Matthew barton ltd european & asian works of art 23 nov 2016 linked by Olympia Auctions

Matthew Barton Ltd

European & Asian Works of Art | London Wednesday 23rd November 2016

AuCTion EnquiriEs And informATion Sale Number: Code name:

015 LUDO

Enquiries:

Consultants:

Matthew Barton Kate Goad

Arthur Millner (Islamic, Indian,Himalayan & South East Asian) Peter Arney (Ceramics) Phillip Howell (Ceramics) John Culme (Silver & Vertu) Anabel Yorke (Jewellery) Alexis Newson-Smith (Japanese Works of Art)

Online Catalogue: www.matthewbartonltd.com www.the-saleroom.com www.invaluable.com www.liveauctioneers.com Listen to the auction Live, Tel +44 (0) 20 7806 5535 Live internet bidding available through:

www.the-saleroom.com

Catalogue ÂŁ15 plus postage

Matthew Barton Ltd 25 Blythe Road London W14 0PD

Tel: +44 (0) 20 7806 5545 Fax: +44 (0) 20 7806 5546 Email: enquiries@matthewbartonltd.com

Photography: Lee Turner

Front cover: Lots 395 & 264 Back cover: Lots 534 & 535

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Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART including Islamic, Indian, Himalayan & South East Asian Works of Art

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

PUBLIC EXHIBITION Sunday 20th November 12 noon to 4pm Monday 21st November 10am to 8pm Tuesday 22nd November 10am to 5pm

DAY OF SALE

Wednesday 23rd November 2016 at 11 am, precisely This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue. i

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IMPORTANT INFORMATION FOR BUYERS All lots are offered subject to Matthew Barton Ltd’s Condition’s of Business and to reserves. The Conditions of Business for Buyers, are published at the end of the printed catalogue. A Buyer’s premium of 22% is applicable to all lots in this sale.The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer's margin scheme and VAT on the Buyer’s Premium is payable by all buyers. Export and Permits: it is the purchaser’s sole responsibility to identify and obtain any necessary export, import, endangered species or other permit for any lot. Matthew Barton Ltd makes no representations or warranties as to whether any lot is or is not subject to export or import restrictions or any embargoes. Buyers outside the European Union will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request. Matthew Barton Ltd can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and will assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Matthew Barton Ltd will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. Bids must be signed and submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition in the saleroom). To bid by telephone please contact us at least 24 hours before the sale. These services are offered free of charge. Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. Reserves are confidential but will never be higher than the low estimate figure at the time of sale. Cataloguing Practice PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE AND THAT ILLUSTRATIONS ARE NOT TO SCALE. Weights may only be accurate to within 5 grams. Weights shown as ‘(*oz)’ are in Troy Ounces and rounded down to the full ounce. ~ Lots marked with the symbol ‘~ ‘ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import and export. The information is made available for the convenience of bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is published in the catalogue, prospective buyers should be aware that the gemstones or pearls could have been enhanced by some method. Condition: not normally recorded and all lots sold as viewed. Obvious faults may be recorded in italics at the end of a description for ceramics. Condition reports can be requested prior to sale. Whilst we are pleased to provide a general report of condition, we are not professional conservators or restorers and any statement made by Matthew Barton Ltd is merely a subjective, qualified opinion. Prospective buyers should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them. Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept Visa and Mastercard credit cards for which a surcharge will be made of 3% of the transaction total. There is no surcharge for payments made by UK debit cards. Cash and Credit card payments above £6,000 and “card holder not present” payments above £2,000 will not be accepted without prior arrangement. Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street DARTFORD DA1 1DG IBAN No: GB53MIDL40190491814001 BIC: MIDLGB2128K Sort Code: 40-19-04 Account No: 91814001 Account Name: Matthew Barton Ltd VAT Registration Number: 972118224 Storage On receipt of cleared funds, lots can be collected from the Saleroom during the auction or immediately after its completion. Thereafter, all purchased lots will be stored at Matthew Barton Ltd’s premises for a period of one month prior to transfer to third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release. Please note that collection is BY APPOINTMENT on +44 (0) 20 7806 5545. ii

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Matthew Barton Ltd Wednesday 23rd November 2016 Sale Starts at 11 am

1 1 A MEISSEN SMALL ECUELLE AND COVER, CIRCA 1735 of squat circular form, the bowl applied with twin flat-scroll handles and painted each side with a purple and gilt border enclosing a Kauffahrtei scene, the cover with three similar scenes, crossed swords mark in underglaze blue 14cm wide across handles

3 3 A MEISSEN SUGAR BOWL AND COVER, CIRCA 1735 the bowl enamelled with two reserves of Kauffahrtei scenes within red, gilt and Böttger-lustre borders separated by Kakiemon flowers, the cover with two similar scenes within red line borders, the rim with a broad gilt strapwork border, crossed swords mark in underglaze blue, both pieces with gilder’s mark V. 10cm high

Provenance: Sotheby’s, London, 4 June 1974, lot 83

Provenance: Sotheby’s, London, 4 June 1974, lot 84

£1000-1500

2 2 A MEISSEN YELLOW GROUND BOWL, CIRCA 1730 painted in Kakiemon style in a shaped quatrefoil panel with a pair of quail beneath a flowering branch, the opposing panel with a spray of indianische Blumen, crossed swords mark in blue enamel 11.2cm diameter

4 4 A MEISSEN TEAPOT AND COVER, CIRCA 1730-35 with gilt dragon spout and Rococo clip handle, two quatrefoil laub-und-bandelwerk panels painted with Arcadian figures in parkland, the cover with rural scenes within red line borders and with artichoke knop, crossed swords mark in underglaze blue, gilder’s mark ‘60.’ on both pieces 9.5cm high, knop damaged

£1200-1800

£1500-2000

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6 5

5 A PAIR OF MEISSEN TEACUPS AND SAUCERS, CIRCA 1730-35 with moulded flowers to the exterior, painted with quatrefoil panels of figures in landscapes, embellished with purple scrollwork, gilt formal borders, crossed swords marks in underglaze-blue, gilt numeral 1., impressed marks 13cm diameter £600-800

6 A MEISSEN TEABOWL AND SAUCER, CIRCA 1730-35 painted with chinoiserie flowers within a band of iron-red diaperwork panels interrupted by half-flowerhead panels, concentric iron-red bands to saucer reverse saucer 12.5cm diameter £200-300 7 A MEISSEN FOOTED SALT, CIRCA 1740 modelled by Johann Friedrich Eberlein (1696-1749), deep circular bowl with moulded woven border, painted with deutsche Blumen, supported on three scroll feet with Frauenkopf terminals 9.5cm high, restorations to feet For a pair of salts of this design, but with handles to the basket, see Sotheby’s, New York, 24th May 2007, lot 386. Rainer Rückert, Meissener Porzellan, pl. 123, no. 487, illustrates an armorial salt of this form from the Sulkowski service, for which the shape was originally designed, and on p. 116 cites several entries for the modelling of the form in Eberlein’s work records for 1736. £150-250

8 A MEISSEN FIGURE OF CUPID IN DISGUISE, CIRCA 1755 modelled by Johann Joachim Kändler (1706-1775) as a rabbit seller, the pink scarfed figure holding the animal by its ears in the box slung to his side, with blue drapery around his quiver, gilt highlighted scroll edged base, smudged underglaze blue crossed swords to reverse of base 10cm high, chips and wings lacking £150-250 9 A LUDWIGSBURG FIGURE OF CUPID IN DISGUISE, CIRCA 1765 as a soldier, in black tricorn hat, belt and sword, cut-cornered square base with gilt line border, underglaze blue interlaced C and a green ‘L’ mark 9cm high, chips £70-100

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10 10 A MEISSEN MINIATURE FIGURE OF A FRIESIAN SAILOR, CIRCA 1755 probably modelled by J.J. Kändler or J.F. Eberlein, the mustachioed figure with arms akimbo and wearing a grey knitted conical hat, pink doublet, pale green full breeches and black shoes, on a shaped circular flower encrusted naturalistic base, underglaze blue crossed swords mark to rear base 8.4cm high

This apparently unrecorded figure seems likely to be from the Meissen series of ‘Nations of the Levant’, modelled by J.J. Kaendler and J.F. Eberlein between 1748 and 1760, after prints taken from Le Hay and Ferriol’s Receuil de Cent Estampes representant Differentes Nations du Levant, published in 1712-13. Confusingly this series includes non-Levantine Bulgarian and Hungarian figures, so may have included a sailor from Friesland. See the British Museum No. 1871,1209.2663 for a print of a ‘Matelot de Frise’, after Bernard Picart (Le Romain; 1673-1733), Amsterdam, 1728. Variant costume plates of this mustachioed Friesian sailor figure, but always in the same akimbo pose, were widely circulated in Europe right through the 18th century. £600-800 11 A MEISSEN SMALL FIGURE OF A DOG, CIRCA 1745 probably modelled by Johann Joachim Kändler (1706-1775), seated on its haunches with its front legs raised, its mouth open showing teeth and red tongue, the fur markings in shades of brown, the oval base applied with green leaves, crossed swords mark in underglaze blue 7cm high Provenance: with Winifred Williams, Eastbourne, 30th June 1962 (according to invoice). £1000-1500 12 A MEISSEN MINIATURE FIGURE OF A HEN, CIRCA 1750 modelled pecking at the ground, shaped base 4cm high, chip to beak £150-200 13 A MEISSEN FIGURE OF A BOY SELLING PEARS, CIRCA 1760 the gaily dressed lad proffering one fruit from the basket held to his chest, traces of crossed swords mark to rear, painter’s mark of a cross 13cm high, chips to fingers, leaves and basket handle £150-250

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14 14 A MEISSEN OUTSIDE DECORATED GROUP OF HARLEQUIN AND COLUMBINE FROM THE BALLETS RUSSES ‘LE CARNIVAL’, CIRCA 1915 modelled by Paul Scheurich, Columbine in a tiered skirt and on pointe in front of a column as Harlequin leans in for a kiss, cancelled underglaze blue crossed swords, incised D.287, impressed 58 26.6cm high In 1914 Paul Scheurich (1883-1945) modelled a number of figures for Meissen from ‘Le Carnival’, which had been created in 1910 for Serge Diaghilev’s Ballets Russes, choreographed by Mikhail Fokine, with music by Robert Schumann and designs by Léon Bakst. £1200-1800

15 A CHARLES VYSE POTTERY FIGURE, ‘MORNING RIDE’, CHELSEA, CIRCA 1930 modelled as a young faun riding a large snail, painted in muted shades of lilac, green and blue, painted to front base C. VYSE, CHELSEA 22.5cm high, chip to one antenna, one with detached tip Literature: Terence Cartlidge, Charles and NeIl Vyse: A Partnership, published by Richard Dennis, p.25. £300-400 16 A ROYAL DOULTON FIGURE, ‘THE BALLOON SELLER’ HN593, 1929 the vendor clutching her sleeping baby and the balloons, printed mark, impressed date code and numbers, painted title and HN number 21.5cm high £100-150

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17 17 A BERLIN PLAQUE OF ‘THE GARLAND OF FRUIT’, CIRCA 1890 painted by Franz Schier after Peter Paul Rubens with seven putti playing with the large fruit-laden swag against a rocky backdrop and a mountainous landscape in the distance, red painted inscription ‘Copie nach P.P Rubens, per Früchtekranz, Franz Schier. München.’, impressed KPM and sceptre mark over letter S, impressed numerals 195 and 295 18.8 x 24.8cm excluding gold painted gesso frame The Munich based artist Franz Schier (1852-1922) painted in a variety of media, including on porcelain. The Garland of Fruit (painted by Rubens between 1615-17) hangs in Munich’s Alte Pinakothek. £3000-4000 18 A COLLECTION OF FOUR ROYAL COPENHAGEN FIGURES, EARLY TO MID 20TH CENTURY comprising: Amager Girls Shopping, model No.1316, 18cm high, Girl with Book, model No.922, Seated Child, model No.1517 and Little Hornblower, model No.3689 £70-100 19 A ROYAL COPENHAGEN FIGURE OF AN OLD WOMAN WITH WASHING, EARLY 20TH CENTURY modelled by Christian Thomsen (1860-1921), the crouched headscarved woman clutching her laundry, model No.1043 19cm high £80-120

20 A PAIR OF ROYAL COPENHAGEN FIGURES, EARLY 20TH CENTURY modelled by Christian Thomsen (1860-1921) as fauns atop truncated columns, one with a flute looking down on a rabbit, the other playing pan pipes to a lizard, model Nos.433/456 21cm high, chips to one £120-180 21 A ROYAL COPENHAGEN FIGURE OF PAN WITH A YOUNG GIRL, 1920s modelled by Vilhelm Waldorff (1877-1935) as a crouching faun clutching his pipes, his arm around the shoulders of the kneeling girl, model No.2298, 8cm high; together with a Royal Copenhagen figure of a faun on a tree stump, 1920s, modelled by Theodore Madsen (1880-1965), model No.1738, 9cm high (2) £120-180

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22 22 A WEDGWOOD CREAMWARE MINIATURE PART TEA AND COFFEE SET, CIRCA 1780 each piece enamelled with a brown running leaf border and ironred rims, comprising: a circular tray, a pear-shaped coffee pot, a pear-shaped milk jug, a cylindrical teapot and cover, a cylindrical tea canister and cover, a sugar bowl and cover, a slop bowl, two coffee cups, two teabowls and four saucers, impressed WEDGWOOD to some pieces tray 36cm diameter, some damage and restoration (18) £200-300

25 AN EXTENSIVE FLIGHT, BARR & BARR, WORCESTER, ‘JAPAN’ PATTERN DINNER SERVICE, CIRCA 1813-15 richly enamelled in iron-red, green, turquoise, yellow, puce, pink and gilding with exotic birds in flowering branches, a pagoda in the distance inside gilt line rims, comprising: a soup tureen, cover and stand, 33cm wide four sauce tureens, covers and stands, tureens 19cm wide three oval vegetable tureens and one cover, 28cm wide two rectangular vegetable tureens and one cover, 24cm wide sixteen serving dishes in sizes, 25 to 49cm wide thirty-one soup plates, 24cm diameter forty-eight dessert plates, 23cm diameter and twenty-two side plates, 18cm diameter impressed BFB marks, printed Flight, Barr & Barr marks together with eleven matching dinner plates, modern, painted in twice fired enamels to match by Rachel Greenwood, 1952, numbered and intialled J.R.G., 26cm diameter Provenance: The Lady Denman, G.B.E. of Balcombe Place, Sussex; thence by family descent. The Lady Denman (1884-1954), was born Gertrude Mary Pearson, the second child and only daughter of Weetman and Annie Pearson, later Viscount and Viscountess Cowdray. Her engineer father had amassed a fortune, principally from Mexican oilfields. She attended the 1902 London season and married the Liberal peer Thomas Denman (3rd Baron Denman) in 1903. For many years she devoted much time to numerous causes, her positions including: 1917 - first President of the National Federation of Women’s Institutes, - until 1946; First Chairman of the Family Planning Association; President of the Ladies Golf Union; Director of the Westminster Press; Trustee of the Carnegie United Kingdom Trust. On the outbreak of World War II, she was invited to become the Director of the Women’s Land Army, for which she was awarded the Grand Cross of the British Empire. Her father had bought her the Balcombe Estate in Sussex in 1907, a few miles from his then home at Paddockhurst. Apart from Lord Denman’s posting as Governor General of Australia (1911-1914, during which time she officially named the new capital Canberra), Lady Denman lived at the estate’s mansion, Balcombe Place, in some style for the rest of her life. £6000-10000

