European Works of Art by Olympia Auctions

European Works of Art Wednesday 1st June 2022

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

027 MERCURY

Enquiries: Matthew Barton Henrietta Grant Consultants: 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:

www.the-saleroom.com www.drouotonline.com

www.OlympiaAuctions.com

www.invaluable.com

Olympia Auctions 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Fax:+44 (0) 20 7806 5546 Email: decorativeart@olympiaauctions.com Photography: Rolant Dafis Front Cover: Lots 66 & 257 Back Cover: Lot 293 Page i Illustration: Lot 165

EUROPEAN WORKS OF ART INCLUDING: A PRIVATE COLLECTION OF SPODE THE LAURA CLEAVE COLLECTION OF INKSTANDS

TO BE SOLD BY AUCTION AT 25 Blythe Road London W14 0PD PUBLIC EXHIBITION Sunday 29th May 12.00 noon to 4.00pm Monday 30th May 10.00am to 7.30pm Tuesday 31st May 10.00am to 5.00pm DAY OF SALE Wednesday 1st June at 11am precisely This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

IMPORTANT INFORMATION FOR BUYERS Definition “Auctioneers” Olympia Auctions Ltd. All lots are offered subject to the Conditions of Business reproduced on the website www.OlympiaAuctions.com, and printed at the end of the auction catalogue. A Buyer’s Premium of 25% is applicable to all lots. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all Buyers. Unless otherwise stated all lots are subject to a reserve set at the low estimate or below. Estimates are published as a guide only and are subject to review. The actual Hammer Price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. The Auctioneers will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge. Olympia Auctions are pleased to offer free online bidding directly through their website at www.OlympiaAuctions.com. Other online bidding platforms making an additional surcharge are available for this auction, please see the relevant platforms for further details. The Auctioneers may supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and where possible will endeavour to assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Olympia Auctions are not responsible for delays in delivery which might be caused by shippers or local customs. Symbols 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 undertake 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 the Bidder and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accept no liability for any lots which may be subject to CITES but have not been identified as such. Please note that it is not possible to post or ship ivory of any kind (including marine ivory) to the United States of America. VAT ‘‡’ Lots marked with the symbol ‘‡’ have been imported from outside the UK, to be sold at auction under Temporary Admission Rules. If purchased by a UK buyer, the Buyer will become the importer and must pay VAT at the rate of 5% on the Hammer Price and 20% on the Buyer’s Premium. Lots marked with the symbol ‘†’ are subject to normal VAT rules and the standard VAT will be charged on both the Hammer Price and Buyer’s Premium. Buyers will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request. ‘☐’ For items with No Reserve. Cataloguing Practice PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE AND THAT ILLUSTRATIONS ARE NOT TO SCALE. Weights may only be accurate to within 5 grams. Weights shown as ‘(*oz)’ are in Troy Ounces and usually rounded down to the full ounce. It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method. Condition is not normally recorded and all lots are sold as viewed. Condition reports can be requested prior to sale. Whilst the Auctioneers are pleased to provide a general report of condition, the Auctioneers are not professional conservators or restorers and any statements made are merely subjective, qualified opinion. Prospective Buyers should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them. Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept UK debit cards. Cash and UK registered debit card payments above £6,000 and "card holder not present" payments above £2,000 cannot be accepted. Electronic transfers may be sent directly to our bank account: HSBC Bank 38 High Street Dartford Kent DA1 1DG VAT Registration Number: 144181627

IBAN Number: GB39HBUK4019042203319 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 22033119 Account Name: Olympia Auctions Ltd

Collection and Storage On receipt of cleared funds, lots can be collected from the premises at 25 Blythe Road, London, W14 0PD. The Buyer or Buyer’s agent must bring photographic ID for collection. We require written confirmation from the Buyer if collection is made by a third party. Please note that collection may be made during working hours only, usually Monday to Friday 9.30 to 17.00. All lots should be cleared within 10 working days of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £25 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

Wednesday 1st June 2022 Starting at 11am

European Works of Art

1 A MEISSEN ‘BATAILLENMALEREI’ TEA CADDY, MID 18TH CENTURY arched rectangular, painted to one side with an amusing scene of soldiers holding long scythes and balanced atop horses heavily laden with hay bundles, the other with two gunners watching a third firing a cannon at a target, the short sides with encampment vignettes, all under a gilt Laub- und Bandelwerk border, the shoulders with floral sprays and gilt line rims, faint blue crossed swords mark 10cm high

2 A MEISSEN ‘BATAILLENMALEREI’ GROUP OF TEN CUPS AND ELEVEN SAUCERS, MID 18TH CENTURY each painted with various military scenes, the interiors of the cups with scattered flowers and sprigs beneath Laubund Bandelwerk borders, underglaze blue crossed swords marks some damage (21) £700-1000

£400-600

3 FOUR VIENNA TEABOWLS AND SAUCERS, CIRCA 1780 each painted with a vignette of a figure in a landscape inside a gilt border, the cup interiors with a flower sprig, underglaze blue shield marks; together with a Vienna coffee pot and associated cover, mid 18th century, baluster, painted with military scenes, 20cm high some damage (10) £100-200 4‡ A MEISSEN FIGURE OF A WOODCUTTER, CIRCA 1745-50 modelled by Johann Joachim Kändler (1706-1775) as a farmer in white shirt and vest and puce breeches splitting a plank of wood with an axe, blue crossed swords to rear base 13.5cm high Kändler’s Taxa of November 1745, records: Bauer, so das geschnittene Holz hauet, oder spaltet, zu der Graff Brühl. Conditorey [a farmer, chopping or splitting wood, to Count Brühl’s confectionary]. £600-900 5‡ A BERLIN (KPM) TOPOGRAPHICAL CUP & SAUCER, CIRCA 1815 each with gold ground bands flanking a burnished leaf band, the cup with beaded scroll handle and rectangular panel painted with a view of Dresden and the Augustus Bridge over the Elbe, underglaze blue sceptre mark to cup and saucer, cup impressed ‘10’, saucer ‘28’ £250-350

6 A PAIR OF ITALIAN FAIENCE VASES AND COVERS, 19TH / 20TH CENTURY in Urbino style, the bulbous pedestal bodies applied with grotesque masks surmounted by spiralling snake handles, the white ground painted with ‘grottesche’ style motifs surrounding profile roundels 32cm high £250-350 7 □ (illustrated online) A PAIR OF CONTINENTAL PORCELAIN VASES AND COVERS, RUSSIAN STYLE, CIRCA 1900 waisted urn-shaped on short pedestals, square bases, with white and gilt gadroon and formal foliate borders throughout, the green ground with further gilding reserving rectangular panels of peasant figures, covers with bud finials, with apocryphal St Petersburg Imperial Porcelain Manufactory marks 27cm high £70-100 8 A PAIR OF ROYAL COPENHAGEN ‘FLORA DANICA’ SALT CELLARS, 1966 dished oval, each painted with the titled specimens ‘Potentilla retusa Müll.’ or ‘Iberis nudicaulis L.’ within typical borders, printed and painted factory marks 10.5cm long £300-500 3

9 A ROYAL COPENHAGEN ‘FLORA DANICA’ POT DE CREME CUP, COVER AND SAUCER AND A COFFEE CUP AND SAUCER, 1969-74 painted with titled specimens and typical gilt borders, the pot de creme with stem handles terminating in flowers and with a cut-cornered square saucer, each with printed and painted factory marks; together with another Royal Copenhagen ‘Flora Danica’ saucer, 1965, cut cornered square (6) £400-600

10 A PAIR OF ROYAL COPENHAGEN ‘FLORA DANICA’ PICKLE DISHES, 1969-74 each leaf-shaped and with applied angular handle and serrated rim, painted with titled specimens ‘Veronica Praecox All.’ or ‘Saxifraga cernua L.’ within typical gilt borders, printed and painted factory marks 16cm long £300-500

11 A ROYAL COPENHAGEN ‘FLORA DANICA’ SUGAR BOWL AND COVER, 1969-74 circular, the cover painted with the titled specimen ‘Oxycocus palustris Rupr.’, typical gilt borders, printed and painted factory marks 11cm across handles £300-500

12 TWO ROYAL COPENHAGEN ‘FLORA DANICA’ BREAD AND BUTTER PLATES, 1969-74 each painted with the titled specimen ‘Saxifraga cernua L.’ or ‘Potentilla retus Müll. 49)’ within typical gilt borders and serrated rim 14.5cm diameter £300-500 13 A BOHEMIAN GLASS CASKET, PROBABLY MOSER OF KARLSBAD, LATE 19TH CENTURY oblong, the cobalt blue glass with raised gilt and white enamel decoration, with gilt-metal rim-mounts and escutcheon and scroll wirework drop-loop handles and corner mounts, on ball feet, interior with gilt painted number ‘33.’ 13cm long £300-400 14 A CAMEO GLASS ‘ROSE’ VASE, THOMAS WEBB & SONS OR STEVENS & WILLIAMS, STOURBRIDGE, LATE 19TH CENTURY bulbous, with flowering sweet briar trailing down from the rim in opaque white against a hay-coloured ground, all between double line borders 13cm high £400-600

15 (illustrated opposite) A LALIQUE GLASS ‘EUCALYPTUS’ VASE, CIRCA 1930 opalescent, frosted and blue stained, Marcilhac No. 936 (design introduced in 1925), moulded with the vertical leaves issuing from clusters of eucalyptus seed pods forming the foot, moulded R. LALIQUE FRANCE and engraved No. 936 16.5cm high £600-800 16 ‡ A VENETIAN ART GLASS VASE, MASSIMILIANO SCHIAVON, MURANO, 2008 bulbous, white lattice and interlaced green canes in clear and green swirls, the surface with cut and frosted sections, underside signed ‘2008 / Schiavon / 1/1’ 37cm diameter £300-500

17 A CHAMBERLAIN’S WORCESTER PART DINNER SERVICE, 1830s moulded in the white with floral foliage reserving panels of painted flower sprigs, comprising: twenty-two dinner plates (25.5cm) sixteen soup plates (25.5cm) eleven fish plates (24cm) ten dessert plates (22.5cm) and a pair of circular soup tureens and covers, three circular sauce tureens and covers with two stands, a pair of shaped square vegetable dishes, five oval serving platters in sizes, and a large circular comport, covers with printed marks, plates impressed ‘CHAMBERLAINS’ (79) £800-1200

18 A PAIR OF BLOOR DERBY PASTILLE BURNERS AND COVERS, CIRCA 1820 urn shaped, the rims with roundel piercing and applied masks, the covers similarly pierced below moulded grape leaves and finial, with cobalt blue bands and gilt details, red painted marks; together with a pair of Bloor Derby pastille burners, circa 1830, similar, covers lacking, red printed marks 13.5cm wide (6) £150-250

LOTS 19 - 60: A PRIVATE COLLECTION OF SPODE

19 A PAIR OF SPODE PASTILLE BURNERS AND COVERS, CIRCA 1815-20 circular, shaped rims, painted in pattern ‘2418’ with panels of flowers on a deep blue ground, on four gilt paw feet, the pierced covers with flamiform finials 13.5cm high, some restoration £150-250

20 A PAIR OF SPODE ‘DOLPHIN EMBOSSED’ SAUCE TUREENS AND COVERS, CIRCA 1815 moulded circular, painted in pattern ‘1660’ with flower groups and moulded with bands of entwined dolphins alternating with leaves, set with swan neck handles and swan finials, gilt line borders and details, painted 1660 to one 15cm high £250-350

21 A SPODE ‘COCKLE SHELL’ BASKET, CIRCA 1820 oblong, on four gilt ball feet, the sides moulded as linked cockle shells above a bed of seaweed and beneath a handle with further seaweed, painted in pattern ‘2234’ with flower sprays beneath a blue border, red painted Spode 2234 18cm long £150-250

22 A SPODE ‘COCKLE SHELL’ BASKET, CIRCA 1820 oblong, the sides moulded as linked cockle shells above a bed of seaweed and beneath a handle with further seaweed, painted in pattern ‘1918’ with flower sprays, red painted Spode 1918 17.5cm long £150-250

23 A PAIR OF SPODE MATCH POTS, CIRCA 1815 urn shaped, beaded, paitned in Imari style with pattern ‘967’, red painted Spode 967 16cm high £250-350 24 A PAIR OF SPODE MATCH POTS, CIRCA 1815 trumpet form, beaded, painted in Imari style with pattern ‘967’, red painted Spode 967 12cm high

£200-300 25 A PAIR OF SPODE VIOLETEERS AND COVERS, CIRCA 1815-20 oval, rope twist handles, simply pierced covers, painted in pattern ‘1139’ with flowers against a gilt scale ground, red painted 1139 11cm long £250-350 26 A PAIR OF SPODE DISHES, CIRCA 1815 rectangular, two-handled, decorated in pattern ‘1943’ with embossed and painted flower groups, gilt painted 1943 20cm long £200-300

27 A SPODE ‘NEW SHAPE’ VASE, CIRCA 1820 inverted baluster with two upright gilt handles, painted with pattern ‘967’ in Imari style, red painted 967 18cm high £180-220 28 A SPODE ‘NEW SHAPE’ VASE, CIRCA 1820 inverted baluster with two upright gilt handles, painted with pattern ‘1227’ in rich Imari style, red painted 1227 13.5cm high £120-180 29 A SPODE ‘LIZARD’ SCENT BOTTLE AND STOPPER, CIRCA 1815 with the white bird crest to the neck, painted in Imari style with ‘967’ pattern, red painted Spode 967 10.5cm high £120-180 30 A GARNITURE OF THREE SPODE JARDINIERES AND STANDS, CIRCA 1810 flared form, moulded gilt ring handles, painted with floral pattern ‘409’ beneath a deep blue and gilt border, gilt pattern numbers, 17 & 14cm high; together with a pair of match pots, of matching pattern (8) £200-300

31 A SPODE POT POURRI JAR AND COVER, CIRCA 1815 the bulbous body with white relief putti against a lilac ground beneath a gilt foliate border, the similarly bordered simply pierced cover over a white interior lid with gilt knop, red painted Spode 2063 24cm high £200-300 32 A PAIR OF SPODE VASES, CIRCA 1815 the U-shaped bodies with white relief putti against a lilac ground beneath a gilt foliate border, impressed Spode and painted 2063, 16cm high; together with a pair of matching small vases with pierced covers, 8cm high (8) £200-300 33 A SPODE TWO HANDLED VASE, CIRCA 1820 the pierced and leaf moulded neck above a tapered conical body set with loop handles ending in a ram’s mask between a painted basket of flowers and a flower spray, moulded below with bands of stylised foliage 20cm high £200-300 34 A SPODE CHAMBERSTICK, CIRCA 1820 painted in pattern ‘2478’ with flowers against a deep blue and gilt striped ground, red painted Spode 2478 12cm long £100-150

35 (part illustrated online) A GROUP OF SPODE PORCELAINS, CIRCA 1820 comprising: a circular sauce tureen, cover and stand, painted with pink and gilt foliate scrolls and set with gilt butterfly handles and knop, 16cm high; a ‘1388’ pattern green ground beaded vase, 15cm high; a ‘963’ Imari pattern two-handled chocolate cup and cover, 11.5cm high; and a small blue ground two-handled oblong dish painted with flowers, 20cm long (7) £200-300

part

36 TWO SPODE TEAPOTS AND COVERS WITH STANDS, CIRCA 1810 of the same oval shape, one painted in ‘1009’ pattern, the other in ‘909’ pattern, red painted numbers and Spode stands 20cm long £150-250 37 A SPODE JUG, CIRCA 1820 relief moulded with putti beneath a fruiting vine border picked out in enamels, red painted mark, 17cm high; together with another Spode jug, painted in ‘2283’ pattern Imari style, red painted mark, 18.5cm high (2) £150-250

part

38 (part illustrated online) A GROUP OF SPODE PORCELAINS, CIRCA 1815 all painted in Imari styles and with red painted numbers and Spode, comprising: a ‘2214’ pattern shaped oval sauce tureen, cover and stand; a ‘967’ pattern two-handled chocolate cup; a ‘3710’ pattern trumpet shaped vase; a ‘2375’ pattern slop bowl; a ‘3059’ pattern slop bowl; and a ‘3059’ pattern London shaped cup and saucer (9) £150-250 39 A SPODE TWO HANDLED VASE, CIRCA 1820 ovoid, with elaborate handles, painted with a woman in a landscape titled to underside ‘The Task’ accompanied by a verse, red painted marks, 16cm high, damage; together with a Spode match pot, beaded, painted with farmer threshing wheat with a flail, unmarked, 12cm high (2) £100-150 40 A SPODE CENTREPIECE DISH, CIRCA 1820 shaped oblong, embossed with flowers and painted on a white ground in iron-red, green black and gilt with two cranes between flowering peony and bamboo, red painted Spode 33cm across branch-like end handles £100-150

