puri deities, Jagannath, Balabhadra and Subhadra, one with the three riding in processional chariots, the other two standing with devotees and offerings in the foreground, surrounded by stylised floral border, each framed 62 x 76cm approx. each Jagannatha is the ‘Lord of the World’, a form of Krishna worshipped at the famous shrine at Puri. He and his brother Balabhadra and their sister Subhadra are worshipped as a trio, always depicted with large round eyes and often handless arms. The cult is an example of the characteristic ability of Hinduism to absorb popular local cults into the mainstream. It is likely that the association of Jagannath with Vaishnavism occurred after the cult was well established, and simple village origins in the form of painted and roughly carved wood images is suggested by the highly stylised iconography. Paintings of this type were produced as mementoes for pilgrims visiting the famous temple in the seaside town, built in the 12th century by Anantavarman Codagangadeva. For similar paintings on cloth in the British Museum, acquired in 1880, see inv. nos.

1894,0613,0.47 & 1880,0.301. See also lot 242. £150-250 20

96 A PAINTED CLOTH NARRATIVE HANGING, BALI, INDONESIA, 20TH CENTURY pigment on cotton, of rectangular form, depicting a battle scene from the Ramayana, framed 127 x 149cm £250-350

97 (illustrated online) A PORTRAIT OF NOOR JAHAN, INDIA, 20TH CENTURY oil on board, framed 24 x 19cm Noor Jahan was the wife of the Mughal Emperor Jehangir, and a highly intelligent and capable character considered by historians to have been a great influence on her husband, playing an important role in affairs of state. £120-150 98 TWO MADHUBANI PAINTINGS, BIHAR, NORTHERN INDIA, MID-20TH CENTURY ink and watercolour on paper, each depicting stylised domestic rural scenes, inscribed in devanagari script and stamped on the reverse 38 x 28cm approx. each £120-180

101 AN ELEPHANT FIGHT, MUGHAL, NORTHERN INDIA, 18TH CENTURY gouache with gold on paper, laid on card with unrelated manuscript illumination, partial inventory stamp on margin 9.5 x 14.5cm (image) Provenance: Private Collection, Northern England £300-500

99 TWO HUNTING SCENES, BURMA, EARLY 20TH CENTURY gouache on cloth, one depicting a tiger hunt on an elephant, the other two men hare coursing, mounted 51 x 74cm; 48 x 71cm £180-220 100 A MEWAR PAINTING OF DEVOTEES OF VISHNU, UDAIPUR, RAJASTHAN, INDIA, LATE 18TH CENTURY gouache with gold on paper, the god standing in a domed shrine, sheltered by the Nagaraja Anantashesha, in a wooded landscape, flanked by a pair of rulers paying respects, standing on a floral carpet, indistinct part inscription in devanagari on the reverse 26 x 15.8cm

102 SIX COMPANY SCHOOL PAINTINGS OF FORMS OF VISHNU, TRICHINOPOLY (TIRUCHIRAPALLI), SOUTH INDIA, MID-19TH CENTURY gouache on mica, depicting Vishnu within a cakra, Matsya (fish avatar), Kurma (turtle), two forms of Varaha (boar) and Kalkin (horse), each framed, two with later French handwritten descriptions on the reverse 15.3 x 10.5cm (inside mount) each £700-900

Provenance: Private Collection, Northern England £200-300 21

103 A PAINTED CLOTH HANGING DEPICTING A YANTRA, WESTERN INDIA, 20TH CENTURY of square form, the interwoven medallion with central svastika, surrounded by four smaller medallions of different forms in each corner, surrounded by a scrolling floral border 89cm approx. square Provenance: Private Collection, Northern England £200-300

104 BRITISH WARSHIPS OFF AN ITALIAN COAST, KUTCH, WESTERN INDIA, 18TH CENTURY ink and watercolour on paper, black painted border, with cloth lining and backing paper, the latter inscribed in devanagari script 25.5 x 39cm (image) Provenance: Private Collection, Northern England The interest in western prints amongst Indian artists resulting from increasing interaction with Europe is well known, but the artists of Kutch from the mid-18th century onwards, developed a unique style, with works ranging from exact copies of European scenes to local scenes with exotic European features. See B.N.Goswamy and A.L.Dallapiccola, ‘A Place Apart: Painting in Kutch, 17201820, Delhi, 1983, p. 33ff. £1000-1500 105 (illustrated online) THREE INDIAN PAINTINGS, 19TH CENTURY gouache on paper, one depicting Krishna holding a garland, one depicting Parsvanatha seated on a lotus, the third inscribed, depicting a Jina flanked by chauri bearers, 27 x 22cm and smaller Provenance: Private Collection, Northern England £150-250

103

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106 A MOTHER AND CHILD IN A PALACE, PROBABLY KANGRA, NORTH-WESTERN INDIA, EARLY 19TH CENTURY gouache with gold on paper, floral border, the scene depicted within a cusped arch, the mother seated with her child by a window looking onto a lake and hilly landscape, surrounded by female attendants on a patterned rug, framed 28.3 x 24.3cm (inside mount) Provenance: Private Collection, London, acquired Sotheby’s, London, 10 December 1974, lot 323 £2000-3000 107 PRAYERS AND RECITATIONS AT THE MUHARRAM FESTIVAL, CIRCLE OF SEWAK RAM, PATNA, INDIA, CIRCA 1820-30 watercolour on thick paper, black borders, framed 41.5 x 58cm (image) Provenance: Private Collection, London, acquired Christie’s, London, 11 October 1979, lot 6 Sewak Ram was the best known of a number of artists from Murshidabad who moved to Patna in the late 18th century to take advantage of the growing wealth of the city as a trading and manufacturing hub. He produced sets of paintings of Indian life, including trades and occupations as well as festivals, as here, the best known of which were produced for Lord Minto and Lord Amherst.

Examples of these groups can be seen in the Victoria and Albert Museum and British Library, London. The latter are particularly notable for their large format and crowds of figures each given individualistic treatment. For an example from the Minto Collection, see Mildred Archer, ‘Company Paintings: Indian Paintings of the British Period’, London and Ahmedabad 1992, no.49.

106

Muharram is a Shi’a festival commemorating the death of Imam Hussein at Karbala (A.D. 680) which became a popular subject in Company School paintings of the region. £7000-9000

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108 A LARGE PAINTING OF THE EMPEROR AKBAR AND HIS NAVARATNAS, DELHI, MID 19TH CENTURY gouache with gold on paper, laid on card, each character labelled in blue nastaliq script, the enthroned ruler seated under a canopy, flanked by his courtiers kneeling on a rug, a hilly landscape with lake in the background, scrolling floral border 55.5 x 71cm Provenance: Private Collection, London The navaratnas, or nine key figures in Akbar’s inner circle depicted here, are identified (left to right): Abdul al-Rahim Khan Khanna (the poet and astrologer), Faizi (another court poet), Raja Tod[ar] Mal (Akbar’s Finance minister), Abu’l Fazl (grand vizier and chronicler]), Akbar (Jalaluddin Nauratan Akbar, the scene dated AH 1000/1591/2 AD, Raja Birbil (or Mahesh Das), Zain Khan Koka (governor of Kabul), Mullah Abdul Qadir [Badayuni], Tansen (the court singer), Hakim Abdul Fateh [Gilani].

This large scale painting is typical of the 19th century Delhi style; as the prestige and power of the Mughals declined, painting became ever more grandiose. Its style and treatment of the foliate border are similar to images depicting the later and contemporary emperor Akbar II, an example of which is in the Victoria and Albert Museum, See Mildred Archer, ‘Company Paintings: Indian Paintings of the British Period’, London and Ahmedabad 1992, no.42. £3500-4500

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109 A NAUTCH PERFORMANCE, RAJASTHAN, INDIA, CIRCA 1800 gouache with gold on paper, depicting a ruler with attendant smoking a huqqa, a female dancer in the foreground surrounded by four musicians, framed 25 x 12.5cm Provenance: Private Collection, London £800-1200

110 A RULER IN A PALACE, MANDI, PUNJAB HILLS, INDIA, 18TH CENTURY gouache with gold on paper, the figure standing within a cusped arch holding sword and shield, framed 24 x 14.7cm Provenance: Private Collection, London, acquired at unidentified auction house in London, 24 April 1980, lot 163 (according to label). £800-1200 111 BHIM SINGH IN PROCESSION, MEWAR, RAJASTHAN, INDIA, CIRCA 1800 gouache on paper, two lines of devanagari inscription, the ruler and a young prince both on horseback accompanied by numerous attendants, framed 49 x 35cm (inside mount) Provenance: Private collection, London The inscription reads: Maharaja Bhim Singh, Rao Rajaji Jaisalmer. Despite the reference to Jaisalmer, the physical appearance of the ruler is closest to Maharana Bhim Singh of Mewar (r.1778–1828). £3000-5000

25

112 A CORONATION SCENE, PAHARI, PROBABLY KANGRA, EARLY 19TH CENTURY gouache with gold on paper, depicting a group of crowned rulers and noblemen, some identified in devanagari script, being briefed by a soldier, while women watch from balconies and horseman and princely figures in tents gather outside, ten lines of devanagari script on the reverse, 35.5 x 50.5cm (inside border)

113 A NARRATIVE SCROLL DEPICTING SCENES FROM THE RAMAYANA, WESTERN INDIA, EARLY 20TH CENTURY gouache with silver paint on paper, of long rectangular form with a series of scenes vertically arranged, including Ravana, King of Lanka, Hanuman, and Vishnu on the serpent raft, 371 x 33cm £200-300

Provenance: Private Collection, London, acquired at unidentified auction house in London, 24 April 1980, lot 18 The scene appears to be the coronation of King Bhishmak (in white coat), with his son, Rukman, at his side (wearing green coat). Rukman’s sister, Rukmini, married the god Krishna. £3500-4500

114 PAHARI DRAWING OF AN ELEPHANT, PUNJAB HILLS, NORTH WESTERN INDIA, EARLY 19TH CENTURY Ink with gouache on paper, laid on a further sheet of paper, a numeral (?) inscribed in left corner 193 x 269mm £500-800

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115 (illustrated online) FOUR PAINTED COTTON HANGINGS (PICHHAVAI), RAJASTHAN, 20TH CENTURY comprising three pichhavais depicting sharada utsava and a Mughal style court scene 168 x 230; 168 x 218; 172 x 227; 178 x 121cm Provenance: Private Collection, London £200-300

117 TWO REVERSE GLASS PAINTINGS OF THE MOSQUE AT MEDINA, PROBABLY INDIA, 20TH CENTURY each depicting the courtyard, framed 39.5 x 55cm; 39 x 53cm £200-300 118 (illustrated online) A FOLIO FROM A DISPERSED MANUSCRIPT, PROVINCIAL MUGHAL, LATE 17TH CENTURY gouache with ink on paper, comprising verses Persian poetry written in four columns of nastaliq script, the unrelated illustration laid on one side, depicting a ruler with a river flotilla, framed 24 x 17cm (inside margins) Provenance: Property of a Deceased Estate, sold by order of the Executors. £80-120

116 A JAIN PAINTED CLOTH HANGING, WESTERN INDIA, 20TH CENTURY pigment on cotton depicting a stylised moustachioed figure with crown in the form of Jina shrines, his front marked out with grid diagram, with vignette scenes at the centre showing wrongdoers being punished, inscribed with seven panels of devanagari script 105 x 52cm £800-1200

119 AN ELEPHANT FIGHT, BUNDI, RAJASTHAN, INDIA, CIRCA 1800 black ink drawing on paper with touches of colour 25 x 37cm Provenance: Private Collection, London, acquired from the London trade in the mid 1990s For a similar drawing in the Victoria and Albert Museum, from the Gayer-Anderson Collection, see inv. no. IS 403 1972. £2500-3500

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120 A COMPANY SCHOOL PAINTING DEPICTING THE EXTRACTION OF SUGAR, NORTHERN INDIA, EARLY 19TH CENTURY gouache on paper, inscribed in English on the reverse, framed 11.5 x 18cm Provenance: Private collection, London, acquired from Arthur Millner Ltd., London, 2002 The inscription reads ‘The process of extracting the Sugar from the Cane. The same mode is not, however, adopted throughout India. This is used in the district of Benares but not in Bengal’. £700-900

122 PORTRAIT OF A COURTESAN, JAIPUR, RAJASTHAN, INDIA, MID 18TH CENTURY gouache with gold on paper, laid on floral gold painted card album page 19.5 x 13cm (image); 26.5 x 17cm (folio) Provenance: Private Collection, London, acquired from Peter Hinwood, Vigo Street, London, 1990s £1000-1500

121 A LARGE ALBUM MOUNT, INDIA, CIRCA 18TH CENTURY gold and gouache on green card, the dense floral decoration forming a rectangular border around opening, six old collection stamps on the reverse 55 x 35cm

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123 A WOMAN WORSHIPPING AT A SIVA SHRINE, ATTRIBUTED TO USTAD MURAD, BIKANER, RAJASTHAN, INDIA, EARLY 18TH CENTURY gouache with gold on paper, various notes and Bikaner inventory stamp on the reverse, mounted, with copy of 1997 Spink invoice 14.2 x 8cm

Provenance: Private Collection, London, acquired from Pablo Butcher, London, 1990s

Provenance: Private Collection, London, acquired from Spink and Son, London, 3rd November 1997; the Private Collection of the Maharaja of Bikaner (before 1964).

