European Objects & Works of Art | Wednesday 22nd November 2023

EUROPEAN OBJECTS & WORKS OF ART WEDNESDAY 22ND NOVEMBER 2023

Lot 21 (detail)

EUROPEAN OBJECTS & WORKS OF ART TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD AUCTION: Wednesday 22nd November 2023, 11am, precisely PUBLIC EXHIBITION: Sunday 19th November, 12pm to 4pm Monday 20th November, 10am to 7pm Tuesday 21st November, 10am to 5pm SALE NUMBER 031 ENQUIRIES: Matthew Barton, Head of Sale Henrietta Grant, Administrator CONSULTANTS: Phillip Howell (Ceramics) Peter Arney (Ceramics) John Culme (Silver & Vertu) Anabel Yorke (Jewellery) Justin Roberts (Jewellery) +44 (0)20 7806 5545 decorativearts@olympiaauctions.com ONLINE CATALOGUE AND LIVE INTERNET BIDDING AVAILABLE THROUGH: www.olympiaauctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com Front Cover: Lot 54 Back Cover: Lots 251, 253, 267, 275, 310, 315 This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

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EUROPEAN OBJECTS & WORKS OF ART including a London Private Collection of Dutch Silver Toys Wednesday 22nd November 2023 Starting at 11am

1 A FAENZA 'COMPENDIARIO' MAIOLICA CRESPINA, CIRCA 1560-80 the dish with acanthus moulded sides, the boss painted in blue and yellow with winged Cupid sitting on a cloud, on a fluted piédouche, 25.5cm diameter £600-800

2 A DUTCH DELFT BLUE AND WHITE GARLIC-NECK VASE, CIRCA 1700 octagonally faceted, the bulbous body painted in Chinese Transitional style with a band of figures in landscapes between a scroll border and lappet decorated base, red painted collection number 372, 29cm high, rim restored Provenance: Property of a European Collector; The Counts Raben, Aalholm Slot, Nysted, Denmark, sold Sotheby’s, ‘Aalholm Slot’, 20-23 May 1996, lot 1671 £150-250­

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3 A DOCCIA SAUCEBOAT, STAND AND LADLE, CIRCA 1760-70 each painted with scattered floral sprigs, the double lipped shaped oval boat applied with manganese dashed scroll handles to centre and moulded with a band of lobing above the footrim, the shaped oval stand with reed moulded rim, the spoon with deeply dished bowl and pointed terminal moulded with a grotesque mask, each piece with collector's No. 'W5', stand and boat with 'Isaacson / 110' label, stand with Armin B. Allen label, stand 19.5cm long Provenance: Marshall, Field, Chicago; Henry C. and Martha L. Isaacson Collection, Seattle; with Armin B. Allen, New York, 1989, from whom purchased for the vendor, Private Collector, London.

Literature: Armin B. Allen, 'The Henry C. and Martha L. Isaacson Collection, English, French and Italian Porcelain', Catalogue, June 1989, No.110 £400-600

4 A VINCENNES SUGAR BOWL, CIRCA 1752 'pot à sucre à la Reine', tapering circular with slightly everted foot rim, the underglaze cobalt blue ground with random gilt linear speckles imitating lapis lazuli reserving two shaped panels each gilded with a bird amidst foliage within a foliate scroll border, gilt dentil rims, blue interlaced Ls mark, 11cm diameter See another with similarly everted foot rim but also with cover, sold Christie’s, Paris, 17 November 2011, lot 106 £700-1,000

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5 A PAIR OF SEVRES CUPS AND SAUCERS, 1770 the cylindrical 'gobelets litrons' and deeply dished 'soucoupes' painted by Jacques Fontaine (1735-1807) with ovals of putti to the cups and military trophies to the saucers alternating with plain reserves all within linking gilt-edged reserved borders of berried laurel leaves against a ‘fond Taillendier bleu céleste', each with interlaced Ls mark enclosing date letter 'r' above five dot painter's mark, saucers 14.5cm diameter, cups 7.5cm high Madame du Barry, recently established as Louis XV's mistress, bought a Sèvres service of the same pattern as the present lot on 1st September 1770. This relatively small but expensive service, probably intended for intimate use, is not listed with any tea/coffee pieces, although it did include a 'déjeuner du Roy'. There were some associated items in the listing of her service on the 1794 inventory of her effects, the items including just one cup and saucer, which may have derived from the ‘déjeuner’, although no accompanying 'plateau' is mentioned. Interestingly another contemporaneous group, of almost exactly the same pattern but not from the du Barry service, differs in one essential: these all have a right angle to the border at each link to the reserves, instead of the smooth and deeper curve on the known du Barry service pieces and as seen on these on these cups and saucers. For pieces from the du Barry service, see a set of ten plates in the Royal Collection, acquired by George IV, RCIN 58644, or a pair of bottle coolers, sold Bonham’s, London, 4 December 2019, lot 114. For an example from the similar group, see a bottle cooler, sold Christie’s, New York, 7 October 2022, lot 48. We are grateful to David Peters for his help in cataloguing this for full discussion of the du Barry service see his book ‘Sèvres Plates and Services of the 18th Century’, London, 2015,Vol.II, pp.445. £3,000-5,000

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6 A PAIR OF SEVRES CUPS AND SAUCERS, CIRCA 1770 'gobelets Brouillard et soucoupes' each painted perhaps by Viellard with an oval or circular riverine landscape with figures and buildings within alternate red and gilt brickwork bands and rims of gilt trailing leaves against a blue seeded ground, gilt line borders, blue interlaced Ls marks, those on the saucers enclosing the date letter 'r', two paper labels printed MUSEUM AND ART GALLERY, NOTTINGHAM CASTLE and inscribed 'Mrs Elwes', saucers 13.3cm diameter £3,000-5,000

7 A SEVRES AND LATER GILT-BRONZE-MOUNTED EWER,THE PORCELAIN 1750s,THE GILT-BRONZE EARLY 19TH CENTURY the tapered cylindrical body with a cobalt blue ground and two shaped reserves each painted with a pair of exotic birds surrounded by foliate and trellis gilding, interlaced blue Ls mark, the Neo-classical bronze-work of a fluted pedestal on a square base and fluted shoulder rising to the lip with a mask of Bacchus, the bifurcated handle with mask terminal, 21cm high £400-600

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8 THREE MEISSEN MINIATURE FIGURES, CIRCA 1750 probably modelled by Johann Friedrich Eberlein (1696-1749), one as a Friesian sailor, the mustachioed figure with arms akimbo and wearing a grey conical hat and pink doublet, one as a female vendor in broad rimmed hat and yellow cape balancing an empty flat basket on her hip, and one as a tradesman at rest smoking a pipe, standing with his other hand behind his back, wearing a narrow-brimmed grey hat, a gilt-buttoned blue coat and white apron, the latter probably from a series of Russian genre figures, all on circular flower encrusted naturalistic bases, the first two with underglaze blue crossed swords mark to rear base, tallest 9.5cm high See another miniature Friesian sailor sold in these rooms, 23 November 2016, lot 10 and another tradesman figure sold Christie's, 5 December 1994, lot 155

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£800-1,200 9 A MEISSEN FIGURE OF THE FRIGHTENED HARLEQUIN, 20TH CENTURY after the model by Johann Joachim Kändler (1706-1775, standing against a tree stump in a recoiling pose, wearing a brightly coloured chequered jacket, blue and white pantaloons with gilt stripes, the mound base applied with flowers, blue crossed swords mark, incised No.259, 16cm high £200-300 10 A MEISSEN FIGURE OF HARLEQUIN PLAYING A PUG, 20TH CENTURY after the model by Johann Joachim Kändler (1706-1775), leaning against a tree stump, winding the tail of the pug held under his left arm, wearing diamond chequered shirt with ruffled collar and brown and black breeches, the mound base applied with flowers, blue crossed swords mark, incised No.3043, impressed 1470, 18cm high £200-300

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11 A SEVRES BISCUIT BUST OF 'LA PAYSANNE', 1913 modelled by Agathon Léonard (1841-1923), head and shoulders on a stepped square socle inscribed to side 'A.L', impressed 'S/1913/DN', 'SEVRES' and '1.S', 26.5cm high £100-200 12 A MEISSEN CHESTNUT BASKET, LATE 19TH / EARLY 20TH CENTURY circular, with open lattice sides below entwined branch handles, painted to the basket moulded base with roses, tulips and insects, the interior sides with gilt detailing, the exterior flower encrusted, underglaze blue crossed swords mark, painted '13', indecipherable incised number, 26.5cm across handles

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£100-150 13 TWO 'PARIS PORCELAIN' SWAN SAUCEBOATS ON STANDS, LATE 19TH CENTURY each boat formed as the bird with neck bent to form the handle, on oval stands, gilded overall excepting the wings to the boats and borders to the stands exposing the biscuit body, bearing apocryphal marks, one set with crowned 'N', the other 'M. Imple / de Sèvres', stands 15.5 and 15cm long respectively; together with a 'Paris Porcelain' cabinet cup and saucer, 19th century, gilded including roundels of a helmeted mask on a green ground band painted between with formal flowers, the cup additionally with gilt palmettes against the red band, the handle (repaired) with patera terminal (6)

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£150-250 14 A RUSSIAN 'RED CROSS' EASTER EGG, IMPERIAL PORCELAIN MANUFACTORY, ST PETERSBURG, CIRCA 1914-17 the white egg gilded with a cipher for Empress Alexandra Fedorova of her initials in interlaced Slavic script below the crown, the reverse with the Red Cross symbol, suspension holes to top and bottom, 6cm high

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£300-500 14 8

15 A PAIR OF BERLIN (KPM) PAINTED PORCELAIN PLAQUES OF GENRE PORTRAITS, CIRCA 1900 after Christian Seybold (1695-1768), both probably painted by Franz Wagner depicting 'Old Man with Spotted Fur Cap', signed 'Wagner' and 'Old Woman with Green Headscarf', impressed KPM and sceptre marks, inscribed for the size '255x195', plaques 25.5x19cm, in probably original ebonised wood frames 42 x 36cm Commonly misattributed to Balthasar Denner (1685-1749) another painter of 'tronies' and an artist who greatly influenced Seybold, the oil on copper Seybold originals are held by the Gemäldegalerie, Dresden (Nos.2094/5). These heads are also sometimes described erroneously as depicting Rembrandt's parents. For another KPM plaque of the old man and of the same size, signed 'F. Wagner', see Christie's, New York, 25 October 2007, lot 507. The porcelain painter Franz Wagner is recorded as active between 1894-1908 at 42 Starhemberggasse,Vienna IV (Waltraud Neuwirth, 'Porzellanmaler-Lexikon',Vol.II, 1840–1914, p.330). £2,000-3,000

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16 ‡ A GROUP OF WORCESTER PORCELAIN, CIRCA 1760-75 comprising: a bowl, circa 1760, the exterior with feather moulding, printed and coloured with Chinese figures, a table, a high stand and a monkey in the branches of a flowering tree, the interior with four Chinese figures beneath an iron-red and gilt border, 20cm diameter; a blue and white coffee cup, teabowl and saucer, painted with 'Mansfield' pattern, blue workmen's marks; a teabowl and saucer painted with scattered flowers; a coffee cup, teabowl and saucer painted with cornflowers; and a fluted teabowl and saucer with turquoise border with black and white twisted ribbon; together with a chocolate cup, cover and stand, probably Coalport, early 19th century, blue and white, printed with a dragon pattern inside key pattern borders, stand 16.5cm diameter, and two pearlware teabowls and saucers (18) Provenance: a Swiss Private Collection of English Porcelain £120-180

17 ‡ A RARE WORCESTER SAUCER, CIRCA 1776-80 brightly painted with a Chinese fisherman standing beside a lobster pot holding a fish in his right hand, a tree and rocks behind him and buildings in the distance, 14.5cm diameter Provenance: a Swiss Private Collection of English Porcelain; The Sir Jeremy Lever Collection, sold Bonhams, London, 7 March 2007, lot 85; The Zorensky Collection, sold Bonhams, London, Part III, 22 February 2006, lot 70; The Nina Weil Collection Literature: Simon Spero & John Sandon, 'Worcester Porcelain, 1751-1790, The Zorensky Collection', Woodbridge, 1996, Fig.168 It has been postulated that this may have been made to replace a piece from a Chinese Yongzheng service, since it is rare to find a piece of this kind without a border design at this period. £200-300

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18 ‡ A WORCESTER SAUCER DISH AND A SLOP BOWL, CIRCA 1756-60 printed in black with chinoiserie scenes probably designed by Robert Hancock (1730-1813) after Jean Pillement (1728-1808), both with 'Les Garçons Chinois', the bowl additionally with 'Le Pont Chinois' and 'Le Chalet Double', bowl 15cm diameter, dish 18cm diameter Provenance: a Swiss Private Collection of English Porcelain £150-250

19 ‡ A WORCESTER TEAPOT AND COVER, CIRCA 1756-60 shouldered form and faceted spout, slightly domed cover with flower knop, printed in black with chinoiserie scenes probably designed by Robert Hancock (1730-1813) after Jean Pillement (17281808) of 'Les Garçons Chinois' and a 'Chalet' or tree house, two further architectural vignettes to cover, 19.5cm long Provenance: a Swiss Private Collection of English Porcelain £200-300

20 ‡ A WORCESTER SUGAR BOWL AND COVER, CIRCA 1756-60 printed in black with chinoiserie scenes probably designed by Robert Hancock (1730-1813) after Jean Pillement (1728-1808) of 'Les Garçons Chinois' and two of garden structures and figures, three further architectural vignettes to the domed cover with flower knop, 12cm diameter Provenance: a Swiss Private Collection of English Porcelain £150-250

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21 A SET OF THREE NANTGARW PLATES, CIRCA 1820 of Mackintosh service type, London decorated, each painted after François Levaillant (1753-1824) with a vignette of a bird amidst foliage, gilt foliate and shell borders with C-scrolls reserving four flower sprays, impressed 'Nant-garw C.W.', 24.5cm diameter Provenance: Ellen Willmott (1858-1934); her sale, Warley Place, Great Warley, 30 May-5 June 1935, three from a set of four offered as either lot 1369 through to 1373 and acquired by her nephew Robert George Berkeley (1898-1969); Berkeley family collections, Spetchley Park, Worcestershire.

Literature: Spetchley Park Inventory, 1949, 'Three Nantagarw plates, with gilt shell and flower borders, the centres painted with game birds; impressed mark' in the Drawing Room.