41 A GROUP OF SPODE PORCELAINS, CIRCA 1815-20 each painted in ‘1291’ pattern Imari style, comprising: a pair of small plates, 18cm diameter; a London shape trio; a teacup and saucer; and a slop bowl, red painted numbers and Spode (8) £150-250 42 (part illustrated online) A GROUP OF SPODE PORCELAINS, CIRCA 1810-20 comprising: an octagonal teapot, cover and stand, painted in the ‘2527’ floral pattern; a small ‘878’ pattern teapot and cover, 12.5cm high; a ‘2527’ pattern twohandled flared bowl; a ‘3797’ pattern slop bowl; a ‘2721’ pattern sugar bowl, cover and stand; and a bat printed ‘557’ pattern slop bowl (11)

part

£100-200 43 A GROUP OF NINE SPODE MILK JUGS, CIRCA 1810 all oval, various patterns including three Imari pattern jugs and two bat printed examples £200-300

45 44

44 A PAIR OF SPODE MINIATURE POT POURRI BASKETS AND COVERS, CIRCA 1820 circular, each on three ball feet, the sides painted with pink roses with gilt leaves beneath an overhead handle, red painted 3886 Spode 6.5cm high £120-180 45 A PAIR OF SPODE MINIATURE ROSEWATER SPRINKLERS AND COVERS, 1820s each applied in high relief with yellow birds and flowers, one red painted 4650 Spode 10cm high, some restoration

£100-150 46 A SPODE MINIATURE POT AND COVER, CIRCA 1820 compressed globular, with moulded gilt ring handles, painted in pattern ‘1166’ with flowers against a deep blue and gilt scale ground, red painted marks, 5cm high; together with a Spode small pot pourri vase and cover, ‘1166’ pattern some damage and restoration (4) £100-200 47 A SPODE VIOLETEER AND COVER, CIRCA 1820 oval with rope-twist handles, painted with ‘967’ pattern, 10cm wide; together with a Spode small pot pourri vase and cover, ‘1709’ pattern (4) £200-300

48 A PAIR OF SPODE TOPOGRAPHICAL PLATES, 1820s painted with titled views ‘Dover, Kent’ and ‘Southampton, Hampshire’ against a deep cream ground and gadroon moulded rims, retailer’s mark of Blades of London 22.5cm diameter £150-250 49 A PAIR OF SPODE DESSERT PLATES, CIRCA 1820 each painted in the Imari style ‘967’ pattern, red painted marks; together with another Spode dessert plate, ‘1166’ pattern 21.5cm diameter (3) £180-220

50 A SPODE BOTANICAL DISH, CIRCA 1820 shell shaped, painted with a titled specimen ‘Purple Bindweed’ inside gilt rims, red painted marks 24.5cm long £80-120 51 A SPODE PLATE, CIRCA 1820 painted in Chelsea style with the ‘2423’ pattern of a central flower spray inside ‘peacock scale’, the border with three birds in branches, red painted marks, 21cm diameter; together with a pair of Spode dishes, shell shaped, painted pattern ‘3883’, 22cm long (3)

£150-250

54 (illustrated online) A PAIR OF SPODE DISHES, CIRCA 1820 shaped oval, painted in the ‘1918’ pattern with flowers and embossed borders, 26.5cm long; together with a pair of Spode dessert plates, embossed and flower painted, 21cm diameter; and four cruciform plates painted with flower groups (8) £100-150 52 A PAIR OF SPODE DESSERT PLATES, CIRCA 1820 each painted with Imari style ‘3071’ pattern, red painted marks, 21cm diameter; together with another pair of Spode dessert plates, Imari style ‘2283’ pattern, 20.5cm diameter; and a Spode saucer dish and two matching plates, Imari style ‘2214’ pattern (7) £100-200 53 A PAIR OF SPODE EARTHENWARE PLATES, EARLY 19TH CENTURY each printed and coloured with the ‘Tumbledown Dick’ pattern, impressed marks, 20cm diameter; together with a Spode porcelain saucer dish, painted with flower groups; a pair of Spode dishes, green ground oval painted with pattern ‘2705’; and three pairs of Spode plates, in assorted patterns (11) £100-150 55 A SPODE VASE, CIRCA 1830 unusually painted in 18th century Meissen style with a Chinese figure seated beside a bird to one side, the other with flowers, all above a band of cabochons simulating hardstones, set with mask handles, black painted Spode 21cm high £120-180 56 (illustrated online) A GROUP OF SIX SPODE TRIOS, CIRCA 1815 London shape, painted in the following patterns: ‘3575’, ‘3573’, ‘3618’, ‘2638’, ‘770’ and ‘2214’ (18) £150-250 53 18

57 (illustrated online) A GROUP OF SIX SPODE TRIOS, EARLY 19TH CENTURY of various patterns and forms (18) £150-250 58 (illustrated online) A GROUP OF SIX SPODE TEA AND COFFEE CUPS AND SAUCERS, EARLY 19TH CENTURY of London or Bute shape and painted with various patterns including ‘715’ and ‘2213’ (12) £100-150 59 (illustrated online) THREE SPODE TEACUPS AND SAUCERS, CIRCA 1815 London shape, painted with pattern ‘312’; together with the following Spode: two pairs of cups and saucers, a bat printed Bute shaped cup and saucer, a bat printed coffee can and saucer, and two other coffee cans and saucers (22) £100-200 60 (illustrated online) A GROUP OF TWELVE SPODE CUPS AND SAUCERS, EARLY 19TH CENTURY mostly of London or Bute shape and painted various patterns including ‘1382’, ‘4899’, ‘1909’, ‘3797’, ‘1709’ and ‘2234’ (24) £180-220

61 (illustrated online) A STAFFORDSHIRE POTTERY FIGURE, ‘WILL WATCH’, CIRCA 1860 modelled seated on a tree stump holding a pistol, a barrel at his side, 34cm high; together with a pair of Staffordshire pottery figures of ‘Shakespeare’ and ‘Milton’, Milton fired without his right arm; together with a Staffordshire figure of ‘Falstaff’; and a pair of Staffordshire figures of greyhounds, circa 1900, each standing supported by a tree stump and holding a hare in its mouth, on naturalistic oval bases, 20cm high (6) £60-100 62 A BRONZE PLAQUE OF THE SACRIFICE TO BACCHUS, AFTER CLAUDE MICHEL CALLED CLODION (1738-1814), PROBABLY 18TH CENTURY rectangular relief, centred by Bacchus and attendant struggling with a sheep at the altar beneath a Bacchic herm flanked by cavorting figures 20 x 50.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. Another version of this plaque, signed ‘Clodion’ in the bronze, was held by the North Carolina Museum of Art in Raleigh (No.G.58.4.5), until deaccessioned in 1993. £300-500

63 A PAIR OF SILVER PLAQUES, SPANISH, LATE 17TH CENTURY oval, chased high relief, with half-length figures of St. Leander in Bishop’s vestments holding a pen in one hand and heart in the other; the other of the Virgin weeping 14 x 13cm, 21 x 19.5cm including giltwood frames Provenance: Sotheby’s, London, 16 December 1971, lot 129; Bernard Kelly Collection, London. £800-1200 64 A PAIR OF GILT-BRONZE MOUNTS, FRENCH, 19TH CENTURY deep relief, one of putti with a cart, the other infant fawns 12.5 x 18.5cm and 10.5 x 20cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. £200-300 65 A BRONZE MEDAL OF CHARLES DICKENS, RONALD SEARLE (1920-2011) FOR THE BRITISH ART MEDAL SOCIETY, BIRMINGHAM MINT, 1983 cast in relief with a half length bust of the writer, signed in the bronze, the reverse with Dickens leaning against piles of books, from an edition of 100 7.1cm diameter £150-250 66 □ (illustrated opposite) A TAPESTRY OF SAINT CECILIA AND ATTENDANTS, FLEMISH, 18TH CENTURY the patron saint of music seated beside a stream, with flanking harpist to one side and grouped behind her to the other side amidst rocks and foliage a violinst, organist, flautist and cellist, all accompanying a young woman singing 210 x 190cm See Dreweatts, Newbury, 11 May 2016, lot 180, for a larger Flemish tapestry section of the same scene, where it can be seen that four of the figures are looking towards a parrot perched in a tree. £2000-3000 20

67 JEAN-FRANCOIS-THEODORE GECHTER (1796-1844): LA LEVRETTE AU LIEVRE, 1843 a French bronze group probably cast posthumously by Cresson, Paris, mid 19th century, of a greyhound with head turned back crouched over a slain hare, on a rocky naturalistic base, with a distressed wood and cloth oval stand, inscribed to terrace ‘GECHTHER 1843’ and ‘Cresson éditeur’ bronze 44.5cm long £300-400 68 □ EDOUARD DROUOT (1859-1945): LOUIS PASTEUR a French patinated bronze figure, late 19th century, the famous scientist modelled as a Classical philosopher seated and partially wrapped in drapery with one arm behind resting on the back of the chair, the other raised to his chin in thought, signed in the bronze to chair back, bow fronted base, on a stepped vert-de-mer marble plinth of conforming outline with gilt-bronze base rim 30.5cm high overall £200-300 69 □ (illustrated online) AN ART NOUVEAU ALABASTER BUST OF A YOUNG WOMAN, CONTINENTAL, CIRCA 1900 carved smiling and wearing a headscarf, disc earrings and a necklace hung with two medallions, signed to back ‘A Melani’, on rectangular marble base 20cm high overall £60-80 22

70 JULES MOIGNIEZ (1835-1894): SETTER WITH HARE a patinated bronze group, French, later 19th century, the setter looking back at the hare (or rabbit) crouched under foliage, inscribed to edge of oval base ‘J MOIGNIEZ’ 22cm long Provenance: Private Collection, Berkshire, purchased from Arthur Ackermann & Son Ltd., London, January 1985 (as per copy of receipt). £300-500 71 J. BRAULT (FL.1920s/30s): LADY AND HER ALSATIANS a French variously patinated bronze Art Deco group, circa 1930, her flowing robe with gilt details, her arms reaching towards to the flanking recumbent or standing German shepherd dogs, on a stepped and canted plinth of black and veined black and white marbles, inscribed to reverse of her robe ‘Brault / BRONZE’ 73cm long

72 PENNY WHEATLEY: OTTER a patinated bronze of the sleek animal perched on rocks, number two from an edition of seven, inscribed to base ‘P. WHEATLEY / 2/7’ 38cm long Provenance: Private Collection, Berkshire, purchased from Arthur Ackermann & Son Ltd., London, January 1981 (as per copy of receipt). Although now concentrating on painting, Penny Wheatley began as a sculptor, in which medium she is perhaps best known for the life size ‘Maxwell’s otter’, who stands on a rock near Montreith, a memorial to Gavin Maxwell commissioned by the Galloway Wildlife Trust in 1978. £300-500

Provenance: Private Collection, Berkshire; acquired Sotheby’s, London, 9 November 2001, lot 111 £500-800

73 JOHN RATTENBURY SKEAPING (1901-1980): POINTER, 1978 patinated bronze modelled as the dog poised in typical pointing stance on a rounded oblong grassy base, cast by Wally Livingstone, Livingstone Art Moulders, Brenchley, Kent, number fourteen from an edition of twenty, inscribed to terrace ‘JOHN SKEAPING / 78 14/20’, underside with seal initialled WL 34cm long excluding wood base Provenance: Private Collection, Berkshire, purchased from Arthur Ackermann & Son Ltd., London, November 1980 (as per copy of receipt). An Artist’s Proof of this model, cast by Livingstone, is held by the Fitzwilliam Museum in Cambridge (M.46-1982), one of five Skeaping bronzes donated by Paul Mellon KBE in 1982. £1200-1800

74 JOHN RATTENBURY SKEAPING (1901-1980): ARAB STALLION, 1977 patinated bronze modelled as a cantering horse on an oblong base, cast by Wally Livingstone, Livingstone Art Moulders, Brenchley, Kent, number seven from an edition of ten, inscribed to terrace ‘JOHN SKEAPING 77 / 7/10’, underside with seal initialled WL 40.5cm long Provenance: Private Collection, Berkshire, purchased from Arthur Ackermann & Son Ltd., London, November 1985 (as per copy of receipt). £2000-3000

75 ~ □ A WILLIAM IV ROSEWOOD AND MAHOGANY FOLIO STAND, CIRCA 1835 the hinged sides on cross framed ratcheted brackets, the end supports joined by a ringturned stretcher between downswept legs and bun feet 111cm high, 61cm wide £800-1200

76 □ A WALNUT BRASERO (BRAZIER), SPAINISH, 17TH CENTURY STYLE of low octagonal form, mounted with brass flowerheads at intervals surrounding the dropin brass brazier bowl with drop loop handles, the short legs with an arcaded frieze between 16.5cm high; 97cm max diam. This table, in traditional 17th century style, may originally have had an upper tier, as suggested by the four brighter brass flowerhead bosses, which may replace sockets. For a two tier warming table in Hever Castle, Kent, see https://www.hevercastle. co.uk/news/castle-object-month-warmingtable/ £200-300

77 □ (illustrated online) A SET OF THREE GILT-METAL ELECTRIC WALL SCONCES, CONTINENTAL, EARLY 20TH CENTURY formed as ribbon-tied flowering rose branches, each applique with two flowerhead lights, a pair with drapery pendants below the bows, the third with bow only longest 48cm £80-120 78 A ‘TUNBRIDGE WARE’ LETTER BOX, MID 19TH CENTURY rectangular, in burr wood set with a panel and bands of geometric and floral mosaic inlay, the lid with two slits to the foiled interior of two compartments 24.5cm long £100-150 79 A ‘TUNBRIDGE WARE’ ROSEWOOD DRESSING TABLE BOX, MID 19TH CENTURY rectangular, with slightly concave sides, the lightly domed lid with a parquetry panel of illusionary perspective cubes surrounded by a band of floral mosaic marquetry on a dark ground, a similar but blond ground band around the sides, the turquoise silk lined interior with a later beechwood compartmented tray 26.5cm wide £150-250 80 THREE ‘TUNBRIDGE WARE’ BOXES, MID 19TH CENTURY all in simulated rosewood and with mosaic inlays, comprising: one with cube parquetry lid, 15cm square; one rectangular with pin cushion lid, 11.5cm long; and one with triangular pin cushions flanking a rectangular compartment and cover, underside with original label ‘CHILDS & SON / 51 Kings Road. / BRIGHTON. / DESK & DRESSING CASE MAKERS / Toys, Baskets, Leather Works, Glass, Papier Maché / Cutlery, Brushes, Combs &c.’, 16cm long £100-150

81 A GEORGE III INLAID MAHOGANY DECANTER BOX, CIRCA 1800 square, with chequer stringing with in-curved corners and ebonised banding, the lid centred by a drop-loop brass handle and opening to a green baize lined interior fitted with three glass decanters and stoppers with faceted shoulders and a fourth associated decanter and stopper, with key 20cm high £80-120 82 A VICTORIAN ROSEWOOD AND MOTHER-OF-PEARL INLAID TEA CADDY, MID 19TH CENTURY sarcophagus form with drop-ring handles, inlaid to front and to canted lid with silvered stringing and nacre roundels at the angles, the lid also with foliate panels below a lobed border, interior of twin covered compartments with bone knops, 20cm wide; together with another rosewood tea caddy, early 19th century, plain rectangular with sycamore banding, on brass ball feet, interior of twin covered compartments with brass knops, with key, 19cm long (2) £100-200 83 A ROSEWOOD APOTHECARY’S BOX, MID 19TH CENTURY rectangular, with brass escutcheon and flush hinged handles to lid and frieze drawer, the interior fitted with a variety of glass bottles and stoppers (some lacking), the frieze drawer secured by a pin and with further bottles and compartments 22cm wide

£100-150 84 A JAPANESE SILVER AND ENAMEL BUCKLE, EARLY 20TH CENTURY shaped oval, with a frog amid lotus blooms in relief, apparently unmarked 7cm long £60-80 28

85 A CHINESE SILVER CIGARETTE CASE, WANG HING, CANTON, HONG KONG OR SHANGHAI, EARLY 20TH CENTURY oblong pocket fitting form, applied over the front and back with a dragon in relief, WH90 mark 8.5cm long, 124gr including retaining bands

87 A CHINESE SILVER ‘DRAGON’ CIGAR LIGHTER AND A CONDIMENT ‘CART’, WANG HING & CO., HONG KONG, CANTON OR SHANGHAI, EARLY 20TH CENTURY the three-clawed hollowbodied scaly beast with screw-on head standing on a wood stand openwork carved with cloud scrolls, the condiment set modelled as a hatted Chinese man pushing a large wheeled cart containing a mustard pot, a pepperette and an associated brass pail, cart and dragon with WH, artisan and 90 stamps each approximately 15cm long

£300-500

£100-150

86 A CHINESE SILVER BEAKER, SING FAT AND / OR WING FAT, CANTON, CIRCA 1900 slightly tapered, chased in relief with battling figures, some equestrian, amid trees and pavilions against a matted ground and a shield initialled AC, stamped 90, SF, WF and artisan’s mark 9.3cm high, 101gr

88 ‡ (illustrated online) A RUSSIAN SILVER SALT CELLAR, ALEXANDER HILDEBRAND, MOSCOW, 1759 three footed cauldron form, gilt interior, also with Fedor Petrov alderman’s mark, 6.5cm diameter; together with a silver trencher salt, German/Austrian, mid 18th century, shaped rectangular on a stepped and domed base, 13 loth (812 standard) and maker’s marks, 8cm long; an Austrian silver pepperette, Vienna, early 19th century, urn shaped, engraved band on a hatched ground, screw-on cover, 11cm high; a French silver egg cup on stand, late 19th/early 20th century, 9.5cm diameter; and an electroplate salt spoon (5) £150-250