£300-400

£1200-1800

124 THE INFANT KRISHNA WITH DEVOTEES, MALWA, CENTRAL INDIA, MID 17TH CENTURY gouache with silver and gold on paper, a line of devanagari script with a number along the top, framed, with copy of 1997 Spink invoice 16.5 x 18.7cm Provenance: Private Collection, London, acquired from Spink & Son, London, 13 May 1997 The story is told of how the young Krishna was tied by his mother to a sturdy mortar and pestle underneath a fruit tree to restrain him from his mischievous behaviour. Two female devotees pay their respects. £600-800

126 ~ FOUR VIEWS OF MUGHAL MONUMENTS, DELHI SCHOOL, INDIA, SECOND HALF 19TH CENTURY gouache on ivory, each of oval form, depicting (clockwise from top left) Humayun’s Tomb, Interior of a Mughal Tomb, The Jami Masjid, Delhi and Akbar’s Tomb, Sikandra, each in brass frame with suspension loop and red velvet backing approximately 13 x 9cm including frame £1000-1500

125 A MAHARAJA ON HORSEBACK, JODHPUR, RAJASTHAN, INDIA, LATE 18TH CENTURY gouache with silver and gold on paper, riding by a river in a hilly landscape, holding a spear, wearing orange robes and tall turban, accompanied by three attendants, framed, with copy of 1997 Spink invoice 29.5 x 21cm (inside mount)

127 A COMPANY SCHOOL PAINTING DEPICTING A SNAKE CHARMER, TRICHINOPOLY (TIRUCHIRAPALLI) SOUTH INDIA, MID 19TH CENTURY gouache on mica, his assistants holding a cobra and two pythons, framed 10.5 x 15cm £150-250

Provenance: Private Collection, London, acquired from Spink & Son, 3 November 1997 £800-1200 29

128 AN ANGLO-BURMESE DINNER GONG, CIRCA 1900 gilded and lacquered iron with black painted figural decoration, the supports of carved teak in the form of nats battling with demons, with padded cloth striker and suspension rod of bow-shaped form 42cm (diam. of metal gong); 68cm (height of figures) (5) £300-500 129 A BRONZE FIGURE OF BUDDHA, PROBABLY BURMA, 19TH CENTURY OR EARLIER seated in dhyanasana on a double lotus throne, his hands in bhumisparsa and dhyana mudra, with prominent hooked nose and domed usnisa 11cm high £600-800

130 A BRONZE FIGURE OF BUDDHA, THAILAND, 19TH CENTURY in Sukotai style, seated in sattvasana, his hands in bhumisparsa and dhyana mudra, with elongated earlobes, tightly curled hair and tall flame usnisa 35cm high £200-300

131 A LACQUERED AND GILDED BRONZE FIGURE OF BUDDHA, RATNAKOSIN PERIOD, BANGKOK, THAILAND, 19TH CENTURY seated in sattvasana on a lotus throne, resting on tiered base, decorated with five registers of miniature Buddha figures in relief, foliate border below, the main image with hands in bhumisparsa and dhyana mudra, wearing elaborate brocaded robes and tall pointed headdress 39.5cm high Provenance: Private Collection, London £500-800 132 A LACQUERED AND GILDED BRONZE FIGURE OF A BUDDHIST MONK, RATNAKOSIN PERIOD, THAILAND, 19TH CENTURY seated in sattvasana on elaborate tiered throne, with decorated rug hanging at the front, holding a lotus bud in his right hand, his left clasped to hold a bowl (now missing), wearing brocaded robes, his head with tightly curled hair and elongated earlobes 32.5cm high Provenance: Private Collection, London £700-900

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135 A JAVANESE BRONZE FIGURE OF BUDDHA, INDONESIA, 10TH CENTURY the slender figure seated in sattvasana with hands in bhumisparsa and dhyana mudra on a lotus on a throne with scrolling feet 9.5cm high Provenance: Private Collection, London £400-600

133 AN AYUTHIA BRONZE FIGURE OF BUDDHA, THAILAND, 16TH / 17TH CENTURY seated in sattvasana, his hands in bhumisparsa and dhyana mudra, with elongated earlobes, tightly curled hair and flame usnisa, his throne on bracket feet 32cm high Provenance: Private Collection, Southern England, acquired in the United Kingdom about 40-60 years ago £700-900

136 A MON-DVARAVATI BRONZE FIGURE OF BUDDHA, THAILAND, 8TH / 9TH CENTURY standing on a double lotus, both hands raised in vitarka mudra 15.5cm high Provenance: Private Collection, London £600-800 137 A MAJAPAHIT FRAGMENTARY TERRACOTTA FIGURE OF A DVARAPALA, JAVA, CIRCA 14TH CENTURY comprising two fragments mounted together, a crowned head with protruding fangs and bulging eyes, and a chest section, wearing necklace and armlet, perspex stand 13 x 12 x 6cm (head); 12 x 20 x 7cm (chest fragment) approx.

(2) Provenance: Private Collection, London £250-350

134 AN AYUTHIA BRONZE FIGURE OF BUDDHA, THAILAND, 16TH / 17TH CENTURY seated in sattvasana on a throne with bracket feet, his hands in bhumisparsa and dhyana mudra, with elongated earlobes, tightly curled hair and tall flame usnisa, traces of red pigment on his lips and gilding throughout 41cm high Provenance: Private Collection, Southern England, acquired in the United Kingdom about 40-60 years ago £1000-1500

138 A BRONZE FIGURE OF A GODDESS, PROBABLY GANGA, JAVA, INDONESIA, 13TH / 14TH CENTURY kneeling and clasping the kalasa in her hands, wearing necklace, large earrings and bazubands on her arms, a suspension loop on the top of her head 9.8cm high Provenance: Private Collection, London £250-350 31

142 A DAMASCUS TILE, OTTOMAN SYRIA, 18TH CENTURY underglaze painted fritware, of square form, with central eight pointed floral star in blue, turquoise and manganese on white ground 22.5cm square Provenance: Private Collection, Scotland, formerly part of the decoration lining a fireplace in Garth House, Fortingall, Perthshire. For an almost identical example, see Arthur Millner, ‘Damascus Tiles’, London, 2015, fig.4.61, p.169. £200-300

139 A LACQUERED GILT-BRONZE FIGURE OF BUDDHA, BURMA, 14TH / 15TH CENTURY seated on a raised throne, his hands in bhumisparsa and dhyana mudra, with elongated earlobes and bud-shaped usnisa 14.8cm high Provenance: Private Collection, London £700-900 140 ELEVEN DAMASCUS TILE FRAGMENTS, OTTOMAN SYRIA, 16TH -18TH CENTURY underglaze-painted fritware, with various floral and geometric designs 23 x 12cm and smaller £400-600 141 (illustrated online) A CANAKKALE SPLASHWARE POTTERY BOWL AND COVER, WESTERN ANATOLIA, LATE 19TH CENTURY on tripod feet with applique floral decoration, the lid modelled with lion holding a bowl 19.5cm high (with lid) £200-300

part 143 A PAIR OF CHARGERS, GARDNER FACTORY, MOSCOW, FOR THE CENTRAL ASIAN MARKET, SECOND HALF 19TH CENTURY each with scalloped rims and blue ground, the central floral medallion surrounded by a gilt and sgraffito leafy border, the underside with royal crest and factory mark with St. George and the Dragon motif reading FABRIK GARDNER MOSKVI in Cyrillic, an Islamic inscription below, wire hangers attached 4.5cm high; 38cm diameter Provenance: Private Collection, London The Gardner factory was established in the 18th century

by Francis Gardner, a British banker, who helped bring the secret of porcelain production to Russia. During the from the mid-19th century, the output of this famous firm was popular in Central Asia, and this is one of the designs which was especially in demand. See Johannes Kalter, The Arts and Crafts of Turkestan, Thames and Hudson, London 1984, pl.41, p.60. £150-250 144 A PAIR OF CHARGERS, GARDNER FACTORY, MOSCOW, FOR THE CENTRAL ASIAN MARKET, SECOND HALF 19TH CENTURY each with scalloped rim and crimson ground, the central floral medallion surrounded by a gilt and sgraffito leafy border, the underside with royal crest and factory mark with St. George and the Dragon motif reading FABRIK GARDNER MOSKVI in Cyrillic, islamic inscription below 3.5cm high; 35.5cm diam.

Provenance: Private Collection, London See the preceding lot for a note on the Gardner factory. For a related bowl in the Victoria and Albert Museum, London, see Inv.No.C.10-2018. £150-250

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145 TWO BOHEMIAN RED OVERLAY GLASS DECANTERS, CIRCA 1900 for the Islamic market, cut to clear, with floral, scroll and abstract decoration, the larger with tall pointed stopper 46cm (the larger, including stopper), 21cm (the smaller, stopper missing)

149 TWO BRASS VESSELS, INDIA, 18TH / 19TH CENTURIES comprising: a small ewer, of bulbous form with serpentine spout and makara finial; and a small limepot with appliqué wave design, in the form of two hinged hemispheres 9cm; 8.5cm respectively

Provenance: Private Collection, London

Provenance for the ewer: from the collection of the late Peter Cochrane, acquired in 1974, Inv. No.JPC74/23

£200-300

£100-150

146 A QAJAR GOLD DAMASCENED IRON EWER, PERSIA, 19TH CENTURY of bulbous form with elaborately scrolling handle and slender spout, the hinged helmet lid with conical finial, the body engraved with relief medallions depicting gul-obulbul designs, with further gold arabesque designs 30.5cm high £500-700 147 A BURMESE SILVER BOWL AND COVER ON WOOD STAND, RANGOON, 1920s the circular bowl and cover richly chased all over with figural vignettes in arabesque panels amidst foliage on a matted ground, the underside engraved with facsimile signatures and presentation inscription, the ebonised wood stand carved with central support on a triform base set with three chinthes (Burmese guardian lion figures) 20cm high overall £80-120 148 A BRASS BOOK CONTAINER, PROBABLY FOR A QUR’AN, NORTHERN INDIA, 18TH / 19TH CENTURY of rectangular form, with twin hinged serpentine props, the pierced and panelled doors with floral decoration and cusped arch, paired peacock motifs at the top, the sides and back with further pierced decoration 24.5 x 19 x 3.5cm (excluding props)

150 A CAUCASIAN SILVER BELT, PROBABLY DAGESTAN 1930s composed of a row of elements with niello arabesque decoration, fringed with filigree, each with projecting boss, the buckle with large similarly decorated circular boss, threaded with leather, most pieces embossed with maker’s mark ‘OK’, Soviet 875 standard marks for Tbilisi assay office 1927-1958 93.5cm long (opened) £250-350 151 A BIDRI PAN BOX (PANDAN), DECCAN, SOUTHERN INDIA, MID 18TH CENTURY alloy inlaid with silver, of flared circular form, the lid with late 19th century restoration in repousse silver, the sides with ogival floral trellis design 12cm high; 15cm diameter £300-500 152 A BENARES BRASS JARDINIERE, NORTHERN INDIA, CIRCA 1900 of flared form, the sides engraved and enamelled with a row of Mughal rulers alternating with their consorts in arched niches, floral bands above and below 21.5cm high; 32cm max diameter £120-180

Provenance: from the collection of the late Peter Cochrane, acquired in 1970, Inv.No.JPC70/68 £250-350 33

153 A CAST BRASS BOWL, SUMATRA, INDONESIA, 19TH CENTURY the convex sides with foliate lozenge design, on flared foot 10cm high; 31cm max. diameter £120-180 156

157 A QAJAR BRASS STANDARD LAMP, PERSIA, 19TH CENTURY engraved and pierced brass, in three sections, with flared base, cylindrical shaft and tulip shaped finial, profusely decorated with openwork floral arabesques and calligraphy 159cm high £400-600

155

154 154 A SET OF SIX SILVER COFFEE CUP HOLDERS (ZARF), PERSIA, CIRCA 1900 each on small rim foot with engraved sides below a scalloped lip, three with maker’s punch to underside of initials; together with a Kashmir silver card case, engraved with floral boteh design 4.5cm high (zarfs); 8.5cm long (case) (7) Provenance: Private Collection, London £120-150 155 A SILVER CIGARETTE BOX, PERSIA, 1920-30 of low rectangular form, the hinged lid engraved with a melée of polo players, the sides with arabesques; together with a silver cigarette holder, probably Persia, in the form of a miniature pipe, with filigree decoration 3 x 9.4 x 20cm, 445gr (14oz) (2) Provenance: Private Collection, London £150-200 156 A PAIR OF MINIATURE SILVER TRAYS, PERSIA, CIRCA 1900 each of rounded rectangular form, with twin floral handles, engraved central scenes and floral borders, one engraved ‘C’ on underside 21.5 x 12cm Provenance: Private Collection, London £150-200

158 A KHORASAN BRONZE INKWELL, EASTERN PERSIAN WORLD, 12TH / 13TH CENTURY of cylindrical form, the domed lid with bud finial, the exterior engraved with bands of calligraphy, arabesques and bird motifs, three mounts for suspension loops on the sides, 9.5cm high; 7.8cm max diam. £400-600 159 A SAFAVID STEEL WEIGHING BALANCE, PERSIA, 18TH CENTURY of long slender form, engraved with scrolling floral design, arched hanging attachment holding central pivot 15cm high; 53cm long For similar balances in the Tanavoli Collection, see ‘Persian Steel’ by James Allan and Brian Gilmour, Oxford 2000, p.331ff. £400-600

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163 FOUR PAIRS OF IRON BETEL CUTTERS, INDONESIAN ARCHIPELAGO, 19TH CENTURY each of zoomorphic form, three with silver, copper and brass damascened decoration, the other with silver handles 15.5cm long and smaller £120-180 160 A TINNED COPPER DISH, OTTOMAN EMPIRE, 18TH CENTURY the raised lip with engraved floral decoration and inscribed cartouche, the convex well with floral roundel surrounded by leaf and arabesque medallion motifs, a further foliate border below the cavetto, 5cm high, 37.5cm diam £500-700

161 TWO ISLAMIC METAL VESSELS, 16TH / 17TH CENTURY comprising a Safavid tinned copper bowl, of flattened hemispherical form, engraved inside and out with bands of nastaliq script, and tinned brass plate, Egypt or Levant, engraved with floral arabesques and calligraphic border 6cm high; 16.5cm diam. (bowl); 3cm high; 23.5cm diam (plate) £600-800 162 A SILVER LIMEBOX, BURMA, 19TH CENTURY of flattened spherical form, the lid and body with dense chased and repousse decoration composed of concentric bands of acanthus leaves, scrolling foliage, repeated stylised florets and convex medallions, traces of writing in Burmese on underside 9cm high; 10.5cm diam.

164 A GROUP OF FIVE INLAID BRASS GHALIAN CUPS, PERSIA, CIRCA 1900 each of inverted bell-shaped form, inlaid with turquoise and coloured glass beads, one with carved wood stem and pendant chains 17cm high (with stem) and smaller £200-300

165 THREE INDIAN CLAY FIGURES OF TRADESMEN, PROBABLY KRISHNANAGAR, BENGAL, 19TH CENTURY each realistically modelled, on rectangular bases, with cloth garments 16.5cm approx. each £120-150

Provenance: Private Collection, London £150-250 35

169 (illustrated online) TWO FOLDING WOOD BOOK CRADLES, ETHIOPIA, 20TH CENTURY each carved with weave designs, one with gilding, the other with painted decoration on the two inner surfaces depicting priests with followers 34 x 33.5 x 17cm and smaller Provenance: from the collection of a retired manuscript curator £100-150

166 ~ A HOSHIARPUR WORKBOX, PUNJAB, INDIA, CIRCA 1900 wood, inlaid with ivory and ebony, of rectangular form, the exterior decorated with foliate panels, brass mounts, the hinged lid opening to reveal a mirror on the underside, various compartments with removable tray below, old label underneath reading ‘Silver Medal Awarded, Mistri Dipni(?)

