European Works of Art
1
A DUTCH DELFT LOBED DISH, CIRCA 1700, painted in yellow, green, red and blue with a peacock and butterfly amid trees and rockwork within a flowerhead border, 31cm diameter
£300-500
2
A DUTCH DELFT DISH, CIRCA 1700, blue and white Chinese style, painted with a seated figure in a garden, the border of alternating panels of flowers and further seated figures, 29cm diameter
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£150-250
3
A BLUE AND WHITE FAIENCE JAR, PROBABLY SEVILLE, EARLY 18TH CENTURY STYLE, ovoid, the pale dove grey ground painted with a huntsman standing on a bridge amidst exotic flora and fauna and figures holding cornucopia, one on a scroll, a band of simulated fluting around the base and a border of scrolling flowerheads to the shoulder, drilled to side base, 34cm high excluding detachable lamp fitting, cracks and losses
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£200-300
1
2
PROPERTY OF A EUROPEAN COLLECTOR
(Lots: 4-7, 42, 57, 58, 61-65, 76-78, 109-111, 117, 118, 123-126, 249)
This collection was begun over twenty-five years ago, adorning an 18th century house in Covent Garden. The dining room (illustration featuring lots 4-7, 58, 61, 109, 125 & 126) was enlivened by Chinese, Japanese and Delft blue & white, arrayed on open shelves and coral brackets over black lacquer and dark grey panelling, designed to reflect and absorb candlelight. Olympia Auctions sold many of the Asian pieces from the collection on 26 April 2023 (see lot 8 in that sale for further details), as well as a group of forty Islamic tiles from the same house on 18th November 2020.
A DUTCH DELFT PLAQUE, CIRCA
1730, blue and white, square with in-curved corners, painted with the Last Supper above a cartouche with the Biblical reference ‘Maatthei:26:V:17:tot23’ (Matthew 26, 17-23), with raised floral border, glazed aperture for hanging to top, 26cm square
Provenance: The Estate of Miss Veronica Bruce, Finlarig House, Rafford near Forres, sold Tennants, Leyburn, 23 November 2001; to her by family descent, probably from Elizabeth Cumming-Bruce (18211843), wife of James Bruce, 8th Earl of Elgin and 12th Earl of Kincardine. The composition of the figures, table and floor are probably based on a print of the Last Supper, No. 2 in the ‘Passion of Christ’ series, first published by Philip Galle in about 1580 after Jan van der Straet (Stradanus) (1523-1605).
£2,500-3,500
2 4
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
£300-400
A DUTCH DELFT VASE AND COVER, 18TH CENTURY, ribbed ovoid octagonal, the domed cover with baluster hexagonal finial, blue and white with stylised flowerheads and encircling running leaf borders between bands of lappets, 33cm high
Provenance: The Counts Raben, Aalholm Slot, Nysted, Denmark, sold Sotheby’s, ‘Aalholm Slot’, 20-23 May 1996, lot 1672 (part)
£150-250
7
A DUTCH DELFT TULIP VASE, DE PORCELEYNE SCHOTEL, 1764-1772, blue and white, painted to one side with three ducks swimming on a pond within a formal garden, the other with another garden scene, the five nozzles and spreading base with flowers, blue painted Johannes van Duijn mark, 19.5cm high, some restoration
Provenance: The Counts Raben, Aalholm Slot, Nysted, Denmark, sold Sotheby’s, ‘Aalholm Slot’, 20-23 May 1996, lot 1680
£700-1,000
3
5
6
8 ‡
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
£300-500
9 ‡
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 (1728-1808) 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
£400-600
10 ‡
A WORCESTER SMALL JUG, CIRCA 1756-60, baluster sparrow beak form, grooved handle, printed in black with chinoiserie scenes probably designed by Robert Hancock (1730-1813) after Jean Pillement (1728-1808) of ‘Les Garçons Chinois’ and a garden structure with a figure, 8.5cm high
Provenance: a Swiss Private Collection of English Porcelain
£250-350
4
11 ‡
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
£300-500
12 ‡
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.
£300-500
13 ‡ (illustrated online)
A WORCESTER 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
Provenance: a Swiss Private Collection of English Porcelain
£80-120
5
A CHAMBERLAIN WORCESTER CHOCOLATE CUP, COVER AND STAND, CIRCA 1810, the slightly tapering cylindrical cup with twin ring handles, domed cover with similar handle, gilt beaded borders throughout, painted with a large panel of an Australian ‘Striped Headed Manakin’, the bird depicted on a branch beside a river, title to underside of cup, script Chamberlains Worcester marks to all, stand 13cm diameter
The perched bird (also called a striated pardalote, common throughout Australia) is after an illustration by Frederick Polydore Nodder (fl.1770-1801) of 1794. It was used in George Shaw’s ‘The Naturalist’s Miscellany’, consisting of twenty-two volumes published by Nodder & Co., London, between 1789-1813. As well as illustrating this periodical, Nodder is noted for helping Joseph Banks prepare the ‘Banks Florilegium’ and engraved for publication most of Sydney Parkinson’s Australian plant drawings from the ‘Endeavour’ expedition.
Provenance: a Swiss Private Collection of English Porcelain
£600-900 15 ‡
A GROUP OF FOUR CHOCOLATE CUPS, COVERS AND STANDS, CIRCA 1790-1805, comprising: a pair Flight and Barr Worcester with borders of gilt foliage on ‘Barr’s Orange’, incised B marks, 13.5cm high; one Derby example in ‘Smith’s Blue’ and gold, puce marks; and a Paris example probably decorated in the Thomas Baxter workshop with an exotic bird and an orange and gold striped ground; together with a Paris chocolate cup and saucer with green monochrome portraits (14)
£300-400
6 14 ‡
16 ‡ (illustrated online)
A GROUP OF WORCESTER PORCELAIN, CIRCA 1760-75, comprising: 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 (10)
Provenance: a Swiss Private Collection of English Porcelain
£80-120
17 ‡ (illustrated online)
AN ENGLISH PORCELAIN 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; together with two pearlware teabowls and saucers (7)
Provenance: a Swiss Private Collection of English Porcelain; for the chocolate cup: The Edmundson Collection
£40-60
18
A SPODE POT POURRI JAR AND COVER, CIRCA 1815, the bulbous body with white relief putti against a lilac ground beneath a gilt foliate border, the similarly bordered simply pierced cover over a white interior lid with gilt knop, red painted Spode 2063, 24cm high
£60-90
19
18
A SET OF SIXTEEN ROSENTHAL PORCELAIN SMALL BOWLS AND SAUCERS, DESIGNED BY GIANNI VERSACE (19461997), 1990s, ‘Le Voyage de Marco Polo’ series, the straight sided faceted bowls decorated with two pairs of peacocks against a green trellised ground, the bowl interiors and the saucers centred by a roundel of green peacock feathers, with formal borders and gilt detailing throughout, comprising eight double handled bowls and eight of the same size but with a single handle, all with black and gilt Rosenthal/Versace mark, all in their original cardboard boxes with Rosenthal/Versace slip covers, bowls 9cm diameter, saucers 15cm diameter (32)
£200-300
7
19
A HEREND PART DINNER SERVICE, LATER 20TH CENTURY, Rothschild Bird pattern, ozier moulded borders, gilt rims, comprising: six dinner plates, six dessert plates, six side plates, six soup plates, six bowls with twin green handles on six stands, a double-lipped sauceboat, a single-lipped sauceboat, a serving dish (or tray), a comport, a small shallow bowl, a pair candlesticks, a leaf-shaped pot and cover applied with three roses, an egg-shaped bonbonniere and cover, a preserve pot and cover applied with a lemon rose, a pot and cover applied with a lemon rose, a pot and cover with gilt bud finial, a small coffee pot and cover, a baluster milk jug, a bulbous milk jug, a small circular pot and cover, a shaped pentagonal bowl with basketweave sides and applied flowerheads, a slender trumpet shaped vase, a flared cylindrical vase, an ovoid vase, a small bud vase, a pin tray, a small oval dish, a small shaped circular tray, and a teacup and saucer, all with blue
Handpainted Herend Hungary marks (69)
£1,500-2,500
8 20
A HEREND PART DINNER SERVICE, PREDOMINANTLY 1950s, Rothschild Bird pattern, ozier moulded borders and gilt rims, comprising: six dinner plates, six soup plates, six cheese plates, seven demi-tasse cups and eight saucers, a sauce boat on affixed stand, and a tureen and cover with lemon finial, all with blue Herend Hungary marks (37)
£600-900
9 21
A SET OF EIGHT MEISSEN DESSERT PLATES, EARLY 20TH CENTURY, each painted with insects hovering about a spray of flowers beneath a cobalt-blue border reserved with three giltedged panels enclosing flowers, blue crossed swords mark, 21cm diameter, some damage
£200-300
23
A SET OF SEVEN MEISSEN ‘HOFDRACHE’ PATTERN PLATES, 20TH CENTURY, yellow, orange and gilt ‘Court Dragon’ pattern, underglaze blue crossed swords mark, 24cm diameter, three with rim chips
£150-250
A ‘VIENNA’ STYLE CABINET PLATE, ‘LISETTE’, PROBABLY GERMAN, CIRCA 1900, painted with a chiaroscuro scene of a young woman in nightdress and cap shielding her candle, signed ‘Franz’, the cobalt-blue ground border with three reserves of cavorting putti and richly gilded with panels of raised scroll foliage and white beads, title and apocryphal shield mark to reverse, 24.5cm diameter
£300-400
10
22
24
AN OPPOSING PAIR OF MEISSEN FIGURES OF LINNETS, 20TH CENTURY, each realistically painted perched on a tree stump, underglaze blue crossed swords, model Nos. 110 and 110X, 12.5cm high, restoration to tails
£250-350 26
A MEISSEN FIGURE OF A GIRL, 19TH / 20TH CENTURY, modelled standing in 18th century costume about to fire an arrow, her left arm resting on a truncated column and supporting a basket full of arrows and her quiver, gilt scroll moulded circular base, underglaze blue crossed swords mark, incised J.32, impressed ‘40’ and ‘53’, 15cm high, repairs and losses
£60-100
11
25
A PAIR OF MEISSEN LARGE NODDING ‘PAGODA’ FIGURES, LATER 19TH CENTURY, modelled as a couple of grinning Chinoiserie figures seated cross-legged in lilac lined and gilt-edged floral robes, wearing lemon yellow shoes, the male figure with his robe hanging off his shoulders and belly exposed, the female figure slightly more modestly draped, with articulated tongues, heads and hands, blue crossed swords marks, 31cm high For another large Meissen pagoda figure sold in these rooms see the European & Asian Works of Art Auction, 21 November 2018, lot 396
12 27
Provenance: Rev. and Mrs David McCready; thence by family descent to the vendor. David Frederick McCready (1874-1963) was born in Dublin. He married Hilda Mary Jessop Weiss on 3rd February 1909 and was ordained at Worcester in 1910. Attached to the staff of the Chaplain-General during the war, he became British Chaplain in Geneva from 1920, in the hope of clean Swiss air helping with his young son’s chronic asthma, and Rural Dean of Switzerland from 1930. His wife, Hilda Mary Jessop Weiss, daughter of John Weiss of Birmingham, was a descendant through her mother of Thomas Jessop (1804-1887), proprietor of the Sheffield steelworks, William Jessop & Son; it is understood in the family that this pair of figures came to the McCready’s through the Jessop connection.
£8,000-12,000
13
A MEISSEN FIGURE OF ORIENTAL WOMAN, 20TH CENTURY, modelled by Paul Scheurich (1883-1945) in 1926 as a woman reclining against a palm tree, her hands raised to play a flute (lacking), in short pink jacket revealing her breasts and ‘harem’ pants, underglaze blue crossed swords mark, incised model No.67072, press number 262L, 22cm high, one foot detached and damaged
£80-120
A BERLIN (KPM) FIGURE OF RECUMBENT DAPHNE, 1922, in the white, modelled by Paul Scheurich (1883-1945) in circa 1918 as a naked figure reclining against a naturalistic stump with rectangle to the side signed ‘Scheurich’, stepped oval base, blue sceptre mark and impressed date letter, 40cm long
See another held by the British Museum (No.1993,1110.1)
£200-300
30 (illustrated opposite)
A GERMAN PORCELAIN PLAQUE PAINTED BY FRANZ SCHIER, MUNICH, 1894, after Nathaniel Sichel of a Classical beauty leaning sensuously against a fluted column with a wall and temple behind her, one hand resting on her head, the other, adorned with a gold snake armlet above the wrist, holding back some of her long black hair from diaphanously veiled breasts above a gold buckle and a rich red shawl wrapped around her midriff, signed lower right ‘F. Schier / München 1994, the reverse inscribed ‘Nach Sichel / Franz Schier. München 1894’, also impressed ‘386’, 30 x 21.7cm
Franz Schier (1852-1922) was based in Munich, painting in a variety of media, but especially known for his finely painted porcelain plaques. For a Berlin (KPM) plaque painted by Schier sold in these rooms, see 23 November 2016, lot 17.
Nathaniel Sichel (1843-1907) was born in Mainz. He trained at the Munich Academy from 1859 to 1862, followed by the Paris Academy, winning the coveted Prix de Rome in 1864. He established a highly successful studio in Berlin, gaining a great reputation for his uniquely seductive female figures, often Orientalist in theme, sometimes termed ‘Sichel’s beauties’.
£2,000-3,000
14 28
29
28 29
15
A PAIR OF GERMAN PORCELAIN MIRRORED WALL SCONCES, LATE 19TH CENTURY, encrusted and painted with flowers, each mirror plate framed by pink fluted columns beneath a scroll moulded surmount, each lower part modelled with a putto amongst flowers below a panel painted with lovers beneath pierced curved supports to the wooden ledge, 66cm high £400-600
16 31
A PAIR OF ORMOLU-MOUNTED ‘SEVRES’ STYLE LARGE VASES AND COVERS, LATE 19TH CENTURY, pedestal urn shaped, the cobalt blue ground reserving ovals painted with portrait busts of Louis XVI or Marie Antoinette above elongated oval reserves of couples courting beside lakes, painted to the reverse with fruits and flowers, all within ‘jewelled’ gilt borders surrounded by further burnished gilt details, the gilt-bronze angular handles suspending husk swags and ending in Bacchic masks, the in-curved square bases on bracket feet, domed covers lacking finials, interiors with gilt-metal linings and covers, painted pseudo Sevres marks, 60.5cm high
£600-900
17 32
A SEVRES OINOCHOE (JUG), 1830, the Classical Greek form with gilt fluted green ribs below a green ground border of gilt palmettes, white neck, gilt rim and handle, stencilled in blue ‘Sèvres / 30’ and gilt ‘A.31’, variety of incised marks, 16.5cm high (spout restored)
£300-400
A SEVRES ‘DOLPHIN’ SALT CELLAR (SALIERE A DAUPHIN), CIRCA 1820, probably after a design by Alexandre-Évariste Fragonard, the shell decorated in brown and heightened in gilding supported on the head of a mythical gilt and green sea-lion, on a square base decorated in imitation of a red hard-stone, interlaced LL monogram enclosing a fleur-de-lys/Sevres stencilled in blue, incised Mas(?), 9.5cm high
Alexandre-Evariste Fragonard (1780-1850), the son of the famous painter Jean-Honoré Fragonard, first trained in his father’s workshop, then became the assistant of the painter David. Between 1806 and 1839 he also created numerous decorative designs for Sèvres porcelain. For another example of this rare shape, ascribed to 1817, see O. Doutrebente, Drouot, Paris, 26 June 2015, lot 211.
£800-1,200
35
A SEVRES ‘DOLPHIN’ SALT CELLAR (SALIERE A DAUPHIN), CIRCA 1824, probably after a design by Alexandre-Évariste Fragonard, the shell decorated in green and heightened in gilding supported on the head of a mythical gilt and green sea-lion with red fins, on a square gilt base, faint interlaced LL monogram enclosing a fleur-de-lys/Sevres stencilled in blue, gilt DG. 20 jn, 9.5cm high, shell and corner of base restored
See footnote to previous lot.
£400-600
18
33
34
TWO SEVRES CUSTARD CUPS AND COVERS (POTS A JUS), 1787, bleu céleste ground with gilt foliate and husk scrolls flanking reserves of flower sprays, one painted by Claude-Francois Philippine, the other by Mme Bouvet, within gilt guilloche borders, the domed covers with a fruit spray knop, 8cm high, interlaced Ls mark, date letters ‘kk’ and artist marks ‘cp’ and ‘CB’
Provenance: from the service ‘fond bleu céleste, groupe de fleurs et fruits’, acquired by the ‘marchands’ Citoyen Empaytaz et Cie in late 1794; later acquired by the Cheremeteff family in Russia; sold by Count Alexandre Dimitri Cheremetev in about 1906 via the Bond Street dealer, Asher Wertheim, much of the service sold by Partridge in 1955 to Stavros Niarchos.
For further discussion of this service see David Peters, ‘Sevres Plates and Services of the 18th century’, London, 2015, vol.V, pp.1049-1053. Two wine coolers from the service may be seen in the White Drawing Room at the Rothschild house, Waddesdon Manor (Accession Nos.2333.1/2). Also see Christie’s, New York, 21 October 2004, lot 950 for a tureen and cover, Christie’s, Paris, 20 April 2023, lot 673 for a saucer and Bonhams, London, 20 November 2002, lot 286 for a pair of custard cups also painted by Philippine le jeune.