Three Nantgarw services with this kind of decoration are recorded, discussed by W.D. John in Nantgarw Porcelain, Supplement Number Two. The present plates probably come from a service belonging to the Priest Richards family of 'Plâs Newydd', near Cowbridge, Glamorganshire, gifted in 1880 to Ella Priest Richards on the occasion of her marriage to The Mackintosh of Mackintosh of Moy Hall, Inverness, the service dispersed by about 1900. All three services are thought to have been ordered by Mortlocks from the decorators Robbins and Randall of Barnsbury Street, Islington, the birds painted by Thomas Martin Randall. £3,000-5,000 12

22 A NANTGARW PART TEA AND COFFEE SERVICE, MOSTLY CIRCA 1820 London decorated, gilded and painted with floral reserves against a green 'oeil-de-perdrix' pattern ground, comprising: a sugar basin and cover (17.5cm across handles), a slop bowl (17cm diameter), two cake plates (22cm diameter), five coffee cans with four saucers, and eight tea cups with seven saucers, impressed marks on cake plates (28) Provenance: Berkeley family collections, Spetchley Park, Worcestershire, possibly acquired by Rose Berkeley (1861-1922) Literature: Spetchley Park -I. Worcestershire, The Seat of Mr. R.V. Berkeley, 'Country Life', 8 July 1916, p. 46, illustrated in the cabinet in the Drawing Room; Spetchley Park Inventory, 1949, 'A Nantgarw tea and coffee service of apple green ground with gilt lined reserves, painted bouquets of flowers, comprising: Five coffee cups Four coffee saucers Seven tea cups Seven tea saucers Sugar basin and cover Slop Basin Two Cake plates Impressed mark, 28 pieces' in the Drawing Room Inspired by Sèvres porcelain, this use of a green ground reserved with dotted circles is asscoiated with a service known as the Duke of Gloucester or Duke of Cambridge service although, in the case of this service, the green is brighter, the 'partidge-eye' pattern less crowded and there is a variation to the gilded cartouches and C-scroll borders. £1,500-2,500

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23 AN ENGLISH PORCELAIN 'BOTANICAL' PART DESSERT SERVICE, MID 19TH CENTURY each painted with a flower specimen, the pink and burgundy patterned band reserving three floral panels alternating with strapwork motifs, with yellow and gilt foliate scroll borders, shaped rims, comprising: seven plates and four circular comports, painted marks '3 / No 4389' (11) £150-250

24 (illustrated online) A GROUP OF IMARI PATTERN WARES, DERBY/GRAINGER, EARLY 19TH CENTURY comprising a set of six saucers, cups and coffee cans, five coffee cans and saucers, two jugs, a slop bowl and a sugar bowl (32) £100-150 25 A JOHN RIDGWAY & CO. PORCELAIN PART DESSERT SERVICE, CIRCA 1830-37 each reserved with painted flower sprigs within gilt dot and V motif and line borders, surrounded by an ecru ground band and moulded, shaped and gilt-detailed reserved rims, comprising fifteen plates and the following low comports with handles: four circular, two oval and one oblong, pattern No.7761, printed puce coat of arms mark (22) £150-250

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26 A JOSEPH HOLDCROFT MAJOLICA JUG, CIRCA 1880 flat sided 'moon' flask form with simulated bamboo handle and turquoise ground, the cobalt-blue roundels each moulded with two fishes, P.O.D.R. lozenge for 1877, impressed J HOLDCROFT, 21.5cm high £100-200

27 A JOSEPH HOLDCROFT MAJOLICA SARDINE BOX AND COVER, CIRCA 1880 oblong, the cobalt-blue cover applied with a crab holding down a fish, the box and integral stand in mottled sea-green, the sides moulded with fish below a seaweed rim, the tray with primroses to the corners, impressed J HOLDCROFT, 19cm long £300-500 28 A WILLIAM MOORCROFT 'POMEGRANATE PATTERN' SMALL VASE, EARLY 20TH CENTURY squat baluster form, the pattern also running round the interior rim, green 'W.Moorcroft' signature and impressed 'MOORCROFT / BURSLEM' and shape number 'M?8', 7cm high; together with another Moorcroft 'Pomegranate Pattern' vase, mid 20th century, ovoid, blue initials 'W.M., impressed 'MADE IN ENGLAND', 'MOORCROFT' and shape No.398, 19cm high (2) £200-300 15

29 AN IRISH CUT-GLASS BOWL, CIRCA 1800 pedestal canoe shaped, cut with band of diamond motifs below the shaped and bevelled rim and above a band of fluting, faceted stem and square base with fluting to underside, 24.5 x 35.5cm £200-300 30 (illustrated online) AN ANGLO-IRISH CUT-GLASS PEDESTAL BOWL, EARLY 19TH CENTURY the circular bowl with diamond panels between prismatic bands and below a fan cut rim, plain waisted short pedestal and similarly cut spreading foot, 21.5cm diameter; together with a pair of smaller Anglo-Irish cut-glass pedestal bowls, 19th century, with fan cut rims above diamond cutting and star cut feet, 14.5cm diameter (3) Provenance: Sotheby's, London, 'The Irish Sale', 16 May 1996, lots 95 & 96

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£100-200 31 A SET OF EIGHT ENGLISH 'COIN GLASS' MUGS (OR TANKARDS), CIRCA 1900 the baluster bodies with trailing to the rims and gadrooned bases, applied handles, the short stems of hollow knops each enclosing a silver coin of various dates, 15cm high Provenance: Berkeley family collections, Spetchley Park, Worcestershire.

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£300-400 32 A RENE LALIQUE 'NAIADE' CLOCK, CIRCA 1930 the square with rounded corners panel of frosted and polished glass moulded with six sirens with long bubbled hair swimming around the gilt-brass clock with fret border and Arabic numerals supported by an easel strut, with eight day Swiss movement, moulded R LALIQUE mark, 11.2cm square £1,200-1,800 32 16

33 A LAURENCE WHISTLER (19122000) STIPPLE ENGRAVED GOBLET, DATED 1988 depicting a summer landscape of a willow tree on a riverbank flanked by a swan and a flight of swallows, initialled and dated 'LW / 88', the glass blown after a design by the artist with almost cylindrical bowl above a knop and teared baluster stem on a circular foot, 19cm high; together with four letters from the artist, 1987/88, to the patron regarding this commission; and a paperback copy of Laurence Whistler's 'Enter. Poems', Frome, 1987 £700-1,000

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34 A DONOR FIGURE, UPPER RHENISH, LATE 15TH / EARLY 16TH CENTURY chestnut three-quarter block carved kneeling to sinister, a shoe showing under his robes, his torso twisted towards us, his hands in prayer and bearded head slightly tilted, 71cm high Provenance: Private London Collection; acquired from A. & E. Foster Ltd., 2007; The Boarsney House Sale, Dreweatt Neate, Tunbridge Wells, 18 September 2006, lot 231 £2,000-3,000

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35 A PAIR OF OAK ARCHITECTURAL ELEMENTS CARVED AS ANGELS, FLEMISH, 17TH CENTURY the winged figures carved as one playing a lute, the other a viol, with volute capitals above, 52cm high £400-600

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36 AN ITALIAN BRONZE FIGURE OF CUPID, ATTRIBUTED TO THE WORKSHOP OF NICOLO ROCCATAGLIATA (CIRCA 1560-1629),VENICE, CIRCA 1600 the winged putto with a quiver slung against his hip, on a red scagliola cylinder and black marble base, bronze 16.5cm high, 23.5cm overall Provenance: Sotheby's, London, 28 June 1979, lot 163 £1,000-1,500

37 AN ITALIAN BRONZE INKWELL,VENICE, 17TH CENTURY the bulbous bowl on three caryatid and claw feet with grotesque masks and swags between, 13.5cm long Provenance: Sotheby's, London, 12 December 1991, lot 180 £500-700

38 AN ITALIAN POLYCHROME TERRACOTTA FIGURE OF THE HOLY INFANT, NAPLES, 18TH CENTURY realistically modelled and painted as the resting baby Jesus with arms crossed to the side, his head set with glass eyes beneath a mop of blond curls, drilled to back of head and bottom, 21cm long Provenance: Property of a European Collector £300-500

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39 AFTER GIAMBOLOGNA AND MASSIMILIANO SOLDANI:THE EXECUTIONER a patinated bronze figure, probably French first half 19th century, the Soldani model directly derived from Giambologna’s ‘Mars’ with the probable addition of the severed head of St John the Baptist, holding a falchion in his other hand, set by the feet on a square ebonised wood plinth 9.5cm high, bronze 35.5cm high See the bronze attributed to Soldani in the National Gallery of Ireland, Dublin, No.8122, based on ‘Mars’ (sometimes titled ‘Gladiator’), one of Giambologna’s most popular models. The primary point of reference for all the later figures is the ‘Dresden Mars’, presented by the artist to the Elector of Saxony, Christian I, now held by the Staatliche Kunstsammlungen Dresden (Inventory No.1765Bl.095Nr.176). Its arrival was recorded in the city’s Kunstkammer archives in 1587: “Brass cast portrait of Mars, sent by Giovanni Bologna to His Grace the Elector.” The strangely splayed fingers of the Giambologna figure’s left hand do suggest a vacancy; Soldani’s answer apparently to fill the space with the dripping head. £1,500-2,500

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40 AN ITALIAN BRONZE FIGURE, 'SEATED MERCURY', GIORGIO SOMMER FOUNDRY, NAPLES, LATE 19TH CENTURY after the Antique, the rock inscribed to top rear 'Fond. G. Sommer / Napoli', dark patination, 25cm long Discovered in Herculaneum in 1758 and now thought to be a Roman copy of a 3rd century BC Greek original, the 'Seated Mercury' quickly became famous and continued to be hugely popular. £200-300 41 A BRONZE BUST OF MENELAUS AFTER THE ANTIQUE, PROBABLY FRENCH LATE 19TH CENTURY dark patination, the bearded helmeted head turned to dexter, set on a gilt-bronze waisted socle of square outline, 40cm high Derived from the 'Pasquino' group in the Loggia dei Lanzi, Florence, the elaborate classicising helmet part of an early 19th century restoration by Stefano Ricci (1765-1837), the bust is also sometimes described as the head of Ajax. £300-500

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42 AFTER JOHANN HEINRICH VON DANNECKER (1758-1841): ARIADNE ON THE PANTHER a bronze group, probably German or French second quarter 19th century, finely detailed, set on a rectangular plain bronze base mounted on a metal border with pointed flutes to three sides above the marble stand, figure only 34.5 x 31cm, 41 x 37cm overall Dannecker began work in 1803 on Ariadne in his home town of Stuttgart, eventually finishing the marble in 1814, having sold it prior to completion in 1810 to the prominent Frankfurt banker Simon von Bethmann. When the group left the town in 1816 to become the centrepiece of Bethmann’s Odeon (the first purpose built museum in Frankfurt), Stuttgart’s citizens apparently accompanied its departure with a chant of mourning: “Traur’, Oh Stuttgart, traur’ im Grame! Traur’ um deine schönste Dame” (Grieve, oh Stuttgart, grieve in sorrow! Grieve for your most beautiful lady”). The model's fame soon became widespread, leading to numerous reproductions in a variety of media. In 1856 the marble was moved further out of town to the ‘Ariadneum’ until severely damaged by fire in 1943. Following painstaking restoration begun in 1977, it may now be seen in the Liebieghaus in Frankfurt. £2,000-3,000

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43 ATTRIBUTED TO MATTHEW NOBLE (1817-1876): SIR ROBERT PEEL a dark brown patinated bronze figure, English, probably third quarter 19th century, modelled wearing tight trousers, frock coat and a heavy cloak draped off one shoulder, clutching a scroll to his breast in one hand, the other hand outstretched to his side, on square base Following the shocking death of Sir Robert Peel (1788-1850) while in office, from a riding accident, there was a great call for statues and busts of the prominent figure. Matthew Noble's marble of Peel for St George's Hall in Liverpool of 1853 appears to be closest in composition to this bronze, Noble also producing a number of busts with a similar tilt to the head, as well as varying full length figures such as those found in Bury, Salford, Tamworth and Parliament Square, London. £400-600

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44 AFTER ANTONIN MERCIE (1845-1916): DAVID a French bronze figure, Bardedienne Foundry, Paris, late 19th century, posed sheathing his sword, one foot resting on the head of Goliath, inscribed 'A. MERCIE', the circular base with strapwork border centred by a roundel titled '‫ 'דוד‬for David in Hebrew, inscribed to rear 'F. BARBEDIENNE, Foundeur' and 'RÉDUCTION MECANIQUE A. COLLAS BREVETÉ' circular stamp, 61cm high Modelled in Rome in 1869, Mercié presented the life-size figure at the Paris Salon of 1872, the first Salon held since the tumult of the Paris Commune and the preceding disaster of the Franco-Prussian war. Widely admired for its elegance, the figure was also seen as a symbol of France’s hopes for vengeance on the Prussians. The bronze cast by Thiébaut Frères was acquired by the state, exhibited primarily at the Luxembourg Palace and now at the Musée d’Orsay (RF.186).

The Barbedienne foundry produced a number of variously sized reductions, adding a loincloth not found on the original. £1,800-2,200

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45 IVAN FEDEROVICH KOVSHENKOV (1824-1898): 'BLACK SEA PLASTOON AT SEBASTOPOL 1854 AND 1855' a Russian patinated bronze figure of a Cossack, probably St Petersberg circa 1860, the fully armed foot soldier wearing a hat and long-sleeved coat with greenish patination, on a naturalistic base titled to the front and signed and dated 'I KOVENSHOV1856' to rear (in Cyrillic), 38.5cm high excluding wood stand (4cm high) Ivan Kovshenkov graduated from the Imperial Academy of Arts, St Petersburg, in 1852, elevated to academician in 1860.

Known for his genre figures, the Black Sea Plastoon (or Plastun) was one of two bronzes by Kovenshenkov chosen to feature amidst a select group of Russian paintings and sculpture at London's Great Exhibition of 1862 (Official Catalogue of the Fine Art Department, Foreign Division (Russia) No.1714, p.230). According to E.V. Karpova (‘Russian and Western European Sculpture of the 18th-Early 20th Centuries’, Saint Petersburg, 2009, p.274) Tsars Nicholas I and Alexander II both patronised the artist, an inventory of Alexander III’s rooms in the Anichkov Palace recording two Kovshenkov bronzes, the Black Sea Plastoon and another titled ‘Sarmat’. £5,000-7,000

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46 ~ ALEXANDRE LEONARD (1821-1877): UN MEHARISTE (ARAB CAMEL CAVALRYMAN) a French chryselephantine Orientalist group, probably Paris, late 19th century, modelled in gilt-bronze as a Bedouin warrior with carved ivory hands and face, holding a spear and mounted on a striding camel, naturalistic base inscribed 'A. LÉONARD', 29.5cm high including red and white marble plinth Alexandre Léonard specialised in animalier subjects, probably influenced by one of his masters, Barye. His works are sometimes misattributed to Agathon Léonard, since both signed similarly. See Pierre Kjellberg, 'Bronzes of the 19th Century', Atglen, 1994, pp.434-5, where another of the same model is illustrated; also see Sotheby's, Paris, 'Regards Sur L'Orient', 19 October 2006, lot 136A. £300-500

47 SIR ALFRED GILBERT, M.V.O, R.A. (1854-1934): VICTORY a dark patinated bronze figure, English, 1890s, the winged figure balanced on one foot on a globe set on a short turned socle, mounted on a stepped conical green marble base, bronze 16.5cm high, marble 8cm high Provenance: given by Alfred Gilbert to James Howard Ince (1857-1920); thence by family descent.

The architect and painter, Howard Ince, designed Gilbert’s combined house / studio at 16 Maida Vale, built in 1893. For Ince’s watercolour of the house from the courtyard, see RIBA No. PB289/14(3).

‘Victory’ derives from the figure on the orb in Queen Victoria's hand on Gilbert's monumental Winchester Jubilee Memorial of 1887. Although now best known for 'Eros' (or more correctly Anteros) in Piccadilly Circus, this Victory figure became a sort of emblem for Gilbert. Cast for the artist in a variety of sizes and with varying attributes and bases of a mixture of hardstones and bronze, the figure was often given as a gift by Gilbert to his friends, including John Singer Sargent and Henry Irving; for the latter, see the figure held by the Victoria and Albert Museum, No.1050-1905. £3,000-5,000

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48 CHARLES ROBINSON SYKES (1875-1950): 'ADAM AND EVE' a bronze group with dark greeny brown patination, English, early 20th century, the pair of embracing nudes standing on a naturalistic mound, titled and signed in the bronze 'ADAM / and EVE', 'CHARLES SYKES', on a green and black mottled marble square stand 9.5cm high, bronze 30cm high Provenance: John Buckland Wright (1897–1954), probably a gift from Charles Sykes; thence by direct family descent to the vendor.

The artist John Buckland Wright, principally known for his etchings and engravings, was a friend of Charles Sykes, owning a number of his works.

According to Wright's family, these were all given to him directly by Sykes.

The sculptor Charles Sykes, best known for his ‘Spirit of Ecstasy’ for Rolls Royce (see following lot), also worked as an illustrator, which apparently is how he got to know Wright. £1,000-1,500

49 CHARLES ROBINSON SYKES (1875-1950): 'SPIRIT OF ECSTACY' a bronze large Rolls Royce mascot, English, circa 1915, modelled as Eleanor Velasco Thornton with arms raised behind, her robes billowing like wings, inscribed in the bronze to circular base 'ROLLS ROYCE Ltd. Feb 6 1911 C SYKES', on a mottled red rusticated marble stand10cm high, bronze 17.5cm high excluding large threaded steel pin Provenance: John Buckland Wright (1897–1954), probably a gift from Charles Sykes; thence by direct family descent to the vendor. See previous lot for further details. £600-800

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50 ~ A PARQUETRY TABLE CHEST, MEXICAN, 17TH CENTURY rectangular, with four short and one long drawer, covered with geometric veneers of tortoiseshell panels surrounded by bone line inlay against an ebony ground, with brass reinforced corners, 36 x 43 x 35cm See 'El Legado Casa d'Alba' exhibition catalogue (29 November 2012-31 March 2013, Centro Cibeles de Cultura y Ciudadania, Madrid), Fundacion Casa d'Alba, item 130, for another Mexican chest with similar parquetry work.

