INFORMATION FOR BUYERS AT AUCTIONS
SECTION A
1. Introduction. The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions is governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the "Terms and Conditions of Business"). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand.
Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.
2. Agency. As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your Contract for your purchase of the goods is with the Seller, not with us as Auctioneer.
3. Estimates. Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.
4. Buyer's Premium. The Terms of Sale oblige you to pay a Buyer's Premium at 25% on the Hammer Price of each Lot purchased. The Buyer's Premium is subject to VAT at the standard rate (currently 20%).
5. VAT. The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.
5.1. Items in our catalogue may be marked in the following ways:
(a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer's Premium. VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us.
(b) (‡) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 5% (reduced rate due to nature of the Lot) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer.
(d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax.
5.2. For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.
6. Refunds of VAT
6.1. For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has:
(a) registered to bid with an address outside the UK; and
(b) discussed with us the proof of export we require and the timeframes to complete the export.
6.2. Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded:
(a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium.
(b) For Lots marked (‡) and (Ω): the import VAT and, the VAT in lieu of the Buyer’s Premium.
(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium. 6.3. To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our recommended shippers are used for the export of the Lot outside the UK.
7. Reinvoicing Sales. For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme. VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.
8. Inspection of goods by the Buyer. As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.
9. Goods with electrical components. These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
10. Endangered species. If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.
11. Export of goods. If you intend to export goods you must find out:
11.1. whether an export licence is needed; and
11.2. if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.
12. Bidding. Bidders will be required to register with us before the auction starts. We reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
13. Bidding Platforms. We offer free online bidding directly through our Website (www.OlympiaAuctions.com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.
2
14. Financial Checks. As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:
(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).
(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.
(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.
14.2. You may be asked for further information if we deem this necessary.
14.3. If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.
14.4. If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.
15. Commission bidding. You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/ email or via our Website or online Bidding Platform.
16. Methods of Payment.
16.1. Online: Payment can be made at www.OlympiaAuctions.com/payments.
16.2. Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
16.3. Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
16.4. Cash: £6,000 and "card holder not present" payments above £2,000 cannot be accepted.
16.5. Credit Card payments in person: Payments above £6,000 cannot be accepted.
16.6. Debit Card payments in person: Payments are without limit.
17. Collection and storage. Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.
18. Potential Cancellation Rights. If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.
SECTION B: CATALOGUING PRACTICE
1. Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.
2. Ceramics. Obvious faults may be recorded in italics at the end of a description for ceramics.
3. Clocks and Watches. All Lots are sold "as is" and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which
the Buyer is solely responsible, may be necessary. The Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.
4. Display Accessories. Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.
5. Firearms. Please note that all bore sizes are approximate.
6. Jewellery. It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is noted in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.
7. Photographs. In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term "vintage" may also be included in the Lot description). A vintage photograph is one which was made within approximately 5-10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description.
8. Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.
9. All photographs are sold unframed unless stated otherwise in the Lot description.
10. Pictures. A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:
(a) "Attributed to": means in our opinion it is probably a work by the artist in whole or in part.
(b) "Studio of" or "workshop of": means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
(c) "Circle of": means in our opinion a work of the period of the artist and showing his influence.
(d) "Follower of": means in our opinion a work executed in the artist's style but not necessarily by a pupil.
(e) "Manner of": means in our opinion a work executed in the artist's style but of a later date.
(f) "After": means in our opinion a copy (of any date) of a work of the artist.
(g) "Signed", "dated", "inscribed": means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.
(h) "Bears signature", "bears date", "bears inscription": means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.
11. Silver, gold and precious metals. Weights may only be accurate to within 5 grams. Weights shown as "(* oz)" are in troy ounces and usually rounded down to the full ounce.
12. The following symbols may be used in our auction catalogues:
(a) (□) indicates a Lot with no Reserve.
(b) (Ø) indicates a "Premium Lot". For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any preregistration application shall be final.
(c) (~) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above.
(d) (⊕) indicates a Lot that may be subject to Artist's Resale Right.
3
Thursday 23rd May 2024
Starting at 11am
A HEREND PART DINNER SERVICE, LATE 20TH CENTURY in the 'Fruits and Flowers' pattern, painted with a central group of fruit, flowers and vegetables and scattered with similar motifs including insects, with ozier moulded borders and gilt rims, comprising: twelve dinner plates, twelve dessert plates, twelve twohandled soup bowls with twelve stands, ten cups with twelve saucers, a pair of coffee pots and covers, a pair of entrée dishes and covers, a pair of sauceboats, and four small leaf-shaped dishes, all with blue Handpainted Herend Hungary marks (84) £2,000 - 3,000
5 1
EUROPEAN OBJECTS & WORKS OF ART
A ROYAL COPENHAGEN PORCELAIN PART DINNER SERVICE, CIRCA 1970
Blue Fluted Plain pattern, comprising: three dinner plates (25.5cm), a further seven dinner plates (23.5cm), seven dessert plates (21cm), four soup plates (23.5cm), eleven side plates (16.5cm), a serving dish (41cm), an oval tureen and cover (No.283) a pair bowls (No.290) and another smaller, eleven cups and twelve saucers (No.465), four large cups and three saucers (No.703), a coffee cup, a coffee pot and cover (No.46), a sugar bowl and cover (No.428) and a cream jug (No.60), all with printed mark, waves, shape numbers and painters marks (74 pieces)
£600 - 900
3
TWO SEVRES COFFEE CANS AND SAUCERS, 1780 AND CIRCA
both 'gobelets litron et soucoupes' with gilt line borders, one painted with borders of trailing pink roses on a gilt pointillé ground flanking blue linear bands entwined in strands of laurel, with blue crowned interlaced Ls marks, 'cc' date cipher and painter's mark 'gb', the other with pale blue ground geometric borders flanking roses, laurel swags and scrollwork, red interlaced Ls marks; cups 4.5cm high, saucers 11cm diameter
£600 - 800
6 2
A SEVRES CUP AND SAUCER, THE PORCELAIN LATE 18TH CENTURY
the later decorated cylindrical 'gobelet litron' and deeply dished 'soupcoupe' with a sea-green ground reserved with painted panels of 'Comédie Italienne' figures in landscapes, the cup with an oval of Scaramouche and Pierrot playing a recorder beside a pool, the saucer with two oblong reserves each perhaps depicting Isabelle playing her guitar and her lover Lélie playing a recorder, gilded with diaper borders, laurel bands and trellised rims with scroll foliage and floral swags, each with blue interlaced Ls mark and incised marks, saucer 14.5cm diameter, cup 7.5cm high
£300 - 500
5
A SEVRES CUP AND SAUCER, THE PORCELAIN APPARENTLY 1778
later decorated 'gobelet litron' and deep 'soucoupe', the cobalt blue ground reserving roundels with bound reeded gilt borders, painted to the cup with goats in a coastal landscape, to the saucer with assorted livestock beside a castle, gilded with bands of trellis and scroll foliage, blue interlaced Ls marks above date codes 'aa', saucer 13.5cm diameter, cup 6.8cm high
£200 - 300
A VIENNA PORCELAIN CUP AND SAUCER, CIRCA 1816 / 17
orange ground, gilt borders and reserved bands of gilt leaves, the cup painted en grisaille with a panel of a hand holding a heart below the motto 'Sacré à la sincérité', underglaze blue shield marks, saucer impressed '816' and cup '817'
£100 - 150
A NYMPENBURG HAUSMALER ARMORIAL CUP AND SAUCER, CIRCA 1785
painted by Johann Klein with coats of arms and flower borders, the reverse of the cup additionally with a scrolling monogram, impressed shield marks to both, the cup with impressed V(?) and iron red initials 'J: K:', the saucer with O and '8/5'
The coat of arms are those of von Pernat, Bavaria (see J.B. Rietstap, Armorial Général, Vol.II, pl.XXXV)
Johann Klein worked at the Nymphenburg factory as a decorator between 1765-1771, subsequently working independently, often buying in Nymphenburg seconds to decorate, adding his initials to the underside.
£300 - 400
7 4
6
7
an opposing pair of turbaned Ottoman male and female figures richly attired and with gilt details, standing on cushion bases each set with a lobed urn perhaps for pastilles, 33.5cm high
See Haydn Williams, 'Turquerie: an 18th Century European Fantasy', London, 2014, pp.210-11 for illustrations and discussion of similar models.
£1,500 - 2,500
8 8
A PAIR OF PARIS PORCELAIN 'TURQUERIE' FIGURAL FLASKS, PROBABLY JACOB PETIT, MID 19TH CENTURY
A MEISSEN 'TURQUERIE' FIGURE OF A GIRL, CIRCA 1756-60
modelled after a French sketch of circa 1756 as a young girl in Turkish costume, wearing a puce cap and holding open her green gown to reveal a puce bodice, flower sprigged skirts and yellow underskirt, underside impressed ‘25’, 13cm high, chips
The Paris ‘marchand mercier’, Gilles Bazin, sent to Meissen in 1756 a sheet depicting in watercolour and pen and ink eight designs of children dressed in Turkish costumes, to show the factory what he was after to sell in France. Produced as the 'Türkenkinder' series, each figure on the sheet is annotated (presumably by the factory) ‘No 25 Bazin’ and further annotated with a particular number, this model represented under ‘No.2508’ (see Haydn Williams, ‘Turquerie; an 18th Century European Fantasy’, London, 2014, pp.177-179).
£200 - 300
10
A MEISSEN 'CHINOISERIE' FIGURE, CIRCA 1745
modelled by Peter Reinicke (1711-1768) in a conical hat with scalloped brim and puce trimmed wide-sleeved gown, flower encrusted mound base, underglaze blue crossed swords mark, 12.5cm high
The model from one of a series of five Chinoiserie figures conceived by Reinicke for Count Bruhl in 1743. £700 - 1,000
9 9
11
A MEISSEN FIGURE OF THE SNUFF TAKER, CIRCA 1745
modelled by Johann Joachim Kändler (1706-1775) as a long-haired rustic standing before a tree stump holding an open gilt snuff box in his right hand, his left hand holding the pinch under his nose, wearing a black hat and neck-tie and and yellow breeches, 18cm high, some restoration
£1,000 - 1,500
12
THREE MEISSEN MINIATURE FIGURES, CIRCA 1750
probably modelled by Johann Friedrich Eberlein (16961749), one as a Friesian sailor, the mustachioed figure with arms akimbo and wearing a grey conical hat and pink doublet, one as a female vendor in broad rimmed hat and yellow cape balancing an empty flat basket on her hip, and one as a tradesman at rest smoking a pipe, standing with his other hand behind his back, wearing a narrow-brimmed grey hat, a gilt-buttoned blue coat and white apron, the latter probably from a series of Russian genre figures, all on circular flower encrusted naturalistic bases, the first two with underglaze blue crossed swords mark to rear base, tallest 9.5cm high
See another miniature Friesian sailor sold in these rooms, 23 November 2016, lot 10 and another tradesman figure sold Christie's, 5 December 1994, lot 155
£500 - 700
10
13
A MEISSEN DUKE OF WIESSENFELS SERIES FIGURE OF GIANGURGOLO, CIRCA 1744-50 modelled by Peter Reinicke as a figure standing before a tree stump, his turned head with an extravagant nose under a green conical hat, wearing a puce shirt with blue sash to the long sword under his outstretched left hand, flower encrusted oval base, 14.5cm high, some restoration
This rare model is after one of the Commedia dell’Arte figures commissioned by Johann Adolf II Duke of Saxe-Weissenfels in 1743. The Meissen sculptors Johann Joachim Kändler (1706-1775), Johann Friedrich Eberlein (1695-1749), and Peter Reinicke (17111768) collaborated on the project. The figure, mentioned in Reinicke's records in August 1744, was based on Francois Joullain’s engraving ‘Habit de Giangurgolo Calabrois’, published in Louis Riccoboni’s ‘Histoire du Théâtre Italien’ (Paris,1728), the design source for a number of the figures from the series.