£3,500-4,500
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
£200-300
19 36
37
38
A ROCKINGHAM PORCELAIN FIGURE OF A CAT, CIRCA 1830, the black feline seated on a square cushion with green upper surface and gilt tassels at each corner, incised No.77, red painted Cl1, 5.75cm high
Provenance: Sotheby’s, London, 15 March 1988, lot 41
£300-400
39
A COLLECTION OF EIGHT STAFFORDSHIRE FIGURES, 19TH CENTURY, comprising: an opposing pair of zebra, a sheep standing above a waterfall, a female archer (The Huntsman’s Companion), two recumbent sheep, a standing sheep and a recumbent deer, archer 17cm high, chips and repairs (8)
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£60-80
40
A STAFFORDSHIRE POTTERY FOOT BATH, THIRD QUARTER 19TH CENTURY, bulging oblong, applied with leafy handles, monochrome printed with a variety of flowers between trelliswork borders, underside with pattern name ‘Trellis & Plants’, 49cm long
£100-200
20
AN ENGLISH PORCELAIN LARGE EASEL MIRROR, PROBABLY COALPORT, MID 19TH CENTURY, in Rococo Revival taste, the pink ground frame moulded with gilt-edged scrolls and decorated with scattered flowers, surmounted by a cartouche enclosing a monogram below an earl’s coronet, the oak backing with hinged strut and with two gilt metal sconce fittings, 73cm long
£400-600
21 41
A PAIR OF GRAINGER’S WORCESTER BOTTLE VASES, CIRCA 1880, with ribs of raised dark teal flowers on an ivory ground and gilt line borders, Grainger & Co. shield mark, 25.5cm high
Provenance: Property of a European Collector (see lot 4 for further details)
£300-500 43
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
£600-900
44
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
£200-300
22
42
A PAIR OF MINTONS LTD. ‘SECESSIONIST’ VASES, EARLY 20TH CENTURY, designed by John William Wadsworth (1879-1955) under the art directorship of Léon Victor Solon, slender ovoid, green tube lined with pattern No. 50 in blue, turquoise and lilac, printed name and pattern number, incised shape number 3707, 32cm high
£120-180
A BOHEMIAN MILCHGLAS SALT, 18TH CENTURY, the dish enamelled in red, blue and yellow with a roundel of birds, corn stooks and trees surrounded by a border of stylised flowers, on a domed foot, 10cm diameter; together with a German glass salt, 18th century, the dish and domed foot in white opaline glass splashed in purple, 7cm diameter (2)
Provenance: Sotheby’s, London, 5 June 1990, lot 128
£150-250
23 45
46
47
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
£400-600
48
AN ANGLO-IRISH CUT-GLASS BOWL, 19TH CENTURY, pedestal canoe shaped, the bowl lozenge cut below a serrated rim, knopped pedestal on a lozenge-shaped base, 27cm long; together with a cut-glass bowl and cover, 19th century, circular, with bands of diamond pattern cutting, the bowl on a short pedestal and square prismatic cut foot, the cover rising to a faceted finial, 23cm high (3)
£80-120
24
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
£200-300 50
THREE CUT-GLASS VASES AND COVERS, PROBABLY ENGLISH, 19TH CENTURY, all pedestal urn shaped, with square bases, comprising a larger example with a variety of cutting and flattened finial, 29cm high, and a pair with diamond pattern cutting and pointed finials, 23cm high
£80-120
25
49
A PAIR OF CUT GLASS STORM LIGHTS, ENGLISH, 19TH CENTURY, the stepped square bases fluted to the undersides, rising to gilt-brass pierced sconces numbered ‘4’ or ‘6’, the plain glass elongated shades with giltbrass base mounts, one numbered ‘6’, 44.5cm high
£200-400
AN ORMOLU-MOUNTED CUT-GLASS JUG, FRENCH, EARLY 19TH CENTURY, the pear shaped glass with hobnail and faceted cutting, the neck and base mounts with milled borders, the handle with dog’s head surmount above leaf wrapped supports, 17cm high
£150-200
26 51
52
TWO EMPIRE STYLE GILT-METAL-MOUNTED MARBLE INKSTANDS, FRENCH, 19TH CENTURY, one with drum form breche marble body applied with Neo-classical swags between formal borders, the mother-of-pearl top set with two porcelain inkwells, a gilt-bronze pounce pot and three quill holders below a swing handle, 12cm diameter, the other circular, with a grey marble urn with pierced cover on a white marble base with ovolo rim and three pad feet, 19cm diameter
£200-300 54
A PAIR OF FRENCH PARCEL-GILT BRONZE TAZZE ON MARBLE PEDESTALS, PROBABLY PARIS, 19TH CENTURY, brown patinated shallow urns with lobes above leafy pedestals and gilt-bronze square bases, applied with leafy ormolu handles, each giallo antico marble pedestal with a formal leaf border above the square base, 24cm high
£400-600 55
PAIR OF FRENCH BRONZE TAZZE AND COVERS, PROBABLY PARIS, LATE 19TH CENTURY, the brown patinated pedestal urns applied with fox heads and strapwork handles headed by grotesque masks, the covers with finials cast as a seated classical female figure in thought whilst holding one knee, each set on a Belgian black marble fluted socle with octagonal base, 33cm high
£150-250
27
53
53 54 55
56
A PAIR OF SILVERED THREE-LIGHT CANDELABRA, PROBABLY FRENCH MID 19TH CENTURY, circular bases, slightly tapering stems and urn shaped sconces, the branches each with three arms centred by a tapered and reeded column topped by a cone finial, with a variety of foliate and milled borders throughout, 50cm high
£200-300
57
A PAIR OF GILT-BRONZE CANDLESTICKS, PROBABLY FRENCH SECOND QUARTER 19TH CENTURY, the stepped circular bases with formal leaf borders, foliate and lappet tapering stems and vase-shaped sconces with detachable nozzles, later drilled, wood set bases, 24cm high
Provenance: Property of a European Collector (see lot 4 for further details)
£150-250
58
A PAIR OF SILVERED BRONZE CANDLESTICKS, FRENCH, 19TH CENTURY, Rococo Revival, shaped circular bases, baluster stems, sconces and detachable nozzles all moulded with bold matted scrolls, each on three splayed panel feet, 26cm high
Provenance: Property of a European Collector (see lot 4 for further details)
£300-500
28
57 58
A PAIR OF FRENCH ORMOLU AND PATINATED BRONZE CANDELABRA, PARIS, EARLY 19TH CENTURY, after a design by Percier and Fontaine, each with winged Victory holding up a vase supporting five lights composed of four branches and central stem ending in detachable nozzles, the patinated figures with gilt girdles and raised wings, each with an opposing raised foot, the other foot balancing on a sphere set on a milled column and stepped square base, 81.5cm high
For a sketch of about 1805, from the workshop of Percier and Fontaine of furniture and furnishings for the Empress Josephine’s boudoir at St. Cloud, see the Metropolitan Museum, New York, No.63.535.1-.128 (P.19), which shows this model of Victory (or Nike) with wings and foot raised, holding aloft the candle lights. The highly popular ‘Victory’ candelabrum model, which appears with a number of slight variations, is most closely associated with the work of Pierre-Philippe Thomire (1751-1843).
£2,000-3,000
29 59
60
A GILT-BRONZE THREE-LIGHT CANDELABRUM, ENGLISH, CIRCA 1830, the triform base supporting three lion paw legs below a fluted urn-shaped stem and opposing arms, bulbous sconces, one detachable nozzle, foliate or vine borders throughout, 34cm high
£200-300
62
A PAIR OF BRASS LARGE ‘ALTAR CANDLESTICK’ LAMPS, 20TH CENTURY, on square ebonised bases, the circular brass sticks with reeded bases rising to knopped cylindrical stems and moulded pans below the light fittings, with cream silk pleated shades, 91cm high overall
Provenance: Property of a European Collector (see lot 4 for further details)
£100-200
61
A SILVERED BRASS SIX-LIGHT CHANDELIER, 20TH CENTURY, knopped and invested baluster vase stem applied with three seraphim above a strapwork incised drum set with the six scroll arms ending in drip-pans and sconces, a bud pendant below, 48cm high, 59cm diameter
Provenance: Property of a European Collector (see lot 4 for further details)
£300-500
30
AN ARTS AND CRAFTS BRASS LANTERN WITH MEDIEVAL AND LATER LEADED GLASS, LATE 19TH CENTURY, set with four rectangular leaded glass panels each centred by a blue boss surrounded by yellow fleurs de lys, small red roundels and yellow flowerheads, the square base panel with hinged lozenge, the brass frame with ball feet and scroll finials to the corners below the knopped rods rising to the suspension fitting, 67cm high including suspension ring, 37cm widest
Provenance: Property of a European Collector (see lot 4 for further details)
£800-1,200
A MARBLE FRAGMENTARY COLUMN, PROBABLY ITALIAN RENAISSANCE, later inlaid with ‘Cosmati’ work, cylindrical, 32cm high
Provenance: Property of a European Collector (see lot 4 for further details)
£100-200
31 63
64
A BRONZE DOOR KNOCKER, PROBABLY GERMAN, 16TH CENTURY STYLE, cast with a serpent twisted around the base of the ring suspended from the mouth of a grotesque mask, 39cm long
Provenance: Property of a European Collector (see lot 4 for further details)
£400-600 66
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
£800-1,200
32
65
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
£2,000-3,000
33 67
AFTER CHARLES CROZATIER (1795-1855): MARLY HORSE, a French bronze group, probably Paris, late 19th / early 20th century, the rearing horse and attendant after the marble by Guillaume Coustou (1677-1746), inscribed in the bronze ‘ch. crozatier’, 40 x 43cm excluding mottled black marble rectangular base
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£600-900 69
AFTER JEAN-CLAUDE ROSSET (1706-1786): VOLTAIRE AND ROUSSEAU, a pair of French bronze figures, probably Paris, late 19th century, each philosopher modelled clutching an opposing cane and standing on a Siena marble square plinth set into a palmette bordered bronze base, 43 and 44.5cm high
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£600-1,000 70
A PAIR OF BRONZE LIBRARY BUSTS OF THE DRAMATISTS RACINE AND CORNEILLE, FRENCH, 19TH CENTURY, Racine depicted with long curled hair, Corneille with his under a cap, each on a waisted square socle and square black marble plinth, 18cm & 17cm high
£300-400
34
68
69 70
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, 69cm high 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.
£600-900
35 71
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 ‘דוד’ for 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 lifesize 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
72
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 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.
£3,000-4,000
73
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.
£300-500
75
A MARBLE HEAD OF APHRODITE (VENUS) AFTER THE ANTIQUE, PROBABLY ITALIAN 20TH CENTURY, of Aphrodite of Cnidos type, mounted on a dark mottled marble socle, cylindrical flaring slightly towards the spreading base, 25cm high
£400-600
76
A GERMAN FIGURE OF THE ‘LAMM GOTTES’ (LAMB OF GOD), PROBABLY BAVARIA OR TYROL, 18TH/19TH CENTURY, the threequarter block carved and painted recumbent Lamb with his front left leg raised, 46cm long Provenance: Property of a European Collector (see lot 4 for further details)
£400-600
38 74
75 76
A PAIR OF CARVED GILTWOOD ‘DAMNED SOULS’, ITALIAN, 18TH CENTURY, three-quarter block carved as an opposing male and female in tormented supplicant poses with the flames of hell licking their waists, 44 and 47cm high
Provenance: Property of a European Collector (see lot 4 for further details)
£700-1,000
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 (see lot 4 for further details)
£500-700
39 77
78
JEAN-BAPTISTE NINI (1717-1786): BENJAMIN FRANKLIN, a terracotta medallion, head in profile to dexter, bare-headed and with hair to his shoulders, surrounding inscription ‘ERIPUIT.COELO. FULMEN.SCEPTRUMQUE. TIRANNIS. MDCCLXXIX’ (He snatched the lightning shaft from heaven and the sceptre from tyrants, 1779), pierced through top edge to back for suspension, 15cm diameter
Jacques-Donatien Le Ray de Chaumont, Louis XVI’s intendant at the Invalides and a great supporter of the Americans against the British, provided lodgings for Franklin during his stay in Paris. Chaumont had put the sculptor/medallist Jean-Baptiste Nini in charge of his pottery at Chaumont-sur-Loire and shortly after Franklin moved into Chaumont’s apartment, Nini produced his terracotta of the so-called ‘fur hat’ portrait, in the next two years making seven different versions of portraits of Franklin, many moulded in Chaumont terracotta.
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£1,000-2,000
40 79
Lots 80-108
From the estate of the late Dr Philip Shand (d.2019, Lancashire), a passionate icon collector, who later took to icon painting himself
AN
£1,000-1,500 81
AN ICON OF THE ELEVATION OF THE CROSS, RUSSIAN, LATE 17TH CENTURY, tempera and gesso on wood panel, 35.5 x 32cm
Provenance: Temple Gallery, London, 2002
£800-1,200
41
80
ICON OF CHRIST ‘THE FEARSOME EYE’, RUSSIAN, 17TH CENTURY, with metal riza, tempera and gesso on wood panel, 32 x 27cm
AN ICON OF SAINT SIMEON THE GOD RECEIVER, RUSSIAN, EARLY 18TH CENTURY, tempera and gesso on wood panel, 30.5 x 26.5cm
Provenance: Iconostas Gallery, London, 2000
£1,000-1,500
A FOUR PART ICON, RUSSIAN, MID18TH CENTURY, depicting the Birth of the Virgin, the Bathing of the Child, Joachim and Anna with the Lord Sabboth above, the Nativity of Christ and the Birth of Saint John, tempera and gesso on wood panel, 31 x 26cm
Provenance: Mark Gallery
£1,000-1,500
42 82
83
84
AN ICON OF THE VIRGIN OF VLADIMIR (VLADIMIRSKAYA), RUSSIAN, 18TH CENTURY, with metal riza, tempera and gesso on wood panel, 32 x 27.5cm
Provenance: Iconostas Gallery, London, 2003
£1,200-1,800
85
AN ICON OF THE VIRGIN OF TIKHVIN (TIKHVINSKAYA), RUSSIAN, 18TH CENTURY, tempera and gesso on wood panel, 35.5 x 28cm
Provenance: Iconostas Gallery, London, 1994
£1,000-1,500
86
AN ICON OF THE BIRTH OF THE VIRGIN, RUSSIAN, 18TH CENTURY, tempera and gesso on wood panel, 31 x 26cm
£700-1,000
43
85 86
84
AN ICON OF THE BIRTH OF THE VIRGIN, PALEKH SCHOOL, RUSSIAN, LATE 18TH CENTURY, tempera and gesso on wood panel, 33 x 28cm
£1,000-1,500 88
AN ICON OF THE VIRGIN OF KAZAN (KAZANSKAYA), RUSSIAN, CIRCA 1800, tempera and gesso on wood panel, 36 x 29.5cm
Provenance: Iconostas Gallery, London, 1996
£500-700
89
AN ICON OF THE LAMENTATION, RUSSIAN, CIRCA 1800, tempera and gesso on wood panel, 30.5 x 35.5cm
Provenance: Andipa Gallery, London, 2003
£500-800
44
87
88
90
AN ICON OF THE DEATH OF SAINT ELIZABETH, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 27 x 20cm
Provenance: Temple Gallery, London, 1999
£1,000-1,500
91
AN ICON OF CHRIST ENTHRONED IN MAJESTY, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 31.5 x 27cm
£700-1,000
45
92
AN ICON OF SAINT MARK WRITING IN THE GOSPEL, PALEKH SCHOOL, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 31 x 26.5cm
Provenance: Iconostas Gallery, London, 1999
£500-800
93
AN ICON OF THE ARCHANGEL AND SCENES FROM THE LIFE OF SAINT ANNA, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 43.5 x 35cm
£800-1,200
94
AN ICON OF THE DORMITION OF THE VIRGIN, RUSSIAN, 19TH CENTURY, with white metal frame, tempera and gesso on wood panel, 31.5 x 26.5cm
Provenance: Iconostas Gallery, London, 1996
£1,200-1,800
46
93 94
95
AN ICON OF THE DEESIS, RUSSIAN, 19TH CENTURY, Christ enthroned flanked by the Virgin and Saint John the Baptist, tempera and gesso on wood panel, 35.5 x 31cm
Provenance: Iconostas Gallery, London
£800-1,200
96
AN ICON OF SAINT JOHN THE BAPTIST ‘LAMB OF GOD’, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 32 x 25cm
Provenance: Temple Gallery, London, 2002
£400-600
97
AN ICON OF THE DORMITION OF THE VIRGIN, RUSSIAN, 19TH CENTURY, with metal riza, tempera and gesso on wood, 31 x 27cm
£600-900
47
96 97
98
A FOLDING ICONOSTASIS, RUSSIAN, 19TH CENTURY, with four registers depicting: Old Testament Prophets, the Apostles, Archangels, various Church Fathers and Scenes from the life of Christ and the Virgin, tempera and gesso on wood panels, 147.5 x 50.5cm
£1,800-2,200 99
AN ICON OF THE PRESENTATION OF THE VIRGIN IN THE TEMPLE, RUSSIAN, MID-19TH CENTURY, tempera and gesso on wood panel, 31 x 26.5cm
Provenance: Iconostas Gallery, London, 1997
£1,000-1,500
48
100
A VITA ICON OF SAINT MARY OF EGYPT, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 31 x 25cm
£400-600
101
AN ICON OF THE THREE HOLY HIERARCHS, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 32 x 26cm
Provenance: Temple Gallery, London, 1999
£1,000-1,500
102
AN ICON OF THE BEHEADING OF SAINT JOHN THE BAPTIST, PALEKH SCHOOL, RUSSIAN, EARLY 19TH CENTURY, tempera and gesso on wood panel, 35.5 x 31cm
£1,000-1,500
49
101 102
103
A PORTABLE TRIPTYCH DEPICTING THE DEESIS, RUSSIAN, 19TH CENTURY, Christ flanked by the Virgin and St John the Baptist, tempera and gesso on wood panels, each 12 x 9cm in hinged brass mounts with bird’s head clasp and suspension rings
Provenance: Iconostas Gallery, London, 1992
£800-1,200
104
AN ICON OF THE MIRACLE OF ARCHANGEL MICHAEL AT CHONAE, RUSSIAN, 19TH CENTURY, tempera and gesso on wood panel, 31 x 26cm
£1,000-1,500
105
AN ICON OF THREE BISHOPS, GREEK, EARLY 18TH CENTURY, tempera and gesso on wood panel, 37 x 23cm
Provenance: Temple Gallery, London, 2002
£1,000-1,500
50
AN ICON OF THE DEESIS, GREEK, 18TH CENTURY, Christ enthroned flanked by the Virgin and Child, formerly part of a triptych, tempera and gesso on wood panel, 30.5 x 22cm
Provenance: Morsink Gallery, Amsterdam, 2003
£1,200-1,800
107
AN ICON OF THE PENTECOST, GREEK, LATE 18TH CENTURY, tempera and gesso on wood panel, 44 x 33cm
£1,200-1,800
108
AN ICON OF THE APOSTLE LUKE, GREEK, LATE 18TH CENTURY, tempera and gesso on wood panel, 36.5 x 30.5cm
Provenance: Andipa Gallery, London, 1997
£1,000-1,500
51
106
107 108
A SET OF FIFTEEN JAPANNED PINE PANELS, PROBABLY ANGLO-DUTCH, LATE 17TH / EARLY 18TH CENTURY, in sizes, rectangular or square, painted with a variety of Chinoiserie vignettes on black grounds within a gold paint border, probably drawer fronts from the interior of a cabinet, many with filled handle holes, 36cm longest
Provenance: Property of a European Collector (see lot 4 for further details)
£300-400
52 109
110
AN ITALIAN MICROMOSAIC PANEL OF ‘PLINY’S DOVES’, ROME, LATE 18TH CENTURY, the four doves of Pliny (or Capitoline doves) perched on a gold water-filled bowl on a flat block on a ledge against a blue background, in a giltwood frame with foliate guilloche between patera-set ocatagons to the angles, with a reeded gilt-bronze suspension ring, panel 16.5 x 20.5cm, frame 25.5 x 29cm
Provenance: Property of a European Collector (see lot 4 for further details)
£4,000-6,000
111
AN ITALIAN MICROMOSAIC PLAQUE OF THE COLOSSEUM, ROME, CIRCA 1800, the roundel depicting the ampitheatre prior to the restorations begun by Pius VII, with a figure in a red coat in the foreground, with copper tray, 7.5cm diameter
Provenance: Property of a European Collector (see lot 4 for further details)
£1,200-1,800
53
112 ~ A PAIR OF GRAND TOUR MINIATURES OF APOLLO AND DIANA, ITALIAN, CIRCA 1800, Apollo with red cloak turned slightly to sinister, Diana in a blue dress slightly to dexter, painted on ivory, each in their Irish black and gilt verre eglomisé and giltwood frames, Apollo with trade label to wood backing for ‘Js Hawkesworth / CARVER & GILDER / from London / No.12 / Duke Street / Dublin’, ivory 9.5cm diameter, frames 21.5cm square
James Hawkesworth is recorded at either 12 or 14 Duke Street, Dublin, between 1793-1806. It was not uncommon for works to be framed once the traveller had returned home from the Grand Tour.