Ram & Puron(?) Chand, Ivory, Brass and Wood Work Manufacturers, Dabdub, Hoshiarpur’ 13 x 30.5 x 22cm

170 (illustrated online) A PORTABLE ICONASTASIS, ETHIOPIA, 20TH CENTURY wood, carved and painted, of arched form, the exterior carved with cross motifs in relief, hinged doors opening to reveal various icons, inscribed in Ethiopian 49 x 18.5 x 2.3cm Provenance: from the collection of a retired manuscript curator £120-180

For a similar, larger, box by an unknown manufacturer in the Victoria and Albert Museum, London, see inv. no. 444:1, 2-1898 £120-180 167 A CARVED COCONUT JAR, SRI LANKA, LATE 19TH CENTURY with floral and acanthus decoration in low relief, metal mounts, the lid with melon shaped knob handle 15.5cm high £80-120

171 THREE CARNELIAN PENDANTS, PROBABLY INDIA, 19TH CENTURY the larger of oval, the smaller two of bevelled rectangular form, each profusely inscribed with Islamic invocations 4.5 x 6 x 0.4cm and smaller £600-800

168 AN ANGLO-INDIAN TEA-CADDY, BOMBAY, INDIA, CIRCA 1880 decorated with carved wood figural and foliate panels with sadeli work borders, the hinged lid opening to reveal two lidded compartments lined with zinc 14 x 24 x 13cm Provenance: Private Collection, Northern England £150-250 36

172 TWO BAMBOO BOXES, INDONESIA, 20TH CENTURY each of bun-shaped form, with metal mounts and painted wood outer rims 33 x 40cm; 23 x 37.5cm £250-350

173 A LACQUER BOWL, BURMA, 20TH CENTURY lacquered split bamboo, the red ground with black and amber sgraffito animal and foliate decoration, labelled in burmese, 20cm high, 24cm diam.; together with a small betel box, Burma, 20th century, lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with black and amber engraved scrolling decoration, 11cm high, 13cm diam.; and a pair of lacquered wood grain scoops, Burma, 20th century, each with handle in the form of a peacock head, 22cm long, each (4)

176 A PAIR OF WOOD FIGURES OF DANCERS, BURMA, CIRCA 1900 each wearing elaborate flowing robes and headdresses, standing on ribbed mounds 46cm approx. each £150-200

Provenance: Private Collection, London £80-120 174 (illustrated online) A BETEL BOX, BURMA, FIRST HALF 20TH CENTURY lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with black and orange-painted lattice design, the interior with two removable trays 11cm high; 13cm diam.

Provenance: Private Collection, London £80-120 175 A CARVED WOOD FRIEZE PANEL, SOUTH INDIA, 18TH / 19TH CENTURY depicting Aiyannar, flanked by his consorts Purna and Pushkala and two forms of Siva, the central figure seated in rajalilasana, holding an elephant goad in his right hand his left arm resting on his raised knee, the other figures seated in lalitasana 26 x 85 x 9cm

177 ~ AN ANGLO-INDIAN IVORY CHESS SET, BERHAMPORE, SECOND QUARTER 19TH CENTURY complete with natural and red stained pieces carved with a variety of stiff leaf borders, turned stems and identifying characteristics, fitted in a later case initialled ‘E.K.D.’, interior gilt stamped ‘LORIES LTD. LONDON.’ king 12cm high (32 pieces) £400-600

£400-600

37

180 (illustrated online) AN EMBROIDERED VELVET HANGING (KALAGA), BURMA, 20TH CENTURY of horizontal rectangular form, embroidered with metal thread, with sequin, mirrored and coloured glass bead applique, the quilted figural design comprising a four elephants and riders, surrounded by a border of small elephants, mounted on silk panel with loops at the top and wood pole for hanging 72 x 139cm £200-300

178 A CARVED AND PAINTED WOOD FIGURE OF A MYTHICAL LION, POSSIBLY BARONG, BALI, INDONESIA, 19TH CENTURY with bulging eyes and protruding fangs, a separately carved figure of a devotee(?) riding on his back 32 x 36 x 13cm Provenance: Private Collection, London £250-350

181 A SMALL MIHRAB SUSANI, UZBEKISTAN, CENTRAL ASIA, LATE 19TH CENTURY cream cotton, embroidered with polychrome chainstitch decoration, in the form of stylised branches and flower motifs around a pointed arch 112 x 91cm £400-600

179 AN EMBROIDERED SILK PANEL DEPICTING THE JAGANNATH TEMPLE, PURI, ORISSA, EASTERN INDIA, CIRCA 1900 with applique foil and silver thread design, of rectangular form, depicting visitors in the temple forecourt 56 x 66cm (main panel) £120-180

182 AN OTTOMAN SILK EMBROIDERED COTTON PANEL, 19TH CENTURY of square form, the decoration comprising four floral and leafy scrolling tendrils, in pink, blue, ochre, crimson and green on red ground 119 x 122cm approx £1000-1500

38

185 A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY woven russet, ochre and indigo cotton, with a design of tiers of stylised ships between bands of abstract geometric and scroll motifs, mounted on card 67 x 53cm (cloth) Tampans were produced mostly by the women of Lampung, a region rich from the cultivation of pepper.

Almost all families would have possessed a few of these cloths which were used for display at family ceremonies such as marriage. £150-250 183 AN APPLIQUE FELT MIHRAB HANGING, BANYA LUKA, OTTOMAN BALKANS, FIRST HALF 19TH CENTURY of rectangular form, the design comprising a polychrome central floral arch containing a stylised tree of life, surrounded by a scrolling floral border fringed with scale pattern, laid onto cloth backing 169 x 104cm £1200-1800

186 AN EMBROIDERED VELVET PANEL, PERSIA, CIRCA 1800 of rectangular form, the design worked in silver thread comprising central ogival floral arabesque medallion within a serpentine cartouche, surrounded by three concentric scrolling floral borders, on alternating green and maroon ground 140 x 98cm approx. £300-500

184 AN EMBROIDERED COTTON PANEL, GUJARAT, WESTERN INDIA, EARLY 20TH CENTURY of square form, the polychrome design comprising registers of peacocks interspersed with floral sprigs, surrounded by a border of stylised flowers alternating with parakeets, mounted and framed, old label on the reverse 67 x 64cm approx. (inside mount) £150-250

187 (illustrated online) A CHINTZ PRAYER MAT, MACHHILIPATNAM, SOUTH INDIA, MID 19TH CENTURY printed cotton, the design comprising of central bud motif under a cusped arched mihrab, surrounded by concentric foliate and chevron borders, a further scrolling floral border at the top, plain cotton lining 185 x 102cm approx.

Provenance: Private Collection, London £200-300 39

188 FOUR INDIAN TEXTILES, 20TH CENTURY comprising an embroidered pachhisi layout, a silver and gilt-thread embroidered satin panel depicting two oversize birds above the Taj Mahal, an embroidered and applique mirror hanging and a printed sari with gilt-thread weave 500 x 108cm approx (sari); 66 x 66cm (pachhisi) Provenance: Private Collection, London £100-150

191 SEVEN HANDWRITTEN BOOKS, NORTHERN INDIA, 18TH / 19TH CENTURY ink on paper, each with string binding, one with card cover, each with devanagari text in black, four with significant phrases and punctuation in red, two with various illustrations of yantras, animals, princely figures and deities, 17 x 13cm average size; together with a collection of miscellaneous manuscript folios, India, 17th-20th centuries, ink on paper, of horizontal rectangular format, mostly comprising parts of Jain sutras, the devanagari script mostly in black, some with punctuation and significant phrases in red ink, 12.5 x 27cm average size (a lot) Provenance: Private Collection, Northern England £120-150

189 A LONG BEADWORK PANEL, GUJARAT, WESTERN INDIA, FIRST HALF 20TH CENTURY in the form of a long rectangular frieze, with polychrome designs on white ground, the stylised geometrical motifs including plants, animals, Hindu deities and other figures, lined with cotton 700 x 19cm Gujarati beadwork was traditionally made by the Kathi women in Kutch. The craft arose from the trade in Murano beads amongst Indians in Zanzibar. For a note on beadwork in Kutch, see John Gillow and Nicholas Barnard: Traditional Indian Textiles, London 1991, p.63. This example is exceptionally long. For a similar, smaller beadwork band in the Museum of Applied Arts and Sciences, Sydney, see inv. no. 96/274/3 £600-800

192 A GILT-LACQUER MANUSCRIPT (KAMAWA-SA), BURMA, CIRCA 1900 the twenty folios with applied brown lacquer stylised Burmese script on sgraffito decorated gilt ground, each with twin piercings for binding, a pair of lacquered wood covers (kyan) with decorated with a series of roundels depicting hamsas, 9.7 x 52.7cm (folios) Provenance: from the collection of a retired manuscript curator For a closely related Kamawa-Sa said to have been found in the palace at Mandalay in 1885, now in the Victoria and Albert Museum, London, see inv. no. IS.11:26 to N-1969Burmese manuscript, lacquer covers £250-350

Provenance: Private Collection, London

193 A PALM-LEAF BUDDHIST MANUSCRIPT, BURMA, CIRCA 19TH CENTURY of long rectangular form, approximately 350 gilt edged folios, each inscribed with nine lines of Burmese script, with twin piercings for binding, enclosed by a pair of gilt wood covers with stylised foliate decoration 5.5 x 50.5cm (folios); 22cm deep (including covers)

For a note on Roti ikats, see Jack Lenor Larsen, ‘The Dyer’s Art: Ikat, Batik, Plangi’, New York, 1976.

Provenance: From the collection of a retired manuscript curator

£100-150

£250-350

190 A COTTON WARP IKAT, SAVU OR ROTI ISLAND, INDONESIA, FIRST HALF 20TH CENTURY of rectangular form, composed of two pieces stitched together and then sewn again into a ‘tube’, decorated with stylised foliate horizontal bands on blue-black ground 165 x 59cm (half width, laid flat)

40

194 (illustrated online) TWO PALM-LEAF BUDDHIST MANUSCRIPTS, BURMA, 19TH/20TH CENTURY each of long rectangular form, with approximately 300 giltedged folios, each inscribed with eleven lines of Burmese script, with twin piercings for binding, enclosed by a pair of wood covers, one lacquered in red 6 x 49.5, 6 x 49cm (folios); 21.5, 19cm deep (including covers) Provenance: from the collection of a retired manuscript curator £200-300

197 A BRONZE RELIEF PLAQUE OF ST ANTHONY OF PADUA, PROBABLY SPANISH 17TH CENTURY rectangular, depicting the saint kneeling at the altar embracing the Christ Child surrounded by billowing clouds inhabited by seraphim 11.5 x 9.3cm £100-200

195 A PORTRAIT OF A SAFAVID SHAH, PROBABLY SULEIMAN I, QAJAR PERSIA, FIRST HALF 19TH CENTURY gouache with ink and gold on paper, laid on an album page, the figure kneeling by a window opening onto a wooded landscape, in conversation with an elder, a youth behind, inscribed near the top, surrounded by concentric floral borders, inscription top left reading ‘ya sahib as Samaan’, framed 14.2 x 7.5cm (image); 30 x 20cm (folio) Provenance: Private Collection, London, acquired Christie’s, London, 11 October 1979, lot 64

198 THOMAS FRANCOIS CARTIER (1879-1943): COMBAT DE CERFS (RUTTING STAGS) a French patinated bronze group, Paris, early 20th century, realistically modelled on a naturalistic base, signed in the bronze, on its oval Breccia marble base bronze 56cm long Literature: Pierre Kjellberg, ‘Bronzes of the 19th Century’, Atglen, 1994, p.195, fig.1.

The animalier sculptor, Thomas Cartier, primarily known for his figures of hunting dogs, wolves and big cats, trained under Georges Gardet and in the early 20th century participated in the Salon des Artists Français and the Salon d’Automne. £500-800

£300-500 196 (illustrated online) SCENE IN A PERSIAN GARDEN, PERSIA, MID 20TH CENTURY gouache with gold on paper, in Safavid style, with elaborate arabesque border, in qatamkari frame, label of miniaturist H. Ali Sajjadi on back of frame 27 x 19cm (image) Provenance: Private Collection, London £60-80

199 L. GOYEAU (ACTIVE 1895-1920): ‘PIPING HOT’ a French patinated bronze figure, circa 1909, modelled as a peasant girl holding a bowl to her mouth, titled to front base, stamped to rear base ‘ART UNION OF LONDON / 1909’, signed in the bronze 21cm high £100-200 41

200 AN ARTIST’S MANNEQUIN WITH STAND, PROBABLY FRENCH, 19TH CENTURY typically articulated in walnut, the stand with iron semicircular base and adjustable brass rod 66cm high £400-600 201 (illustrated online) A GILTWOOD FIGURE OF AN ANGEL, 17TH CENTURY AND LATER the standing winged figure with one arm raised 39.5cm high £150-250 202 (illustrated online) AN ‘EMBRIACHI’ CARVED BONE CASKET PANEL, NORTHERN ITALY, 15TH CENTURY rectangular, carved with three figures below geometric patterning 12.7cm high

204 ATTRIBUTED TO GUY TAPLIN (BORN 1939): FOUR BIRD FIGURES painted wood, each supported on a slender wooden pole set in a rectangular plain wood base tallest 26.5cm Provenance: Roxanne Wruble Rosoman (1938-2018), London, widow of the artist Leonard Rosoman OBE RA (1913-2012), sold by orders of the executors. £200-400 205 (illustrated online) ASSORTED OLD ENGLISH PATTERN TABLE SILVER, LONDON all plain, comprising: ten table forks, various makers, 17991835; a set of twelve dessert spoons, William Chawner, 1818; and a set of twelve dessert forks, West & Son of Dublin, 1909 1662gr (53oz) (34) £500-700

£80-120 203 ~ AN IVORY BUST OF A GENTLEMAN MOUNTED ON A DESK THERMOMETER, ENGLISH, CIRCA 1830 the head and shoulders bust perhaps depicting Lord Chesterfield in Antique style with draped robes, a medal to his left breast and holding a rolled-up letter in his right hand, the thermometer (glass damaged) mounted on a fluted column turned with a variety of borders probably on a Holtzapfel lathe 20cm high £150-250 42

206 A PAIR OF IRISH GEORGE III SILVER ASPARAGUS TONGS, BENJAMIN TAITT, DUBLIN, 1793 typical form, engraved with a crest, with bright-cut borders and foliate pendants 26cm long, 165gr (5oz) Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £200-300

207 (illustrated online) A SET OF SIX IRISH GEORGE III SILVER TABLESPOONS, MICHAEL KEATING, DUBLIN, 1772 Old English pattern, engraved with a crest, 22.5cm long; together with another similar Irish silver tablespoon, Michael Keating, Dublin, 1771, slightly larger but same pattern and crest 523gr (16oz 16dwt) (7) Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £180-220