Provenance: Property of a European Collector;Vernon Wethered (1865-1952) £800-1,200

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51 A SPANISH ARCHITECTURAL MODEL OF AN ARCH IN THE ALHAMBRA, RAPHAEL CONTRERAS STUDIO, GRANADA, LATER 19TH CENTURY an idealised scale reduction in plaster relief representing one of the lateral arches in the Hall of the Ambassadors, intricately patterned with foliate arabesques, strapwork and calligraphy including the repeated Nasrid motto 'There is no greater conqueror than Allah' (Wala ghaliba illa Allah), with polychromed 'tiles' and alabaster column and lining to the base and velvet backing to the window, in its original rectangular wood frame with label to reverse 'MODELO DE LOS GRANDES ARCOS LATERALES DE LA SALA DE COMARES... Reduccion hecho por CONTRERAS, restaurador de la Alhambra...', 63 x 37.5cm excluding frame 2.5cm wide Rafael Contreras Muñoz (1826-1890), the pre-eminent figure of the 19th century restoration of the Alhambra, was appointed its ‘restaurador adornista’ in 1847. As well as overseeing the works to the palace complex, he ran a workshop with his brother, Francisco Contreras Muñoz, producing models in a variety of media of the decoration found in the Nasrid buildings.

These proved highly popular with early visitors, contributing to a spreading fashion for ‘Alhambrism’. In 1868 the travel writer H. Pemberton published the recommendation: ‘Señor Contreras has a studio which was well worth visiting; he has blocks of the Moorish work, exact copies, in miniature, of various parts of the Alhambra Palace, both plain and coloured. They vary in size from eight to twenty inches, and in price from ten to forty dollars. We brought one or two of them to England, thinking they would look well inserted in a wall’ (H. Pemberton, ‘A Winter Tour in Spain’, London, 1868, p.222). A larger gilded version of the same arch is displayed in the British Galleries of the Victoria and Albert Museum (Room 125C, Accession No.REPRO.1890-52). £600-900

52 KONRAD LANGE (1806-1856): A SET OF SIX BRONZE MEDALS, 1836 from a series of twelve medals by Lange, probably produced in Munich, commemorating the marriage of Otto King of Greece to Duchess Amalia of Oldenburg and heroes of the Greek War of Independance, obverse with titled profile busts of the King and Queen, Otto as Prince of Bavaria, Petros Mavromichalis, Spiridon Trikoupis, Andreas Miaoulis and Ioannis Kapodistrias, each signed below truncation 'Κ. ΛΑΓΓΕ', the reverse with relevant scenes, 4.4cm diameter; together with another bronze medal, Konrad Lange, 1839, probably produced in Munich, commemorating the construction of the Othonian University (later University of Athens), obverse with bust of King Otto, signed under truncation, reverse showing the principal facade of the university, 4.4cm diameter; and a French bronze medal of Charles Nicolas Fabvier, Paris, 1829, the Philhellene shown in profile to sinister, signed under truncation 'FEUVRIER F.', 4cm diameter; each medal set circa 1960 in wood frames with giltwood inner border, 8.9cm square (8) Provenance: Collection of the late Basile Mostras (1904-1967), Greek Ambassador to the United Kingdom, 1953-1956. Thought to have been acquired at Spink and Son during this time. £2,000-3,000

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53 A PAIR OF REVERSE GLASS PRINTS, ENGLISH, 19TH CENTURY oval, one 'The Continence of Chevalier Bayard' after Edward Penny (1714-1791), the other (cracked) ‘Hector and Andromache’ after an oil attributed to Angelica Kauffmann (1741-1807), each in giltwood frame 54cm long £200-300

54 A CHINESE REVERSE GLASS PAINTING, 'SYLVIA FREED BY AMINTA', PROBABLY CANTON LATE 18TH CENTURY oval, painted after a print of Francois Boucher's oil of 1755, 39 x 29.5cm excluding later giltwood frame 3.5cm wide £800-1,200 32

55 A SAMPLER, PROBABLY ENGLISH, EARLY 19TH CENTURY worked in silks and wool using a variety of techniques on a linen ground, headed by a moralistic text and signature 'Issabella Bossingham / Aged 11 Years' above a scene of a house with sheep to the foreground flanked by trees topped by large nests with eggs, birds and butterflies, foliate and fauna motifs between and surrounding geometric flower border, 53 x 48cm excluding glazed maple frame with gilt slip 6cm wide, frame additionally glazed to reverse over a square of 19th century wallpaper £300-500 33

56 A CHINESE SILVER MUG, LEECHING, CANTON OR HONG KONG, SECOND HALF 19TH CENTURY tapering cylindrical, chased on a matted ground with a frieze of battling cavalrymen and foot soldiers centred on a vacant shield, with dragon handle, marked 'LC' on an applied tablet, 8.5cm high, 134g £200-300

57 A CHINESE SILVER STAND, WING NAM & CO., HONG KONG, EARLY 20TH CENTURY engraved with peonies and butterflies, the pierced rim chased with dragons amidst clouds, on four ball feet, WN and artisan stamps, 19cm diameter, 259g £150-250

58 ~ A CHINESE SILVER THREE-PIECE TEA SET, CIRCA 1900 tapering cylindrical matted ground bodies chased with a frieze of figures amidst pavilions surrounding a vacant cartouche, on tapered panel feet, the angular handles topped by guardian lion figures, the sugar bowl and cover and the milk jug with gilt interiors, the teapot with a spout in the form of an elephant's head, pot 17.5cm high; 1073g including ivory insulators to pot £800-1,200

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59 A PAIR OF MEXICAN SILVER TABLE PHEASANTS, PROBABLY MEXICO CITY 1940s modelled as a walking cock and hen, unmarked, 46.5cm long, 3722g £1,500-2,500

60 THREE SILVER SWEETMEAT BASKETS one a George III shaped oval example, pierced and chased with beading and scroll foliage, swing corded handle, probably Richard Meach, London, 1768, 16cm long; one probably Straits Chinese, oval, the sides pierced and chased with panels of birds amidst foliage, swing handle, on four ball feet, early 20th century, 19cm long; and one Mexican example, oval, decorated with dolphins, mermaids and foliage, on four dolphin feet, unmarked, 23cm long across end loop handles; 593g £250-350

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61 A SILVER CANDELABRUM, PROBABLY MEXICAN, 1940s the circular stick with baluster stem, chased overall with scroll foliate matted ground panels and fluted bands, the five-light branch with four curved arms and central light, the sconces with further chased fluting, stick stamped twice with a crowned shield initialled T(?)RF and '0910', 35.5cm high excluding two detachable flame finials; 1138g £300-500

62 A SPANISH SILVER DISH, PLATERIA D. GARCIA, BARCELONA, EARLY 20TH CENTURY shaped circular, engraved with a monogram below the applied reeded rim, underside rim stamped amphora, Barcelona shield and assayer 'LBB' marks, '916/000' and probable retailer 'JOSE NUNEZ', 30cm diameter, 609g £250-350

63 A SET OF SIX SPANISH GLASS HOLDERS AND A BOTTLE HOLDER, MADRID, 1990s each chased with foliate swags below applied scroll and shell rims, on scroll panel feet, 'teapot' trademark, small assay office and 925 stamps, 8cm high; together with six Mexican tot beakers and a measure, mid 20th century, plain tapering, stamped 925 Sterling, 4.5cm high; 1077g £400-600

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64 A SPANISH ICE BUCKET AND PAIR TONGS, MADRID, 1990s the tapering cylindrical bucket chased with floral swags above a waved band of lobes, on openwork volute feet, applied with everted loop handles, the tongs cast with foliage, shells and scrolls, both with 'teapot' trademark, small assay office and 925 stamps, bucket 20cm high; 1016g £400-600

65 A PAIR OF SPANISH DISHES IN SIZES, MADRID, 1990s shaped oval, each flat-chased with scroll foliage below a band of curved lobes and an applied rim of acorns and leafage, on four shaped panel feet, 'teapot' trademark, small assay office and 925 stamps, 45 and 34.5cm long, 2136g £800-1,200

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66 A SPANISH TRAY, MADRID, 1990s shaped oval, engraved with a band of scroll foliage, moulded below an applied rim and end handles of Rococo leafage, 'teapot' trademark, small assay office and 925 stamps, 57cm long, 1635g £700-1,000

67 A SET OF SPANISH PLATES IN SIZES, PASGORCY, MADRID, 1990s circular with gadroon rims, comprising twelve small and twelve large plates and one larger, each with 'spider' trademark, small assay office and 925 stamps, diameters 14, 30 and 33cm, 8632g (25) £3,000-4,000

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68 A SPANISH SILVER SOUP TUREEN, COVER AND STAND, GARRIDO HERMANOS, MADRID, MID 20TH CENTURY oval, each boldly lobed, the cover with artichoke finial, the tureen with dolphin-form drop-ring handles, the stand engraved with scrolling initials AW, the tureen and stand each on leaf-headed ball and claw feet, maker's and 915 standard marks, stand 57.5cm long; 6731g £3,000-4,000 69 A SPANISH SILVER TRAY, CIRCA 1940 oblong, plain excepting the gadroon rim and handles, underside rim stamped 'A. MONTERO', 915 standard and another indecipherable mark, 47cm long, 871g £300-500 70 (illustrated online) AN AMERICAN SILVER BOWL,TIFFANY & CO., NEW YORK, MID 20TH CENTURY dodecagonally faceted, waved rim, on three ball feet, Tiffany trademarks and 'STERLING SILVER', 12.5cm diameter, 206g £80-120 39

LOTS 71- 135 A London Private Collection of Dutch Silver Toys, predominantly acquired circa 1960-90.

71 A DUTCH SILVER CHANDELIER, JAN BONKET, AMSTERDAM, CIRCA 1770 for twenty-four lights, the stem of three spheres with tiers of S-scroll arms ending in drip-pans and cylindrical holders between, 11cm high excluding suspension ring £3,000-4,000

40

72 A DUTCH SILVER MINIATURE TWOHANDLED BOWL AND COVER, HENDRIK DULLER, AMSTERDAM, 1776 oval, shaped rims, the cover with foliate finial, 4.8cm. wide over handles £150-250

73 A DUTCH SILVER MINIATURE TEA CADDY, JAN BREDA, AMSTERDAM, CIRCA 1700 rectangular, chased with chinoiserie scenes on matted grounds, with a cylindrical patera-headed cap, 4.8cm high £700-1,200

74 A DUTCH SILVER MINIATURE DUST PAN, BRUSH AND FIRE TONGS, AMSTERDAM, 1740s the dust pan Arnoldus van Geffen, 1742, 2.9cm wide, the brush unmarked, 8.9cm long, the tongs with maker's mark a tree, possibly for Pieter van Somerwil I, 11cm long £200-300

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75 A DUTCH SILVER MINIATURE WINDMILL THREAD WINDER, MAKER'S MARK B ONLY, POSSIBLY FOR JAN BREDA OF AMSTERDAM, CIRCA 1700 on oblong base, with flower and scroll front and back panels and bird finials, one 'sail' repaired, 7cm high £500-700

76 A DUTCH SILVER MINIATURE GOBLET, UNMARKED, LATE 17TH CENTURY on hexagonal foot, knopped stem flanked by three supports with drop rings, each facet of the flared bowl engraved a stylised fruit, one initialled JH, 6cm high £400-600

77 A DUTCH SILVER MINIATURE SPINNING WHEEL, 19TH CENTURY on four turned legs, one fitting detached, probably pseudo marks of a pomegranate overstriking Amsterdam town mark, 9.5cm high £80-120

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78 A DUTCH SILVER MINIATURE EWER, PROBABLY LATE 17TH CENTURY hexafoil and on piédouche, with angular handle, 4.4cm high £300-500

79 A DUTCH SILVER MINIATURE BRAZIER, 18TH CENTURY octagonal and on four stud feet, with side door, each facet scroll engraved, the top pierced, with wire swing handle, the body 2.9cm high £200-300

80 A DUTCH SILVER MINIATURE MORTAR, FREDERIK VAN STRANDT II, AMSTERDAM, CIRCA 1740 girdled tapering cylindrical and with everted lip and two stud handles, 2.7cm high £600-900

81 A DUTCH SILVER MINIATURE CREAM JUG, ARNOLDUS VAN GEFFEN, AMSTERDAM, 1748 pear shaped and on three scroll feet, with shaped rim, 4.1cm high £100-150

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82 A DUTCH SILVER MINIATURE SNUFFER STAND AND A PAIR OF SCISSOR SNUFFERS, STAND MAKER'S MARK A TREE, POSSIBLY FOR PIETER, VAN SOMERSWIL I, AMSTERDAM, EARLY 18TH CENTURY on square base and with oblong body, the snuffers unmarked, 6cm high overall, the stand 3.8cm high £800-1,200

83 A DUTCH SILVER MINIATURE FOOT WARMER, ARNOLDUS VAN GEFFEN, AMSTERDAM, 1766 on oblong base, the cover pierced with rosette, hearts and stars, with drawer and swinging turned handle, 4.2cm wide £500-700

84 A DUTCH SILVER MINIATURE COFFEE POT, FIRST HALF 18TH CENTURY tapering cylindrical and on three stud feet, with scroll handle and domed cover, 4.4cm high £150-250

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85 A DUTCH SILVER MINIATURE COFFEE POT ON STAND,THE POT PROBABLY CIRCA 1760,THE STAND 19TH CENTURY the pear shaped coffee pot with scroll handle, domed cover, maker's mark only 'IS' (?), the stand on three tapering supports, 19th century tax marks, 7cm high £300-400

86 A PAIR OF DUTCH SILVER MINIATURE CANDLESTICKS, MAKER'S MARK A TREE OR A STANDING FIGURE, AMSTERDAM, EARLY 18TH CENTURY each on hexagonal base and with baluster stem and spool shaped sconce, 5.7cm high £600-900

87 TWO DUTCH SILVER MINIATURE SALT CELLARS, ONE ARNOLDUS VAN GEFFEN, ONE FREDERIK VAN STRANDT II, AMSTERDAM, SECOND QUARTER 18TH CENTURY each on a canted square base and with circular bowls, 2.9cm square £250-350

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88 A DUTCH SILVER MINIATURE COFFEE POT, MARKER'S MARK IB IN MONOGRAM, POSSIBLY FOR JAN BORDUUR, AMSTERDAM, 1754 pear shaped and on three scroll feet, with curved spigot and tap, 7.6cm high £300-500

89 A DUTCH SILVER MINIATURE CREAM JUG, JAN DIEDERIK PONT, AMSTERDAM, 1749 pear shaped and on three scroll feet, with shaped rim, 5cm high £300-400

88

90 A VICTORIAN SILVER MINIATURE COFFEE POT FORM PEPPERETTE AND A MINIATURE CHAMBERSTICK, SAUNDERS & SHEPHERD, CHESTER, 1895 plain tapering cylindrical pepperette, wood handle at right-angle to spout, with pellet pierced cover, 7cm high, the chamberstick circular with scroll handle, 3.8cm high; together with a miniature silver kitchen pepper, plain cylindrical and with scroll handle, London, 1939, 2cm high (3) £150-200

89

90

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91 A DUTCH SILVER MINIATURE SPITTOON, MARK OF FREDERIK VAN STRANDT II, AMSTERDAM, 1739 circular and with wide flaring top and scroll handle, 2.5cm high £300-400

92 A DUTCH SILVER MINIATURE CREAM JUG, MAKER'S MARK A DEVICE ONLY, PROBABLY 18TH CENTURY pear shaped and with scroll handle, 3.2cm high £100-150