23 23 A PEARLWARE TEAPOT AND COVER, PERHAPS FELL OF NEWCASTLE, CIRCA 1820 painted in colours with a stylised peacock and flower spray against a sponged green ground, the domed cover with a bun knop, numeral 3 in black mark 10.5cm high, cover rim chip £60-100 24 A GROUP OF WORCESTER BLUE AND WHITE PORCELAIN, CIRCA 1770 each piece printed with the ‘Fence’ pattern, comprising: a circular butter tub and cover and two large cups; together with the following blue and white wares: two flower printed porcelain cups, a pearlware oval sauceboat painted with a chinoiserie landscape and a pearlware printed teabowl some damage (8) £40-60

26 A SET OF TWELVE FLIGHT, BARR & BARR WORCESTER ‘JAPAN’ PATTERN DESSERT PLATES, CIRCA 1810 en suite with the preceding lot, impressed and printed marks 23cm diameter, some damage £400-600 27 A GROUP OF TWENTY-SEVEN FLIGHT, BARR & BARR WORCESTER ‘JAPAN’ PATTERN DESSERT PLATES, CIRCA 1810 en suite with the preceding lots, impressed and printed marks 23cm diameter, some damage £300-400

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28 28 A PAIR OF ROYAL WORCESTER PLAQUES, PAINTED BY JOHN STINTON JNR., 1917 lightly domed, each painted with Highland cattle in a riverine setting and signed J Stinton, puce marks with date code, in square gilt mounts and gilt gesso glazed frames visible plaque 10.5cm diameter £150-250

29 A COPELAND DESSERT SERVICE, 1892-94 comprising twelve plates and a tazza, each differently designed in raised gilding and enamels on the cobalt blue ground with birds and sprays of flowering or fruiting foliage, gilt edged scalloped rims, green printed marks and impressed date codes, plates 20.5cm diameter, tazza with rim chip; together with a Mason’s Ironstone bowl, Japan pattern (14) £100-150 30 A SET OF TWELVE WEDGWOOD FISH PLATES, CIRCA 1895 seven painted with differing freshwater fish by John Hugh Plant, five painted by James Hodgkiss, each roundel signed by the artist and surrounded by a band of gilt fish netting within a gilt and moulded scroll border, underside with painted fish name, Portland vase mark, pattern No.X5752 and printed retailer’s garter Higgins & Seiter / New York 22cm diameter £120-180

31 AN ENGLISH PORCELAIN DESSERT SERVICE, POSSIBLY SAMUEL ALCOCK, CIRCA 1840 each painted with a central flower study inside a grey ground foliate border and gilt dentil rim, comprising: two high stands, four low stands and eighteen plates, red painted pattern number 3/No.8084 some damage (24) £200-300 32 A GRAINGER’S WORCESTER TETE-A-TETE, CIRCA 1900 painted with birds in branches inside a cobalt blue border gilt with a diaper pattern and flowerheads, comprising: rectangular tray, teapot and cover, milk jug, two cups and saucers, brown printed marks, Phillips retailer’s mark, painted pattern 3813 tray 28cm wide

£80-120

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33 33 A NEVERS FAIENCE PLATE, 18TH CENTURY painted in manganese and blue with a mounted hunter trying to spear a lion in pursuit after Antonio Tempesta’s (1555-1630) series of hunting prints, underglaze blue N mark 23.3cm diameter

£400-600 34 A WORCESTER SMALL COFFEE POT AND MATCHED COVER, CIRCA 1785 pear shaped, painted in underglaze blue with the ‘Caughley Gilliflower’ pattern, blue open crescent mark, the shallow domed cover printed with the ‘Fence’ pattern 17cm high This very rare pattern imitates a Caughley version, the Caughley pattern itself imitating a French design. See Branyan, French and Sandon, Worcester Blue and White Porcelain 1751-1790, London, 1981, p.206, I.E.15. £120-180

35 A GROUP OF WORCESTER BLUE AND WHITE PRINTED PORCELAIN, CIRCA 1770-80 comprising: a large ‘Fisherman and Cormorant’ pattern bowl, 21cm diameter, a ‘Fisherman and Cormorant’ pattern teabowl, a ‘Three Flowers’ pattern sugar bowl, a ‘Fence’ pattern teabowl, a ‘Fence’ pattern slop bowl and a ‘Three Ladies’ pattern slop bowl (5) £120-180 36 A WORCESTER POLYCHROME TEABOWL AND SAUCER, CIRCA 1770 fluted, painted with panels of flowers alternating with blue panels reserved with insects, blue fretted square mark saucer 12cm diameter £40-60 37 A WORCESTER BLUE AND WHITE BOWL, CIRCA 1760-70 painted with the ‘Candle Fence’ pattern, open crescent mark, 12cm diameter; together with a blue and white slop bowl, ‘Mansfield’ pattern, 15.2cm diameter (2)

38 38 A WORCESTER BLUE AND WHITE OVOID TEA CANISTER, CIRCA 1770 painted in underglaze blue with the ‘Cannonball’ pattern 12cm high

£80-120

£100-150

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40, 39 41

39 A CHINESE BLUE AND WHITE PORCELAIN PLATE, KANGXI (1662-1722) painted with a central panel of flowering peony and prunus inside a moulded petalled border enclosing flower sprigs, apochryphal six character Ming reign mark 21cm diameter £100-150 40 A CHINESE BLUE AND WHITE PORCELAIN VASE, KANGXI (1662-1722) painted with two panels of birds in flowering branches inside leaf shaped panels against a ground scattered with Buddhist emblems 18.5cm high £100-150 41 TWO CHINESE BLUE AND WHITE GINGER JARS, LATE 19TH CENTURY one painted with three quatrefoils enclosing a mythical creature in a landscape against a prunus and ‘cracked ice’ ground, with later scrollpierced wood cover, 20cm high, the other with cover and painted with a bird perched amid a pine tree amongst flowering shrubs, apocryphal four character Kangxi mark, 27cm high

£200-300 42 A CHINESE BLUE AND WHITE PORCELAIN BOTTLE VASE, CIRCA 1800 painted with an extensive river landscape beneath an elaborate border, with later wood cover 27cm high, rim chip £100-150

43 A CHINESE BLUE AND WHITE PORCELAIN TEAPOT AND MATCHED COVER, JIAJING SIX CHARACTER MARK BUT KANGXI (1662-1722) of compressed globular form, painted each side with vases, censers and Buddhist emblems, the cover with ruyi and whorl pattern bands 12cm high, minor chip to spout £200-300 44 A CHINESE BLUE AND WHITE PORCELAIN SMALL VASE, KANGXI (1662-1722) ovoid, painted with an extensive river landscape with a figure on horseback crossing a bridge and figures on sampans, blue painted vase mark, with later wood cover 13cm high £200-300

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46, 45 47 45 A CHINESE BLUE AND WHITE PORCELAIN LARGE VASE AND COVER, KANGXI (1662-1722) ribbed baluster, painted allover with flowers and leafy stems between ruyi head borders 50.5cm high, minor damage £800-1200 46 A CHINESE BLUE AND WHITE PORCELAIN TALL BEAKER VASE, KANGXI (1662-1722) matching the previous lot, ribbed ‘Gu’ shape 46cm high £800-1200 47 A CHINESE PORCELAIN LARGE ROULEAU VASE, 20TH CENTURY painted in underglaze blue, red enamels and gilt details with a Dragon Dance procession in a landscape 61cm high £400-600 48 A CHINESE BLUE AND WHITE PORCELAIN JAR, KANGXI (1662-1722) painted with two panels, one with figures in a mountainous fluvial landscape, the other with peonies and birds, the rim with six symbols from the Precious Things above holes for carrying handles (handles lacking) 21cm diameter

£300-500

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49 A PAIR OF CHINESE STRAW-GLAZED POTTERY RAMS, SUI DYNASTY (581-618) each standing foursquare on a rectangular pierced base, covered in a pale straw glaze stopping short for the legs and base 12cm high Provenance: Roger Keverne, October 2006 £2000-3000 50 A CHINESE SANCAI-GLAZED POTTERY JAR, TANG DYNASTY (618-907) the ovoid body rising from a flat base to a short waisted neck with everted rolled rim, covered overall in a straw glaze with ochre and green streaks from the rim to the lower body 16.5cm high

The result of Oxford Authentication Thermoluminescence Test no.C106a85 is consistent with the dating of this object. The certificate is included in the sale of this lot. £500-700 51 A CHINESE PORCELAIN GREEN ENAMELLED ‘DRAGON’ SAUCER DISH, QING DYNASTY, 18TH CENTURY the interior with a medallion enclosing a five-clawed dragon chasing a flaming pearl, the exterior similarly decorated with two dragons on an incised wave ground, the base with apocryphal Ming Dynasty, Hongzhi four-character mark in underglaze blue 16cm diameter £300-500 52 A CHINESE BLUE AND WHITE PORCELAIN FLASK, KANGXI (1662-1722) of shallow cylindrical form, painted with chrysanthemum and leafy branches between chevron and whorl pattern borders, with later wood cover 14.5cm high £200-300

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53 54 53 A CHINESE BLUE AND WHITE PORCELAIN ‘TEK SING’ CARGO PLATE, CIRCA 1820 painted to the interior with a leafy foliate spray encircled by a whorl and trellis bands 20.5cm diameter

£200-300 54 A CHINESE BLUE AND WHITE PORCELAIN BOWL, MING STYLE the deep rounded sides rising from a short tapering foot, painted around the exterior with figures in a landscape below a key-fret band, the interior with a medallion enclosing rocks and trees 26cm diameter £200-300 55 A CHINESE FAMILLE-ROSE PORCELAIN PLATE, QIANLONG (1736-1795) octagonal, painted with figures at the seashore, with gilt highlighted borders 23cm wide

Provenance: Sir Ralph Richardson (1902-1983); Sotheby’s, London, The Ralph Richardson Collection, 27 April 2001, lot 210 £120-180 56 A CHINESE FAMILLE-VERTE SMALL ROULEAU VASE, QING DYNASTY, 19TH CENTURY brightly enamelled around the cylindrical body with a pair of phoenix perched on rockwork issuing leafy floral sprays, the base with apocryphal Kangxi four-character mark in underglaze blue 25cm high £150-250 57 A CANTON FAMILLE ROSE SAUCE TUREEN AND COVER AND A SERVING DISH, QING DYNASTY, 19TH CENTURY the oval body brightly enamelled around the exterior with panels enclosing birds and figures on a terrace, all reserved on a dense foliate and gilt ground, set at either end with gilt rope-twist handles, the domed cover similarly decorated and surmounted with gilt finial 21cm (tureen); 29cm (dish) wide

£200-300 58 A CHINESE GILT AND BLACK LACQUER BRISE FAN, PROBABLY CANTON, MID 19TH CENTURY each side painted with a central scene of figures amidst pavilions surrounded by various borders, the sticks each terminating in a domed panel featuring pairs of figures, a crimson and an apricot tassle attached to the gilt-metal loop length of stick 20.2cm £200-300

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60 60 A CHINESE LACQUERED WOOD FIGURE OF BUDDHA, QING DYNASTY wearing voluminous robes, a svastika symbol on his chest 27.5cm high excluding wood stand £600-800

61 61 A PAIR OF JAPANESE CLOISONNE VASES, MEIJI PERIOD (1868-1912) bulbous, enamelled with white iris and peony blossoms on a grey green ground within pale green bird and scroll borders 16cm high £400-600

59 59 A CHINESE CLOISONNE ENAMEL LARGE BEER JUG, TIBETAN STYLE, 20TH CENTURY the cylindrical bronze body divided into four sections by horizontal inlaid convex bands, each with scrolling foliate design in relief, with domed lid, scrolling spout and handle and apocryphal Qianlong mark 49cm high £1500-2500

62 62 A PAIR OF JAPANESE CLOISONNE VASES, MEIJI PERIOD (1868-1912) the bulbous bodies decorated with fans amidst flowering leafy tendrils on a turquoise ground, formal foliate borders to the slender necks 30.5cm high £150-250

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65 65 A PAIR OF JAPANESE BRONZE VASES, SIGNED KOKU KOSHU (CARVED BY KOSHU), MEIJI PERIOD (1868-1912) slightly flared cylindrical, gold and silver inlay, engraved and patinated with opposing longtailed cockrells perched on blossoming plum tree branches 15cm high excluding wood stands £600-800

63 63 A CHINESE ARCHAIC BRONZE JUE (RITUAL WINE VESSEL), LATE SHANG DYNASTY, CIRCA 12TH / 11TH CENTURY BC the vessel on three elongated splayed legs of triangular section, the main body decorated with three incised lines, the guttered spout set at the base with two mushroom-shaped finials 21cm high Provenance: Bonham’s, London, 14 May 2007, lot 105 £2000-3000

64 64 THREE CHINESE FIGURAL JADE MATRIX SEALS AND A HARDSTONE FIGURE OF A STYLISED QILIN one seal carved as a toad, one as a qilin, the other as another qilin looking over its shoulder at a bird, mottled green, rust to black tones, the black toned hardstone of slab like form largest 20cm long (4) Provenance: Sotheby’s, London, 17 January 1957, lot 29 £500-800

66 66 A JAPANESE KOMAI STYLE IRON AND GILT DAMASCENED VASE AND COVER, MEIJI PERIOD (1868-1912) ovoid, one side decorated with two cranes amidst flowers, the reverse with pavilions in a landscape inside shaped frames against a ground scattered with four kiku roundels, the shoulders decorated with fruiting vine beneath a key pattern rim, signed 16cm high £150-200

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69 A JAPANESE SATSUMA VASE, MEIJI PERIOD (1868-1912) typically decorated in colours and gilt, with four panels of a variety of figures, underside signed on a red panel Satsuma below the Shimazu mon 25.5cm high £150-250 70 ~ A JAPANESE IVORY ‘SHIBAYAMA’ WORK FIGURE OF AN ELEPHANT, MEIJI PERIOD (1868-1912) carved standing four-square, inlaid with tortoiseshell, coral and ivory, heavily caparisoned with a textile howdah cloth, beading and jewellery, a large lotus on his back supporting a glass globe 31cm long £2000-3000

67 67 A CHINESE BRONZE FIGURE OF AN OFFICIAL, LATE 19TH CENTURY modelled seated on a throne wearing official robes and a necklace, the throne cast with dragons and raised on paw feet, supported on a stepped circular case, incised signature 23cm high £400-600

68 68 A CHINESE ARCHAISTIC BRONZE CENSER, XUANDE MARK BUT LATER dark patinated, of circular cauldron form with integral loop handles to the rim, on three conical feet 12.6cm wide £300-400

71 ~ A CHINESE CARVED IVORY CARD CASE AND COVER, PROBABLY CANTON, MID 19TH CENTURY one side in high relief with a vignette of figures in an interior within a border of blossoms and foliage, the other side with a stylized townscape of buildings and trees inhabited by figures 10.2cm long £200-300 72 ~ A CHINESE CARVED IVORY MINIATURE GROUP OF GUAN YU, MING DYNASTY, 17TH CENTURY probably a seal, depicting the figure perched on a stool, one hand lying on his thigh, the other contemplatively stroking his long beard, leaning his elbow on the table as he gazes at a book, a brush pot to its side, all on a panelled rectangular plinth 4.9cm high The group probably represents the episode from Guan Yu’s life when he completed the huge task in only a few nights of memorising the Confucian classics The Spring and Autumn Annals and The Commentary of Zuo. Devotion to the general and scholar, who died in 220AD, grew over time and reached an apotheosis in 1614, when the Emperor Wanli bestowed the title “Saintly Emperor Guan the Great God Who Subdues Demons of the Three Worlds and Whose Awe Spreads Far and Moves Heaven”. £800-1200 73 ~ A JAPANESE INLAID IVORY BOX AND COVER, MEIJI PERIOD (1868-1912) of geometric shape, worked overall with basketweave inlay, further inlaid in relief with stained ivory, coral and mother-of-pearl of a bird amongst blossoming prunus and narcissus, the interior also with basketweave inlay 19.5cm wide £1000-1500 74 A PAIR OF CHINESE SOAPSTONE SEALS, 20TH CENTURY square with one side rounded off, carved with dragons amidst clouds, the seal faces pictogram carved, 7.5cm high; together with a jade bangle, circa 1966, plain pale green, 8cm diameter (3) These seals and the bangle were presented to Captain Wadim Taniewski sometime between May and September 1966, when his ship, the M.V. Baxtergate, was the first British vessel to enter the Port of Dalian.