210 A PAIR OF IRISH GEORGE III SILVER GRAVY SPOONS, JOHN LAUGHLIN, DUBLIN, 1776 Old English pattern with curled terminals, engraved with a crest, 28.5cm long; together with a set of three Irish silver tablespoons, probably William French, Dublin, 1770, Old English pattern, crested 391gr (12oz) (5) Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £250-350

208 A MATCHED SET OF TABLE SILVER, VARIOUS MAKERS, DUBLIN OR LONDON, 1813-1879 Fiddle pattern, all engraved with the same crest, comprising: twelve tablespoons, eleven table forks, eight tablespoons, a teaspoon, a sauce ladle and a pair of salt spoons 2078gr (66oz) (35)

211 A PAIR OF VICTORIAN SILVER ASPARAGUS TONGS, CHARLES BOYTON, LONDON, 1866 Kings pattern, scroll engraved initials CAM, with scroll foliate pierced blades 25.5cm long, 216gr (6oz 18dwt) £80-120

£700-1000

209 ~ A SET OF TWELVE VICTORIAN SILVER FISH KNIVES AND ELEVEN FORKS, MARTIN, HALL & CO. LTD., SHEFFIELD, 1908 with plain ivory handles; together with ten assorted silver teaspoons, London and Dublin, Celtic point or Fiddle pattern (33) £200-300

212 A SET OF SIX VICTORIAN SILVER DESSERT SERVERS AND A SIFTER LADLE, EDWARD BARNARD & SONS, LONDON, 1883 the gilt bowls beaded and curved fluted between bright-cut decoration, the twisted stems ending in Onslow pattern terminals, all in original leather case with purple fitted interior with gilt stamped Barnard’s label spoon 24.5cm long; 550gr (17oz) £150-250 43

213 A GEORGE III SILVER GRAVY SPOON, THOMAS & WILLIAM CHAWNER, LONDON, 1769 Old English pattern, engraved with scrolled initials 29cm long, 106gr (3oz 8dwt) £80-120

214 A PAIR OF SCOTTISH PROVINCIAL GEORGIAN SILVER TODDY LADLES, MILNE & CAMPBELL, GLASGOW, SECOND QUARTER 18TH CENTURY Old English pattern, engraved with a triangle of scrolled initials A/B S, maker’s mark only 17cm long, 65gr (2oz)

216 FIDDLE PATTERN TABLE SILVER, VARIOUS DATES AND MAKERS, LONDON AND PROVINCIAL, 1814-1907 the terminals variously initialled, crested or plain, comprising: four tablespoons, eight table forks, twelve dessert spoons, six dessert forks, six teaspoons and a pair of sugar tongs 1875gr (60oz 5dwt) (37) £600-800

£50-70

215 A GEORGE III SILVER GRAVY SPOON, GEORGE SMITH, LONDON, 1781 Old English pattern, plain, 29cm long; together with a silver salad serving fork, maker’s mark RE, Sheffield, 1965, Hanoverian pattern, plain; a Victorian silver tablespoon, G.W. Adams for Chawner & Co., London, 1848, Kings Husk pattern, crested; a set of ten American silver coffee spoons, Whiting Manufacturing Co., New York, circa 1900, Imperial Queen pattern, initialled L; and an American cake knife, early 20th century, with filled silver handle and stainless steel blade weighable silver 316gr (10oz) (13) £120-180 44

217 TABLE SILVER, VARIOUS DATES AND MAKERS, THE MAJORITY LONDON AND EXETER, 1794-1897 mostly Fiddle and Fiddle and Thread pattern, the terminals variously initialled or plain, comprising: seven tablespoons, twenty dessert spoons and two pairs of sugar tongs 1509gr (48oz 10dwt) (29) £400-600

218 A PAIR OF VICTORIAN SILVER FISH SERVERS, MARTIN, HALL & CO. LTD., SHEFFIELD, 1875 loaded silver handles with beaded decoration, the pierced blade and tines with foliate bright-cutting, in leather case, knife 33cm long; together with a set of six dessert knives and six forks, William Hutton & Sons Ltd., Sheffield, 1924, with silver blades, three-prong forks and reeded bolsters and plain mother-of-pearl handles, in oak case (14 pieces) £120-180 220 A SET OF GEORGE IV TABLE SILVER, RANDALL CHATTERTON, LONDON, 1829 engraved with a crest, complete for six of each of the following: tablespoons table forks dessert spoons dessert forks and a soup ladle 2326gr (74oz) (25) £1200-1800

219 VICTORIAN TABLE SILVER, CHARLES BOYTON OR CHAWNER & CO., LONDON, 1862-64 Queens pattern, comprising: six tablespoons six table forks seven dessert spoons six dessert forks and a pair of sauce ladles; together with a set of six teaspoons, Francis Higgins, London, 1860, single struck Queens pattern 2230gr (71oz 13dwt) (33) £800-1200

221 A SET OF TWELVE GERMAN PARCELGILT-SILVER ICE CREAM SPOONS AND A SERVER, KOCH & BERGFELD, BREMEN, CIRCA 1898 with part lobed stems and bowls, the terminals with crossed oak sprays, engraved to the reverse with small ‘R/1898’, 800 standard, retailer’s mark, in original case with retailer’s gilt printed label of Heinrich Bleyer of Chemnitz, 318gr; together with a set of twelve table knives, Belgian, circa 1900, the loaded electroplate handles stamped with scrolls and foliage, stainless steel blades, in a case (25 pieces) £100-200 45

222 MISCELLANEOUS TABLE SILVER comprising: a set of six Belgian dessert spoons with ridged and pointed stems, initialled ‘F=dM’, 800 standard, mid 19th century; a set of four Danish table forks, Fiddle Shell pattern, 826 standard, Copenhagen, 1834; a set of four Pyramid pattern and a pair of Acorn pattern Danish coffee spoons, Georg Jensen, Copenhagen, import marked London, 1928/30; and the following Old English pattern: a pair of tablespoons, a dessert fork and three teaspoons, all London, 1793-1896 739gr (23oz) (22)

£80-120

223 (illustrated online) AN ITALIAN PART DESSERT CANTEEN, ARGENERIE BROGGI, MILAN, EARLY 20TH CENTURY ribbon-tied reeded pattern, comprising: ten dessert spoons, seventeen dessert forks and eleven knives with loaded handles and steel blades, stamped: ‘800’ weighable silver 1655gr (53oz) (38)

226 A PAIR OF SILVERED METAL ALTAR CANDLESTICKS, PROBABLY ITALIAN, MID 18TH CENTURY in Baroque taste, chased with bold scrollwork, the triform socle bases rising to shaped stems and urn shaped sconces 81cm high

£400-600

£500-700

£180-220

224 A SET OF AMERICAN TABLE SILVER, TOWLE SILVERSMITHS, NEWBURYPORT MA, SECOND QUARTER 20TH CENTURY Lady Constance pattern (introduced 1922), initialled L, comprising twelve of each of the following: table forks table knives soup spoons salad forks butter knives dessert spoons and two serving implements, stamped trademarks and STERLING weighable silver 2240gr (72oz) (74) £600-900 46

225 (illustrated online) A SET OF ELEVEN CHINESE SILVER TEASPOONS, FOOK SHING, HONG KONG, EARLY 20TH CENTURY with gilt bowls, simulated bamboo stems and two character terminals (for a family name) 11cm long

227 TWO SILVERED METAL ALTAR CANDLESTICKS, PROBABLY ITALIAN, MID 18TH CENTURY in Baroque taste, each chased with scrolls, shells and rocaille, triform bases, knopped stems and vase shaped sconces tallest 76cm high £300-400

228 A GERMAN SILVER TUMBLER CUP, PAUL SOLANIER, AUGSBURG, CIRCA 1700 typical form, engraved to the rim between reeded borders with hatched initials ‘MSW’ and numbered below ‘2’ 7cm diameter, 58gr £300-400 229 A FRENCH PROVINCIAL SILVER TASTEVIN, MAKER’S MARK IC BELOW A STAR, ORLEANS, 1798-1809 of typical form with snake form ring handle, engraved to the rim ‘JES MATONNIERE’ 12cm long, 170gr (5oz) £180-220

231 A FRENCH SILVER SALVER ON FEET, MAISON ODIOT, PARIS, 1894-1906 shaped circular, the rim pierced with diaperwork and scroll leaf panels between vignettes of courting couples or trophies surrounded by foliage, on four leaf-headed volute feet, maker’s mark for Gustave Odiot, Emile Prévost & Paul Edouard Récipon, 950 standard, stamped ‘Mon ODIOT / PREVOST & Cie’ 24.5cm diameter, 470gr (15oz) £150-200 232 (illustrated online) A CONTINENTAL SILVER-GILT TAPERSTICK, PROBABLY GERMAN, SECOND HALF 19TH CENTURY domed base with scroll foliage on a matted ground, within an egg and dart rim, the stem cast as a medieval figure, the vase-shaped sconce with detachable nozzle, unmarked 12.5cm high £200-300

230 A GERMAN SILVER TAZZA, PROBABLY MASTER OF THE ‘B & ANCHOR’, HANAU, MID 19TH CENTURY the circular dish relief chased with a Renaissance ‘par force’ boar hunt, the mounted hunter in a rural enclosure about to pierce a beast with his sword, the rim also richly chased with foliage and animals including deer and goats, the openwork stem of three stag heads and antlers on a trunk, the domed base foliate chased and applied figures of swine, a lion, a cow, a bird and a beetle, the fluted base rim with an engraved border, mark of an animal’s head facing and 13 flanked by lion rampant 13cm high, 465.5gr Although only one mark is present here of those pseudo marks usually found on ‘B and anchor conjoined’ pieces, the historismus style and fine chasing of this tazza make for a reasonably firm attribution to the Master of the B & Anchor. £200-300

233 AN ITALIAN SILVER SOUP TUREEN AND COVER, EARLY 20TH CENTURY circular pedestal urn shaped, with leafy loop handles, chased with bold lobes within rocaille rims, the cover applied with a cast apple and leaf knop, stamped with unidentified trademark (a column) and ‘800’ 27cm high, 2343gr £600-900 47

234 AN ITALIAN SILVER CASKET, MID 20TH CENTURY cushion shaped, the lid and sides centrally applied with cast flowerhead sprays on a matted ground, the lid with further applied flowerhead pendants to the corners surrounded by flat-chased scroll foliage, feathered rim, on cast shaped scroll panel feet, stamped with indecipherable lozenge mark and ‘800’ 19.5cm long, 749gr £200-300

237 A CONTINENTAL SILVER SAUCEBOAT, PROBABLY BELGIAN, EARLY 20TH CENTURY oval, shaped moulded rim, loop handle, spreading rim foot, indecipherable maker’s mark, French import marks, 15cm long; together with an English Britannia Standard silver milk jug, marks rubbed, probably early 20th century, in George III pedestal vase form with gadroon rims, 12cm high 291gr (9oz) (2) £80-120

235 AN ITALIAN SILVER FOUR-PIECE TEA AND COFFEE SET, BENVENUTO REALI, MILAN, 1930s baluster, flat-chased with scroll leafage on a matted ground between curved and hatched flutes, applied cast gourd knops, the coffee pot, teapot and milk jug with scrolled wood handles, the sugar bowl and cover with gilt interior, stamped lozenge mark and ‘800’ coffee pot 21.5cm high; 1320gr (42oz) all in £350-450 236 (illustrated online) AN ITALIAN SILVER DISH, EARLY 20TH CENTURY circular, chased with foliate curved ribs and flutes within a rocaille border, on three scroll feet, stamped ‘800’ 29.5cm diameter, 511gr £120-180

238 AN ITALIAN SILVER TWO-HANDLED TEA TRAY, VENICE, EARLY 20TH CENTURY oval, the raised border pierced with stylized leaves 63cm long over handles, 1951gr (62oz) £400-600 239 (illustrated online) AN ITALIAN BOWL, BRONDINO, VENICE, SECOND HALF 20TH CENTURY fluted circular, flared lip, 14.5cm diameter; together with an Italian dish, shallow circular on three supports, swirl fluted below an embossed and chased border of roses and scrolls, 27.7cm diameter; both stamped ‘800’ 707gr (2) £150-250

48

242 (illustrated online) A SET OF TWELVE AMERICAN SILVER CONSOMME HOLDERS, BARBOUR SILVER CO., HARTFORD CT, AND ELEVEN LENOX PORCELAIN LINERS, MID 20TH CENTURY each circular holder with a band of trellis piercing and two simple scroll handles, stamped trademark and ‘STERLING’, the white bowls with gilt rims, green printed factory mark 13cm long, holders, 765gr (24oz) £200-300

240 AN AMERICAN SILVER LARGE TAZZA, TOWLE SILVERSMITHS, NEWBURYPORT MA, SECOND QUARTER 20TH CENTURY ‘Pompeian Adam’ pattern (introduced 1921), the circular dish on a vase-shaped stem and spreading foot all deocrated with Neo-classical foliate borders including gryphons flanking urns, underside with stamped trademarks, pattern name and ‘STERLING’ 30.5cm diameter, 727gr (23oz) £300-500

243 ~ AN AMERICAN SILVER FIVE-PIECE TEA AND COFFEE SET, GORHAM MANUFACTURING CO., PROVIDENCE RI, 1915 Plymouth pattern, designed by William Christmas Codman (1839-1921) in 1911, each engraved with scrolled initials MLW, comprising a teapot, a coffee pot, a milk jug, a small slop bowl and a sugar bowl and cover, stamped with trademarks, ‘STERLING’, date ciphers and shape numbers coffee pot 22cm high; 1671gr (53oz) including ivory insulators to pots £500-700

241 AN AMERICAN SILVER LARGE VASE, WHITING MANUFACTURING CO., NEW YORK, 1916 trumpet form on spreading foot, the everted rim pierced with pales and oval leafy paterae hung with engraved husk swags, further engraved to the base of the body with a band of formal foliage, underside stamped with trademark, ‘10IN’, ‘4890A’, ‘STERLING’ and date cipher 25.5cm high, 860gr (27oz)

244 AN AMERICAN SILVER TRAY, EARLY 20TH CENTURY oval, initialled MLW, foliate rim, stamped trademark and ‘STERLING’ 34.5cm long, 440gr (14oz) £150-250

£250-350 49

245 AN AMERICAN SILVER WATER JUG (PITCHER), R. WALLACE & SONS MFG. CO., WALLINGFORD CT, EARLY 20TH CENTURY urn shaped, with moulded shoulder and rim, intialled MLW, C-shape handle, holding four pints, stamped trademarks and ‘STERLING’ 20cm, 566gr (18oz)