£400-600 29

89 A RUSSIAN CLOISONNE ENAMELLED SILVER-GILT VODKA BEAKER, VASILIY ANDREEV, MOSCOW, 1886 slightly tapering cylindrical, with turquoise and wirework ground reserving shaped panels of stylised foliage on a matted ground, all between white pellet rims 5cm high £300-400

91 ‡ A GERMAN SILVER BEAKER, JACOB PFAFF, NUREMBERG, CIRCA 1690-1700 ‘kugelfussbecher’ form, chased below the reeded rim with scrolling flowers between oval panels of buildings in landscapes, on three ball feet, assay wriggle, town and maker’s marks to rim 8.5cm high, 82gr £500-800

90 A GERMAN SILVER BEAKER AND COVER, PERHAPS JOACHIM AST, AUGSBURG, CIRCA 1700 ‘Kugelfussbecher’ form, plain excepting reeded rims, on three ball feet, cover with ball finial, maker’s mark ?IA? to cover and base, base additionally with town mark for 1696-1705 and assay wriggle 15.5cm high, 312gr £500-700 30

92 A GERMAN SILVER WINE CUP, 18TH CENTURY the bowl with gilt rim and interior, on a knopped stem screwing onto a spreading base, base rim with indecipherable maker’s and town marks, stamped ‘13’ for 812 standard 20cm high, 295gr £300-400

93 A PAIR OF GERMAN SILVER CANDLESTICKS, JOHANN BALTHASAR HECKENAUER, AUGSBURG, 1759-61 Rococo form, shaped circular domed bases and knopped baluster stems with swirling flutes 20cm high, 491gr £1000-1500

94 ‡ A PAIR OF AUSTRIAN SILVER GAMING CANDLESTICKS, VIENNA, CIRCA 1766 shaped square flat bases with raised gallery, rising to knopped and fluted stems and girdled sconces, 13 loth (812 standard) Radlpunze, one maker’s mark IT, the other FE 13cm high, 423gr £600-900

95 ‡ A FRENCH SILVER BEAKER, JEAN-JACQUES EHRLEN, STRASBOURG, CIRCA 1740 bell-shaped, on a gadroon piedouche, with reeded rim above an engraved strapwork and matted ground band, below with probably contemporaneously chased fruit garlands on bowtied ribbons above flutes, gilt interior, traces of gilding to rim, 13 loth (812 standard) Strasbourg town mark and maker’s mark EHR/LEN, French ‘object de hasard’ control mark to rim 9.3cm high, 117gr £500-800 96 A FRENCH SILVER BEAKER, JACQUES DEBRIE, PARIS, 1777 bell shaped, with reeded rim and lobed piedouche 10cm high, 98gr £150-200 97 A PART SET OF THREE FRENCH PARCEL-GILTSILVER DRESSING TABLE ITEMS, LOUIS AUCOC AINE, PARIS, CIRCA 1870 each with a beaded border surrounding engineturning and an engraved oval foliate cartouche applied with a count’s coronet, comprising a hand mirror, a spotted glass bottle of square outline with screw-on silver cover over a cut-glass stopper, and a rectangular spotted glass box with pierced silver cover, Louis Aucoc Ainé maker’s and 950 standard marks, the box cover stamped ‘AUCOC / AINÉ’ hand mirror 25cm long £200-300 32

98 A PAIR OF GERMAN SILVER CANDLESTICKS, FRIEDRICH WILHELM VON BESTENBOSTEL, CELLE, SECOND QUARTER 19TH CENTURY Rococo style shaped square bases and knopped baluster stems with swirled flutes, with detachable nozzles, bases stamped with maker’s name and ‘12’ for 750 standard 22cm high, £300-500 99 A PAIR OF GERMAN SILVER CANDLESTICKS, MAKER’S MARK INDECIPHERABLE, MID 19TH CENTURY circular bases with gadroon borders, fluted and foliate columnar stems, detachable nozzles with matching borders, stamped ‘12’ for 750 standard 24cm high, loaded £150-250 100 A GERMAN SILVER MODEL OF A SHOE, SIMON ROSENAU, BAD KISSINGEN, CIRCA 1895 soft cast as a flowered 18th century lady’s shoe, import marked for David Bridge, London, 1896 18cm long, 88gr £70-100

101 A GERMAN SILVER SALVER, M.H. WILKENS & SOEHNE, BREMEN (HEMELINGEN), 1901 shaped circular, moulded rim, engraved with the initial N below a crown, Reichsmark, ‘800’, trademark, retailer’s stamp ‘HESSENBERG’ and order No.13135040 35.5cm diameter, 837gr (27oz) £300-500 102 A GERMAN SILVER SALVER, MAKER’S MARK INDECIPHERABLE, EARLY 20TH CENTURY shaped circular, plain except for the moulded rim, Reichs, maker’s and ‘800’ stamps 34cm diameter, 711gr £250-350 103 A GERMAN SILVER MILK JUG, SUGAR BOWL AND TRAY SET, OTTO WOLTER, SCHWAEBISH GMUEND, MID 20TH CENTURY with curved flutes at intervals, stamped ‘800’ oval tray 24cm long; 276gr (3) £80-120 104 ~ A GERMAN SILVER THREE-PIECE COFFEE SET, J.H. WERNER, BERLIN, CIRCA 1890 plain bulbous excepting the engraved large initials BB, the coffee pot additionally inscribed to lid ‘Seinem Pathechen / zum Hochzeitstage / 14. April 1891.’, Reichsmark, ‘800’ and retailer’s stamps for J.H. Werner pot 18.5cm high; 1028gr including ivory insulators £350-450 34

107 (illustrated online) MISCELLANEOUS CONTINENTAL SILVER comprising: a German silver sauceboat, plain oval, ‘830’, 13cm long; a German engine-turned Christening mug inscribed ‘Clärchen’, ‘800’; a small hammer-finished scallop dish, ‘800’; a very small counter dish, ‘ 925’; a sugar spoon with twisted stem, ‘835’; and a small oval dish, on mask headed ball and claw feet, probably Spanish 18th/19th century, 12.5cm long 285gr (6) £120-180

105 ~ A GERMAN SILVER COFFEE POT, CARL BUESCH, HANOVER, EARLY 20TH CENTURY plain tapering oval excepting engraved initials K / IE (in Cyrillic) below a count’s coronet to one side and a coat of arms to the other, stamped Reichsmark, ‘800’ and ‘BÜSCH’ 17.5cm high, 681gr including ivory insulators and finial £300-500 106 (illustrated online) TWO GERMAN SILVER TEAPOTS, BOTH GEBRUEDER DEYHLE, SCHWAEBISCH GMUEND, EARLY 20TH CENTURY one lobed ovoid, with horn insulators, stamped ‘925 STERLING’, 23.5cm long, the other urn-shaped with vertical fluting at intervals, with composite insulators, stamped 800,19cm long 764gr all in £300-400

108 (illustrated online) A GERMAN SILVER DISH, PROBABLY HANAU, EARLY 20TH CENTURY oval, pierced and soft cast with a well of putti playing around a dog, the paled sides with floral garlands below a rim of scrolls, stamped ‘800’ and ‘GERMANY’, 23cm long; together with a silver miniature thurible on stand, Spanish, mid 20th century, the typically chained thurible presumably intended for incense suspended on a knopped stand, 915 standard mark, 15.5cm high; and an apparently unmarked salt cellar, 20th century, oval, scroll foliate and geometric chasing, on four paw feet, 8.5cm long 285gr (3) £100-200 109 (illustrated online) A GROUP OF FOUR 20TH CENTURY ITEMS comprising: a tea strainer, simply pierced, with openwork flat handles, ‘TIFFANY & CO MAKERS’ and Sterling stamps, 13.5cm wide; a candle snuffer, with hammer-finished curved handle in Danish style, Marshall & Field Co. and Sterling stamps, 23cm long; and a milk jug and covered sugar bowl, plain bulbous, each on three openwork cast feet, probably Greek, ‘M&K’ and ‘925’ stamps 369gr £180-220 110 AN AMERCAN SILVER COMPORT, THE SWEETSER CO., NEW YORK NY, EARLY 20TH CENTURY circular, with a shaped border of pierced and engraved foliate scrolls within a bound reeded rim, stamped trademark and ‘STERLING’ 25cm diameter, 530gr £200-300

111 AN ITALIAN DISH, GIULIANO BOGGIALI, MILAN, CIRCA 1960 circular, with an openwork cast and applied foliate scroll rim, pre 1968 assay mark and ‘800’ stamps 34cm diameter, 766gr £200-300

112 (illustrated online) A FRENCH ENAMELLED SILVER AND GLASS DRESSING TABLE BOTTLE, CIRCA 1920 the bottle cut with ribbon tied foliate swags, the capstan shaped silver cover with electric blue guilloché enamel concealing a cut glass stopper and plain silver neck mount, French export ‘obus’ marks and import marks for London, 1921 16cm high £80-120

113 A SET OF FIVE NORWEGIAN SILVER-GILT AND ENAMEL AQUAVIT GOBLETS, DAVIDANDERSEN, OSLO, CIRCA 1920 the bowls guilloché enamelled in pale blue, mauve, pink or yellow, on plain cylindrical stems and spreading feet, stamped early trademark, S, 925 and MADE IN NORWAY 7.2cm high £250-350

114 A FRENCH SILVER WINE COASTER, MAISON PUIFORCAT, PARIS, MID 20TH CENTURY probably designed by Jean E. Puiforcat (18971945), the sides with bands of reeding, the silver base with concentric rings, stamped PUIFORCAT / PARIS, maker’s and 950 standard marks 10cm diameter, 180gr (5oz) Provenance: Private European Collector, ‘The Seawolf Collection’ Literature: ‘A Personal Touch: The Seawolf Collection: late 19th- and 20th-century silver’, Veena Duncker and others, Museum Boijmans Van Beuningen, Rotterdam, 2003, Object No.146 £250-350

115 A DANISH SILVER BOWL, ANTON MICHELSEN, COPENHAGEN, 1910 bulbous circular, chased below the scalloped rim with textured strawberry leaves, each leaf at intervals suspending two strawberries and angled ribs below, gilt interior, stamped MICHELSEN below a crown for the Royal Warrant, 1910, town mark and Christian Heise assay master’s mark, also stamped 925S ES / EP 23.5cm diameter, 743gr (23oz) £500-700 116 A DUTCH SILVER-GILT APOSTLE SPOON, PROBABLY GRONINGEN MID 17TH CENTURY the almost circular bowl below a flat section of stem with a bird and seraphim in relief, the spiral twist section with figure terminal, underside of bowl stamped WTB 18cm long £200-300 117 (illustrated online) A GROUP OF SIX SILVER TEA OR SUGAR TONGS AND TWO RIBBON THREADERS comprising: a pair of Georgian mid 18th century tea tongs, scrolled scissor form, shell terminals, poorly struck maker’s and standard marks only; a pair of Victorian tea tongs, plain scissor form, Chawner & Co., London, 1860; a pair of tea tongs in mid 18th century style, scrolled scissor form, shell terminals, C.J. Vander Ltd., London, 1978; three pairs of George III sugar tongs with openwork scroll arms and shell terminals, unmarked or poor partial marks; a pair of German silver ribbon threaders, stork and foliate form, on tortoise foot, scissoring open to reveal a swaddled baby, probably Gebrueder Gutgesell, Hanau, circa 1900; and another pair of ribbon pullers, stork form, scissoring open to a swaddled baby, C.J. Vander Ltd., London, 1973 341gr (10oz) (8) £200-300 37

118

120

118 A VICTORIAN SILVER PAPER KNIFE, FRANCIS HIGGINS, LONDON, 1888 plain rounded blade, the openwork handle in low relief with scrolls framing a figure of Concord holding up a pair of doves whilst a pair of putti continue fighting below her, 26cm long; together with a second silver paper knife, C.J. Vander Ltd., London, 1977, Bacchanalian pattern, pointed blade, 23.5cm long; and a third silver paper knife, Tessier Ltd., London, 1961, pointed blade, dragon shield terminal, 17.5cm long 243gr (7oz) (3) £150-250 119 ~ (illustrated online) A VICTORIAN SILVER PUNCH LADLE, JOHN EVANS, LONDON, 1860 with turned ivory handle, the double lipped bowl brightcut to the exterior with foliate strapwork panels on a linear ground and intialled LR, with gilt interior 38cm long £50-70 120 A PAIR OF GEORGE IV SILVER ASPARAGUS TONGS, ELEY & FEARN, LONDON, 1824 Fiddle pattern, the blades pierced with stylised anthemion motifs 26cm long, 220gr (7oz) £200-300

121

124

121 A GEORGE III SILVER SOUP LADLE, JAMES EDE & ALEXANDER HEWAT, LONDON, 1809 Fiddle Thread pattern, plain 33cm long, 241gr (7oz) £150-250 122 (illustrated online) A MATCHED SET OF TEN VICTORIAN SILVER DESSERT SPOONS, LONDON, Fiddle pattern, seven with scrolling initials, Hayne & Cater, 1840, three initialled F, three Henry Holland, 1861; together with six silver tablespoons, Continental, 19th century, Fiddle pattern, initialled ES 734gr (23oz) (16) £220-280 123 A BOXED SET OF SIX GEORGE V SILVER FRUIT KNIVES AND SIX FORKS, THOMAS BRADBURY & SONS LTD., SHEFFIELD, 1919 with mother-of-pearl handles, in fitted oak box £80-120 124 A BOXED SET OF TWELVE VICTORIAN SILVER FRUIT KNIVES AND TWELVE FORKS, FRANCIS HIGGINS, LONDON, 1862/63 mother-of-pearl handles, the silver tines and blades engraved with a crest, fitted in a brass-bound rosewood box with a similarly crested shield box 27.5cm long £250-350

123

126 (illustrated online) A SET OF TWELVE SILVER HANDLED DESSERT KNIVES, C.J. VANDER LTD., LONDON, 1959 Queens pattern, with stainless steel blades; together with the following Kings pattern table silver, London or Sheffield, 19th/20th century: a pair of meat carvers with filled silver handles, two carving knives and a carving fork all with filled silver handles, three tablespoons, two table forks and two dessert spoons; and a pistol handled carving knife weighable silver 613gr (19oz) (25) £300-500

part

125 A SET OF GEORGE IV TABLE SILVER, ROBERT RUTLAND, LONDON, 1820 Fiddle Shell and Thread pattern, single struck, plain, comprising: twelve tablespoons seventeen table forks seventeen dessert forks twelve teaspoons and a pair of sauce ladles; together with seventeen matching George IV silver dessert spoons, William Chawner, London, 1829 4076gr (131oz) (77) £2000-3000

127 A SET OF EIGHTEEN TEASPOONS, GARRARD & CO. LTD., LONDON, 1984 Marie pattern; together with a part set of table silver, Garrard & Co. Ltd., London & Sheffield, 1990, Husk pattern, comprising: a table fork, a pair table knives with stainless steel blades, a pair of dessert spoons, a pair of dessert forks and a pair of dessert knives with stainless steel blades weighable silver 967gr (31oz) (27) £400-600 39

128 A SET OF SILVER SERVING PIECES, GARRARD & CO. LTD., LONDON, 1977-80 Princess pattern, comprising: a soup ladle, a pair of fish servers, a pair of salad servers, four serving spoons, four sauce ladles, four butter knives, four pointed spoons, three salt spoons, a mustard spoon, a cheese scoop, a pair steel bladed small knives, a pair of sugar tongs, a small spoon with oblong bowl and a spoon with gilt bowl 2063gr (66oz) all in excluding knives (31) £800-1200 129 (examples shown above) A SET OF EIGHT SILVER SERVING PIECES, GARRARD & CO. LTD., LONDON, 1977-78 Princess pattern, comprising: a soup ladle, a pair of fish servers, a pair of salad servers, a pair of sauce lades and a pair of sugar tongs 1026gr (32oz) all in £450-550 130 (examples shown above) A SET OF SIX SILVER SERVING PIECES, GARRARD & CO. LTD., LONDON, 1977-78 Princess pattern, comprising: a pair of fish servers, a pair of salad servers and a pair of sauce ladles 673gr (21oz) all in £250-350

133 131 part 132 131 A SET OF TWELVE SILVER CAKE FORKS AND A PAIR OF SUGAR TONGS, GARRARD & CO. LTD., LONDON, 1981-82 Princess pattern 520gr (16oz) £200-300 132 A PART SET OF TABLE SILVER, GARRARD & CO. LTD., LONDON, 1975-78 Princess pattern, comprising: twelve grapefruit spoons, twelve butter knives and twelve spoons with oblong bowls 1298gr (41oz) (36)

135 A SILVER MUG, C.J. VANDER LTD., LONDON, 1974 the body textured between a plain slightly everted rim, base and handle, the piedouche with further texturing to the edge 10cm high, 311gr (10oz) £150-250

£500-700 133 A SET OF EIGHT SAUCE LADLES, GARRARD & CO. LTD., LONDON, 1977 Princess pattern 549gr (17oz) £250-300 134 A SILVER ROSE BOWL, CHRISTOPHER N. LAWRENCE, LONDON,1973 the plain bowl rising in the centre to support a detachable silver-gilt grid (unmarked) of textured down-curved branches surrounding the logo for the merchant bankers Hill Samuel, the underside inscribed, in its original box with ‘Certificate of Authenticity’ 14cm diameter, 537gr (17oz) £200-300