£150-200

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77 77 A CHINESE JADE LIBATION CUP, 19TH CENTURY of boat-like form, the rim with key border above a concave band, the angular handle with geometric motifs, underside with three small feet of rounded nodule form 10.5cm long £400-600

75 A CHINESE JADE CARVING OF A CABBAGE, 20TH CENTURY naturalistically carved, the stone of mottled celadon tone 26cm long £1000-1500

76 A CHINESE JADE MOUNTAIN, QING DYNASTY carved to the front face with figures standing on stps below a jagged rocky mountain face, looking down on boats in a turbulent river, the reverse with a sheer rock face, the stone of celadon tone 29.5cm £1000-1500

78 78 A CHINESE JADE FIGURE OF GUANYIN, 20TH CENTURY openwork carved with swirling robes and holding a ruyi sceptre (restored) 12cm high £150-250

79 79 A CHINESE JADE HORSE GROUP, LATE 19TH/EARLY 20TH CENTURY the horse depicted looking back, with two foals, one clambering on its back, the other beneath, nibbling at its hoof, with pale russet inclusions 10cm long £100-150

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80 A PAIR OF RITUAL TRUMPETS, TIBET, CIRCA 18TH CENTURY wood, brass and white metal, of tapering form, extending with concertina action, with elaborate scrolling brass appliqué decoration 67cm long approx. each £500-800 81 A PAIR OF RITUAL TRUMPETS, TIBET, 18TH/19TH CENTURY copper and brass, of tapering form, with concertina extension 200cm approx. each (fully extended) £600-900 82 A COLLECTION OF RITUAL OBJECTS, TIBET, 19TH-20TH CENTURIES comprising four damaru, two pairs of cymbals, a silk thang-ka drawn in ink, four vajras, a phurbu, a finial, a prayer wheel, a teabowl, two ghantas, and two vajra-ghanta sets (21) £200-300

80 83 TWO FIGURES OF VAJRAPANI, TIBET, 20TH CENTURY painted terracotta, each standing on a lotus base within a flaming aureole, stepping to the right, each holding a vajra aloft in his right hand, one a ghanta in his left, the other with his left hand in vitarka mudra, 16cm high approx. each Provenance: Private collection, London. Acquired at Sotheby’s in the late 1980s £100-150 84 FOUR BUTTER MOULDS AND A PRINTED BOOK, TIBET, 19TH/20TH CENTURY the moulds each carved in low relief, with Buddhist symbols and calligraphy, the book with horizontal printed paper folios enclosed in plain wood covers 10 x 38.5cm and smaller £200-300 85 A FEMALE DONOR FIGURE NEPAL, CIRCA 18TH CENTURY bronze, standing on a lotus base, wearing richly brocaded robes, her hair with traces of black pigment, tied in a bun 10.7cm high £300-400

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86 A BRONZE FIGURE OF BUDDHA, TIBET, 13TH/14TH CENTURY seated in padmasana on a double lotus throne, his hands in bhumisparsa and dhyana mudra, his robes, eyes and lips inlaid with copper and silver, with elongated earlobes, tightly curled hair and domed usnisa with bud finial, loose sealing plate, mantras in Tibetan script on the reverse 34cm high Provenance: Private collection, London. Acquired from Spink and Son, London, 29th August 1997 (a copy of the Spink invoice is sold with this lot). ÂŁ6000-8000

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87 A PARCEL GILT BRONZE FIGURE OF MANJUSRI, WESTERN TIBET, 11TH/12TH CENTURY of tall slender form, standing on small circular double lotus base, his hands in varada and vitarka mudra, a lotus stem in his left hand, flowering at his shoulder and supporting a book, wearing large earrings, tall headdress and billowing scarf, the arched aureole behind supporting a parasol with waving pennant, his face cold gilded, mounted on stand 25cm high Provenance: Private collection, London, acquired in London in the late 1980s Manjusri is the Bodhisattva representing knowledge and wisdom in Mahayana Buddhism. The iconography is similar to that of Padmapani, but the addition of a book resting on the lotus denotes his powers of insight. In another commonly seen form he is depicted wielding a sword to cut down ignorance. The slender anatomical form, along with the unworked back of the figure are typical of the Western Tibetan style. The Pala influence from India is strong but the emergence of a distinct Himalayan idiom is evident. ÂŁ10000-15000

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88 88 A COPPER GILT FIGURE OF A HORSE, TIBET, 18TH/19TH CENTURY probably from a Buddhist altar piece, the trotting animal with animal skin blanket and serpent harness, mounted on stand 34cm high

91 FOUR METAL ITEMS, TIBET, 17TH/18TH CENTURY comprising a copper gilt aureole, an iron buckle and two silver repoussé buttons 10.5 x 9 x 1cm (aureole) and smaller £150-250

£2000-3000

89 89 A RITUAL THUNDEBOLT (VAJRA), TIBET, CIRCA 18TH CENTURY brass, in the form of four crescent-shaped elements issuing from makaras emerging from twin lotuses, 11cm long £300-400 90 A SILVER AMULET BOX, TIBET, CIRCA 18TH CENTURY of oval form, with scrolling repoussé decoration, set with central carnelian in brass mount, 3.7 x 4.8 x 6cm; together with an Inlaid Silver Amulet Box (gau), Tibet, circa 18th century, parcel gilt silver, with copper back plate, of octagonal form, the central panel with repoussé foliate design around an inlaid carnelian, surrounded by a border of turquoise inlay, flanked by triple loops inlaid with turquoises, 6.7 x 5.2cm (2) Provenance: Private Collection, Germany, acquired 1960-66 in Nepal by the vendor while working in development assistance. £150-200

92 92 A RARE MUSICAL MANUSCRIPT, TIBET, 19TH CENTURY ink on paper, magazine bound with string in horizontal format, with Chinese brocade silk cover, written in Tibetan script with highlights and annotations in green and red ink to indicate rhythm and pitch 11 x 37cm £600-800 93 A TEMPLE HANGING, TIBET 19TH CENTURY composed of a row of eight tsaklis, each depicting various Buddhist figures, including Buddhas, bodhisattvas, dakinis and lamas, mounted on Chinese silk brocade panels with beaded tassels below 42 x 151cm (excluding tassels and hanging loops) £300-400

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94 94 A THANGKA DEPICTING VAJRAPANI, TIBET, 18TH CENTURY pigment on cloth, the plump blue deity with fierce expression, stepping to his right on a lotus base, standing within a fiery aureole, three figures of lamas in the clouds above, three further Buddhist deities below, Chinese brocade silk mount, mantras inscribed on the reverse in cursive script 63 x 39cm (painting); 133 x 80 (including poles and mount) £1200-1500 95 SIX BUDDHIST PAINTINGS, TIBET, 19TH CENTURY comprising five tsaklis, one depicting Amitayus, another depicting Buddha, a third depicting Lha-mo on her mule, a fourth depicting Vajrapani, and the fifth Mahakala, and a small thang-ka depicting Buddha, each framed 30.5 x 23cm £200-300

96 96 A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURY pigment with gold on cloth, depicted seated on a lotus within an elaborate aureole, a winged kirtimukha above, figures of the devotees Mogollana and Sariputta in front, surrounded by further scenes from the life of the Buddha in a landscape, later silk surround, mantras inscribed on the reverse 75 x 52cm Provenance: Private collection, London £300-400 97 A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURY pigment on cloth, the Buddha seated in a landscape amidst blossoms, smaller figures of Manjusri, Sadaksari and Mahakala and offerings in the foreground, silk brocade surround, three Tibetan letters on the reverse 31 x 21.5cm (painting) £150-200

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100 A BRONZE FIGURE OF GARUDA, NEPAL, CIRCA 18TH CENTURY the winged vehicle of Vishnu kneeling on a circular lotus base, his hands in namaskara mudra, wearing coiled cobra earrings 11.5cm high £200-300 101 A SINO-TIBETAN BRONZE FIGURE OF AMITAYUS, CHINA, 18TH CENTURY seated in padmasana on a double lotus throne, his hands in dhyana mudra, wearing elaborate crown, necklaces and robes 17cm high

98 98 FIVE BEER JUGS, TIBET, 19TH/EARLY 20TH CENTURY copper, brass and white metal alloy, each of tapering cylindrical form, with ridged sides and hinged handle, 38cm and smaller £150-250

£400-600 102 A FORM OF KALI, NEPAL, 16TH/17TH CENTURY bronze, the multi-headed, multi-armed form of the tantric goddess seated in padmasana on a prone figure of Siva(?) on a double lotus base, wearing a skull necklace, and a smaller necklace inlaid with semi-precious stones, holding various attributes including a skull bowl, traces of gilding, 18.5cm high Provenance: Private collection, USA. Acquired before 1990 £1000-1500 103 A BRONZE FIGURE OF AVALOKITESVARA, NEPAL, 17TH/18TH CENTURY the multi-armed deity standing on a lotus throne under a seven-headed cobra canopy within a flaming aureole, a diminutive figure of a devotee below 12cm high Provenance: Private collection, USA. Acquired before 1990 £250-350

99 99 A BRONZE FIGURE OF TARA, NEPAL, 19TH CENTURY in walking pose, her right hand at her waist, holding the stem of a padma, her left at her breast in vitarka mudra, wearing elaborate crown and earrings, mounted on stand, 38cm high £1200-1500

104 A BRONZE FIGURE OF A TANTRIC GODDESS(?), NEPAL, CIRCA 16TH CENTURY the multi-armed, multi-headed deity seated on a rat, resting on the prostrate corpse of a male deity, holding various attributes including karttrka and kapala, the rectangular base below with a row of severed heads, traces of gilt on aureole and chest 13.5cm high Provenance: Private collection, USA. Acquired before 1990 £700-900

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100

101

102

103

104

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108 A BRONZE FIGURE OF NARASIMHA, TAMIL NADU, SOUTH INDIA, 17TH/18TH CENTURY the lion-headed avatar of Vishnu, seated in lalitasana on a circular throne under a seven-headed cobra canopy, his consort on his left knee 12cm high Provenance: Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1972, inv. JPC 72/58. £600-800 109 A BRONZE FIGURE OF SIVA AND PARVATI, KERALA, SOUTH INDIA, 16TH CENTURY seated on a lotus throne on rectangular base, the four-armed god with long flaring hair, holding his consort on his left knee, holding an axe and a deer in his upper hands, his primary right hand in varada mudra 12cm high

105 105 A BRONZE LAMP STAND, SOUTHERN INDIA, 18TH CENTURY in the form of a hamsa perched on a raised circular base, supporting a shaft with small flared circular tray above 19.7cm Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1975, inv. JPC 75/27. £250-350

Provenance: Private collection, USA. Acquired before 1990 £600-800 110 A BRONZE SHRINE DEPICTING LAKSHMI-NARAYANA, WESTERN INDIA, CIRCA 17TH CENTURY the four-armed figure of Vishnu seated in lalitasana on a cushion, holding sankha, padma, cakra and gada, glass(?) inlaid eyes 14cm high Provenance: Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1976, inv. JPC 76/14. £600-800 111 A BRONZE FIGURE OF UMA-MAHESVARA, TAMIL NADU, SOUTH INDIA, 16TH/17TH CENTURY the divine couple seated on a lotus throne, the god with long hair tumbling down his shoulders, his hands in abhaya mudra and holding his consort who sits on his left knee holding a padma, each wearing tall headdress with bud finial 13cm high £800-1200

106 107 106 A BRONZE FIGURE OF GARUDA, WESTERN INDIA, CIRCA 18TH CENTURY kneeling on a tiered openwork base, the winged deity with hands in namaskara mudra 14.5cm high Provenance: Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1975, inv. JPC 75/26. £250-350 107 A BHUTA FIGURE OF A DEITY RIDING A BOAR, KARNATAKA, DECCAN, 19TH/20TH CENTURY bronze, in two sections, holding a sword and trident(?), wearing a tall openwork crown 15.5cm high together £250-350

112 DURGA MAHISASURAMARDINI, WESTERN DECCAN, INDIA, 18TH CENTURY brass shrine, the four-armed goddess wielding her trident, the buffalo head and her vehicle the lion at her feet 16.7cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1976, inv. JPC 76/34. £500-800 113 A BRONZE SHRINE DEPICTING VISHNU, WESTERN INDIA, 12TH/13TH CENTURY the four-armed deity standing within an elaborate scrolling makaratorana, flanked by apsarases, a pair of chauri bearers below 15.5cm high Provenance: Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1975, inv. JPC 75/33. £800-1200

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108

109

110

111

112

113

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114 detail 114 A LATE CHOLA BRONZE FIGURE OF HANUMAN, THE MONKEY GOD, TAMIL NADU, SOUTH INDIA, 13TH/14TH CENTURY standing on a circular lotus base on a square platform pierced for carrying rods, his hands clasped in namaskara mudra, wearing headband, pendant earrings and elaborate belt with lion head buckle, his scrolling tail with bud finial 38cm high Provenance: Private collection, London. Acquired in London c.1980, (on consignment to Spink and Son, late 1980s), said to have been in an Italian collection prior to 1980. Hanuman, king of the monkeys and hero of the Hindu epic the Ramayana is one of the most popular characters in Indian mythology. He is a heroic protector against demons and is invoked to ward off accidents on journeys. ÂŁ35000-45000

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114

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115 115 A JAIN CATURMUKHA SHRINE, WESTERN INDIA, 17TH/18TH CENTURY OR EARLIER brass, representing Nandisvara Island, in the form of a square pavilion with stepped base and tiered roof, a nude digambara tirthankara figure facing out on each side 15.5cm high

117 117 A JAIN BRASS FIGURE OF PARSVANATHA, WESTERN INDIA, DATED SAMVAT 1567/1511 A.D. seated in padmasana on a lion throne, his emblem, the cobra in front, sheltered by a nine-headed cobra, dedicatory inscription on the reverse including date 12.5cm high £800-1000