£6,000 - 8,000
11
14
A MEISSEN GROUP OF A LIONESS AND CUB, CIRCA 1745-50 modelling attributed to Johann Joachim Kändler (1706-1775), the snarling lioness seated on her haunches and with front legs raised, her cub nestled under her belly, flower encrusted base, underglaze blue crossed swords mark, 15.5cm long, restoration Kändler's taxa document work on various lion figures in the 1740s; references to lion figures can be found in the inventory of the Dresden Hofkonditorei, as well as a further six figures recorded as belonging to Heinrich Graf von Brühl. This lioness model can also be found together with a lion figure to form an opposing pair, see Laurence S. Rockefeller Collection, Sotheby's, New York, 12 October 2005, lot 479 and Rainer Rückert, ‘Meissener Porzellan 1710-1810’, Munich, 1966, Nos.1058/59. Also see another of this model sold in these rooms, 22 May 2019, lot 289
£800 - 1,200
12
15
A MEISSEN FIGURE OF A PUG, MID 18TH CENTURY
modelled by Johann Joachim Kändler (1706-1775) as a dog seated on its haunches, enamelled with black face and tail tip, finely detailed brown coat and a gilt detailed puce collar, the flowered cushion with gilt corner tassels, trace of blue crossed swords mark to underside, 11.5cm high Pug dogs of this type, sometimes found as opposing pairs, were modelled in a number of sizes and on slightly differing cushions. See a similar model sold in these rooms 20 November 2019, lot 281; also see Ulrich Pietsch, 'Die figürliche Meißner Porzellanplastik von Gottlieb Kirchner und Johann Joachim Kaendler: Bestandskatalog der Porzellansammlung Staatliche Kunstsammlungen Dresden', Munich, 2006, p.197, nos.307-308
£1,000 - 1,500
16
A MEISSEN 'PUG' PAPERWEIGHT, MID 19TH CENTURY
the recumbent dog on a flower encrusted elongated oblong stand with gilt line borders, 20.5cm long, blue crossed swords mark, minor chips
£400 - 600
13
A MEISSEN FIGURAL POT POURRI VASE, LATE 19TH / EARLY 20TH CENTURY
the baluster urn relief moulded with a frieze of Bacchic revellers below a pierced neck, on a waisted socle flanked by three figures of putti, the oval base with formal leaf band, gilt line borders throughout, underglaze blue crossed swords mark, incised 1649, impressed 68 and 70, 15.5cm high
£200 - 300
A MEISSEN NOVELTY INKSTAND, LATE 19TH CENTURY
modelled with an eagle surmounting a globe painted with the continents bisected by a gilt equatorial ring, set on a flower-sprigged stand and triform base supporting three flanking open-mouthed 'Renaissance' dolphins alternating with two shell-shaped dishes and a fish-head with gaping mouth, underglazed blue crossed swords mark, impressed '30', 16cm high, restoration
£250 - 350
14 17
18
19
A PAIR OF BERLIN (KPM) PAINTED PORCELAIN PLAQUES OF GENRE PORTRAITS, CIRCA 1900 after Christian Seybold (1695-1768), both probably painted by Franz Wagner depicting 'Old Man with Spotted Fur Cap', signed 'Wagner' and 'Old Woman with Green Headscarf', impressed KPM and sceptre marks, inscribed for the size '255x195', plaques 25.5x19cm, in probably original ebonised wood frames 42 x 36cm
Commonly misattributed to Balthasar Denner (1685-1749) another painter of 'tronies' and an artist who greatly influenced Seybold, the oil on copper Seybold originals are held by the Gemäldegalerie, Dresden (Nos.2094/5). These heads are also sometimes described erroneously as depicting Rembrandt's parents. For another KPM plaque of the old man and of the same size, signed 'F. Wagner', see Christie's, New York, 25 October 2007, lot 507. The porcelain painter Franz Wagner is recorded as active between 1894-1908 at 42 Starhemberggasse, Vienna IV (Waltraud Neuwirth, 'Porzellanmaler-Lexikon', Vol.II, 1840–1914, p.330).
£1,000 - 1,500
15
20
A BOW FIGURE OF 'THE ABBESS', CIRCA 1755-58 in the white, the nun modelled seated and balancing a book to the lap held in the right hand, the other hand outstretched by the knee, dressed in a copiously draped habit with wide cowl and narrow scapular, 14.5cm high
It has been suggested that this figure may be male, Pat Daniels proposing in her book 'The Origin and Development of Bow Porcelain' (Farringdon, 2007) that it represents the actor David Garrick en travesti, as discussed in the final chapter 'Let the Porcelain Speak'.
£200 - 300
21 (illustrated online)
A STAFFORDSHIRE POTTERY FIGURE, 'WILL WATCH', CIRCA 1860 modelled seated on a tree stump holding a pistol, a barrel at his side, 34cm high; together with a pair of Staffordshire pottery figures of 'Shakespeare' and 'Milton', Milton fired without his right arm; together with a Staffordshire figure of 'Falstaff'; and a pair of Staffordshire figures of greyhounds, circa 1900, each standing supported by a tree stump and holding a hare in its mouth, on naturalistic oval bases, 20cm high (6)
£60 - 100
22 (illustrated opposite)
A PAIR OF WEDGWOOD FAIRYLAND LUSTRE
VASES, CIRCA 1920
'Candlemas' pattern (No.Z5154) designed by Daisy Makeig-Jones, slender baluster form (shape 3148), each gilt and lustred with three black gound panels with a candle with a woman's head aureole to the flame flanked by a three-light candelabra and a figure above a coiled dragon, the blue ground straps between with imps climbing flower tendrils, printed Portland vase marks, painted pattern number and incised numbers, 26cm high
The designs of Daisy Makeig-Jones for Wedgwood (1881-1945) reflected a contemporary passion for fairies and the 'other-worldly', found in the illustrations of Arthur Rackham, Edmund Dulac and the Danish artist, Kay Nielsen; the latter apparently inspiring the Candlemas pattern with her illustrations for 'East of the Sun and West of the Moon: Old Tales from the North', in particular perhaps the plate 'She saw the Lindworm for the first time...' (to be found on page 57 of the edition published in New York by G.H. Doran, 1922).
£3,000 - 4,000
16
17 22
23
A WILLIAM MOORCROFT 'POMEGRANATE PATTERN' SMALL VASE, EARLY 20TH CENTURY
squat baluster form, the pattern also running round the interior rim, green 'W.Moorcroft' signature and impressed 'MOORCROFT / BURSLEM' and shape number 'M?8', 7cm high; together with another Moorcroft 'Pomegranate Pattern' vase, mid 20th century, ovoid, blue initials 'W.M., impressed 'MADE IN ENGLAND', 'MOORCROFT' and shape No.398, 19cm high (2)
£120 - 180
24
A RUSKIN HIGH FIRED STONEWARE SMALL VASE, 1909
compressed globular beneath a flared neck, covered in purple, lavender, green and sang-de-boeuf glazes, impressed Ruskin Pottery, West Smthwick, 1909, 7.25cm high
For other 1909 Ruskin vases of this size see Kinghams, Moreton-in-Marsh, 11 June 2021, lot 45 and Christie's, London, 21 November 2001, lot 30
£600 - 800
18
25
FULVIO BIANCONI (1915-1996): 'VENEZIA'
an Italian glass figure, Venini, Murano, circa 1949/50, from the 'Costumi Regionali' series, model No.2999, with black hair and cape with 'zanfirico' and blue and red skirts, etched to underside 'venini / murano / ITALIA', 24.5cm high
£600 - 900
26
A VENETIAN ART GLASS VASE, MASSIMILANO
SCHIAVON, MURANO, 2008
bulbous, white lattice and interlaced green canes in clear and green swirls, the surface with cut and frosted sections, underside signed '2008 / Schiavon / 1/1', 37cm diameter
£300 - 500
19
27
A VENETIAN GLASS DISH, PROBABLY 16TH CENTURY circular, the base of the shallow bowl with a band of blue cabling, a blue line border below the everted rim, 16cm diameter
£400 - 600
28 (illustrated opposite)
A SOVIET PROPAGANDA PLATE, 'KNOWLEDGE LIGHTENS WORK', STATE PORCELAIN MANUFACTORY, PETROGRAD, 1921
designed by Rudolf Vilde, painted onto an Imperial Porcelain Manufactory blank with books and a diploma below the motto in Cyrillic to the cavetto and worker's tools of pliers, trowel and vice between stylised flowers to the rim with green line borders, underside with blue hammer & sickle, cog and 1921 and Imperial cipher obliterated in green, 23.5cm diameter
Rudolf Fyodorovich Vilde (1868-c.1942) was a prolific artist for the State Porcelain Manufactory, producing dynamic designs under the influence of Chekhonin. Born in Friedrichstadt, Courland, he graduated from the Stieglitz School of Technical Drawing, St Petersburg, in 1899, followed by further study on a scholarship to France, Germany and Italy before joining the Imperial Porcelain Factory in 1905, taking charge of the artistic workshops the following year. One of the few artists to remain through the revolution, he was made head of the painting workshops, becoming director of the factory in 1930, but falling foul of Stalin’s regime in about 1936 he seems to disappear from the scene and the date of his death remains uncertain.
£2,000 - 3,000
20
21 28
29
A RUSSIAN POTTERY NICHOLAS II CORONATION
BEAKER, M.S. KUZNETSOV COMPANY, MOSCOW, CIRCA 1897
slightly tapering, sea green glazed, moulded with text in Russian commemorating the Holy Coronation above the Muscovite arms and flanked by the ciphers of Tsar Nicholas II and Tsarina Alexandra Feodorovna all within crossed laurel sprays, stamped mark M.S. Kuzenetsov / 1879 / 21, 12cm high
£300 - 500
30
A RUSSIAN CUP AND SAUCER, IMPERIAL PORCELAIN MANUFACTORY, ST PETERSBURG, ALEXANDER II PERIOD (1855-1881)
cylindrical cup with angular handle painted with an oval portrait en grisaille of Grand Duchess Maria Alexandrovna flanked by gilt tooled borders, cup and deep saucer both with gilt line borders and dove grey grounds, undersides with green Imperial cipher for Alexander II and numeral '7', cup 7cm high, saucer 13cm diameter
Grand Duchess Maria Alexandrovna of Russia (18531920) was the only surviving daughter and apparently favourite child of the Tsar, Alexander II. She married Queen Victoria's son Alfred in 1874, becoming Duchess of Edinburgh and later Duchess of Saxe-Coburg and Gotha. Her doting father gave her a staggering array of jewellery upon her marriage, apparently to the envy of the British royal family. She did not adapt successfully to life outside Russia however, nor does it appear her marriage was happy. At the age of 46 she lost her husband and spent her widowhood travelling widely, otherwise spending time at homes in Germany and France. A victim of divided loyalties during World War I, she became an exile in Switzerland. Much of her fortune had been held in trust in Russia and its loss following the revolution meant reduced circumstances forcing the sale of her famous diamonds.
£400 - 700
22
31
A
cylindrical with angular handles, each painted with a continuous frieze of pastoral figures in landscapes between gilt line borders and to the shoulder with a band of trailing cornflowers above a black line border, comprising a pot and cover, a sugar bowl and cover, a jug, two cups and saucers and a caddy and cover, underglaze blue Imperial cipher marks, pot and cover 25.5cm high (11pcs)
The shapes and design of peasant figures appear to be after Vienna porcelain prototypes; for an I.P.M. bottle cooler of the same pattern and period see Sotheby's, London, 25 November 2014, lot 479.
£15,000 - 25,000
23
RUSSIAN TETE-A-TETE SET, IMPERIAL PORCELAIN MANUFACTORY, ST PETERSBURG, CATHERINE II PERIOD (1762-1796)
32 ‡
A RUSSIAN PORCELAIN BASKET FROM THE ORDER OF ST VLADIMIR SERVICE, GARDNER FACTORY, VERBILKI, CIRCA 1785
circular, gilt detailed, the canted sides pierced with pales, foliate scrolls and swags painted to the exterior as black and red 'moiré' ribbons suspending the cross of the order, with handles as twisted branches to the undulating rim, the centre painted with the star of the order, blue G mark, painted in red 'G.Ch.' (in Cyrillic) and '9184.', 30cm across handles
Provenance: acquired by the great-uncle of the vendor, probably in the 1920s
The Empress, Catherine the Great, founded the Order of St Vladimir in 1782, in part to mark the twentieth anniversary of her accession to the throne. For the new order, following Francis Gardner's successful production of the first three order services, Catherine's cabinet ordered the largest service thus far, with a total of 120 covers. The Service for the Order of St Vladimir was first used at the Winter Palace at the ceremony held on the saint's feast day, 22 September 1785, the service apparently continuing to be used annually on Vladimir's feast day until the revolution.
£8,000 - 12,000
24
33 ‡
A RUSSIAN PORCELAIN BASKET FROM THE ORDER OF ST VLADIMIR SERVICE, GARDNER FACTORY, VERBILKI, CIRCA 1785
oval, gilt detailed, the canted sides pierced with pales, foliate scrolls and swags painted to the exterior as black and red 'moiré' ribbons suspending the cross of the order, with handles as twisted branches to the undulating rim, the centre painted with the star of the order, blue G mark, painted in red 'G.Ch.' (in Cyrillic) and '9184.', 34.5cm across handles
Provenance: acquired by the great-uncle of the vendor, probably in the 1920s
See footnote to previous lot.