134

136 AN ART DECO SILVER THREE-PIECE TEA SET, WILLIAM NEALE & SON LTD., BIRMINGHAM, 1936 tapered oblong, with stepped feet and rims and stylised handles; together with a similar electroplate hot water jug, James Deakin & Sons Ltd., Sheffield, circa 1930 teapot 28 cm long, weighable silver 1047gr (33oz) including composition finial and handle to teapot (4) £500-700

137 part

137 AN ART DECO SILVER THREE-PIECE CONDIMENT SET, J.B. CHATTERLEY & SONS LTD., BIRMINGHAM, 1947 plain canted rectangular between moulded rims, the mustard pot and salt cellar with blue glass liners, mustard 7cm long; together with a set of four Victorian silver salt cellars, John Round & Son Ltd., Sheffield, 1895, stamped with a band of flowerheads between batswing fluting and below waved rims, gilt interiors, 4.5cm diameter 264gr (8oz) excluding liners (7) £200-300 138 (illustrated online) MISCELLANEOUS ENGLISH SILVER comprising: a pair of Victorian butter shells, on ball feet, Josiah Williams & Co. of Bristol, London, 1993, 10cm long; a pair of Art Deco five-bar toast racks, William Suckling Ltd., 1932, 7.5cm long; a George III milk jug, pedestal baluster and chased, maker’s mark rubbed, London, 1784; an oval sauceboat on three shell pad feet, Adie Brothers Ltd., Birmingham, 1935; a George III Feather Edge crested tablespoon, maker’s mark indecipherable, London, 1775; and a Victorian sugar bowl, ‘bats-wing’ chased, Charles Stuart Harris, London, 1879; together with a German silver tea strainer, soft cast with putti and scrolls on a matted ground, 800 and pseudo marks for Gebrüder Neumann, Hanau, early 20th century 584gr (18oz) (9) £200-400 42

139 A SILVER THREE-LIGHT CANDELABRUM, HAMPTON UTILITIES, BIRMINGHAM, 1961 oval outline, with beaded borders and lobed decoration, the foot rising to a flared stem and vase-shaped sconce, the detachable branch of twin reeded curved arms, drippans and conforming sconces 27cm high, loaded £300-400

140 A PAIR OF SILVER TABLE PHEASANTS, MAPPIN & WEBB LTD. OVERSTRIKING C.J. VANDER LTD., LONDON, 1973 realistically modelled, the cock with head turned and tail raised, the hen with wings up 30 & 28cm long, 1696gr (54oz) £1200-1800 141 (illustrated online) TWO SILVER-MOUNTED PHOTOGRAPH FRAMES, BIRMINGHAM, 1945 / 1966 both rectangular and with wood easel backs, the earlier with reeded bands, maker’s mark indecipherable, 23.5cm long, the later engine-turned, Charles S. Green & Co. Ltd, 27cm long £80-120 142 A SILVER SALVER, C.J. VANDER LTD., LONDON, 1991 presentation inscribed, moulded rim, on four volute feet 36.5cm diameter, 1316gr (42oz) £600-800 143 (illustrated online) A GROUP SIX PIECES OF CONDIMENT SILVER, ALL LONDON comprising: a pair of cauldron form salt cellars each on three shell headed feet, with blue glass liners, C.S. Harris & Sons Ltd., 1910, 7.5cm wide; a plain cylindrical mustard pot, with blue glass liner, Spink & Son, 1973, 7cm high; a George III urn-shaped pepperette, maker’s mark I.W (Grimwade 3694), 1761, 11cm high; a Victorian cruet stand, quatrefoil, beaded borders, with two glass bottles and a fixed salt cellar (one bottle lacking) Charles Boyton, 1891, 15.5cm long; and a Victorian baluster mustard pot, C.F. Hancock, 1881, 7cm high weighable silver 630gr (20oz)

142

£300-400 43

144 A GEORGE V SILVER TWO-LIGHT CANDELABRUM, WALKER & HALL LTD., SHEFFIELD, 1919 shaped oval outline, the loaded stick with flared stem and vase-shaped sconce supporting the detachable branch with urn finial flanked by scroll arms ending in drip-pans, sconces and detachable nozzles 32.5cm high; branch 524gr (16oz) £300-400 145

146 A GEORGE V SILVER CUP AND COVER, S. BLANCKENSEE & SON LTD., BIRMINGHAM, 1930 in early George III two handled inverted baluster form, gadroon rims, one side with presentation inscription, small retailer’s stamp to body ‘DUDLEY & COX LTD. SOUTHSEA’ 18cm high, 309gr (9oz 18dwt) £120-180

147 (illustrated online) A GEORGE V SILVER SALVER, ADIE BROTHERS LTD., BIRMINGHAM, 1927 shaped circular, moulded rim, engraved presentation inscription, on three scroll feet, underside with retailer’s stamp for J.C. Vickery 30.5cm diameter, 991gr (31oz) £450-550

A GEORGE V SILVER BOWL, BARKER BROTHERS OF BIRMINGHAM, CHESTER, 1921 the bowl with everted rim bordered by shaped moulding, on a short pedestal foot 21cm diameter, 292gr (9oz) £120-180

148 A GEORGE V SILVER SALVER, MAPPIN & WEBB LTD., SHEFFIELD, 1931 plain excepting the moulded and shaped rim with applied border of egg and dart interrupted by shells and leafage, on four volute feet 33.5cm diameter, 1098gr (35oz) £500-700

149 A GEORGE V SILVER THREE-PIECE TEA SET, I.S. GREENBERG & CO, BIRMINGHAM, 1922 ribbed oval, ovolo rims, ball feet, the teapot with composition handle and finial, the milk jug and sugar bowl with gilt interiors teapot 28cm long, 940gr (30oz) all in £400-600 150 (illustrated online) A GROUP OF FIVE ENGLISH SILVER CASTERS comprising: a pair baluster octagonal, applied with openwork shell motifs to shoulders and body, William Comyns & Sons Ltd., London, 1928, 15cm high; a pair girdled baluster, Crichton Brothers, London, 1924; and one baluster octagonal example, Nathan & Heyes of Birmingham, Chester, 1904 574gr (18oz) £250-350 151 (illustrated online) A GROUP OF FIVE SILVER CASTERS AND A TREEN EXAMPLE WITH SILVER COVER comprising: a girdled bulging example in early 18th century style engraved with scrolled initials within a foliate strapwork cartouche, Britannia standard, Spink & Son, London, 1924, 17cm high; a girdled baluster example, C.S. Harris & Sons Ltd., London, 1908; a bulging octagonal caster, Latham & Morton, Birmingham, 1908; a Victorian baluster caster with Rococo style chased bands, the foot lead weighted, Joshua Vander, London, 1890; an Art Deco example, Mappin & Webb Ltd., Sheffield, 1956; and the treen example carved with thistles and Celtic interlacing, plain silver rim mount, pierced silver cover, S. Blanckensee & Son Ltd., Birmingham, 1922, 22cm high weighable silver 803gr (25oz) £400-600

152 A GEORGE V SILVER DRESSING TABLE TRAY, LEVI & SALAMAN, BIRMINGHAM, 1918 oblong, engraved with scrolling initials CP in an oval surrounded by hammer finishing, plain moulded rim 26cm, 370gr (11oz) £150-200 153 (illustrated online) AN EDWARDIAN SILVER NOVELTY PEPPER MILL, HILLIARD & THOMASON, BIRMINGHAM, 1901 in the form of a two-handled milk churn, engraved ‘H.H.H. / 1902’, with steel grinder 8.5cm high £60-80

154 A GEORGE V SILVER PEDESTAL FRUIT BOWL, WALKER & HALL, SHEFFIELD, 1914 the ribbed circular bowl with areas of scroll piercing below a leaf and moulded rim, on a ribbed and knopped pedestal foot, stamped Walker & Hall trademarks and numbered 51938 18cm high, 28cm diameter, 934gr (30oz) £400-600 155 AN EDWARDIAN SILVER PEDESTAL BOWL, WALKER & HALL, SHEFFIELD, 1903 the trefoil shaped bowl with foliate bright-cut engraved and pierced decoration, the foot with a further pierced band 12.5cm high, 283gr (9oz) £120-180 156 A PAIR OF GEORGE V SILVER VASES, THE ALEXANDER CLARK CO. LTD., BIRMINGHAM, 1912 with everted necks of foliate trellis piercing below applied scrolls, slender inverted baluster bodies, conforming piercing to the bases and on pale pierced panel feet with husk swags 28cm high, 878gr (28oz) £400-600

157 AN ARTS AND CRAFTS SILVER CUP AND COVER, THE DUCHESS OF SUTHERLAND’S CRIPPLES GUILD LTD., BIRMINGHAM, 1910 the planished bulbous body engraved either side with the armorial achievement of Stapylton of Myton (Yorks) above a bold chased band of tulips and foliage between caryatid scroll handles, the spreading foot similarly chased, the domed cover again chased under a cast bud finial, underside with engraved presentation inscription and with the stamped ‘D.S.C.G.’ below a ducal coronet trademark 33cm high, 1906gr (61oz) The inscription reads: Presented to Miles J. Stapylton Esq. by Members of the York and Ainsty Hunt and friends as a remembrance of his Mastership. York and Ainsty (North Pack) 1906-1908 and York and Ainsty Hounds 1909-1919. Colonel Miles John Stapylton OBE (1869-1931) lived at Myton Hall, Myton-on-Swale, Yorkshire, the seat of the Stapylton family from around 1693 until the house was sold in 1933. Trading as The Duchess of Sutherland’s Cripples Guild of Handicrafts, the organisation sold hand wrought copper (often silvered) and some silver, all made by disabled boys at a workshop in Tretham Park, Staffordshire, from a fashionable London showroom at 13-14 New Bond Street. The workshop apparently turned to making detonator caps during the Great War, but closed in 1922. For further information on the Guild and the Duchess see a ‘D.S.C.G.’ silver rose bowl, sold in these rooms, 26 May 2021, lot 313 £1000-1500

158 AN IRISH EDWARDIAN PARCEL-GILT-SILVER CUP AND COVER, EDMOND JOHNSON LTD., DUBLIN, 1906 of 17th century wine cup form with bands of curved lobes, the cover with cast Grenfell crest finial, the bowl engraved with the Grenfell crest and inscribed above and below a chased band of leaves, on knopped pedestal foot, underside stamped JOHNSON LTD / DUBLIN 27cm high, 509gr (16oz)

159 AN EDWARDIAN SILVER CUP AND COVER, ATKIN BROTHERS, SHEFFIELD, 1907 a scaled down replica race cup, in Neo-classical style as a two-handled pedestal urn, chased with bands of acanthus, the capstan-shaped cover with horse and jockey finial, the body with engraved inscription, on an ebonised wood stand with applied silver plaque 25.5cm excluding stand, 34cm high overall, 747gr (24oz)

The inscriptions read: Harold Francis Pascoe / from his Godfather / Harold Grenfell / 9th. Nov. 1906. / “You are now placing your foot into the world, before you place it look about you.”

The inscription to the cup reads: Replica of The Foxhunters’ Challenge Cup Presented by Members on Late Cheltenham Steeplechase Committee May 1908. The stand’s plaque reads: Won By The Hon. H. Bourke’s Coquette, May 21. 1906.

Harold Francis Pascoe Grenfell (1906-1986) was the first child of Lt.-Col. John Pascoe Grenfell and Adeline Octavia Lambart. He became a Commander (RN) in the Second World War and was awarded the Distinguished Service Cross. His Godfather (also his uncle) was Brigadier General Harold Maxwell Grenfell (1870-1929). His great uncle was Field Marshal Francis Wallace Grenfell GCMG, 1st Baron Grenfell (1841-1925), Commander-in-Chief of Ireland at the time, which may account for the Irish provenance of the cup. £300-400

£400-600

160 AN EDWARDIAN SILVER SALVER, D. & J. WELLBY LTD., LONDON, 1903 flat-chased with a band of flowers and rocaille, the moulded border cast with diaperwork and foliage within a gadroon rim, on four hairy paw feet 47cm diameter, 2810gr (90oz) £1500-2000 161 (illustrated online) A GROUP OF FOUR MISCELLANEOUS SILVER ITEMS comprising: an Irish Edwardian bowl, with punched decoration in 18th century style, on three shell-headed pad feet, John Smyth & Sons, Dublin, 1906, 12cm diameter; a plain baluster milk jug in early 18th century style, Harrods Ltd., London, 1972; a mustard pot, the tapered cylindrical body a George III Christening mug, engraved with scrolled initials, probably Elizabeth Morley, London, 1806, fitted with a slightly domed lid engraved with a crest, J.E. Terry, London, 1836, with glass liner and a small modern silver mustard spoon; and a sauceboat, oval, waved rim, three feet, Viners Ltd., Sheffield, 1964 450gr (14oz) (4) £300-400 162 A VICTORIAN SILVER THREE-PIECE MATCHED TEA SET, SHEFFIELD, 189597 oval part lobed pattern, the teapot with ebonised handle and finial, Alexander Clark, the milk jug and sugar bowl with reeded rims and gilt interiors, James Deakin & Sons; together with a similar electroplate coffee pot, Daniel & Arter, Birmingham, circa 1900, pedestal form teapot 27.5cm long; weighable silver 1019gr (32oz) all in (4) £400-600

163 (illustrated opposite) A GEORGE V SILVER LARGE TRAY, ELKINGTON & CO. LTD., LONDON, 1921 oblong, Regency style, plain excepting the rim and handles of gadroons interrupted by shells and acanthus 73.5cm long, 4594gr (147oz) £2000-3000 164 (illustrated opposite) A VICTORIAN SILVER FIVE-PIECE TEA AND COFFEE SET, GOLDSMITHS & SILVERSMITHS CO., LONDON, 1895/96 in Regency style, the compressed circular bodies part lobed below rims of gadrooning interrupted by shells or female masks flanked by acanthus leaves, the spouts to the teapot and coffee pot with an acanthus leaf to the bottom and flowers on a matted ground to the top, the sugar bowl, slop bowl and milk jug with gilt interiors, rim feet coffee pot 22cm high; 2880gr (92oz) including handles

165 A VICTORIAN SILVER-GILT PORRINGER AND COVER, EDWARD BARNARD & SONS, LONDON, 1896 in late 17th century style, the body chased with a band of acanthus leaves below the engraved Grenfell coat of arms, crest and motto and presentation inscriptions to the rim between caryatid scroll handles, the cover chased with the leaves curving around the bud finial, underside stamped ‘L / 374 24cm high, 1680gr (54oz) The inscriptions read: John and Adeline Grenfell from their affectionate Uncle, / General Lord Grenfell, G.C.B. August 2, 1905. “Good Luck”. See lot 158, a Christening cup and cover given to this couple’s first born son, for further family details. £800-1200

£1200-1800

166 A PAIR OF VICTORIAN SILVER SILVER SWEETMEAT BASKETS, THE GOLDSMITHS & SILVERSMITHS CO., LONDON, 1893/94 in George III style, oval, with husk swags over diaper piercing below waved beaded rims interrupted by cast leaf motifs, on shell feet, undersides stamped ‘GOLDSMITHS / & SILVERSMITHS COMPANY / 112 REGENT St’ 14cm long, 378gr (12oz)

168 A SET OF SIX VICTORIAN SILVER NAPKIN RINGS, ELKINGTON & CO. LTD., BIRMINGHAM, 1894 bright-cut engraved all over with foliate motifs and wrigglework, each numbered 4.3cm diameter, 174gr (5oz 11dwt) £120-180

£150-250

169 SET OF FOUR VICTORIAN SILVER SALT CELLARS, RICHARDS & BROWN, LONDON, 1874 oval cauldron form, each chased with flower sprays between four shell-headed feet and below a bold gadroon rim, undersides engraved with a garter initialled L; together with a set of four Victorian silver salt spoons, Walker & Hall Ltd., London, 1899, each shaped as a pan with long plain handle terminating in a hook 7.5cm long, 313gr (10oz) excluding blue glass liners (8) £200-300

167 A VICTORIAN SILVER TEA KETTLE ON STAND WITH BURNER, MAPPIN & WEBB, SHEFFIELD, 1891 the bulbous oval kettle with waved bands of lobes secured to the stand with chained pins 27.5cm high, 928gr (29oz) including fibre handle and finial £400-600

170 (illustrated online) A PAIR OF VICTORIAN SILVER LEAF-SHAPED DISHES, CHARLES STUART HARRIS, LONDON, 1892 each chased to the well with a bird flying over a fence surrounded by scrolls and foliage, 12.5cm long; together with a Victorian silver sugar bowl, Atkin Brothers, Sheffield, 1890, the shaped oval bowl with batswing fluting between shell-like raised ends, on short pedestal foot, gilt interior, 10.5cm long 305gr (9oz 17dwt) (3) £120-180

171 A VICTORIAN AESTHETIC MOVEMENT PARCEL-GILTSILVER BEAKER, ELKINGTON & CO., BIRMINGHAM, 1885 tapering cylindrical, decorated in Japonesque style with applied gilt birds and a butterfly in a ribbed roundel or a quatrefoil against a bright-cut ground of flowering plants, a vacant fan-shaped banner and patterned panels, underside stamped ‘ELKINGTON & CO.’ 10cm high, 150gr (4oz 16dwt) £150-250 172 A VICTORIAN SILVER-MOUNTED CLARET JUG, W. & C. SISSONS, SHEFFIELD, 1893 the bulbous glass body diaper cut below a thumb cut neck and plain silver mount and handle, the flat lid engraved with a crest and motto below a pierced chairback thumbpiece 22cm high £100-150 173 A GROUP OF THREE VICTORIAN SILVER FIGURAL FRAGMENTS comprising a pair of realistically modelled prancing horses, with threaded attachments to splayed tails and back feet, maker’s mark for Thomas Bradbury & Sons of Sheffield and standard and duty marks, 10.5cm long, and a finial or surmount, modelled as a pair of battling frogs, one plunging a dagger into the throat of the other, the matted bodies spotted with rose-cut garnets, on a naturalistic mound above a beaded border, maker’s mark probably of Wright & Davies of London and standard and duty marks, 10cm long (3) £200-400 53

174 A VICTORIAN SILVER ROSE BOWL, MAPPIN & WEBB LTD., LONDON, 1899 compressed bulbous, chased below the reeded rim with a band of scrolling acanthus on a matted ground flanking a shaped cartouche with engraved inscription below the Carr-Gomm family crests, on piedouche, underside stamped ‘MAPPIN & WEBB / LONDON’ 25.5cm diameter, 716gr (23oz)

175 ~ A VICTORIAN SILVER THREE-PIECE TEA SET, MARTIN, HALL & CO., SHEFFIELD, 1860 faceted and shaped baluster, chased and engraved with foliate decoration between scroll moulded rims and similarly moulded piedouche bases, the teapot with cast bird and leaf finial and silver handle with ivory insulators, the milk jug and sugar bowl with gilt interiors teapot 22cm high; 1545gr (49oz) all in

The inscription reads: A token of esteem to Mr & Mrs F.C. Carr-Gomm, on their Silver Wedding Day, 17th August 1901, from their tradesmen.