93 A DUTCH SILVER MINIATURE TEAPOT, JOHANNES ADRIANUS VAN GEFFEN, AMSTERDAM, 1782 inverted pear shaped, the cover with chain detached at one end, 3.5cm high £300-500

94 A DUTCH SILVER MINIATURE NUTMEG GRATER, MARK OF FREDERIK VAN STRANDT II, AMSTERDAM, PROBABLY 1757 oblong and with shaped cresting, 6cm high £500-800

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95 A DUTCH SILVER MINIATURE CHAMBER CANDLESTICK, PIETER VAN SOMWERWIL I, AMSTERDAM, CIRCA 1740 circular, with shaped flat handle pierced with a heart, 7.6cm high £250-350

96 TWO DUTCH SILVER MINIATURE STRAINING SPOONS,THE FIRST UNMARKED, THE SECOND POSSIBLY ROTTERDAM, 19TH CENTURY the first with circular bowl with engraved rosette, the second with plain oval bowl and plain handle, 11cm and 9cm long £100-150

97 A DUTCH SILVER MINIATURE 'POFFERTJES' PAN, JAN BORDUUR, AMSTERDAM, 1756 the circular pan with three depressions, with plain handle, 8.3cm long £300-400

98 A DUTCH SILVER MINIATURE FRYING PAN, MAKER'S MARK NR/VR (?), AMSTERDAM, 1753 with plain circular pan and handle, 7.8cm long £200-300

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99 A DUTCH SILVER MINIATURE GRIDDLE WITH FISH, MARKS INDISTINCT, PROBABLY MID 18TH CENTURY on three plain supports, the griddle with six bars and baluster handle, applied with a fish, 7.8cm long £300-500

100 A DUTCH SILVER MINIATURE WINE COOLER, FREDERIK VAN STRANDT, AMSTERDAM, 1739 oval and with shaped rim and two drop ring handles, 5.4cm wide £400-600

101 A DUTCH SILVER MINIATURE COLANDER, UNMARKED, 18TH CENTURY plain circular and with two plain bracket handles, 5.4cm wide £150-250

102 A DUTCH SILVER MINIATURE BUTTER DISH AND COVER, MARK OF ARNOLDUS VAN GEFFEN, AMSTERDAM, 1763 circular, with shaped bracket handles, cover with flower finial, 2.3cm wide £400-600

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103 A DUTCH SILVER MINIATURE WATER CISTERN, MAKER'S MARK A FLEUR-DE-LYS ONLY, POSSIBLY 18TH CENTURY oblong and with curved front and with similar stand, the pierced and shaped cresting, curved spigot and tap, the lidded reservoir engraved with scrolls, 5.7cm high £250-350

104 A DUTCH SILVER MINIATURE PLATE, UNMARKED, POSSIBLY 18TH CENTURY plain circular and on rim foot, 3.8cm diameter £100-150

105 A DUTCH SILVER MINIATURE COFFEE URN, MAKER'S MARK HB ONLY, 18TH CENTURY pear shaped and on three scroll feet and with three spigots and taps, partly fluted, 8cm high £600-900

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106 A DUTCH SILVER MINIATURE SAUCEBOAT, MAKER'S MARK PROBABLY HD FOR HENDRIK DULLER, AMSTERDAM, CIRCA 1785 oval and on three scroll feet, the scroll handle applied with a flower, 6.5cm long £400-600

107 A DUTCH SILVER MINIATURE BRAZIER, JOHANNES ADRIANUS VAN GEFFEN, AMSTERDAM, 1778 circular and with shaped rim, on three scroll feet, with wood turned side handle, 8cm long £400-600

108 A PAIR OF DUTCH SILVER MINIATURE CANDLESTICKS, MAKER'S A FLEUR-DELYS CHARGED WITH TWO PELLETS ONLY, PROBABLY FOR BOELE RIJNHOOT, AMSTERDAM, CIRCA 1660 each with hexagonal base and drip pan and baluster upper stems, 3.5cm high £600-900

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109 A DUTCH SILVER MINIATURE TOBACCO BOX AND COVER canted square, the cover with baluster finial, bearing marks for Arnoldus van Geffen, Amsterdam, 1766, 2.5cm high £100-200

110 A DUTCH SILVER MINIATURE CANDLESTICK, UNMARKED, 19TH CENTURY shaped circular fluted base and fluted baluster stem, 5cm high £80-120

111 A DUTCH SILVER MINIATURE BRANDY BOWL, UNMARKED, PROBABLY 18TH CENTURY hexagonal and with pierced bracket handles, the body engraved with panels foliage and strapwork, 6cm long £400-600

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112 A DUTCH SILVER MINIATURE COFFEE POT, MAKER'S MARK F.S, POSSIBLY FOR FREDERIK VAN STRANT I, AMSTERDAM, CIRCA 1720 tapering cylindrical and on three stud feet, the body chased with acanthus bands, flutes and foliage, with scroll handle, 5.5cm high £700-1,000

113 A DUTCH SILVER MINIATURE WINE JUG pear shaped, the hinged domed cover with shell shaped thumbpiece, with scroll handle, bearing marks for Arnoldus van Geffen, Amsterdam, 1781, 5.5cm high

112

£100-150

114 A DUTCH SILVER MINIATURE INKSTAND, ARNOLDUS VAN GEFFEN, AMSTERDAM, 1738 oblong and of four stud feet, fitted with a pen-holder with quill, inkpot and pounce pot, 7cm long £1,500-2,500

113

114 53

115 A DUTCH SILVER MINIATURE TRAY, FREDERIK VAN STRANT I, AMSTERDAM, FIRST HALF 18TH CENTURY oblong and with angled sides pierced with handles, on four stud feet, 7 long £500-800

116 A PAIR OF DUTCH SILVER MINIATURE CUPS AND SAUCERS,THE SAUCERS WITH MARK OF JOHANNES ADRIANUS VAN GEFFEN, AMSTERDAM, 1773 plain circular, each on rim foot, the saucers faintly engraved with a star, the saucers 3cm diameter £400-600

117 A PAIR OF DUTCH SILVER MINIATURE PLATES, JAN BONKET, AMSTERDAM, 1772 shaped circular and with zig zag borders on the rims, the centres faintly engraved with a star, 4cm diameter £400-600

118 A SILVER MINIATURE SPOON AND FORK, PROBABLY DUTCH 18TH / 19TH CENTURY Hanoverian pattern, the fork with Dutch import marks and 4.5cm long £80-120

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119 A DUTCH SILVER MINIATURE SHAVING DISH, JOHANNES VAN SOMERWIL, AMSTERDAM, 1759 plain circular and on rim foot, the bowl with neck notch, 4.5cm diameter £150-250

120 A DUTCH SILVER MINIATURE CANDLESTICK, PROBABLY 19TH CENTURY on square base with crImped borders, with fluted column stem, 3.5cm high £80-120

121 THREE DUTCH SILVER MINIATURE CANDLESTICKS, ALL MAKER'S MARK IB IN MONOGRAM, POSSIBLY FOR JAN BORDUUR, AMSTERDAM, 1755/59/61 on canted square stepped bases, flared stems of conforming outline and waisted sconces, 4.6cm high £700-1,000

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122 A DUTCH SILVER MINIATURE WALL SCONCE, WITH INDISTINCT MARKS, POSSIBLY LATE 17TH CENTURY the shaped back plate chased with scrolling foliage and two putti, the base plate with scroll brackets and curved front, 7.5cm high £800-1,200

123 A DUTCH SILVER MINIATURE BASKET WITH BOTTLE FRAME AND FOUR BOTTLES, JAN DIEDERIK PONT, AMSTERDAM, 1755 the shaped oval basket pierced and engraved with urns and swags, fitted with foliate scroll frame with faceted bottles in two sizes, the central finial with detachable sugar caster, 9cm across handles £1,200-1,800

124 A DUTCH SILVER MINIATURE BEAKER, UNMARKED, PROBABLY 17TH CENTURY plain tapering cylindrical and with flared lip, engraved, with panels of foliate scrolls, 4cm high £200-300

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125 A DUTCH SILVER MINIATURE BEAKER, UNMARKED, PROBABLY 17TH CENTURY plain tapering cylindrical and with flared lip, engraved with scales each half of which are engraved with zig-zag, ornament, the side with the initials FS, 4cm high £200-300

126 A DUTCH SILVER MINIATURE WALL SCONCE, FREDERIK VAN STRANT I, AMSTERDAM, CIRCA 1720 the shaped back plates chased with foliate scrolls, the drip pan and sconce on scroll branch, town mark misstruck and no date letter, 7.3cm high £800-1,200

127 A DUTCH SILVER MINIATURE TEA CADDY, UNMARKED, PROBABLY 18TH CENTURY globular, with gadrooned foot and shoulder, the detachable cover with ball finial, 5cm high £400-600

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128 A DUTCH SILVER MINIATURE EGG DISH, INDISTINCT MAKER'S MARK WA (?) IN MONOGRAM ONLY, STRUCK TWICE, PROBABLY EARLY 18TH CENTURY shaped oval, engraved between four depressions for eggs, 6cm long £300-500

129 A DUTCH SILVER MINIATURE MONTEITH, PROBABLY 19TH CENTURY circular, part spirally fluted and with shaped rim and two drop ring handles, engraved with a coat of arms, mark of letter 'U' only, 7cm diameter £150-250

130 A DUTCH SILVER MINIATURE STANDING SALT CELLAR, WILLEM VAN STRANT, AMSTERDAM, CIRCA 1730 triangular and on three fluted scroll feet, with standing putto centring the columnar supports, the top with three baluster finials and salt depression, 5cm high £700-1,000

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131 A DUTCH SILVER MINIATURE COFFEE GRINDER, MAKER'S MARK IB IN MONOGRAM, POSSIBLY FOR JAN BORDUUR, AMSTERDAM, 1739 rectangular, the front with sliding drawer with baluster handle, the top with bowl and grinder handle, 4cm wide £500-700

132 A PAIR OF DUTCH SILVER MINIATURE SALT CELLARS, FREDERIK VAN STRANT II, AMSTERDAM, CIRCA 1730 each on a canted square stepped base, the similar top with circular salt depression, waisted stem between, 3.5cm square £300-500

133 A DUTCH SILVER MINIATURE TEA BOWL AND SAUCER, UNMARKED, PROBABLY 19TH CENTURY plain circular, saucer 2cm diameter £100-200

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134 A DUTCH SILVER MINIATURE KETTLE ON BRAZIER STAND, ARNOLDUS VAN GEFFEN, AMSTERDAM, 1754 the plain kettle almost spherical, its cover with baluster knop and swing handle with turned central section, the shaped circular waisted brazier with three supports to kettle, two drop-ring handles and on three volute feet, 9cm high £800-1,200

135 A DUTCH SILVER MARRIAGE CASKET, DATED 1748 oblong and on ball feet, swing handle, seraph clasp, the sides engraved with vignettes of figures in interiors or landscapes, the domed lid with pairs of figures all emblematic of marriage, surrounded by scroll foliage, dolphins and birds, the underside with pricked inscription 'Dit heeft Fietke / Hiddes tot een Gedagtenis / aen Laes Jans gegewen /1748', unmarked, later control marks, 7.5cm long £2,000-3,000

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136 (illustrated online) A GEORGE IV SILVER SOUP LADLE, WILLIAM CHAWNER, LONDON, 1829 Fiddle pattern, initialled M, 32.5cm long, 189g £100-150

137 138 (part)

137 A SET OF THIRTEEN AMERICAN SILVER FISH KNIVES AND THIRTEEN FORKS, DOMINICK & HAFF FOR RETAIL BY HOWARD & CO., NEW YORK, CIRCA 1900 Louis XIV pattern, initialled, hollow handles, stamped STERLING, trademarks and HOWARD & CO. (26 pieces) £500-800 138 A COLLECTION OF ASSORTED FRENCH AND AMERICAN SERVING PIECES, 20TH CENTURY the following with loaded silver decorated handles and plated tines or blades: a pair of French fish servers, a French bone holder, carving fork and ladle, and a Continental fish server with gilt-metal blade; together with the following American silver items: a serving spoon with gilt frosted bowl and stamped handle, a pierced spork, a dessert fork and four assorted spoons, solid items 380g (14) £200-300 139 (illustrated online) ASSORTED SILVER TEASPOONS comprising: a Victorian set of six, richly stamped with foliate scrolls, the terminals with a winged putto, reverse with vacant cartouche, William Comyns & Sons, London, 1897; a Scottish set of three, plain Kings shape, William Davie, Edinburgh, circa 1770; and a set of four, Old English with a half bowling ball motif to terminal, A.L. Davenport Ltd., Birmingham, 1935/36; together with a pair of small silver sugar tongs, with shell motif; and a Dutch silver Christening spoon, twist stem with galleon terminal, H. Hooykaas, Schoonhoven, circa 1950, 833 standard; 254g (15) £100-200 61

140 A SET OF TWELVE VICTORIAN FRUIT KNIVES AND TWELVE FORKS, WILLIAM HUTTON & SONS, LONDON, 1892 with silver tines and blades, the mother-of-pearl handles with reeded silver bolsters and terminals, in its walnut case inlaid with a vacant brass shield, the blue velvet and satin fitted interior with ivorine label for the retailer Ollivant & Botsford of Manchester £120-180

140

142 AN EDWARDIAN SILVER AND MOTHEROR-PEARL DESSERT SERVICE, HARRISON BROTHERS & HOWSON FOR RETAIL

BY CARRINGTON & CO., LONDON AND SHEFFIELD, 1904 silver bowls, tines and blades, the leaf-capped filled handles with mother-of-pearl ribs alternating with silver reeding, comprising twelve spoons, twelve three prong forks and twelve knives, all in a brass bound fitted case with two trays (36 pieces) £200-300 141 A SET OF TWELVE EDWARDIAN SILVER FRUIT KNIVES AND TWELVE FORKS, HARRISON BROTHERS & HOWSON, SHEFFIELD1903 plain silver tines and blades, the loaded silver handles with beaded reeded borders and engraved with a crest £120-180

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143 (illustrated online) A SET OF SIX GEORGE V FRUIT KNIVES, NORTHERN GOLDSMITHS CO., SHEFFIELD, 1934 silver blades and angular bevelled mother-of-pearl handles, in a fitted case; together with a set of six dessert forks and two knives, Frederick C. Asman & Co., Sheffield, 1909, with brightcut decorated silver tines and blades and shaped mother-of-pearl handles; a further set of three dessert forks and a knife, with silver tines and blade and shaped mother-of-pearl handles; and a single knife with silver blade and nacre handle (19) £80-120

142

144 (illustrated online) GEORGIAN AND VICTORIAN TABLE SILVER various makers, comprising: four Old English pattern tablespoons, London, 1798-1810; six Fiddle pattern dessert spoons, 1816/18/45; a Fiddle pattern sauce ladle, Thomas Wilkes Barker, London, 1814; a pair Fiddle pattern sugar tongs, initialled, William Eaton, London, 1834; and three condiment spoons; 617g (15) £250-350 145 A SILVER TUMBLER CUP, PAULA FRANCES TOLHURST, LONDON, 1987 typical simple form, hammered, gilt interior, Britannia standard, 9cm diameter; together with another silver tumbler cup, D. & J. Wellby, London, 1961, initialled D.A.J., underside inscribed 'D. & J. WELLBY / 18 Garrick St. W.C.2', 7.5cm diameter; 374g (2)

145

£150-250 146 A SILVER CIGAR BOX, JOHN ROSE, BIRMINGHAM, 1961 rectangular, with engine-turned lightly domed lid, cedar lined interior, 25.5cm long £150-250 146

147 ~ TWO ART DECO GEORGE V SILVER DISHES, CHARLES BOYTON & SON LTD., LONDON, 1930 / 31 the hammer-finished circular bowls on short pedestals with hexagonal and moulded bases, each set at the rim with a silver bracket to the bifurcated ivory handle, each with facsimile signature to underside 'Charles Boyton', 13cm long, 338g all in £300-500