£6,000 - 8,000
25
34 ‡
A RUSSIAN ICON OF THE VLADIMIR MOTHER OF GOD WITH PARCEL-GILT-SILVER OKLAD, MAKER'S MARK GS, MOSCOW, 1908-17
on panel, the oklad with engine-turned grounds and finely bright-cut engraved, with raised robes and applied with haloes with pierced fringe, maker's and 875 standard kokoshnik marks to halo and bottom edge, blue velvet backed with a wax seal monogrammed under a baron's coronet, 22 x 17.5cm excluding glazed wood kiot
£1,200 - 1,800
26
35
A RUSSIAN ICON OF SAINT PANTELEIMON WITH SILVER OKLAD, SEMYON GALKIN, MOSCOW, 1899-1908
tempera and gesso on wood panel, red velvet backed, the oklad showing traces of gilding, with raised title and stylised leaf border, the half-length 'Medical Saint' with raised halo, robes and a box to his left hand against a rayed ground, maker's and 875 standard kokoshnik marks, 14 x 11cm
Provenance (according to lot label): Christie's, London, 4 December 1991, lot 266
£150 - 250
36
A RUSSIAN ICON OF SAINT NICHOLAS
THE WONDERWORKER WITH SILVER-GILT OKLAD, IVAN TARABROV, MOSCOW, LATE 19TH CENTURY
tempera and gesso on wood panel with red velvet backing, the oklad with raised vestments, bible, mitre and halo against a diaperwork ground, the raised border with title and scroll foliage, maker's and 875 standard Moscow marks, 13.5 x 11cm
Provenance (according to lot label): Christies, 4 December 1991, lot 226
£150 - 250
27
37
AN ICON OF ST JOHN THE LAMB OF GOD, RUSSIAN, LATE 18TH / EARLY 19TH CENTURY
tempera and gesso on wood panel, depicted half-length, holding an open scroll with his left hand and pointing his right hand at the naked Infant Christ lying in the Eucharistic chalice, the scroll with Biblical text in Russian: I HAVE SEEN AND I TESTIFY THAT THIS IS THE LAMB (John 1:29, 34), 53.5 x 45cm
£150 - 200
38
39
AN ICON OF THE MOTHER OF GOD, RUSSIAN, 19TH CENTURY
from a Deësis, tempera and gesso on curved wood panel, 33.5 x 23.5cm; together with an icon of God The Father And Christ In Majesty, Russian, circa 1900, coloured print on paper laid on board, 27 x 22.5cm (2)
£120 - 180
AN ICON OF MOSES, ELIJAH, SAINT NIPHONT AND SAINT PANTELEIMON, RUSSIAN, LATE 18TH / EARLY 19TH CENTURY
tempera and gesso on wood panel, the titled figures standing below Jesus as The Lord Almighty on a cloudbank, 31 x 26.5cm
£150 - 200 part
28
40
AN ICON OF SAINT NICHOLAS THE WONDERWORKER, RUSSIAN, LATE 18TH / EARLY 19TH CENTURY
tempera and gesso on wood panel, depicted as a bishop raising his right hand in blessing and holding the Gospel reading for his feastday in his left, flanked by family saints, with Jesus presenting the Gospels and Mary the omophorion to the spandrels, 31.5 x 26.5cm
£200 - 300
41
TWO
RUSSIAN ICONS, MOSCOW SCHOOL, LATER 19TH CENTURY
tempera and gesso on wood panels, both with half length figures on gilt tooled grounds, one of St Nicholas the Wonderworker with arched border with a turquoise ground, the other of Christ Pantocrator with blue ground border, 22.5 x 18cm
£250 - 350
42
A CHAMPLEVE ENAMEL PANEL OF THE MADONNA AND CHILD, LIMOGES 13TH CENTURY STYLE
rectangular, engraved reserves of the Madonna enthroned holding the Holy Infant within a Romanesque arch, the dark blue ground with two pale blue bands and a variety of geometric roundels, 21 x 14cm
£200 - 400
29
43
A GROUP OF FOUR WOOD RELIEF PANELS, PROBABLY BOHEMIAN, EGER, MID 17TH CENTURY
each rectangular panel of carved, stained and applied fruitwoods with figures in landscapes within moulded borders, oak backed, a pair with applied title panels ‘Paulus’ and ‘Aegidius’, one with applied panel inscribed ‘Geroldus’, the last untitled, 12.5 x 18.5cm overall approximately
During the 17th century the Bohemian German town of Eger (now Cheb in the Czech Republic) became a centre of production for such relief carved intarsia panels, often based on engravings and set into cabinets and boxes including chessboard caskets, the best known workshop that of Adam Eck, to whom many such panels are (perhaps optimistically) attributed.
£600 - 900
44
A PAIR OF GEORGE III STATUARY MARBLE FRAGMENTARY CORBELS, CIRCA 1800
applied with roundels carved with the opposing profiles of Ovid and Homer on a square block above fluting, each 11cm wide
£200 - 300
30
A DONOR FIGURE, UPPER
RHENISH, LATE 15TH / EARLY 16TH CENTURY
chestnut three-quarter block carved kneeling to sinister, a shoe showing under his robes, his torso twisted towards us, hands in prayer and bearded head slightly tilted, 71cm high
Provenance: Private London Collection; acquired from A. & E. Foster Ltd., 2007; The Boarsney House Sale, Dreweatt Neate, Tunbridge Wells, 18 September 2006, lot 231
£1,000 - 1,500
45
46
A PAIR OF OAK ARCHITECTURAL ELEMENTS CARVED AS ANGELS, FLEMISH, 17TH CENTURY
the winged figures carved as one playing a lute, the other a viol, with volute capitals above, 52cm high
£300 - 400
47
A QUEEN ANNE PEWTER QUART
TANKARD, CIRCA 1710-20
tapering cylindrical body with moulded girdle and convex foot, domed lid with screw thumbpiece, scroll handle stamped with initial triangle G/RP, unmarked, 18cm high
£150 - 250
32
48 ~
ALEXANDRE LEONARD (1821-1877): UN MEHARISTE (ARAB CAMEL CAVALRYMAN)
a French chryselephantine Orientalist group, probably Paris, late 19th century, modelled in gilt-bronze as a Bedouin warrior with carved ivory hands and face, holding a spear and mounted on a striding camel, naturalistic base inscribed 'A. LÉONARD', 29.5cm high including red and white marble plinth
Alexandre Léonard specialised in animalier subjects, probably influenced by one of his masters, Barye. His works are sometimes misattributed to Agathon Léonard, since both signed similarly. See Pierre Kjellberg, 'Bronzes of the 19th Century', Atglen, 1994, pp.434-5, where another of the same model is illustrated; also see Sotheby's, Paris, 'Regards Sur L'Orient', 19 October 2006, lot 136A.
£300 - 500
49
EMANUELE ORDONO DE ROSALES (9TH MARCHESE DI CASTELLEONE, 1873-1919): DANCER
a dark brown patinated bronze figure, circa 1906, the female nude modelled with one arm stretched to her raised leg, the other arm stretched out behind her, signed to the table of the stepped circular base 'E.O. Rosales / 8' and inscribed to side 'Copywright by E.O. Rosales 1906', set on its green mottled marble cylindrical pillar with stepped square base, figure 27cm high, 49cm overall
Emanuele Ordoño de Rosales, sometimes known as Manolo, came from a noble Milanese family. Having spent his formative training in Paris under the sculptor LouisErnest Barrias, he traveled widely, including to America. By the early 20th century he became known for his figures of dancers and nudes, producing a bronze head of his friend Michel Fokine (see an example sold Bonham's, London, 31 May 2007, lot 61) and a figure of Nijinsky as Harlequin in the Ballets Russes production of 'Carnaval' (See De Young/Legion of Honour Museum, San Francisco, No.1959.76). See another of this model held by the Le musée national d'Art moderne (MNAM), Pompidou Centre, Paris, No.LUX.0.87 S; and one sold Sotheby's, London, 12 June 2006, lot 267.
£1,000 - 1,500
33
50
ZSIGMOND KISFALUDI STROBL (or SIGISMUND DE STROBL, 1884-1975): PORTRAIT OF A YOUNG GIRL
a brown patinated bronze, English, circa 1933, modelled seated on a square stool wearing a long dress with short sleeves and holding a ball in her lap, signed and dated to rear table of the rectangular base ‘S. STROBL / 1933’, 44cm high
Provenance: formerly in the collection of Will Tyler, personal assistant to the Lebus family, owners of the furniture business Harris Lebus, the bronze apparently given to him by the family; thence by descent to the vendor. The firm of Harris Lebus, reckoned by the early 20th century to be ‘the largest furniture factory in the world’ (www.harrislebus.com) was based on a 13½ acre site in Tottenham, London. They also operated a number of their own showrooms, as well as supplying outlets such as Heal’s and Maple’s, closing down in 1969. (https://bifmo.furniturehistorysociety.org/entry/lebus-louis-harris-1887-1969, accessed 12.02.24)
The Hungarian born and trained sculptor and artist, usually known outside Hungary as Sigismund de Strobl, spent a lot of time in Britain between the wars, operating from a studio in London as well as another in Budapest, becoming a celebrated portraitist of leading figures of the day, best known in this country perhaps for portrayals of the young Princess Elizabeth (see The Royal Collections RCIN 101407 and 2134, also see a 1937 British Pathé newsreel with George Bernard Shaw talking to Strobl in his studio, www.britishpathe.com/asset/67426/).
Related Literature: Dr. K. László (ed.), ‘Catalogue of collection of Zsigmond Kisfaludi Stróbl in Zalaegerszeg’, Göcseji Múzeum, Zalaegerszeg, 2004
£700 - 1,000
34
51
OSCAR NEMON (1906-1985): SIR WINSTON CHURCHILL
a cast silver miniature bust, Asprey & Co. Ltd., London, 1973, signed 'NEMON' to reverse, also stamped 'ASPREY / LONDON', set on a slope fronted green onyx plinth, bust 4.5cm high, 9cm overall Nemon and Churchill first met in 1951 at ‘La Mamounia’, the famous hotel in Marrakech. Lady Churchill, on later seeing a clay bust of her husband, which Nemon had secretly modelled in his hotel bedroom, wrote to him that ‘it represents to me my husband as I see him and as I think of him, and I would like to have it just as it is.’ A friendship blossomed between the artist and the couple, Nemon producing over two dozen versions of the great man, including in 1969 the large bronze featuring in the Member’s Lobby of the Commons, as well as the group of Sir Winston and Lady Churchill titled ‘Married Love’, a version of which can be seen at Chartwell. The only man apparently to sculpt Churchill from life, Nemon recorded in an unpublished memoir that his subject could be ‘bellicose, challenging, and deliberately provocative’, although an interviewer later reported that the artist felt the results were ‘not merely a likeness, but a biography of his life’. (https://winstonchurchill.hillsdale.edu/nemon-sculpture/ - accessed 20.09.2023)
Nemon appears to have collaborated with Asprey's to produce two editions of this bust, once in gold in 1967 followed by one in silver in 1973, the silver versions more finely modelled than the earlier gold examples. For another silver bust see Henry Aldridge & Son Ltd., Devizes, 19 January 2019, lot 399 and for a gold example Bonham's, London, 27 January 2015, lot 273.
£1,000 - 2,000
35
52
AN OTTOMAN MARKET TOLE WARE TRAY, RUSSIAN, LATE 19TH CENTURY oblong, red ground set with a large shaped panel of an overpainted print of waterfront 'yalis' (villas) near Constantinople, the foreground with an Ottoman flagged paddle steamer puffing past two traditional Bosphorus caïques, surrounding gilt border with two floral reserves and floral spandrels, typical riveted brass loop handles, 67cm long
Such ornamented trays became an essential item for dispensing hospitality in any self-respecting household of the emerging bourgoisie in the late 19th century Ottoman and Greek world. Whilst manufactured abroad, many apparently in Russia, the trays produced for the Ottoman market often show a distinct lack of human figures, the central scenes probably after Turkish supplied designs.
£600 - 800
36
53
A SPANISH ARCHITECTURAL MODEL OF AN ARCH IN THE ALHAMBRA, ENRIQUE LINARES STUDIO, GRANADA, CIRCA 1900
a gilt and polychrome idealised scale reduction in plaster relief representing a window arch, intricately patterned with borders of foliate arabesques, arcading, stylised foliage and calligraphy of the repeated Nasrid motto 'There is no greater conqueror than Allah' (Wala ghaliba illa Allah) surrounding the upper part of the wood latticed window, with 'tiled' decoration around the bottom half, inscribed to base 'No.26' and 'Enrique Linares Es propiedad.', in its rectangular ebonsied wood and glazed frame, 33 x 23.5cm excluding frame 3cm wide
Enrique Linares Garcia started trading a variety of souvenir works from within the Alhambra in the 1870s, later expanding the business with his brother Abelardo to include photography studios. Following on from the success of Rafael Contreras and his models (see a Contreras model sold in these rooms, 22 November 2023, lot 51), Linares produced similar models to feed the growing appetite for 'Alhambrism'; see a model of the Torre de las Infantas made by Linares in the 1890s displayed at the Victoria & Albert Museum in the Architecture Gallery (Room 128, No.A.26-1936).