247 A PAIR OF GERMAN ELECTROPLATE INDIAN ELEPHANTS, J.P. KAYSER SOHN, KREFELD, CIRCA 1900 probably after models by Wilhelm Zwick (1839-1916), in trumpeting pose, each stamped KAYSER / KREFELD under one foot 39cm long J. P. Kayser Sohn (1862-1925) was one of the leading pewter manufacturers in Germany. In 1894, Engelbert Kayser (18401911) established a studio in Cologne, providing pewter designs for the foundry in Krefeld. Largely Art Nouveau and Jugenstil in style, the company’s aim was to produce ‘art’ objects that were accessible to the wider public through the methods of mass production. £600-800 248

£200-300

246 A SET OF FOUR ITALIAN FIGURES OF PUTTI, RICCI & C., ALESSANDRIA, CIRCA 1960 each cast in Baroque style as a cherub musician perched on a cushion atop a scroll and waisted socle playing either a concertina, a lute, a pipe or the cymbals, lozenge marks for 1946-68 and stamped ‘800’ 9cm high, 632gr £500-700 50

A GREEK GILT TAZZA, LALAOUNIS, ATHENS, 1970s with hammered circular bowl and short pedestal foot, applied at the rim with swan heads craning over the rim, stamped ‘LALAOUNIS / 900’ 18cm diameter, 526gr Illias Lalaounis (1920-2013), the renowned jeweller and goldsmith, was inspired by a 5th century BC vessel from Persepolis when creating this design, an example illustrated in his book ‘Metamorphosis’ (Athens, 1984, p.164). £250-350

249 A DANISH ‘GRAPE’ TAZZA, GEORG JENSEN, COPENHAGEN, POST 1945 designed by Georg Jensen in 1918, the hammer-finished bowl applied above the spiral fluted bulbous stem with fruit-laden vines, on a spreading foot, Jensen trademark flanked by stamped ‘DENMARK’ and ‘STERLING’ above the model no. 263 / B 18.5cm high, 621gr £1000-1500

250 AN AMERICAN COCKTAIL SET, TIFFANY & CO., NEW YORK, CIRCA 1955 ‘Snowflake’ pattern, each piece with applied or stamped stylised snowflake detail, comprising a jug (or pitcher) with right-angled wood-mounted handle, a long stirrer, six cocktail goblets and a circular salver, stamped trademarks and ‘STERLING SILVER’ jug 21.5cm high; salver 31.5cm diameter; 2421gr all in (9) £2500-3500

51

251 (illustrated online) A SET OF FOUR GEORGE V SILVER SALT CELLARS, LEVI & SALAMAN, BIRMINGHAM, 1925 capstan shaped with pendent trefoil motifs, blue glass liners, 6cm diameter; together with another salt cellar, perhaps Danish, mid 20th century, hammer-finished circular bowl on spreading foot, with blue glass liner, stamped ‘E.L / SILVER’ 7cm diameter; and a Victorian silver-mounted glass novelty cruet jug, Hukin & Heath, Birmingham, 1898, in the form of a duck, the clear glass body applied with twin loop handles, the silver head with hinged top applied with glass eyes, inscribed for the retailer ‘Zimmerman 98 Jermyn St. S.W’, 17cm long (6) £100-200

252 A GEORGE V SILVER CAFE-AU-LAIT SET WITH TRAY, LIBERTY & CO. (CYMRIC) LTD., BIRMINGHAM, 1914-18, all hammer finished, the tapering cylindrical vessels on spreading feet and chased below the rims with stylised foliate bands, the circular tray with stylised punched decoration to the rim, stamped pattern numbers to coffee set 5860 and to tray 5034; together with a set of six silver coffee spoons, Haseler & Restall for Liberty & Co. (Cymric) Ltd., Birmingham, 1946, with stylised interlacing to the terminals, in their original fitted case with ‘LIBERTY / LONDON’ label tray 33cm diameter; pots 21cm high; 1584gr (50oz 18dwt) all in (11) For a similar set, with the addition of a teapot, see the Victoria & Albert exhibition catalogue, July-October 1975, ‘Liberty’s 1875-1975, An exhibition to mark the firm’s centenary’, London, 1975, p.65, no.D121. £2000-3000

52

253 (illustrated online) AN ELECTROPLATE TRAY, BARKER BROTHERS, SHEFFIELD, EARLY 20TH CENTURY oblong, in George IV style, the presentation inscription surrounded by foliage and diaperwork, with foliate, shell and scroll raised border and handles 75cm long £50-80

257 (illustrated online) A GEORGE V SILVER SALVER, EDWARD BARNARD & SONS LTD., LONDON, 1924 shaped square with moulded rim and ball and claw feet to the corners, 20cm wide; together with a silver salver, Wakely & Wheeler Ltd., London, 1970, in George III style, shaped circular, crested, with gadroon rim and four ball and claw feet, underside inscribed, 21cm diameter 820gr (26oz) (2) £250-350 258 (illustrated online) A PAIR OF GEORGE V SILVER SAUCEBOATS, MAKER’S MARK T&J.P, BIRMINGHAM, 1924 oval, each with waved rim, three shell-headed paw feet and scroll handle 15.5cm long, 342gr (11oz) £100-150

254 A GEORGE V SILVER FOUR-PIECE TEA SET, JOSEPH GLOSTER LTD., BIRMINGHAM, 1915 the ribbed shaped oval bodies on bun feet the hot water jug 23cm high; 1540gr (49oz) including wood finials and composition handles to the pots £400-600

259 A GEORGE V SILVER TRAY, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1924 elongated oblong, plain within a moulded and gadroon rim 55.5cm across foliate gadroon end handles, 1372gr (44oz) £450-550

255 A GEORGE V SILVER SALVER, GARRARD & CO. LTD., LONDON, 1926 shaped circular, moulded rim, engraved with the crest and motto of Eyre (formerly of Lindley Hall, Leicestershire), on four volute feet, stamped ‘GARRARD & Co. Ltd. / ALBEMARLE St. W.’ 35cm diameter, 1326gr (42oz) £400-600 256 (illustrated online) A GEORGE V SILVER PEDESTAL DISH, JAMES DEAKIN & SONS LTD., SHEFFIELD, 1924 the shaped circular dish with central boss, presentation inscription and moulded rim, on a waisted circular pedestal 25.5cm diameter, 464gr (14oz 18dwt)

260 AN EDWARDIAN SILVER COFFEE BIGGIN ON STAND WITH BURNER, LAMBERT & CO., LONDON, 1906 in George III style, gadroon rims, the plain rounded cylindrical pot with fibre handle and finial, the stand with three reeded legs ending in paw feet centred by the circular detachable burner 24.5cm high, 1190gr (38oz) all in £400-600

£120-180 53

263 (illustrated online) A GROUP OF ENGLISH SILVER comprising: a set of six counter dishes, in sizes to stack within each other, Asprey & Co. Ltd., London, 1915, largest 7.8cm diameter; a further pair of counter dishes in sizes, Birmingham, 1911, largest 9cm diamter; a small ‘Armada’ dish form ashtray, D. & J. Wellby, London, 1936; a pair of small sweetmeat dishes with geometric piercing and short pedestal feet, Birmingham, 1949/50; a small five-bar toast rack, William Hutton & Sons Ltd., 1906; a bun pepper, in girdled baluster George II style, Sir Richard Burbidge Bt. for Harrods, London, 1935; a caster, baluster and chased in George III style, Thomas Bradbury & Sons of Sheffield, London, 1882, 18.5cm high; a lemon strainer in George III style, J. Parkes, London, 1910; and a Christening bowl, with applied bead and rail girdle, in case, Goldsmiths & Silversmiths Co. Ltd., London, 1924, 12.5cm diameter 1204gr (38oz) (16) £300-400 261 A GEORGE V SILVER TEAPOT AND SUGAR BOWL, PROBABLY FORDHAM & FORDHAM, SHEFFIELD, 1916 oblong, with moulded sides, gadroon rims and bun feet; together with a matching covered sugar bowl, Goldsmiths & Silversmiths Co. Ltd., London, 1916, similar, with dropring handles, the lid with wood mounted pineapple finial teapot 26cm long; 934gr (30oz) all in (3) £250-350

264 A EDWARDIAN SILVER BOWL, MARTIN, HALL & CO. LTD. OF SHEFFIELD, BIRMINGHAM, 1906 in Arts and Crafts taste with hammer finish to the cauldron shaped bowl applied with three angular handles terminating in stile feet 13.3cm long, 195gr (6oz) £60-90

262 A PAIR OF GEORGE V SILVER MILK JUGS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1930 in George II style, with shaped rims and handles, 11.5cm high; together with a silver bachelor’s teapot, Pairpoint Brothers, London, 1929, of George II bullet form, fibre handle, 29cm long; and a milk jug, Tessiers Ltd., London, 1928, with bulbous body below the short neck and reeded scroll handle, 10cm high 1154gr (37oz) all in (4) £350-450

265 A SILVER FOUR-PIECE TEA SET, E. SILVER & CO., SHEFFIELD, 1945 in George I baluster octagonal style, plain hot water jug 25cm high; 1862gr (59oz 18dwt) including composition handles and finials to pots £500-700

54

268 A GEORGE V SILVER TWO-BOTTLE INKSTAND, LAMBERT & CO., LONDON, 1914 in early 18th century taste, plain oblong base on four high supports, the detachable circular inkwells with detachable covers, the undersides stamped: ‘LAMBERT COVENTRY STREET LONDON’, Britannia standard 26cm long, 1339gr (43oz) excluding two glass liners £400-600

266 A GEORGE V SILVER FOUR-PIECE TEA AND COFFEE SET, HARRISON BROTHERS & HOWSON, SHEFFIELD, 1928/29 on oval bases, plain faceted vase-shaped bodies, the teapot and coffee pot with black fibre handles and finials coffee pot 24cm high; 1794.5gr (57oz 13dwt) all in £500-700

267 A SET OF FOUR GEORGE V SILVER CANDLESTICKS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON & SHEFFIELD, 1926/27 of pointed oval outline, with simple moulding and reeded borders, each base rising to a navette shaped knop below a flared stem, vase shaped sconce and dished detachable nozzle, with silver covered bases 29cm high, loaded £800-1200

269 AN EDWARDIAN CASED SET OF SILVER MILK JUG, SUGAR BOWL AND SIFTER LADLE, HARRISON BROTHERS & HOWSON OF SHEFFIELD, LONDON, 1905 the milk jug and sugar bowl with applied scroll and rocaille rims, gilt interiors and openwork cast feet, the ladle with fluted and matted gilt bowl, lobed stem and figural terminal, original twin-doored leather case with green fitted interior bowl 13.5cm diameter; 488gr (15oz) £150-200

55

270 ~ A SILVER-GILT FOURPIECE TEA SET, C.J. HILL (LATE CATCHPOLE & WILLIAMS) AND C.S.HARRIS & SONS LTD. (PROBABLY FOR CATCHPOLE & WILLIAMS LTD.), LONDON, 1892/1909 the baluster or inverted baluster bodies richly chased or cast and applied all over with scrolls, foliage and rocaille surrounding a cartouche initialled VS and vignettes of birds, animals and young boys , scroll handles, on cast scroll feet, all with AustroHungarian import marks, the coffee (or hot water) jug marked for C.J. Hill, 1892, the remainder C.S. Harris, 1909 coffee jug 20cm high; 1804gr (58oz) including ivory insulators to pots £1000-1500 273 (illustrated online) A VICTORIAN ELECTROPLATED COPPER ELECTROTYPE ‘TEMPERANCE’ BASIN, PROBABLY ELKINGTON & CO., LONDON, THIRD QUARTER 19TH CENTURY after the basin by Francois Briot (1545-1620), circular, ovolo rim, the central medallion depicting Temperance surrounded by a band with cartouches of the four classical elements with herms and strapwork between, the outer border with eight cartouches of Minerva and the Liberal Arts between further strapwork 45cm diameter The Temperance Basin is one of the most copied and adapted pieces from the Renaissance period (Victoria and Albert Museum No.2063-1855): an Elkington & Co. parcelgilt-silver version, known as the Venus Rosewater Basin, is especially renowned when held aloft annually by the Wimbledon Ladies Singles champion. £100-200 271 A VICTORIAN SILVER THREE-PIECE TEA SET, LEE & WIGFULL LTD., SHEFFIELD, 1898/99 ribbed shaped oval, with part fluting and lobes below the engraved initial W teapot 29.5cm long; 780gr (25oz) including composition handle and finial to pot £250-350 272 A VICTORIAN SILVER SPIRIT FLASK, WILLIAM HUTTON & SONS LTD., LONDON, 1896 of oblong pocket fitting form, the detachable beaker base with gilt interior, engraved with a crest of a griffin statant below the motto ‘Hazard Warily’ (probably for Seton or Seaton), with bayonet closure to the bulbous lid 17cm long, 350gr (11oz) £120-180 56

274 ~ (illustrated online) TWO VICTORIAN SILVER-MOUNTED CUT-GLASS TOILET BOTTLES both hobnail cut, with ground glass stoppers and hinged foliate silver lids, one cylindrical, William Comyns & Son, London, 1881, 15cm high, the other rectangular, maker’s mark indecipherable, Birmingham, 1890, 16.5cm high; together with a silver-mounted tortoiseshell inkstand, William Comyns & Son, London, 1890, heart-shaped, silver gadroon bordered rim and bottle mount (ink bottle lacking), the silver ring handle with pierced flowerhead thumbpiece, 12cm long (3) £100-200

277 A GEORGE IV SILVER BASKET, WILLIAM ELLIOTT, PROBABLY RETAILED BY THOMAS HAMLET, LONDON, 1822 flared circular, the rim cast as a wreath of roses above palework sides applied with a band of fruit-laden vines, on a rim foot decorated with a foliate guilloche border on a vine strewn matted ground 28cm diameter, 1737gr (55oz) excluding probably associated cut-glass liner

275 A VICTORIAN SILVER OVERSIZE SPIRIT FLASK, HENRY WILLIAM DEE, LONDON, 1870 rounded oblong, with a vacant roundel and engine-turned panels to each side, with chained screw-on cap 28.5cm long, 661gr (21oz) £150-250 276 ~ A VICTORIAN ELECTROPLATE FOUR-PIECE TEA AND COFFEE SET, JAMES DIXON & SONS, SHEFFIELD, CIRCA 1855 octagonally faceted baluster, engraved with the initials PC surrounded by diaperwork panels in scroll and foliate cartouches above a band of fruit-laden trailing vines, on vine branch feet and further vines to the bases of the ribbed spouts, ivory insulators to the pots, the teapot with presentation inscription and finial cast as a seated Chinese man, the coffee pot with a cross-legged Ottoman figure finial, stamped trademarks, numbered ‘1379’ and PGS for Plated German Silver, all in the original fitted oak case 25cm high

This basket may have originally formed the central feature of an epergne or centrepiece. Given the impressive gauge and the quality of the cast and chased work present here, the whole ensemble must have been an exceptional piece. William Elliott (1773-1855) was apparently the main supplier of silver to the retailer Thomas Hamlet (c.17701853). Hamlet, rising from murky origins, became one of the most fascinating figures peopling London’s early 19th century trade in luxury goods, appearing in a number of works by Thackeray as the great jeweller Mr Polonius (‘The History of Samuel Titmarsh and the Great Hoggarty Diamond’, ‘Vanity Fair’ and ‘The Bedford Row Conspiracy’).