£800-1200

£400-600

176 (illustrated online) A VICTORIAN SILVER CHRISTENING MUG, WILLIAM PHILLIPS, LONDON, 1851 the body with facets each foliate engraved, with leafy scroll handle, 9.5cm high; together with a George V silver Christening mug, Britton, Gould & Co., Birmingham, 1931, plain, 6.5cm high 142gr (4oz) (2) £80-120 177 (illustrated online) TWO VICTORIAN SILVER CHRISTENING MUGS, LONDON both baluster, the larger chased with foliage and straps surrounding a later inscribed cartouche, Richards & Brown, 1873, 12cm high, the smaller engraved with foliate straps and an initialled cartouche between ribs, maker’s mark worn, 1865 304gr (9oz) £120-180

178

178 A VICTORIAN SILVER-MOUNTED BISCUIT BARREL, MARTIN, HALL & CO., LONDON, 1884 with slightly tapered and rounded cut-glass body, the silver with beaded borders, the domed base mount on three bun feet and with bright-cut leaf and wrigglework decoration, the lightly domed cover similarly engraved beneath a pointed bun finial 24cm high with swing handle raised £300-500 179 ~ A VICTORIAN SILVER TEAPOT, R. & S. GARRARD & CO., LONDON, 1871 baluster, flat-chased with vertical bands of diaperwork, foliage and straps, the domed lid with cast flower finial, underside stamped ‘GARRARDS / Panton Street / LONDON’ 15.5cm high, 720gr (23oz) including ivory handle

179

£300-500 180 A VICTORIAN SILVER WAITER, GEORGE IVORY, LONDON, 1849 shaped circular, engraved with a crest surrounded by a scroll foliate and flowerhead band, moulded rim, on three cast foliate panel feet, underside stamped for the retail jewellers: TURNER’S 58 & 59 NEW BOND ST. 17.5cm diameter, 229gr (7oz) £150-200 180

181 A VICTORIAN SILVER GOBLET, DANIEL & CHARLES HOULE, LONDON, 1864 the bowl bright-cut engraved with two flowerfilled and and two vacant ovals below scrolling foliage on a hatched ground, knopped and beaded pedestal foot 15cm high, 169gr (5oz) £150-200

182 A VICTORIAN SILVER GOBLET, ELKINGTON & CO., LONDON, 1866 the bowl with two arabesque cartouches, one vacant, one inscribed ‘JOHN PASCOE GRENFELL / from / F. HAIGH’, surrounded by flat-chased studded lattice, the pedestal foot with beaded borders and matching decoration to the base, the underside with brass baseplate stamped ‘ELKINGTON LONDON’ 17cm high £180-220 56

183 ~ A VICTORIAN SILVER TEAPOT, R. & S. GARRARD, LONDON, 1842 slightly tapered cylindrical, engraved all over with scrolling foliage and chinoiserie figures in pavilions surrounding vacant cartouches, the flush-hinged flat lid with finial cast as a seated Chinese man clutching a vase and lotus leaf, handle removed 15cm high, 714gr (22oz 18dwt) including ivory handle £300-500

184 A VICTORIAN SILVERMOUNTED GLASS DECANTER WITH STOPPER, REILY & STORER, LONDON, 1839 with amethyst coloured, faceted and slender necked bottle, the rim mount applied with grapevine leaves and tendrils on a matted ground below the double lip, the cork stopper mounted with a vine branch bearing a bunch of grapes 30cm high £120-180

LOTS 185 - 205: THE LAURA CLEAVE COLLECTION OF INKSTANDS

185 A GEORGE III SILVER INKSTAND, JOHN EMES, LONDON, 1803 oval with raised ends, reeded borders, on lobed panel feet, with its two cut-glass urn-shaped bottles with silver rim mounts and pierced covers 19.5cm long, weightable silver 183gr (5oz) £180-220 186 A VICTORIAN SILVER INKSTAND, C.T. & G. FOX, LONDON, 1853 the stand in the form of a strawberry dish, flat-chased between the ribs with straps, one with engraved scrolled initials JG, with a silvermounted cut-glass inkwell bolted to the base 14.5cm diameter £120-180 187 A GEORGE III SILVER INKSTAND, EMES & BARNARD, LONDON, 1818 oblong, gadroon rim interrupted by shells and acanthus above shaped brackets and paw feet, with pen depressions flanking the palmette decorated fittings, with its two silver-mounted cut-glass inkwells flanking the wax container and taperstick cover, the latter formed as a chamberstick complete with chained extinguisher and detachable nozzle, 20.5cm long, 586gr (18oz) £600-800

188 A VICTORIAN SILVER INKSTAND, CHARLES STUART HARRIS, LONDON, 1891 oblong, on tapered panel feet, gadroon bordered between the pen depressions and flanking oval twin inkwells with lids with bun finials 22.5cm long, 541gr (17oz) excluding glass liners £250-350 189 A VICTORIAN SILVER INKSTAND, EDWARD BARNARD & SONS, LONDON, 1863 the dished circular base with beaded rim and bright-cut foliage and wrigglework decoration, its bulbous cutglass inkwell with beaded silver rim mount, the lid with further bright-cutting around scrolled initials MSC 15cm diameter, 165gr (5oz) £100-200 190 A VICTORIAN SILVER INKSTAND, ATKIN BROTHERS, SHEFFIELD, 1893 elongated oval, trellis pierced at the raised ends, reeded rim, fitted with its two cut-glass inkwells flanking a waisted taperstick bolted to the stand 25.5cm long, 229gr (7oz) £150-250

191 A VICTORIAN SILVER INKSTAND, FREDERICK YONGE FOX, LONDON, 1854 shaped triangular, on four leaf-headed feet, with a threequarter gallery of openwork scrolls, gadroon rim, engraved with foliate sprays surrounding the pen depression and inkwell fitting, the vase-shaped cut-glass bottle with hinged silver-mounted top 20.5cm long, stand 289gr (9oz) £150-250 192 A VICTORIAN SILVER-MOUNTED GLASS INKWELL, MAKER’S MARK RUBBED, LONDON, 1855 the thick glass well with flush-hinged silver lid, fitted in a circular stand with reeded borders, the framework surrounded by three holders (perhaps for quills), bearing marks for John Emes, London, 1818 11cm diameter, stand loaded £100-200 193 A CONTINENTAL INKSTAND, PROBABLY PORTUGUESE SECOND QUARTER 19TH CENTURY oblong, mahogany base, silver openwork gallery apparently unmarked, on plated bun feet, with three plated urn-shaped containers, two inkwells and covers bolted to the base, the central detachable pounce pot with pierced top 22.5cm long £80-120

194 A SPANISH SILVER INKSTAND, MAKER’S MARK E.MZ, PROBABLY REAL ESCUELA Y FABRICA DE MARTINEZ, MADRID, 1806 beaded borders throughout, the pointed oval stand with trellis pierced gallery, on shaped panel feet, with its silver cylindrical containers and covers, two as inkwells with glass liners, one with pierced cover, the central pounce pot with pierced top, undersides of all containers and stand with assay zigzag, maker’s, town and assay marks 23cm long, 692gr (22oz) £600-900 195 A WILLIAM IV SILVER INKSTAND, CHARLES PRICE, LONDON, 1833 oblong, the gallery pierced with scroll foliage below the waved gadroon rim, pen depressions flanking the openwork bottle fittings, on openwork foliate bracket feet, with its two cut-glass bottles with silver-mounted tops flanking a cast flower-form taperstick cover to the wax container 25cm long, 1083gr (34oz) £800-1200

196 A GEORGE III SILVER INKSTAND, JOHN EMES, LONDON, 1797 oblong, with reeded borders, engraved to the well with the date 1796 below the scrolled initials AR, further initialled CC above, fitted with a silver frieze drawer with bun handle, the three cut-glass bottles with silver rim-mounts, two with open covers, the central bottle with taperstick cover in the form of a chamberstick complete with chained extinguisher 23.5cm long, weighable 1022gr (32oz) £800-1200

197 AN EDWARDIAN SILVER INKSTAND, NATHAN & HAYES OF BIRMINGHAM, CHESTER, 1914 canoe-shaped, on bun feet, the sides pierced with straps and leafage below a corded rim, the two cut-glass bottles with silver hinged tops 20cm long, weighable silver 312gr (10oz) £250-350

198 A VICTORIAN SILVER INKSTAND, C.S. HARRIS & SONS LTD, LONDON, 1899 oblong, reeded borders, fluted panel feet, with a pen depression before the oval inkwell with hinged lid 18.5cm long, 389gr excluding glass inkwell liner £120-180 199 AN GEORGE V SILVER INKSTAND, HENRY MATTHEWS, BIRMINGHAM, 1913 rounded square, the dished base on rocaille cast splayed bracket feet, the glass inkwell with cut base and silver hinged top 11.5cm wide, 149gr (4oz) £70-100 200 A VICTORIAN SILVER INKWELL, JOHN GRINSELL & SONS, LONDON, 1895 of cut cornered square capstan form, the plain lid over the glass liner and an additional small inkwell, with screwed silver base plate 8.7cm wide £80-120 201 THREE ENGLISH SILVER INKWELLS comprising: a Victorian tapered cylindrical example with reeded and fluted bands, the pierced top with crest engraved domed lid, glass liner, William Edwards, London, 1892, 7.2cm diameter; another Victorian example of capstan form, with a band of curved lobes, lid engraved with scroll initials, glass liner fixed with a screwed retaining bar, John Grinsell & Sons, Birmingham, 1890, 8.5cm diameter; and an Edwardian example, loaded capstan form, with Art Nouveau scrolls, the lid probably later blue/green enamel painted, glass liner, A. & J. Zimmerman, Birmingham, 1907, 7.5cm diameter; together with another silver inkwell, probably Italian, 20th century, the glass bottle with pierced cover, on a leafy stand, stamped ‘800’, 8cm long (4) £250-350 62

202 A VICTORIAN SILVER INKSTAND, THOMAS BRADBURY & SONS, LONDON, 1888 shaped oblong, in George III style with gadroon borders and a three-quarter gallery of pierced scrolls, fitted with its two silver-mounted cut-glass inkwells before a pen depression, on leaf headed volute feet 24cm long, weighable silver 622gr (19oz 19dwt) £400-600 203 A GEORGE III SILVER INKSTAND, JOHN ROBINS, LONDON, 1813 shaped oval frame with reeded rim, on panel feet, supporting three pedestal cut-glass bottles with unmarked reeded silver covers, one pierced for pounce, one for ink and one solid 17.5cm long, 128gr (4oz) £120-180 204 (illustrated online) ELEVEN VOLUMES OF SILVER REFERENCE BOOKS comprising: Culme ‘The Directory of Gold and Silversmiths’ volumes 1 & 2; Pickford ‘Silver Flatware’; Crisp Jones ‘The Silversmiths of Birmingham; Delieb ‘Silver Boxes’, Brett ‘The Sotheby’s Directory of Silver’; Glanville ‘Silver in England’; Bennett ‘Collecting Irish Silver’; Newman ‘An Illustrated Dictionary of Silverware’; Helliwell ‘Understanding Antique Silver Plate’; and Krekel-Aalberse ‘Art Nouveau and Art Deco Silver’

205 (illustrated online) ELEVEN VOLUMES OF SILVER REFERENCE BOOKS comprising: Carpenter ‘Tiffany Silver’; Grimwade ‘London Goldsmiths’; Hill ‘Fabergé’; Solodkoff ‘Russian Gold and Silver’; ‘Russian Silver of the 14th to Early 20th Centuries from the Moscow Kremlin Reserves’; Glanville ‘Women Silversmiths 1685-1845’; Rabinovitch ‘Antique Silver Servers’; HoWing Meng ‘Straits Chinese Silver’; Boesen and Boje ‘Old Danish Silver’; and Jeweller’s Circular-Keystone ‘Sterling Flatware Pattern Index’

£150-250

£150-200

206 A GEORGE IV SILVER THREE-PIECE TEA SET, THOMAS ROBINS, LONDON, 1820 urn shaped, richly chased with broad foliate and matted ground bands and applied cast rims, the teapot additionally with cast foliate finial and Green Man masks to spout and top mount to wood handle teapot 26cm long; 1797gr (57oz) all in £700-1000

207 ~ A WILLIAM IV SILVER TEAPOT, RICHARD PEARCE & GEORGE BURROWS, LONDON, 1836 compressed circular with bold flutes, applied leaf and flowered spout, cast flower finial, on four anthemion cast feet, silver handle with ivory insulators 28cm long, 709gr (22oz) all in £300-400

208 (illustrated online) A GROUP OF NINE SHEFFIELD PLATE MEAT DISHES, EARLY 19TH CENTURY all gadroon bordered oval, comprising a set of three dishes engraved with a coat of arms to the rim, 51cm long, and six ‘tavern’ dishes in sizes, all except the smallest engraved at the rim with a garter inscribed ‘GREENWICH’ enclosing ‘SHIP’, all engraved to the underside ‘Ship’, 30 to 45.5cm long The Ship Hotel (or Tavern) was located on the riverfront at Greenwich, opposite the dock now holding the Cutty Sark, until bombed in World War II. These dishes may well have served the whitebait for which Greenwich was famed. The Ship was particularly renowned throughout the 19th century as the location for the annual ministerial ‘Whitebait Dinner’, held there by the party in government towards the close of session. For further information see: http://www.dover-kent.com/2014project-b/Ship-Greenwich.html (accessed 22.04.22) £300-400 209 A GEORGE III SILVER SMALL TEAPOT (OR SAFFRON POT), EMES & BARNARD, LONDON, 1819 compressed circular, with everted gadroon rim 20cm long, 314gr (10oz) including wood handle £300-400 210 (illustrated online) A GEORGE III SILVER PAP BOAT, MAKER’S MARK INDECIPHERABLE, LONDON, 1813 typical form, gadroon rim 14cm long, 46gr (1oz 9dwt) £70-100 211 A PAIR OF GEORGE III SILVER AND SHEFFIELD PLATE CANDELABRA, S.C. YOUNGE & CO., SHEFFIELD, 1815 with lobed bands and reeded borders interrupted by scrolling foliage throughout, each loaded silver stick with circular base engraved twice with a crest and tapered stem below a knop and campana shaped sconce, each Sheffield Plate threelight candelabra branch with a pair of reeded scrolled arms, complete with Sheffield Plate nozzles, the central lights with alternative flowerbud finials sticks 27.5cm high, 50cm high overall £700-1000

212 A PAIR OF GEORGE III SHEFFIELD PLATE CANDELABRA, MATTHEW BOULTON & PLATE CO., BIRMINGHAM, CIRCA 1800 with gadroon borders and bands of lobes, the circular bases rising to flared stems and urn-shaped sconces, the three-light branches each with a pair of reeded arms terminating in drip-pans and conforming sconces, bases with ‘sun’ mark 51cm high £400-600 213 ‡ A PAIR OF GEORGE III SILVER SALT CELLARS, WAKELIN & TAYLOR, LONDON, 1780 pedestal oval, beaded borders, engraved scrolled initials WG, gilt interiors 9cm long, 177gr (5oz) £150-250