£600 - 900
37
54
A GEORGE III NEEDLEWORK MAP SAMPLER, WORKED BY SUSANNAH POYNDER, 1788
oval, embroidered linen 'MAP OF ENGLAND & WALES' delineating the named counties and surrounding seas and lands within a trailing floral border, glazed in its contemporary gilt gessoed wood frame with gadroon border, the reverse with contemporary inscription 'This Map was worked and finished / by Susannah Poynder in the Eleventh / Year of her Age A.D.1788' below the trade label of R. Cribb & Son of 288 High Holborn stuck over an older trade label, all protected under a later perspex sheet, 60 x 51.5cm including frame
£300 - 500
55
A REVERSE GLASS PAINTED SILHOUETTE PICTURE OF 'THE HAPPY CHILDREN', ENGLISH SCHOOL, 19TH CENTURY
rectangular glass painted with an interior scene of three children arranging flowers in a bowl on a tripod table, titled lower middle, 25.5cm long including rosewood moulded frame; together with another Silhouette picture, in 18th century style, the oval glass painted probably by an amateur hand circa 1900 with a curtained interior scene of a seated lady and gentleman smoking a pipe while a footman brings a decanter accompanied by a cat, 44cm long including giltwood frame (2)
£200 - 300
56
A PAIR OF REVERSE GLASS PRINTS, ENGLISH, 19TH CENTURY
oval, one 'The Continence of Chevalier Bayard' after Edward Penny (1714-1791), the other (cracked) ‘Hector and Andromache’ after an oil attributed to Angelica Kauffmann (1741-1807), each in giltwood frame 54cm long
£100 - 200
38
part part
57
A GEORGE OR WILLIAM IV GILTWOOD GIRANDOLE MIRROR, SECOND QUARTER 19TH CENTURY
the convex looking glass in an ebonised reeded slip and deep moulded frame with eagle surmount and leaf scroll pendant issuing two scrolling candle lights, 96cm high £600 - 900
39
58
A MALBY'S TWELVE INCH CELESTIAL TABLE GLOBE, MALBY & SON, LONDON, CIRCA 1860
the cartouche reading: MALBY'S CELESTIAL GLOBE collated from the works of Piazzi, Bradley, Hevelius, Mayer, la Caille & Johnson reduced to the year 1860, Agents, Philip, Son & Nephew, South Castle Street, Liverpool, the papier maché sphere applied with coloured gores depicting images of the constellations, graduated brass meridian and polar ring, wooden horizontal ring applied with a paper zodiacal calendar, on three ribbed and turned mahogany legs joined by turned stretchers, 47cm high
£600 - 800
40
59
A PAIR OF INDIAN SILVER SWEETMEAT DISHES, UNMARKED, BENGAL, CIRCA 1900 oval with waved rims, each chased on matted grounds with a continuous band of animals amid palm trees below a trailing flower border, gilt interiors, 18cm long, 274g
£200 - 300
60
AN IRANI LIQUEUR SET AND TRAY, RASOOL PARVARESH, ISFAHAN, CIRCA 1960
comprising a conical flask and stopper chased and engraved with shaped panels of birds and deer in landscapes surrounded by typical foliate work and six foliate engraved conical goblets, all stamped Rasool Parvaresh, Isfahan and 84 in Farsi, the oblong tray flat-chased and engraved with a foliate medallion bordered by a band of lions attacking deer and surrounding foliage and arabesque panels, retailer and 84 stamps, 36.5cm long; 1775g (8)
£800 - 1,200
41
61
A SET OF TWELVE IRANI BOWLS AND TWELVE SAUCERS, RETAILED BY JAHRAMI, ISFAHAN, MID 20TH CENTURY
finely decorated with foliate cartouches on matted grounds, with applied foliate rims, 'Jahrami' (in Farsi) and '84' stamps, bowls 12.5cm diameter, saucers 17.5cm diameter, 4273g
£1,000 - 1,500
62
A PAIR OF IRANI SWEETMEAT BASKETS, PROBABLY ISFAHAN, 20TH CENTURY
shaped circular, each engraved on a hatched ground with flowerheads and scrolls and a fret bordered roundel below the shaped sides pierced with foliate lunettes and strapwork rim, swing handles (one damaged), each on three ball feet, stamped '84', 18cm diameter, 552g
£150 - 250
42
63
A PAIR OF IRANI STANDS, SEYYED HASSAN
JOUZDANI, ISFAHAN, LATER 20TH CENTURY
shaped square, each flat-chased and engraved on a matted ground with panels of scrolling foliage and birds, the borders additionally with piercing below applied rims with leafage to the rounded corners, on ball feet, stamped Isfahan in Farsi, '900' and maker's mark, 17.5cm wide, 704g
£200 - 300
64
AN IRANI PEDESTAL SWEETMEAT BOWL, SEYYED HASSAN JOUZDANI, ISFAHAN, LATER 20TH CENTURY
circular, the bowl with trellis piercing and leaf motifs below an applied waved rim of flowerheads and scroll, the spreading pedestal foot similarly pierced, stamped Isfahan (in Farsi), '900' and maker's mark, 17cm diameter, 505g
£150 - 250
65
AN IRAQI COFFEE POT AND PAIR OF JUGS IN SIZES, PROBABLY BASRA OR OMARA, MID 20TH CENTURY
all niello decorated with palm fringed river scenes with dhows and stylised views of a shrine, the pot of typical 'dallah' form with additional foliate niello decoration to lid and spout and a geometric band below the river scene, the jugs with ribbed necks, all unmarked, pot 17.5cm high; 506g
£150 - 250
43
66
A FOUR-PIECE TEA SET ON TRAY, MIDDLE EASTERN, 20TH CENTURY
bulbous bodies with gadroon and leaf rims, comprising two pots in sizes, a lidded jug, a strainer on stand, and an oval tray 46.5cm long, all stamped to undersides 'SILVER'; 2893g
£500 - 700
67
AN EGYPTIAN SWEETMEAT BOWL, CAIRO, 1980s
circular, the sides pierced and wrigglework engraved with scrolling leafage below an applied openwork foliate rim, on three ball and claw feet, 900 standard marks, 18cm diameter; together with a pair of small Egyptian dishes, shaped circular and flat bottomed, with applied leafy rims, 900 standard marks, 13.5cm diameter; and a set of three small Egyptian beakers, tapering cylindrical, beaded rims, 900 standard marks, 5.5cm high; 708g (6)
£250 - 350
68
AN OTTOMAN STYLE EGYPTIAN INCENSE BURNER ON STAND, CAIRO, 1980s
chased with scroll foliate bands, the almost spherical container hinging open from the middle, pierced below the turned finial with crescent surmount, screwing into the shaped circular dish on three panel feet, 900 standard marks, 28cm high, 806g
£150 - 250
44
69
A PAIR OF OTTOMAN STYLE
DOCUMENT CASES, PERHAPS
TURKISH, 20TH CENTURY
the cylindrical bodies trellis pierced around elongated vacant cartouches, with conical terminals, each with a chain to the cover at one end, apparently unmarked, 30cm long, 337g; together with two Ottoman style Wedding mirrors, one shaped circular, the other shaped oval, both with cast peacock finials and foliate chased lobing, apparently unmarked, Turkish, 20th century, 14cm diameter and 16cm long (4)
£200 - 300
70
A SET OF THREE ROSEWATER SPRINKLERS AND THREE JARS AND COVERS, TURKISH, 20TH CENTURY
all in sizes, the sprinklers applied with openwork trailing roses to the spouts and chased with foliate scalework to the bodies, on spreading bases of curved leaves, each stamped 'MBM / 925', 18cm tallest, the pots and covers chased with bands of flowerheads on a matted ground, cast flower finials, stamped 'MA900', 9cm tallest; 970g (6)
£300 - 500
71
AN OTTOMAN STYLE DRESSING TABLE
MIRROR OR FRAME, PERHAPS TURKISH, 20TH CENTURY
the swinging shaped oblong frame of openwork foliate scrolls holding a panel of mirror glass (damaged), the turned supports with cast peacock finials, apparently unmarked, 37.5cm high, 1340g
£200 - 300
45
72
A DUTCH SILVER MINIATURE MORTAR, FREDERIK VAN STRANDT II, AMSTERDAM, CIRCA 1740
girdled tapering cylindrical and with everted lip and two stud handles, 2.7cm high
£300 - 500
73
A PAIR OF DUTCH SILVER MINIATURE
CANDLESTICKS, MAKER'S MARK A TREE OR A STANDING FIGURE, AMSTERDAM, EARLY 18TH CENTURY
each on hexagonal base and with baluster stem and spool shaped sconce, 5.7cm high
£400 - 600
74
TWO DUTCH SILVER MINIATURE SALT CELLARS, ONE ARNOLDUS VAN GEFFEN, ONE FREDERIK VAN STRANDT II, AMSTERDAM, SECOND QUARTER 18TH CENTURY
each on a canted square base and with circular bowls, 2.9cm square
£120 - 180
75
A DUTCH SILVER MINIATURE NUTMEG GRATER, FREDERIK VAN STRANDT II, AMSTERDAM, PROBABLY 1757
oblong and with shaped cresting, 6cm high
£300 - 400
46
76
A DUTCH SILVER MINIATURE CHAMBER
CANDLESTICK, PIETER VAN SOMWERWIL I, AMSTERDAM, CIRCA 1740
circular, with shaped flat handle pierced with a heart, 7.6cm high
£150 - 250
77
TWO DUTCH SILVER MINIATURE STRAINING SPOONS, THE FIRST UNMARKED, THE SECOND POSSIBLY ROTTERDAM, 19TH CENTURY
the first with circular bowl with engraved rosette, the second with plain oval bowl and plain handle, 11cm and 9cm long; together with a Dutch silver miniature plate, unmarked, possibly 18th century, plain circular and on rim foot, 3.8cm diameter (3)
£100 - 150
78
A DUTCH SILVER MINIATURE 'POFFERTJES' PAN, JAN BORDUUR, AMSTERDAM, 1756
the circular pan with three depressions, with plain handle, 8.3cm long
£150 - 250
79
A DUTCH SILVER MINIATURE BUTTER DISH AND COVER, ARNOLDUS VAN GEFFEN, AMSTERDAM, 1763
circular, with shaped bracket handles, cover with flower finial, 2.3cm wide
£200 - 300
47
80
A DUTCH SILVER MINIATURE BRAZIER, JOHANNES ADRIANUS VAN GEFFEN, AMSTERDAM, 1778
circular and with shaped rim, on three scroll feet, with wood turned side handle, 8cm long
£200 - 300
81
A DUTCH SILVER MINIATURE COFFEE POT, MAKER'S MARK F.S, POSSIBLY FOR FREDERIK
VAN STRANT I, AMSTERDAM, CIRCA 1720
tapering cylindrical and on three stud feet, the body chased with acanthus bands, flutes and foliage, with scroll handle, 5.5cm high
£300 - 500
82
A DUTCH SILVER MINIATURE TRAY, FREDERIK
VAN STRANT I, AMSTERDAM, FIRST HALF 18TH CENTURY
oblong and with angled sides pierced with handles, on four stud feet, 7 long
£250 - 350 83
A PAIR OF DUTCH SILVER MINIATURE TEA BOWLS AND SAUCERS, THE SAUCERS WITH MARK OF JOHANNES ADRIANUS VAN GEFFEN, AMSTERDAM, 1773
plain circular, each on rim foot, the saucers faintly engraved with a star, the saucers 3cm diameter; together with another Dutch silver miniature tea bowl and saucer, unmarked, probably 19th century, plain circular, saucer 2cm diameter (6)
£300 - 400
48
84
A DUTCH SILVER MINIATURE COFFEE GRINDER, MAKER'S MARK IB IN MONOGRAM, POSSIBLY FOR JAN BORDUUR, AMSTERDAM, 1739
rectangular, the front with sliding drawer with baluster handle, the top with bowl and grinder handle, 4cm wide
£300 - 400
85
A DUTCH SILVER MINIATURE WINDMILL THREAD WINDER, MAKER'S MARK B ONLY, POSSIBLY FOR JAN BREDA OF AMSTERDAM, CIRCA 1700 on oblong base, with flower and scroll front and back panels and bird finials, one 'sail' repaired, 7cm high
£300 - 400
86
A DUTCH SILVER MINIATURE BRAZIER, 18TH CENTURY octagonal and on four stud feet, with side door, each facet scroll engraved, the top pierced, with wire swing handle, the body 2.9cm high
£100 - 150
87
A DUTCH SILVER MINIATURE FRYING PAN, MAKER'S MARK NR/ VR (?), AMSTERDAM, 1753 with plain circular pan and handle, 7.8cm long
£100 - 150
88
A DUTCH SILVER MINIATURE COLANDER, UNMARKED, 18TH CENTURY
plain circular and with two plain bracket handles, 5.4cm wide
£80 - 120
49
84 85 86 87 88
89 (illustrated online)
A GROUP OF FIVE CONTINENTAL SILVER SMALL SANCTUARY LAMPS, PROBABLY ITALIAN OR SPANISH, 18TH / 19TH CENTURY
one cup shaped with pale pierced rim above chased swags and lanceolate leaves on a matted ground and acorn pendant, Rome, circa 1800, 8.5cm long excluding swing handle; one bulbous below a scroll pierced rim, unmarked, 8.5cm high including applied scrolls to rim; one bucket form chased with ribs and flutes and pellet punched bands, stamped '5' 'CG' and indecipherable mark, 6.6cm high excluding swing handle and chain; one chased with alternate matted and plain lappets below a scroll foliate band and applied grotesque masks below the handle supports, unmarked, 5cm high excluding swing handle and chain; and one conical with basketweave decoration, '8' and indecipherable mark to fixed loop handle, 9cm high excluding suspension fitment; 272g (5)
£250 - 350
90
A SWEDISH PARCEL-GILT-SILVER TAZZA, C.G. HALLBERG, STOCKHOLM, 1883 in Renaissance style, with bands of foliate strapwork and formal foliate borders, the domed circular base on four paw and pad feet with festoons between, the vase-shaped stem applied with a pair of winged caryatid scroll handles, the detachable dish with a band of ribbing, the underside of the stand with engraved presentation inscription in Swedish, 875 standard, 39cm high, 1244g
£600 - 900
50
91
A NORWEGIAN SILVER BEAKER, BERGEN, 1843
tapering form with everted rim foot, with bands of wrigglework and an applied reeded girdle with three loops suspending two convex roundels (one lacking), further applied below with a corded girdle, assay master Christian Hoff and date marks only, incuse stamped 12L.11G, 12.5cm high, 183g
£150 - 250
92
A PORTUGUESE SILVER SALVER, OPORTO, MID 20TH CENTURY
circular, foliate bright-cut engraved, the everted gallery pierced with a repeated motif of a dog running amidst foliage and rocaille, on three openwork curved panel feet, 833 standard and maker's marks, 24cm diameter, 498g
£150 - 250
93 (illustrated online)
A DUTCH SILVER-GILT APOSTLE SPOON, 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
£80 - 120
51
A SET OF SIX WEST COUNTRY QUEEN ANNE SILVER SPOONS, JOHN MURCH I OF PLYMOUTH, EXETER, 1707
Dog Nose pattern with plain rat-tail heels, later gilded, fully Britannia standard hallmarked, in a Victorian leather fitted case with gilt initials H.J.T. for Herbert James Torr, interior with gilt stamp for Elkington & Co., Liverpool, spoons 20cm long, 348g
Provenance: Herbert James Torr JP (1864-1935), son of John Torr, MP for Liverpool from 1872 until his death in 1880; thence by family descent to the vendor.