In the 1820s and 30s he was thought to be immensely wealthy, supplying to members of the royal family, getting involved with the Aldobrandini tazze, setting up a theatre and amassing an important picture collection. To the surprise of his contemporaries however, the structure of his fortune proved to be built on shaky foundations: the edifice collapsed and he was declared bankrupt in 1841.

For further detailed discussion of both Elliott and Hamlet, see John Culme’s footnote to a Chinese celadon moon flask with silver mounts, Sotheby’s, London, 4 July 2018, lot 88. £1800-2200

The presentation inscription reads: This Tea & Coffee Service was Presented to Permanent Serjeant P. Cunningham by the Officers, Non Commissioned Officers and Privates of the B Troop of the Ist. West Yorkshire Yeomanry Cavalry, as a token of their Esteem on the occasion of his leaving that Troop to become the Regimental Serjeant Major, May, 1855. £80-120

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278 A GEORGE IV SILVER TOAST RACK, MAKER’S MARK J?, LONDON, 1827 oblong, the seven bars centred by a loop handle, on leaf panel feet, engraved with a crest, 14cm long; together with a George III silver mustard pot, Duncan Urquhart & Napthali Hart, London, 1795, pointed oval, pierced with a band of formal leaves, engraved with a crest and bright-cut geometric decoration, with blue glass liner, 10.5cm long silver 287gr (9oz) (2) £150-250

281 A PAIR OF GEORGE III SILVER SALT CELLARS, NAPHTALI HART, LONDON, 1812 cauldron form, each applied with floral swags between three female-mask-headed dolphin pad feet, with corded rims, undersides engraved with a crest, gilt interiors, 8cm diameter; together with a pair of silver salt spoons, William Bateman, London, 1818, gilt shell bowls, strapwork stems ending in a lion mask 329gr (10oz) (4) £200-300

279 ~ A GEORGE IV SILVER BACHELOR’S TEAPOT, EMES & BARNARD, LONDON, 1825 compressed circular, applied with a moulded girdle and an acanthus leaf to the spout, on rim foot 20.5cm long, 367gr (11oz 15dwt) including ivory handle and finial £200-300 280 AN ELECTROPLATED SHEFFIELD PLATE WINE COOLER, MATTHEW BOULTON & PLATE CO., BIRMINGHAM, CIRCA 1820 pedestal campana urn shaped, with bands of lobes and gadroon rim, applied foliate handles, with detachable liner, 24cm high; together with an electroplate wine cooler, English, mid 20th century, pedestal campana urn shaped, loop handles, corded or gadroon borders, foliate stamping to the belly, 25cm high (2) £200-300 58

282 A PAIR OF SHEFFIELD PLATE ENTREE DISHES, COVERS, HANDLES AND STANDS, JAMES DIXON & SONS, SHEFFIELD, CIRCA 1830 shaped oblong, with applied lead-filled silver foliate scroll borders, the covers engraved with a crest, the stands with leafy handles, on foliate volute feet and with fixed pierced liners to interiors 36cm across end handles £100-200 283 A GEORGE III SILVER SWEETMEAT BASKET, GEORGE BURROWS, LONDON, 1798 oval, with reeded rim and swing handle, with a band of bright-cut decoration above vacant cartouches, wrigglework to the pedestal foot, gilt interior 15cm long, 212gr (6oz 18dwt) £100-200

284 A PAIR OF GEORGE III SILVER WINE COASTERS, MAKER’S MARKS RUBBED, PROBABLY ROBERT HENNELL, LONDON, 1798 the silver sides engraved with leaf roundel containing a crest below a coronet between wrigglework borders and reeded rims, with turned wood bases 13cm diameter £400-600

287 (part)

287 A GEORGE III SILVER FOUR-PIECE TEA AND COFFEE SET, ROBERT & DAVID HENNELL, LONDON, 1801 ribbed oval, each bright-cut engraved with formal foliate and wrigglework borders, engraved crest and motto, the teapot and pedestal footed coffee pot with part lobed spouts and wood handles, the milk jug and sugar bowl with gilt interiors 28cm long, 1836gr (59oz) all in The crest and motto is that of the clan MacCallum (or Malcolm). £1000-1500

285 ~ A GEORGE III SILVER TEAPOT, JOHN TWEEDIE, LONDON, 1796 slightly bulged oval, plain, with reeded rim, ivory finial and wood handle, 29cm long; together with a George III silver teapot stand, William Bennett, London, 1796, oval, moulded rim, panel feet, 15cm long 585gr (18oz 16dwt) all in (2) £250-350 286 AN IRISH GEORGE III SILVER SWEETMEAT BASKET, DANIEL EGAN, DUBLIN, 1800 ribbed oval, with ribbed swing handle, on a pedestal foot, engraved with a bright-cut foliate band and wrigglework borders surrounding shields, one vacant and one initialled JF, underside engraved ‘1800’ 19.5cm long, 280gr (9oz) Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent.

288 A GEORGE III SILVER MILK JUG, MAKER’S MARK PROBABLY ROBERT & SAMUEL HENNELL OVERSTRIKING ANOTHER, LONDON, 1803 pedestal urn shaped, engraved with a crest to the front and a band of wrigglework decoration 14.5cm long, 202gr (6oz) £80-120 289 A GEORGE III SILVER PEPPERETTE, WILLIAM PARKYNS, LONDON, 1805 spherical body on a short pedestal, with gadroon and reeded borders, the screw-on cover simply pierced below an urn-shaped finial, gilt interior 8.5cm high, 98gr (3oz) £80-120

£200-300 59

290 A PAIR OF GEORGE III SILVER ENTREE DISHES AND COVERS, THOMAS ROBINS, LONDON, 1806 oblong, with gadroon borders, the dishes engraved both sides with a crest, the covers with coats of arms, the engraving probably slightly later, with cast crest detachable handles of a demi-eagle displayed (unmarked), dishes and covers numbered ‘3’ or ‘4’ 30.5cm long, 3574gr (114oz 18dwt)

292 (illustrated online) A PAIR OF SHEFFIELD PLATE CANDLESTICKS, CIRCA 1790 circular, with reeded and stiff leaf borders, with detachable nozzles 29.5cm high £80-120

£2000-3000

60

291 A GEORGE III SILVER INKSTAND, JONATHAN EMES, LONDON, 1801 oblong, with gadroon rims, on tapering foliate panel feet, mounted with three circular supports to the two hobnail cut glass inkwells with silver covers flanking the taperstick cover complete with detachable nozzle and chained extinguisher 20cm long, 432gr (13oz 17dwt)

293 A GEORGE III SILVER DISH STAND WITH BURNER, ANDREW FOGELBERG, LONDON, 1770 formed of two rings with three scrolls between and supports to the central burner, 22cm diameter; together with a George III silver chafing dish and cover, the circular dish with gadroon rim, Augustin Le Sage, London, 1764, 32cm across loop handles, the cover with later presentation inscription and patches, with wood knop, date letter only for 1764 1058gr (34oz) (4)

£500-800

£400-500

294 A GEORGE III SILVER WAITER, RICHARD RUGG, LONDON, 1774 circular, the plain plate surrounded by a border of openwork pales cast with alternate profile medallions and urns suspending husk swags within a wave rim, on three openwork pale and husk swag feet 16cm diameter, 250gr (8oz) £120-180 295 A GEORGE III SILVER SWEETMEAT BASKET, CHARLES CHESTERMAN, LONDON, 1792 pedestal boat shaped of elongated octagonal outline, with reeded rims and swing handle, underside initialled IL 15cm long, 258gr (8oz) £120-180

297 A GEORGE III SILVER COFFEE POT, WHIPHAM & WRIGHT, LONDON, 1768 baluster, engraved with a vacant Rococo foliate cartouche, gadroon rims, cast Rococo spout, domed lid with wrythen finial 28cm high, 850gr (27oz) including wood handle £600-900

296 AN IRISH PROVINCIAL GEORGE III SILVER SALVER, CARDEN TERRY, CORK, CIRCA 1770 shaped circular, engraved with a coat of arms within a Rococo foliate cartouche surrounded by a band of contemporary flat-chased trailing flowers, the border chased with scrolls and shells below a gadroon rim interrupted by shells and foliate motifs, on four ball and claw feet, twice stamped with maker’s mark and ‘STERLING’ 42cm diameter, 1565gr (50oz) Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £1500-2500

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298 A PAIR OF IRISH GEORGE III SILVERMOUNTED CUTGLASS CRUET JUGS, CHRISTOPHER HAINES, DUBLIN, 1789 amphora shaped on spreading feet, cut with facets and fluted lobes, plain silver neck mounts, lids with shell thumbpieces and elongated loop handles secured with a reeded mount to the base 22.5cm high Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £150-250

300 A PAIR OF IRISH GEORGE III SILVER SALT CELLARS, RICHARD WILLIAMS, DUBLIN, CIRCA 1765 circular, bulbous sides pierced with leafy trellis surrounding a crested shaped cartouche, with gadroon rims, each on three ball and claw feet, engraved to undersides ‘1775’ 7cm diameter, 146gr (4oz 13dwt) excluding blue glass liners Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £150-250 301 AN IRISH GEORGE III SILVER MUSTARD POT, WILLIAM HUGHES, DUBLIN, CIRCA 1770 cylindrical, pierced with two birds perched on oak branches amidst leafy trellis, a dragonfly and a flower centred by a vacant roundel, the slightly domed lid engraved with a crest, with pierced fan thumbpiece and hobnail capped C-scroll handle, underside engraved ‘1774’ twice and scratch weight 3”8 8cm high, 100gr (3oz 4dwt) excluding blue glass liner

299 AN IRISH GEORGE III SILVER EGG CRUET, CHRISTOPHER HAINES, DUBLIN, 1792 the elongated hexagonal frame on ball feet, with loop handle on wirework supports, complete with its six pedestal egg cups with reeded borders and gilt interiors, 22cm long; together with its contemporary six Irish silver egg spoons, Michael Keating, Dublin, circa 1790, Old English pattern, crested, showing traces of gilding 736gr (23oz) (13) Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £700-1000

Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £200-300 302 A GEORGE III SILVER TOAST RACK, BENJAMIN MOUNTIGUE, LONDON, 1788 of oval outline, with nine bars and central ring handle, on ovoid feet 16.5cm long, 174gr (5oz) £150-250

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303 A GEORGE III SILVER BASKET, ROBERT HENNELL, LONDON, 1777 in Neo-classical taste, oval, centrally engraved with a coat of arms, the everted rim applied with foliate Vitruvian scrollwork on a matted ground interrupted by ram and lion masks, the pale pierced sides chased with ribbon-tied husk swags, the swing handle with further husks centred by a vacant oval, the short spreading pedestal foot pierced and chased, with beaded borders throughout 36cm long, 1518gr (48oz 16dwt) The arms are those of Blackwell of Sprowston, County Norfolk.

Although predominantly known for sheet silver teapots and the like, as well as relatively light-weight baskets, wine coasters, etc., this basket shows Hennell’s workshop was also capable of producing heavy gauge and highly fashionable silver for the very top end of the market.

Interestingly Hennell used the same running border on a matted ground on a similarly high quality piece, an epergne of 1781, sold Sotheby’s, London, 22 March 1978, lot 105. £4000-6000

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304 A GEORGE III SILVER TEAPOT, ROBERT MAKEPEACE & RICHARD CARTER, LONDON, 1778 in Neo-classical taste, the compressed spherical body with Greek key girdle flanked by alternating plain and matted ground vertical ribs, with small engraved scrolling initials IJ 24.5cm long, 715gr (22oz 18dwt) including fibre handle and finial This stylish teapot, probably originally with a stand, would have been highly fashionable when first made (or at least supplied) by Makepeace & Carter and a step up from the more common sheet silver oval teapots of the period. The tea service made for the actor David Garrick (Victoria & Albert Museum, No.M.24B-1973) of 1774/75 by Young & Jackson displays similar plain and matted ribbing. £300-500

305 A PAIR OF GEORGE III SILVER SALT CELLARS, THOMAS DANIELL, LONDON, 1778 oval, the sided pierced with palework and husk swags centred by a crested shield, beaded rim, each on four tall ball and claw feet, with blue glass liners, 8cm long; together with a George III silver sweetmeat (or epergne) basket, unmarked, circa 1775, oval, chased with swags over pierced work below a punch beaded rim and swing handle, underside engraved ‘AF to AT / 1778’, 14.5cm long 215gr (6oz 18dwt) excluding liners (3) £150-250 64

306 AN IRISH SILVER COFFEE POT, GEORGE HODDER, CORK, CIRCA 1760 the baluster body engraved with a contemporary coat of arms within Rococo foliage and above a small banner engraved ‘LE;E. / 1763’, the domed and reeded lid with wrythen knop, cast Rococo spout, underside engraved with scratch weight ‘31oz”0 / C L’, stamped maker’s mark and ‘STERLING’ 27cm high, 973gr (31oz) including wood handle £3000-5000

307 A PAIR OF GEORGE III SILVER MEAT DISHES, LOUISA COURTAULD & GEORGE COWLES, LONDON, 1774 shaped oval, moulded border with gadroon rim 50cm long, 3905gr (125oz) £1500-2500

309 (illustrated online) THREE PIECES OF GEORGIAN SILVER comprising: a cauldron form salt cellar on three feet, gilt interior, Edward Wood, London, 1740; an oval mustard pot, plain except for reeded rims, domed lid, angular handle, with blue glass liner, Peter, Ann & William Bateman, London, 1804; and a plain baluster milk jug on pedestal foot, scroll handle, maker’s mark rubbed, London, 1772, 12cm high silver 288gr (9oz) (3) £100-200

308 A GEORGE III SILVER SAUCEBOAT, MAKER’S MARK G.S (GRIMWADE 3596), LONDON, 1764 oval, waved rim, on three shell-headed pad feet, with C-scroll leaf-capped handle 16cm long, 211gr (6oz)

310 (illustrated online) A GEORGE III SILVER SAUCEBOAT, PROBABLY JACOB MARSH, LONDON, 1766 oval, gadroon rim, shell-headed pad feet and scroll handle, underside engraved ‘PP / FSW / 1773’ 19cm long, 364gr (11oz) £180-220