214 A SET OF SIX GEORGE III SHEFFIELD PLATE GOBLETS, MATTHEW BOULTON & PLATE CO., BIRMINGHAM, CIRCA 1800 the waisted bowls applied with a frieze of cartouches, birds and foliage above a band of lobes and a knopped pedestal, underside with ‘sun’ mark 15cm high £300-500

215 A PAIR OF GEORGE III SILVER ENTREE DISHES, COVERS AND HANDLES, WILLIAM BENNETT, LONDON, 1817 typical oblong form with gadroon borders and each engraved with a crest, the gadroon, shell and leaf loop handles with bayonet fittings, all component parts numbered ‘2’ or ‘3’ 30cm long, 3025gr (97oz) £2000-3000

216 ‡ AMBASSADORIAL PLATE: A PAIR OF GEORGE III SILVER SALT CELLARS ON STANDS AND A SAUCE TUREEN AND A STAND, DIGBY SCOTT & BENJAMIN SMITH FOR RUNDELL, BRIDGE & RUNDELL, LONDON, 1804 each circular salt cellar with gilt interior and an everted rim of bound reeding and grapes, chased below with ‘curtains’ of lobes interrupted by three cast and chased lion masks above lion paw feet each set with a shield of crossed oak branches, underside with stamped and conforming engraved number 3 and 9 and scratch weights 18”3 and 17”14, the domed stands engraved to the centre with the Royal cypher, with matching rim above three ball feet, the almost hemispherical pedestal tureen engraved with the Royal arms and the Royal cypher below a matching rim and between reeded loop handles emerging from lion masks, with gadroon border to foot and short pedestal, numbered 6 and scratch weight 28”4, all pieces with engraved inscription to underside stands 11.5cm diameter, tureen 20.5cm across handles, 1865gr (59oz 19dwt) The inscriptions read: His Britannick Majesty’s Mission at Berlin. 1816 These pieces would have formed part of a large service, supplied by the Lord Chamberlain’s office for the Mission headed by Sir George Henry Rose (1771-1855), sent to the Prussian court in 1816, following the departure of Lord Stewart (later 3rd Marquess of Londonderry) for Vienna. Stewart probably took his allocation of Ambassadorial plate with him to Austria. Given the disparity in date of assay and the date of this Berlin mission, it appears the Lord Chamberlain’s office on this occasion used a service already in their stores, rather than commissioning a new service. £3000-5000

217 A GEORGE III SILVER MATCHED FOUR-PIECE TEA AND COFFEE SET, LONDON, 1805 / 1809 plain oval, reeded rims, the pedestal coffee pot mark of Samuel & George Whitford, the teapot probably James Barratt, the sugar bowl perhaps John Gwyn Holmes, the milk jug maker’s mark rubbed coffee pot 24cm high; 1782gr (57oz) including wood handles and finials £1000-1500

218 A GEORGE III SILVER COFFEE POT, WILLIAM FOUNTAIN, LONDON, 1798 oval pedestal urn shaped, plain excepting reeded border to shoulder and rim, urn finial 26cm high, 780gr (25oz) including wood handle £400-600

219 A SET OF FOUR GEORGE III SILVER ENTREE DISHES, COVERS AND HANDLES, ROBERT & SAMUEL HENNELL, LONDON, 1808 oblong, gadroon borders, with flaming tower handles cast as the crest for Hopkins, each piece numbered with up to four dots 26.5cm long, 6820gr (219oz) £4000-6000 220 A GEORGE III SILVER MUSTARD POT, JOHN EMES, LONDON, 1803 cylindrical, plain excepting an engraved crest and reeded rims, domed lid with ball finial, with a blue glass liner, 8.5cm high; together with a pair of George II silver salt cellars, maker’s mark rubbed, London, 1736, three footed cauldron form, beaded rims, gilt interiors, 7cm wide; and a George III silver mustard spoon, Fiddle Thread and Shell pattern 205gr (6oz) (4) £200-300 221 A PAIR OF GEORGE III SILVER SALT STANDS, ONE ROBERT HENNELL, THE OTHER ROBERT & SAMUEL HENNELL, LONDON, 1796 / 1809 dished oval, the everted rims engraved with a crest below a reeded edge, with one glass liner hobnail cut below a shaped rim 11.8cm long, 124gr (3oz 19dwt) (3) £80-120

222 ~ A GEORGE III SILVER COFFEE POT, WILLIAM COLLINGS, LONDON, 1773 the baluster body chased with two contemporary ‘Turquerie’ scenes, each of a pair of turbaned figures seated on the ground, one smoking a long curved pipe, with surrounding Rococo foliage and scrolls and later inscriptions to the neck, with beaded rims and cast scroll spout, the scroll and foliate silver handle of circa 1845 with additions marks for Wrangham & Moulson, London 32cm high, 950gr (30oz) including ivory insulators The inscriptions read: From Hamilton Hamilton, E.E. & M.P. of Her Britannic Majesty at the Court of the Brazils, to John Pascoe Grenfell, Rear Admiral in the Imperial Service. / In remembrance of much kindness experienced during a voyage to England on board the ‘Constitution’ Imperial Frigate bearing his Flag in August and September 1846. Provenance: John Pascoe Grenfell, Liverpool; thence by family descent to the vendor. Hamilton Charles James Hamilton (1779-1856) served as ambassador (‘E.E. & M.P.’ Envoy Extraordinary and Minister Plenipotentiary) to the Empire of Brazil from 1835 until his return to London on Grenfell’s ship in 1846. He arrived in Rio during the fractious times of the Regency, following Pedro I’s abrupt abdication, although growing stability in the country was established after Pedro II’s coronation in 1841. The eldest son of Admiral Hamilton of Fir Hill, Droxford, Hants, he married in 1836 Maria-Susanna Robinson, the daughter of General Sir FrederickPhilipse Robinson. John Pascoe Grenfell (1800-1869) led an adventurous life, becoming an Admiral of the Imperial Brazilian Navy, but starting his career in the East India Company aged eleven. Following several trips to India, in 1819 he went to Chile under Lord Cochrane and took part in most of Cochrane’s exploits during the Chilean War of Independence (1819-23). In 1823 he accompanied Cochrane to the Brazilian War of Independence, as commander, losing his right arm in action off Buenos Aires in July 1826. After a year recuperating in England, he returned to pursue a successful career in the Brazilian service, promoted to Rear-Admiral in 1841. The present coffee pot marks his return to England in 1846 to become Brazilian consul-general, residing in Liverpool. The outbreak of war between Brazil and Argentina in 1851 saw him back in South America commanding the Emperor’s navy, but in 1852, having become a full Admiral, he came back to Liverpool, to resume his consular duties until his death. In 1821 he had married María Dolores Masini (1807-1860) and he left eight children, a further two having died in infancy. £800-1200

223 A GEORGE III SILVER MUG, WILLIAM TUITE, LONDON, 1770 baluster, plain, leaf capped scroll handle, spreading foot, gilt interior 13cm high, 398gr (12oz) £300-500

224 AN IRISH GEORGE III SILVER CUP, GEORGE WEST, DUBLIN, 1795 the baluster body engraved with a coat of arms, supporters and motto and a crest between two leaf-capped scroll handles, the pedestal foot with reeded rim 16.5cm high, 450gr (14oz) The arms are those of Owen of Orielton, Pembrokeshire. £300-500

225 A GEORGE III SILVER TEAPOT STAND, HENRY CHAWNER, LONDON, 1791 shaped oval, with a bright-cut foliate and wigglework border below a moulded rim, on four panel feet 16.5cm long, 141gr £80-120

226 A GEORGE III SILVER TRAY, GEORGE ASHFORTH & CO., SHEFFIELD, 1794 oval, reeded rim, engraved with a coat of arms above crossed fronds and within a bright-cut pointed oval, on lobed panel feet 46cm long, 1532gr (49oz) £800-1200 227 A GEORGE III SILVER TEA CADDY, WILLIAM ABDY, LONDON, 1799 tapered shaped oblong, the domed lid flushhinged to the side below an urn finial, with bright-cut engraved borders and to front and back with a crest within an oval surrounded by laurel swags 14.5cm high, 436gr (14oz) £700-1000

228 AN IRISH GEORGE III SILVER SUGAR BOWL, MATTHEW WEST, DUBLIN, CIRCA 1770 with punch beaded borders, engraved with a crest on a chased rocaille shield flanked by birds in trees, chased with further vignettes of a cow being milked beside a house and a shepherd tending a pair of sheep beside an obelisk-like structure, three shell-headed pad feet between, the well with punch beaded and chased tendrils, no date letter 13.5cm diameter, 150gr (4oz 16dwt) £400-600 229 A GEORGE III SILVER CRUET STAND, EDWARD ALDRIDGE, LONDON, 1765 circular, with corded rim above lattice piercing and three ball and claw feet, central twisted stem with scroll handle, with six cut-glass bottles, four with glass stoppers and two shorter with unmarked covers 16.5cm high, stand only 236gr (7oz) £150-250 230 A GEORGE II SILVER COFFEE POT, FRANCIS SPILSBURY, LONDON, 1738 chased with a band of lobes around base of the tapering body, cast scroll spout, moulded lid with bun finial 20.5cm high, 674gr (21oz) including wood handle £600-900

231 A GEORGE II SILVER TEA KETTLE STAND, JOHN TUITE, LONDON, 1737 shaped triangular, engraved with a coat of arms in a Rococo foliate cartouche, flat chased to the corners with foliate strap and diaperwork, moulded rim with leaf flanked shell motifs at intervals, on volute feet; together with a similar electroplate example 25.5cm wide, weighable silver 576gr (18oz) (2) The arms are those of Richards of Hammersmith, Middlesex (granted in 1703) impaling those of another. £3000-4000

232 A GEORGE II SILVER SALVER, HUGH MILLS, LONDON, 1751 the engraved vacant cartouche of lion masks and fronds including a crest and a monogram, moulded below a shell and scroll rim, on four volute feet 31.5cm diameter, 947gr (30oz) £600-800

233 A GEORGE II SILVER MUG, FULLER WHITE, LONDON, 1757 baluster, plain, leaf-capped scroll handle 12cm high, 360gr (11oz) £350-450

234 A GEORGE II SILVER MUG, WILLIAM GRUNDY, LONDON, 1748 baluster, plain, leaf-capped scroll handle, gilt interior 12.5cm high, 393gr (12oz) £350-450

235 A CHARLES II SILVER PORRINGER, MAKER’S MARK R? ABOVE A ROSE, LONDON, 1664 circular, chased to the belly with a band of tulip like flowers, with two cast foliate scroll handles 7.7cm high, 14.5cm across handles, 183gr (5oz 16dwt) £1000-1500 236 A GEORGE I SILVER SALVER, LEWIS METTAYER, LONDON, 1721 cushion cornered with reeded rim, no feet, scratch weight ‘10=17’ 16.5cm wide, 312gr (10oz) £300-500 237 (illustrated online) A SET OF SIX WINE LABELS, JOHN HARVEY & SONS LTD. OF BRISTOL, LONDON, 1960-62 each chained bottle ticket of bag-like outline with reeded borders and inscribed below the prominent hallmarks for BURGUNDY (x2), BORDEAUX (x2), RHONE and SHERRY 4cm long £60-80

238 AN EDWARDIAN SILVER COMBINED SHOOTING PEG (OR BUTT) SELECTOR AND VESTA CASE, J.C. VICKERY, LONDON, 1908 rectangular, fitted with a turning printed scroll indicating different peg positions for up to eight drives for eight guns beside a panel with card insert for names, one long side hinged for the vesta compartment and striker, the other fitted with a suspension ring, the later inscribed reverse opening to reveal eight numbered pegs, underside stamped ‘PATENT No.3217 / J.C. VICKERY 179,181,183 REGENT St.’, in its fitted leather case 6.2cm long including scroll handle (2) £700-1000

239 A COLLECTION OF FIVE BUCKLES AND TWO SASH PINS comprising: a Victorian silver buckle, of openwork scrolling berried tendrils, John Edward Wilmot, Birmingham, 1900; another cast and openworked in silver with Rococo style foliage surrounding eagles, Deakin & Francis, Birmingham, 1956, two enamelled giltmetal examples; a small gilt-metal and green composite buckle; and two Scottish silver sash pins, Celtic pattern, one shield like, the other tubular, the former Edinburgh, 1989, the latter unmarked, probably late 19th/early 20th century; together with a silver Claddagh ring (7) £100-200

240 A VICTORIAN SILVER SCENT FLASK, SAMPSON MORDAN & CO., LONDON, 1891 with spiral twist lobes formed as an elongated cone of oval outline, with bun-shaped screw-on cap 14cm long £80-120

241 ~ A SILVER-MOUNTED TORTOISESHELL SNUFF BOX, PROBABLY ENGLISH, CIRCA 1740 cartouche shaped, the lid with reeded silver rim mount, mother-of-pearl inlaid and silver overlaid with a huntsman and two dogs and a maiden perched on a beast amidst trees and foliage surrounded by a Rococo border of scrolls, rocaille and fruit-laden vines inhabited by birds and a sphinx 7.8cm long £400-600

242 A GEORGE III SILVER BOX, THOMAS HARPER, LONDON, 1805 oblong, plain excepting thumbpiece and later engraved coat of arms to slightly domed lid 13.5cm long, 346gr (11oz) £250-350

243 A VICTORIAN SILVER ‘LLOYD’S, RELIEF OF LADYSMITH’ PRESENTATION TOBACCO BOX, MAPPIN & WEBB LTD., BIRMINGHAM, 1899 bun shaped with concave base, the squeeze action flush hinged lid engraved with the Lloyd’s Corporation arms between the inscription ‘LLOYD’S / 7th MAY 1900’, gilt interior 7cm diameter The members of the Naval Brigade of HMS ‘Powerful’ who attended a reception held by Lloyd’s on 7th May 1900 were each presented with one of these boxes. See another of these boxes held by the Royal Maritime Museum at Greenwich (No.OBJ0261) which is inscribed to the underside ‘Silver Tobacco Box Presented by “Lloyds” to the men of HMS “Powerful” who took part in the gallant defence of Ladysmith’. Provenance: Charles Henry Dawkins (1880-1957) according to paper label. £150-250 79

244 245

244 A DUTCH SILVER TOBACCO BOX, MAKER’S MARK INDECIPHERABLE, 1855 oblong with slightly doomed top and bottom, the lid engraved with a horse standing in an arabesque arcade surrounded by foliate scrolls and diaper panels, with reeded sides, 833 standard 13.5cm long, 137gr £100-200 245 A SILVER PLATED SMOKER’S COMPANION, PERHAPS DUTCH, SECOND HALF 19TH CENTURY oblong, covered in bright-cut engraved geometic borders and foliate motifs, one side with a roundel of a gentleman enjoying a pipe in his parlour, the other side with lid to a compartment, one end opening to a match compartment with striker in the lid, the other end with cylindrical void presumably for a taper cord 12.5cm long £60-100

246 A SWISS SILVER ‘OMEGA’ BOX, JEZLER, SCHAFFHAUSEN, CIRCA 1948 plain oblong excepting the raised Omega symbol to front, cedar lined base, interior lid with engraved inscription, originally the presentation box for an Omega Centenary wristwatch, interior felt now lacking, stamped ‘800’, Jezler and MADE IN SWITZERLAND, 15.5cm long; together with an American box, Reed & Barton, Taunton MA, mid 20th century, oblong, the top with hinge across, engraved with scrolled initials within a ribbon-tied laurel wreath, stamped trademark, ‘STERLING’ and numbered 772, 14.5cm long, 260gr (American box only) (2) £200-300

247 AN ITALIAN SILVER-GILT AND JADE LETTER OPENER, BULGARI, ROME, CIRCA 1955 with pointed blade and jade mounted handle carved as a stylised dragon, stamped with Italian pre 1968 mark, ‘BVLGARI’ and 925, in its original ecru linen covered case with inner cover gilt stamped ‘BVLGARI / ROMA’ 23.5cm long £200-300 248 ~ A SILVER CARNET DE BAL, FRENCH, LATE 19TH CENTURY in the form of a miniature fan, the silver guards with enamel and engraved decoration, the dance cards of five ivory leaves, with chained finger ring, in its fitted case, guard 8.5cm long; together with a lorgnette, 19th century, the pair of oval silver-mounted spectacles folding into shaped mother-of pearl guards, 7.3cm long excluding suspension ring (2)

248

£80-120 249 ‡ (illustrated online) A GERMAN SILVER SCENT FLASK, L. NERESHEIMER & CO., HANAU, CIRCA 1905 in early 18th century style, soft cast with masks and birds amid foliate strapwork, screw-in cover, import marked for Chester, 1907, pseudo marks, 8cm high; together with a small German silver sweetmeat dish, probably Hanau late 19th century, chased with grapes in the style of a 17th century wine taster, pseudo marks; a small German silver bud vase, Gebrüder Kühn, Schwäbisch Gmünd, early 20th century, ribbed inverted baluster; and a parcel gilt white metal parasol or cane terminal, 20th century, formed as a ball and claw (4) £100-200