£300-500
113
A SILHOUETTE OF A YOUNG LADY, BY ISABELLA BEETHAM (C.1753-1825), CIRCA 1795 , reverse convex glass painted to sinister within a gilt running leaf border, gilt-metal mount, black lacquered frame with oak leaf suspension ring mount, label to reverse inscribed ‘ My dear cousin / Harriet
Grindall Guy??’, 9cm oval
£120-180
54
114
TWO SILHOUETTES OF YOUNG LADIES, CIRCA 1800 AND CIRCA 1830, both with milled gilt-metal mounts and black frames, one to sinister with bronzed highlights, on plaster, by John Field (1772-1848) for the John Miers Studio, Miers trade label to reverse, the other to dexter, bronze highlighted, on card, signed ‘Field 11 Strand’, by John Field and/or his son Henry William Field (1810-1882), later label to reverse reading The Late Duchess of Northumberland, 8 and 7cm oval (2)
£200-300
115 ~
A PORTRAIT MINIATURE OF A YOUNG WOMAN, BY HENRI-JOSEPH HESSE (1781-1849), CIRCA 1815, wearing a coral parure, lace-trimmed chemise and brown dress, on ivory, gilt-metal mount, black lacquer frame with gilt-metal grapes and leaves suspension ring mount, 7cm oval
£120-180
116 ~ A PORTRAIT MINIATURE OF A YOUNG GENTLEMAN, BY J.H. JONES, 1831, in a brown coat with one arm draped over the back of his chair, on ivory, signed and dated lower right side, in later gilt-metal mount, 10.5cm high; together with another portrait miniature of a young man, circa 1830, in a blue coat, on ivory, lacquer frame with oak leaf suspension ring mount, 6cm oval (2)
£180-220
55
A LENGTH OF ARTS AND CRAFTS
‘ISPAHAN’ PATTERN FURNISHING FABRIC, MORRIS & CO., MERTON ABBEY, CIRCA 1890, designed by John Henry Dearle (1860-1932), in woven wool of teal tones, calico backed and sewn with brass suspension rings, 210 x 126cm Provenance: Property of a European Collector (see lot 4 for further details); Christie’s, South Kensington, 29 May 1996
See a length of the same fabric preserved at the Victoria and Albert Museum (No. T.111-1953), the online entry noting: ‘The perception of John Henry Dearle’s importance as a designer suffered for many years from his close association with William Morris and Morris & Co. His designs have often been wrongly attributed to Morris, in part through ignorance and in part due to deliberate deception when the firm fell on hard times. This woollen fabric, called ‘Ispahan’, was designed by Dearle, but shown as a William Morris design at the 1896 Exhibition. In fact, Dearle was responsible for designing all new textiles produced by Morris & Co from 1888. He produced 38 new repeating patterns for the loom, more than double that provided by Morris. Dearle’s traditional style, influenced not only by Morris’ own work but also by a study of historical patterns, was well suited to the technique of weaving. His patterns show strong symmetrical forms using known repeating devises of the type seen in ancient patterns from Persia, Turkey and Italy.’ (https://collections. vam.ac.uk/item/O16971/ispahanfurnishing-fabric-john-henry-dearle/ - accessed 24.02.23)
£800-1,200
56
117
118
A PAIR OF CUSHIONS, 17TH CENTURY AND LATER, the front panels made up from 17th century wool needlework worked as a variety of vases amid strapwork against a dark brown ground, with 20th century corded red piping and brown velvet backing, 50cm square
Provenance: Property of a European Collector (see lot 4 for further details)
£150-250
119 (illustrated online)
A HEREKE SILK AND WHITE GOLD THREAD PRAYER RUG, WEST ANATOLIA, LATER 20TH CENTURY, woven in salmon and flesh tones, the mihrab and inscribed cartouches with white gold ground, 115 x 71cm
£300-500
120 (illustrated online)
A VICTORIAN ROSEWOOD AND MOTHER-OF-PEARL INLAID TEA CADDY, MID 19TH CENTURY, sarcophagus form with drop-ring handles, inlaid to front and to canted lid with silvered stringing and nacre roundels at the angles, the lid also with foliate panels below a lobed border, interior of twin covered compartments with bone knops, 20cm wide; together with another rosewood tea caddy, early 19th century, plain rectangular with sycamore banding, on brass ball feet, interior of twin covered compartments with brass knops, with key, 19cm long (2)
£50-80
121 ~
A VICTORIAN SILVER-MOUNTED CALAMANDER CIGAR HUMIDOR, GEORGE BETJEMANN & SONS, LONDON, 1898, rectangular on a bevelled base, the lid with silver-mounted corners, the cedar lined interior with six adjustable compartment and five removable ivory tickets, with associated key, 48cm long
£200-300
57
122 ~ 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 (see lot 4 for further details); Vernon Wethered (18651952);
£1,500-2,500
123 (illustrated online)
A ‘TUNBRIDGE WARE’ ROSEWOOD DRESSING TABLE BOX, MID 19TH CENTURY, rectangular, with slightly concave sides, the lightly domed lid with a parquetry panel of illusionary perspective cubes surrounded by a band of floral mosaic marquetry on a dark ground, a similar but blond ground band around the sides, the turquoise silk lined interior with a later beechwood compartmented tray, 26.5cm wide
£80-120
58
124
A PAIR OF PAINTED WOOD WALL BRACKETS, PROBABLY ITALIAN 18TH CENTURY, gessoed chestnut, each tapering with two shorter canted facets, gilt moulded borders and a dentil border and cream ground with a pale blue band to centre, 31cm high
Provenance: Property of a European Collector (see lot 4 for further details)
£150-250
125
A SET OF SEVEN CORAL AND SHELL WALL BRACKETS, RUPERT BEVAN LTD., LONDON, 1996, with white painted almost hemispherical ledges hidden by an assortment of bleached coral and pale shells, each with two brass suspension hoops, ledges only 17cm wide, 13cm deep
Provenance: Property of a European Collector (see lot 4 for further details)
£350-450
59
126
A PAIR OF ITALIAN SILVER-MOUNTED CARTEGLORIA (ALTAR CARD FRAMES), MID 18TH CENTURY, the wood-backed shaped frames set with mirror glass surrounded by chased Rococo scroll and foliate sheet silver, each with single mark only CD/B in trefoil punch, 41cm high
Provenance: Property of a European Collector (see lot 4 for further details); Edouard de Sevin, Paris, 26 July 2001
£800-1,200
127
A GERMAN SILVER TABLE BELL, PROBABLY HANAU, CIRCA 1894, the stem cast as a young woman pouring wine from a jug standing on a sphere, the bell richly cast with foliate scrolls on scalework grounds surround two vacant cartouches, import marked for Berthold Mueller, London, 1894, two indecipherable pseudo marks, 12.5cm high, 119g
£70-100
128
A GERMAN SILVER JUG, VEREINIGTE SILBERWARENFABRIKEN, HANAU, CIRCA 1920, oval baluster, richly relief decorated all over with Rococo foliage and scrolls surrounding two vignettes of courting couples, a trophy of musical instruments and a vacant cartouche to front, the rim foot additionally pierced, scroll handle, 21cm high, 610g
£400-600
127
60
129
A GERMAN SILVER SAUCEBOAT, GEORG ROTH & CO., HANAU, CIRCA 1899, oval, on three volute feet, richly relief decorated with two scenes of pairs of putti surrounded by Rococo shells and foliage, import marked for William Moehring, London, 1899, 16.5cm long, 195g
£70-100
130
A GERMAN SILVER TRINKET BOX, KARL KURTZ, KESSELSTADT, , A German silver trinket box, Karl Kurtz, Kesselstadt, circa 1900, oval, with high chased flowers, the lid additionally with a pair of opposing birds, with waved everted rims, import marked for Samuel Boyce Landeck of London, Sheffield, 1901, 17cm long, 324g
£150-250
131
AN AMERICAN SILVER NOVELTY CHRISTENING MUG, WHITING MANUFACTURING CO., NEW YORK, CIRCA
1915, the slightly waisted body below a waved rim with three mice in low relief surrounded by the nursery rhyme ‘THREE BLIND MICE, did you ever see such a sight in your life’, shaped handle, underside engraved ‘Alaid / from / Uncle Frank’, trademark, ‘STERLING’ and ‘413A’ stamps, 9.5cm high, 125g
£80-120
61
130
AN AMERICAN SILVER WATER JUG (PITCHER), TIFFANY & CO., NEW YORK, CIRCA 1883, the bulbous body, short neck and handle all richly chased with dahlias on a ground of small matted triangles, a band of lobes at the base above the rim foot, underside engraved with scrolled initials MLS above the inscription ‘From Tiffany & Co. / March 29th. 1883’, stamped Tiffany marks under the directorship of Edward Moore (1873-1891) and ‘5½.PT.S.’, 20cm high, 837g
Provenance: wedding present to Mary Louisa Stone (1860-1954) of Manhattan, New York; thence by family descent. Mary Louisa Stone married the New York stockbroker, John Frederick Schenck (1848-1905), on 29 March 1883. In 1902 they built the ‘cottage’ Valleyhead on Reservoir Road, Lenox MA. Lenox was sometimes known as the ‘Inland Newport’ during the gilded age. Following Mr Schenck’s death three years later, the family continued to use the house, enjoying the extensive views over the Berkshires, until Mary’s death in 1954. It subsequently became a therapeutic facility, but burnt down in 1987.
£3,000-4,000
62
132
133
AN AMERICAN SILVER SOAP BOX AND A SHAVE STICK HOLDER, TIFFANY & CO., NEW YORK, EARLY 20TH CENTURY, hammer finished, each engraved with initials JMc in an oblong cartouche, rounded oblong box, cylindrical holder with scroll pierced cover, gilt interiors, Tiffany Sterling stamps, box 9.5cm long, holder 7.5cm high, 223g
Provenance: John Francis McCormack (18841945, Papal Count McCormack) by repute, bought by the vendor’s mother at an auction in Dublin including effects from McCormack’s estate in the 50s or 60s. The superstar Irish lyric tenor at various times had an apartment on Park Avenue, a farm in Connecticut, and a home in the Hollywood Hills.
£200-300
134
AN AMERICAN SILVER DISH, DOMINICK & HAFF, NEW YORK, CIRCA 1900, circular, the wide rim chased with foliate motifs at intervals below ovolo and formal leaf borders, trademark and ‘STERLING’ stamps, 35.5cm diameter, 1034g
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£400-600
135
A CONTINENTAL SILVER MEAT DISH, PROBABLY ITALIAN, SECOND QUARTER 20TH CENTURY, shaped oval, reeded rim, stamped ‘800’, 58cm long, 1787g
£700-1,000
63
136
AN ITALIAN SILVER CANDLESTICK, PROBABLY STEFANO SCIOLET II, ROME, SECOND QUARTER 19TH CENTURY, milled with formal borders, circular base rising to support a triform plinth below three leaf-headed openwork paw feet at the base of the flared cylindrical stem, with three drop-ring lion masks below the pedestal urn sconce and attached nozzle, 889 standard Papal States mark and lozenge mark, 32.5cm high, base lead weighted
£120-180
137
A DUTCH SILVER POT POURRI CONTAINER, ALLE DE HAAS, SNEEK, EARLY 20TH CENTURY, in Neo-classical style, circular, the stand with ram’s headed supports between pierced bands and husk swags, the stepped cover with further piercing and beaded rim, maker’s, assay office and 833 standard marks, also with pseudo marks, 12cm diameter, 560g excluding blue glass liner
£300-500
138 ~
A DUTCH SILVER PEPPER MILL, GERRIT DE PLEIJT, SCHOONHOVEN, CIRCA 1900, square outline, the sides with low relief Dutch genre scenes, on ball feet, the curved winding handle with ivory knop, iron grinder, date letter not found, 833 standard, 9cm high; together with the following silver trinkets: a German pill box in the form of a miniature Rococo commode on cabriole legs, Karl Kurtz, Kesselstadt, import marked for Theodor Hartmann, London, 1905, 4.5cm high; a German 18th century style miniature chair, probably Hanau, import marked for Samuel Boyce Landeck, Sheffield, 1900, 4cm high; a German miniature pedestal rosebowl, Karl Kurtz, Kesselstadt, import marked for S. Blanckensee & Sons, London, 1901, 5.5cm across end handles; and a Dutch spice box, typical oblong form, with filigree set lid and bright-cut sides, 833 standard, maker’s mark AD/8?, 19th century (5)
£150-250
64
139 (illustrated online)
A DANISH SILVER SALT CELLAR, GEORG JENSEN, COPENHAGEN, SECOND HALF 20TH CENTURY, ‘Acorn’ No.62 pattern designed by Johan Rohde, circular with everted handle, with blue enamelled bowl, Jensen post 1945 marks, 6cm long; together with a Danish silver small pepperette, bulbous, with two blue guilloché enamel panels reserving stylised foliage, Volmer Bahner, Copenhagen, circa 1970, 4cm high (2)
£60-80
140
AN ELECTROPLATE TEA AND COFFEE SET ON TRAY, ITALIAN, LATER 20TH CENTURY, in Modernist style, the cylindrical bodies with rectangular section handles, finials and spouts, comprising a teapot and cover, a coffee pot and cover, a sugar bowl and cover and a milk jug, the rectangular tray with circular cut-out under a glass panel, 41cm long
£100-200
141 (illustrated online)
A PAIR OF FRENCH ELECTROPLATE AND ENAMEL DESK CANDLESTICKS, MAISON PUIFORCAT OF PARIS, 1980s, circular, the cylindrical short stems of green and black mottling, underside stamped ‘PUIFORCAT.FRANCE’ and with trade stamp for electroplate, 10cm high
£70-100
142
A SILVER-MOUNTED SWEDISH GLASS DECANTER AND STOPPER, STROMBERGSHYTTAN, HOVMANTORP, CIRCA 1975, the heavy oblong glass of characteristic blue-silver hue, with plain silver neck mount, Charles S. Green & Co. Ltd., Birmingham, 1980, 18cm high; together with a silver mounted decanter and stopper, Hukin & Heath Ltd., Birmingham, 1911, plain oblong glass body and faceted stopper, the silver neck mount and silver stopper base each applied with a loop for an electroplate padlock (key lacking), 27cm high (2)
£150-250
142
65
143
143
144
145 (part)
A DUTCH SILVER-GILT APOSTLE SPOON, PROBABLY GRONINGEN MID 17TH CENTURY, the almost circular bowl below a flat section of stem with a bird and seraphim in relief, the spiral twist section with figure terminal, underside of bowl stamped WTB, 18cm long
£120-180
144
TWO QUEEN ANNE SILVER DOG NOSE SPOONS, BOTH LONDON, one with beaded rat-tail bowl, engraved initials C / I*E and stamped ‘RD BO...ER’, William Juson, circa 1705, the other with plain rat-tail and engraved initials T / I*E / I+T, William Petley, 1706, both Britannia standard, 20cm long, 105g
£300-400
145
A PAIR OF SCOTTISH PROVINCIAL SILVER SUGAR TONGS, MAKER’S MARK IC, DUNDEE, EARLY 19TH CENTURY, Fiddle pattern, with shell backed circular terminals, engraved M, 15cm long; together with a pair of Victorian silver sugar tongs, in mid 18th century style with openwork naturalistic arms and shell terminals, John Millward Banks of Birmingham, Chester, 1898, 11cm long; 75g (2)
£70-100
146
FOUR GEORGIAN SILVER FIDDLE PATTERN SAUCE LADLES, ALL LONDON, comprising: one Paul Storr for Rundell, Bridge & Rundell, 1811; one engraved with a crest, Jonathan Hayne, 1829 and a pair Francis Higgins, 1830; together with the following Fiddle pattern silver small serving pieces: an initialled George III caddy spoon, a sifter ladle, a pair crested salt spoons, a crested mustard spoon and a pair crested Fiddle Thread salt spoons, various makers, all London, 1813-1860; a set of four Provincial silver teaspoons, Fiddle pattern, Edward Ramsey of Devonport, Exeter, 1839; and a Victorian silver marrow scoop, engraved with a crest, Mary Chawner, London, 1839, 555g (16)
£300-400
146 (part)
66
147
FOUR MOTHER-OF-PEARL AND SILVER FOLDING FRUIT KNIVES, VARIOUS MAKERS, SHEFFIELD, 1882-1906, two with plain nacre mounts with silver rectangles, one inscribed ‘Julia’, one with carved mount and silver inset ‘Bessy’, one with engraved mount; together with a near pair of American silver-mounted small penknives, late 19th century, foliate stamped handles, one with straight poker and initialled blade stamped ‘COIN’, the other with curved poker and initialled blade stamped ‘STERLING’; and a small nacre and metal penknife, with a short iron blade and a damaged blade; longest 14cm unfolded (7)
£100-200
148
SEVEN SILVER AND MOTHER-OF-PEARL FOLDING FRUIT KNIVES, VARIOUS MAKERS, SHEFFIELD OR BIRMINGHAM, 1857-1910, , each with engraved nacre handle mounts set to one side with a silver cartouche, three initialled, longest 15cm unfolded
£150-250
149
A PAIR OF GEORGE III SILVER-GILT GRAPE SCISSORS, JOHN REILY, LONDON, CIRCA 1810, each stem of bound reeding below a bunch of grapes and vine leaf and oval finger aperture, maker’s mark only, 17cm long; together with a pair of Victorian silver grape scissors, bright-cut openwork flat handles, Josiah Williams & Co. of Bristol, Exeter, 1859, 16.5cm long; and a pair of Georgian silver tea tongs, typical form, maker’s mark only, probably Richard Mills, London, circa 1760, 12cm long; 195g (3)
£150-250
150
A PAIR OF SILVER BERRY SPOONS, VICTORIAN DECORATION, PERHAPS BENJAMIN SMITH OVERSTIKING ANOTHER, LONDON, 1823, the Fiddle pattern tablespoons with typically chased and gilded bowls, with feathering to the terminals; together with a George III silver gravy spoon, Feather Edge pattern, Thomas Evans, London, 1783, 29cm long; 215g (3)