It is rare to find a set of six English Provincial spoons at this date, especially so with full marks. Apparently, following the introduction of the higher Britannia standard in 1696, Murch made his own Britannia marks, to suggest compliance, but was fined by the London Goldsmith's Company in 1699 for selling substandard wares. Working in Plymouth at the time these spoons were produced, one presumes John Murch submitted them for assay at Exeter at the correct standard. For further information on the silversmith see Miles Harrison, 'Exeter & West Country Silver 1700-1900', published by Berforts Group, 2014, p.164.
The well-known firm of manufacturing silversmiths, Elkington & Co., as well as retailing their own wares, also on occasion dealt in antique silver. Given that they first opened retail premises in Liverpool in 1869 (Culme, Vol.I, p.141) it is likely this set of spoons were 're-conditioned' and gilded by Elkington prior to retail there sometime in the 1870s to either Herbert or John Torr.
£600 - 900
52 94
95
A PAIR OF VICTORIAN SILVER TONGS, CHAWNER & CO., LONDON, 1857
Kings pattern, 21cm long, 115g
£70 - 100
96
A GEORGE IV SILVER LADLE, WILLIAM ELEY, LONDON, 1827
Hourglass pattern, engraved with scrolled initials CMC, 26.5cm long, 207g
£100 - 150
97
A GEORGE II SILVER MARROW SCOOP, WILLIAM SOAME, LONDON, CIRCA 1740
typical form, 21.7cm long, 50g
£70 - 100
98
A PAIR OF VICTORIAN SILVER GRAVY SPOONS, ELIZABETH EATON, LONDON, 1846
Fiddle pattern, engraved with scrolled initials WJ, 31.5cm, 299g
£200 - 300
99
A GEORGE III SILVER SOUP LADLE, LONDON, 1813, RETAILED BY GEORGE JAMIESON OF ABERDEEN
Fiddle pattern, engraved with the initial R, London assay marks, maker's mark 'G.J' overstriking that of another, additionally stamped 'ABN', 33cm long, 181g
£100 - 150
100 (illustrated online)
ASSORTED ENGLISH SILVER SERVING PIECES
comprising: a George V soup ladle, Warden pattern, plain, Barker Brothers Silver Ltd., Birmingham, 1930; a Victorian sifter ladle, Old English pattern, engraved crest, Josiah Williams & Co. of Bristol, Exeter, 1856; a pair of George II tea tongs, scrolled scissor form, John Gorham, London, circa 1740; a cased pair of grape scissors, plain ribbed form, the blades with steel insets, Mappin & Webb Ltd., Sheffield, 1913; and a Fiddle pattern teaspoon and a Hanoverian pattern condiment spoon; 431g all in excepting leather case (5)
£200 - 300
53
95 96 97 98 99
101
A SET OF ART DECO TABLE SILVER, CZECHOSLOVAKIAN, 1930s
tapering handles with bevelled edges, plain, complete for twelve of each of the following:
tablespoons
table knives (with stainless steel blades)
table forks
dessert spoons
dessert knives (with stainless steel blades)
dessert forks
fish knives
fish forks
cake forks
teaspoons
coffee spoons
and ten ice cream scoops
together with the following serving pieces: a soup ladle, a pair of fish servers, a pair of salad servers, a serving spoon and a serving fork, a large sauce ladle, a smaller lipped sauce ladle, a bread fork, a cake slice and a pair of sugar tongs, all with '800' standard, export and flowerhead maker's marks, 6367g excluding steel bladed knives (154 pieces)
£2,500 - 3,500
55
102
A GROUP OF PREDOMINANTLY VICTORIAN
TABLE SILVER, VARIOUS MAKERS, LONDON, 1835-1920
Fiddle pattern, engraved with scrolled initials, comprising: six tablespoons, eleven table forks, two dessert spoons, eleven teaspoons (one Latvian, Riga, mid 19th century), two condiment spoons and a pair of sauce ladles, 1804g (34 pieces)
£600 - 800
103
A SET OF VICTORIAN TABLE SILVER, G.W. ADAMS FOR CHAWNER & CO., LONDON, 1844
Fiddle, Thread & Shell pattern, engraved with a crest, (crescent azure, possibly for Powe), comprising: six tablespoons, six table forks, five dessert spoons, five dessert forks, six teaspoons, a soup ladle, and a gravy spoon, 2620g (30)
£1,200 - 1,800
56
104
A MIXED SET OF VICTORIAN TABLE SILVER, VARIOUS MAKERS, LONDON, 1839-95
Kings pattern, all forks engraved with the crest and motto for Jackson, comprising six tablespoons, six table forks, six dessert spoons and eleven dessert forks, 2289g (29)
£1,000 - 1,500
105
A PART SET OF VICTORIAN TABLE SILVER, G.W. ADAMS FOR CHAWNER & CO., LONDON, 1840-50
Fiddle pattern, engraved with a crest, comprising: six tablespoons, four table forks, and six dessert spoons; together with a set six George III silver tablespoons, Godbehere, Wigan & Boult, London, 1808/09, Old English pattern, initialled P; 1420g (22)
£600 - 800
57
106
TWO ART DECO GEORGE V SILVER DISHES, CHARLES BOYTON & SON LTD., LONDON, 1930 / 31
the hammer-finished circular bowls on short pedestals with hexagonal and moulded bases, each set at the rim with a silver bracket to the bifurcated ivory handle, each with facsimile signature to underside 'Charles Boyton', 13cm long, 338g all in
£200 - 300
107
A SILVER-GILT CASKET, S.J. ROSE & SON, LONDON, 1960
oval section retangular, the lid with linear engine-turning and applied initial M, on bracket feet, with red velvet lined interior, 23cm long
£200 - 300
108
A SET OF FOURTEEN SILVER DWARF
CANDLESTICKS, MAKER'S MARK W.E.V., SHEFFIELD, 1996
stepped circular bases rising to capstan form sconces, complete with detachable nozzles, 7cm high, loaded
£500 - 700
58
~
109
A GEORGE V SILVER PEDESTAL SWEETMEAT DISH, BLACKMORE & FLETCHER LTD., LONDON, 1929 with beaded borders, the circular shallow bowl with an applied openwork gallery of stylised palmette motifs, 21.5cm diameter; together with a George V silver sweetmeat bowl, Deakin & Francis, Birmingham, 1914, the octagonal bowl with pierced panels of scrolled foliage below the shaped rim, on a spreading short pedestal foot of conforming outline, 12cm wide; 569g (2)
£250 - 350
110 (illustrated online)
THREE WINE RELATED ITEMS, ENGLISH, 20TH CENTURY
comprising: a bottle stand, the silver sides stamped with a band of scrolls and foliage within rocaille borders, turned wood base, maker's mark S.S, Sheffield, 1966, 14.5cm diameter; a wine coaster, with bulging silver sides and turned wood base, maker's mark poorly struck, Birmingham, 1980, 10cm diameter; and a cut-glass decanter and stopper, ovoid with block-cut panels, with silver neck mount, A. Chick & Sons, London, 1978, 33cm high
£150 - 250
111 (illustrated online)
FIVE SILVER-MOUNTED PHOTOGRAPH FRAMES, 20TH
CENTURY
all glazed, one oblong with corded rim and blue velvet easel back, W.I. Broadway & Co., Birmingham, 1986, 23cm high; one shaped oblong with oval aperture and stamped leafage, velvet easel backed, David Richards & Sons, London, 1987, 12cm high; one square with corded rim and velvet easel backed, maker's mark S/S, London, 1986, 9cm; one circular, with composition easel back, Italian, modern, 7.5cm diameter; and one shaped oblong with lobed mount and velvet easel back, Keyford Frames Ltd., London, 1986, 8cm high
£100 - 150
112 (illustrated online)
ASSORTED CONDIMENT SILVER, 20TH CENTURY
comprising: two pepper grinders, typical form, plain, M.C. Hershey & Sons Ltd., London, 1983/89, 10cm high; a pair of Victorian salt cellars, typical three-footed cauldron form, beaded rims, Arthur Sibley, London, 1864, 7cm diameter, with blue glass liners; a pair of salt spoons, Old English pattern, modern; and a set of four Norwegian pepperettes, block-cut tapering square glass bodies to screw-on silver covers each with differently patterned guilloché enamel, Hroar Prydz, Oslo, second quarter 20th century, 4.5cm high (10)
£200 - 300
113 (illustrated online)
ASSORTED ENGLISH SILVER, 20TH CENTURY
comprising: a Victorian silver toast rack, with five shaped bars, central handle and ball feet, Cooper Brothers, Sheffield, 1898, 12cm high; a George V caddy, plain oval, the downcurved lid with hinged loop handle, William Neale & Sons Ltd., Birmingham, 1912, 9.5cm high; a Victorian curling tongs heater, rectangular, the lid stamped with 'Reynold's Angels', James Deakin & Sons of Birmingham, Chester, 1900, 11.5cm long; and a pair of sauceboats, three footed oval form with waved rims, A. Chick & Sons Ltd., London, 1977,14cm long; with a pair of sauce ladles, Art Deco style pattern; 499g excluding heater (7)
£200 - 300
114 (illustrated online)
A SILVER-MOUNTED WOOD JEWELLERY BOX, CARR'S OF SHEFFIELD LTD., SHEFFIELD, 2005
rectangular casket form, the lid set with a slightly domed silver oval stamped with a patera surrounded by Neo-classical decoration, the blue velvet lined interior fitted with a mirror and hinged tray to include ring slots and three compartments, one with silver shield applied cover, with its key, 35cm long
£80 - 120
59
115
A GEORGE V SILVER PORRINGER, D. & J. WELLBY, LONDON, 1910
bellied circular, hammer finished, engraved with a vacant cartouche of crossed fronds flanked by scrolled serpent handles, 20cm long, 424g
£150 - 250
116 (illustrated online)
AN EDWARDIAN SILVER PART TOILET SET, LONDON & BIRMINGHAM, 1906 / 09
bright-cut engraved within ribbon-tied husk-swag borders, comprising a silver cylindrical jar and cover, a faceted oval glass jar with silver cover, a faceted cylindrical glass bottle with silver cover, and a steel button hook and a steel shoe horn, both with filled silver handles, weighable silver 201g (5)
£150 - 250
118
AN EDWARDIAN SILVER-MOUNTED LARGE MIRROR, WILLIAM DEVENPORT, BIRMINGHAM, 1908
rectangular, with bevelled glass, the silver surround with swags of flowers over fluted bands between cartouches to the corners, blue velvet easel backing, 48.5cm high
£150 - 250
117
AN EDWARDIAN SILVER CIGAR BOX, WILLIAM COMYNS & SONS, LONDON, 1904
rectangular casket form, the lightly domed lid with linear engine-turning, plain sides above a waved apron and spreading bracket feet, wood lined, 28cm long
£300 - 500
60
119
AN EDWARDIAN SILVER PEDESTAL BOWL, NATHAN & HAYES OF BIRMINGHAM, CHESTER, 1905
in the form of a Medieval chalice or ciborium, engraved to the rim 'From E.M.J. March 25th. 1907.' and chased below with a stylised border and band of bold bosses, the spreading pedestal ending in a similar border above half bosses and a shaped circular reeded rim foot, 23cm diameter, 983g
£500 - 700
120
A GEORGE V SILVER MILITARY GOBLET, ELKINGTON & CO. LTD., BIRMINGHAM, 1913 bowl engraved with the insignia of the 48th Pioneers (Indian Army) above a presentation inscription, stem with beaded knop, spreading stepped foot, 20.5cm high, 245g The inscription reads: Presented to the Officers 48th Pioneers by Lt.Col. A.J.N. Harward, 24th June 1914.
Provenance: Cyril Arthur Raynor DSO MC (1889-1973), who joined the 48th Pioneers in 1912, leaving the army with rank of Lt.Col. in 1937; thence by descent to the vendor.
'Stationed at Kirkee at the outbreak of World War One (1914-1918) the regiment [48th Pioneers] was despatched to Mesopotamia. It arrived there on 15 November 1914 and quickly received a baptism of fire at the hands of Turkish forces, suffering 90 casualties at Zahil on the 16 November 1914. The regiment suffered heavy casualties again at the Battle of Ctesiphon in November 1915. After the surrender of Kut-al-Amara, less than a third of the 300 officers and men who were captured survived the harsh conditions of incarceration by the Turks.' (https://collection. nam.ac.uk/detail.php?acc=2013-10-20-53-196, accessed 10.04.24)
£150 - 200
61
121
A VICTORIAN SILVER TROPHY CUP, WALKER & HALL, SHEFFIELD, 1898
goblet form, the bowl with engraved presentation on a knopped stem and spreading foot with beaded rim, 23.5cm high, 419g
The inscription reads: Goole Christmas Fat Stock Show, December 11th 1899, Class III, Best Fat Bullock, Under 3 Years of age, Cup Value £5-5-0, Given by John Lam.