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148 (illustrated online) THREE ENGLISH SILVER CIGARETTE BOXES, 20TH CENTURY all cedar lined: one rectangular and engine-turned all over excepting an inscribed rectangle to front, C.J.Vander Ltd., London, 1960, 14cm long; one rectangular with engine-turned top and on bracket feet, Turner & Simpson, Birmingham, 1959, 13cm long; and one square with panel intialled MES, maker's mark rubbed, Birmingham, 1938, 8.5cm £100-150

149 A SET OF FOURTEEN SILVER DWARF CANDLESTICKS, MAKER'S MARK W.E.V., SHEFFIELD, 1996 stepped circular bases rising to capstan form sconces, complete with detachable nozzles, 7cm high, loaded £700-1,000 150 (illustrated online) A SET OF SIX SILVER COASTERS, A. CHICK & SONS LTD., LONDON, 1969 with bulging silver sides and turned wood bases, 8cm diameter; together with a Spanish silver novelty cocktail stick holder, mid 20th century, in form of a fighting bull impaled by four 'banderillas', 915 standard and indecipherable maker's marks, 9cm long (7) £80-120

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151 A SILVER EPERGNE / CENTREPIECE, J.W. EVANS & SONS LTD., BIRMINGHAM, 1992 in George IV style, the shaped square base on anthemion panel feet, with waisted socle, the domed middle with central finial under a circular frame on foliated scroll supports flanked by four detachable curved arms ending in circular frames on leaf supports each centred by a screw-in flowerhead, alternatively with four screw-in leafy candle sconces with detachable nozzles, with gadroon or foliate borders throughout, complete with its Royal Brierley cut-glass central bowl and four smaller bowls, 32.5cm high, 3558g £2,000-3,000

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152 A GEORGE V SILVER SALVER, JAMES DEAKIN & SONS, SHEFFIELD, 1925 shaped circular, engraved with a vacant roundel and a band of shells and scroll foliage, moulded rim, on four volute feet, 20.5cm diameter, 372g £150-250 153 A SILVER HOT WATER JUG, EDWARD BARNARD & SONS LTD., LONDON, 1963 in early 18th century plain tapered octagonal style, domed lid and bell finial conforming in outline, 23cm high, 555g including composition handle

153

£200-300 154 ☐ (illustrated online) AN ELECTROPLATE TRAY, BARKER BROTHERS, SHEFFIELD, EARLY 20TH CENTURY oblong, in George IV style, the presentation inscription surrounded by foliage and diaperwork, with foliate, shell and scroll raised border and handles, 75cm long £40-60 155 A GEORGE V SILVER LARGE SPIRIT FLASK, CHARLES BOYTON & SON LTD., LONDON, 1921 plain rounded oblong, hinged bun cap with bayonet fitting, 20cm long, 360g £200-300 66

155

156 A PAIR OF GEORGE V SILVER CANDELABRA, GEORGE EDWARDS & SONS, SHEFFIELD, 1910 the loaded sticks with circular bases and flared stems, the three-light branches each with central light on baluster stem flanked by a pair of reeded twist arms ending in drip-pans, with vase-shaped sconces and bead and rail borders throughout, complete with eight detachable nozzles and a pair of detachable urn finials, 56cm high, weighable silver 2450g £1,500-2,500

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157 A PAIR OF EDWARDIAN SILVER LARGE VASES, WILLIAM COMYNS & SONS, LONDON, 1905 trumpet shaped, waved rims, 35.5cm high, loaded; together with a smaller pair of George V silver vases, similar excepting a beaded border to bases, A. & J. Zimmerman, Birmingham, 1911, 20.5cm high, loaded (4) £200-300

158 A PAIR OF ELECTROPLATE 'LYRE' CANDLESTICKS, PROBABLY SHEFFIELD, CIRCA 1900 in late 18th century form, plated on copper, with reeded rims, the oval bases with flutes rising to the lyre stems, fluted sconces and detachable nozzles, 26cm high £60-80 159 THREE SILVER CREAM JUGS comprising: an Irish example in mid 18th century style, boldly chased with foliage and to one side with a fox staring intently at a grape laden vine and to the other with a shaped vacant cartouche, on three shell-headed pad feet, John Smyth & Sons, Dublin, 1907; one oval with reeded rim and handle, bright-cut borders and an oval initialled WSG, Stephen Adams, London, 1800; and one helmet-shaped with reeded rims, brightcut engraved with wrigglework and palmette borders and a vacant shield, probably Peter & Ann Bateman, London, 1795, 14cm high; 370g £180-220

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160 AN EDWARDIAN SILVER 'VAPHEIO' CUP, NATHAN & HAYES OF BIRMINGHAM, CHESTER, 1902 cast and chased to reproduce the 'Peaceful Cup' after the Minoan or Mycenaean gold original depicting the capturing of a bull, the everted handle later engraved to the top flange 'Philippa Mary Emma / Steel / 1933', 14cm long, 292g £100-150

161 A SCOTTISH EDWARDIAN SILVER BOWL, STEWART DAWSON & CO. LTD., GLASGOW, 1909 in the form of a large quaich, circular on plain rim foot, applied between the everted lug handles with six 'Celtic' bosses depicting fish, a galleon or a dragon, 34cm long, 1183g £500-800 162 AN EDWARDIAN SILVER HOT WATER JUG, HAWKSWORTH, EYRE & CO. LTD., LONDON, 1905 part lobed baluster with beaded borders and cast leafy beaded spout, 24cm high, 529g including composition handle £250-350

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163 AN EDWARDIAN SILVER MILK JUG AND SUGAR BOWL SET, CARRINGTON & CO., LONDON, 1905 in early 18th century style, circular, each applied with straps below an applied girdle and engraved with monogrammed initials below the shaped and scroll applied rim, undersides stamped for Carrington & Co., lightly gilt interiors, milk jug 11cm high; 560g £250-350

164 ☐ A MATCHED PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, BIRMINGHAM, 1902/07 each relief mount with stylised fruits and foliage centred at the top by a flowerhead later decorated in blue and green enamel paint, with bevelled glazing, the shaped oak backs with easel struts, one Reynolds & Westwood, Birmingham, 1902, one Nathan & Hayes of Birmingham, Chester, 1907, 35cm long £200-300

165 ☐ AN EDWARDIAN SILVER AND ENAMEL PHOTOGRAPH FRAME, DEAKIN & FRANCIS LTD., BIRMINGHAM, 1904 the relief mount with hammered ground against stylised lilies flanking a vacant cartouche, with contemporary blue and green enamel highlights to two flowers to top and to bean-shaped motifs to base, with bevelled glazing and a shaped oak back with easel strut, 24cm long £150-250

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166 ☐ A PAIR OF EDWARDIAN SILVERMOUNTED PHOTOGRAPH FRAMES, J. AITKIN & SON, BIRMINGHAM, 1904 each arched and shaped relief mount with to one side a nightingale perched amidst blossom and singing under a fingernail moon, glazed off-set rectangular apertures, later mahogany conforming backs with easel struts, P.O.D.R. No.453054 for 1905, 24cm long £200-300

167 ☐ A PAIR OF EDWARDIAN SILVERMOUNTED PHOTOGRAPH FRAMES, J. & R. GRIFFIN OF BIRMINGHAM, CHESTER, 1905/07 rectangular, each relief mount with a bobbled ground under stylised irises, the four flowerheads later decorated in blue and green enamel paint, each with a vacent ovoid boss to top, glazed over oak backs with easel struts, 31.5cm long £200-300

168 ☐ AN EDWARDIAN SILVER PHOTOGRAPH FRAME, WILLIAM M. HAYES, BIRMINGHAM, 1901 the shaped mount moulded in relief with irises and tulips on a frosted ground flanking a vacant boss to the top, glazed shaped aperture, later oak back with easel strut, 21cm long £100-200

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169 ☐ A PAIR OF EDWARDIAN SILVERMOUNTED PHOTOGRAPH FRAMES, E. MANDER & SON, BIRMINGHAM, 1902/04 the shaped and relief mounts with stylised irises centred by a vacant cartouche to the top, glazed over later mahogany backs of conforming outline, easel struts, P.O.D.R. number for 1901, 32cm long £200-300

170 ☐ AN EDWARDIAN SILVER-MOUNTED 'LOHENGRIN' PHOTOGRAPH FRAME, S. BLANCKENSEE & SONS LTD., BIRMINGHAM, 1905 the shaped mount in relief with to one side the Wagnerian Knight of the Holy Grail, Lohengrin, standing in a coracle drawn by a pair of swans (on his way to the stricken Elsa), glazed over the shaped oak back with easel strut, P.O.D.R. No.449642 for 1905, 23.5cm long £300-400

171 AN EDWARDIAN SILVER-GILT CASTER, ELKINGTON & CO. LTD., LONDON, 1905 richly cast and chased in George II style, covered in panels of diaper or scalework embellished with rocaille, foliage and straps, the cover with finial formed as a squat urn and cover, 21cm high, 501g £300-400

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172 TWO VICTORIAN SILVER TROPHY CUPS typical form with scroll handles, each with an applied girdle and on piedouche, one applied with foliate straps, Holland, Aldwinckle & Slater, London, 1893, 13.5cm high, the other plain, Wakely & Wheeler, Dublin, 1896, 12cm high; 709g £300-400 173 A VICTORIAN SILVER COFFEE POT, ARMY & NAVY CO-OPERATIVE SOCIETY LTD., LONDON, 1890 pedestal oval, part lobed 'Queen Anne' pattern, 25cm high, 570g including ebonised handle and finial

172

£250-350 174 (illustrated online) A PAIR OF VICTORIAN SILVER VASES, WILLIAM COMYNS & SONS, LONDON, 1887 baluster bodies chased with foliate pendants between ribbed bands, each on three rams headed slender supports centred by a bud pendant, 14.5cm high, 293gr £80-120 175 (illustrated online) A VICTORIAN SILVER BRANDY BOWL, JACOBES J. OOSTERBAAN, LONDON, 1878 shaped oval with scroll handles, set with a cast oval of the Rape of Proserpine within beaded bands, 13cm; together with a George III silver milk jug, shaped oval and wrigglework decorated, maker's mark rubbed, London, 1804, 12.5cm long; and a small silver quaich, typical form, James Dixon & Sons, Sheffield, 1912, 12cm long; 305g (3)

173

£150-200 176 A VICTORIAN SILVER DISH RING, CARRINGTON & CO., LONDON, 1899 after Irish 18th century examples, the waisted sides pierced and chased with a vacant cartouche surrounded by scrolls, foliage, birds and a chinoiserie figure, 19.5cm diameter, 519g £350-450 176 73

177 A PAIR OF SILVER-GILT TOILET BOXES, F.B.THOMAS & CO. OVERSTRIKING ANOTHER, LONDON, 1884 in Queen Anne style, circular, with gadroon rims, one with hinged lid, the other with detachable cover, undersides with the retailer's stamp 'THOMAS / 153 NEW BOND STREET', 13cm diameter, 945g £400-600

178 A SET OF TWELVE ELECTROPLATED SHEFFIELD PLATE DESSERT PLATES, EARLY 19TH CENTURY shaped circular, with gadroon rims, 25cm diameter; together with an electroplate soup tureen, cover and stand, mid 19th century, the oval stand and pedestal tureen with egg and dart rims, tureen initialled E.I.C., 45.5cm across end handles (15) £200-300

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179 A VICTORIAN SILVER CHRISTENING MUG IN CASE, HOLLAND, SON & SLATER, LONDON, 1879 the mug chased in Indian style with a matted ground band of birds and flowers amidst scrolling foliage surrounding a roundel engraved 'Mabel Alexina Usborne / APRIL / 1880' and between geometrically patterned borders, on three ball feet, plain loop handle, gilt interior, 10cm high, 172g, its shaped leather original case with gilt line detail and green velvet/satin lining £100-150 180 A VICTORIAN SILVER INKSTAND, JAMES CHARLES EDINGTON, LONDON, 1854 bold scallop form, P.O.D.R. lozenge for 1851, 23cm long, 293g; together with an associated silver-mounted glass inkwell, Edward Barnard & Sons, London, 1880, the bulbous cut-glass body with diaperwork and prominent faceted bosses, engraved domed silver lid and plain base mount (2) £100-150 181 ~ A VICTORIAN SILVER THREE-PIECE TEA SET, JOHN WILMIN FIGG, LONDON, 1839 vase shaped, chased to the shoulders on a matted ground with trailing wildflowers including convolvulus, scrolls and a cartouche engraved with entwined initials ASW, below with a band of reeded lobes, all with acanthus leaf handles, the milk jug and sugar bowl with gilt interiors, the teapot with rococo leaf finial, pot 25cm long; 1508g including ivory insulators to pot £800-1,200

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182 A VICTORIAN SILVER LARGE SALVER, GEORGE RICHMOND COLLIS & CO., BIRMINGHAM, 1847 shaped oval, engraved with an achievement of arms surrounded by a broad band of foliage scrolling around fruits, flowers and birds and four rustic vignettes suggesting the seasons, depicting a courting couple, a mother balancing a basket of flowers on her head and holding her child by the hand, harvesters, and dogs chasing a stag, the cast and chased applied rim openworked with fruit-laden vines hiding further dogs, shells, scrolls and four masks also emblematic of the seasons, on four leafy S-scroll supports with shaped rocaille pad feet, 61cm long, 3800g The arms are those of Noel quartering Lovelace and Wentworth. These arms were borne by Edward Noel, 1st Viscount Wentworth (1715-1774) and his son and heir, Thomas Noel, 2nd Viscount Wentworth (1745-1815). The arms on the present salver were probably engraved for the latter’s illegitimate son, the Rev. Thomas Noel of Kirkby Mallory (17751853), who was twice married, first to Catherine Smith, and second, at Calais on 1 March 1838, to Henrietta Elizabeth Fisher. £3,000-4,000

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183 TWO ENGLISH SILVER MUSTARD POTS, GEORGE III AND VICTORIAN both of drum form, the earlier example engraved with a crest below an earl's coronet between beaded rims, the lid with chair-back thumpiece, maker's mark indecipherable, London, 1779, the later example with a vacant roundel surrounded by chequered patterning, the sides with worn chequering, Edward Barnard & Sons, London, 1856, both 7cm high, 248g excluding blue glass liners £150-250

184 ~ A WILLIAM IV SILVER COFFEE POT, WILLIAM HEWITT, LONDON, 1836 ribbed baluster body on piédouche, finely chased with matted ground panels and borders of flowers and foliage surrounding two shaped cartouches each engraved with a crest, with cast and applied foliate rim and cast flower finial, the similarly chased spout and silver handle both with applied leaf capping, 24.5cm high, 889g including ivory insulators £400-600

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185 A PAIR OF GEORGE III SILVER PLATES, FOGELBERG & GILBERT, LONDON, 1792 shaped circular, the rims engraved with a coat of arms below the gadroon border, 24.5cm diameter, 1084g The arms are those of Freke quartering Evans, Stafford and another impaling Gore for Sir John Evans-Freke, 2nd Bt. (11 November 1765 – 12 May 1845), who succeeded to the title upon the death of his father on 20 March 1777. On 25 January 1783 he married his cousin, Lady Catherine Charlotte (1766-1852), third daughter of Arthur Saunders Gore, 2nd Earl of Arran. Sir John succeeded in 1807 his first cousin once removed as 6th Baron Carbery.