£80-120
149 (part)
67
151
PAIR OF VICTORIAN SILVER FISH SERVERS, PROBABLY JOHN GILBERT, BIRMINGHAM, 1859, the silver tines and scroll pierced blade engraved with foliage, the loaded silver handles similarly engraved and also with a monogram, knife 28.5cm long; together with a group of Belgian Fiddle pattern table silver, 1831-68, comprising two table forks engraved with a crest and the following engraved with initials: a dessert spoon, two dessert forks and nine teaspoons, 800 standard, weighable silver 504g (16)
£150-250
152
THREE VICTORIAN SILVER SERVING PIECES, A.B. SAVORY & SONS, LONDON, 1857, Fiddle pattern, engraved with the crest for Hankey (wolf’s head erased erminois), comprising: a soup ladle, a fish slice and a butter knife, ladle 35cm long; 497g
£200-300
153
A PAIR OF GEORGE III SILVER ASPARAGUS TONGS, GEORGE SMITH, LONDON, 1798, typical plain form, engraved scrolled initials CL, 24.5cm long; together with an Edwardian silver crumb scoop, with fluted shaped terminal and scoop edge, Z. Barraclough & Sons, Sheffield, 1902, 32cm long; 319g (2)
£120-180
68
part
153 (part) 152
CANTEEN OF GERMAN TABLE SILVER, KOCH & BERGFELD, BREMEN, CIRCA 1900, the handles with foliage and rocaille surrounding a cartouche engraved with initials LRK, comprising: ten tablespoons, twelve table forks, twelve table knives with stainless steel, blades, twelve dessert forks, twelve dessert knives with stainless steel blades, twelve fish knives, twelve fish forks, twelve teaspoons, twelve sundae spoons with gilt bowls, three cake forks, and a soup ladle, a large serving scoop, a pair of smaller serving scoops, a pair of bread forks with stainless steel prongs, and a chisel with plated steel blade, ‘800’, Reichsmarks and retailer’s stamps of Simon Pasch of Wroclaw (Breslau); together with a set of six tea knives and three forks with metal tines or blades and loaded silver handles, similarly initialled, German, ‘800’; and the following English electroplate sets: twelve cake forks, two tea forks, twelve fruit knives and twelve forks, twelve soup spoons and eight coffee spoons; all fitted in a later case with two keys; weighable silver 2765gr
£1,500-2,500
69 154 A
155 (illustrated online)
A SET OF TWELVE CONTINENTAL SILVER FRUIT KNIVES, PROBABLY DUTCH, CIRCA 1900, the angular handles reeded and engraved ‘Schenck’ flanked by scroll foliage, plain integral blades, French ‘ET’ import stamp, ‘G&H’, ‘G/&/H’, probable Dutch lozenge shaped maker’s and Minerva stamps, 614g
£150-250
156
A GROUP OF GEORGIAN SILVER TEASPOONS, ALL LONDON, comprising: a set of six Old English pattern, with a pair sugar tongs and a Fiddle pattern caddy spoon, all later initialled IMB and in a fitted case, the spoons Peter, Ann & William Bateman, London, 1804, the tongs and caddy spoon different makers, 1805 and 1820 respectively; a set of five probably later bright-cut teaspoons initialled F, George Burrows, 1799; and a set of five Old English pattern initialled CES, Godbehere, Wigan & Boult, 1808 (19)
£100-150
157
GEORGIAN OLD ENGLISH PATTERN TABLE SILVER, comprising: a set of three table forks and six dessert forks engraved with a crest and garter motto, Reid & Son, Newcastle, 1799 / 1800, four further table forks similarly crested, two initialled table forks, two bottom marked and initialled tablespoons, and two initialled salt spoons, various makers, all London, 1748-1807; together with a set of ten silver teaspoons, Rat-tail pattern, Josiah Williams & Co. of Bristol, London, 1899; and a silver mustard spoon; 1240g (30)
£500-700
158
A CASED SET OF SIX VICTORIAN SILVER TEASPOONS AND PAIR SUGAR TONGS, HILLIARD & THOMASON OF BIRMINGHAM, CHESTER, 1897, with shell bowls and twisted stems and bright-cut terminals, burgundy silk and velvet lined case gilt stamped ‘BENETFINK / CHEAPSIDE E.C.’; together with a set of seven silver coffee spoons, Chippendale pattern, Nat Leslie Ltd., Sheffield, 1981; a Victorian silver butter knife, with scroll foliate bright-cut blade and shaped initialled mother-of-pearl handle, George Unite, Birmingham, 1845; and a French silver punch ladle, with shaped oval lobed bowl, twisted stem and strapwork decorated handle, 950 standard, François-Pamphile Jozan, Paris, circa 1840, 35cm long; weighable silver 226g (17)
£200-300
70
156 (part) 158 (part) 157
159
A GROUP OF GEORGIAN FIDDLE PATTERN
TABLE SILVER, comprising: a set of seven table forks initialled R (Francis Higgins, London, 1830); a pair of plain tablespoons (Edward Thomason, Birmingham, 1822); two tablespoons with the same scroll initials (Edinburgh and London, both 1808); a crested butterknife (John, Henry & Charles Lias, London, 1847); and a plain pair of sugar tongs (Robert Wallis, London, 1847); together with a George II silver Hanoverian pattern tablespoon, with scroll foliate stamped bowl back and engraved marriage initials G/R+A, Elias Cachart, London, 1753; 831g (14)
£500-700
160 (illustrated online)
A PAIR OF GEORGE V SILVER ASPARAGUS
TONGS, WILLIAM HUTTON & SONS LTD., SHEFFIELD, 1911, shaped handles with gadroon edges, the pierced pincers bright-cut engraved to the top, 22cm long; together with a George III silver gravy spoon, Old English pattern, initialled CES, William Sumner, London, 1804; and a pair of Scottish silver small ladles, bead and rail stems, small oval bowls, Brook & Son, Edinburgh, 1896; 327g (4)
£150-200
161
A GROUP OF PROVINCIAL FIDDLE PATTERN
TABLE SILVER, ALL YORK, comprising: five table forks initialled MR (James Barber, 1848/50); three table forks and twelve dessert forks initialled R (Barber, Cattle & North, 1828/33); six dessert spoons initialled R (Barber & Whitwell, 1821); five dessert spoons initialled JMR (Cattle & North, 1826); and a condiment spoon with scrolled initials and gilt bowl (James Barber, circa 1850); together with a pair of silver sugar tongs, plain, (Barber & Whitwell, circa 1820); 1315g (33)
£600-800
71
162 (part)
162
A SET OF TEN VICTORIAN SILVER TABLESPOONS, CHAWNER & CO., LONDON, 1848, Military Fiddle Thread pattern, engraved with the crest of a stag’s head erased, 22cm long, 940g
£400-600
163
A HARLEQUIN SET OF TABLE SILVER, VARIOUS MAKERS, LONDON, 17901861, single struck Bead pattern, engraved with a crest, complete for six of each of the following: tablespoons, table forks, dessert spoons, dessert forks and teaspoons (three double struck and without crest, 1887), 1387gr
£800-1,200
164
A SET OF VICTORIAN TABLE SILVER, HAYNE & CATER, LONDON, 1858, Fiddle Thread pattern, later initialled W, comprising: six tablespoons (Henry Holland & Son, 1864), twelve table forks, twelve dessert spoons, twelve dessert forks, a pair of sauce ladles and a pair of cream ladles; together with eight table knives and eight dessert knives, with Beverley pattern electroplate handles and stainless steel blades, Sheffield, mid 20th century, 3313g (62)
£1,800-2,200
72
163 164
165
A SET OF TWELVE GEORGE V SILVER FISH KNIVES AND TWELVE FORKS, VANDER & HEDGES, LONDON, 1915, silver three-prong forks and shaped silver blades to knives, all with loaded silver plain pistol grips
£300-500
166
A SET OF SIX VICTORIAN SILVER FRUIT KNIVES AND SIX FORKS, ATKIN BROTHERS, SHEFFIELD, 1897, with silver blades and three-prong forks, plain mother-of-pearl handles
£80-120
165
167
AN ART DECO SILVER TRAY, REID & SONS, SHEFFIELD, 1936, plain oval, slightly shaped rim and angular handles, 51cm long, 1366g
73
£600-800 166
168 ~ TWO ART DECO GEORGE V SILVER DISHES, CHARLES BOYTON & SON LTD., LONDON, 1930 / 31, the hammerfinished 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
£400-600
169
AN ENAMELLED SILVER PHOTOGRAPH FRAME, W.J. MYATT & CO., BIRMINGHAM, 1929, rectangular, turquoise guilloché enamel, glazed, oak easel back, 18.5cm long; together with a George V silver photograph frame, plain oval, ball feet, glazed, oak easel back, C.S. Green & Co. Ltd., Birmingham, 1915, 16cm long (2)
£100-150
170
A SILVER CIGAR CUTTER AND A SILVER SINGLE CIGAR CASE, BOTH ASPREY PLC, the cutter with steel blade guillotining a smaller and a larger aperture, on oblong stand stamped ‘Asprey’, Birmingham, 1990, the case as a plain tube with silver-gilt collar stamped with the Asprey ‘A’, London, 1997, both 15cm long; together with a paperweight, also Asprey PLC, London, 1988, formed as a burr wood rectangle sawn into by a silver saw initialled W, leather covered base with silvered stamp ‘Asprey’, 10cm long (3)
£200-300
74
part part
171
A SILVER FLASK, ALFRED DUNHILL LTD., BIRMINGHAM, CIRCA 1985, elongated oblong, with engine-turned panels and vacant rectangular cartouche, the top section sliding off to reveal a screw cap, 17cm long, in a ‘dunhill’ stamped box; together with another silver flask, Deakin & Francis Ltd., Birmingham, 1948, oblong, engine-turned, vacant rectangular cartouche, hinged cap with bayonet fitting, 13.5cm long; 385g including cork lining to caps (2)
£150-250
172
A GEORGE V SILVER CIGARETTE BOX, HENRY MATTHEWS, BIRMINGHAM, 1928, in the form of a rectangular coffer, engine-turned, the stiles on bun feet, wood lined, 15cm long
£100-150
173
A GROUP OF DRESSING TABLE SILVER, COMPRISING:, a Britannia standard cut-cornered square tray, concentric engine-turned, low sides with angled corners, composite underside, British Metallising Co. Ltd., London, 1929, 23.5cm wide; a a pair of rectangular glass scent bottles and a rectangular glass box, the silver covers with lavender guilloché enamel, the bottles with square screwon covers concealing ground glass stoppers, Collett & Anderson of Birmingham, London, 1932, bottles 10cm high; and a rectangular cut-glass box with an engineturned silver cover, Padgett & Braham Ltd., London, 1939, 11.5cm long (5)
£200-300
174 (illustrated online)
A GROUP OF ENGLISH SILVER, COMPRISING:, a rectangular cigarette box, plain, lightly domed lid, cedar lined, Sanders & Mackenzie, Birmingham, 1965, 15cm long; another cigarette box, rectangular, lightly domed lid with engine-turning and a vacant cartouche, cedar lined, C.J. Vander Ltd., London, 1963, 11cm long; a matchbox holder, engine-turned, Deakin & Francis Ltd., Birmingham, 1988, 11cm long; and a matchbook holder, engine-turned, Constantine & Floyd Ltd., London, 1929; together with an electric blue glass vesta striker, with electroplate mount (5)
£150-250
75
175
A SCOTTISH SILVER-GILT BEAKER, MALCOLM APPLEBY, EDINBURGH, 2005, flared form, the decoration inspired by the overlapping bark of Scots pine trees, 7cm high, 182g
£1,000-1,500
176
A SCOTTISH SILVER-GILT BEAKER, MALCOLM APPLEBY, EDINBURGH, 2006, flared form, the decoration inspired by the overlapping bark of Scots pine trees, underside inscribed ‘14-2 M.APPLEBY 2006’, 7cm high, 186g
£1,000-1,500
76
177
A SILVER TEA AND COFFEE SET, C.J. VANDER LTD., LONDON, 1973-1977, in late 18th century style, with beaded borders and bright-cut engraved with stylised foliate and wrigglework bands, the oval cartouches left vacant, comprising an oval teapot and a stand, a baluster pedestal coffee pot, a helmet-shaped milk jug and an oval sugar basket with swing handle, coffee pot 28.5cm high; 2118g all in
£1,000-1,500
178
A SILVER TRAY, ROBERTS & BELK LTD., SHEFFIELD, 1978, en suite with the preceding lot, oval, with brightcut vacant oval, beaded rim and end handles, 55cm long, 1785g
£800-1,200
77
179
A SILVER SOUP TUREEN AND COVER, ROBERTS & BELK LTD., SHEFFIELD, 1975, in mid 18th century style, oval, body with gadroon rim, leafy end handles and leaf-headed volute feet, domed cover with leafy loop handle, 38.5cm long, 3718g
£1,500-2,500
180
THREE ENGLISH SILVER CREAM JUGS, a George III baluster example, chased between curved flutes with floral sprays and a vacant cartouche, on three feet, double scroll handle, William Kersill, London, 1763; a Victorian tapered example, scrollwork rim foot, foliate engraved motifs, John Harrison & Co., Sheffield, 1872; and an Arts & Crafts example, baluster octagonal, engraved with a crest, stylised feet and handle all pierced with heart motifs, gilt interior, Goldsmiths & Silversmiths Co. Ltd., London, 1905, 10.5cm high; 289g
£150-250
181
A GEORGE VI SILVER HOT WATER JUG, WILLIAM NEALE & SONS LTD., BIRMINGHAM, 1942, in George III baluster style, gadroon borders, 23.5cm high, 430g including handle
£150-250
78
182 (illustrated online)
A SILVER SALVER, MAPPIN & WEBB LTD., SHEFFIELD, 1975, moulded circular, on three pad feet, with engraved presentation inscription and facsimile signatures, 27cm diameter, 639g
£300-400
183 (illustrated online)
A GROUP OF MISCELLANOUS ENGLISH SILVER, comprising: a pair of small dishes, each everted rim applied with the figure of a mouse, by Sarah Jones, London, 1982, 7cm diameter; a small dish, commemorating the tercentenary of Hoare’s bank, set with the double headed headed eagle from the family’s coat of arms above ‘1672’ and ‘1972’ flanking the maker’s mark, Britannia standard, Charles Hoare & Co., London, 1971, 9cm diameter; an ashtray, flat circular engraved ‘H.I.S.C. / NAB CUP / 1931 / MEMENTO’, sides with four depressions and beaded rim, Frederick Hentsch, London, 1929, 12.5cm diameter; a small cigarette box, rectangular, wood lined; two napkin rings, initialled or named; and two small pill boxes and covers, plain; weighable silver 343g (9)
£250-350
184 (illustrated online)
A SET OF SIX ELECTROPLATE GOBLETS, PROBABLY 20TH CENTURY, the waisted bowls applied with a frieze of cartouches, birds and foliage above a band of lobes and a knopped pedestal, underside with ‘sun’ mark, 15cm high
£80-120
186 (illustrated online)
A GROUP OF ENGLISH SILVER, comprising three Christening mugs: one plain slightly tapered (Alexander Clark & Co. Ltd., Birmingham, 1918), one plain excepting an applied ribbed girdle, on rim foot, and one one spreading foot (both Barker Brothers of Birmingham, Chester, 1923), 8.5cm tallest; together with a quaich, plain circular bowl applied with everted pierced handles (Wakely & Wheeler, London, 1948), 12.5cm long; and an inkwell, the stand with pie-crust rim and on four tapered feet, the cut-glass bottle with hinged mount (Lee & Wigfull, Sheffield, 1901), 12cm diameter; weighable silver 609g (6)
£300-400
187
A GEORGE V SILVER SALVER, JOSEPH ROUND & SON LTD., SHEFFIELD, 1912, plain excepting shaped moulded rim, underside with circular trademark ‘ALL THE ROUND’, 23cm square, 400g
£180-220
185
AN IRISH SILVER CONDIMENT SET, JEWELLERY & METAL MANUFACTURING CO. LTD., DUBLIN, 1973, shaped oval, pierced and engraved with roundels below beaded rims, all with blue glass liners, the mustard pot with its mustard spoon, the salt cellar with its salt spoon, the pepperette with urn finial, pepperette 7cm high; 235g (5)
£100-150
79
188
A GEORGE V SILVER TRAY, CARRINGTON & CO., LONDON, 1914, oblong, plain excepting applied gadroon rim and handles, 62cm long, 2448g
£1,000-1,500
189
A GEORGE V SILVER SALVER, MAPPIN & WEBB LTD., SHEFFIELD, 1927, shaped circular, applied with a moulded rim, on three pad feet, engraved ‘RTJ’, 25cm diameter, 595g
£300-400
190 (illustrated online)
A GEORGE V SILVER SMALL ‘CELTIC’ BOWL, HENRY MATTHEWS, BIRMINGHAM, 1926, the girdle to the almost hemispherical bowl and twin ring handles with Celtic motifs, engraved ‘JTJ / 1930’, on piedouche, 16.5cm across handles; together with a set of three George V silver quaichs, circular, P.G. Dodd & Sons, London, 12.5cm across plain handles; 534g (4)
£250-350
80
191
A GEORGE V SILVER TEAPOT, FORDHAM & FORDHAM, SHEFFIELD, 1916, in compressed circular Regency style, with reeded girdle and rims, 25cm long, 653g including composition handle and finial
£200-300
192
A SILVER TEA AND COFFEE SET, C.J. VANDER LTD., LONDON, 1976 / 77, in George III style, with bright-cut borders and vacant oval cartouches, beaded rims, comprising an oval teapot and stand, an oval pedestal sugar basket, a helmetshaped mlk jug and a pedestal baluster coffee pot, coffee pot 29cm high; 2118g including wood handles to pots (5)
£1,000-1,500
81
A GEORGE V SILVER EQUESTRIAN FIGURE OF AN OFFICER OF THE ROYAL HORSE GUARD (BLUES), F. PHILLIPS OF ALDERSHOT, LONDON, 1927, realistically modelled as an officer in full dress uniform, his sword held upright, mounted on his horse at a walk, on naturalistic base stamped ‘F. PHILLIPS / ALDERSHOT’, set on an ebonised stepped rectangular plinth with applied silver presentation plaque, 46.5cm high overall, silver figure 31 x 28cm
The rectangular plaque engraved with three columns of officer’s names and ranks, beginning with Lieut. Col. Lord A.R. Innes-Ker D.S.O. below the inscription reading : Presented to Lieutenant W.M. Sale by his brother officers on the occasion of his marriage.