£200 - 300
122
TWO VICTORIAN SILVER MILK JUGS
both helmet shaped, one engraved with a monogram and chased with strapwork pendants below a quatrefoil border, Martin, Hall & Co., Sheffield, 1869, 13cm high, the other with foliate bright-cut decoration and engraved with a crest for Jackson, Jackson & Chase, London, 1881, 15cm high; together with a George III silver milk jug, pedestal baluster, later engraved with initials SJ and chased with flowers and scrolls, maker's mark rubbed, London, 1779; 467g (3)
£150 - 250
123
A VICTORIAN SILVER TEAPOT, WILLIAM HUTTON & SONS LTD., LONDON, 1900
oval, engraved to one side with the crest and motto of Jackson within a foliate bright-cut shield, the opposing shield inscribed 'From / JWCJ', with further bright-cut decoration, underside with retailer's stamp 'WATHERSTON & SON. / LONDON.', 24cm long, 519g including composition handle and finial
£200 - 300
124
A PAIR OF VICTORIAN SILVER CANDLESTICKS, HAWKSWORTH, EYRE & CO. LTD., SHEFFIELD, 1890
the square bases, flared square section stems and vase-shaped sconces stamped with Neo-classical decoration between beaded borders, complete with detachable nozzles, 20.5cm high, loaded
£300 - 400
62
125
A PAIR OF VICTORIAN ELECTROPLATE VASE
STANDS WITH CRANBERRY GLASS LINERS, PROBABLY PRYOR, TYZACK & CO., SHEFFIELD, CIRCA 1860
each triform base formed of openwork Rococo foliate scrolls and applied with three opposing putti figures below a spume section and a conical openwork support of leafage and straps, the conical ribbed glass with everted waved rims, 59cm high overall
£300 - 500
126
A PAIR OF VICTORIAN SILVER ENTREE DISHES, COVERS AND HANDLES, MORTIMER & HUNT, LONDON, 1843
the shaped oval dishes and covers each engraved with a crest (crescent azure, possibly for Powe) and applied with reeded borders overlaid by matted binding and acanthus leaves at intervals, the handles as knotted double-strand and reeded loops on circular bases with similar borders, dishes stamped to underside '1339 / MORTIMER & HUNT', 32cm long, 4177g
£2,000 - 3,000
63
127 ~
A VICTORIAN SILVER THREE-PIECE TEA SET, JOHN WILMIN FIGG, LONDON, 1839 vase shaped, chased to the shoulders on a matted ground with trailing wildflowers including convolvulus, scrolls and a cartouche engraved with entwined initials ASW, below with a band of reeded lobes, all with acanthus leaf handles, the milk jug and sugar bowl with gilt interiors, the teapot with rococo leaf finial, pot 25cm long; 1508g including ivory insulators to pot
£600 - 900
128 ~
A WILLIAM IV SILVER COFFEE POT, WILLIAM HEWITT, LONDON, 1836
ribbed baluster body on piédouche, finely chased with matted ground panels and borders of flowers and foliage surrounding two shaped cartouches each engraved with a crest, with cast and applied foliate rim and cast flower finial, the similarly chased spout and silver handle both with applied leaf capping, 24.5cm high, 889g including ivory insulators
£300 - 500
64
129
A GEORGE III SILVER PEDESTAL BOWL, GEORGE ASHFORTH & CO., SHEFFIELD, 1802 reeded rim above an engraved crest and chased lobes, short pedestal foot, 16.5cm diameter, 433g
£250 - 350
130
A VICTORIAN SILVER CHRISTENING MUG, A.B. SAVORY & SONS, LONDON, 1865
slightly tapering cylindrical, with engraved initials between bands of ribbing, 8cm high, 153g; together with a George V silver sugar caster, Goldsmiths & Silversmiths Co. Ltd., London, 1923, in George III girdled baluster style, 20cm high, foot lead weighted (2)
£150 - 250
131
A GEORGE III SILVER PEPPERETTE, JOHN EMES, LONDON, 1806
pedestal egg shaped, engraved scrolled initials FJ, reeded rims, pellet pierced, 9.5cm high, 110g
£80 - 120
130 part
65
A SET OF THREE VICTORIAN SILVER FIRST CHINA WAR FIGURES, HUNT & ROSKELL, LONDON, 1843/44 representing combatants of the First China War (or First Opium War, 1839-42), faithfully modelled and with a variety of surface treatments, depicting a Chinese soldier wearing a tunic of the Imperial army, with long pigtail under his pointed hat and holding a Chinese matchlock gun of the period, a Royal Marine in typical uniform, with shako and coatee, balancing a percussion musket to his shoulder, his knapsack, bayonet and cartridge box on his back, and a Royal Navy Able Seaman dressed in a straw sennet hat over 'sailor's slops' including a peacoat, striped shirt and wide trousers, a pair of pistols to his belt, originally holding a boarding pike (now lacking), all with maker's, duty and standard marks (all maker's marks of John Mortimer & John Samuel Hunt, excepting the Chinese gun with John Samuel Hunt's mark entered in 1844), each fixed by the feet to later circular stands in ebonised wood, tallest 27cm high excluding stand, 32.5cm high overall
Provenance: Admiral Sir Henry Smith KCB (1803-1887); thence by family descent to the vendor Originally these figures were mounted on the base of a massive silver candelabrum centrepiece, made for presentation to Henry Smith, at the time a captain in the Royal Navy. In March 1844 the London 'Morning Herald' reported on a quantity of presentation plate in production at Hunt & Roskell, including two silver testimonials: 'which are now to be seen at their establishment... The second testimonial is in the form of a candelabrum, recording one of the principal exploits of the late Chinese war, in which Capt. Smith, R.N., of her Majesty’s ship Druid, was the chief actor. The shaft is a plain column, wreathed with olive, and surmounted by the figure of Britannia; on the pedestal are a British sailor with a boarding pike, a marine leaning on his musket, and a Chinese soldier with his fantastical matchlock. The base is supported by dolphins, and on one side is a bas-relief representing the action between the Druid and the Chinese junks. The execution of this testimonial is no less creditable than that of the first to the skill and taste of the artists employed.’ (The Morning Herald, London, Wednesday, 6 March 1844, p.5f).
Quantities of testimonial silver were produced in the 19th century, often of wonderful quality and size, but changing fashions and circumstances meant a high proportion were later consigned to auction by the descendants of the original recipients. Bought by the trade, almost invariably these large and unfashionable pieces would be melted down, the most dangerous period probably being from the 1940s to the early 60s. Although the original candelabrum seems to have disappeared, happily in this case Admiral Smith's family elected to save these figures.
£1,500 - 2,000
66
132
Portrait of Admiral Sir Henry Smith (Family Collection, not in sale)
67
133 (illustrated online)
A GEORGE III SILVER SALT CELLAR, ROBERT HENNELL, LONDON, 1790 oval, with pierced sides below a corded rim, on ball and claw feet, with blue glass liner, 8.3cm long; together with a Victorian silver mustard pot, Lambert & Co., London, 1878, oval, bright-cut with floral swags between foliate and wrigglework borders, liner lacking, 10.5cm long; and a Victorian silver cauldron salt, James Edwards, London, 1846, with flat-chased band between three feet, 6.3cm diameter; weighable silver 254g (3)
£120 - 180
134
A GEORGE III SILVER SALVER, TIMOTHY RENOU, LONDON, 1791 shaped circular, moulded below the beaded rim with leaves at intervals, with worn engraving of a crest within crossed foliate sprays, on three ball and claw feet, 23cm diameter, 439g
£250 - 350
135
A GEORGE III SILVER BASKET, HENRY BAILEY, LONDON, 1769
oval, engraved with floral embellished scrolling initials JE, the sides with geometric or scroll pierced panels between curved and beaded lobes below a geometric pierced and applied berried leaf rim, swing handle loop pierced and engraved with a crest, on a diaper pierced spreading foot, 34.5cm long, 900g
£500 - 700
68
A PAIR OF GEORGE III SILVER SALT CELLARS, JOHN MUNS, LONDON, 1764
typical cauldron form, on three pad feet, with corded rims, gilt interiors, underside later engraved with presentation initials, 6.5cm diameter; together with an Edwardian silver milk jug, shaped baluster, on four feet, James Deakin & Sons of Birmingham, Chester, 1904, 13.5cm high; and a silver sauceboat, typical oval form, reeded rims, J.B. Chatterley & Sons Ltd., Birmingham, 1962, 15cm long; 470g (4)
£150 - 250
137
A SET OF FOUR GEORGE I SILVER TRENCHER SALTS, EBENEZER ROE, LONDON, 1714/15
decagonal baluster, engraved with a crest, circular wells, Britannia standard, 6.5cm wide, with two later clear glass liners; together with three George III silver salt shovels, Old English/Hanoverian pattern, one crested and one initialled, London, circa 1760/89/97; 251g (7)
£1,200 - 1,800
138
A GEORGE V SILVER BOX AND COVER, P.G. DODD & SON, LONDON, 1935
in the form of a Queen Anne tobacco box, the stepped oval cover engraved with a coat of arms, Britannia standard, 9.5cm long, 147g
The arms are those of Cameron, first adopted by Sir Ewen Cameron (1841-1908) in 1905, probably engraved for his son Ewen Allan Cameron (1879-1937), great-grandfather of the Foreign Secretary and former Prime Minister, David Cameron (The Rt. Hon. The Lord Cameron of Chipping Norton).
£120 - 180
69
(illustrated
136
online)
139
A SILVER-GILT AND ENAMEL COMPACT, PROBABLY GERMAN, CIRCA 1930,
shaped handbag form with fetter link chains centring on a fingerring, the obverse enamelled with an oval of a courting shepherd and shepherdess on a black ground against turquoise guilloché enamelling, the reverse engine-turned, with blue cabochon pushpiece to the interior with mirror to one side and a pair of compartments to the other, each compartment with a blue cabochon knob to the lid, stamped 'STERLING' and '935', in a fitted case for the retail jeweller J. Garayalde of Montevideo, compact 7.2cm wide
£200 - 300
140
A GEORGE III SILVER-MOUNTED GLASS 'NELSON' SEAL, CIRCA 1805 / 10
the oval glass intaglio with profile to sinister of Admiral Lord Nelson surrounded by his famous Trafalgar rallying cry on a garter 'ENGLAND EXPECTS EVERY MAN WILL DO HIS DUTY, with reeded silver surround, handle lacking, 2.7cm long
See another (without mount) held by the National Maritime Museum, Greenwich, No.JEW0076
£200 - 300
141 □
A PAIR OF GEORGE III SILVER BUCKLES, WILLIAM EATON OR ELEY, LONDON, CIRCA 1785
each of typical arched oblong form with cut beaded openwork decoration, with steel chafe of hinged prongs, each with marker's mark twice, standard mark and incuse duty mark, 7.5cm long, in a blue velvet vase with domed glass domed cover
£120 - 180
70
141
142 □
A SET OF EDWARDIAN SILVER BUCKLES AND BUTTONS, LEVI & SALAMAN, BIRMINGHAM, 1903
in Art Nouveau taste, the six shaped circular buttons each openwork decorated with a maiden seated amid flowers, the two-part belt buckle with a classical seated male figure and opposing female figure, the pair of strap buckles with flowers only, all in their red velvet lined fitted case, belt buckle 10cm long; together with a George V silver purse, F.D. Long, Birmingham, 1919, shaped trapezoidal, bright-cut with scroll foliage surrounding vacant cartouches, with pushpiece to the suede lined interior, on a pair of belcher link chains meeting on a finger ring, 11.5cm wide (qty)
£200 - 300
143 □
A GEORGE V SILVER HANDBAG, WALKER & HALL, SHEFFIELD, 1913
rounded oblong, plain excepting the engraved hatched initials MKM to one face, on a triple trace link chain, opening to a pale blue silk lined interior, 19cm wide
£200 - 300
144 □ (illustrated online)
A GROUP OF BUTTONS AND BUCKLES, 19TH / 20TH CENTURY
comprising: a set of six Japanese cloisonné enamel and brass buttons, circa 1900, chrysanthemum decorated, in the original retailer's case of James Unitt Parkes; a set of eight French enamel and gilt-brass buttons, each with a floral panel and raised scrolls, stamped 'P&C / PARIS'; an enamel and gilt-brass buckle, with purple guilloché enamel interrupted by floral panels; an openwork silver Irish theme buckle, Able & Charnell, Birmingham, 1907, in two parts forming an oval, pierced and engraved with harps and shamrocks; together with a gold mounted Irish bog oak brooch, late 19th century, oval, carved with shamrock tendrils with gold leaves surrounding a gold oval engraved with the patriotic legend 'ERIN GO BRAGH' below a harp and crown; together with a Victorian Vauxhall glass brooch, star shaped (qty)
£200 - 300
143
71
145
A FRENCH SILVER-MOUNTED AMETHYST DESK SEAL, TAILLERIE DE ROYAT, ROYAT-LES-BAINS, EARLY 20TH CENTURY
the quartz handle of tapering oval section, the leafy silver base mount terminating in a silver matrix later engraved with the heraldic achievement of Edward Haughey, Baron Ballyedmond (1944-2014), 9.5cm long, in its green mottled papered case, the interior with printed stamp for the Taillerie de Royat; together with a seal impression of the arms in a plastic box
The Auvergnat company 'La Taillerie de Royat' was founded in 1890 to cut locally mined amethyst and other semi-precious stones, at its peak employing almost 80 workers, finally ceasing activity in 2004.