This type of Jain shrine (‘four-faced’) conveys the sense of jain teachings being spread far and wide. Nandisvara (‘Continent of Rejoicing’), is an idyllic part of the mythical Jain cosmos. For a similar dated shrine, see Christie’s New York, 19th September 2002, lot 59. See also P. Pal, The Peaceful Liberators: Jain Art from India, London 1995, p.121 £700-900

118 118 A JAIN BRASS SHRINE DEPICTING RSHABHANATHA, GUJARAT, WESTERN INDIA, DATED SAMVAT 1518/1461 A.D. with silver and copper inlay, the tirthankara seated on a cushioned lion throne, flanked by attendants and further standing and seated jinas, a canopy and kalasa finial above, dedicatory inscription and date on the reverse 18.5cm high 116

119

£1500-1800

116 A TRIO OF JINA FIGURES, WESTERN INDIA, 13TH/14TH CENTURY with larger central figure flanked by two smaller, each standing nude under a parasol, four lines of devanagari dedicatory script on the reverse, including an indistinct date 132[..]? 12.5cm high

119 A BRONZE FIGURE OF A DIGAMBARA JINA, DECCAN, SOUTHERN INDIA, 18TH/19TH CENTURY the nude male figure standing on a circular base, a kannada letter at the back 13.2cm high

£800-1000

£500-800

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120 120 A JAIN BRONZE SHRINE, WESTERN INDIA, PROBABLY GUJARAT, DATED SAMVAT 1188/1131 A.D. depicting Munisuvrata, the twentieth tirthankara, seated in padmasana under a tiered parasol on a lion throne, his emblem the tortoise in front, flanked by chauri bearers, surrounded by an openwork prabha with diminutive figures of the other 23 tirthankaras, surmounted by kalasa finial 26cm high Provenance: Private Collection, London; Acquired from Bodhicitta, New York, late 1990s £5000-7000 121 TWO JAIN FIGURES, WESTERN INDIA, 19TH, 20TH CENTURY bronze, each depicting a tirthankara seated in padmasana 8cm, 6cm £100-150

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122 122 A BRASS DURGA SHRINE, DECCAN, SOUTHERN INDIA, 17TH/18TH CENTURY in three sections, the four-armed goddess seated on a stool, wielding trisula, damaru, kapala and khadga, a five-headed cobra canopy above, the square base with five severed heads in front, the scrolling aureole with kirttimukha finial 25cm high

124 A BRASS SIVA MASK (MOHRA), HIMACHAL PRADESH in the form of a stylised bust, the head with crown, large earrings and third eye, mounted 19.5cm high Provenance: Private Collection, Italy £80-100

£800-1200

123 123 A BRONZE FIGURE OF NANDI, WESTERN DECCAN, CIRCA 18TH CENTURY seated on a rectangular base with left leg propped up, wearing blanket and trappings 8.5cm high £250-350

125 125 NANDI AND THE YONI-LINGAM, WESTERN DECCAN, 17TH/18TH CENTURY bronze, on rectangular base, the lingam sheltered by a cobra 6 x 7.5 x 3.7cm £200-300

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126 126 A BRASS HAKU PATRA PLAQUE, ANDHRA PRADESH, DECCAN, SOUTHERN INDIA, DATED SAMVAT 1516/ A.D.1460 cast brass, of rectangular form, with cusped arched top, surmounted by kirttimukha, the front with five tiers of relief scenes, including Siva with Nandi, Durga, Ganesha and a scene of a sculpture workshop with grinding wheel and anvil, the reverse densely inscribed with 52 lines of Telugu script, 27 x 13.2 x 0.6cm, together with Another, Tamil Nadu, Southern India, probably circa 17th century, of arched rectangular form, with incised decoration and inscriptions, comprising, on one side, at the top, figures of Siva and Parvati on Nandi, flanked by figures of their sons, Ganesha on his rat, and Subrahmanya on his peacock, the other side with a devotional scene with a priest and devotee, flanked by the sun and moon, the main panels on either side densely filled with 63 and 54 lines of Tamil script, mounted in wood stand, 29.9 x 22.2cm; 2mm approx. thick (2) Provenance: Private collection, London, acquired about 25 years ago. The Telugu inscription, a full transcript and translation of which is sold with this lot, comprises a mythical description of the origin of the Visvabrahmins or Visvakarmas, a community of artisans chiefly in the Southern states of India. They see themselves as descendants and followers of Visvakarma, the Hindu god who is considered architect of the universe, and they are divided into five groups, each descending from one of Visvakarmaâ&#x20AC;&#x2122;s five sons, comprising carpenters, blacksmiths, bell metalworkers, goldsmiths and stonemasons. Haku Patras are effectively grant certificates which accord rights to single or groups of people: this might be rights over the use of land, or to perform or provide services. They are thought to have been in use for about 500 years, which makes this example amongst the earliest. As well as metal, Haku Patras are sometimes paper documents or scrolls. The main work on the subject is research undertaken by R. Thirmal Rao funded by the British Library. See http://eap.bl.uk/ (search for no.201). A similar example to this lot, in the J. LeRoy Davidson Collection, was exhibited in San Diego, at the Mingei International Museum of Folk Art. ÂŁ6000-8000

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127 127 A BRONZE FIGURE OF NANDI, WESTERN DECCAN, CIRCA 18TH CENTURY seated on a rectangular base with a diminutive lingam in front, wearing an elaborate necklace with hanging bell 8cm high £350-450

130 130 A BRONZE SHRINE DEPICTING GANESHA, HIMACHAL PRADESH, CIRCA 15TH CENTURY of stylised form, the elephant headed deity seated with splayed legs, his vehicle the rat at his side 11.5cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1974, inv. JPC 74/45. £500-800

128

129

128 A BRASS FIGURE OF DURGA SLAYING THE BUFFALO DEMON, MAHARASHTRA, WESTERN DECCAN, INDIA, 19TH CENTURY on square lotus base, the eight-armed goddess wielding her trident, wearing tall headdress with bud finial 13cm high £150-250 129 A BRASS LINGAM COVER, MAHARASHTRA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY in the form of a mask, the moustachioed face, with wide almondshaped eyes, wearing crescent pendant, small hoop earrings and tiered conical headdress 24cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1965, inv. JPC 65/24. £500-700

131 132 131 A BRONZE GAURI HEAD, WESTERN INDIA, 19TH CENTURY on circular stand, wearing large circular earrings, her hair gathered at the back in a plaited pigtail, traces of black and red lac 13.5cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1969, inv. JPC 69/212. £200-300 132 A BRASS LINGAM COVER, MAHARASTHRA, WESTERN INDIA, 18TH/19TH CENTURY with moustachioed face of Siva, wearing a turban and necklace, standing on flared rim base 12cm high £200-300

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133 133 A BRONZE SHRINE DEPICTING VISHNU, TAMIL NADU, SOUTH INDIA, 18TH CENTURY in three sections, the four armed deity standing on a lotus, his primary hands in varada mudra and resting on his hip, his upper hands holding cakra and sankha 22.5cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1966, inv. JPC 66/86. £800-1000 134 A SMALL BRONZE VISHNU SHRINE, DECCAN, SOUTHERN INDIA, 17TH/18TH CENTURY the four-armed deity holding gada, sankha and cakra, his primary right hand in abhaya mudra, standing on flared rectangular base, a pointed aureole behind 7.5cm high £80-120 135 A BRONZE FIGURE OF NANDI, GOND TRIBE, ORISSA (ODISHA), EASTERN INDIA, 19TH CENTURY a cobra resting on his back, wearing plaited blanket and trappings 6.5cm high

136 136 KHANDOBA AND MHALSA, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY brass, cast in two sections, the four-armed form of Siva seated on horseback with his consort, holding a sword in his right hand 19cm high £600-800 137 A BRONZE FIGURE OF KRISHNA VENUGOPALA, ORISSA (ODISHA), EASTERN INDIA, CIRCA 17TH CENTURY standing on a circular beaded lotus base, wearing sandals, elaborate crown, headdress and earrings, playing the flute (now missing) 15.5cm high £150-250 138 A SMALL BRONZE FIGURE OF DEVI, WESTERN INDIA, CIRCA 18TH CENTURY standing on a square base, her hands held in front, a padma in her left hand, a long pony tail running down her back 9cm high £120-150

£120-150

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139 139 A LARGE HANUMAN PENDANT, INDIA, LATE 19TH CENTURY bronze, the monkey-headed deity depicted in relief within a circular openwork medallion, a seven-headed cobra-headed finial above 24.5cm high; 21cm wide Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1966, inv. JPC 66/62.

141 141 A BRONZE FIGURE OF DURGA, DECCAN, PROBABLY KARNATAKA, SOUTHERN INDIA, 16TH/17TH CENTURY bronze, with silver-inlaid eyes, the four-armed goddess seated on a lotus throne with legs loosely crossed 10.5cm high Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1973, inv. JPC 73/26. £500-800

In the Hindu epic, the Ramayana, Hanuman, flies to collect the lifesaving plant for the ailing Lakshman. A fallen demon holds a sword and shield but is quickly knocked over by the monkey-headed deity. In his left hand he holds the magical visalya-karani plant. £400-600

140

142 142 A BRONZE FIGURE OF KRISHNA VENUGOPALA, BENGAL, EASTERN INDIA, CIRCA 18TH CENTURY standing on a circular lotus base, with legs crossed, playing the flute (now missing), wearing large earrings, his hair tied in a bun 20cm high

140 A BRONZE FIGURE OF SKANDA, TAMIL NADU, SOUTH INDIA, 18TH CENTURY standing with left leg flexed on a lotus base, his left hand raised, his left held in front, wearing elaborate earrings and a tall headdress with bud finial 17.3cm high

Provenance: Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1977, inv. JPC 77/17.

£600-800

£700-900

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145 A EWER AND A FIGURE OF A DEITY, CENTRAL ASIA AND INDIA, CIRCA 18TH CENTURY the ewer of bulbous form, with ridged cylindrical neck, hinged domed lid and scrolling makara spout, the figure with hands outstretched, his head with flared turban 18cm (ewer); 11cm (figure) £100-150 146 A BRONZE FIGURE OF KRISHNA VENUGOPALA Kerala, South-Western India, circa 16th century On circular base, the god depicted playing the flute (now missing) standing under a tree, wearing elaborate costume, headdress and jewellery, a diminutive cow at his feet, listening to the music 13cm high Provenance: Private collection, USA. Acquired before 1990

143 143 A BRONZE VIRABHADRA PLAQUE, WESTERN DECCAN, 18TH CENTURY the four-armed deity depicted in relief, with sword and shield in his primary hands, a diminutive figure of Daksha at his feet, his daughter Sati depicted on the other side, a pointed arch above with kirtimukha finial, a lingam and Nandi in the spandrels 26 x 14.5cm Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1977, inv. JPC 77/69 Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him. Sati who was Daksha s daughter as well as being Siva’s wife was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha s head to avenge his wife. Other gods pleaded for Daksha’s life but although Siva decided to spare him, his severed head could not be found so the head of a goat was substituted instead. £350-450

£200-300 147 A BRONZE FIGURE OF RADHA, BENGAL, 19TH CENTURY standing on a circular lotus base, holding a padma in her raised right hand, her body flexed, her hair gathered in a bun 22cm high £100-150 148 A BRONZE FIGURE OF A YOGI, BENGAL, EASTERN INDIA, 18TH/19TH CENTURY seated on a raised lotus, his legs loosely crossed, his hand in jnana mudra at his chest 8.3cm high £120-150 149 THREE BRONZE FIGURES comprising A Bronze Figure of Ganesha, Deccan, Southern India, late 19th century, 12.8cm high, A Bronze Figure of Buddha, Burma (now Myanmar), 20th century, 14.5cm high, and A Bronze Figure of an Arhat, Tibet, 20th century, 9cm high £150-250

144 144 A VIRABHADRA PLAQUE, WESTERN INDIA, 19TH CENTURY copper repoussé the four-armed deity wielding a sword, standing under an elaborate makaratorana, flanked by diminutive figures of Daksha and Sati, 25 x 17.5cm Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1971, inv. JPC 71/13. See footnote to the previous lot. £250-350

149

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150 150 A BRONZE FIGURE OF RAMA, TAMIL NADU, SOUTH INDIA, 16TH/17TH CENTURY the four-armed deity holding a lotus, a sword, a shield and bow, standing on a rectangular base, wearing sandals, his tall headdress with bud finial 16.5cm high Provenance: Provenance: Formerly in the collection of the late Peter Cochrane, acquired in 1969, inv. JPC 69/98. £600-800

152 152 A BASTAR BRONZE FIGURE OF DURGA, CHATTISGARH, CENTRAL INDIA, CIRCA 19TH CENTURY standing on a circular base, holding trisula and cakra(?), her head framed by a serrated aureole 16.5cm high Provenance: Private collection, USA. Acquired before 1990 £150-250

151 151 A BRONZE FIGURE OF GANESHA, MAHARASHTRA, WESTERN DECCAN, 18TH/19TH CENTURY seated on a round stool, the pot bellied, four-armed elephantheaded deity eating sweets from his left hand, his right holding a padma 10.5cm high £500-800

153 153 A KUSHAN PINK SANDSTONE FRAGMENT, NORTHERN INDIA, 3RD/4TH CENTURY probably from a stupa railing post, carved in relief on both sides with a bust of a salabhanjika, mounted on stand 15 x 14 x 8.5cm approx. Provenance: Private collection, London, acquired at auction in London about 20 years ago. £600-800

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154 154 A SCHIST STELE DEPICTING SIVA VINADHARA, WESTERN DECCAN, 10TH/11TH CENTURY the four-armed deity playing the vina, his upper hands holding trisula and damaru, a diminutive figure of his vehicle the bull Nandi in relief below 39cm high Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £1200-1500

155

156

157

155 A GANDHARA STUCCO FRAGMENT, NORTH-WEST FRONTIER REGION, INDIA (NOW PAKISTAN), 4TH/5TH CENTURY depicting the head of the Buddha 13cm high

157 A GANDHARA STUCCO HEAD OF BUDDHA, NORTH-WESTERN INDIA (NOW PAKISTAN), 4TH/5TH CENTURY stucco, his hair in plaited rows, mounted on stand 15cm high

Provenance: Thought to have been acquired in Lahore in 1937 by the vendor’s grandmother.