£ 300-400 65

311 A PAIR OF GEORGE II SILVER SAUCEBOATS, JOHN CHARTIER, LONDON, 1734 oval, each with a short pedestal stepped foot, shaped rim and leaf-capped scroll handle 19.5cm long, 848gr (27oz) For another similar pair of Chartier sauceboats see Christie’s, London, 12 September 2007, lot 224, and for another slightly smaller pair of the same pattern (mistakenly ascribed to John Chapman), see Sotheby’s, London, 12 November 2019, lot 117. £2500-3500

313 (illustrated online) A GROUP OF SIX SILVER WINE LABELS (OR BOTTLE TICKETS) comprising: an Irish George III example, incised for PORT, rectangular banner below an openwork scroll surmount, with chain, maker’s mark only twice for Samuel Teare, Dublin, circa 1775; a pair of George III examples, shaped oval, incised for SHERRY and MADEIRA on a scroll over stamped baskets and barrels surrounded by grapes and vine leaves, one with chain, Wardell & Kempson, Birmingham, 1810; a George III example, oval, incised for SHERRY, reeded rims, with chain, Charles Rawlings, London, 1818; a Victorian example, shaped oval, incised for SCOTCH surrounded by fruit-laden vines and above a shell, with chain, Holland, Aldwinckle & Slater, London, 1898; and a Victorian example for PORT on a shaped cartouche with scrolls and rocaille, with chain, Robert Pringle & Sons, Chester, 1899 largest 7cm wide Provenance for the two Port labels: Harveys Wine Museum, sold Bonhams, London, 1 October 2003, lots 358 and 468. £200-300

312 A COMMONWEALTH SILVER PORRINGER, SA IN MONOGRAM (JACKSON P.118), LONDON, 1658 chased with a panels of stylised flowers on a matted ground, with wirework handles, underside initialled EB, with Tessiers Ltd. paper label, in its Tessiers fitted case with presentation inscription 12cm long across handles, 94gr (3oz) Provenance: with Tessiers Ltd., New Bond Street, London, in 1953, when given to Frederick Poke (1884-1974) by his family; thence by family descent. £800-1200

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314 (illustrated online) A COLLECTION OF SIX ENGLISH SILVER VESTA CASES, VARIOUS MAKERS comprising: one square of pocket fitting form covered in bright-cut foliage and a vacant cartouche, with suspension ring, Birmingham, 1901; one oval with bright-cut foliage surrounding a banner intialled H.W.S, Birmingham, 1897; one plain oblong with suspension ring to side, London 1896; one similar but smaller, Birmingham, 1909; one plain oblong with suspension ring to top, Sheffield, 1897; and one plain rounded oblong, with suspension ring, Chester, 1910; together with a silver sovereign case, William Adams Ltd., Birmingham, 1906, rounded oblong, bright-cut leaves flanking a diagonal banner, interior with two sprung coin holders, with suspension ring, 5cm long (7) £100-200

315 A VICTORIAN SILVER AND ENAMEL CIGARETTE CASE, WILLIAM NEALE OF BIRMINGHAM, CHESTER, 1886 of pocket fitting form, enamelled with a view of Caesar’s Tower at Warwick Castle seen from the river 8cm long, 77gr £100-200

318 A GEORGE IV SILVER-GILT VINAIGRETTE, NATHANIEL MILLS, BIRMINGHAM, 1828 rectangular with canted sides, the lid richly chased with flowers and foliage, the base engine-turned, chased borders, gilt interior and grille 4.3cm long £200-300

319 A GEORGE IV SILVERGILT VINAIGRETTE, JOHN BETTRIDGE, BIRMINGHAM, 1827 rectangular, the lid and base with foliage in relief, the interior with geometrically formal leaf grille, interior lid inscribed: ‘W.B to L.B’ 4cm long £180-220

316 ~ FOUR ASSORTED CIGARETTE CASES comprising: a large George V silver example with linear engine-turning surrounding a vacant roundel, E.J. Trevitt & Sons of Birmingham, Chester, 1918, 14.7cm; a Persian silver and enamel example, the white ground painted to the obverse with a vignette of buildings beside water and a spray of flowers to the reverse within foliate borders, probably Isfahan, first half 20th century, 10cm long; an oblong silver filigree example, 10cm long; and a tortoiseshell case applied in silver with initials CI below a noble’s coronet, Continental, circa 1900, 9.5cm long £120-180

320 A VICTORIAN SILVER VINAIGRETTE, FREDERICK MASON, BIRMINGHAM, 1877 shaped oblong, the base and sides engraved with foliage, the lid engraved with a view of the Burns Memorial, gilt interior with later grille 4.7cm long £200-300 321 A VICTORIAN SILVER ‘CASTLETOP’ VINAIGRETTE, EDWARD SMITH, BIRMINGHAM, 1840 rectangular, with engineturned base, the lid with diestamped view of Abbotsford within a chased border, the gilt interior with flower and leaf grille 4.2cm long £300-400

317 A SET OF FOUR GEORGE III SILVER BOTTLE TICKETS (WINE LABELS), PROBABLY JOSEPH WYATT OF LONDON, CIRCA 1800 each with chain suspending a feather-edged curled banner and engraved below a crested oval for W. WINE, CLARET, MADEIRA or PORT, maker’s mark only, 5cm wide; together with a pair of silver ‘Whiskey’ labels, Hukin & Heath Ltd., Birmingham, 1926, kidney-shaped, with chains; and a novelty silver caddy spoon, Thomas Bradbury & Sons Ltd., Sheffield, 1943, in the form of a jockey’s cap (7)

322 A VICTORIAN SILVER VINAIGRETTE, RAWLINGS & SUMMERS, LONDON, 1845 rectangular, engraved with foliage, flowers and diaperwork, initialled EH to the cartouche, the underside centred by a pastoral vignette, the gilt interior with scroll foliate grille 3.8cm long £180-220

£150-250

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323 A GEORGE IV SILVER-GILT VINAIGRETTE, JOHN LAWRENCE & CO., BIRMINGHAM, 1829 oblong, engine-turned, the lid with vacant cartouche, with applied foliate borders and reeded sides, 3.2cm long; together with a Victorian silver vinaigrette, Joseph Willmore, Birmingham, 1840, engine-turned rectangular, reeded sides, the lid engraved with the initial M, the gilt interior with grille with vase of flowers, 3.7cm long; and a William IV silver vinaigrette, John Lawrence & Co., Birmingham, 1832, reeded rectangular, gilt interior with scroll foliate grille, 3.1cm long (3) £200-300 324 A GEORGE III SILVER VINAIGRETTE, ROGER BIGGS, LONDON, 1798 oval, bright-cut foliate and wrigglework engraved, the lid with a vacant rectangle, gilt interior with simple pellet pierced grille 3.4cm long excluding suspension ring

327 A SILVER-GILT ‘HISTORISMUS’ RELIQUARY, UNMARKED, PROBABLY GERMAN, SECOND QUARTER 19TH CENTURY in the form of a Medieval censer, the circular body decorated with raised foliage and three protruding bosses, each with a saint’s bust in champleve enamel, rock crystal centre section below a complex structure of cast and pierced crocketted arches and other Gothic motifs, four pendant chains and ring 17.5cm suspended £300-400

£120-180

325 A GEORGE IV SILVER VINAIGRETTE, WILLIAM SIMPSON, BIRMINGHAM, 1827 rectangular, lid with raised leafage on a hatched ground surrounding the initials AD, incurved sides, engine-turned base, gilt interior with scroll foliate grille; together with another George IV silver vinaigrette, T. & W. Simpson, Birmingham, 1822, rectangular, foliate bright-cut decorated on a pricked and linear ground, initialled HP, applied foliate rim, gilt interior with scroll foliate grille each 3.3cm long (2) £180-220 326 ~ (illustrated online) A GEORGE III SILVER PILL BOX, SAMUEL PEMBERTON, BIRMINGHAM, 1796 oblong, bright-cut and initialled AL within a shield, 3.2cm long; together with a Victorian silver and cut glass vinaigrette, unmarked, late 19th century, the circular glass body with screw-on foliate stamped silver cover hinging open to the fixed grille, 3cm high; and a Victorian turned ivory vinaigrette, mid 19th century, thimble like, with screw cover revealing a pellet pierced grille and screw-in terminal for the reservoir, 3.5cm long (3) £60-80 68

328 A RUSSIAN SILVER AND NIELLO CHEROOT CASE, MAKER’S MARK L(?V)(?G) IN CYRILLIC, MOSCOW, 1869 rounded oblong, covered in chequered decoration surrounding a vacant roundel in a garter, gilt interior with retaining band, 875 standard 10.5cm long, 94gr £200-300

329 (illustrated opposite) A RUSSIAN PARCEL-GILT-SILVER AND CLOISONNE ENAMEL MOUNTED ICON OF CHRIST PANTOCRATOR, SYLVESTER GERASIMOVICH VOLKOV, MOSCOW, 18981908 Christ painted in tempera with right hand raised in Benediction and left holding the gospels, the oklad applied with a matted gilt ground cloisonné enamel halo and Christ’s robes finely hatched between gilt borders, all on an engine-turned ground within a formal strapwork border, maker’s mark to edge and robes, Ivan Lebedkin assayer 875 standard Kokoshnik to edge, robes and halo, worn red velvet backing, with a later gilt and red flocked card box oklad 27 x 22cm £1800-2200

330 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL MINIATURE CASKET, PAVEL OVCHINNIKOV, MOSCOW, 1898-1908 the rectangular box with domed lid, corner panel feet and hasp all covered in geometric and stylised foliate enamelling, with silver-gilt drop loop handles to the sides, gilt interior, underside with Ivan Lebedkin assayer 875 standard Kokoshnik, maker’s and Imperial warrant marks 8.5cm long, 157gr all in £2000-3000

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334 FOUR GILT-METAL-MOUNTED CIGARETTE CASES comprising: one cloisonné enamelled with dragons on a green ground, Chinese, circa 1900, 9cm long; one with blue guilloché enamel to the lid, English, circa 1930, 8cm square; one with an enamelled lake scene, probably English, circa 1930, 7.5cm long; and a white German porcelain example gilt intialled HF, Rosenthal, mid 20th century, 9cm long £60-100 331 A FRENCH ‘VERNIS MARTIN’ SNUFF BOX AND COVER, PARIS, 19TH CENTURY circular, painted with scenes in sylvan settings, the top with ‘Afternoon’ depicting figures around a tric-trac table and the base with ‘Morning’ showing a young lady and her maid entertaining a cleric to breakfast, the scenes based on two from the series of four prints by Nicolas de Larmessin (1684-1755) of 1741 after the oils on copper by Nicolas Lancret of figures in various pursuits at the times of day, black lacquer interior and reeded silver rim mounts with Paris small guarantee marks 1819-1838 8.8cm diameter Nicolas Lancret (1690-1743) probably painted this series speculatively, to make money from the prints. The oils are now to be found at the National Gallery in London (NG5867-5870). £400-600 332 ~ A FRENCH TORTOISESHELL CARD CASE, PARIS, CIRCA 1855 oblong, the lid set with a glazed oval miniature on ivory of a young woman with exaggerated décolletage, her brown hair with a circlet of daisies, the tortoiseshell panels embellished with silver piqué foliage and scrolls, the base with a vacant cartouche, the red leather interior and concertina sides on plain gilt-metal rim mounts 11cm long

335 A CONTINENTAL SILVER-GILT-MOUNTED AGATE CIGARETTE CASE, RETAILED BY THOMAS CALLOW & SON, LONDON, EARLY 20TH CENTURY rounded oblong, with sprung hinge to the laurel leaf rim mounts, the translucent stone with banding in brown tones, unmarked mounts excepting inscription to interior rim ‘Callow of Mount St. W.’ 8.7cm long £100-200

£80-120 333 AN AUSTRO-HUNGARIAN SILVER CIGARETTE CASE, MAKER’S MARK J.R, VIENNA, LATE 19TH CENTURY oblong, covered in diagonal ribbing except one corner with niello scroll foliage around the initials JD, the front applied with enamelled flags and pennants surrounding applied gold initials FP, gilt interior, 900 standard 9.3cm long, 135gr all in £80-120 70

336 TWO AUSTRIAN ENAMELLED SILVER CASES, BOTH VIENNA each rectangular with guilloché enamel bordered by taille d’épargne, one pale green, 900 standard, maker’s mark indecipherable, circa 1900, 8.4cm long, the other pale blue, 935 standard, maker’s mark indecipherable, circa 1930, 8cm long 265gr all in (2) £250-350

337 FOUR AUSTRIAN SILVER AND ENAMEL CIGARETTE CASES, EARLY 20TH CENTURY all oblong and with guilloché enamel, one with an exotic pheasant amid flowering cherry, 8.2cm, one with a sparrow amid yellow flag irises, 7.9cm long, one with lakeland scene, 8.3cm, and one with a rose wreath against a pale yellow ground, 8.5cm long 433gr all in £300-400

338 FOUR SILVER AND ENAMEL CIGARETTE CASES, AUSTRIAN OR GERMAN, EARLY 20TH CENTURY all rectangular, one with blue enamel oval with gilt detail and outer border of swagged black dots, 9cm long, one with aquamarine guilloché enamel and white opaque enamel border, 11.5cm long, one with blue enamel panel centred by the initials C.H in a square, 11cm long, and one engine-turned and with blue or black diagonal bands, 8.2cm long 642gr all in

340 A GEM-SET SILVER-GILT DURBAR ELEPHANT HOWDAH AND CAPARISON, INDIAN, TWENTIETH CENTURY mounted on a resin figure, set with seed pearls, rubies, emeralds and other gemstones, with a cast figure of a maharajah with gem-set turban seated under the canopy, a mahout driving the beast with a goad, on a cut-cornered rectangular black wooden base 18cm high For another example, see Sotheby’s, Paris, 17 May 2011, lot 11 £600-900

£250-350

339 A SILVER SNUFF BOX, GERMAN, EARLY 19TH CENTURY oval, engraved with guilloche borders and matted ground ovals with leafy sprigs, stamped ‘13’ (812 standard), maker’s mark AM in a shaped oblong, and French provincial 800 fineness and mid-size guarantee marks 7cm long, 51gr £120-180

341 AN AMERICAN TWO-COLOUR GOLD CIGARETTE CASE, CARTIER, NEW YORK, 1940s rectangular with rounded corners, the alternating rose and yellow gold basket woven bands forming a lozenge pattern, polished gold thumbpiece, the interior fitted with a sprung clip pierced with berried laurel, interior stamped ‘Cartier 14K’, numbered 4015 14.5cm long, 173gr all in £3000-5000

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342 A GERMAN GOLD SNUFF BOX, MAKER’S MARK CROWNED (F?)C IN A LOZENGE, HANAU, CIRCA 1800 canted rectangular pocket fitting form, with panels of fine linear engine-turning bordered by a variety of chased foliate and geometric motifs on sablé ground, maker’s mark stamped to interior lid and base, rims with Dutch import marks of 1814-93 7.7cm long, 83.5gr £1800-2200