‘DEATH OF LORD CARBERY-We regret to have to announce the death of the above-named noble lord, who expired on Monday, the 12th inst., at the family seat, Castle Freke, Ross Carbery, county of Cork, after a severe illness. His lordship, who was in his 80th year, was the sixth peer, and is succeeded in his title and estates by his nephew, George Partick Percy Evans Freke. The noble lord was one of the largest landed proprietors in Ireland, and having constantly resided on his estates in that country, his loss will be deeply lamented by his affable manners, and his constant attention to their wants. His lordship was one of the Irish representative peers, a baronet, and a grand-master of the Freemasons of Munster. The present peer has three brothers, Henry Augustus Evans Freke, a captain in the Grenadier Guards; Fenton John Evans Freke, a captain in the 2d Regiment of Life Guards; William Charles Evans Freke, married to the Lady Sophia Sherwood, youngest sister of the Earl of Harborough; and a sister, married to the Hon. Charles Broderick Bernard, second son of the Earl of Bandon.’ (The Morning Herald, London, 16 May 1845, p.5c) £600-900

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186 A GEORGE III SILVER TEA KETTLE ON STAND WITH BURNER, WAKELIN & TAYLOR, LONDON, 1796 the kettle engraved with a coat of arms within a Rococo foliate cartouche, wicker-wrapped swing handle, the cover with gadroon rim and compressed bun finial, the triform stand with shaped apron engraved with the Bathurst crest above applied gadrooning, with three shaped supports and shaped pad feet, plain cylindrical burner and cover, 37cm high, 1301g all in The arms are those of Bathurst quatering Villiers, probably for a member of the family of the Earls Bathurst. £600-900

187 A GEORGE III SILVER BASKET, MAKER'S MARK RUBBED, LONDON, 1802 shaped oval, reeded rims, bright-cut engraved with a band of scroll foliage and a continuous waved riband between wrigglework borders, reeded swing handle, waisted foot, contemporary engraved inscription to exterior 'A token of Friendship / in grateful remembrance', 39cm long, 786g £400-600

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188 A GEORGE III SILVER WINE FUNNEL, WILLIAM ALLEN, LONDON, 1802 the body engraved with intials ID between reeded bands and below the lobed spout, the detachable base with stylised flowerhead pellet piercing and gadroon rim, 13.5cm high, 153g £150-250

189 TWO GEORGE III SILVER MILK JUGS, BOTH LONDON one ovoid, bright-cut with a vacant cartouche and wrigglework borders, George Burrows, 1800, 11cm high, one pedestal helmet shaped, with wrigglework borders and an initialled shield, William Abdy, 1798, 13.5cm high; 190g all in

188

£100-200

190 (illustrated online) A PAIR OF GEORGE III SILVER SALT CELLARS, JOHN MUNS, LONDON, 1764 typical cauldron form, on three pad feet, with corded rims, gilt interiors, underside later engraved with presentation initials, 6.5cm diameter; together with an Edwardian silver milk jug, shaped baluster, on four feet, James Deakin & Sons of Birmingham, Chester, 1904, 13.5cm high; and a silver sauceboat, typical oval form, reeded rims, J.B. Chatterley & Sons Ltd., Birmingham, 1962, 15cm long; 470g (4) £200-300

191 A GEORGE III SILVER TEAPOT, HENRY CHAWNER, LONDON, 1795 shaped oval, bright-cut engraved with wrigglework and foliate scrolls between vertical ribbed bands, further engraved with two vacant wreaths, 25cm long, 444g including wood handle and finial £300-500

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189 (part)

192 A GEORGE III SILVER BASKET, HENRY BAILEY, LONDON, 1769 oval, engraved with floral embellished scrolling initials JE, the sides with geometric or scroll pierced panels between curved and beaded lobes below a geometric pierced and applied berried leaf rim, swing handle loop pierced and engraved with a crest, on a diaper pierced spreading foot, 34.5cm long, 900g £700-1,000

193 A GEORGE II SILVER SAUCEBOAT, JAMES MORISON, LONDON, 1754 oval, waved rim, leaf-capped C-scroll handle, on three trefoil-headed stepped pad feet, 16cm long, 219g £120-180

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194 A PAIR OF SCOTTISH GEORGE II SILVER WAITERS, EDWARD LOTHIAN, ASSAY MASTER HUGH GORDON, EDINBURGH, 1746 shaped circular, engraved with a crest and motto, with moulded border below an applied rim of foliate scrolls and shells, each on three pad feet, 20cm diameter, 653g The crest and motto is that of Menzies. £800-1,200 195 A GEORGE II SILVER SALVER, MAKER'S MARK RUBBED, LONDON, 1735 showing traces of an engraved coat of arms surrounded by probably later flat-chased scroll foliage, leafy scroll rim, on three volute feet, 22cm diameter, 427g £200-300

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196 A GEORGE II SILVER SAUCEBOAT, ATTRIBUTED TO DAVID WILLAUME, LONDON, CIRCA 1740 the fluted shell-shaped bowl with waved reeded rim, the handle cast as a heron holding an eel perched on bushy foliage, later engraved with a crest and motto below the shell-applied lip, on a shaped oval stepped piedouche, underside with contemporary scratch weight '22 -14', unmarked, 21.5cm long, 667g A surprising number of mid 18th century Rococo/figural cast silver items, especially cream jugs and sauceboats, probably all made in London, are unmarked at this period. For a pair of sauceboats of the same pattern as the present lot, marked for David Willaume, 1737, see Christie’s, London, 1 December 2004, lot 668, with scratch weights ‘20=19' and '20=11' (previously sold Sotheby's, London, 13 June 1983, lot 48, also illustrated in Vanessa Brett, ‘Sotheby's Directory of Silver 1600-1940’, London, 1986, p.198.) Sauceboats marked for Willaume with the same body and foot as this example, but with scroll handles, have been noted, such as a pair offered at Sotheby’s, New York, 19 April 2021, lot 146. Other sauceboats with similar heron and eel handles, but with differing bodies have also been recorded with the maker's marks of Frederick Kandler (1737, Ashmolean Museum, No.WA1959.40.1.1) and William Cripps (1749, Arthur Grimwade, Rococo Silver, London, 1974, pl. 34c). £2,000-3,000

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197 A PAIR OF GEORGE I SILVER MEAT DISHES, DAVID WILLAUME, LONDON, 1725 in sizes, elongated oval, engraved below the applied guilloche rim with a coat of arms, Britannia standard, 42 and 38cm long, 3704g The arms are those of William Capel, 3rd Earl of Essex (1697-1743). For another pair of matching meat dishes in sizes, evidently from the same service for the Earl of Essex, see Christie's, London, 12 June 2006, lot 145. £2,000-3,000

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198 A PAIR OF GEORGE I SILVER TRENCHER SALTS, EBENEZER ROE, LONDON, 1714/15 decagonal baluster, engraved with a crest, circular wells, Britannia standard, 6.5cm wide, with two later clear glass liners; together with two George III silver salt shovels, Old English pattern, one crested, indecipherable bottom struck mark, the other initialled, indecipherable maker's mark, London, 1789; 129g (6) £600-800

199 A WILLIAM & MARY OR QUEEN ANNE SILVER CHOCOLATE POT AND COVER, HENRY LYON, LONDON, CIRCA 1700 the tapering body engraved with a contemporary coat of arms in an oval with another in pretence below a Paschal lamb crest and flanked by foliage, an band of flutes below, the domed cover with a further band of fluting and detachable bell-shaped finial, the later wood handle at right angles to the spout, maker's mark only struck three times below rim, twice to cover, 23cm high, 639g all in Little is known of Henry Lyon . His will, signed on 30 December 1707, describes him as ‘of Portugall Street in the Parish of St Clement Danes . . . Goldsmith’ (will proved on 13 June 1710, National Archives, Kew, PROB 11/515). He was buried in the Parish of St. Clement Danes on 12 June 1710: ‘Henry Lyon a Silver smith.’ 'The Daily Courant' (London, Wednesday, 27 September 1710, p.4a) recorded: ‘This present Wednesday being the 27th of September, will be expos’d to Sale the Household-Goods of Mr. Henry Lyon, deceas’d, in Portugalstreet next Door to the Black Lyon near Lincoln’s Inn Back Gate.’ This presumably accounts for the entry in Heal ('London Goldsmiths', London, 1935, p. 198): ‘LYON -, goldsmith; Lincoln’s Inn Fields 1701.’ Perhaps Lyon was a retail goldsmith, selling things made by others, such as William Lukin, whose mark around this time may be found on a number of chocolate and coffee pots. Possibly this pot was ordered directly from the maker by Lyon for a specific customer and never displayed for sale, Lyon striking his mark only and duty never paid by any of the parties. £1,200-1,800

85

200 ‡ TWO SILVER-MOUNTED HORN SNUFF MULLS, SCOTTISH, SECOND HALF 19TH CENTURY one with curled body applied with silver shield engraved 'KS / 1895', and plain hinged rim mount inscribed 'THE PHOTOGRAPHIC CONVENTION OF GREAT BRITAIN', the lid with hinge head form as an openwork and bright-cut thistle, the other with curled body applied with a silver shield engraved 'John Macleod' and plain hinged rim mount, the lid with hinge head shaped and simply engraved as a thistle; 8 and 9cm long (2) Provenance: The Bearn Collection, New York £120-180 201 ‡ A SILVER-MOUNTED HORN SNUFF MULL, SCOTTISH, EARLY 19TH CENTURY curled horn body with hinged plain rim mount, the lid with scroll shaped hinge head and applied vacant oval, unmarked, 13cm long; together with another Scottish silver-mounted horn snuff mull, the curved body with hinged plain rim mount, the lid with scallop edged reeded rim mount and applied oval inscribed 'T. Miller', unmarked, 22cm long (2) Provenance: The Bearn Collection, New York; first mull from the Diana Vreeland Collection (1903-1989), sold Sotheby's, New York, 19 April 1990, lot 22

200

£180-220 202 ‡ TWO SILVER-MOUNTED HORN SNUFF MULLS, SCOTTISH, 19TH CENTURY the curled bodies each applied with a shield below hinged plain rim mounts with shaped heads to the lids, one with applied cut-cornered rectangle engraved with initials and a crest to the shield, the other with a vacant roundel and initials to the shield, unmarked, 9.5 and 8.5cm long; together with another horn snuff mull, Scottish, 19th century, with brass shaped hinge mount and applied vacant roundel, a vacant oval to the terminal, 10.5cm long (3) Provenance: The Bearn Collection, New York

201

£120-180 203 ‡ (illustrated online) A SYCAMORE PENWORK SNUFF BOX, SCOTTISH, MID 19TH CENTURY oblong, the lid with a scene titled 'Partridge Shooting', trellised sides and base, distressed foil interior, 9cm long; together with four further snuff boxes, 19th century, comprising two oblong treen examples, a small horn oblong box, the interior lid applied with a female nude reclining in a landscape (distressed), and a hoof snuff box (5) Provenance: The Bearn Collection, New York £80-120 86

202

204 ~ A SILVER-MOUNTED TORTOISESHELL CASKET, DUTCH / DUTCH COLONIAL, SECOND HALF 18TH CENTURY in the form of a sireh (betel) box, rectangular, the tortoiseshell probably Batavian, the mounts perhaps of contemporary Dutch manufacture, openwork Rococo each featuring a bird or a seated figure, 19.5cm long For three very similar caskets see: one sold in these rooms, 24 May 2011, lot 185; one sold Christie’s, London, 13 December 2005, lot 1104; and one sold Chiswick Auctions, London, 20 February 2018, lot 75 £500-800

205 ~ A GEORGE V TORTOISESHELL DRESSING TABLE SET, PROBABLY WILLIAM COMYNS & SONS, LONDON, 1912 the tortoiseshell with gold piqué placé scrolled initials LB within ribbon tied ovals, comprising: a semi-circular box with silver hinge and rim mounts embellished with applied scroll borders, the silver base on three bun feet, 16.5cm long; three glass jars, one oval and a pair cylindrical, cut with flutes below ribbon-tied floral swags, the tortoiseshell covers with plain silver rim mounts; two handled brushes and two oblong brushes; and a shaped oblong tray, 31cm long (9) £250-350 87

206 ~ A FRENCH TORTOISESHELL BOX WITH PORTRAIT COVER, PROBABLY PARIS, LATE 19TH CENTURY circular, set within a gilt-metal mount with a glazed orientalist portrait miniature of a young woman in a white head scarf with an aigrette, signed 'Fragonard', on ivory, box 7.7cm diameter £80-120

207 ~ A TORTOISESHELL AND DIAMOND-SET VANITY CASE, PROBABLY ITALIAN, CIRCA 1930 the canted rectangular blond tortoiseshell box mounted with millegrain platinum set rose and single cut diamonds forming the openwork foliate clasp to front, hinge leaves to rear and the initials S.G. to top, the interior divided by a gilt-metal-mounted hinged and bevelled mirror backed with a gold panel engraved with two rows of the names of fortyeight ladies from Roman high society in about 1930, the top half with a sprung gilt-metal retaining bar for cigarettes, the bottom half with two lidded compartments centred by a gilt-metal Coty lipstick holder, 11.5cm long, with a chamois leather pouch £800-1,200

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208 AN 'AQUARIUM' LIGHTER, ALFRED DUNHILL LTD., LONDON, 1950s shaped oblong, the four lucite panels reverse intaglio carved and painted with silver fish swimming above rocks and below plants against a green shaded ground painted with further frondy plants, giltmetal hardware, the snuffer arm with 'Dunhill' panel, underside stamped MADE IN ENGLAND, 7 x 5.8cm Dunhill launced the Aquarium range of lighters in 1949, using stocks of lucite left over from the war, production ceasing in 1959. Each lighter was unique, painted to the back of the intaglios, carved using dental tools and drills, all initially by Ben Shillingford (1904-2000) who was then joined by the husband and wife team, Allan and Margaret Bennett. £2,000-3,000

89

209 ‡ A GEORGE III SILVER AND AGATE MOUNTED COMMEMORATIVE SNUFF BOX, MATTHEW LINWOOD, BIRMINGHAM, 1909 oblong with incurved sides, the lid set with a slightly domed banded agate with engraved inscription above the simple thumbpiece, gilt interior, 6.3cm long The inscription reads: Mr. T. Clarke. Admaston Spa. The mineral springs at Admaston in Shropshire grew in popularity from the mid 18th century, a hotel established there in 1805, Mr Thomas Clarke recorded as running the Admaston Spa Hotel by 1832 (https://www.british-history.ac.uk/vch/salop/ vol11/pp306-310, accessed 29.04.23).