£800-1200

£200-300 156 A BUFF SANDSTONE FRAGMENT, CENTRAL INDIA, 11TH/12TH CENTURY depicting a female bust, probably of Lakshmi, the arm of her consort holding his attribute, the conch shell, around her left shoulder, mounted 12.5cm high £200-300

158 FIVE STONE CARVINGS, INDIA AND AFGHANISTAN 16cm and smaller Provenance: Private collection, Germany, acquired 1960-78 in India and Afghanistan by the vendor while working in development assistance. £80-120

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159

159 TWO SCENES FROM THE RAMAYANA, PROBABLY BILASPUR, MID-18TH CENTURY gouache with gold on paper, the first depicting Hanuman’s fighters attacking the rakashas, encouraged by Lakshmana, the second Rama annointing Hanuman 22 x 32cm (image) For two paintings from the same series, see 25 Blythe Road Ltd, 11 November 2015, lots 196 & 197. Others are in the Viginia Museum of Fine Arts, see Joseph Dye III, The Arts of India: Virginia Museum of Fine Arts, London 2001, no.121, and The Los Angeles County Museum of Art (see M. Biardeau, M.-C. Porcher & A. Taha HusseinOkada, Ramayana illustré par les miniatures indiennes du XVIe au XIXe siècle, Paris 2011, p. 245 £2000-3000

160 TODI RAGINI, PAHARI, NORTH-WESTERN INDIA, LATE 19TH CENTURY gouache with gold on paper, the image within a painted oval medallion, framed 20.7 x 15cm £250-350 161 A COLLECTION OF MISCELLANEOUS INDIAN PAINTINGS, DRAWINGS AND FOLIOS, MOSTLY 18TH/19TH CENTURIES 25 x 20cm (average size) (23) £200-300

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162 162 AN ELEPHANT FIGHT, MEWAR, RAJASTHAN, INDIA, 18TH CENTURY gouache on paper, depicting two dueling elephants ridden by mahouts in a palace courtyard, watched by a ruler from a balcony, red border, inscribed in white at the bottom with a line of devanagari script, framed 30.8 x 27cm (main image) Provenance: Private collection, London, acquired at auction in London about 20 years ago. £3000-4000 163 A GIRL ARRANGING HER HAIR, MANDI, PUNJAB HILLS, 19TH CENTURY gouache with silver on paper, with old catalogue entry, possibly Maggs Bros., 170 x 205cm together with A Painting of a Prince Meeting a Holy Man, Persia, late 19th/early 20th century, gouache on paper, laid on card, gold painted border, 167 x 103mm (image) (2)

164 PORTRAIT OF A MAHARAJA ON HORSEBACK, RAJASTHAN, WESTERN INDIA, CIRCA 1900 gouache with gold on paper, framed 14 x 13.7cm (within mount) £150-200 165 AN EROTIC SCENE, RAJASTHAN, PROBABLY JAIPUR, INDIA, LATE 19TH CENTURY gouache with silver and gold on paper, depicting a princely figure in erotic embrace with a female musician, orange border with a single line of devanagari script, framed 23 x 18.5cm £200-300

£80-120

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166 166 A RULER ON HORSEBACK, MEWAR, RAJASTHAN, INDIA, CIRCA 1800 gouache with gold on paper, the main richly attired, wearing a turban, a halo around his head, riding in a landscape, framed with associated inscription on the mount 222 x 154mm (image) £300-400

168 168 SRI NATH JI WITH DEVOTEES, PROBABLY NATHDWARA, RAJASTHAN, MID-19TH CENTURY gouache with silver and gold on paper, devanagari inscription on top border 21 x 14cm (image) Provenance: Private collection, London; Maggs Bros. 8 June, 1973 £400-600 169 A MEWAR PORTRAIT OF A RULER, RAJASTHAN, INDIA, LATE 18TH CENTURY gouache with gold on paper, the plump figure depicted on a terrace, smoking a huqqa, a floral sprig in his left hand, an attendant holding a chauri behind, framed 14.7 x 15cm Provenance: Private collection, London, acquired at auction in London about 20 years ago. £2500-3500 170 A MUGHAL PORTRAIT OF A LADY, NORTHERN INDIA, 18TH CENTURY gouache with gold on paper, the figure depicted in a landscape, holding a flower in her right hand, framed 15.5 x 8.8cm Provenance: Private collection, London, acquired at auction in London about 20 years ago.

167 167 AN EROTIC SCENE, PROBABLY UNIARA, RAJASTHAN, INDIA, 18TH CENTURY gouache with gold on paper, the royal couple on a hanging bed, observed by two servant girls, framed 205 x 140mm (image visible)

£3000-4000

Provenance: Kasmin Gallery, London, circa 1980

171 THREE MINIATURES DEPICTING RAGAMALA SCENES, JAIPUR, RAJASTHAN, INDIA, MID-19TH CENTURY gouache with gold on paper, depicting a woman feeding peacocks on a terrace, a group of women playing a board game, and women tending to a sick man 20 x 14cm (image) and smaller

£800-1200

£500-800

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169

170

171 part

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172 172 SCENES FROM THE MAHABHARATA, DECCAN, INDIA, LATE 18TH CENTURY gouache with ink and gold on paper, comprising six small folios, four inscribed with islamic calligraphy or numerals, each depicting scenes from the Hindu epic including Krishna and Rama with Arjuna and the Pandavas, the reverse of each undecorated 14 x 8cm (image) approx. each (6)

174 A MAIDEN AND HER ATTENDANT, RAJASTHAN, PROBABLY AMBER, LATE 18TH CENTURY gouache with silver and gold on paper, probably from a ragamala series, nasta’liq inscription at the top, further inscriptions in devanagari on the reverse 248 x 160mm (inside borders) £200-300

£600-800

173 173 LOVERS IN A PALACE, BUNDI, RAJASTHAN, INDIA, 18TH CENTURY gouache on paper, red border, later inscription on the reverse, framed 180 x 148mm (image)

175 175 A SCENE FROM THE BHAGAVATA PURANA, CENTRAL INDIA, 18TH CENTURY gouache with ink and gold on paper, depicting Brahma and Krishna with his brother Lakshmana in various scenes, three lines of devanagari script in the red margins on three sides, a further line of script on the reverse 17 x 29.5cm (image)

Provenance: Kasmin Gallery, London, circa 1980

Provenance: Private collection, London; Maggs Bros. 8 June 1973

£800-1200

£700-900

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178 PORTRAIT OF A RULER, RAJASTHAN, PROBABLY JAIPUR, SECOND HALF 19TH CENTURY gouache with gold on paper, the subject wearing a gilt helmet, a shield in his left hand, the image surrounded by multiple borders, framed 15 x 10cm £150-200

176 part 176 THREE ISLAMIC FOLIOS comprising Two illustrated leaves from a dispersed shahnama, Delhi or Kashmir, circa 1800, gouache with gold and ink on paper, and A Qur’an Folio in kufic script, North Africa or Near East, 9th/10th century, Arabic manuscript on paper, sura XII, Yusuf, part of verse 17 to part of verse 19, 7 lines to the page, in black ink with vowel points and diacritics in red and black, lacking markers between verses, 16 x 20cm The lack of verse markers on the kufic folio indicates that the folio was copied in the 9th rather than in the 10th century. £600-800

179 179 A MALABAR COUPLE, COMPANY SCHOOL, SOUTH-WESTERN INDIA, SECOND HALF 19TH CENTURY watercolour on English paper, inscribed in English below: Ashary or Panikan. Carpenter; Asharichee or Panikathee. None, paper watermarked: Dorling and Gregory 1880, mounted 13.2 x 19cm (image) For two similar paintings sold in these rooms, see 11 June 2015, lot 220. £250-350

177 part 177 ELEVEN FOLIOS FROM A DISPERSED EDITION OF FIRDAUSI’S SHAHNAMA, DELHI OR KASHMIR, EARLY 19TH CENTURY ink, gouache and gold on paper, three folios with colophon, the others each with a single illustration, four columns on nasta’liq script on either side 36 x 21.5cm approx. each

180 part 180 THREE FOLIOS FROM A DISPERSED COPY OF THE RAMAYANA, PUNJAB HILLS, NORTH-WESTERN INDIA, FIRST HALF 19TH CENTURY gouache with ink and gold on paper, each with illustration, the text in gurmukhi on either side 23.9 x 31.5cm

£800-1200

£1000-1500

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181 181 A SCENE FROM THE MAHABHARATA, MALWA, CENTRAL INDIA, 17TH CENTURY gouache on paper, depicting Pralamba carrying Balarama, framed 12.5 x 20.5cm The demon Pralamba joined Krishna and Balarama in a jumping contest, and as loser, had to carry Balarama on his back. Assuming the form of an giant ogre, he tried to kidnap Balarama, but Krishna limited his powers, enabling Balarama to beat him to death.

183 183 A FOLIO FROM A JAIN MANUSCRIPT, RAJASTHAN, WESTERN INDIA, 18TH CENTURY gouache with gold on paper, depicting a prince visiting a fortified palace in three episodes, framed 6.5 x 21.5cm £200-300

For a very similar depiction of the same scene, see Bonhams London, 6th April 2006, lot 413. £700-900

182 182 A PRINCESS VISITED BY A SADHU, MEWAR, RAJASTHAN, INDIA, CIRCA 1800 gouache with gold on paper, the princess seated in a loggia, the sadhu on a ladder 30 x 22cm (image) £400-600

184 184 IBRAHIM VISITED BY ANGELS, MEWAR, INDIA, CIRCA 1800 gouache with gold on paper, Ibrahim depicted seated on a rug under a tree in a verdant landscape by a lake, two angels bringing gifts and another two in the the distance, a devanagari inscription along the top border 32 x 23cm (image) £400-600

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185

185 A MINIATURE COPY OF THE BHAGAVATA GITA, PUBLISHED IN BOMBAY (MUMBAI), INDIA, LATE 19TH CENTURY printed sanskrit text in gilt leather covers, in silver locket with magnifying lens 22 x 20 x 8mm (book) For a similar volume of the Zoroastrian Text, Khordeh Avesta, published by Taraporevala and printed in Gujarati, from the collection of the late Kazushige Onuma, sold recently, see PBA Galleries, San Francisco, 18 August 2016, lot 170 £400-600 186 A NOBLEMAN ON A TERRACE, GUJARAT, WESTERN INDIA, LATE 19TH CENTURY reverse painting on glass, the man wearing a floral waistcoat, holding a sword in his right hand, a forest and evening sky in the distance, probably original frame 49 x 34cm £100-150 187 A GEM-SET SILVER BUCKLE, WESTERN INDIA, EARLY 19TH CENTURY the convex roundel with central rosette, set with garnets and rock crystals, surrounded by scrolling foliage and acanthus border around the edge, flanked by similarly decorated rectangular elements attached to loops on either side, the reverse gilded, 6 x 10cm; together with a Large Silver Earring or Button, Northern India, 19th century, of circular form, with central inlaid carnelian surrounded by a floral design composed of appliqué beadwork, fringed with an openwork floral border, attachment loop on the reverse, 6.5cm diam. and a Buckle and a Pendant, Rajasthan, Western India, 19th century, silver, the buckle with square central medallion depicting a flower vase in relief, flanked by attachment loops, the pendant of yoni form with dancing figure of Hanuman, later metal chain, 3.5 x 6.5cm; 5.8 x 3.6cm (4) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £200-300

188 A CAST BRASS COSMETIC BOTTLE, INDIA, CIRCA 18TH CENTURY on four claw feet, the bulbous body with incised foliate cartouches, surmounted by neck with spiralled fluting,13.5cm high, together with Two Mughal Brass Spitoons, Probably Lahore, Punjab, India (now Pakistan), 18th century, each of double bellshaped form, with incised decoration, one with registers of floral panels, the other with repeated loop designs,11cm; 10cm high, and a Mughal Inkwell, Northern India, 16th/17th century, bronze, of octagonal form on eight bun feet, of architectural form, with dome surmounted by hinged lid, 8cm high (4) Provenance: Private Collection, Germany, acquired 1960-78 in Asia by the vendor while working in development assistance. £150-250 189 A SMALL WATER POT (LOTA), DECCAN, SOUTHERN INDIA, 16TH/17TH CENTURY bronze, of squat bulbous form, the shoulder with lotus decoration, the scrolling spout with yali finial, 7.4cm high; 10.2cm max. length, together with a Cast Brass Temple Bell, Southern India, circa 18th century, with hooped chain attachment and ridged sides, 17cm high (2) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £100-150 190 A LARGE LINGAM STONE AND ASSOCIATED BRASS COBRA STAND, INDIA, 18TH CENTURY AND LATER the former of egg-shaped form, with coloured rope ring, the cobra stand in two sections, the lower forming a circular base, the upper with flared canopy and single head, 47cm high, together with Five Stone Lingams, India, 18th-20th century, of varying sizes, each of egg-shaped form, the smallest set in a brass yoni, another with associated puja spoon, the third with bronze tripod stand, the two largest with coloured rope stands 21cm high and smaller (including stands) (12) £300-400

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191 191 AN IRON DOOR CATCH, KERALA, SOUTH INDIA, CIRCA 17TH CENTURY the scrolling foliate design composed of a central openwork element flanked by a pair of waving ferns, a lower section attached with dome-headed rivets fringed with ornamental brass washers, mounted on stand 21 x 26cm

194 194 A RITUAL WATER-POT, KERALA, SOUTH INDIA, 19TH CENTURY brass, of bun-shaped form, on three ball feet, the sides carved with repeated peacock design in relief, an inscription in Malayalam around neck 14cm high; 14.5cm diam. £150-250

Provenance: Private collection, London The trading and subsequent artistic links between South India and South-East Asia are well illustrated by this flamboyant piece of metalwork. £400-600

192 192 TWO MUGHAL BRASS EWERS, NORTHERN INDIA, 18TH CENTURY each with bulbous body on four short faceted feet, with scrolling handle, hinged domed lid, and straight tapering spout, the sides with engraved reticulated foliate designs 25, 28cm high (2) Provenance: Private collection, London £300-400 193 A SPOUTED LOTA, DECCAN, SOUTHERN INDIA, 18TH CENTURY the scrolling spout with yali opening, with flared foot and overhanging rim, 10cm high £100-150

195 195 A MUGHAL BRASS EWER, NORTHERN INDIA, PROBABLY LAHORE (NOW PAKISTAN), 17TH/18TH CENTURY of bulbous form, with scrolling handle, hinged domed lid and straight faceted spout, with incised stylised foliate decoration, the flat sides with projecting tear drop medallions 23cm high Provenance: Private collection, London £800-1200 196 FOUR BRONZE FINIALS, INDIA, 18TH/19TH CENTURY one in the form of an elephant head, one in the form of a peacock, another with Krishna dancing on a makara head and the other a hook in the form of a double headed yali 10cm and smaller (4) Provenance: Private Collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £80-120

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197

197 TWO BRASS BOXES, INDIA, 19TH CENTURY each of elongated octagonal form, with domed lid, one with openwork trellis decoration, the other with incised leaf and ropework designs 12 x 18 x 14cm; 10 x 20 x 13cm

198

Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £150-200 198 EIGHT BRASS VESSELS, INDIA, 19TH CENTURY comprising four lotas, each with incised decoration, two with copper inlay, a mortar, with leafy decoration, and three cylindrical puja pots, with geometric and copper inlaid decoration 12cm high and smaller

201 A GROUP OF BRASS ITEMS, INDIA, MOSTLY 19TH CENTURY comprising six cosmetic bottles, two hanging lamps, a lamp shaft, a hamsa finial and two lamp chains 25cm (larger lamp), and smaller (12)

Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance.

£100-150

£150-250 202 TWENTY BRASS BODY STAMPS, INDIA, 19TH CENTURY each with openwork face, the handle with loop attachment, 6.5cm diam. and smaller, together with Four Brass Jewellery Moulds, Northern India, probably 19th century, 6.5cm long and smaller (24) Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £150-250

199 199 THREE BRASS PAN BOXES (PAN-DAN), INDIA, 19TH CENTURY each of circular form with waving line and beadwork appliqué decoration, the larger with loop handle, another standing on three feet 15cm high (handle raised); 16cm max diam. and smaller Provenance: Private collection, Germany, acquired 1960-78 in India and Afghanistan by the vendor while working in development assistance. £100-150 200 THREE COPPER VESSELS, AFGHANISTAN, EARLY 19TH CENTURY comprising a huqqa and two bowls, each with incised arabesque and foliate decoration, traces of tin plating 22.5cm diam (larger bowl) and smaller

203 203 THREE BRASS OBJECTS comprising a Tibetan ritual bell (ghanta), a lamp finial in the form of a hamsa, and a pan-dan, of lobed circular form 16.5cm (height of bell), and smaller

Provenance: Private collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance.

Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance.

£150-250

£200-300

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204 204 A LARGE BIDRI HUQQA BOTTLE, DECCAN, SOUTHERN INDIA, EARLY 18TH CENTURY alloy inlaid with sheet silver, of globular form, with sides decorated with repeated floral bouquets, each depicting different flowers, palmette and scrolling foliate borders above and below, flared ridged neck above 20cm high

207 207 A SMALL BRASS HUQQA BOTTLE, LAHORE, INDIA (NOW PAKISTAN), 18TH CENTURY of globular form, the incised decoration around the sides comprising a repeated composite boteh motif 13.5cm high Provenance: Private collection, London, acquired at auction in London about 20 years ago. £300-500

Provenance: Private collection, London £600-800

205 205 A BIDRI HUQQA BOTTLE, PROBABLY PURNEA, BENGAL, MID19TH CENTURY alloy inlaid with silver and sheet gold, of bell-shaped form, with flared ridged neck, the decoration comprising vertical bands of scrolling stylised irises 17cm high Provenance: Private collection, London

208 208 A BIDRI HUQQA BOTTLE, DECCAN, SOUTHERN INDIA, CIRCA 1800 alloy inlaid with silver, of bell-shaped form, the ribbed sides decorated with scrolling foliage, standing on three block feet 23.5cm high Provenance: Private collection, London, acquired at auction in London about 20 years ago. £1000-1500

£400-600

206 206 A MUGHAL BRASS HUQQA BOTTLE, PROBABLY LAHORE, NORTHERN INDIA (NOW PAKISTAN), CIRCA 1700 of globe shaped form, the sides incised with repeated leafy boteh design on crosshatched ground 15cm high Provenance: Private collection, London For other examples of Lahore huqqa bottles in various collections, see Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London 1997, p.242 £300-400

209 209 A MUGHAL BRASS HUQQA BOTTLE, PROBABLY LAHORE, INDIA (NOW PAKISTAN), CIRCA 1700 of globe shaped form, the sides profusely decorated in a repeating pattern with stylised leafy plants, the design incised and lac(?) filled 15.5cm high Provenance: Private collection, London For other examples of Lahore huqqa bottles in various collections, see Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London 1997, p.242 £300-400

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210 210 A PAIR OF PROCESSIONAL STANDARD FINIALS (ALAM), LUCKNOW, NORTHERN INDIA, 19TH CENTURY beaten copper, the conical socket surmounted by an openwork floral roundel, the upper shaft issuing from four radiating fish motifs, surmounted by hand and crescent emblems 64cm approx. each £400-600

211 211 THREE BRASS VESSELS, PROBABLY KERALA, SOUTH INDIA, 19TH CENTURY comprising a spouted lota, a spouted beaker and a lidded pandan, each with ribbed sides 13, 8.5, 6.5cm high Provenance: Private collection, London, acquired at auction in London about 20 years ago. £300-500

213 213 A BRASS TEMPLE LAMP OR CENSER, SOUTHERN INDIA, CIRCA 19TH CENTURY in the form of a tapering stack of seven lota vessels, each with projecting wick or joss stick holders around the shoulder 66cm high Provenance: Private collection, London £300-400 214 A GROUP OF BRASS ITEMS, INDIA, MOSTLY 19TH CENTURY including two puja spoons, a hamsa finial, a footscraper and other ornaments 45.5cm (larger spoon) and smaller (10) Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £150-250

212 212 A STEEL SADDLE HOOK, PROBABLY BIKANER, RAJASTHAN, INDIA, 17TH CENTURY in the form of a pavilion, supported by a u-shaped element with camel-head terminal, rectangular strap loop on the side 9.6cm high £300-400

215 THREE SILVER ITEMS, INDIA AND PERSIA, 20TH CENTURY comprising a mirror with engraved arabesque design, , together with a salver, on four bird-shaped feet, with later added candle-holder, and a filigree tray, with central element, possibly a candle holder, 23.5cm (length of mirror), and smaller Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £200-300

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219 FIVE IRON BUCKLES, PERSIA OR AFGHANISTAN, CIRCA 18TH CENTURY of rectangular convex form, three with central hemispherical boss, one with central incised Islamic inscription, the fifth with plain linear design, each with hook and loop on the reverse 10.5 x 16cm and smaller Provenance: Private collection, Germany, acquired 1974-78 in Kabul by the vendor while working in development assistance. £150-250 220 ELEVEN SILVER AND SILVER ALLOY TRIBAL BRACELETS, RAJASTHAN, WESTERN INDIA, 19TH/20TH CENTURY all but one with hinge and pin, most with granular and wirework appliqué decoration, three converted into ashtrays 13cm long; 8cm diam. and smaller Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £250-350

216 216 A KOFTGARI CHARGER, PUNJAB, INDIA, FIRST HALF 19TH CENTURY iron, with gold and silver damascening, the scalloped rim with appliqué edging, the foliate decoration with nasta’liq calligraphy in the cavetto, chequerboard and chevron designs on the underside 40cm diam. £300-500 217 SIX IRON BUCKLES, PERSIA OR AFGHANISTAN, CIRCA 18TH CENTURY each of rectangular convex form, with brass inlaid and engraved arabesque and floral decoration, each with hook and loop on the reverse 8.4 x 11.3cm and smaller Provenance: Private collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance. £300-400 218 TWENTY IRON BUCKLES, PERSIA OR AFGHANISTAN, CIRCA 18TH CENTURY each of rectangular convex form, with incised and brass inlaid, foliate, arabesque or calligraphic decoration 8.5 x 10.2cm and smaller Provenance: Private collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance. £700-900

221 FOUR SMALL SILVER EWERS, NORTHERN INDIA, 19TH/20TH CENTURY the largest with domed body tapered neck and repoussé foliate decoration, three birds perched on the top, two with bulbous body and openwork rim foot, the smallest with hinged lid and ribbed sides 15cm high and smaller Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £300-400 222 SIX ITEMS OF TURKMEN JEWELLERY, CENTRAL ASIA, 19TH CENTURY silver and silver gilt, inlaid with carnelians and turquoises, comprising a lozenge-shaped pendant, a double lozenge-shaped pendant, a disc, a dome and an arabesque pendant, each with multiple hanging elements, and an oval finger ring 22 x 8cm (double ring) and smaller Provenance: Private collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance. £600-800 223 NINE SILVER ITEMS, RAJASTHAN, WESTERN INDIA, 19TH/20TH CENTURY comprising three necklaces with amuletic pendants, an amulet box set with a carnelian and three finger rings, one set with an oval carnelian, a small mirror and a bracelet with openwork decoration 28cm approx. diam. of largest necklace, and smaller Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £250-350

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217

219

218

221 220

222

223

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225

226

224 224 AN INDIAN SILVER ROSEWATER SPRINKLER, KASHMIR, 20TH CENTURY typical form, covered in bands of foliate chasing, unmarked 25.5cm high; together with an Indian silver box and cover, heartshaped, with foliate chasing and scrolls surrounding a vacant shield, unmarked, Kashmir, 20th century, 7cm long; and a Persian silver box and cover, decorated with interlaced scrolls on a matted ground, 875 standard, Farsi maker’s mark, 20th century 419gr (13oz) (3) £150-200 225 TWO ANGLO-INDIAN SILVER SWEETMEAT DISHES, SOUTH INDIA, CIRCA 1900 the sides decorated with Hindu deities in relief, each on rim foot, 5.2cm high, 9.2cm diam., together with an Ottoman style silver rosewater sprinkler, early 20th century, stamped with town mark and ‘90’ in Arabic script, 20cm high (3)

227

£250-350 226 TWO SILVER SALVERS, WESTERN INDIA, 20TH CENTURY each with chased and repousse decoration, the larger with fluted cavetto, the smaller with scalloped rim, 31.7, 30.4cm diam., together with An Octagonal Silver Box, Sri Lanka, circa 1900, the lid and sides decorated with animals and mythical figures amidst scrolling foliage, 5cm high; 14cm max. diam. (3) Provenance: Private collection, Germany, acquired 1960-72 in India and Sri Lanka by the vendor while working in development assistance. £300-500 227 A SILVER BOWL AND SALVER, PERSIA, EARLY 20TH CENTURY each with openwork arabesque decoration, the salver with central incised rosette surrounded by radiating arabesques, each stamped with maker’s name and ‘84’ 7cm high; 18.5cm diameter (bowl), 24.5cm diam. (salver) Provenance: Private collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance. £200-300

228

228 SEVEN SILVER ITEMS, SECOND HALF 19TH CENTURY comprising five Malay rice bowls, a South Indian christening(?) bowl, with English hallmarks and inscribed on circular medallions: ‘W.F.C.T’ and ‘October 27th, 1888’, and a Persian napkin ring decorated with rabbits and deer amidst foliage 11cm diam. approx. (Malay Bowls) and smaller £300-400

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229 229 AN ENGAGEMENT BELT (KORONA), THRACE, NORTHERN GREECE, LATE 18TH CENTURY bronze, enamelled and inlaid, the buckle composed of three enamelled and relief decorated elements, paste-set, with crest and floral decorated panels, inscribed in Greek, the cloth belt covered with a series of gilt metal elements with cartouche motifs, 12.2cm high; 25cm approx. diam. The Greek inscriptions contain the name of the groom, probably Kostas (abbreviation of Constantinos), and the bride, Vasiliki, and the word gamilion (wedding). This type of belt, given by a future groom to mark the couple’s engagement, is called korona, because of the crown-like shape of the buckle. Similar examples can be seen in the Museum of Folk Art and the Benaki Museum, Athens (see S. A. Papadopoulos, Greek Handicraft, Athens, 1969, p.229 & Angelos Delivorrias, Greece at the Benaki Museum, Athens, 1997, pl.862). £500-700

231 231 A GILT BRASS INCENSE BURNER, ENGLAND, LATE 19TH CENTURY turned brass, in the form of an Mughal rosewater sprinkler, in six sections joined by screw attachments, incised and gilded with dense floral design in the style of Bhuj silver, the underside and top finial pierced 29cm high This rosewater sprinkler accurately reproduces the proportions and decorative detail of the celebrated silver work of Oomersi Mawji of Bhuj, Cutch. The construction and the fact that it is made of turned brass however suggest that it is of European and, most likely, British manufacture. Elkington and Co. is the best known British firm producing replicas of Indian silver at this time and the Cutch style was particularly popular. For a near identical example previously sold in these rooms, see 10 April 2014, lot 127 £500-800

230 part 230 THREE SILVER BOXES, INDIA AND SRI LANKA, 19TH/20TH CENTURIES the largest of rectangular form, with rounded corners, decorated with peacocks and mythical lions amidst scrolling foliage, another of rectangular form with cushioned ends, the lid with scrolling animal and foliate decoration, the smallest with acanthus and prunus motifs, 5.8 x 14.5 x 8.5cm and smaller Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £600-800

232 232 SEVEN WOOD TEXTILE PRINTING BLOCKS, RAJASTHAN OR GUJARAT, WESTERN INDIA, EARLY 20TH CENTURY carved wood, with stylised foliate designs 17 x 17cm approx. and smaller Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £80-120

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233

233 TWO BRASS RITUAL WATER VESSELS (KINDI), KERALA, SOUTH INDIA, 18TH/19TH CENTURY each with turned flattened spherical form, with flared foot and rim and ithyphallic spout 15.5cm high approx. each

235 ELEVEN BRASS AND IRON OBJECTS, INDIA AND AFGHANISTAN, MOSTLY 19TH CENTURY including two bells, a rattle, a silver-inlaid brass huqqa, two padlocks, and an axe 24cm (axe) and smaller

Provenance: Private collection, London

Provenance: Private collection, Germany, acquired 1960-78 in India and Afghanistan by the vendor while working in development assistance.

£400-600

£150-250

234 234 A MUGHAL BRASS PAN DAN, NORTHERN INDIA, 18TH CENTURY of flared cylindrical form, the domed lid with bud finial, the exterior decorated with incised foliate designs on stippled ground 9cm high, 12cm diam.

236 236 FOUR SILVER OBJECTS, EARLY 20TH CENTURY comprising a Sinhalese cylindrical box, a small Indian box, with domed lid, and two beakers, Cutch, Western India 11cm high (larger beaker) and smaller

Provenance: Private collection, London, acquired at auction in London about 20 years ago.

Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance.

£300-400

£200-300

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237 237 A CARVED BONE FIGURE OF A MOTHER WITH TWO CHILDREN, SOUTH INDIA, 18TH/19TH CENTURY probably Yashoda with Krishna and Balarama, reclining on a decorated base with two further infants at either end 9cm high; 16cm long

240 A GREY STONE JALI, WESTERN INDIA, CIRCA 18TH CENTURY of rectangular form, with central opening, surrounded by pierced carved semicircle motifs, flanked by beadwork borders 51 x 39 x 3.5cm

£1200-1500

£80-120

241

238

238 ~ A SMALL VIZAGAPATAM BOX, SOUTH-EASTERN INDIA, EARLY 19TH CENTURY sandalwood, veneered with engraved ivory, the decoration highlighted with black lac in regency style, later brass handle in the centre of the lid 6 x 14.5 x 11.6cm

241 A BRASS WIRE INLAID WOOD WORKBOX, MAINPURI, NORTHERN INDIA, CIRCA 1900 the exterior profusely decorated with abstract, floral and bird motifs, the hinged lid opening to reveal a removable tray with compartments 12 x 37 x 24cm

£200-300

£300-400

239 TEN WOOD ITEMS, INDIA, 19TH/20TH CENTURY comprising a panel from a chest, three pulleys and six textile printing blocks 29 x 39cm (panel) and smaller

242 A LACQUER BETEL BOX, PAGAN, BURMA (NOW MYANMAR), EARLY 20TH CENTURY of cylindrical form, red lacquered cane, the lid and sides decorated with sgraffito scrollwork, the interior with removable tray 19cm high; 22cm diam (including lid)

Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance. £120-150

£250-350

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243 243 ~ A LARGE EBONY FIGURE OF AN ELEPHANT, SRI LANKA, EARLY 20TH CENTURY depicted walking, with carved ivory tusks 60cm high Provenance: vendor’s grandparents, acquired before their return to Britain in the 1920s. £600-800

246 246 A CEREMONIAL DAGGER, CENTRAL JAVA, INDONESIA, 10TH/11TH CENTURY bronze with gold hilt, the blade of segmental form, the hilt with various motifs including a conch in relief, melon-shaped finial, mounted on stand 18.5cm long £400-600

244 244 A PAINTED AND CARVED FIGURE OF SKANDA, DECCAN, SOUTHERN INDIA, 19TH CENTURY standing with legs loosely crossed, his primary right hand resting on a club, his left holding a padma, wearing an elaborate tiered conical headdress and flowing robes 39cm high £300-400 245 A LACQUERED WOOD BOX, BURMA (NOW MYANMAR), 20TH CENTURY of rectangular form, the exterior with dark green floral trellis design, the interior in red lacquer, inscriptions in Burmese script on lid and underside 10.8 x 21 x 14cm