250 A CAMEO SET SILVER-GILT BOX, THE CAMEO PROBABLY TORRE DEL GRECO, SECOND HALF 19TH CENTURY oval, the lid set with a finely carved shell cameo profile bust of Venus after the Antique, in a probably Neapolitan gold mount decorated with wirework and granulation (perhaps originally a brooch), the plain later box unmarked box 5.5cm long £300-400 251 TWO ENAMEL PATCH BOXES, SOUTH STAFFORDSHIRE, EARLY 19TH CENTURY both oval and with pink bases, one painted to the lid with a young lady in a landscape garden setting, perished silvering to interior glass, the other decorated with a memorial scene of lady and a dog beside a pedestal, mirrored interior, 4.7cm long; together with a Chinese enamel pill box and cover, Canton, 19th century, circular, painted with figures in a variety of settings, 3.5cm diameter (3) £100-150 252 AN ENAMEL PATCH BOX, SOUTH STAFFORDSHIRE, LATE 18TH CENTURY circular, mottled purple ground, with gilt details and white pellet borders, the lid painted with the Prince of Wales’ feathers on a shield above fronds, mirrored interior 4.1cm diameter £120-180

253 AN ITALIAN MICRO-MOSAIC PANEL, PROBABLY ROME MID 19TH CENTURY rectangular, depicting a stylised view of the Tivoli falls and Temple of Vesta, probably set in a snuff box originally 4.2 x 6.2cm including gold mount £600-800

251

252

254 ~ A PORTRAIT MINIATURE OF LADY LOUISA ATHERLEY, BY MRS ANNE MEE (NEE FOLDSONE, 1765-1851), CIRCA 1795 wearing a white chemise above a pale blue bodice, her curled loose hair topped by white ostrich feathers issuing from a black band, on ivory, in a gilt matted oval mount and engine-turned gilt-bronze glazed frame, the gilt-bronze reverse inscribed image 7.8cm high The inscription reads: The Lady Atherley / youngest d[aughte]r of William / 5th Marquis [sic] of Lothian Provenance: through the descendent family of Major-General Lord Robert Kerr (the youngest son of the 5th Marquess of Lothian) to the vendor. Lady Louisa Kerr (1768-1819) was married in 1793 to Arthur Atherley (1772-1844) of Southampton and Landguard Manor on the Isle of Wight, thrice a Whig MP for Southampton. See the following lot for a miniature of Lady Louisa’s sister. £600-800

255 ~ A PORTRAIT MINIATURE OF LADY ELIZABETH DORMER, MANNER OF MRS ANNE MEE, CIRCA 1790 wearing a white chemise and red coral beads, her hair loose under a white turban, on ivory, gilt-metal mount 6.5cm high Lady Elizabeth Kerr (1765-1822) was the eldest daughter of the 5th Marquess of Lothian. She was married in 1795 to John Evelyn Pierrepoint Dormer (1771-1826), who became the 10th Baron Dormer in 1819, renouncing his Catholicism to take up his seat in the House of Lords. See the previous lot for a miniature of the Lady Elizabeth’s sister and provenance details. £100-200 256 A SILHOUETTE OF SIR FRANCIS BURDETT (BT), BY JOHN FIELD (1772-1848) FOR THE JOHN MIERS STUDIO, CIRCA 1810 in profile to sinister, painted in black with gilt highlights on plaster, original Miers black lacquer frame with gilt-metal mount, label to back lacking oval 8cm Francis Burdett (1770-1844) married in 1793 Sophia Coutts, daughter of the banker Thomas Coutts. Burdett succeeded his grandfather in 1797 to become the 5th Baronet, inheriting lands including the Foremarke estate. Having entered Parliament the previous year, he became known for his reformism, proposing universal male suffrage, equal electoral districts and vote by ballot, his ideals leading to legal proceedings and a short spell in the Tower. The couple’s daughter, Angela Burdett-Coutts, inherited the massive Coutts fortune, becoming renowned for her philanthropy. £120-180 83

257 A VICTORIAN GOLD CAGE-WORK COVERED SCENT BOTTLE, LONDON, CIRCA 1875 the ovoid thick walled clear body covered in gold leafy tendrils and shaped straps framing a relief to either side of Mercury Bringing Pandora to Earth after John Flaxman, the gold neck-mount with pushpiece springing open the bulbous lid of applied straps below a figure of kneeling Venus, the interior with sprung glass cover, unmarked 11cm long John Flaxman (1755-1826) was apparently very fond of the subject of Mercury and Pandora, returning to it on several occasions throughout his career. Jupiter, in revenge for Prometheus’s gift of fire to humans, has the gods fashion the beautiful but mortal Pandora. In this scene we see Pandora earthbound, bourn by Mercury, to marry Epimethus, Prometheus’s foolish brother. Jupiter knew that it would not be long before she was unable to resist opening the woeful box she had been given by the gods. Flaxman’s first treatment of her journey from the heavens was a plaster relief, exhibited at the Royal Academy in 1805 and now at the Ny Carlsberg Glyptothek in Copenhagen. Other plaster versions may be seen at the Soane Museum and at Osborne House on the Isle of Wight. Perhaps less recognised today, the image was tremendously popular in the 19th century, also seen on medals, prints and cameos. £2000-3000

258 A GOLD CIGARETTE CASE, W.H. MANTON LTD., BIRMINGHAM, 1941 bevelled rectangular, engine-turned, applied with angular intials HLL in an oblong to top left, 9 carat gold 11.5cm long, 194.5gr excluding retaining band £3000-4000

259 A GOLD-MOUNTED AGATE SURPRISE EGG, STUART DEVLIN, LONDON, 1977 the cloudy translucent and brown banded agate body with gold hinged mounts of ‘flames’ licking the rims, opening to reveal a large oval cut amethyst claw-set within a bed of small pearl centred gold flowers, 18 carat gold hallmarks, with a Stuart Devlin silver-gilt ‘filigree’ stand of 1975 7cm long (2) Literature: Carole Devlin and Victoria Simkin (Editors), ‘Stuart Devlin, Designer Goldsmith and Silversmith’, Woodbridge, 2018, p.328. The start of the chapter illustrating this egg (p.304, ibid), titled ‘Jewelled Surprise Eggs, Clocks, Objets d’Art’, quotes Kenneth Snowman’s catalogue introduction to the Devlin exhibition at Collingwood’s in 1972: “Paying a visit to Stuart Devlin in his Clerkenwell enfilade of workshops, one immediately senses that here is no amateur performing the latest fashionable tricks for a limited coterie of sycophants, but a serious silversmith who is single-mindedly devoting himself to the designing and creation of objects of worth which will be regarded with respect by future generations...” After noting the inevitable comparison with Fabergé and his Easter eggs, Snowman continues: “here is a young builder in precious metals and stones who... looks only ahead and whose gaze is evidently never far away from the contemporary scene. Whereas Fabergé often quite deliberately glanced back in his superb pastiches of earlier manners, Devlin is wholly a man of his own time.”

260 A GOLD AND GEM-SET SURPRISE EGG ON STAND, STUART DEVLIN, LONDON, 1977 the openwork body of white and yellow gold flowerheads hinging open to reveal flowers in a bowl, the heads with brilliant cut diamond centres and opal petals, some of the long slender leaves translucent green enamelled, the detachable stand with a stem of curved rods emerging from citrine rough crystals and surrounding gold rockwork, 18 carat gold hallmarks to egg 10.6cm high £2500-3500

£1500-2500 85

261 A SILVER SURPRISE EGG, STUART DEVLIN, LONDON, 1978 the openwork body of silver-gilt, oxidised and white silver flowerheads, hinging via a pushpiece to reveal explosive beaded stems of varying lengths interspersed with purple octahedron fluorite crystals, with a Stuart Devlin silver-gilt ‘filigree’ stand of 1979 7.3cm long (2) Literature: Carole Devlin and Victoria Simkin (Editors), ‘Stuart Devlin, Designer Goldsmith and Silversmith’, Woodbridge, 2018, p.317 £400-600

262 A SILVER SURPRISE EGG, STUART DEVLIN, LONDON, CIRCA 1974 the openwork body of silver-gilt, oxidised and white silver flowerheads hinging open to a spray of blue and red enamelled flowers, maker’s, town and two standard marks but apparently no date letter, with a Stuart Devlin silver-gilt ‘filigree’ stand of 1976 7cm long (2) Literature: Carole Devlin and Victoria Simkin (Editors), ‘Stuart Devlin, Designer Goldsmith and Silversmith’, Woodbridge, 2018, p.314 £300-500 263 A SILVER-GILT SURPRISE EGG, STUART DEVLIN, LONDON, 1977 the openwork ‘filigree’ body hinging via a pushpiece to reveal a rhodonite baby rabbit and a silver mouse sheltering beneath a variety of plants, with a Stuart Devlin silver-gilt ‘filigree’ stand of 1975 7.3cm long (2) £300-500

264 A SILVER-GILT SURPRISE EGG, STUART DEVLIN, LONDON, 1977 the openwork ‘filigree’ body hinging via a pushpiece to reveal a farmyard scene including hay bales, a scarecrow, a bucket, a broken cartwheel and damaged fencing surrounding a rhodonite pig, with a Stuart Devlin silver-gilt ‘filigree’ stand of 1976 7.3cm long (2) £300-500 265 A SILVER-GILT SURPRISE EGG, STUART DEVLIN, LONDON, 1977 textured body applied with stylised rabbit outlines in silver between oxidised trees and grass, hinging open in cracked profile to a flame licked purple amethyst crystal geode, with a Stuart Devlin silver-gilt ‘filigree’ stand of 1979 7.3cm long (2) Associated Literature: Carole Devlin and Victoria Simkin (Editors), ‘Stuart Devlin, Designer Goldsmith and Silversmith’, Woodbridge, 2018, p.316, for a similarly decorated egg with cracked profile £400-600 266 A PARCEL-GILT-SILVER SURPRISE EGG, STUART DEVLIN LONDON, 1977 the egg of textured white ‘filigree’ over a gilt body, the pushpiece revealing an interior of a plant with pearl bead flowers visited by a red and black spotted enamelled butterfly, with a Stuart Devlin silver-gilt ‘filigree’ stand of 1973 7.3cm long (2) £300-500 87

267 ~ A FRENCH ‘BOULLE’ MANTEL CLOCK, MID 19TH CENTURY two train movement striking the hours and halves on a bell, movement signed CF, the gilt dial inset with enamel Roman numeral panels, the Rococo style shaped case with red stained tortoiseshell and cut brass inlay and mounted with gilt-bronze scrolling rocaille, a putto finial and winged dragon headed feet, with key 44cm high £200-300

268 A MAHOGANY BALLOON CLOCK, EARLY 20TH CENTURY French eight-day movement striking the hours and the halves on a gong, backplate stamped for A.D. Mougin, white enamel dial with Arabic numerals, typically shaped case, the front crossbanded and with inlaid shell, on gilt-metal ball feet 29.5cm high £100-150

269 A FRENCH GILT-BRASS CARRIAGE CLOCK, JOSEPH SOLDANO, PARIS, CIRCA 1860 with hour push repeat and alarm, striking the half and full hours, all on a bell, the scroll foliate engraved gorge case with bevelled glass including a top panel with engine-turned oval mask to the escapement, the white enamel dial with Roman hour numerals, Arabic five minutes and ‘Breguet’ hands above a subsidiary alarm dial, signed for the retailer ‘OLLIVANT & BOTSFORD / MANCHESTER’, the twin train eight day movement with ‘blanc roulant’ supplied by the Honoré Pons workshop of St Nicholas d’Aliermont, the silvered platform Soldano escapement signed ‘JS’ and numbered ‘31’, the baseplate, backplate and original winder all similarly numbered ‘31’, backplate also with Pons roundel and additional number ‘312’, in its (distressed) leather carrying case 16cm high to raised handle Joseph Soldano’s company is famed for its high quality numbered escapements, thought to have been produced in Geneva, as well as the gorge cased carriage clocks. Honoré Pons was instrumental in the 19th century revival of the clock-making industry of St Nicholas d’Aliermont, near Dieppe. The Manchester luxury goods traders, Ollivant and Botsford formed their partnership in the mid 1850, the company surviving until 1951.

270 A FRENCH ORMOLU MANTEL CLOCK, ACHILLE BROCOT, PARIS, LATE 19TH CENTURY the eight day movement striking the hours and halves on a bell, the cobalt blue ‘Sèvres’ style porcelain dial with gilt framed Roman numerals surrounding a scene of two putti playing with a goat, the domed case with bud finial with four further pineapple finials to the corners above laurel wreath handles, fluted pilasters and a lozenge-shaped porcelain panel to the base, on toupie feet, with glass cover to backplate, stamped AB in a star and numbered 016, case with the same number and initialled AB, with key and watch key for the suspension regulator, 26cm high; together with a small ‘Sèvres’ style ormolu-mounted pedestal urn, probably originally one of a pair to form a garniture, cobalt blue, painted with further putti and a goat, 11.5cm high (2) £200-300

£700-1000

271 A SILVER BUTTERFIELD TYPE DIAL, PROBABLY FRENCH 18TH CENTURY the oval plate housing a compassrose-shaped needle, the chapter ring of Roman numerals engraved on a scroll and centring on a rosehead motif, the hinged gnomon with scrolled initials BWR, the underside with repeated engraved motif and two bun supports 5.5cm long including suspension ring £400-600 272 A SILVER PAIR CASED WATCH FOR THE TURKISH MARKET, GEORGE CLARKE, LONDON, CIRCA 1768 verge fusée movement with silver regulator disc, hybrid crested Tulip/Egyptian pillars, signed and numbered 685, ‘champlevé’ silver dial with a matted ground and two chapter rings of Eastern Arabic numerals, inscribed on two foliate banners ‘GEORGE CLARKE / LONDON’, plain cases both hallmarked London, 1768, the inner case with casemaker’s mark WR; on an 18th century steel chatelaine or fob chain, two swiveling sections each of a row of quatrefoil links flanked by chain mesh, terminating in spring clasps and an associated watch key chain 18cm long, outer watchcase 5.3cm diameter £500-700 273 A GOLD OPEN FACE POCKET WATCH, LATER 19TH CENTURY Swiss key wound movement, white enamel dial with Roman numerals, the mid size circular case initialled to the back RB in a shield surrounded by engine-turning, cuvette with two vacant cartouches and engine-turning, French 18 carat gold marks to back, cuvette and side, with an associated key, 3.2cm; together with a gold Albert watch chain, of curb links graduating from the T-bar down to a gilt-metal swivel hook, 9 carat gold hallmarks, 25.5cm long £350-450

274 A VICTORIAN GOLD QUARTER REPEAT HUNTER POCKET WATCH, JOSEPH PENLINGTON, LIVERPOOL, CIRCA 1861 key wound three-quarter plate free sprung English lever movement with diamond end stone, repeating on two gongs, signed ‘Joseph Penlington & David Hutton / Liverpool’ and numbered 11297, the white enamel signed dial with Roman numerals and subsidiary seconds dial, engine-turned case with vacant roundel to the sprung cover, the milled band with repeat slide, thrice numbered 11297 and 18 carat gold hallmarked for James Walter Stock, London, 1861, with later box and key 5.1cm diameter (3) £2000-3000 275 A VICTORIAN GOLD HALF-HUNTER POCKET WATCH, CIRCA 1885 keyless wind three-quarter plate English lever movement with diamond end stone, signed for the retailer ‘Percy Edwards & Co. / 71, Piccadilly’, ‘TO THE ROYAL FAMILY’ under a crown and numbered 2932, white enamel dial with Roman numerals, the mid size circular case with sprung cover enamelled with black Roman numerals surrounding the aperture, the back engraved with Gothic entwined initials, 18 carat gold hallmarked for Henry Joseph Webb, London, 1885 3.9cm diameter £600-800

276 A CANADIAN GOLD POCKET WATCH, TORONTO, CIRCA 1900 with keyless wind 18 jewel movement, signed for the retailer ‘Ryrie Bros. / Toronto’, the white enamel dial with Arabic numerals and inset subsidiary seconds dial, signed ‘RYRIE BROS’, the open faced 18 carat gold case engraved to reverse with a crest, perhaps for Routh, stamped A.W.C.CO. for the American Watch Case Company of Toronto, 18CT, Maltese cross and numbered 97825, cuvette similarly numbered 4.5cm diameter £300-400 277 BREGUET ‘CLASSIQUE’ No.925, REF. 3390: A GOLD DRESS WATCH, CIRCA 1990 automatic movement, guilloché silvered dial signed and numbered, with Roman numerals and blued steel Breguet hands, circular case with ‘coin’ edge and straight lugs with screwed bars, back inscribed ‘AUTOMATIC / BREGUET 925’ and with Swiss 18 carat marks, cabochon sapphire set crown, Movellato leather strap with gold tang buckle stamped ‘750’ case 32mm diameter £2500-3500 278 IWC, CALIBRE 89: A GENTLEMAN’S GOLD WRISTWATCH, CIRCA 1962 the manual wind movement signed and numbered 1606935, the frosted silver dial with applied gold Arabic numerals and gold hands including centre seconds, signed ‘International Watch Co / SCHAFFHAUSEN’, circular case with snap-on back, interior back signed, numbered 1648675, Swiss gold marks and London import marks for 9 carat gold, associated black leather strap 38mm diameter £600-800