The recipient, Brigadier Walter Morley Sale (1903-1976), had a distinguished military career. The son of a diplomat, he was born in Yokohama, Japan. He joined the Royal Horse Guards (Blues) in the early 1920s, being promoted Lieutenant in 1924 and Major in 1938. He married the Hon. Hilda Margaret Islay, the daughter of Lord Southampton, in 1928. Awarded the OBE in 1940 for his services in Palestine, he finally retired from the army as an acting Brigadier in 1945. From 1955 until 1961 he served as an Extra Equerry to HM The Queen, for which he received the CVO.
F. Phillips of Wellington Street, Aldershot are recorded between 1890-1963, latterly trading as F. Phillips (H. Phillips & R.A. Garratt), supplying militaria related medals, trophies and presentation pieces across the Empire.
For another of the same model, see Bonhams, London, 3 June 2015, lot 34.
£3,000-5,000
82 193
194
A GEORGE V SILVER SALVER, MAPPIN & WEBB LTD., SHEFFIELD, 1930, shaped circular, plain excepting an engraved crest and moulded rim, on four leaf capped volute and pad feet, 41cm diameter, 1869g
£800-1,200
195
A GEORGE V SILVER SALVER, HUNT & ROSKELL LTD., LONDON, 1923, shaped circular, plain excepting an engraved crest and motto and reeded rim, on three simple feet, stamped ‘HUNT & ROSKELL LTD. / LATE / STORR & MORTIMER / 3937’, 29cm diameter, 761g
£350-450
196
A PAIR OF EDWARDIAN SILVER CANDLESTICKS, FORDHAM & FAULKNER, SHEFFIELD, 1907, in George III fluted oval style, additionally with formal leaf borders, detachable nozzles, 29cm high, loaded (2)
£400-600
83
194 195
197
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)
£300-500
198
AN EDWARDIAN SILVER SALVER, WALKER & HALL, SHEFFIELD, 1907, shaped circular, engraved with a crest and motto encircled by a band of scroll foliate, the rim with running piercing between beaded borders, on three panel feet, stamped trademarks, 36cm diameter, 1002g
£500-800
199
A SET OF FOUR EDWARDIAN SILVER SALT CELLARS AND THREE SPOONS, JOSIAH WILLIAMS & CO. OF BRISTOL, LONDON, 1903, the salts of Georgian cauldron form with gadroon rims, each on three shell-headed feet, 6cm wide, the spoons Onslow pattern, all in their fitted leather case; together with another silver salt spoon, Old English pattern; and a five piece silver condiment set, pedestal urn form on square bases, with reeded rims, comprising:a mustard pot with blue glass liner and spoon, a pair of salt cellars and spoons and a pair of pepperettes, Nathan & Hayes of Birmingham, Chester, 1912; weighable silver 632g (17)
£150-250
84
197 198 199 (part)
A PAIR OF EDWARDIAN SILVER SWEETMEAT BOWLS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1908, circular, the everted rims scroll pierced within applied gadroon borders, the shallow bowls similarly pierced to the sides, the bases with flatchased leaf border, each on three cast claw feet, undersides with stamped trademark, in their orginal fitted leather case with gilt stamped trademark; together with another silver sweetmeat bowl en suite, matching in all respects excepting slightest variation to pierceing, James Dixon & Sons, Sheffield, 1904; 16cm diameter, 695g (4)
Provenance: the Estate of Louisa Service OBE (1931-2021), sold by order of the executors.
£300-500
201 (illustrated online)
AN EDWARDIAN SILVER-MOUNTED DECANTER AND STOPPER, WILLIAM COMYNS & SONS, LONDON, 1902, the cylindrical glass body with facets to the interior, star cut base and applied handle, its stopper similarly faceted to the interior, with silver scalloped shoulder mount below a beaded border, short neck and shaped lip, 26cm high; together with a silver-mounted jug, maker’s mark AC, London, 1927, the tapering cylindrical cut-glass body encircled by two plain silver bands securing the C-shaped composition handle, 16.5cm high (2)
£150-250
202 ~ A GROUP OF EDWARDIAN ‘REYNOLD’S ANGELS’ DRESSING TABLE SILVER, SYNYER & BEDDOES, BIRMINGHAM AND CHESTER, 1905/06, comprising: a shaped oval dressing table tray with lobed sides, a hand mirror with loop handle, a pair of hair brushes and a pair of clothes brushes; together with another ‘Reynold’s Angels’ silver brush and a silver pill box, the brush with long bristles and handle, the oval pill box with gilt interior, Walker & Hall, Sheffield, Sheffield and Chester, 1906/07; and a silver-mounted tortoiseshell comb, some teeth lacking, Levi & Salaman, Birmingham, 1902; tray 31cm long (9)
£300-500
203 (illustrated online)
AN EDWARDIAN SILVER HAND MIRROR, NATHAN & HAYES OF BIRMINGHAM, CHESTER, 1902, stamped with a cartouche initialled GLC surrounded by a profusion of flowers and foliage on a matted ground, with oval bevelled glass, 29.5cm long; together with another silver hand mirror, linear engine-turning within a bead and rail border, with circular bevelled glass, Birmingham, 1936, 26cm long (2)
£60-80
85 200
204
A PAIR OF EDWARDIAN SILVER CANDLESTICKS, FORDHAM & FAULKNER, SHEFFIELD, 1905, square bases on ball feet with engraved inscriptions between gadroon borders rising to stop fluted Corinthian columns and beaded detachable nozzles, 21.5cm high, loaded
The inscriptions read: Hurworth Hunt / Point to Point Steeplechase / Open Race / Hubert Godman / on / Samurai / 5 April 1910
£200-300
205
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
£80-120
206 (illustrated online)
A SET OF FOUR EDWARDIAN SILVER BONBON DISHES, MORRIS GOLDMAN, BIRMINGHAM, 1901, hoof shaped, stamped and pierced with scrolled foliage, each on three ball feet, 10.5cm long, 121g
£100-150
207 (illustrated online)
MISCELLANEOUS ENGLISH SILVER, comprising: a George V caster, in George I style with reeded girdle and bayonet fitting pierced cover, S. Blanckensee & Son Ltd., Chester, 1926, 17cm high; an Edwardian tea caddy, bellied oblong, on bun feet, turned wood finial, Deakin & Francis, Birmingham, 1906, 12cm high; a table bell, with faceted bell, William Suckling Ltd., Birmingham, 1956, 10.5cm high; a George V pepper mill, milk churn form, initialled RTJ, French steel grinder, Joseph Gloster Ltd., Birmingham, 1921, 8cm high; a pair of George V toast racks, each of seven arched bars, Barker Brothers Ltd., Chester and Birmingham, 1925/27, 10cm long; and a Victorian toast rack, five bars, on bun feet, Harrison Brothers & Howson, Sheffield, 1895, 9cm long; 680g all in excluding mill (7)
£300-500
208 (illustrated online)
MISCELLANEOUS VICTORIAN OR EDWARDIAN SILVER, comprising: a sweetmeat basket, pedestal boat shaped, lobed body, swing handle, Jacob Berman, London, 1881, 13cm long; a butter shell, scallop form, on three ball feet, 12.5cm long; a pair of sweetmeat dishes, shaped oval, pierced and foliate stamped, Deakin & Francis, Birmingham, 1902, 12cm long; and a milk jug and sugar bowl set, shaped circular, with a band of lobes to the rim, William Oliver, Birmingham, 1899, bowl 11cm diameter; 410g (6)
£200-300
86
204 205
209
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
£300-400
210
A PAIR OF EDWARDIAN SILVER SWEETMEAT BASKETS, NATHAN & HAYES OF BIRMINGHAM, CHESTER, 1901, shaped oval, the everted rims incorporating handles and applied with cast foliate swags and scrolls, each basket chased with drapery swags hung from ovals and one vacant and one intialled shield, scroll pierced above and geometric piercing below, spreading bases scroll pierced within a similar border, 20.5cm long, 632g
£300-500
211
A VICTORIAN SILVER BACHELOR’S THREEPIECE TEA SET WITH TONGS, WILLIAM HUTTON & SONS OF SHEFFIELD, LONDON, 1886, chased all over in Indian style with matted ground bands of scroll foliage and other motifs, the milk jug and sugar bowl with gilt interiors, teapot 20cm long; 539g including handle and finial to teapot
£300-500
87
210
212 (illustrated online)
A VICTORIAN SILVER CHRISTENING CUP AND SAUCER, EDWIN CHARLES PURDIE, LONDON, 1883, circular, each with a corded border, stamped leaves and ‘bats-wing’ fluting flanking an oval initialled MAS surrounded by scalework and foliage, both engraved to underside with inscription reading: To Mary Aleid Schenck from her Father Jan. 8th. 1884, Britannia standard, saucer 15.5cm diameter, 272g
£120-180
213
A CASED VICTORIAN SILVER CREAM JUG AND SUGAR BOWL, CHARLES BOYTON, LONDON, 1884, Queen Anne pattern with gilt interiors, jug 7cm high, the twin doored leather case with purple silk and velvet lining and applied retailer’s label for George Birley & Co., late Manning, Worcester; fitted with its pair of silver sugar tongs, plain form, Hilliard & Thomason, Birmingham, 1884; 118g (4)
£100-150
214
A VICTORIAN SILVER ROSEBOWL, LEE & WIGFULL, SHEFFIELD, 1898, the circular bowl boldly chased with flowers and scroll foliage surrounding two diaper-filled and two vacant cartouches, short pedestal foot with further foliate chasing, 26cm diameter, 1072g
£500-700
215 (illustrated online)
A VICTORIAN SILVER AND GLASS BOX, MAKER’S MARK RUBBED, BIRMINGHAM, 1897, oblong, plain glass box base with silver rim mount and lightly domed lid initialled B (base mount lacking), 19.5cm long; together with a cased silver-mounted manicure set, stamped scroll foliate and pierced decoration, comprising a pair of scissors, a file, a cuticle knife, a buffer and a glass pot with silver cover, Levi & Salaman, Birmingham, 1901 (2)
£60-90
88
A PAIR OF VICTORIAN SILVER BOTTLE STANDS, F.B. THOMAS & CO., LONDON, 1880, plain circular silver plates below gadroon rims, 12cm diameter, wood bases
£200-300
217
TWO VICTORIAN SILVER CHRISTENING MUGS, BOTH LONDON, one slightly bulbous and chased with panels of flowers, diaperwork and an engraved presentation inscription with scrolled initials and dated ‘June 18.1849...The Gift of the / Countess of Crawford & Balcarras’, double scroll handle and gilt interior, James Charles Edington, 1848, 10cm high, the other on a beaded piedouche, engraved with scrolled initials and chased with floral and bossed lozenges, cast scroll handle, William Evans, 1868, 9.5cm high; 241g
£100-200
218
A VICTORIAN SILVER SALVER, HAYNE & CO, LONDON, 1842, shaped circular, flat-chased and engraved with band of foliate strapwork, the rim moulded below an applied border of beaded foliate straps, on three shaped panel feet similarly cast, 31cm diameter, 1066g
£600-900
89
216
219 ~ A VICTORIAN SILVER THREE-PIECE TEA SET, CRESWICK & CO., SHEFFIELD, 1858, baluster, scroll handles, flat-chased all over with vertical straps of diaperwork and stylised foliage and engraved with a small crest, pot 26cm long; 1275g including ivory insulators to pot
£700-1,000
220 ~
A VICTORIAN SILVER HOT WATER JUG, WILLIAM ROBERT SMILY, LONDON, 1858, of the same pattern as the preceding lot, similarly crested, 27cm high, 709g including ivory insulators
£300-400
221
A PAIR OF VICTORIAN SILVER STORM CANDLESTICKS, CHARLES BOYTON, LONDON, 1893, shaped circular bases and baluster stems, with bands of matted leaves in relief and lobate moulding, the urn-shaped sconces terminating in everted matted leafage below the shade supports, with their clear glass storm shades each cut with a band of leafage, loaded sticks 34.5cm, 59.5cm overall
£800-1,200
90
220
A VICTORIAN SILVER INKSTAND, C.T. & G. FOX, LONDON, 1853, the stand in the form of a strawberry dish, flat-chased between the ribs with straps, one with engraved scrolled initials JG, with a silver-mounted cut-glass inkwell bolted to the base, 14.5cm diameter; together with a Victorian silver inkstand, elongated oval, trellis pierced at the raised ends, reeded rim, fitted with its two cut-glass inkwells flanking a waisted taperstick bolted to the stand, Atkin Brothers, Sheffield, 1893, 25.5cm long, 229g (this inkstand only) (2)
£120-180
223 ~
A VICTORIAN PROVINCIAL SILVER THREE-PIECE TEA SET, JOHN WALTON, NEWCASTLE, 1838, ribbed inverted baluster, the shaped rims with matted convolvulus flowers and leaves at intervals, with leafy scroll handles and scroll panel feet cast with budding convolvulus and rocaille between, the teapot with cast rose finial and rose topped spout, the milk jug and sugar bowl with gilt interiors, teapot 29.5cm long; 1387g including ivory insulators to teapot
£800-1,200
224
A GEORGE IV SILVER CHAMBERSTICK, SMITH, TATE & CO., SHEFFIELD, 1820, circular, gadroon rims, engraved to the well and thumb-rest with a crest, the urn-shaped sconce above the aperture for wick trimmers (lacking), with its detachable nozzle; together with a George II silver extinguisher, conical, engraved with matching crest, William Grundy, London, 1758; 12cm high overall, 367g
£200-300
91
222
222 (part)
225
A GEORGE III SILVER ENTREE DISH, COVER AND HANDLE, CRADDOCK & REID, LONDON, 1814, oblong, applied gadroon borders, the cover engraved with a crest, leafy loop handle, 30cm long, 1874g
£1,000-1,500
226
A GEORGE III SILVER MUSTARD POT, JAMES
DARQUITS, LONDON, 1794, elongated octagonal, with reeded rims and scroll handle, engraved with scrolled initials CES to the side and R to the lid, 10cm long; together with an English Provincial silver mustard spoon, Old English pattern, initialled S, Cattle & Barber, York, 1809; 122g excluding blue glass liner
£100-150
227 (illustrated online)
A GEORGE III SHEFFIELD PLATE WINE COASTER, CIRCA 1800, gadroon rim, turned wood base; together with a pair of plated wine coasters, similar; 14.5cm diameter (3)
£80-120
228
A SHEFFIELD PLATE ARGYLE, GEORGE III STYLE, oval teapot form, reeded rims, the cover with vase finial lifting off to reveal a conical chamber with cover, 24cm long
For another of the same form, see Frederick Bradbury, ‘History of Old Sheffield Plate’, Sheffield, 1968, p.203, by Goodman, Gainsford & Fairbain, 1795
£150-250
92
229
A GEORGE III SILVER WINE FUNNEL, PETER & ANN BATEMAN, LONDON, 1792, typical form with detachable spout and shaped clip, reeded rims, 12cm high, 72g
£150-250
231
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; jugs only 190g; together with a George III silver caster, slender pedestal urnshaped, engraved with initials ALL below the reeded girdle, Peter & Ann Bateman, 17cm high, lead weighted foot (3)
£200-300
230
A GEORGE III SILVER MUSTARD POT, URQUHART & HART, LONDON, 1797, pedestal oval, bright-cut borders and shield engraved with a crest, domed lid with ball finial, 11.5cm, 109g
£120-180
232
A GEORGE III SILVER MUSTARD POT, SOLOMON HOUGHAM, LONDON, 1798, oval, engraved with a crest, with reeded rims and handle, domed lid with urn finial, 10cm long; together with a George III silver condiment spoon, Old English pattern, Stephen Adams, London, 1803; 102g excluding blue glass liner (2)
£80-120
93
part part
A GEORGE III SILVER INKSTAND, EMES & BARNARD, LONDON, 1818, oblong, gadroon rim interrupted by shells and acanthus above shaped brackets and paw feet, with pen depressions flanking the palmette decorated fittings, with its two silver-mounted cut-glass inkwells flanking the wax container and taperstick cover, the latter formed as a chamberstick complete with chained extinguisher and detachable nozzle, 20.5cm long, 586gr
£300-400
234
A GEORGE III SILVER MUSTARD POT, PETER, ANN & WILLIAM BATEMAN, LONDON, 1805, bulging oval, bright-cut with foliate and wrigglework borders between reeded rims, 10.5cm long; together with two similar silver salt cellars, oval, bright-cut between reeded rims, one with initialled cartouche, John Gold, London, 1795, the other with vacant cartouche, Charles Boyton, London, 1875, 9cm long; 238g excluding three blue glass liners (3)
£80-120
235
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
£500-800
94
233
236
A SET OF SIX SHEFFIELD PLATE WINE COASTERS, CIRCA 1800, straight sides with gadroon rims, each wood turned base centred by a silver boss engraved with a crest, 15cm diameter
£200-300
237
A GEORGE III SILVER GOBLET, MAKER’S MARK RUBBED, LONDON, 1780, bowl engraved with a crest, gilt interior, with beading to base rim and knop of stem, 15.5cm high, 166g
£200-300
238
A GEORGE III SILVER SALVER, RICHARD RUGG, LONDON, 1763, shaped circular, engraved with two rampant lions in ovals within Rococo foliate scrolls, probably later flat-chased with a band of flowers, the gadroon rim interrupted by shells, on three pad feet, 33cm diameter, 960g
£400-600
237
95
239
A GEORGE III SILVER BASKET, WILLIAM PLUMMER, LONDON, 1769, shaped oval, the openwork rim chased with scrolls, foliage and flowerheads, the sides with ears of wheat between geometric pierced panels, the well engraved with a crest, openwork swing handle, on a pierced domed foot with corded border, 34cm long, 698g
£600-900
240
A SET OF FOUR GEORGE III SILVER SALT CELLARS, FOGELBERG & GILBERT, LONDON, 1788, pedestal boat-shaped, applied with beaded borders and leaves issuing reeded loop handles, each engraved with a crest (a Moor’s head out of a coronet), gilt interiors, 13.5cm long; together with four George III silver salt spoons, Old English pattern, engraved with matching crest, William Sumner, London, two 1787, two 1793; 578g (8)
£600-800
96
241
A GEORGE III SILVER TEAPOT, JOHN ROBINS, LONDON, 1790, fluted oval, bright-cut engraved borders, flush-hinged domed lid, 26cm long, 385g including wood handle and finial
£400-600
242
A SET OF FOUR GEORGE III SILVER CANDLESTICKS, EBENEZER COKER, LONDON, 1762, cast shell pattern, the shaped square bases engraved with a woman’s coat of arms, complete with detachable nozzles, 26cm high, 2253g
The arms are apparently those of Salusbury
£4,000-6,000
97
243
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
£200-300
244
A GEORGE I SILVER TWO-HANDLED CUP, SETH LOFTHOUSE, LONDON, 1715, typical bell form on piedouche, applied with a ribbed girdle, scroll handles, one engraved with triangular initials D/RA, Britannia Standard, 13.5cm high, 395g
£500-800
245
A GEORGE I SILVER TOBACCO BOX AND COVER, EDWARD CORNOCK, LONDON, CIRCA 1725, oval, engraved with a Baroque cartouche surrounding a vacant oval, 9.8cm long; together with a George I silver snuff box, oval, lid showing traces of engraved interlaced initials, freestanding hinge, gilt interior, unmarked, circa 1730, 8.7cm long; 199g (2)
£400-600
98
246
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 Portugal-street 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.