Provenance: The Bearn Collection, New York £180-220

210 A FRENCH SILVER SNUFF BOX, PARIS, MID 19TH CENTURY rounded oblong, with blue taille-d'épargne scrolling strapwork surrounding panels of enamel highlighted engraved flowers, all on a variety of engine-turned grounds, gilt interior, maker's mark indecipherable, 800 standard Minerva head, 9cm long, 98g £200-300

211 A SWISS GOLD BOX AND COVER, DARIER & GALOPIN, GENEVA, CIRCA 1810 circular, with waved engine-turning within foliate borders on sablé grounds, cover and base with maker's marks DG in a lozenge, Prestige marks of a leaf, and '18.K', base numbered 1024 and to the rim with a French provincial cock's head petite garantie mark (1809-1819), 5.5cm diameter, 48g £1,500-2,500

90

212 A SWISS VARI-COLOUR GOLD SNUFF BOX, GENEVA, CIRCA 1790 oval, engine-turned quatreform motif ground, with chased formal foliate borders, the lid with an oval centred by a pillar topped by doves and flanked by foliage above objects on the ground, the sides with panels of flower urns at intervals, all on sablé grounds, interior lid later engraved 'Mrs. Kennedy. / Belgrave Mansions / Grosvenor Gardens.', incuse 'J.S.' mark to interior lid and base, 7.3cm long, 74.6g £3,000-5,000

91

213 A GEORGE III GOLD SNUFF BOX, ALEXANDER JAMES STRACHAN, LONDON, 1813 oblong of pocket fitting form, engineturned, full 18 carat gold marks to base, maker's, date and '18' marks to lid, 7.3cm long, 97g £4,000-5,000

214 A GOLD SNUFF BOX, PROBABLY GERMAN, MID 19TH CENTURY oblong, the lid with a rectangle of a courting couple in a garden, surrounding border with insects in roundels to the corners and musical trophies between foliage on a matted ground, the sides with matted ground foliate guilloche panels, the base engine-turned, 'A' in a square to lid rim and further indecipherable marks to base, 7.6cm long, 96g £3,000-5,000

92

215 A GERMAN GOLD BOX, LOUIS KUPPENHEIM, PFORZHEIM, CIRCA 1924-1930 rounded oblong, covered in basket-weave decoration surrounding a vacant roundel, sapphire cabochon set thumbpiece, maker's, circled crown and '585' marks, 14 carat gold, 8.3cm long, 83.5g all in Louis Kuppenheim, founded in 1857, became a renowned firm of gold and silver boxmakers in the early 20th century, having at least 200 employees at their Pforzheim factories in their heyday, as well as a shop in Paris and an international export business. The Kuppenheims were of Jewish extraction, so Nazi persecution after 1933 led to ever declining business and the liquidation of the concern in 1939 together with the disappearance (by suicide, emigration, or deportation to the camps) of the family from the jewellery hub that was pre-war Pforzheim. £2,000-3,000

216 AN AUSTRIAN GOLD BOX, RUDOLF STEINER,VIENNA, EARLY 20TH CENTURY polished rectangular, plain excepting a rose diamond set oval applied to the lid, lid with hidden spring release, 'A', maker's and 580 gold standard marks, 8cm long, 98g all in £2,500-3,500

93

217 AN EDWARDIAN GOLD CALENDAR PENCIL, SAMPSON MORDAN & CO. LTD. FOR J.C.VICKERY, LONDON, CIRCA 1905 the cylindrical stem with blue enamelled dates on a collar swivelling below initials for the days of the week, with two-part telescopic action to the pencil, retailer's inscription 'J.C.VICKERY / 181 & 183 REGENT St W' and stamped '9Ct', 5.5cm long retracted and excluding suspension ring, 20g all in For other pencils of the same pattern but stamped Mordan, see Hutchinson Scott Ltd., Skipton, 26 May 2022, lot 237 and Andrew Smith & Son, Winchester, 24 March 2022, lot 1128. £250-350

218 A GEORGE V GOLD SWIZZLE STICK, CARTIER LTD., LONDON, 1935 the slender hexagonal stem with suspension ring, a ball pushpiece extending the seven wires with ball terminals, signed 'CARTIER LONDON' and 18 carat gold hallmarks for Jacques-Théodule Cartier, 7.5cm long retracted; together with another gold swizzle stick, 1930s, engine turned stem with collar slide to extend the wires, stamped '9CT', 8.2cm long excluding suspension ring; 10g all in £250-350

219 A GEORGE VI GOLD POWDER COMPACT, M. WACHENHEIMER & CO. LTD., LONDON, 1940 engine-turned, containing a mirror and powder compartment, 9 carat gold, 8.4cm square, 113g £1,000-1,500

94

220 A FRENCH SINGING BIRD BOX, PROBABLY BLAISE BONTEMS, PARIS, CIRCA 1865 the oblong black 'bois durci' box with gilt-metal mounts, the top with oval lid of two birds amid flowers and foliate cartouche spandrels, the front and back with wheat and wreath motifs, the sides with ribbon-tied foliage, going barrel movement with eight combs and bellows, the feathered bird with moving beak, wings and tail, wound to the side with a key, in a black leather case with gilt line detail, the fitted interior red velvet and cream silk lined, box 11.5cm long £2,500-3,500

221 A SWISS CYLINDER MUSIC BOX, NICOLE FRERES, GENEVA, CIRCA 1870 playing twelve airs on a 12in cylinder, lever wound, glazed dust cover, stamped 'NICOLE FRERES / GENEVE' to bedplate and 'NICOLE FRERES' to comb, rectangular crossbanded rosewood case with inlaid musical trophy to lid, 'NICOLE FRÉRES' blue bordered tune sheet inscribed with the airs and printed for the retailer 'WALES & Mc.CULLOCH / 22, Ludgate Hill, Londres', serial No.45740 stencilled to underside of case and inscribed to tune sheet, Gamme No.2727, 56.5cm long £1,000-1,500

95

222 A FRENCH GILT-BRASS AND ENAMEL 'GLOBE' CLOCK, REDIER ET CIE, PARIS, CIRCA 1875 the eight day movement with cylinder escapement and concealed winding contained within an enamelled globe with longitude lines and differently coloured continents, the gilt equatorial ring applied with two sets of 12 hour numerals on enamel bosses between a band of engraved quarter hour indicators and a band engraved with further 12 hour numerals, a blued metal pointer from the North pole indicating the time against the ring, signed with a monogram for Antoine Redier within a shield and above also signed ‘REDIER A PARIS 1873.’ beneath the equatorial ring, the globe on an inclined axis mounted in a gilt-brass gimbal, the position maintained by a concealed counterweight, set on a baluster turned socle and red marble octagonal plinth, with a two-prong key to be inserted into the base of the gimbal and globe allowing the globe to be rotated to wind the movement, 18cm high Antoine Redier (1817-1892) was an innovative clock-maker, credited with the development of the portable ‘bedside’ alarm clock, obtaining twenty-seven patents of invention or improvement for various time-keeping and recording devices. Despite the fame and success garnered during his career, Redier’s life ended in penury, apparently ruined by an unscrupulous banker.

For other examples of this model, see Pousse-Cornet, Blois, 27 June 2021, lot 220 and Sotheby’s, London, 15 June 2004, lot 104. £2,000-4,000

96

223 A FRENCH EMPIRE PARCEL-GILT-BRONZE 'ORIENTALIST' MANTEL CLOCK, PARIS, EARLY 19TH CENTURY bell striking movement with outside count wheel and silk suspension, engine turned dial with black Roman numerals, the drum housed within a richly-dressed trotting horse, its rider nonchalently balanced above, his head turned towards us under a plumed headscarf, set on a rectangular base with applied with putti holding aloft branches flanking a socle with two birds, on winged claw feet, with key and pendulum, 41cm high See a similar model, sold Sotheby’s, London, 30 April 2013, lot 498 £3,000-4,000

97

224 A GILT COPPER AND BRASS SMALL BRACKET CLOCK, GERMAN, MID 17TH CENTURY two train weight driven movement with pendulum verge escapement, bell stiking on the hour 1 to 12 and also past the hour on a double 6 system, with additional weight driven alarm train, duration approximately 30 hours, silvered dial with Roman numerals behind the small alarm dial with Arabic numerals, case on paw feet and stepped base, the front and hinged side panels (possibly later) with carved scrolling foliage on a matted ground, plain back with exposed count wheel, front mounted pendulum, top with reduced ball finials and apparently freestanding bell below a later spire finial, 15.5cm high excluding modern black painted metal bracket £3,000-5,000

225 A GERMAN GILT COPPER AND BRASS 'TÜRMCHENUHR' (SMALL TABLE CLOCK), HATTINGEN, RUHR VALLEY, EARLY 17TH CENTURY two train fusee driven movement with verge escapement and striking on the hour via a countwheel by two alternating jacks, with an additional smaller alarm mechanism (possibly later) mounted on the side of the movement, later silvered dial with Roman numerals and two later hands, one for the hours, one to set the alarm, with a small lever above to silence the bell, the case of square outline, on compressed bun feet and shaped platform rising to the tower-like body engraved overall with flowers and buildings, the dial plate signed to base 'Gerhart Weghaff: Hattnegen', the top with the two jacks modelled as Classical solidiers flanking the apparently freestanding later bell below a later ogee finial, pendulum to rear, 25cm high £3,000-5,000

98

226 A QUEEN ANNE BRASS LANTERN CLOCK, WILLIAM WOOD, NAILSWORTH, DATED 1707 with a 6 inch silvered chapter ring applied over the dial plate engraved with tulips and signed 'Wm Wood / Nailsworth / fecit 1707', the conventional movement with anchor escapement and external locking plate striking on the top-mounted bell, the typical posted case with hinged panels to sides and iron panel to back, on ball feet, with dolphin frets between the urn finials, the rear with suspension hoop and wall spurs, with chains and pendulum, case 38.5cm high overall £2,000-3,000

99

227 A BRASS LANTERN CLOCK, CIRCA 1700 AND LATER with a 6 1/2 inch silvered chapter ring applied over the dial plate engraved with tulips and signed 'Peter Miller / London Fecit', the conventional movement with anchor escapement and external locking plate striking on the top-mounted bell, the typical posted case with hinged panels to sides, back panel lacking, on ball feet, with dolphin frets between the urn finials, the rear with suspension hoop and wall spurs, with rope, pendulum and weight, case 37cm high overall £300-500

228 A SILVER LANTERN CLOCK,TOPSHAM CLOCKS OF EXETER, LONDON, 1980 in circa 1700 style, the dial plate engraved with tulips, the traditional movement striking on the topmounted bell, the typical posted case with hinged panels to sides, on ball feet, with dolphin frets between the urn finials, with brass movement, top and base plates, bell and supports, and pendulum, the remainder London hallmarked silver, with rope and weights, clock 22.5cm high £500-800

100

229 A FRENCH CARRIAGE CLOCK, CHARLES FRODSHAM & CO., PARIS, CIRCA 1890 timepiece movement, the enamel dial with Roman hours and Arabic five minutes, signed 'CHAs FRODSHAM & Co. / 19778 / PARIS', backplate similarly signed and numbered, plain Corniche case, 16.5cm high with handle raised £100-150

230 A FRENCH GILT-BRASS CARRIAGE ALARM CLOCK, DIETTE-HOUR FOR MAISON CARTIER, PARIS, 1890s eight-day timepiece movement, enamel dial and subsidiary alarm dial with arabic numerals behind a frosted mask set with a surrounding border of faceted pastes, dial signed 'CARTIER PARIS', Corniche case, backplate stamped DH, with key, 14.5cm high with handle raised £300-400

101

231 ROLEX, OYSTER PERPETUAL DATEJUST, REF.16233: GENTLEMAN'S STAINLESS STEEL AND GOLD BRACELET WATCH, 1989 3135 calibre movement, linear engine-turned champagne dial with applied baton hour indicators and date aperture, Oyster case with fluted gold bezel, screwdown back and 'crowned' crown, serial number L412890, steel Jubilee bracelet with fold-over Crown clasp, with date code N5 (1989) and numbered 62510H, case 3.6cm diameter £2,000-3,000

232 ROLEX, OYSTER PERPETUAL DATEJUST, REF.69173: LADY'S STAINLESS STEEL AND GOLD BRACELET WATCH, 1987 automatic movement, black dial with applied baton indicators and magnified date on white ground at 3 o'clock, Oyster case with fluted gold bezel and screwdown back and crown, serial number 9595694, Jubilee bracelet with fold-over crown clasp, clasp with date code K9 (1986) and numbered 62523D.18, end links numbered 468B £1,500-2,000

102

233 ADLER: GOLD AND DIAMOND LADY'S WATCH the rectangular dial pave-set with brilliant-cut diamonds, the shoulders decorated with brown enamel cells and accented with cabochon sapphires, to a leather strap with matching enamel buckle, case signed Adler, numbered B658R, stamped 18k £1,000-1,500

234 PIAGET, REF.9231: LADY'S WHITE GOLD BRACELET WATCH, 1970s manual wind movement, lapis lazuli dial signed PIAGET, cushion shaped case with textured bezel numbered '9231A6 / 160939', textured bracelet with folding snap clasp initialled P, stamped 'PIAGET / 750', case 2.3cm wide £1,500-2,000

103

235 ROLEX: LADY'S DIAMOND BRACELET COCKTAIL WATCH, 1960s the circular dial applied with baton indicators, framed by single- and brilliant-cut diamonds to a tapering woven bracelet strap accented with singlecut diamond crescent motifs, British hallmarks for 18-carat gold, 18cm long £1,500-2,000

236 OMEGA, DE VILLE: LADY'S GOLD BRACELET WATCH seventeen jewel manual wind movement, rectangular matte gilt dial with black baton indicators, integral fine textured bracelet with a short articulated section to each end, with fold over clasp, signed to movement, dial, case and bracelet, '750' and Swiss 18ct marks, 17.5cm long £1,200-1,800

104

237 BAUME & MERCIER: LADY'S GOLD BRACELET WATCH, 1970s the oval textured dial applied with baton indicators, to a tapering textured bracelet strap, French assay marks, dial signed Baume & Mercier, case numbered 313575 36605, 17cm long, Baume & Mercier pouch £800-1,200

238 BAUME & MERCIER: LADY'S GOLD BRACELET WATCH the circular dial applied with Roman numerals with date aperture, fluted bezel, brick link bracelet strap with deployment clasp, Swiss assay marks, dial signed Baume & Mercier, case numbered 1024606 3207.1, 16cm long, adjustable, Baume & Mercier pouch £1,000-1,500

105

241

240

239

244

242

239 FANCY LINK NECKLACE designed as two plaited strands of woven linking, 44cm long

242 BJORN WECKSTROM, LAPPONIA: A PAIR OF EARRINGS of abstract textured design, post and butterfly fittings, European convention marks for 14 carat gold, maker’s marks

£1,200-1,500

£300-500

240 TEXTURED NECKLACE designed as finely textured links with cross motifs, 38cm long

243 RUBY,TURQUOISE AND DIAMOND BRACELET centring on a foliate cluster of circular-cut rubies, cabochon turquoise and brilliant-cut diamonds with rope work detail, to a tapering hinged bracelet accented with turquoise and ruby foliate clusters, 16.5cm long, 64.5g

£1,200-1,500

106

243

£1,500-2,000

241 TWO PAIRS OF DIAMOND EARRINGS one of knot design set with brilliant-cut diamonds, British assay marks for 18 carat gold, London 1996, post fittings; the other pair of hinged hoop design set with brilliant-cut diamonds, European convention marks for 18 carat gold

244 CARTIER: A DIAMOND RING AND A TORQUE RING, 1990s the diamond ring collet set with a brilliant-cut diamond to a tri-colour rope work band, signed Cartier, numbered 2077 54, French assay mark and European convention mark, ring size L; the other of tri-colour rope work torque design with bead terminals, signed Cartier, numbered 51 750868, French assay mark and European convention mark, ring size I

£400-500

£400-500

245

246

247

249 248

250

245 RUBY AND DIAMOND RING, 1950s claw set with an oval mixed-cut ruby set between graduated baguette diamond shoulders, ring size I

248 RUBY AND DIAMOND BROOCH of ribbon tied floral design, set with brilliant- and single-cut diamonds, accented with pear-shaped rubies, 4.5cm long

£800-1,200

£400-600

246 GARRARD'S & CO.: PAIR OF DIAMOND AND GOLD EAR CLIPS, 1995 scroll design channel set with a graduated line of baguette diamonds, makers marks for Garrard’s & Co, British import marks for 18 carat gold, London 1995, Italian assay marks, clip fittings, 2cm long

249 CARTIER: DIAMOND AND CULTURED PEARL RING, 1990s centring on a single cultured pearl to a tapering mount set with graduated baguette diamonds framed by panels of brilliant-cut diamonds, signed Cartier, numbered 1003128 54, French assay marks and European convention mark, stamped 750, ring size N

£800-1,200 247 RUBY AND DIAMOND BROOCH, 1950s designed as a flower set with brilliant-cut diamond petals framing a centre of circular-cut rubies, to radiating leaves accented with circular-cut rubies and brilliant-cut diamonds, 6cm long

£1,500-2,000 250 RUBY LINE BRACELET designed as a uniform line of circular-cut rubies, 16cm long £200-300

£1,000-1,500 107

251

252 253

251 DIAMOND DOUBLE CLIP BROOCH, 1930s of ribbon scroll design set with circular-cut and baguette diamonds, detachable into a pair of single clips with brooch pin fitting, 6cm long, two diamonds deficient £2,000-3,000

254

252 SAPPHIRE AND DIAMOND HALF HOOP RING set with two graduated old mine-cut diamonds interspersed with two circular-cut sapphires, British hallmarks for 18-carat gold £1,000-1,500 253 DIAMOND CLIP BROOCH, 1930s of palmette design, claw set to the centre with a rectangular cut-cornered green doublet, within a palmette surround of old mine- and circular-cut diamonds. £700-900 254 EDWARDIAN DIAMOND NEGLIGEE PENDANT, 1900s supporting a pair of graduated articulated pendants, millegrain set with circular-cut diamonds, to an openwork oval surmount similarly-set, to a fine trace link chain, adjustable length 50cm to 57cm £4,000-5,000 108

257 258 256

255

259

260

255 A PAIR OF DIAMOND EARRINGS each supporting a drop of marquise and brilliant-cut diamonds to a brilliant-cut diamond cluster surmount, post fittings, length 2.5cm £1,000-1,500