279 BREITLING, AEROSPACE REPETITION MINUTES, REF.E65062: A GENTLEMAN’S TITANIUM WRISTWATCH, CIRCA 1997 quartz movement, grey dial with two digital displays and luminous hour quarters and baton indicators, tonneau case with rotating minute bezel and Breitling crown, back with Breitling logo, reference number and serial number 9783, the replacement rubber strap with deployant clasp, with its ‘Breitling’ case, instruction manual and International Warranty dated 27/03/1998 case 40mm diameter £400-600 280 IWC PORSCHE DESIGN CHRONOGRAPH, REF.3732: A GENTLEMAN’S TITANIUM BRACELET WATCH, CIRCA 1985 quartz movement, black dial with luminous hour markers and baton hands, red centre chronograph hand, subsidiary dials for running seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, tonneau shaped case with screw back and screw-down crown between flush pushers, the flat link bracelet with signed deployant clasp, case numbered 2428894, movement numbered 2667151, case, dial and movement signed case 36mm diameter £600-800

281 ROLEX OYSTER ROYAL, REF.6044: A MID SIZE STAINLESS STEEL WRISTWATCH, CIRCA 1950 manual wind ‘shock resisting’ movement, signed silvered dial with raised gilt Arabic numerals and feuille hands with luminous insert, engine-turned subsidiary seconds, circular steel case with scooped bezel and serial number ‘5105173’, signed screw-down crown, screw-down case back initialled ‘M.J.M.O.’, associated tan leather strap 32mm diameter £400-600

282 GOLD BRACELET WATCH, BOUCHERON, PARIS, CIRCA 1964 the bracelet of two rows of reeded double curb links coupled to the underside and incorporating the rectangular watch engraved to the sides to simulate continued links, with slide clasp, the rectangular brushed gold dial with bright-cut engraved baton indicators, signed, with manual wind movement, snap-on back with French gold mark and signed ‘BOUCHERON MADE IN FRANCE’ and numbered 8799, signed to bracelet terminal ‘BOUCHERON PARIS’ and numbered 1203255, interior of watch back numbered 12771 and 18 carat gold import marked for Boucheron (BMCo), London, 1964 inner circumference 190mm approximately £4000-6000 283 (illustrated online) OMEGA, DE VILLE: A GENTLEMAN’S GILT-METAL WRISTWATCH, CIRCA 1970 automatic movement, signed champagne dial with gilt and black hour batons, centre seconds and date aperture at 3 o’clock, Omega crown, back inscribed ‘WATERPROOF / 66033 TOOL 106’ 38mm diameter £100-200

284 GENTLEMAN’S QUARTZ WATCH, 1970s, CITIZEN the rectangular textured pale gold dial with gold hands and baton indicators within a bi-coloured metal bezel on a wide woven chain bracelet length approximately 165mm £500-700 285 A SWISS GOLD PENDENT WATCH, GENEVA, LATE 19TH CENTURY in the form of a scent flask, engraved with foliate bands and formal borders highlighted with taille d’épargne enamelling, with trefoil suspension loop above the winding crown depressing to release the sprung cover, the white and floral dial with rose diamond set hands, keyless wind movement, gold cuvette inscribed ‘Patent REMONTOIR N”56030 Genève’, Swiss 14 carat gold marks 5.5cm long £500-700

286 (illustrated online) TWO GOLD LADIES’ WATCHES, MID 20TH CENTURY one ‘MuDu’ 18 carat case and 9 carat snake link bracelet, the other 9 carat case with faceted bezel and gilt-metal expanding link strap £300-500

285

287 WOVEN BRACELET the articulated wide bracelet designed as five curb chains intersperced and woven between vertical bars, length approximately 180mm 58.3 gr £1800-2200

284

287

288

288 GOLD CHARM BRACELET, FRENCH, 1930s the bridle link bracelet with assay marks and incomplete makers mark *M suspending eight charms: lighter with an enamelled heart flame; number plate with 13.X111, assay mark; an ace of diamonds playing card with red enamel decoration (damaged), assay mark ; a chick and egg, assay mark, bulldog with black enamel detail, indistinct makers mark; a key and heart padlock; a Sagitarian archer makers mark and a key assay mark length approximately 192mm, 14.8gr. £400-600 95

289 THREE LADY’S WRIST WATCHES comprising: one Art Deco with rectangular guilloché dial, black Arabic numerals and blue metallic hands, the oblong platinum and white gold case with a bezel of single-cut diamonds on a grosgrain strap, stamped PLAT. and 18ct gold Birmingham hallmarks for 1931; one with rectangular bronzed dial with black Arabic numerals and steel hands between hinged geometric shoulders set with single-cut diamonds on cord strap, interior to case back engraved ‘PLATINUM’; and one gold example with small circular dial with fan shaped shoulders, signed Studio with cream face, gold baton indicators and hands, Swiss 18 carat gold marks, on a gilt-metal chain bracelet

290

£250-300

289 part

290 LADY’S DIAMOND WATCH, 1970s, EBEL the oval textured silver dial with black baton indicators and hands within a bezel of brilliant-cut diamonds on a graduated flat link bracelet with deployant clasp length approximately 153mm £600-800

291 291 LANCASHIRE FUSILIERS REGIMENTAL SWEETHEART BROOCH the flaming grenade with sphinx decorated with single-cut diamonds and green enamel laurel wreaths over a blue enamel inscribed banner; together with another flaming grenade Fusiliers brooch set throughout with paste (2) £300-400

292 EMERALD AND DIAMOND RING designed as a cluster, set to the centre with a square emerald within a border of circular diamonds size K £200-300

293 DIAMOND BRACELET the articulated row of graduating circular diamonds set to the centre with similarly cut diamond weighing 1.73 carats, length approximately 180mm £15000-20000

294

295 296

298 297

299

294 HEXAGONAL DIAMOND BROOCH, 1900s designed as six channels millegrain set with rose diamonds terminating in circular diamond corners approximately 3.2gr £300-400 295 PAIR OF DIAMOND PENDENT EARRINGS, 1900s each cluster of brilliant-cut diamonds in millegrain settings suspended from articulated knife wire with similarly cut diamond accents length of drop approximately 40mm £600-800

297 PAIR OF CULTURED PEARL AND DIAMOND EARRINGS AND BROOCH each cultured pearl measuring approximately 8.4mmx7.3mm & 8.7mmx7.4mm respectively surmounted by a collet-set brilliant-cut diamond; together with an annular openwork brooch suspending a central drop cultured pearl measuring approximately 10.2mmx8mm surmounted with a collet-set brilliant-cut diamond, brooch diameter approximately 32mm £200-300 298 DIAMOND BAR BROOCH, 1900s the openwork torpedo set throughout with circular and single-cut diamonds with millegrain detailing and pierced gallery, fitted leather tooled case Bull & Co Ltd, Eastgate Row, Chester length approximately 650mm £300-400

296 DIAMOND BROOCH, 1900s the elliptical openwork millegrain set with circular and single-cut and rose diamonds length approximately 480mm

299 BELLE EPOCH DIAMOND PENDANT / BROOCH, 1890s designed as an openwork fan set throughout with circular, single-cut and rose diamonds with a central circular diamond in a knifewire starburst surround above stylised swag motifs suspending a circular diamond drop, detachable brooch fitting

£600-800

£1200-1800

300 ARCHAEOLOGICAL STYLE NECKLACE AND BRACELET, 20TH CENTURY designed as a row of interconnecting oval plaques decorated with ropework floral motifs within granulated borders, together with a matching bracelet necklace length approximately 435mm, bracelet length approximately 185mm 69.5 gr £2500-3000

302 DOUBLE SPIRAL BROOCH AND RING, ILIAS LALAOUNIS of raised and undulating spiral design together with a ring decorated with a pair of afronted spirals Lalaounis maker’s mark on both pieces, brooch measures approximately 63mm size M 23.4gr and 9.5 gr respectively £1200-1500

301 KNOT EARRINGS, ILIAS LALAOUNIS, 1970s formed as a double strand overhand knot, one strand reeded, the other plain burnished, with clip-on fittings, stamped with Lalaounis monogram, ‘GREECE’, ‘Ã12’ and ‘750’

303 SPIRAL BANGLE AND PAIR OF EARCLIPS, ILIAS LALAOUNIS the sprung ridgid bangle with afronting spiral terminals together with a pair of spiral winged earclips, Lalaounis makers marks, inner dimension of bangle 160mm approximately, diameter 59mm approximately 42.9 gr and 20.9 gr respectively

£400-600

£2500-3000

300

301

302

303

305

304

304 DANISH SILVER ‘TULIP’ NECKLACE, GEORG JENSEN, COPENHAGEN, CIRCA 1966 designed by Harald Nielsen (1892-1977) as a row of linked stylised tulip flowerheads each with two beads, stamped pattern No. 66, post 1945 Jensen marks, import marked for Georg Jensen Ltd., London, 1966 40cm long excluding slide to clasp £600-900 305 DANISH SILVER BROOCH AND PAIR EARRINGS, GEORG JENSEN, COPENHAGEN, CIRCA 1966 the brooch designed by Nanna & Jørgen Ditzel as a stylised rounded shell, stamped pattern No. 328, post 1945 Jensen marks, designer’s monogram NJ, import marked for Georg Jensen Ltd., London, 1966, 5.5cm long; the pair of earrings designed by Nanna Ditzel as a stylised leaf, screw fitting, stamped pattern No. 128B and post 1945 Jensen marks £150-250

100

306

306 COLLECTION OF PASTE JEWELLERY comprising: double bow brooch set throughout with paste, French mark; diamond shaped open work brooch with millegrain edges set to the centre with a purple paste, German silver number 935, makers mark JD; pair of blue stone pendent earrings (4)

306

£300-400 307 COLLECTION OF PASTE JEWELLERY comprising:pair of articulated triangular blue paste pendent earrings; pair of paste cluster earrings; kite shaped pendant with a green millegrain set paste and suspending a stimulant pearl and an eternity ring channel set with paste, size K (6)

307

£100-200

307 307

307

101

308 NATURAL PEARL, SAPPHIRE AND DIAMOND NECKLACE the double row of graduating knotted pearls measuring from 2.7mm-8.6mm approximately on a clasp set with three graduating collet set oval sapphires and circular and single-cut diamonds, length approximately 455mm Gemmological Certification Services, London certificate No. 5782-515, dated 26th January 2022 £4000-6000

102

309 DIAMOND RING diagonally set with two pear shaped diamonds size P £1200-1500

310 DIAMOND RING claw set with a cushion shaped diamond, in associated gilt-tooled blue leather box from Collingwood & Co, London size M 1/2 £600-800

311 TWO DIAMOND RINGS comprising: a ring claw set with three circular diamonds and a ring vertically set with two circular stones between single-cut diamond shoulders sizes N and E½ respectively £600-800

312 DIAMOND RING mounted with a central marquise diamond between shoulders set with baguette diamonds and single cut stones size M £1500-2000

313 DIAMOND SOLITAIRE RING claw-set with a circular diamond size P½ £1200-1800

103

314 A DIAMOND-SET SILVER BROOCH, SURAKARTA, JAVA, 19TH CENTURY in the form of an openwork buckle, with scrolling leaf design 7.5 x 4.3cm Provenance: Collection of a deceased diplomat, thence by descent.

314

£250-350 315 ZIRCON NECKLACE, EARLY 20TH CENTURY the trace link chain suspending twenty gradiated circular blue zircons length approximately 420mm £200-300

315 316

316 AQUAMARINE RING the mixed cut square aquamarine claw set in a simple mount size L ½ £600-800 317 (illustrated online) † UNMOUNTED AQUAMARINE rectangular, mixed cut stone; together with a cushion mixed cut paste £600-800 318 A COLLECTION OF DRESS RINGS comprising: jade and ruby textured cluster ring, 1960s; polished oval carnelian ring; domed ring collet set with gemstones including garnets, moonstones and diamonds and a diamond floral crossover ring (2 marquise stones missing) sizes M½, O, N, N respectively £100-200

104

318 part

319 part

320

319 COLLECTION OF PEARL AND ENAMEL JEWELLERY, 19TH CENTURY comprising: an oval black enamel locket decorated with a central seed pearl star, opening to reveal a glazed compartment; an oval citrine brooch bordered by a row of seed pearls; a crescent brooch decorated with two rows of graduated seed pearls and a square slide with central ‘D’ monogram within a white enamel border (4) £400-600

321

320 ~ COLLECTION OF THREE LOCKETS, LATE 19TH CENTURY comprising: oval bloomed gold locket with blue enamel monogram ‘EBR’ and ‘Annie’ to the reverse, opening to reveal one glazed compartment with hair the other side with photograph, approximately 30mmx24mm, 18.3gr all in; oval glazed portrait miniature of a young girl on ivory within a surround of seed pearls, with glazed hair compartment to the reverse, approximately 45mmx35mm; circular turquoise guilloché enamel locket with central floral spray millegrain set with rose diamonds, a glazed compartment to the reverse, diameter approximately 24mm, damage to enamel, in its fitted case gilt printed for Catchpole & Williams, Oxford Street, London £400-600 321 ‘CLAPPERBOARD’ PENDANT FOR “CABARET”, CIRCA 1971 realistically modelled with hinged clapper, one side facsimile engraved for a take for the film, the other with inscription, stamped maker’s mark W? and ‘750’ length 29mm including suspension ring The inscription reads: BOB, / you mean? / Thanks and love always / LIZA. The clapperboard with the following details: PROD. “CABARET” / DIRECTOR BOB FOSSE / DIR. OF PHOTOG. GEOF UNSWORTH / SLATE 193 / TAKE 3 / DATE: JULY 71 Provenance: presumably given by Liza Minelli (b.1946) to Bob Fosse (1927-1987) during or shortly after the making of the film ‘Cabaret’ (the protagonists would have been filming in West Berlin during July 1971); unknown; private German collection; thence by descent to the vendor. £800-1200 105

323 part

322

322 PAIR OF GOLD OVAL CUFFLINKS each double sided link engraved with the crest of Smythe and a monogram, maker’s mark K&B and 15ct. 8.6gr £200-300 323 COLLECTION OF PASTE BUCKLES AND JEWELLERY comprising: a pair of buckles with ribbon design;a pair of rectangular larger buckles (one with later brooch fitting); two larger oval buckles; a double clip brooch, maker’s mark; foliate openwork brooch with worn green paste; star brooch; double crescent brooch with imitation pearls; double loop brooch; small crescent brooch; shield shape open work foliate brooch; gold coloured stock pin with circular red paste and a blue paste and gold entrelac pendant (15) £150-200 324 (illustrated opposite) LONG AMBER NECKLACE the row of thirty one large spherical, oval or bun-shaped beads, measuring from 30.4mm to 5.4mm approximately, knotted between fifty-nine spacer discs length 97cm approximately Purchased from Sac Frères in Old Bond Street, London Accompanied by a certificate from The Gem & Pearl Laboratory numbered 20573, dated 15 October 2021, stating that the beads are natural amber. £800-1200 325 (illustrated opposite) TWO BROOCHES, 19TH CENTURY comprising a gold openwork interwoven brooch set with a central green paste and decorated with etched foliate engraving and cushion shaped diamonds; and an oval shell cameo depicting the Madonna within gold foliate scrolling border measuring approximately 45mm x 45mm and 70mm x 60mm respectively £300-400 106

323

324

107

327

326 328

329 326 CARNELIAN AND DIAMOND PAIR OF EARPENDENTS AND ENHANCER, 1980s comprising: a pendant enhancer horizontally set with a similarly carved carnelian the tapering surmount set with brilliant-cut diamonds, makers mark RJ; a pair of earpendents, the smaller oval carved carnelian within a border of brilliant-cut diamonds suspending a larger similarly cut drop; together with a ring set with a central oval polished carnelian within a surround of single-cut diamonds between split similarly cut diamond shoulders, makers mark S, size Q

328 ‘TRINITY’ RING, LE MUST DE CARTIER designed as a Russian wedding ring of five interlocking bands size L½, weight 9.5 gr

£800-1000

£200-300

327 RUBY RING the pear shaped ruby within a row of circular stones size L £300-400

£600-800 329 GARNET RING, LATE 19TH CENTURY the cushion shaped hessonite garnet mounted between engraved buckle motif shoulders size L 1/2

330 TEXTURED WIDE BRACELET, SPANISH, 1960s designed as a flexible mesh ribbon, JPML maker’s mark and Spanish assay mark length approximately 193mm £3000-4000

End of Sale Next Sale 23rd November 2022 Closing for entries by end of September

108

330

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; (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 reoffer 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.

109

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 one 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.

110

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 antimoney 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 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 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.

111

European Works of Art Date: 01/06/2022 Code: MERCURY

ABSENTEE BID FORM

Please mail, fax or scan and email to: Olympia Auctions 25 Blythe Road London W14 0PD Fax +44 (0) 20 7806 5546 Email: decorativearts@olympiaauctions.com

Name Address

Important Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot. I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price. Methods of Payment Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Telephone Alternative Telephone Email

Signed

Lot No

IBAN No: GB39HBUK40190422033119 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 22033119 Account Name: Olympia Auctions Ltd Debit Card We are pleased to accept UK debit cards. Please note that we do not accept credit cards. Sterling Bankers Draft Drawn on a recognised UK bank. Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank.

112

Postcode

Date

Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address.

Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG

For Office Use Only: date and time received

(pleaseprintortype)

staff initials

Lot Description

£ Cover Bid

Olympia Auctions, 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Email: decorativearts@olympiaauctions.com www.olympiaauctions.com