247 247 A GROUP OF SOUTH-EAST ASIAN ANTIQUITIES, VIETNAM, THAILAND, CAMBODIA AND JAVA, 400 B.C.-200 A.D. comprising four bracelets, a small container with two suspension loops, a decorated small rattle and three axe-heads, 10cm (larger axe-head) and smaller (9)

£150-250

£400-600

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249

248 A LACQUERED GILT BRONZE FIGURE OF BUDDHA, THAILAND, 20TH CENTURY seated in sattvasana on a tiered throne, wearing elaborate robes and crown, with tall pointed finial, a four-fold parasol above 119cm (total height) £700-900

248

249 A LACQUERED GILT-BRONZE FIGURE OF THE EMACIATED BUDDHA, THAILAND, EARLY 20TH CENTURY seated on a double cushion, his shrunken unshaven figure showing ribs and veins 34cm high £300-400 250 A LACQUERED GILT BRONZE MODEL STUPA, THAILAND, 20TH CENTURY in three sections, comprising walled enclosure, lower section and tapering spire 59cm high £300-400 251 A LACQUERED GILT BRONZE FIGURE OF BUDDHA, THAILAND, EARLY 20TH CENTURY standing on an elaborate tiered base, his hands in abhaya mudra, wearing an ornate crown with tall finial, triple tiered parasol above 89cm high £300-400

251 250

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254 THREE HINDU AND BUDDHIST PAINTINGS, THAILAND, 19TH CENTURY comprising A Scene from the Ramayana (Ramakien), pigment with gold on cloth, depicting Hanuman on a chariot, pulled by a lion within a roundel, Sita and a mythical figure on Lanka in the foreground, framed, 59.5 x 43cm, together with a Monk and a Dancer, two gouache paintings on paper, the monk holding a fan, the dancer wearing elaborate crown and brocaded garments, framed, 27.5 x 18.7cm; 27 x 17.5cm Despite Buddhism being the dominant faith in Thailand, the Hindu epic Ramayana, transposed to a Thai setting (Ramakien in Thai), serves as the national epic, its Hindu elements successfully blending with some of Thailand’s pre-Buddhist traditions. £400-600 255 TWO SILK EMBROIDERED COTTON DOOR HANGINGS, KUTCH OR SIND, MID-20TH CENTURY each in two long panels, stitched together, with beaded tassels, the floral designs embellished with appliqué mirrored glass, 130 x 18cm; 128 x 14cm; together with a Lakai Tent Hanging, Uzbekistan, Central Asia, circa 1900, silk embroidered cotton, composed of two strips of material arranged in v-shape, tassels along lower edge, 90cm diam. approx. (3)

252 252 AN AYUTHIA BRONZE FIGURE OF BUDDHA, THAILAND, CIRCA 17TH/18TH CENTURY seated in sattvasana on a plain base, his hands in bhumsparsa and dhyana mudra, with tightly curled hair and flame usnisa, traces of later gilding 67cm high

Provenance: Private Collection, Germany, acquired 1974-78 in Afghanistan by the vendor while working in development assistance. For an almost identical Lakai hanging in the Linden Museum, Stuttgart, see Johannes Kalter, The Arts and Crafts of Turkestan, Thames and Hudson, London 1984, p.59. Kalter suggests that these hangings are used to decorate stacked bedding. £80-120 256 FIVE CHETTINAD SARIS, TAMIL NADU, SOUTH INDIA, 20TH CENTURY woven cotton, each of long rectangular form, decorated with tartan and check designs primarily in orange, yellow and crimson, each with embroidered Tamil signature 460 x 110cm average size

£800-1200

Provenance: Private collection, London £250-350 257 TWO CHETTINAD SARIS, TAMIL NADU, SOUTH INDIA, 20TH CENTURY each of long rectangular form, one of woven silk with linear check design, the other with plain black field surrounded by purple edge with orange and cream stripes, embroidered Tamil signatures 375 x 124cm (silk); 465 x 120cm (cotton) Provenance: Private collection, London £150-250 258 SEVEN SMALL COPTIC TEXTILES, EGYPT, 6TH-10TH CENTURY linen and wool, four woven in umber on undyed ground, three with polychrome decoration, framed in three groups 28 x 22.5cm and smaller

253 253 AN ANGKOR WAT GILT BRONZE FIGURE OF BUDDHA, CAMBODIA, 12TH CENTURY standing on a tiered square base, wearing robes and crown with conical chignon, his hands both outstretched in vitarka mudra 13cm high £1200-1500

Provenance: From the collection of a late diplomat. Acquired on his first posting in Egypt in the 1950s. £200-300 259 A PSKENT SUSANI, UZBEKISTAN, CIRCA 1900 cotton embroidered with silk and cotton, the design comprising a repeated trellis of octagons, each containing a star motif 241 x 255cm approx. £400-600

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260 260 A LAMPUNG CEREMONIAL SARONG, SOUTH SUMATRA, INDONESIA, FIRST HALF 20TH CENTURY woven cotton, stitched into a tube form, embroidered with gold thread in the form of semi-abstract animal, figure and cloud motifs 117 x 58cm For a similar sarong in the Warming and Gaworski collection, dating from the 1920s, see Wanda Warming and Michael Gaworski, The Art of Indonesian Textiles, Serindia, London 1981, p.44.

263 263 A SAFAVID CUERDA SECA TILE, PERSIA, 17TH CENTURY buff earthenware, the upper section with palmette and scrolling floral borders, the lower with two running deer amongst Chinese clouds and foliage 22.5 x 23.5cm Provenance: Private collection, London, acquired at auction in London about 20 years ago. £700-900

£350-450

261 261 TWO TURQUOISE-GLAZE BOWLS, PERSIA, 13TH/14TH CENTURY underglaze painted fritware, the larger with stylised plant and fish motifs in low relief on the interior, the exterior with stylised leaf design, the smaller with black painted arabesque motifs in four panels on the interior 10cm high, 24cm diam; 9.3cm high, 20cm diam. Provenance: Private collection, London. Acquired at Hapsburg Feldman SA, Geneva (before 1990). £1000-1500 262 A GROUP OF DIYABAKIR BORDER TILES, OTTOMAN ANATOLIA, LATE 16TH CENTURY polychrome underglaze painted fritware, the design forming a repeated pattern of interlinked split palmettes held by ‘Italian clasps’ and interwoven with arabesques, each with ropework and plain turquoise edging, framed as a panel 29.5 x 101cm (together), individual tiles various lengths, 14.5cm high There are tiles of the same design in the Potteries Museum, Stoke on Trent (311P52) and the Powerhouse Museum, Sydney, Australia A9636-19 £300-500

264 264 A SAFAVID CUERDA SECA TILE, PERSIA, 17TH CENTURY of square form, buff earthenware, blue, green and brown glaze on yellow ground, depicting a peacock perched on a carnation plant 22cm square approx. Provenance: Private collection, London, acquired at auction in London about 20 years ago. £1000-1500 265 TWO SAFAVID CUERDA SECA TILES, PERSIA, 17TH CENTURY buff earthenware, each depicting details from ornamental garden scenes 23.5cm square approx. each Provenance: Private collection, London, acquired at auction in London about 20 years ago. £700-900

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266

266 A PAIR OF ENAMELLED GLASS MOSQUE LAMPS, PROBABLY FRENCH OR AUSTRIAN, LATE 19TH CENTURY of typical form, the clear glass enamelled with Iznik style decoration of floral panels and borders, the flared necks with a stylised inscription, the bulbous bodies each applied with six lugs 34.5cm high Both Arabic inscriptions read (with some imprecisions): ma sha’ allah / [ma] sha’ allah/ [a]l-’ali al-mawlawi (What God Wills. What God Wills. The High, the Lordly). £4000-6000 267 A FRENCH ENAMELLED GLASS MAMLUK STYLE FLASK, PHILIPPE-JOSEPH BROCARD, PARIS, CIRCA 1880 flattened moon form, the amber tinted glass body enamelled in turquoise, white and red and gilded with arabesque strapwork roundels to each side within beaded borders, gilt scroll work between and to the flared neck, scroll handles applied to the shoulder, signed Brocard Paris in iron red script above the foot 16.5cm high

267

Judy Rudoe (Decorative Arts 1850-1950. A catalogue of the British Museum collection, second edition, 1994, no. 27) states: ‘P.-J. Brocard started his career as a restorer and collector of antiques; fascinated by the Mamluk mosque lamps in the Musee de Cluny, Paris, he began to collect them himself and thus had models close at hand to study. Mosque lamps were luxury objects for hanging in mosques and mausolea and were the most spectacular achievements of enamelled glass from Mamluk Egypt and Syria from the twelfth to the fourteenth centuries. Brocard was among the first to revive Islamic enamelling techniques: vitreous enamels were applied to the surface of the vessel and then fixed by firing so that the enamels fused to the surface. The gilding was applied beneath the enamels in the form of gold leaf or powdered dust and similarly fused to the surface in the firing.’ £2000-3000

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268

268 A PAIR OF ENAMELLED GLASS MOSQUE LAMPS, MAMLUK STYLE, PROBABLY FRENCH OR AUSTRIAN, LATE 19TH CENTURY of typical form, the green glass enamelled with scroll foliate borders and panels and with stylised inscriptions to the flared necks, the bulbous bodies each with six applied lugs above a band of further foliage interrupted by shields with pseudo inscriptions 43cm high Both Arabic inscriptions to the necks read (with some imprecisions): izz limawlana al-sultan al-malik al-’alim al-’adil (?) al-malik al-nasir ‘azza [na]srahu (Glory to our lord, the Sultan, the Learned King, the Just (?), al-Malik al-Nasir, may [God] glorify his victory). £7000-9000 269 A FRENCH ENAMELLED GLASS MAMLUK STYLE FLASK, PHILIPPE-JOSEPH BROCARD, PARIS, LATE 19TH CENTURY bottle shaped, the amber tinted glass covered in red line borders, gilt scrollwork and stylised Arabic inscriptions and blue enamel roundels and knot motifs, applied with loop and scroll handles between neck and shoulder, underside signed Brocard in iron red script 17cm high £1000-1500

269

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271 270

270 A PAIR OF STAINED GLASS OVALS, GOTHIC AND LATER assembled from a variety of earlier fragments probably in the late 19th/early 20th century, each centred by a flowerhead painted motif 39cm high excluding suspension ring (2) £200-300 271 A STAINED GLASS ROUNDEL, THE SACRIFICE OF ISAAC, FLEMISH, 17TH CENTURY painted with Abraham and his son walking rather jauntily to the place of sacrifice, within yellow and purple glass borders 28.5cm diameter

272

£300-400 272 A PAINTED GLASS PANEL, PROBABLY GERMAN, 17TH CENTURY STYLE oval, with an angel before a square shield emblazoned with a lion rampant, 28.5cm high excluding suspension rings; together with a small painted glass panel, 17th century style, lozenge shaped, painted with a bird, 16.5cm high excluding suspension ring (2) £120-180 273 A CARVED WOOD AND GESSO FIGURE OF ST SEBASTIAN, PROBABLY SPANISH COLONIAL, 17TH CENTURY showing traces of polychrome 61cm high

274

£300-400 274 A CARVED OAK PANEL OF THE SAMARITAN WOMAN AT THE WELL, FLEMISH, LATE 17TH CENTURY carved in relief, glued to a later softwood ribbed frame 33cm high £180-220

273

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275 275 A GEORGE II BELL METAL MORTAR, DATED 1754 of waisted form with reeded rims, inscribed either side of a crowned Tudor rose ROBERT / LATHROP • 1754 •, 23cm diameter; together with an associated pestle, double ended, 19cm long (2) Provenance: The collection of Robin Wigington (1932-2002). £150-250

279 279 GOTTHILF JAEGER (1871-1933): FEMALE NUDE a German patinated bronze figure of a young ballet dancer modelled in the ‘Epaule’ pose, circa 1900, oval base signed G Jaeger in the bronze 58cm high excluding mottled brown marble plinth £600-900

276 276 AN ALABASTER VASE, ITALIAN, 19TH CENTURY in the form of a large goblet, the bowl carved with a Bacchic mask, on square foot, with metal liner 31cm high £120-180 277 AN ITALIAN CARVED GILTWOOD RELIQUARY FRAME, 18TH CENTURY with openwork scrolls and flowerheads, the oval aperture set with a red glass intaglio profile, English School, late 18th century of a young man with hair en queue 18cm high

278

280

278 DONALD GILBERT (1900-1961): CROUCHING PANTHER English patinated bronze, circa 1930, the beast modelled poised atop a plinth, signed in the bronze Gilbert 8cm high

280 A FRENCH BRONZE BUST OF A YOUNG BOY, F. BARBEDIENNE FOUNDRY, PARIS, LATE 19TH CENTURY modelled looking dexter, signed below the rear truncation F. BARBEDIENNE. FONDEUR., 13cm high; together with a bronze figure of the infant Hygieia, probably after the Antique, 19th century, modelled seated and holding a snake and a cup, mounted on a tapering square fluorspar column between black slate squares, 12cm high (2)

£80-120

£200-300

£60-80

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284 OLD ENGLISH PATTERN TABLE SILVER, VARIOUS MAKERS, MOSTLY LONDON, 1786-1821 including three with reeded borders, mostly initialled, comprising: eighteen tablespoons and four dessert spoons; together with four silver dessert spoons, modern 1316gr (42oz 6 dwt) £400-500 285 FIDDLE PATTERN TABLE SILVER, VARIOUS DATES AND MAKERS, PREDOMINANTLY VICTORIAN, 1819-1904 predominantly initialled CO, comprising: six tablespoons, five table forks, eight dessert spoons, thirteen dessert forks, four teaspoons, a pair of salt spoons and a sifter ladle 1886gr (60oz 12dwt) (39) £600-900 286 MISCELLANEOUS TABLE SILVER, 18TH / 19TH CENTURY, Bright-cut pattern: two tablespoons, one Eley & Pierrepont, 1777, the other George Wintle, 1804, both London, and a teaspoon and a pair of Irish salt spoons; single struck King’s pattern: a dessert spoon and three mustard spoons; and Old English pattern: a dessert spoon and four teaspoons 324gr (10oz 8dwt) (14) £100-150

281 281 ~ AN IVORY CORPUS CHRISTI, FRENCH OR TYROLEAN, 19TH CENTURY finely carved with detailed perizonium, Crown of Thorns and the five Holy Wounds, mounted on a giltwood cross against a red velvet ground within a foliate carved giltwood frame with blue painted inner border figure 37cm high, frame 70.5cm high excluding iron suspension ring

287 A SET OF SIX SILVER FRUIT KNIVES AND SIX FORKS, HENRY WILKINSON & CO., SHEFFIELD, 1876 Beaded pattern, loaded handles; together with a set of eight teaspoons, twisted stems with figural terminals after the Antique, probably Italian, circa 1900; and a cased set of six forks, in 17th century style with figural terminals, probably Dutch, circa 1900 (20) £100-150