£2,000-3,000
99
247 ~ A SILVER-MOUNTED TORTOISESHELL SNUFF BOX, PROBABLY ENGLISH, CIRCA 1740, cartouche shaped, the lid with reeded silver rim mount, mother-of-pearl inlaid and silver overlaid with a huntsman and two dogs and a maiden perched on a beast amidst trees and foliage surrounded by a Rococo border of scrolls, rocaille and fruit-laden vines inhabited by birds and a sphinx, 7.8cm long
£150-250
249
A QUARTZ GEODE BOX, GERMAN, SECOND HALF 18TH CENTURY, with wrigglework decorated gilt-metal hinged rim mounts, with crystilline interior and rock matrix exterior, 9cm long
Provenance: Property of a European Collector (see lot 4 for further details)
£400-600
248 ‡ ~
A FRENCH SILVERED COPPER SNUFF BOX, PARIS, CIRCA 1770, oval, stamped with a variety of foliate and architectural motifs, gilt interior, 8.5cm long; together with a pressed burr wood box and cover, French early 19th century, circular, waisted sides, the cover pressed with a bathing Suzanna surprised by the Elders above the title ‘SUSANNE SURPRISE AU / BAIN’, the underside simulating rose turning, interior with tortoiseshell sides, 8.5cm diameter (2)
£120-180
250 ~ A FRENCH SILVER-MOUNTED VERNIS MARTIN
SNUFF BOX AND COVER, CIRCA 1800, circular, cream lines over red and black checkering, reeded silver rim mounts, the cover with a guilloche border, tortoiseshell lined, 7.5cm diameter
£100-150
100
part
251
A FRENCH SILVER-GILT AND ENAMEL MATCHBOX HOLDER, CIRCA 1900, the translucent enamel top with a roundel en grisaille of St George and the dragon reserved against petrol-blue guilloché enamelling between black line borders, underside inscribed in facsimile script ‘St. George for England / Zeebrugge 1918 / Elizabeth 1925’, inscribed for the retailer ‘ALENLOH-BRUXELLES’, boar’s head guarantee and indecipherable maker’s mark, 6cm long
£150-250
252 ~
A WHITE ONYX CIGARETTE BOX, HENRY GRIFFITH & SONS OF ROYAL LEAMINGTON SPA, LONDON, 1947, rectangular, with silver-gilt hinge mount and malachite mounted thumbpiece, 15cm long; together with a tortoiseshell box, Collet & Anderson of Birmingham, London, 1929, oblong and with lightly domed lid, plain silver hinge mounts and pushpiece to interior catch, 26cm long (2)
£150-250
253
A GOLD CIGARETTE CASE, ASPREY & CO. LTD., LONDON, 1922, bevelled rectangular, engine-turned and applied initials ‘RJ’ to top left corner, slide opening (stamped Patent No.21914) to a presentation inscription and ‘BATH CLUB, LONDON’, 9 carat hallmarks and stamped ‘ASPREY / LONDON’, 9.5cm long, 109.8g excluding perished elastic retainer
£1,500-2,000
254
A GEORGE V GOLD LADY’S CIGARETTE CASE, MAPPIN & WEBB LTD., BIRMINGHAM, 1917, oblong pocket fitting form, the lid engraved with scrolled initials behind a banner inscribed ‘25th. May 1920’, 9 carat gold, 8.3cm long, 73.8g
£1,000-1,500
101
255
A PAIR OF VICTORIAN SILVER-MOUNTED CUTTHROAT RAZORS, JOHN NOWILL & SONS OF SHEFFIELD, BIRMINGHAM, 1894, the silver sides covered in engraved scroll foliage surrounding a vacant cartouche, the steel blades with Nowill’s trademarks, 16cm long; together with a George III silver shaving brush in case, the silver cylinder engraved with a crest, the cover similarly crested, the brush screwing into the cylinder, Thomas Dicks, London, 1813, case 8.5cm long; and a silver topped glass scent bottle with ground glass stopper, cover similarly crested to the preceding brush, unmarked but probably same date and maker as the preceding item, 11.5cm high (4)
£100-200
256
AN EDWARDIAN GOLD-MOUNTED PENKNIFE, SAMPSON MORDAN & CO., LONDON, 1901, with plain gold elongated oval side panels, one inscribed ‘T.W. Brookes, / The Convent, / Kingsgate, / Broadstairs, / Kent.’, with a longer and a shorter steel blade, each hinging from retractable pivots, 18 carat gold, 18cm long; together with a George V gold combined penknife and pencil, with linear engine turning and rectangle initialled LB, with a small steel blade and a steel rasp, the extending propelling pencil (apparently unmarked) housed to the side, with hinged suspension loop, 9 carat gold hallmarked for Wright & Davies, London, 1924, 7cm long (2)
£300-500
257
ASSORTED SILVER DESK ITEMS, COMPRISING:, Cartier: an American combined letter opener and magnifying glass, stamped ‘Cartier’, ‘STERLING / 614’, and trademark for Currier & Roby, New York, circa 1930, 22.5cm long; another magnifying glass with shaped handle, Charles Fox & Co. Ltd., London, 1912; a Continental 8 inch ruler, of square profile, one end concealing a pencil, import marked for Asprey & Co. Ltd., London, 1963; an American novelty combined propelling pencil and ruler, of square profile, with clip and engraved initials, extending to 12 inches, stamped ‘STERLING’, early 20th century; a novelty combined letter opener and penknife, the stainless steel blade concealed in the engine-turned handle, Mappin & Webb Ltd., Sheffield, 1963; a glass magnifying roller with octagonal silver terminals, J.N. Kuhn & Co., London, 1913, 25cm long; and a silver-mounted ink blotter, plain rectangular, Goldsmiths & Silversmiths Co. Ltd., Birmingham, 1940 (7)
£300-500
102
part part
258
A FRENCH GILT-BRASS CARRIAGE CLOCK, FRANCOISARSENE MARGAINE, PARIS, LATE 19TH CENTURY, eight day movement striking the hours on a gong, enamel dial with Arabic numerals in circles above a band of gilt-brass trellis, Anglaise case with fluted columns, backplate with Margaine trademark and also stamped for the ‘marchand’ Charles Valogne, 16cm high with handle raised
£200-300
259
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
£400-600
260
A MAHOGANY BALLOON CLOCK, EARLY 20TH CENTURY, French eight-day movement striking the hours and the halves on a gong, backplate stamped for A.D. Mougin, white enamel dial with Arabic numerals, typically shaped case, the front crossbanded and with inlaid shell, on giltmetal ball feet, 29.5cm high
£50-70
103
259
A GEORGE III SILVER PAIR-CASED POCKET WATCH, THOMAS PEGDEN, SANDWICH, CIRCA 1814, verge fusee movement, cylindrical pillars, full plate with pierced and engraved balance cock, engraved with a hand pointing to the silver regulator disk and signature ‘Tho. Pegden / SANDWICH’, numbered 22073, white enamel dial with Roman numerals, silver cases plain except worn initials to inner case, hallmarked for casemaker Sarah Clerke, London, 1814, 5.5cm diameter, with associated key, in a fitted 19th century mahogany box with key; together with another George III silver pocket watch, circa 1805, verge fusee movement, cylindrical pillars, full plate with engraved and pierced balance cock, a section of bright-cutting around the silver regulator dial, signed ‘Thos Cragg / Horsham’ and numbered 1802, white enamel dial with Arabic numerals and winding aperture, the silver hunting case with worn hallmarks probably for William Linsley, London, circa 1805, 5.5cm diameter, with associated key (6)
£200-400 262
A GEORGE III GOLD QUARTER REPEATING POCKET WATCH, JOHN HOLMES, LONDON, CIRCA 1818, full plate fusee movement with diamond endstone, push pendant activating two hammers on a gong, cuvette with winding aperture and signed ‘John Holmes / Strand / LONDON / No.725’, matted dial with raised Roman numerals within dot minute markers and serpentine hands, engine-turned case with bold foliate band, pendant and bow, 18 carat gold London hallmarks probably for Horace Gooch, 1818, 5cm diameter; together with a gilt-metal watch chain, terminating in a probably contemporary gold-cased suspension ring and key (for the hands) and an associated winding key (2)
Following his death in 1797, the business of the celebrated clock- and watch-maker, John Holmes, was apparently continued by his son William at 156 Strand, until its purchase by George Yonge in 1816. (https://mb.nawcc.org/ threads/1826-silver-open-face-duplex-signedgeorge-yonge-son.157993/#post-1257554, accessed 06.01.23)
£2,000-3,000
104
261
263
A GENTLEMAN’S VICTORIAN GOLD HUNTER POCKET WATCH, ALFRED FRIDLANDER, COVENTRY, CIRCA 1889, keyless wind threequarter plate English lever movement signed for the retailer ‘Hamilton & Co. / LONDON & Calcutta’, white enamel dial with Roman numerals and subsidiary seconds dial, hunting cased, the cover with basse-taille enamel in three colours of the intertwined initials GRB, gold cuvette inscribed ‘From his / Father and Mother / on attaining his majority’, numbered to dial, cover, back, cuvette and movement ‘12904’, 18 carat gold hallmarked for Alfred Fridlander, London, 1889, 4.7cm diameter; together with a gilt-metal Albert chain (2)
Provenance: George Remfry Brookes (1868-1929), born in Simla, India and given the watch by his parents for his 21st birthday; thence by family descent to the vendor. See following lot for his wife’s watch.
£1,500-2,500
264
A VICTORIAN GOLD HUNTER POCKET WATCH, CIRCA 1891, keyless wind three-quarter plate English lever movement signed ‘Langford / 13. Gresham St. CENTRAL POST OFFICE LONDON’, white enamel dial with Roman numerals and signed ‘LANGFORD / 13 GRESHAM STREET / LONDON’, hunting cased, the cover with entwined initials EHB, the back inscribed ‘Edith’, numbered to cover, back and movement ‘697’, 18 carat gold hallmarks for Joseph Walton, London, 1891, 4cm diameter
Provenance: Edith Harriette Brookes (née Jarvis, 1872-1940), who married Gerald Remfry Brookes in 1894 (see footnote to previous lot); thence by family descent to the vendor
£400-600
265
A LADY’S GOLD SWISS POCKET WATCH, C.H. MEYLAN WATCH CO., LE BRASSUS, CIRCA 1900, keyless wind movement signed ‘C.H. MEYLAN / BRASSUS, numbered 8517, white enamel dial with Arabic numerals and applied gold dot minute markers, open face case initialled AMB, swivelling hinged bow, Swiss ‘Helvetia’ 18 carat gold marks and ‘18K’ stamps to case back and cuvette, 2.6cm diameter
£200-300
105
266
A LADY’S GOLD POCKET WATCH, CIRCA 1908, Swiss keyless wind movement, white dial with Roman numerals signed for the retailer ‘KAY / WORCESTER’, English open faced case covered in bright-cut foliage and trellis surrounding a vacant shield, gold cuvette, 9 carat gold hallmarked for Dennison Watch Case Co. Ltd., Birmingham, 1908, 3.4cm diameter; in an associated leather case printed for J.W. Benson Ltd.