£200 - 300
146 □ (illustrated online)
A COLLECTION OF FOUR FOBS, LATE 19TH CENTURY comprising: one gold of circular swivel design, set with a hardstone man in the moon cameo, intaglio initialled B to the reverse; a small gold novelty key, with openwork bow, the bit sliding up the shaft to reveal a watch key; a gilt-metal watch key accented with three hardstone blank seals; and a gilt-metal lobster claw cigar cutter; together with a garnet set fleur-de-lis pendant (5)
£150 - 200
147
THREE GEORGIAN GOLD-CASED SEALS, CIRCA 1820/30
two seals with foliate shell decoration, one later set with an oval intaglio agate carved with the arms of Edward Haughey, Baron Ballyedmond (1944-2014), the other with a steel matrix with a probably Continental coat of arms, the third with an oblong carnelian with the scrolled initials FH below a crest, with fluted openwork supports below the terminal, all on two foliate scroll gold-cased split rings (5)
£600 - 800
148
A
the rounded cornered square panel of frosted and polished glass moulded with six sirens with long bubbled hair swimming around the gilt-brass clock with fret border and Arabic numerals supported by an easel strut, with eight day Swiss movement, moulded R LALIQUE mark, 11.2cm square
£700 - 1,000
72
RENE LALIQUE 'NAIADE' CLOCK, CIRCA 1930
149
A FRENCH GILT-BRONZE AND LIMOGES ENAMEL 'MIGNONETTE' CARRIAGE CLOCK, DROCOURT FOR AUGUSTE ECALLE, PARIS, LATE 19TH CENTURY
the Drocourt timepiece movement with trademark and numbered 20575, the black ground enamel side panels painted with putti and the glazed circular dial with Roman numerals and the signature 'A. ECALLE / PARIS', the elborate case finely cast and chased, applied to the canted corners with openwork scrolls below rams' heads and above grotesque mask panel feet, applied with a further mask to the rim front and back, decorated overall with bead-and-rail borders, formal foliage and cartouches, the swing handle formed as a pair of entwined snakes, with its blue velvet travelling case (distressed) opening from the back panel on sprung hinges, clock 8.5cm high excluding handle
Auguste Ecalle, known for chronometry and precision timekeepers and Dent’s Paris agent, was located at the Palais Royal (93-94 Galerie Beaujolais) circa 1880 to about 1895. In the early 1890s the firm had expanded into jewellery, migrating later in the decade to the 8th arrondissement, part of the jewellery and watchmaker exodus from the Palais Royal.
£700 - 1,000
150
A VICTORIAN SILVER-GILT 'BOUDOIR' CLOCK, GOLDSMITHS & SILVERSMITHS CO., LONDON, 1896 the probably French 'mignonette' timepiece movement with integral key, the white dial with Roman numerals, the frosted plain oblong case with bun feet and swing handle, with its twin-doored faded leather case lined in green velvet and gilt stamped 'GOLDSMITHS & SILVERSMITHS COMPANY Ltd. / 112. REGENT STREET LONDON. W.', clock 9.5cm high with handle raised
£300 - 500
73
151
A FRENCH GILT-BRASS AND ENAMEL MINIATURE CARRIAGE CLOCK, PERHAPS J. DEJARDIN, PARIS, FOR RETAIL BY LUND & BLOCKLEY OF LONDON, LATE 19TH CENTURY
the timepiece movement signed 'J.D Bte SGDG' and numbered 1028, the corniche case with enamel panels to sides and top with blue borders containing landscapes or figures in 18th century style, the dial of Roman numerals painted with similar figures below and signature above 'Examd. by / LUND & BLOCKLEY / London', with its (distressed) blue velvet carrying case gilt stamped for the retailer and containing the key, clock 7.1cm high excluding swing handle
The J.D backplate stamp has been noted on several ‘mignonette’ clocks; see another very similar clock also for retail by Lund & Blockley, sold Bonham’s, London (Knightsbridge), 14 September 2010, lot 218. Although not recorded in the usual sources, the mark may well be for J. Dejardin, cited by Saunier in 1880 as 'one of our youngest but one of our cleverest of our good manufacturers of clocks...' (Charles Allix, ‘Carriage Clocks: their history and development’, Woodbridge, 1974, p.436).
£600 - 800
152
A VICTORIAN GILT-BRASS SMALL STRUT CLOCK, RETAILED BY HENRY RODRIGUES, LONDON, CIRCA 1868
the glazed circular silvered dial with black Roman numerals and oval gilt surround all engraved with scroll foliage, the opaque blue enamel bezel within an applied corded rim, on two ball feet, reverse with shuttered slow/fast, hand and winding apertures and engraved around the hinged easel strut 'M.G.L. from M.C.G. / June 1868' and to base for the retailer 'H. RODRIGUES . 42 PICCADILLY', the watch type movement engraved to the three-quarter plate 'No.42301', 10cm long
£300 - 500
74
153 □
TWO LADIES' GOLD POCKET WATCHES, SWISS, 1890s
one half hunting cased, the white dial applied with Roman numerals, the case with foliate scroll decoration and pink guilloche enamel chapter ring with blue Roman numerals, supported from a gold scroll work bar brooch, case engraved Hawley & Co, 123 Regent Street, London, W, numbered 63284, stamped 14k, case diameter 3.3cm; the other in open faced case, the white dial with Roman numerals, engraved case, suspension loop deficient, case diameter 2.8cm
£200 - 300
154
A GOLD POCKET WATCH, SWISS, CIRCA 1910
keyless wind 15 jewel movement, white dial with Roman numerals and subsidiary seconds dial, open-faced plain circular case, gold cuvette with presentation inscription, 12 carat gold import hallmarked Arthur George Rendell, Chester, 1910, 5cm diameter
£300 - 500
155
A
GOLD HUNTER POCKET WATCH, SWISS, CIRCA 1900
keyless wind movement, white dial with Roman numerals and subsidiary seconds dial, polished 18 carat gold case engraved with a coat of arms to front cover and monogrammed initials to back cover, the cuvette inscribed 'From / GRANDMA / 21st Birthday / 1905.', covers and cuvette all stamped '0.750' and with Swiss gold assay marks, 4.7cm diameter
£400 - 500
75
156
A SAPPHIRE AND GOLD LADY'S FOB WATCH, FRENCH, 1950s
the circular gold dial applied with step-cut sapphire indicators to the cardinal points, framed by two lines of channel set calibrecut sapphires, with glazed reverse revealing the movement, manual wind 17 jewel unadjusted Swiss movement signed 'MELIK FAB SUISSE' for the Melik Watch Co., French assay and indistinct maker's mark, diameter 3.7cm
£500 - 700 157
RONDINE: A LADY'S ENAMEL AND DIAMOND BROOCH WATCH, ITALIAN, 1960s
with Swiss manual wind 17 jewel movement signed 'MARC NICOLET', the glazed circular dial with raised scroll decoration and signed 'Rondine', the reverse with blue enamel with inlaid foliate decoration, suspended from a shield shaped brooch with blue enamel and rose-cut diamond decoration, the connecting chain with seed pearl accents, case 2.5cm diameter
£600 - 800
76
158
ROLEX: A SWISS GOLD LADY'S 'WRISTLET' WATCH, CIRCA 1912
manual wind movement signed 'ROLEX', white enamel dial with blue Arabic numerals excepting '12' in red surrounded by gold dot minute indicators, 15 carat gold plain rounded circular case import marked for Wilsdorf & Davis (owner's of the Rolex brand), London, 1912, 2.8cm diameter, on its 'Britannic' patent expanding bracelet in 9 carat gold, with a row of plain links containing springs between ribbed outer links, marked to underside of links 'BRITANNIC / 98193 - 9ct / PATENT24396/06', by Edwin Harrop, Clerkenwell (London), circa 1912
£300 - 500
159 □
ROLEX: A SWISS GOLD LADY'S 'WRISTLET' WATCH, CIRCA 1915
manual wind 15 jewel movement signed 'ROLEX', similarly signed frosted dial with black Arabic numerals excepting '12' in red, 9 carat gold plain rounded case imported marked for Wilsdorf & Davis (owner's of the Rolex brand), London, 1915 and signed 'ROLEX', numbered 714634, 2.5cm diameter, on its 'Regent' patent expanding bracelet in 9 carat gold, with a row of links containing springs between outer links, marked to underside of links 'REGENT / PATENT / Mk IIB / 9Ct'; together with another Swiss gold lady's 'wristlet' watch, manual wind 17 jewel movement, white enamel dial (chipped) with Arabic numerals, plain rounded circular 9 carat gold case London import marked, 1911, case numbered 224311; and a blue guilloché enamel ball watch, circa 1900, decorated with a line of rose-cut diamonds, extensive enamel loss and damage (3)
£200 - 300
160
A LADY'S DIAMOND AND GOLD WRISTLET WATCH, SWISS, CIRCA 1914
the circular white enamel dial applied with Arabic numerals, to a scalloped millegrain bezel of old mine-cut diamonds, case numbered 73893 with British import marks for 18-carat gold, London 1914, on an expandable 9 carat gold Britannic patent gate-link bracelet by Edwin Harrop, Clerkenwell (London), circa 1914
£500 - 600
part
77
161 □ (illustrated online)
ROLEX TUDOR: A LADY'S CHROMED BRACELET COCKTAIL WATCH, MID 20TH CENTURY
manual wind 17 jewel movement signed 'TUDOR', rectangular blue dial with Arabic numerals signed 'ROLEX / TUDOR', on geometric link bracelet, case numbered 662811 798; together with a Rotary silver and paste cocktail watch, circa 1961, the circular dial with Arabic numerals and baton indicators, concealed beneath a paste set cover, to a paste set silver bracelet, British import marks for silver, London, 1961 (2)
£120 - 180
162
TWO LADIES' GOLD WRISTWATCHES, 1950s
both 9 carat gold hallmarked, one signed Omega to the circular dial applied with baton indicators and on a woven gold bracelet, 18cm long, the other signed Renown to the circular dial applied with Arabic numerals and on a gold brick link bracelet, 17cm long,
163
OMEGA: A LADY'S GOLD BRACELET WATCH, CIRCA
1965
Swiss 17 jewel manual wind movement signed and numbered, signed champagne dial with gold batons between the Roman numerals to the quarters, plain circular case signed, fine mesh bracelet, the deployant clasp with the company's symbol, 9 carat gold hallmarked, Omega Watch Co., London, 1965, approx. 18.5cm long
£400 - 500
164
ROTARY, QUARTZ: A LADY'S GOLD BRACELET WATCH, SWISS, CIRCA 1988
6 jewel quartz movement, white signed dial with applied baton hour indicators, oval case with corded bezel, integral bracelet with corded openwork rectangular links, fold over clasp with safety catch, all with 9 carat gold London import hallmarks, 1988/89, case 1.3cm long, approximately 14cm long overall excluding three additional loose links, 15g all in, with its box and guarantee leaflet
£150 - 250
£150 - 250
78
165
ROTARY: A LADY'S GOLD BRACELET WATCH, CIRCA 1973
21 jewel manual wind Swiss movement with Rotary 'wings' emblem, signed textured circular dial with black baton hour indicators set into the textured integral bracelet with deployant clasp, 9 carat gold hallmarks to bracelet and case back for Rotary (Moise Dreyfuss Ltd.), London, 1973, approximately 15.5cm long
£400 - 500
166
GARRARD: A LADY'S GOLD BRACELET WATCH, CIRCA 1988
Swiss quartz movement, signed champagne dial with gold baton hour indicators, plain circular case, brick link bracelet with deployant clasp, 9 carat gold hallmarked, W.H. Wilmot Ltd., Birmingham, 1988, in a Garrard & Co. Ltd. red case, watch approx. 17.5cm long
£400 - 500
167
OMEGA: A LADY'S GOLD BRACELET WATCH, CIRCA 1963
Swiss seventeen jewel manual wind movement signed and numbered 20252897, signed dial with gilt baton hour indicators and frosted silvered ground, plain circular case, case back signed and numbered, fine mesh bracelet with deployant clasp, 9 carat gold hallmarks to bracelet and case back, Birmingham, 1963, approx. 17cm long, with two additional sections of mesh each approx. 1cm long
£300 - 500
79
168
CORLETTO INC., 'LORETT': A LADY'S BRACELET WATCH, ITALIAN, 1960s
manual wind 17 jewel unadjusted Swiss movement signed 'CORLETTO INC', the circular rayed blue dial applied with gold baton indicators and signed 'Lorett', with oval bezel and integrated tapering textured bracelet, Italian (Milan) assay marks, 18cm long
The New York jewellers Tishman & Lipp (owned by Carlos Tepedino) formed Corletto Inc. in 1963, in partnership with the Milanese jeweller Oreste Corletto. The company was among the first U.S. manufacturers to import a wide range of Italian gold merchandise for resale to the retail trade. The brand name 'Lorett' was from Loretta, the name of Tepedino's daughter.