258 DIAMOND LINE BRACELET collet set with a uniform line of brilliant-cut diamonds, Italian assay marks, 18cm long £800-1,200

256 DIAMOND HOOP RING claw set with five brilliant-cut diamonds, ring size I

259 DIAMOND BRACELET designed as a series of flower motifs set with brilliant-cut diamonds, Italian assay marks, 18.5cm long

£300-500

£1,000-1,500

257 DIAMOND RING collet set with three graduated baguette diamonds, British hallmarks for 18-carat gold, London 1996, ring size K

260 A DIAMOND LINE BRACELET claw set with a uniform line of princess-cut diamonds, length 19.5cm, safety chain and catches

£1,000-1,500

£2,500-3,500

109

264

265

261

263

110

261 GENTLEMAN'S MOTHER-OF-PEARL AND PEARL DRESS SET AND A PAIR OF MOTHER-OF-PEARL AND DIAMOND CUFFLINKS, 1920s comprising: a pair of cufflinks with curb link connecting chains and three dress buttons, each of square design set with a concave panel of mother-of-pearl set with a single seed pearl, stamped 18; and a pair of cufflinks of circular design, set with a concave panel of mother-of-pearl with engraved Greek key design, framing a single-cut diamond to the centre, with curb link connecting chains, stamped 18ct

264 DIAMOND AND PASTE PENDANT the tapering surmount set with circular- and single-cut diamonds, supporting an oval yellow paste drop, to a box link chain

£600-800

£200-300

262 LADY'S DIAMOND COCKTAIL WATCH, 1920s the tonneau shaped dial applied with Arabic numerals framed by single-cut diamonds to similarly set shoulders of palmette design, with black silk strap, two diamonds deficient

265 CULTURED PEARL AND DIAMOND PENDANT supporting a single 10.5mm cultured pearl to a cupola surmount accented with single-cut diamonds to a fine link chain

£500-600

£200-300

263 A LADY'S DIAMOND COCKTAIL WATCH, 1930s the rectangular dial signed Cyma, applied with baton indicators framed by single-cut and baguette diamonds, to similarly set geometric shoulders with diamond bracelet set with brilliantcut diamonds, winding crown deficient, length 18cm

266 (illustrated online) CULTURED PEARL NECKLACE composed of three graduated rows of cultured pearls measuring from 8mm to 4.5mm to an open work circular clasp accented with single-cut diamonds, centring on a single cultured pearl, 42cm long

£800-1,200

£200-300

262

267 DIAMOND RING, 1950s claw set with a rectangular step-cut diamond measuring approximately 11.6 x 8.7 x 5.7, set between graduated baguette diamond shoulders, ring size J £20,000-30,000

111

269

268 271

270

268 GOLD, ENAMEL AND DIAMOND JOCKEY BROOCH, 1900s designed as a horse and jockey, the galloping horse decorated with rose-cut diamonds with jockey decorated with white, blue and red enamelled colours, 3cm long £400-600 269 CITRINE AND SEED PEARL FRINGE NECKLACE, 1900s designed as a graduated series of oval mixed-cut citrines to a seed pearl chain, 37cm long £800-1,200

112

270 RUBY, DIAMOND AND WHITE ZIRCON ETERNITY RING, 1950s alternatively set with brilliant-cut diamonds, circular-cut white zircons and square-cut rubies, ring size I £250-350 271 A PAIR OF CULTURED PEARL AND DIAMOND DROP EARRINGS each supporting a cultured pearl drop to a brilliant-cut diamond surmount, post fittings £200-300

272

274

273

275

272 DIAMOND AND CULTURED PEARL NECKLACE, 1930s composite, centring on a rectangular geometric clasp set with circular- singlecut and baguette diamonds, later adapted as a clasp to a uniform three row 7.7mm cultured pearl necklace, 38cm long £2,000-3,000 273 SINGLE RUBY AND DIAMOND CLIP/BROOCH, 1930s of open work geometric palmette design, set with circular-cut diamonds accented with oval mixed-cut rubies, 4cm long £1,500-2,000

276 (part)

274 TWO STONE DIAMOND RING, 1930s claw set with two circular-cut diamonds, to geometric shoulders £1,000-1,500 275 OPAL AND DIAMOND BAR BROOCH, 1900s centring on an oval cabochon opal, framed by millegrain set circular-cut diamonds, applied to a polished bar, mounted in platinum backed in gold, 5cm long £1,000-1,500 276 COLLECTION OF GENTLEMAN'S DRESS BUTTONS, 1920s comprising: three triangular chalcedony cabochon dress buttons, three carved hexagonal green chrysoprase dress buttons, each accented with a single circularcut diamond with onyx surrounds, two baton connecting links and two gold dress buttons depicting the profile of an elephant with curb link connecting chains £600-800 113

277 SAPPHIRE AND DIAMOND RING, CIRCA 1910 centring on an oval mixed-cut sapphire framed by circular-cut diamonds, the shoulders accented with single-cut diamonds, ring size P ½ £3,000-5,000

114

280

278

279

278 CULTURED PEARL AND DIAMOND BRACELET designed as a graduated line of nine golden cultured pearls measuring from 12mm to 11mm, interspersed with pairs of brilliant-cut diamond set rondelles, 19cm long £1,000-1,500 279 CULTURED PEARL NECKLACE composed of a single row of 29 graduated multi-coloured cultured pearls, measuring from 17mm to 13.8mm, to a cultured pearl clasp studded with brilliant-cut diamond accents, 46cm long £2,500-3,500 280 CULTURED PEARL AND DIAMOND NECKLACE supporting a golden cultured pearl measuring approximately 16.6mm x 13.4mm, to a cluster surmount of brilliant-cut and marquise-shaped diamonds with textured necklace, 40cm long £1,000-1,500 115

282

283

281

285

284

116

281 ANTIQUE JARGOON PENDANT, EARLY 19TH CENTURY designed as a cross set with rose-cut jargoons, mounted in silver and backed in gold, later brooch pin fitting, dimensions 5cm x 5cm

284 ‡ A CITRINE BROOCH circular design claw set with circular-cut citrines, diameter 3cm

£100-150 282 A PAIR OF SEED PEARL EAR CLIPS, 1960s each designed as a bunch of grapes with seed pearl grapes and vine leaf surmount, clips and post fittings, 2.5cm long

285 A PAIR OF DIAMOND AND SEED PEARL EAR STUDS, LATE 19TH CENTURY COMPOSITE each designed as a daisy centring on a seed pearl within a petal surround of rose-cut diamonds, later post fittings, mounted in silver and gold

£200-300

£300-500

283 EMERALD AND CULTURED PEARL BRACELET, 1960s designed as a series of rectangular foliate panels each centring on a circular-cut emerald with fancy link connecting chains accented with cultured pearls, 19cm long

286 (illustrated online) TWO ALBERT CHAINS, 1900s one of curb linking, British hallmarks for 9-carat gold, 35cm long, supporting a gilt metal telescopic pencil, the other of twisted rope work linking, British hallmarks for 9-carat gold to dog clip, 40cm long; 67.4g approximately excluding pencil

£300-400

£800-1,200

£80-120

287

290

289

288

287 RUBY, DIAMOND AND CULTURED PEARL CHOKER centring on an oval open work scalloped clasp millegrain set with circular- and singlecut diamonds, centring on an oval mixedcut ruby to a seven row cultured pearl collar, 34cm long £800-1,200 288 CULTURED PEARL, RUBY AND DIAMOND BRACELET composed of four uniform rows of 5.2mm cultured pearls to an oval open work clasp accented with brilliant-cut diamonds, centring on an oval cabochon ruby, 19cm long £600-800

289 FANCY INTENSE YELLOW DIAMOND RING claw set with a cushion modified brilliant-cut fancy intense yellow diamond weighing 1.03 carats.

GIA report number 3225729273, dated June 1st 2016, stating that the cushion modified brilliant-cut diamond weighing 1.03 carats is fancy intense yellow colour,VVS1 clarity £4,500-5,500 290 EMERALD AND DIAMOND RING cluster design, centring on a square-cut emerald framed by brilliant-cut diamonds, ring size N £700-900 291 (illustrated online) PAIR OF SEED PEARL PENDENT EARRINGS, 1900s each designed as a tassel of seed pearls, screw back fittings, fitted case stamped Wm Bruford & Son Ltd, 6cm long £150-250 117

292

294

293

292 DIAMOND NECKLACE AND PAIR OF PENDENT EARRINGS the necklace designed as a graduated series of foliate clusters set with brilliant- and rose-cut colourless and black diamonds to a curb link connecting chain, length 42cm, the pendent earrings of matching design, clip fittings, 5cm long £3,000-4,000

293 PINK SAPPHIRE AND DIAMOND BROOCH designed as an orchid, pave-set with circular-cut pink sapphires and brilliant-cut diamonds, mounted in silver £500-700 294 PAIR OF CULTURED PEARL, DIAMOND AND TOURMALINE EAR CLIPS each of flower design, centring on a single cultured pearl measuring 13.6mm, within a petal surround pave-set with brilliant-cut diamonds and circular-cut tourmalines, clip and hinged post fittings, 3cm £2,000-3,000

118

295 NATURAL PEARL NECKLACE. 1900s designed as a graduated row of 78 natural pearls graduated form 7.2mm to 3.7, to a target clasp centring om a single pearl framed with single-cut diamonds and calibre-cut rubies, French assay marks, safety chain, length 43cm. £2,000-3,000 119

296

297

298

300 299

296 AQUAMARINE RING the mixed cut square aquamarine claw set in a simple mount, size L ½ £250-350 297 TIFFANY & CO: GREEN QUARTZ RING claw set with a rectangular step-cut green quartz, mounted in silver, signed Tiffany & Co, ring size I £300-500 298 THEO FENNELL: A PAIR OF GOLD, AQUAMARINE AND PINK TOURMALINE EAR CLIPS each of polished target design centred by a cabochon aquamarine with cabochon pink tourmalines to the cardinal points, clip and post fittings, signed Fennell, hallmarks for 18 carat gold, London, 1990 and maker’s marks, diameter 2cm £600-800

120

299 MABE PEARL AND GOLD BROOCH of circular shield design, centring on a mabe pearl within a rope work surround, European convention marks for 18 carat gold, Sheffield, diameter 3.5cm £400-600 300 AN AMETHYST BEAD NECKLACE designed as fourteen strands of faceted amethyst beads, graded in colour from pale at the clasp to dark purple at the centre, hook clasp stamped 750, 46cm long £500-700 301 ☐ (illustrated online) SYNTHETIC BLUE SPINEL RING the step cut synthetic blue spinel in a raised pieced gallery, size N £80-120

305

306

303

302 304

302 CULTURED PEARL AND DIAMOND RING set with two graduated cultured pearls framed by brilliantcut diamonds, ring size J 1/2 £500-700 303 CULTURED PEARL AND DIAMOND RING target design, centring on a single black cultured pearl framed by three lines of brilliant-cut diamonds, ring size H £500-700 304 CULTURED PEARL AND DIAMOND NECKLACE composed of slightly graduated row of 30 cultured pearls measuring from 14mm to 11.6mm, accented with 11 squarecut diamond set rondelles, to a concave shaped barrel clasp pave-set with brilliant- and step-cut diamonds, 42.5cm long

305 A PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS each designed as a cluster of brilliant-cut diamonds, supporting a detachable cultured pearl drop measuring approximately 14.6mm with cupola surmount accented with brilliant-cut diamonds, post fittings, 3.5cm long £1,000-1,500 306 VOURAKIS: RUBY AND DIAMOND BROOCH of stylised foliate flame design set with brilliant-cut diamonds and marquise-shaped rubies, signed Vourakis, stamped 750, length 6cm, gross weight 24.8g £3,000-4,000

£2,500-3,500

121

307

308

309

307 RUBY AND DIAMOND PARURE, 1980s comprising: a necklace, of brick link design centring on four pear-shaped ruby and brilliantcut diamond clusters, length 44.5cm; together with a bracelet of matching design, similarly set with three ruby and diamond clusters, length 18cm; and a pair of matching ruby and diamond ear clips, clip and post fittings and a ruby and diamond ring, ring size J ½ (4) £2,500-3,500

122

308 RUBY AND DIAMOND BRACELET, 1980s designed as a series of bow motifs each centring on oval mixed-cut ruby, interspersed with oval links pave-set with brilliant-cut diamonds, 17cm long £1,000-1,500 309 RUBY AND DIAMOND BRACELET, 1980s designed as a series of oval mixed-cut rubies each collet set, interspersed with links pave-set with brilliant-cut diamonds, 17cm long £800-1,200

310

311

312

310 JARRETIERE GOLD, RUBY AND DIAMOND BRACELET, 1930s the woven mesh link bracelet to a rose-cut diamond and calibre-cut ruby buckle, 22cm long £700-900 311 GOLD CHARM BRACELET, 1930s the fancy rectangular link bracelet supporting sixteen various charms including a bird cage, lyre, French horn and terrier, 18cm long

312 GOLD CURB LINK BRACELET, 1967 to a heart-shaped padlock clasp, British hallmarks for 9ct gold, London 1967, 19cm long, 73.5g £1,000-1,500 313 ~ (illustrated online) PAIR OF CORAL PENDENT EARRINGS each supporting a circular cluster of fluted spheres framing a central coral bead, post fittings, diameter 2.5cm £300-500

£500-600 123

314

315

316

314 CULTURED PEARL NECKLACE composed of a single slightly graduated row of multi-coloured cultured pearls, measuring from 15mm to 12mm, 122cm long £1,000-1,500 315 ADLER: CULTURED PEARL AND DIAMOND NECKLACE designed as a series of multi-coloured cultured pearl acorn motifs each with brilliant-cut diamond set caps, interspersed with spectacle set brilliant-cut diamond links, 65cm long, signed Adler £2,000-3,000 316 PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS each supporting three graduated cultured pearls interspersed with two pairs of brilliant-cut diamonds, clip fittings, 5cm long £1,000-1,500

124

317 GEORG JENSEN,VIVIANNA TORUN BULOW-HUBE: SILVER AND SODALITE PENDANT, 1971 designed as a fetter link chain supporting a sodalite pendant, length 100cm, pendant signed Torun, numbered 134, stamped 925 S Denmark, maker’s mark, British import marks for sterling silver London 1971 £400-600

318 DAVID ANDERSON: BLUE ENAMEL BRACELET, 1970s designed as a series of oval concave links decorated with blue guilloché enamel, length 18cm, stamped 925 S sterling, Norway, maker’s marks £250-350

125

319 SAPPHIRE AND DIAMOND NECKLACE AND A PAIR OF PENDENT EARRINGS the apphires accented with brilliant-cut diamonds, 42cm long, the earrings of matching design, 3cm long, post fittings £600-800

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End of Sale Next Sale May 2024 Closing for entries by end of March

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” Olympia Auctions.

“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;

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

(ii) gives any guarantee or warranty to Bidders and any implied warranties and

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CONDITIONS OF BUSINESS FOR BUYERS CONTINUED

8. PAYMENT AND COLLECTION

11. DATA PROTECTION

(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”).

Privacy Policy

(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;

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.

(c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot;

(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)

(d) reject future bids from the Buyer;

(b) Who gets to see your personal data?

(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;

The Auctioneers and other auctioneer’s at Olympia Auctions. 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.

(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.

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(a) What is the legal basis on which the Auctioneers rely to process your data?

Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services. Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct anti-money laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

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

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

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

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.

(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.

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ABSENTEE BID FORM OLYMPIA AUCTIONS LTD SALE TITLE: EUROPEAN OBJECTS & WORKS OF ART DATE: 22/11/2023 CODE: QUACK

Please print or type Name Address

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 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.

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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.

Lot no.

Methods of Payment Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Online: www.OlympiaAuctions.com/payments Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank, 38 High Street, Dartford, Kent DA1 1DG IBAN No: GB39HBUK40190422033119 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 22033119 Account Name: Olympia Auctions 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.

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Lot description

£ Cover bid

25 Blythe Road, London W14 0PD +44 (0)20 7806 5545 | decorativearts@olympiaauctions.com | www.olympiaauctions.com