£200-300
267
A SWISS GOLD HALF HUNTER POCKET WATCH, STAUFFER, SON & CO., LA CHAUX-DE-FONDS, CIRCA 1922, keyless wind movement with Stauffer trademark, white enamel dial with Roman numerals, subsidiary seconds dial and worn retailer’s signature ‘Mappin’, case with black enamel Roman numerals surrounding the viewing aperture, gold cuvette with presentation inscription, case 18 carat gold import marked for Stauffer, Son & Co. (Charles Nicolet), Glasgow, 1922, case 45mm diameter; together with a gold watch chain, of alternating trombone and belcher links terminating in an Albert clasp stamped ‘18C’, the other Albert clasp of gilt-metal, 37cm long (2)
£700-1,000
268
A SLIM GOLD MINUTE REPEATING POCKET WATCH, RETAILED BY BOUCHERON OF PARIS, SWISS, CIRCA 1920, frosted jewelled keyless wind movement repeating the hours, quarters and minutes on two gongs, brushed gold dial signed ‘BOUCHERON’, with Arabic numerals, steel hands and subsidiary dial, open faced case enamelled to back with a crest, interior back and gold cuvette numbered 3764, repeat slide to band, glass damaged, French ‘owl’ import marks for 18 carat gold, 48mm diameter
£1,000-1,500
269 (illustrated online)
AN EDWARDIAN GOLD-MOUNTED FOB RIBBON, BIRMINGHAM, 1908, the black grosgrain ribbon applied to the centre with an oval buckle motif with scrolll engraved decoration to similarly decorated baton terminals, 9 carat gold, 10cm long
£70-100
106
270
OMEGA, SEAMASTER DE VILLE: GENTLEMAN’S GOLD WRISTWATCH, SWISS, CIRCA 1968, automatic movement, signed frosted dial with applied gold hour batons, monocoque circular case with Omega Seamaster hippocamp to back and Omega crown, with straight lugs, 9 carat gold, associated leather strap, with Omega instructions leaflet, case 3.4cm diameter
£600-900
271
CORUM, ADMIRAL’S CUP ‘REGATTE’ YACHT-TIMER: GENTLEMAN’S STAINLESS STEEL WRISTWATCH, SWISS, CIRCA 2000, automatic Swiss movement elaborated by a Corum integrated quartz module for count-down functions, cream dial with applied gold bar indexes, date aperture at 3 o’clock, five circular windows for the scores of the last 10 minutes of regatta, synchronized with the seconds, with the count-down dial at 6 o’clock, stainless steel case with dodecagonally faceted sides, gold bi-directional bezel enamel painted with pennants under glass, screw-down crown at 4, button for count-down control at 2, screw locked case back numbered 276.830.21, 4cm diameter, with its blue leather strap and stainless steel buckle, its grey cushion and its blue box, signed or with key logo to all relevant parts
£800-1,200
107
272
BREITLING, CHRONOMAT, REF.13050.1: GENTLEMAN’S STAINLESS STEEL AND GOLD BRACELET WATCH, automatic movement, offwhite dial with concentric patterned reserve, gold hour batons between date aperture and three subsidiary dials below tachymetre ring, luminous and stop seconds hands, unidirectional bezel with gold riders, case with screw-down back, gold screw-down crown and chronometer buttons, steel and gold five row slanted link ‘Pilot’ bracelet with locking deployant clasp, signed dial, movement, case and clasp, case with etched reference and serial Nos. ‘B.B13050.1 / 1 50169’, bracelet with etched model No. ‘301D’, 4cm diameter
£1,200-1,800
273
OMEGA, CONSTELLATION: CALENDAR
DIAMOND WRISTWATCH, quartz movement, circular white dial applied with gold dot indicators, two subsidiary dials for day and date, signed ‘OMEGA / Constellation’, circular stainless steel case with brilliant-cut diamond set gold bezel, associated leather strap, 3.3cm diameter
£700-1000
108
CHOPARD, MONTE-CARLO: DIAMOND COCKTAIL WATCH, the oval black dial decorated with a trellis pattern of brilliant-cut diamonds within a bezel of single-cut diamonds, to a graduated baton link bracelet accented with lines of single-cut diamonds, to a deployment buckle, quartz movement, crystal signed Chopard, reverse of case signed Chopard, Monte-Carlo, numbered SG 4404-4 MC4132 51734, Swiss assay marks, inner circumference 16.5cm
£4,000-6,000
109
274
275 CARTIER, TANK FRANCAISE, REF.2465: MID SIZE STAINLESS STEEL AND GOLD BRACELET WATCH, CIRCA 2000, quartz movement, square cream dial with date aperture, Roman numerals and ‘secret’ signature at 7 o’clock, curved rectangular steel case with blue cabochon mounted gold crown, back secured by four screws, bracelet of brushed steel with alternate gold slender links, double deployant clasp, signed dial, movement, case and clasp, serial No.848907UF, in red leather ‘Cartier’ box with cream leather cushion, with two additional bracelet links, case 2.5cm wide
£1,200-1,800
276 ROLEX, OYSTER PERPETUAL DATEJUST, 69173: LADY’S STAINLESS STEEL AND GOLD BRACELET WATCH, 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, Jubilee bracelet with fold-over crown clasp, clasp with date code K9 (1986) and numbered 62523D.18, end links numbered 468B
£1,800-2,200
110
277
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
£1,800-2,200
278
PIAGET, REF.924: LADY’S GOLD BRACELET WATCH, SWISS, CIRCA 1967, automatic movement, textured gold dial with black Roman numerals and signed ‘PIAGET’, slim circular case with chevron textured bezel, case backed secured by two screws and numbered ‘924B11 / 138160’, cabochon sapphire mounted crown, ‘Milanese’ bracelet with folding snap clasp initialled P, stamped ‘PIAGET / 750’ and import hallmarked for 18 carat gold, Hefik Watch Co., Birmingham, 1967, case 2.4cm diameter; in black leather box gilt stamped ‘PIAGET / Luxe et Précision / 1874’ and Royal Warrant label for the retailer Garrard & Co. Ltd.
£2,000-3,000
111
Lots 279-313: Scottish Snuff Mulls and ‘Pebble’ Jewellery from the Bearn Collection, New York Professor Alexander Gordon Bearn (MD, 1923-2009, informally Alick) was a physician, scientist and author, renowned for his work in genetics and Wilson’s disease. He married Margaret Slocum in 1951 and after a very successful year in Cambridge as distinguished visiting fellow at Christ’s College in 1996, the couple acquired a small house in Clarendon Street. In later years, despite Dr Bearn’s English birth and the couples primarily American residency, the Bearns were fascinated by his Scottish antecedents and they enjoyed spending time collecting Scottish mulls and jewellery.
279 ‡ A GROUP OF SIX HORN SNUFF MULLS, SCOTTISH, 19TH CENTURY, one with curved body and pewter mount, the flush hinged lid lightly engraved ‘Thomas Bartholomew’, touch mark DURIE, Peter Durie, Aberdeen, circa 1830; one with curled body, the cover applied with a silver shaped roundel initialled WS; one with curled body and plain hinged brass rim mount, the lid with shaped hinged head and roundel initialled MD; one with curled body and plain hinged brass rim mount, the lid with thistle shaped hinge head and oblong cartouche; one with curled body and plain cover; and one with curved body and an associated silver cover from a dressing table jar; 11.5cm longest
£120-180
280 ‡
A VICTORIAN ELECTROPLATE AND DOUBLE RAM’S HORN TABLE SNUFF MULL, PROBABLY SHEFFIELD OR BIRMINGHAM, THIRD QUARTER 19TH CENTURY, centred by the oval container in bulbous housing with bands of foliage and scrolls on a matted ground, the lid with leaf finial, below with a leaf and scroll headed paw foot to front and another to back, the horn tips with further foliate decorated electroplate mounts, 66cm long
£600-800
112
A SILVER-MOUNTED SMALL SNUFF MULL, SCOTTISH, SECOND HALF 18TH CENTURY, oval inverted baluster, hinged and reeded rim mounts, lid applied with an oval engraved with a crest, unmarked, 4.5cm high
£150-250
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)
£150-250
THREE SNUFF MULLS, SCOTTISH, SECOND HALF 18TH CENTURY, comprising: a plated brass example of inverted baluster oval form with girdle towards the base, a horn example of tapering oval form with pewter rim mounts and flush hinged lid inscribed ‘AM 1799’ and twice ‘He that’s nae Friend at a pinch, is no worth a Snuff’, and one of oval section with leather hinges and inscribed to one end ‘John Poe 1756’; together with two shell boxes, 19th century, one a cowrie shell with brass rim mount and flush hinged flat lid, the other formed as a pair of polished limpet shells with simple plated hinged rim mounts; 8cm longest (5)
£120-180
113
281 ‡
282 ‡
283 ‡
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)
£220-280
TWO GEORGE III SNUFF BOXES, CIRCA 1800, the oval example with gold hinge, lip mount and applied vacant oval, the oblong horn example with silver lip mount and applied vacant oblong, 9cm long (2)
£80-120
THREE PILL BOXES, comprising: a circular box, with slightly domed silver cover, the horn sides and base with silver rim mounts, Adele Schaverien & Margaret Bunford for Cornucopia, London, 1980, 5cm diameter; a compressed circular Victorian silver box, Walter Russell, London, 1898; and an oval agate and electroplate box, banded agate top and base, probably German, 20th century (3)
£100-150
114
284 ‡
285 ‡
286 ‡
287 ‡
TWO SILVER-MOUNTED HORN SNUFF MULLS, SCOTTISH, 19TH CENTURY, curled horns, one with hinged reeded rim mount, the horn lid with silver rim mount and applied with an openwork and engraved thistle, one with vacant shield below the plain hinged rim mount, the horn lid with shaped hinge head and mounted with an oval faceted orange paste, 8cm long (2)
£250-350
288 ‡
A GOLD AND AGATE MOUNTED HORN SNUFF MULL, SCOTTISH, EARLY 19TH CENTURY, the gold lined lid with reeded rim surrounding a dome faceted agate of milky orange tones, plain hinged rim mount to curled horn body, unmarked, 6cm long
£300-400
289 ‡
TWO CARVED HORN SNUFF MULLS, SCOTTISH, EARLY 19TH CENTURY, one with curled body terminating in a stylised animal head set with banded agate eyes, with shaped silver rim mount, the cover with ‘horseshoe’ silver mount, 12 cm long, the other with curved body terminating in a stylised bird’s head set with faceted citrine eyes, the cover with three pins to the cork; together with another horn snuff mull, Scottish, circa 1820, the tapering body with plain silver hinged rim mount engraved ‘McN Gow 1819’, the lid with shaped hinge head and applied oval engraved with a crest (3)
£250-350
115
290 ‡
A SILVER-MOUNTED HORN SNUFF MULL, SCOTTISH, CIRCA 1820, the curled horn applied with a thistle in relief above a suspension ring hung with the following chained implements on rods: a pricker (to loosen the snuff), a mallett (to break up any lumps), a spoon to place the snuff on the back of the hand), a rake (to smooth the snuff) and a brush (to clear away spare grains), hinged reeded rim mount engraved with the following inscription: ‘To Mr. Matthew Jon. From William Batty. July 1 1821’, the lid with a band of foliate chasing surrounding a rock crystal cabochon left rough to the underside, mounts gilded to interior, unmarked, 11cm long excluding implements
Literature: Paula Hardwick, ‘Discovering Horn’, Guildford, 1981, p.122
£500-800
291 ‡
THREE VICTORIAN SILVER-MOUNTED MINIATURE HORN MULLS, PROBABLY SCOTTISH, LATE 19TH CENTURY, one mounted as a vinaigrette, the curved body applied with a vacant shield below the plain hinged rim mount, the bulbous silver lid chased with a band of thistles surrounding a foiled paste and hung with a chain terminating in a thistle head set with a faceted citrine, the gilt interior with engraved and simply pierced grille; one with curled body and plain hinged rim mount engraved ‘M.Fraser 1898’, the domed silver lid chased with a band of thistles surrounding a foiled citrine and with a chain; and one with thistle chased silver lid set with a faceted citrine and hung with a chained finger ring; 5 and 5.5cm long (3)
£400-600
116
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 (first mull): Diana Vreeland (1903-1989), sold Sotheby’s, New York, 19 April 1990, lot 22
£300-500
A CONTINENTAL SILVER-MOUNTED HORN SNUFF BOX, PROBABLY WESTERN ALPS, 19TH CENTURY, ribbed tapering oval body with thumb-hold to one side, with reeded rim mounts and shaped thumbpiece, the lid applied with a relief of an Alpine Ibex (Capra ibex), the recumbent billy set with a red paste eye, unmarked, 6.5cm long
£300-400
TWO SILVER-MOUNTED HORN SNUFF MULLS, SCOTTISH, CIRCA 1800, curled bodies and hinged reeded rim mounts, one with openwork scallop collar, the lid set with an oval agate, the other applied with a roundel engraved with a crest and motto, unmarked, 9 and 10cm long; together with another horn snuff mull, Scottish, probably late 18th century, the brass hinges with shaped heads, 9cm long (3)
£300-400
117
292 ‡
293 ‡
294 ‡
293
THREE SILVER-MOUNTED HORN SNUFF MULLS, SCOTTISH, EARLY 19TH CENTURY, with curled bodies and lids with shaped hinge heads, one with plain rim mount inscribed ‘John Welsh Baker’ and lid applied with an initialled oblong, one with shaped rim mount and initialled roundel to lid, one without rim mount and initialled oval to lid, 9cm long (3)
£250-350
296 ‡
TWO SILVER-MOUNTED HORN SNUFF MULLS, LATE 18TH / EARLY 19TH CENTURY, each with a hinged plain rim mount to the curled body and a thistle shaped hinge head to the lid, one with applied roundel engraved with initials, the other with a vacant cut-cornered rectangle, unmarked, 8 and 9.5cm long (2)
£250-350
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 cutcornered 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)
£250-350
118
295 ‡
297 ‡
296
298 ‡
A GOLD AND AGATE MOUNTED HORN SNUFF MULL, SCOTTISH, CIRCA 1800, with reeded gold hinged rim mounts, the lid set with a slightly domed agate of translucent milky sepia tones, unmarked, 7.5cm long
£300-500
299 ‡
A SILVER-MOUNTED HORN SNUFF MULL, SCOTTISH, SECOND QUARTER 18TH CENTURY, tapered oval with a reed near the base above a scalloped and reeded mount, with shaped and hatched top rim mount, the lid with foliate shell silver thumbpiece and a mount heading the hinge chased with foliate scrolls centred by a bishop’s mitre and ribbons, unmarked, 8cm high
£400-600
300 ‡
A VICTORIAN SCOTTISH SILVER-MOUNTED RAM’S HORN TABLE SNUFF MULL, PROBABLY PROVINCIAL, MID 19TH CENTURY, the bulbous ovate lid set with a backed and faceted oval cairngorm with quatrefoil openwork claws above a Celtic inspired border including a vacant cartouche, scalloped rim mount with arcarded decoration, gilt interior, the curling horn with two silver supports of a single and a double ram’s foot, the silver terminal mount fashioned as a cairngorm set thistle, unmarked, 23cm long
£800-1,200
119
298 299
301 ‡
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).
£300-400
302 ‡
AN AGATE AND GOLD VINAIGRETTE, PERHAPS
SCOTTISH, CIRCA 1800, circular, stone in caramel and brown tones, with reeded gold hinged rim mounts, the gold lined interior with hinged grille simply pierced with two stylised flowers, unmarked, 3cm diameter
£200-300
303 ‡
A VICTORIAN SCOTTISH DIRK KILT PIN, 1860s, with facetted thistle shaped cairngorm terminal, concealing a pair of scissors, the hilts set with facetted amethysts concealing a miniature dirk and scent flask respectively terminating in an agate bead, with engraved decoration, mounted in gold, the reverse applied with a red, white and blue monogram, JML and ESSIE, length 12cm
£800-1,200
120
302
304 ‡
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1860s, centring on a claw set oval mixed-cut Cairngorm within a textured surround of antler motifs, mounted in silver, by Jas T. Mackay, Elgin, maker’s marks, fitted case stamped Jas T. Mackay, Elgin, 5 x 4cm
£200-300
305 ‡
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1871, of circular design set with jasper and bloodstones accented with circular cairngorms to the cardinal points, framing a similarly set Celtic cross motif, with foliate engraved detail, mounted in silver, lozenge registration marks to reverse for 1871, diameter 4cm
£300-400
306 ‡
A SCOTTISH PEBBLE BROOCH, 1947, circular design set with jasper and bloodstones, framing an orange paste to the centre, with engraved decoration, mounted in silver, British hallmarks for Birmingham 1947, diameter 4cm
£200-300
307 ‡
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1880s, of shield design set with four circular citrines and various agates with engraved decorative detail, mounted in silver, 3.5 x 3cm
£150-250
121
305
307
306
308 ‡
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1860s, of circular design set with various agates and bloodstone framing a similarly set Celtic cross with foliate engraved detail, mounted in silver, diameter 6cm
£250-350
309 ‡
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1860s, of domed circular design set with various agates with foliate scroll engraved decoration, mounted in silver, diameter 5.4cm
£250-350
310 ‡
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1860s, oval design set with various facetted agates and bloodstones, mounted in silver, 6 x 5.2cm
£300-400
122
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1860s, oval design set with agates, framing a similarly set Saltire cross, with engraved decoration, mounted in silver, by Jamieson Aberdeen, dimensions 5 x 4cm
£200-300
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1880s, designed as an eight-pointed star set with polished agates, mounted in silver, diameter 4cm
£150-250
A VICTORIAN SCOTTISH PEBBLE BROOCH, 1880s, of flower head design set with various agates, mounted in silver, diameter 5cm
£150-250
123
311 ‡
312 ‡
313 ‡
314
SET OF SIX MOTHER-OF-PEARL AND GOLD DRESS BUTTONS, 1900s, each centring on a mother-of-pearl plaque to a gold mount, stamped 9ct, with six gilt metal split rings,fitted Hamilton & Inches case
£400-600
315
A SET OF FOUR GEORGE VI CYPHER MOTHER-OF-PEARL DRESS BUTTONS, 1930s, each set with a circular mother-ofpearl panel applied with the entwined cypher of George VI, mounted in 9 carat gold, Dibdin & Co Ltd case
£500-700
316
DIAMOND AND ENAMEL ROYAL THAMES YACHT CLUB BROOCH, 1930s, designed with a central fouled anchor framed with cross laurel branches with a crown surmount in red enamel set throughout with brilliant- and single-cut diamonds
£300-400
A DIAMOND REGIMENTAL ROYAL HORSE ARTILLERY BROOCH, 1930s, set with single-cut diamonds with central Royal cypher for George VI, dimensions 3.7cm x 1.7cm
£800-1,200
124
317
315
316
317
318
DIAMOND EVENING BAG, 1960s, of basket weave design, embellished with a line of single-cut diamonds, centring on foliate motif similarly set, opening to contain a bevelled mirror under the cover, one diamond deficient, Italian assay marks, dimensions approximately 167mm x 84mm x 42mm, gross weight approximately 336g
£14,000-16,000
319