£1,000 - 1,500
169
VAN CLEEF & ARPELS: A LADY'S GOLD BRACELET WATCH
of cross over design, the coiled bangle of tubular gold links, terminating in a spherical watch with white dial, the other terminting in a polished gold sphere, signed 'Van Cleef & Arpels', numbered 143471, stamped 750, Swiss assay marks and European convention mark for 18 carat gold, adjustable length
£1,000 - 1,500
80
170
TAG HEUER, LINK: A LADY'S DIAMOND AND STAINLESS STEEL BRACELET WATCH, CIRCA 2005
quartz movement, mother-of-pearl dial with eleven singlecut diamond hour indicators and date aperture at 3 o'clock, with single-cut diamond set bezel, bracelet of Y-shaped links, signed to dial, case and bracelet, in it's leatherette case with box, slipcase and papers, with two loose additional links, watch 2.7cm diameter
£500 - 800
171 □
A GROUP OF EIGHT GENTLEMEN'S WRISTWATCHES, LATE 20TH CENTURY
all with leather straps, comprising: a gilt Longines 'TÜRLER' with automatic movement, date aperture and blue cabochon mounted crown; a stainless steel Verdura of New York alarm watch; a stainless steel Oris with twenty-five jewel automatic movement, date aperture and original strap; a gilt Bulova with quartz movement and date aperture; a gilt Maurice Lacroix with quartz movment and date aperture (crown lacking); a gilt Montine with quartz movement and date aperture; a gilt Michel Herbelin with quartz movement and date aperture; and a gilt Miyoko with quartz movement
£500 - 800
81
part
A FRENCH SINGING BIRD BOX, PROBABLY BLAISE BONTEMS, PARIS, CIRCA 1865
the oblong black 'bois durci' box with gilt-metal mounts, the top with oval lid of two birds amid flowers and foliate cartouche
spandrels, the front and back with wheat and wreath motifs, the sides with ribbon-tied foliage, going barrel movement with eight combs and bellows, the feathered bird with moving beak, wings and tail, wound to the side with a key, in a black leather case with gilt line detail, the fitted interior red velvet and cream silk lined, bird box 11.5cm long
Provenance: English Private Collection, in the same family for over 100 years
£1,500 - 2,500
173 ~
A PAIR OF GOLD-MOUNTED TORTOISESHELL BOXES, PROBABLY DUTCH COLONIAL 18TH / 19TH CENTURY
oval, the lids with pinned rim mounts, the sides each with plain vertical straps and heart-shaped escutcheons, each with gilt lock and gold escutcheon and hinge with rayed head pins, the interiors fitted with an arrangement of removeable boxes and covers with gilt button handles, 23cm long
The manufacture of tortoiseshell boxes became an important industry by the mid 19th century in the formerly Dutch held Galle district of Ceylon (Sri Lanka), the boxes apparently made from tortoiseshell imported from the Straits of Malacca, although tortoiseshell betel boxes had also been produced in number in another Dutch colony, Java. See a similar box offered at Chiswick Auctions, London, 12 July 2023, lot 508 and another held by the Victoria & Albert Museum (No.IM.322:1, 2-1924); the latter box also illustrated and discussed by Amin Jaffer on p.383 of his ‘Furniture from British India and Ceylon: A Catalogue of the Collections in the Victoria and Albert Museum and the Peabody Essex Museum’ (Timeless Books, 2001).
£400 - 600
82
172
174
A CHINESE GOLD-MOUNTED MOTHER-OF-PEARL BOX, PROBABLY CANTON, EARLY 19TH CENTURY rectangular, the sides with geometric patterned paterae, the top additionally with a vacant oval, with plain gold rim mounts and hinge, 7cm long
£150 - 250
175
AN AUSTRIAN GOLD BOX, OTTO HÜTERER FOR A.E. KÖCHERT, VIENNA, CIRCA 1924
rectangular, the top and base engine-turned, the lid with hidden spring release further decorated with a border of roses, the sides with fruit-laden vines, interior lid inscribed 'Feber/März. 1924 / Creditanstalt.', retailer's inscription to rim 'A.E. KÖCHERT. WIEN', maker's and 580 standard gold marks, 7.7cm long, 83.8g
The esteemed firm of A.E. Köchert, jewellers to the Hapsburgs, was founded in 1814 and remains family run, still trading since 1873 from premises in Hoher Markt, Vienna.
£2,000 - 3,000
176
A GOLD AND ENAMEL MINIATURE COMPACT, CONTINENTAL, EARLY 20TH CENTURY
cut-cornered rectangular, each side with a panel of NeoClasical decoration surrounding a canted rectangular cartouche, one engraved with the initials RFG, the other with an Alpine lake scene, all against a black enamel ground, black cabochon-mounted pushpiece to the interior with a mirror and powder or rouge compartment, on a black and white enamel baton link chains meeting a finger ring, stamped '14K', compact 4.4 x 3.3cm
£400 - 600
83
A GEORGIAN GOLD DOUBLE PORTRAIT MINIATURE CASE, CIRCA 1800
of plain oval locket form hinging open to the vacant interior, each side with its retaining ring, 6.8 x 5.5cm excluding bale and suspension loop; together with a Victorian gold cased locket, later 19th century, oval, with engine-turned and bright-cut foliate scroll decoration, one side hinging open to a glazed picture aperture, 5 x 4cm excluding hinged suspension bow (2)
£400 - 600
178
AN ITALIAN GOLD DOUBLE PHOTOGRAPH FRAME, FRATELLI CACCHIONE, MILAN, MID 20TH CENTURY of small size, with engine-turning to the centrally hinged rectangular frames, 18 carat gold Italian assay marks, 5.5 x 4cm, 39g excluding inserts
£1,000 - 1,500
179
A FRENCH GOLD VINAIGRETTE, PARIS, 1809-1819
elongated oval with guilloché decoration between carved foliate and geometric borders, interior with scroll foliate pierced and engraved hinged grille, petite guarantie mark, 4.2cm long
£300 - 500
180 □
A FRENCH GOLD THIMBLE, PARIS, 1809-19
typical form with pitting surrounding a vacant shield above a band of engine-turning, petite guarantie, 2.3cm high; together with the following French sewing implements, a silver-gilt bodkin case and a silver-gilt mounted steel awl en suite, a gilt-metal bodkin and a pair of steel scissors with gold cased handles (5)
£80 - 120
84 177 □
181
TWO GOLD MESH BAGS, 1900s
both nine carat, one with pierced and engraved hinge mount, each side with stylised foliage centred by a musical trophy, import marks for Paul Ettlinger, London, 1907, 4.8cm across hinges, the other with plain curved hinge mount, stamped '9ct', 6.3cm wide across hinges, 61.8g all in
£800 - 1,200
182
AN EDWARDIAN GOLD CIGAR HOLDER, A. SYDENHAM, BIRMINGHAM, 1900s
with three bullet form spaces, polished yellow gold applied to top left with a diamond set oval containing the initials CS below a probably white gold or platinum rim mount, stamped 'A SYDENHAM'S / CIGAR CASE 18CT' and maker's mark, in its salmon leather shaped and fitted case, holder 8.4cm long, 102g all in £3,000 - 4,000
85
183
AN AMERICAN GOLD NOVELTY SWIZZLE STICK, CHERNY, MID 20TH CENTURY
designed as a golf club with golf ball surmount, the stem sliding down to reveal the prongs, stamped 'CHERNY 18K', 11cm long retracted, 8.5g
£300 - 500
184
A GOLD LORGNETTE, PROBABLY AMERICAN, 1890s
chased foliate Rococo decoration with ribbon-tied floral garlands and a quiver of arrows, with push-piece to reveal the sprung and hinged pair of lenses, stamped '14k' for 14 carat, 12cm long
£500 - 800
185 □
A GOLD, RUBY AND DIAMOND LORGNETTE, CIRCA 1910
the openwork handle with platinum set circular- and rose-cut diamonds accented with gold collet set circularcut rubies, with push-piece to the sprung and hinged pair of lenses, 14cm long; together with a gold cased lorgnette, 12.5cm long, and a gold cased quizzing glass with foliate scroll decoration (3)
£200 - 300
186
A GEM-SET GOLD BUCKLE, 1900s
the frosted buckle embelished with rose-cut diamonds and synthetic oval mixed-cut rubies, 7.5 x 6cm, 35.5g all in
£600 - 800
86
183 184 185 186
187
A GOLD CIGARETTE CASE, HORACE WOODWARD & CO. LTD., BIRMINGHAM, 1917 rounded oblong, plain excepting engraved scroll initials A.E, interior inscribed with initials and date 10th March 1920, 9 carat, 8.6cm long, 94g including elastic retainer
£1,500 - 2,000
188
A GEORGE V GOLD SOVEREIGN CASE, ELKINGTON & CO. LTD., BIRMINGHAM, 1911
plain polished and of typical rounded circular form with button to the sprung lid below the suspension bow, 9 carat gold hallmarked, 3.5cm diameter
£250 - 350
189
AN EDWARDIAN GOLD SOVEREIGN CASE, WILLIAM NEALE & SON OF BIRMINGHAM, CHESTER, 1901
of typical rounded circular form with button to the sprung lid below the suspension bow, with foliate scroll engraving on a hatched ground surrounding a vacant roundel, 18 carat gold hallmarked, 3cm diameter
£400 - 600
87
190
A MEXICAN GOLD TWENTY PESOS COIN PENDANT coin dated 1918, to an open work pendant frame, diameter 4cm
£700 - 900
191 □
A GEORGE III GUINEA
dated 1793, pierced with later applied suspension loop, 8.4g
£200 - 300
192
A GOLD STICK PIN SET WITH A ROMAN EMPEROR VALENTIAN I GOLD SOLIDUS
the pin surmounted by a five-claw ring holding the 367-375 AD coin from the Trier mint, the obverse with Emperor to sinister, ‘DN VALENTINIANVS PF AVG’ legend, the reverse with Valentinian and Valens enthroned and holding a globe between them below a figure of Victory, VICTORIA AVGG legend, mintmark TR.OB. in exergue, 2cm diameter, pin 8cm long, 7.8g
£150 - 250
193
A HALF SOVEREIGN BROOCH
half Sovereign dated 1893, to an openwork scroll brooch frame, diameter 3.2cm
£200 - 300
194
A VICTORIAN JUBILEE HEAD TWO POUND COIN
the Jubilee head two pound double Sovereign dated 1887
£700 - 1,000
195
A PAIR OF HALF SOVEREIGN SET CUFFLINKS
each Victorian coin set in a hobnail cut border with hinged baton back, 9 carat gold hallmarked, London, 1972
£500 - 700
196
TWO EDWARDIAN SOVEREIGNS
dated 1903 and 1905
£600 - 900
197
A SOVEREIGN PENDANT
the Sovereign dated 1913, in a scroll work mount
£300 - 500
198
FIVE VICTORIAN, EDWARDIAN AND GEORGE V HALF SOVEREIGNS
dated 1873, 1897, 1908, 1911 and 1912
£800 - 1,200
199
TWO VICTORIAN SOVEREIGNS
dated 1872 and 1878
£600 - 900
200
A GEORGE V GOLD SOVEREIGN
dated 1913
£300 - 500
88
190 191 192 193 194 195 196 198 part 199
201
A MICROMOSAIC GOLD BROOCH, 1860s
the oval Italian micromosaic plaque depicting the ruins of The Temple of Vesta at Tivoli, within an Etruscan revival brooch frame, 5.5cm x 4.5cm
£500 - 700
202
A FRENCH SILVER, GOLD AND MICROMOSAIC HAIR COMB, PARIS, 1798-1809
centring on an oval Italian micromosaic depicting a ruined Roman arch, framed by blue enamel, to a gold openwork panel of fruiting vines, accented with seed pearl grapes, applied to a silver comb, French gold and silver assay marks, maker's mark ?R, 11 x 10cm
£500 - 700
90
203 ~
A SET OF THREE BELLE EPOQUE TORTOISESHELL, DIAMOND AND SEED PEARL HAIR COMBS, CIRCA 1910
in sizes, each comb applied with a garland of rose-cut diamonds and seed pearls, 9.2 x 7.2cm and 7.5 x 5.2cm, one seed pearl deficient, fitted case stamped Ch. Massin, 253 Rue St Honore, Paris.
£600 - 800
204 ~
A SET OF THREE BELLE EPOQUE BLOND TORTOISESHELL, SAPPHIRE AND DIAMOND HAIR COMBS, CIRCA 1910 in sizes, each tortoiseshell comb applied with a scroll motif of millegrain set single-cut diamonds and calibre-cut sapphires, 11.5 x 6cm and 6.5 x 4.2cm, later fitted case
£700 - 1,000
91
205 ~
A PAIR OF BELLE EPOQUE
TORTOISESHELL DIAMOND AND SEED
PEARL HAIR COMBS, CIRCA 1910
each tortoiseshell comb applied with an interlaced millegrain motif of rose-cut diamonds and seed pearls, 9 x 5cm, fitted case stamped Templier & Hallingre, 8 Rue Royale, Paris, and a single tortoiseshell and diamond comb, of elliptical design applied with an open work band of trefoil motifs set with rose-cut diamonds, French assay marks, 10 x 5 cm
£400 - 600
206 □
A SET OF THREE EDWARDIAN
TORTOISESHELL AND GOLD HAIR
COMBS, 1900s
each tortoiseshell comb applied with a gold mount of open work scroll design, 9 x 7.5cm and 8.5 x 5cm, fitted case stamped Drew & Co, 156 & 157 Leadenhall St, London EC
£80 - 120
End of Session
Jewellery Sale Lots 301 to 507 starting at 2.30pm
Next sale November 2024
Closing for entries by end of September
92
~
Lot 34 (detail)