343 A CONTINENTAL JEWELLED AND GOLD-MOUNTED JADE BOX, UNMARKED, PROBABLY AUSTRIAN, EARLY 20TH CENTURY oblong, gold rim mounts and hinge, inlaid to the edge of the lid with black banding interrupted by pairs of rose diamonds, the jade lid panel and one-piece jade base of cloudy pale green translucent tone 6.6cm long £500-800

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344 ~ AN IVORY AND GOLD PIQUE-WORK SNUFF BOX, FRENCH, CIRCA 1715 oval, the lid covered in piqué point trellis enclosing lozenge and quatrefoil motifs, the base with a diaperwork oval of the same pattern and two outer borders, with gilt-metal rim mounts and foliate thumpiece, the interior lid painted with a girl pulling up her chemise to bathe in an ornamental pool with a peacock perched on the balustrade behind her, in a later red leather case 8.8cm long £400-600

345 ~ A TORTOISESHELL AND GOLD PIQUE-WORK BOX, FRENCH, CIRCA 1740 the bun shaped ‘bôite à ballon’ finely worked with piqué point diaperwork grounds and piqué posé Rococo scrolls to hinged lid and base 7cm diameter Literature: illustrated and referenced in Howard Ricketts’ ‘Objects of Vertu’, London, 1971, p.62 £1200-1800

347 A COLLECTION OF FOUR TUNBRIDGE OR BRIGHTON WARE MINIATURE SEWING BOXES, CIRCA 1820-1865 all rectangular with canted sides and swing handle, the smallest penwork decorated with foliage to the lid and geometric borders, one painted with flowers to the lid, another applied with a printed view of the Royal Pavillion on a green and black striated ground, the last applied with a printed view of the ‘New Grand Hotel and Promenade’ (according to label to interior) lengths 9cm to 11cm excluding handles Brighton’s popularity as a resort led to a flourishing trade in mementos. Boxes made in sycamore or birch, penwork decorated and often embellished with prints of local views were produced in the Regency period both locally and in Tunbridge Wells and other towns in the South East. Later decades saw Tunbridge Wells and Tonbridge specialise in the characteristic mosaic inlays for which they are better known today; transfer-printed souvenirs becoming a speciality of Mauchline in Ayrshire. £100-200

346 ~ A COMPOSITION PORTRAIT BOX AND COVER, FRENCH, CIRCA 1800 the cover set with a late 19th century miniature of a young woman in a white chemise, bearing signature to right ‘Aubry fecit par? ZV’, on ivory, the gold mount with interlace decoration, the maroon composition body covered in beading on a grille-work ground, the interior tortoiseshell lined, with associated red leather case 7.5cm diameter £100-200

348 THREE TUNBRIDGE OR BRIGHTON WARE SOUVENIR BOXES, SECOND QUARTER 19TH CENTURY all rectangular, applied with printed views of the Royal Pavilion and with pink paper lined interiors, one scorched in imitation of tortoiseshell lengths 17cm to 20.5cm See footnote to previous lot. £150-250

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351 A RUBY FIGURE OF AN OWL, LUIS ALBERTO QUISPE APARICIO, LIMA, PERU, CIRCA 2000 the realistically carved ruby-in-zoisite bird with gold beak and gold bezel round-cut ruby eyes, set on a circular obsidian base, with Global Fine Gem Laboratory certificate (Toronto, 2005) 6cm high overall See footnote to previous lot. £300-400

349 ~ TWO CHINESE IVORY FANS, PROBABLY CANTON, CIRCA 1900 each with a leaf of white duck feathers, one painted with two parrots perched on hibiscus and peony branches below a border of butterflies and further birds amidst flowers, the guards deeply carved with birds and flowers, the sticks low relief carved with similar motifs on a finely pierced linear ground, the other painted with a pair of pheasants amidst peonies and rocks, the guards deeply carved with figures amid garden pavilions, the sticks relief carved with similar motifs on a finely pierced linear ground, with silk tassel to the pivot, each mounted in a glazed giltwood modern frame frames 35 x 53cm £100-200

350 A RUBY FIGURE OF AN OWL, LUIS ALBERTO QUISPE APARICIO, LIMA, PERU, CIRCA 2000 realistically carved as a Great Horned Owl, the ruby-in-zoisite bird with head turned to the side, applied with gold beak, gold bezel carnelian eyes and gold talons, perched upon a rock crystal natural cluster, with Global Fine Gem Laboratory certificate (Toronto, 2005) 15.5cm high overall The glyptic artist, Luis Quispe, is a second generation lapidarist, who perfected the difficult art of carving ruby at his family’s studio in Lima. £1000-1500

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352 ~ (illustrated online) A FRENCH PORTRAIT MINIATURE OF A CHILD, ATTRIBUTED TO JEAN-BAPTISTE-JOSEPH LE TELLIER (1759-AFTER 1812), CIRCA 1790 with short fair hair wearing a white chemise tied with a blue band, on ivory, gilt-metal frame with suspension loop 4.7 diameter £60-80

355 AN IRISH MAHOGANY TABLE CLOCK, THIRD QUARTER 18TH CENTURY AND LATER the associated Irish case with stepped and shaped caddy top above moulded arches to front and rear, glazed side panels and rear door, on pad feet, the dial with silvered Roman numeral chapter ring with Arabic five minutes enclosing a false bob aperture to the matted centre above twin winding apertures (one dummy), applied mask and foliate scroll spandrels, the break arch with applied silvered boss bearing signature ‘Furnace / Dublin’ flanked by further applied foliate scrolls, the Irish eight day single fusee movement with pull cord to strike the hour and quarters on two bells, the back plate with engraved chevron border and signed ‘Geo. Furnace / Dublin’ within a shaped cartouche, with pendulum and key 44cm high with carrying handle raised Irish table clocks of the second half of the 18th century often seem to feature the unusual shaped top seen in this clock: for a similar Irish Georgian case (with its original movement) see Dreweatts, Newbury, 11 March 2008, lot 112. George Furnace is recorded as a clockmaker working in Dublin between 1751-73.

Provenance: James McCann (1840-1904), Irish nationalist MP and stockbroker, of Simmonscourt Castle, Ballsbridge, Dublin and the Ardsallagh estate, Navan, Co. Meath; thence by family descent. £800-1200

353 A FRENCH FOUR-GLASS TABLE CLOCK, LATE 19TH CENTURY the oval typical case with curved and bevelled glass, the white enamel dial with recessed visible Brocot escapement and Roman numerals, the eight-day movement striking the hours and half hours on a bell, unsigned, numbered 9503, with chamfered brass pendulum, with key and watch key for the suspension regulator 34.5cm high £400-600 354 A FRENCH MAHOGANY BRACKET CLOCK, JAPY FRERES ET CIE, BEAUCOURT, LATE 19TH CENTURY the rectangular break arch case surmounted by a brass handle, with brass quarter moulding to edge and recessed panels, red silk backed brass fret panels to sides and back, white enamel circular dial with Roman numerals, eight day movement striking the hours and half hours on a gong, stamped with Japy Frères roundel and numbered ‘25249 / 72’, the pendulum with Thieble bob, with winder and case key 39.5cm high with handle raised £100-200

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356 (illustrated online) A GILT-BRASS CARRIAGE CLOCK, FRENCH, CIRCA 1900 corniche case with dentil moulding to cornice and base, top presentation inscribed and dated 1905, white dial with Roman numerals and painted floral sprig, engine-turned gilt mask, timepiece movement, with key 17cm high with handle raised £80-120

357 A GOLD CASED FOB SEAL, ENGLISH, 19TH CENTURY oblong, set with a foiled citrine, the domed mount reeded below ribbing, with urn-shaped stem, 4.6cm high; together with a giltmetal chain £80-120

358 AN AMERICAN GOLD AND DIAMOND LADY’S HUNTER POCKET WATCH, ELGIN WATCH CO., ELGIN IL, CIRCA 1911 the keyless wind fifteen jewel movement signed and numbered 15194357, the signed white enamel dial with Roman numeral hours and subsidiary seconds dial, the fourteen carat gold circular hunting case with frosted finish, the sprung cover engraved GS, the back engraved with three fleurs-de-lys each set with a circular diamond, cuvette and both covers all with Keystone Watch Case Co. trademarks, ‘14K’ and numbered 5133481 3.2cm diameter £150-250

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359 GOLD AND GREEN PASTE PARURE, EARLY 19TH CENTURY, COMPOSITE the necklace of shamrock links set with collet-set pearshaped and circular foiled green paste, with a detachable cross pendant with trefoil terminals similar set, with a pair of matching bracelets (seven paste deficient), stud earrings and bar brooch (pin and four stones deficient), all in original satin lined leather case necklace measures approximately 390mm, bracelet lengths approximately 175mm (6) £350-450

360 DIAMOND RING, EARLY 19TH CENTURY designed as a graduating row of claw and collet set, cushion shaped diamonds between carved foliate shoulders, size O 1/2; together with an oval paste and simulant pearl brooch, 1880s composite (2) £600-800 361 THREE DIAMOND RINGS comprising: circular diamond in a claw setting between tapering shoulders; half eternity ring set with seven brilliant-cut diamonds, partial London hallmark for 1984; graduating five stone ring sizes: N 1/2, O and L respectively £700-900

364 DIAMOND NECKLACE the fine chain collet set at intervals with fifteen brilliant-cut diamonds length approximately 1035mm £700-900

362 GOLD BROOCH, BOUCHERON, PARIS, LATE 20TH CENTURY designed as a chased bird perching on a branch, the eye set with a circular cut ruby, signed ‘Boucheron Paris’ and numbered, French assay mark £1000-1500 363 (illustrated online) LAPIS LAZULI BEAD NECKLACE designed as a row of graduated beads measuring from 6mm-15mm approximately; together with an amber bead necklace designed as a row of ovoid amber beads measuring between 14mm-16.5mm approximately, length approximately 510mm; and a jade bangle, 80mm diameter approximately (3)

365 PAIR OF MOONSTONE PENDENT EARRINGS each designed as a cascade of graduating collet set moonstone cabochons £200-300

£150-250

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369 CULTURED PEARL, GARNET AND RUBY BROOCH, CIRCA 1965 of abstract leaf design claw set with cultured pearls, circular cut garnets and a ruby, one stone/pearl deficient, 18 carat gold import marks for Birmingham 1965 14.4gr all in £200-300

366 GARNET NECKLACE designed as a graduated length of articulated collet set oval garnets length approximately 440mm £700-900

367 PAIR OF GEMSTONE PENDENT EARRINGS each designed as an articulated cascade of collet set oval stones including variously coloured sapphires and garnets £200-300 368 (illustrated online) DIAMOND RING the brilliant-cut diamond mounted in a four claw setting size L £150-250

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370 TWO NINE CARAT GOLD BRACELETS one charm bracelet of trace links with various 9 carat charms including: a mouse, a St Christopher, hallmarked London 1966, a pelican, hallmarked Birmingham 1992, a shield from Guernsey, hallmarked Birmingham 1970, length approximately 190mm, 24gr; the other bracelet, 1880s, of rose gold trace links set with alternating seed pearl and turquoise shamrocks with a later clasp, length approximately 200mm, 14.5gr all in £500-700

371 COLLECTION OF JEWELLERY comprising: a carved chyrsoprase cross pattée pendant with central seed pearl on a Figaro link back chain, length approximately 400mm; a bar brooch of cross over design set with a circular diamond and ruby, length approximately 46mm; a bar brooch with central oval hard stone cameo within a row of seed pearls(one deficient); a three stone ring set with a central circular sapphire between brilliant cut diamonds, London hallmarks for 18 carat gold 1978, size I 1/2; a five stone diamond ring, size K; and a band ring, Egyptian hallmarks, size J 1/2 (6)

374 MEMORIAL HAIR BROOCH, LATE 18TH CENTURY of rectangular design with bevelled edge and woven hair; together with a scroll and foliate glazed pendant, 1880s; and an openwork burr and foliate brooch frame, 1830s 10.5gr all in (3) £60-80

End of Sale Next Sale 18th November 2020 Closing for entries by end of September

£400-600

372 EIGHTEEN CARAT GOLD AND PEARL HINGED BANGLE, 1900s the cross over bangle with bead terminals set to the centre with a half pearl cluster, French assay marks internal measurements 54mm x 45mm approximately, 7.5gr £200-300 373 GOLD, GARNET AND ENAMEL MOURNING PENDANT, CIRCA 1834 the circular scalloped pendant with a central foiled cabochon garnet within a black enamel foliate border, the reverse with glazed hair compartment engraved ‘In memory of Lucy Boggett, died 27 March 1834, aged 49’ diameter 28mm approximately £120-180 79

Conditions of Business for Buyers 1. Introduction (a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers; (iii) The Auctioneers Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement. (b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest 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 when bidding as agent; “Seller” is the person offering a lot for sale, including their agent, or executors; “Auctioneers” Thomas Del Mar Ltd, Matthew Barton Ltd and 25 Blythe Road Ltd trading as Olympia Auctions. For other auctioneer’s at 25 Blythe Road, such as Charles Miller Ltd, please see their website for their Conditions of Business “Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the Auctioneers 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 a lot.

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

3. Examination of Lots (a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion.

4.Exclusions and limitations of liability to Buyers (a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee. (b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers;

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(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller.

5. Bidding at Auction (a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained). (b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6. Import, Export and Copyright Restrictions (a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES). (b) Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such.

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)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

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

Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment.

Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers.

9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days' written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings 10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer's expense and risk at the Auctioneers premises or in independent storage (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

11. Data Protection Privacy Policy (a) What is the legal basis on which the Auctioneers rely to process your data?

On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events).

On other occasions, the Auctioneers processes your data

when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction).

The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms. (i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law. (ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11 (a) (i) (b) Who gets to see your personal data?

The Auctioneers and other auctioneer’s at Olympia Auctions, such as Charles Miller Ltd. The Ltd company that initially receives your data will process it. Your data may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers.

Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services.

Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct anti-money laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law. (c) How long will the Auctioneers keep your personal data?

The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims.

In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and

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title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest.

What steps do the Auctioneers take to keep your personal data secure?

The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise.

The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access.

As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission.

Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data. (d) Third party websites The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us will not be transmitted to other websites, but these other websites may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites. (e) Your data You have the right to request deletion of your personal data.

The Auctioneers will comply with this request, subject to our legitimate interests as noted above.

How can I access the information you hold about me?

You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers.

The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect. (f) Complaints If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers.

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

Authenticity Guarantee If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price.

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

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

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

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

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or loss in value to the Property (in the Auctioneers reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

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

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

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Matthew Barton Ltd Olympia Auctions, 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Email: enquiries@matthewbartonltd.com www.matthewbartonltd.com

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