TWO DIAMOND BAND RINGS, comprisng: one of open work design set with graduated brilliant-cut diamonds, British hallmarks for 18-carat gold, size O 1/2, the other set with pairs of brilliant-cut diamonds, British hallmarks for 18-carat gold, size O 1/2
£200-300
320
FANCY LINK BRACELET, designed as interlocking figure of eight links, length 19cm, stamped 18k
£800-1,200
321
ONSA, LADY’S COCKTAIL WATCH, the circular dial applied with Arabic numerals to a fancy figure of eight link bracelet, length 17.3cm, Swedish assay marks, stamped 18k, signed Onsa, numbered 15098, 434
£600-800
322
EMERALD AND DIAMOND RING, 1970s, centring on a cabochon emerald framed by brilliant-cut diamonds, to a geometric mount, ring size H
£500-700
323
THREE EMERALD AND DIAMOND RINGS, comprising: step-cut emerald within a surround of brilliant-cut diamonds, size L½; double heart ‘invisibly’ set with circular diamonds with tapering single-cut diamond shoulders, 9 carat gold London hallmark 1996, size L½; and marquise shaped emerald within a surround of brilliant-cut stones, 18 carat gold London hallmark 1989, makers mark SJ, size N½
£250-350
324
TWO DIAMOND RINGS, comprising: a three stone diamond ring claw set with three graduated brilliant-cut diamonds, ring size P, and a single stone diamond ring claw set with a single brilliant-cut diamond, ring size O 1/2, Brititsh hallmarks for 18-carat gold
£300-500
126
321 323 324
320
325
VICTORIAN SILVER NECKLACE AND LOCKET, 1881, the necklace designed as a series of oval and barrel shaped links applied with fluted detail, supporting an oval locket with engraved Aesthetic scene depicting a swallow in an Oriental landscape, British hallmarks for Birmingham 1881, length of necklace 450mm, dimensions of locket 50mm x 40mm
£150-250
part
326
TWO GOLD MOUNTED SHELL CAMEO BROOCHES, MID 19TH CENTURY, comprising: an oval shell cameo brooch, carved to depict the profile of a lady in 17th century costume holding a garland of flowers within a gold scroll work brooch frame, 6 x 5cm; and an oval shell cameo brooch carved to depict the profile of the Madonna to a plain gold brooch frame, 4.5 x 4cm
£200-300
327
HARDSTONE CAMEO AND HALF-PEARL BROOCH, 1890s, the oval hardstone cameo carved to depict the sinister profile of a maiden within a half-pearl frame
£300-400
328
SEED PEARL PENDANT/BROOCH, 1860S, of scroll cartouche design embellished with garlands and rows of seed pearls, largest pearl measuring approximately 5.4mm, dimensions 8cm x 4.4cm, in fitted Carrington and Co Ltd case. Pearls untested for origin
£200-300
127
328
329
THREE BANGLES, each of plain polished hoop design, two stamped 9ct, diameter 6.4cm, 130g
£2,500-3,000
330
DIAMOND RING, 1960s, designed as a cluster of brilliant-cut diamonds on a raised gallery between tapering shoulders, size N ½
£350-450
331
DIAMOND RING, inset with five graduated brilliant-cut diamonds, British import marks for 18-carat gold, ring size O 1/2
£80-120
332
PAIR OF ONYX AND DIAMOND PENDENT EARRINGS, each supporting a pear-shaped cabochon onyx drop accented with brilliant-cut diamonds, clip fittings
£250-350
333
GOLD BRACELET, CIRCA 1976, designed as an undulating gate link bracelet with padlock clasp, both 9 carat hallmarked London 1976 and makers mark RB Ltd, length approximately 19mm (excluding padlock), 14g
£200-300
334
SAPPHIRE AND DIAMOND LEOPARD BROOCH, decorated with circular-cut sapphires and single-cut diamonds, British import marks for 9 carat gold stamped to pin
£100-200
333 334
329 330 331
335
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
£800-1,200
129
336 337 338 339 340 341 342
336
ANNABEL ELEY, CULTURED PEARL AND GOLD NECKLACE,1989, designed as an alternating chain of buckle motifs and cultured pearls measuring approximately 6-7mm each. Length 44cm, maker’s marks, British hallmarks for 18-carat gold, London 1989
£800-1,000
337
ILIAS LALAOUNIS: A PAIR OF RUBY, DIAMOND AND FROSTED ROCK CRYSTAL EAR CLIPS AND A MATCHING RING, the ear clips of oval design each centring on a frosted rock crystal panel applied with a cabochon ruby and two brilliant-cut diamonds, within a scroll surround accented with brilliant-cut diamonds, clip fittings, stamped with maker’s marks for Ilias Lalaounis, Greece and 750, dimensions 2.8cm x 1.7cm, the ring of matching design, similarly marked, ring size L (3)
£2,000-3,000
338 ‡
A CITRINE BROOCH, circular design claw set with circular-cut citrines, diameter 3cm
£150-250
339
CULTURED PEARL, RUBY AND DIAMOND RING, 1973, centring on a single cultured peral within a navette-shaped bezel set with calibre-cut rubies and single-cut diamonds, British hallmarks for 9-carat gold, London 1973, numbered 1099, size K
£200-300
340
HERCULES KNOT RING, ILIAS LALAOUNIS, 1970s, of flattened interlocking loop design, maker’s mark, size Q, 6.5gr
£500-700
341
A SET OF THREE GOLD , GEM-SET AND DIAMOND LINE BRACELETS, 1990s, comprising; two set with calibre-cut sapphires and emeralds, interspersed with single-cut diamonds, length 17.5cm, British hallmarks for 9-carat gold, 1995 and 1998, and a ruby and diamond line bracelet set with calibre-cut rubies interspersed with clusters of single-cut diamonds, length 18.4cm, British import marks for 18-carat gold, London 1995
£1,000-1,500
342 ‡
AMETHYST BRACELET, composed of a series of eight oval mixed-cut amethyst each within a textured surround, length 16cm
£800-1,200
131
343
DIAMOND, EMERALD, RUBY AND SEED PEARL BROOCH, EARLY 19TH CENTURY, designed as a spray of three flowers set throughout with closed back square, circular-cut and cabochon rubies, square and circular-cut emeralds and cushion-shaped, and rose-cut diamonds, accented with seed pearls, mounted in yellow gold, dimensions 3cm x 3cm
£400-600
344
RUBY AND DIAMOND BROOCH, LATE 19TH CENTURY, designed as a stylised flower head in the Historicist style set with oval mixed-cut foiled rubies accented with roseand table-cut diamonds, mounted in silver gilt setting with engraved reverse, diameter 4cm
£200-300
345
SUFFRAGETTE ENAMEL AND GEM-SET BROOCH, 1890S, centring on an oval mixed-cut amethyst within a white enamel scroll frame accented with circular-cut demantoid garnets mounted in yellow gold, dimensions 2cm x 1.8cm
£400-600
346 GOLD, ENAMEL AND ONYX STICK PIN, 1870s, designed as a circular onyx plaque applied with a gold enamel fly, French assay mark and maker’s mark, fitted case
£200-300
347
SAPPHIRE AND DIAMOND HALF-HOOP RING, set alternately with two circular-cut diamonds and three oval sapphires, accented with circular-cut diamond points, total diamond weight approximately 1.40 carats, to a pierced scroll mount, ring size S
£800-1,000
132
343
345 346
344
347
PAIR OF DIAMOND PENDENT EARRINGS, 1880S, each composed of a cushion-shaped diamond surmount mounted in a cut-cown collet supporting a detachable pear-shaped diamond drop with a cushion-shaped diamond connecting link, length 3cm, case by Hennell Frazer & Haws. Later post and butterfly fittings
£20,000-30,000
133 348
349
DIAMOND BRACELET, 1930s, designed as three articulated geometric plaques, each millegrain set with circular- and single-cut diamonds, highlighted with calibre-cut synthetic sapphires, joined by lozenge shaped links, length approximately 200mm
£12,000-18,000
134
350
LADY’S DIAMOND COCKTAIL WATCH, 1950s, the circular dial applied with Arabic numerals and dot indicators, framed by a bezel of single-cut diamonds to radiating shoulders alteratively set with brilliant-cut and baguette diamonds, to a graduated brilliant-cut diamond set bracelet, length 16cm
£3,000-5,000
351
DIAMOND DOUBLE CLIP BROOCH, 1950s, of scrolled ribbon design set with circular-, single-cut and baguette diamonds, detachable brooch pin
£5,000-7,000
352
A DIAMOND LINE BRACELET, claw set with a uniform line of princess-cut diamonds, length 19.5cm, safety chain and catches
£3,000-5,000
353
DIAMOND BAR BROOCH, 1920s, of geometric design, centring on a triangular diamond between horizontal rows of millegrain set circular- and single-cut diamonds accented with baguette diamonds, length 4.9cm, associated Gowland case
£600-800
354
SAPPHIRE AND DIAMOND RING, 1920s, scalloped plaque design set with two lines of circular-cut sapphires framing a central line of cushion-shaped diamonds to diamond enhanced shoulders with a fluted band, size N 1/5
£800-1,200
135
350 351 352 353 354
ART DECO, SAPPHIRE AND DIAMOND BRACELET, 1930s, set with five graduated rectangular, mixed-cut sapphires, each within a radiating surround of calibre-cut sapphires and circular-cut diamonds, joined by buckle motif links set with circular-cut and baguette diamonds, length 19cm
Gemmological Certification Services, London, Certificate No.57832339, dated 25 April 2023, stating natural sapphire, Ceylon (Sri Lanka), no indications of heating
£30,000-50,000
136 355
356
SAPPHIRE AND DIAMOND RING, claw set with an oval mixed-cut sapphire set between triangular-shaped diamond shouders, ring size L
Gemmological Certification Services, London, Certificate No.57832337, dated 25 April 2023, stating natural sapphire, Ceylon (Sri Lanka), no indications of heating
£10,000-15,000
137
357
CULTURED PEARL AND BLUE TOPAZ BANGLE, the hinged bangle alternatively collet set with cultured pearls and circular-cut blue topaz, inner circumference approximately 165mm
£1,500-2,000
358
DIAMOND BANGLE, the hinged textured bangle decorated with two panels pave-set with brilliant-cut diamonds, inner circumference approximately 155mm
£2,000-3,000
359
PAIR OF CULTURED PEARL, TURQUOISE AND DIAMOND PENDENT EARRINGS, 1970s, each designed as an articulated cluster of fresh water cultured pearl berries interspersed with cabochon turquoise accents, to a grey baroque cultured pearl terminal, each surmount set with a grey baroque cultured pearl accented with three brilliant-cut diamonds, to textured leaf detail, clip and post fittings, length approximately 70mm
£1,500-2,000
360
CULTURED PEARL AND DIAMOND RING, centring on a cultured pearl measuring approximately 14.5mm, inset to an open work floral mount highlighted with brilliantcut and marquise diamonds, size O 1/5
£800-1,200
361
CULTURED PEARL, AQUAMARINE AND DIAMOND NECKLACE, composed of a uniform row of cultured pearls each measuring approximately 8.6mm, supporting a rectangular aquamarine centerpiece accented with shoulders of brilliant-cut diamonds, length 142cm
£800-1,200
362
AQUAMARINE RING, the mixed cut square aquamarine claw set in a simple mount, size L ½
£400-500
363 (illustrated online)
COLLECTION OF PASTE JEWELLERY, comprising: double bow brooch set throughout with paste, French mark; diamond shaped open work brooch with millegrain edges set to the centre with a purple paste, German silver ‘935’, makers mark JD; pair of blue stone pendent earrings (4)
£100-200
138
357 358
360
361 362
364
DAVID ANDERSON: BLUE ENAMEL BRACELET, 1970s, designed as a series of oval concave links decorated with blue guilloche enamel, length 18cm, stamped 925 S sterling, Norway, maker’s marks
£400-600
365
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
£1,500-2,500
366
GOLD, QUARTZ GEODE PENDANT/BROOCH,1977, centring on a quartz geode held by textured gold claws, British hallmarks for 9-carat gold, London 1977, makers mark C&Co, dimensions 6cm x 5cm, to a gold rope twist necklace, British import marks for 9-carat gold, London 1977 length 61cm
£400-600
367
TWO GEM-SET RINGS, one supporting a fringe of faceted amethyst and blue topaz beads, to a plain band, stamped 750, ring size N, the other centring on a single cultured pearl within a textured surround, stamped 750, Italian assay marks, ring size N
£300-500
368
SYNTHETIC BLUE SPINEL RING, the step cut synthetic blue spinel in a raised pieced gallery, size N
£150-250
139
364 365 366 367 368
369
NATURAL PEARL AND DIAMOND NECKLACE, composed of two graduated rows of pearls, measuring from approximately 7.8mm to 3.8mm, to a diamond cluster clasp designed as a pansy set with circular-cut diamonds, length 44cm
Gemmological Certification Services, London, Certificate No.57832340, dated 25 April 2023, stating nacreous saltwater pearls
£3,000-5,000
140
370
DIAMOND BROOCH, 1930s, designed as an open work millegrain plaque set with circular- and single-cut diamonds, length approximately 65mm
£1,000-1,500
371
DIAMOND BROOCH, 1920s, designed as an open work plaque of millegrain honeycomb links with scroll motifs to the cardinal points, set with circular- and rose-cut diamonds, framing a colourless paste, dimensions approximately 65mm x 40mm
£1,000-1,500
372 PAIR OF GOLD, ENAMEL AND DIAMOND EAR STUDS, 1988, each designed as a circular plaque of geometric design decorated with ornage and brown enamel, centring on a brilliant-cut diamond, post fittings, British hallmarks for 18-carat gold, London 1988, diameter 1.8cm
£500-700
373
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 brilliant-cut diamonds, winding crown deficient, length 18cm
£1,500-2,000
374
PAIR OF DIAMOND CLUSTER EAR STUDS, each ear stud millegrain set with brilliant-cut diamonds, framing a central brillinat-cut diamond, post fittings
£600-800
375 (illustrated online)
TWO DIAMOND RINGS, one claw set with a brilliantcut diamond, British hallmarks for 9 carat gold, size M 1/2, the other claw set with three graduated brilliantcut diamonds, size G
£250-350
141
370 371 372 373 374
£4,000-6,000
142
376
PAIR OF EMERALD AND DIAMOND PENDENT EARRINGS, 1880S, each centring on a square emerald within a surround of cushion-shaped diamonds in floral settings suspending a smaller triangular emerald and a diamond drop, later post and butterfly fittings, mounted in silver on gold, length 3cm.
377
CORAL DEMI PARURE, comprising a necklace and a bracelet, each designed as a torsade of six and seven rows of coral beads interspersed with gold rondelles, each to a barrel shaped clasp highlighted with rows of gold beads, Italian assay marks, lengths approximately 390mm and 200mm respectively
£3,000-5,000
378
GOLD STRAP BRACELET, 1980, of three colour gold, textured basket weave design, British import marks for 18-carat gold, London 1980, length 18.2cm
£1,500-2,000
379 (illustrated online)
AMBER NECKLACE, designed as eight rows of amber beads to clasp set with amber plaques, length approximately 470mm
£300-400
143
377
378
380
MABE PEARL AND EIGHTEEN CARAT 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
£500-700
381
A NINE CARAT GOLD NECKLACE, 1988, of rope work design supporting a heart-shaped pendant to a barrel shaped clasp with safety catch, 9 carat gold hallmarks for Deakin & Francis, Birmingham, length 41cm
£800-1,200
382
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
£800-1,200
383 DIAMOND BROOCH, 1970s, designed as a stylised tree with marquise-cut diamond leaves, 4 x 3cm
£600-900
384
THEO FENNELL: A PAIR OF GOLD, PERIDOT AND DIAMOND EARRINGS, each of textured target design, centred by a circular-cut peridot with brilliant-cut diamonds to the cardinal points, post and butterfly fittings, signed Fennell, hallmarks for 18-carat gold, London, 1996 and maker’s marks, diameter 1.5cm
£500-700
385 (illustrated online)
RUBY RING, the pear shaped ruby within a row of circular stones, size L
£150-250
144
380
383 384
381 382
386
NATURAL SEED PEARL AND DIAMOND NECKLACE, composed of two graduated rows of seed pearls, measuring from approximately 2.4mm-5.8mm, to a navette shaped clasp set with four circular-cut diamonds framed by synthetic calibre-cut sapphires, length 42cm
£800-1,200
145
387
CORAL AND AMBER NECKLACE, 1970s, composed of 18 rows of coral beads to a rectangular clasp set with cabochon amber beads, length approximately 480mm
£800-1,200
388
PAIR OF DIAMOND AND MABE PEARL PENDENT EARRINGS, 1960s, each supporting a detachable mabe pearl drop framed by brilliant-cut diamonds, to a foliate surmount set with brilliant-cut and marquise diamonds, clip fittings, length approximately 55mm
£3,000-5,000
389
GEM-SET CLIP/BROOCH, 1960s, designed as a floral spray, set with mixed-cut multi-coloured gem-stones, including amethyst, citrine, garnet and peridot, dimensions approximately 80mm x 50mm
£1,000-1,500
390
PAIR OF ‘COIL’ EARRINGS, FANOURAKIS, each flattened blackened hoop set with a tesserae of lasque cut diamonds, unsigned, length approximately 35mm
£800-1,200
391 (illustrated online)
GOLD CHAIN, 1900s, of circular links with textured barrel clasp, length 74cm
£300-500
146
387
388
389
390
392
FRESHWATER CULTURED PEARL PARURE, comprising; a necklace, bracelet, pair of pendent earrings, and a brooch, the necklace of foliate design composed of clusters of freshwater cultured pearl berries interspersed with textured leaves to a seed pearl back chain, length 38cm, the bracelet, pair of pendent earrings and brooch all of matching design, bracelet inner circumference 17cm, earrings length 4cm, brooch width 5cm (5)
£800-1,200
393
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
£800-1,200
394
BJORN WECKSTROM, LAPPONIA: GOLD BRACELET, 1969, a panel link bracelet composed of textured square links, length 19cm, stamped Finland, Finish assay and maker’s marks
Born in Helsinki in 1935, Bjorn Weckström graduated from the Finnish Goldsmith’s school at the age of 16. From the early 1960s, Weckström took inspiration for his jewellery designs from nuggets of gold that he found in Lapland. Weckström exhibited his work in the 1961 exhibition “The International Exhibition of Modern Jewelry” in London where his pieces sold well, and on his return to Finland he became popular for his new approach to jewellery design. It was at this time that Pekka Antilla employed Weckström as the new designer for his company, Lapponia.
Throughout his career, Weckström has exhibited around the world, and won numerous competitions and prizes. One particular highlight during the 1970s was when one of Weckstoms necklaces named “Planetary Valleys”, was personally chosen by George Lucas to be worn by Princess Leia in Star Wars Episode IV-A New Hope.
£3,000-5,000
147
392
393
394
ETRUSCAN REVIVAL DEMIPARURE, comprising; a necklace and a pair of pendent earrings, the necklace composed of a series of elliptical shaped beads decorated with beaded detail, supporting a detachable barrel shaped carnelian pendant similarly decorated with Bee surmount, length 45cm, the earrings of matching design, length 4.5cm
£6,000-8,000
396 (illustrated online)
A COLLECTION OF JEWELLERY, comprising: a flower turquoise and pearl gold bar brooch, 1900s, a pair of green paste ear pendants, a spray paste brooch, and a pair of ovoid pendent paste earrings
£100-200
End of Sale
Next Sale November 2023
Closing for entries by end of September
148
395
395