£1500-2000 282 ~ AN ART NOUVEAU CARVED IVORY PLAQUE, FRENCH, EARLY 20TH CENTURY the rectangular panel depicting in low relief the head of a young woman, her hair up and a chiffon-like material swirling below her bare shoulders, monogrammed EC or FLC and with a shield of fleurs-de-lys bottom right, in original fitted green leather case gilt tooled with alternate rows of fleurs-de-lys and roses, cream velvet lined panel 17 x 10.8cm £300-400 283 ~ AN IVORY FIGURE OF A SLAVE GIRL, FRENCH, LATE 19TH CENTURY carved kneeling and contemplating her bound wrists, one shoulder bare, the other covered by her long tresses and loosely draped robes, on an oval base 12.5cm high £200-300

(illustrated on opposite page)

282

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291 A SET GEORGE V TABLE SILVER, WALKER & HALL LTD., SHEFFIELD, 1934 Old English pattern, comprising: nine soup spoons, two table forks, two dessert spoons, a dessert fork, a sauce ladle and a serving spoon 1067gr (34oz 6dwt) (16) £300-400

283 288 EIGHT HANOVERIAN PATTERN TABLESPOONS, VARIOUS MAKERS, LONDON, 1723-1749 all with rat-tail bowls, a pair engraved with armorials Edward Pocock, and another with matching engraving, one initialled RG and four plain 411gr (13oz) £200-300

289 289 A VICTORIAN SILVER CRUMB SCOOP, HARRISON BROTHERS & HOWSON, SHEFFIELD, 1898 with Albany pattern loaded handle and plain scoop 34cm long £60-80

292 293 part 294 part 292 A GROUP OF ELEVEN IRISH WILLIAM IV SILVER TABLE FORKS, RICHARD GARDE OF CORK, DUBLIN, 1831/33 Fiddle pattern, engraved with a crest 831gr (26oz 14dwt) £250-350 293 ASSORTED IRISH TABLE SILVER, DUBLIN AND CORK, CIRCA 18001839 comprising: a Celtic point sauce ladle, Carden Terry & John Williams, Cork, circa 1800, four crested Fiddle pattern forks and a butter knife, John Power and Samuel Neville, Dublin, 1806/10/35, two Fiddle pattern toddy ladles, Richard Garde of Cork and James Le Bas, Dublin, 1812/28, a pair foliate cast sugar tongs, Fiddle pattern salt shovel and spoon and a bright-cut salt spoon; together with a pair of Scottish silver toddy ladles, Fiddle pattern, maker’s mark F.R&S, Edinburgh, 1817; and a silver sauce ladle, Fiddle pattern, William Eaton, London, 1838 676gr (21oz 14dwt) (15) £250-350

290 290 A SET OF FOUR SCOTTISH GEORGE III SILVER TABLESPOONS, PETER MATHIE, EDINBURGH, 1794 Celtic Point pattern, engraved with the crest and motto of the Clan Robertson; together with another matching silver spoon, similarly engraved, Robert Bowman, Edinburgh, 1797 23cm long, 328gr (10oz) (5)

294 SIX SILVER TABLESPOONS, LONDON, 1726-1801 comprising five Hanoverian pattern including two rat-tail and another with laceback bowl, some engraved with initials and dates (1764 and 1769), bottom marked, 1726 to circa 1765, and one Old English pattern, maker’s mark badly struck, 1801 328gr (10oz 10dwt) £120-180

£150-200

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295 AN ELIZABETH I SILVER SEAL-TOP SPOON, WILLIAM CAWDELL, LONDON, 1597 the terminal pricked with the initials FT 17cm long Provenance: The Collection of Charles Chichele Oman (1901-1982), author and Keeper of the Department of Metalwork at the Victoria & Albert Museum. Acquired from Biggs of Maidenhead, as per tie-on label. Sold with this lot is an MS note written by Charles Oman, as follows: ‘After the 1951 exhibition at Goldsmiths’ Hall the Wardens voted me £100 to buy a piece of silver. I had enough silver and had no ambition to become a collector, so I bought these seal-tops [i.e. this example and that in the following lot]. On later occasions I always arranged that I should be rewarded with a travel grant.’

297

The 1951 Goldsmiths’ Hall exhibition to which Mr Oman refers was ‘The Historic Plate of The City of London,’ for which he wrote the catalogue introduction. £1000-1500

297 A SET OF TWELVE VICTORIAN SILVER-GILT COFFEE SPOONS AND A PAIR OF SUGAR TONGS, ELKINGTON & CO. LTD., BIRMINGHAM, 1889 each struck with a figure in historical costume and foliage, the terminals engraved with the initials LW in monogram, Patent Office Design Registry No.105810 for 1888 217gr (6oz), excluding fitted case with Elkington’s label as retailers £80-120

295 marks

296 marks

298

295

296

296 AN ELIZABETH I SILVER SEAL-TOP SPOON, WILLIAM CAWDELL, LONDON, 1598 the terminal engraved with the initials IL 17cm long

298 A VICTORIAN SILVER ADMIRALTY PATTERN GRAVY SPOON, G.W. ADAMS FOR CHAWNER & CO, OVERSTRUCK BY HUNT & ROSKELL AS RETAILERS, LONDON, 1859 the terminal struck with the Admiralty crown and fouled anchor cypher, Government ‘Broad Arrow’ mark 30.3cm long, 194gr (6oz 4dwt), excluding fitted morocco case with purple silk lining The Admiralty Pattern was first produced in the late 1830s for use by the Royal Navy, as denoted by the ‘Broad Arrow’ mark struck next to the hallmarks. £300-500

Provenance: The Collection of Charles Chichele Oman (1901-1982), author and Keeper of the Department of Metalwork at the Victoria & Albert Museum. Acquired from Biggs of Maidenhead, as per tie-on label. £1000-1500

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299

299 KINGS PATTERN TABLE SILVER, THE MAJORITY VARIOUS DATES AND MAKERS INCLUDING WILLIAM EATON AND G.W. ADAMS FOR CHAWNER & CO, LONDON, 1823-1864 and a few items, London and Sheffield, early 20th century, comprising: seven tablespoons (of a slightly variant pattern), fifteen table forks, two dessert spoons, twenty-one dessert forks, twelve teaspoons and a pair of salt spoons 4060gr (130oz 10dwt) (59)

301 FIDDLE PATTERN TABLE SILVER, VARIOUS MAKERS, LONDON, 1810-1848 mostly variously crested and initialled, comprising: three tablespoons, seven table forks, two dessert spoons, six dessert forks and a pair of sugar tongs; also an Old English pattern dessert spoon, London, 1838 1113gr (35oz 15dwt) (20) £300-400

£1200-1800 300 ASSORTED TABLE SILVER, VARIOUS DATES AND MAKERS INCLUDING ELEY & FEARN, LONDON, 1816-1850 comprising the following Hourglass pattern: a tablespoon, four table forks and a pair of dessert spoons; six Fiddle Shell & Thread pattern tablespoons; six Fiddle Shell pattern table forks and a salt spoon; three Fiddle Thread pattern salt spoons; together with a mustard spoon, James McKay, Edinburgh, 1844 1613gr (51oz 17dwt) (qty)

302 TWO GEORGE III SILVER CADDY SPOONS AND A SET OF FIVE TEASPOONS, GEORGE BASKERVILLE, LONDON, 1795 AND 1797 both caddy spoons initialled (D and EP) and bright-cut handles, the first with fluted bowl, the teaspoons initialled EP; together with a miscellaneous group of bright-cut and other spoons, comprising: three dessert spoons and seventeen teaspoons, mostly London, mid 18th century-20th century; and a pair of silver sugar tongs, bright-cut, Godbehere, Wigan & Boult, London, 1802 382gr (12oz) (28)

£500-800

£120-180 303 A MALTESE SILVER RAT-TAIL DOG-NOSE SPOON, GRAND MASTER DOM FRA’ MANUEL PINTO DA FONSECA PERIOD, CIRCA 1745 the terminal engraved with the initials AD in monogram, further scratched with the intials AS and incuse stamped BF, 18.7cm long; and two Maltese silver bon-bon dishes, ropework pedestal bases, each bowl set with a coin, Michael Borg & Co, mid 20th century, 8.5cm diameter 287gr (9oz 4dwt) (3) £200-300

300

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304 308 part 305

309 part 306 part 304 A GEORGE II SILVER PUNCH LADLE, JAMES SMITH, LONDON, 1735 the otherwise plain pear-shaped bowl engraved with the initials 304 ‘W/H*S’ and ‘SW=L’ 34.7cm. long, 80gr (2oz) including turned fruitwood handle

310 part

£100-150 305 A GEORGE III SILVER SOUP LADLE, GEORGE BASKERVILLE, LONDON, 1788 Bright-cut Old English pattern, the terminal engraved with a crest, fluted bowl 33.5cm long, 141gr (4oz)

311 part

312 part

£100-150 306 A SET OF GEORGE IV FIDDLE THREAD PATTERN TABLE SILVER, GEORGE TURNER & THOMAS BIDDELL, LONDON, 1820 plain, comprising: a gravy spoon, two table spoons and six teaspoons gravy spoon 30cm long, 442gr (14oz 4dwt) (9) £180-220 307 QUEENS PATTERN TABLE SILVER, VARIOUS MAKERS, LONDON, 1823-1888 comprising: four tablespoons, thirteen dessert spoons, four teaspoons, a salt spoon and a sugar sifter ladle; together with a pair of silver sugar tongs, maker’s mark overstruck by that of Daniel Robertson & Co, Glasgow, 1863 1541gr (49oz 10dwt) (24) £500-700

308 A GROUP OF AMERICAN TABLE SILVER, VARIOUS MAKERS, LATE 19TH/EARLY 20TH CENTURY comprising: a soup ladle, the terminal initialled and decorated with ‘Indian’ foliage, stamped ‘BAILEY, BANKS & BIDDLE; a cream ladle with terminal struck with holly leaves and mistletoe; a butter knife, stamped ‘J. COOK / PATENTED 1889’; a small cream ladle; and a cast strawberry pattern caddy spoon, the reverse of the bowl engraved with a monogram; together with a small Danish silver ladle, Georg Jensen, Copenhagen, circa 1930, Beaded pattern, import marked George Stockwell, London, 1931 331gr (10oz) (6) £100-150 309 KINGS PATTERN SERVING PIECES, VARIOUS MAKERS AND DATES, LONDON, 1831-1865 comprising: a gravy spoon, William Eaton, 1831, a crumb scoop, G.W. Adams for Chawner & Co, London, 1855, a berry spoon, William Davidson & Frederick Upton, London, 1865, a preserve spoon, Robert Wallis, 1847, and a mustard spoon, Hayne & Cater, 1848 605gr (19oz 9dwt) (5) £200-300

307

310 A GEORGE III SILVER GRAVY SPOON, MARY & ELIZABETH SUMNER, LONDON, 1789 Old English pattern, later initialled; together with a pair of silver sauce ladles, Old English pattern, later initialled, Richard Crossley, London, 1812; and a silver marrow scoop, crested, maker’s mark badly struck, London, 1790 250gr (8oz) (4) £120-180

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311 A SCOTTISH SILVER GRAVY SPOON, MAKER’S MARK BADLY STRUCK, EDINBURGH, 1797 Beaded pattern, engraved with a crest; together with a Scottish silver desert spoon, Hanoverian pattern, Daniel Ker, Edinburgh, 1758; and a Scottish silver toddy ladle, later monogrammed, Francis Howden, Edinburgh, circa 1800 158gr (5oz) (3) £120-180 312 A VICTORIAN SILVER FISH SLICE, ELIZABETH EATON, LONDON, 1846 Fiddle pattern, crested; together with a silver sugar sifter, Fiddle pattern, crested, Hayne & Cater, London, 1852; a silver toddy ladle, Fiddle pattern, Mitchell & Russell, Edinburgh, 1809; a marrow scoop, Francis Howard Ltd., Sheffield, 1969; and a small silver spoon, maker’s mark VML, London, 1977 334gr (10oz) (5) £100-150 313 A SET OF SIX VICTORIAN SILVER TEASPOONS, JOHN STONE, EXETER, 1844 Fiddle pattern, the terminals engraved with the initials JG; together with the following other items of table silver: sixteen teaspoons, mostly London, 1826-1887, a Fiddle pattern sauce ladle, James Howden & Co, Edinburgh, 1847, two Scottish dessert spoons and a butter knife, and the following German silver items, comprising: a table spoon, five dessert spoons and nine coffee spoons, mid-late 19th century 800gr (25oz 14dwt) (41)

317 317 A FRENCH PROVINCIAL SILVER CANDLESTICK, SALOMON RUINAT, GRENOBLE, CIRCA 1725 octagonal, the stepped base engraved to the well with accolé arms below a count’s coronet, the knopped and flared stem and sconce conforming in outline 22cm high, 570gr (18oz dwt) £600-800

£300-400 314 THREE CHINESE SILVER TEASPOONS, WANG HING, CANTON AND HONG KONG, CIRCA 1900 Mandarin pattern; and seven silver coffee spoons, similar, Chinese, circa 1900; together with eleven silver souvenir teaspoons, twist stems, the terminals cut and engraved with the arms of Perak, Perlis, Penang and other Malay states, Malaya, early 20th century 250gr (8oz) (21) £60-90 315 A PAIR OF GEORGE III SILVER TEA TONGS (OR SUGAR NIPS), SAMUEL EATON, LONDON, CIRCA 1765 typical form, initialled AF; together with the following silver serving pieces: another pair of tea tongs, in mid 18th century style, Stokes & Ireland Ltd. of Birmingham, Chester, 1903, a pair pierced sugar tongs, Francis Higgins, London, 1893, a sifter ladle, Renaissance style, Francis Higgins, London, 1858, and a pair of asparagus tongs, plain, William Hutton & Sons Ltd., London, 1910 249gr (8oz) (5) £100-150 316 A CHILD’S EATING SET, MIDDLE EASTERN, LATE 20TH CENTURY comprising a single-handled porringer bowl and a mug both applied with a motif of a mouse, and a spoon and a fork with serpentine-shaped handle, bowl engraved to underside GO 925, in original fitted case 410gr (4) £120-180

318 318 A FRENCH SILVER SUGAR VASE AND COVER (CONFITURIER), DENIS GARREAU, PARIS, CIRCA 1825 hemispherical bowl with palmette supports on socle and square base with ball feet, lion-headed scroll handles, domed cover with grape and openwork formal foliate finial, liner with gilt interior (unmarked), 950 standard marks 24.5cm high, 744gr (23oz 18dwt) Ambroise Mignerot and his successor Denis Garreau specialised in making confituriers, cruet sets, salt cellars and associated wares from their address at 62 rue du Temple. £700-1000

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319

320

319 A FRENCH SILVER WINE TASTER, LATE 19TH CENTURY circular, entwined snake handle, the sides with raised grape vine decoration, engraved with the name ‘A de Beaumont,’ the centre set with a Louis XIV medal dated 1672 within a fleur-de-lys cartouche, 950 Standard 11.2cm diameter, 246gr (7oz 18dwt) £200-300 320 A PAIR OF FRENCH SILVER VASES, CIRCA 1890 each chased with four large flowerhead roundels between a variety of lobed and formal foliate borders, French boar’s head mark, apparently no maker’s mark, Russian import mark for St. Petersburg 1882-1898 22cm high, 1012gr (32oz 10 dwt) £300-500

322

321 A FRENCH SILVER PEPPER GRINDER, MAISON PUIFORCAT, PARIS, CIRCA 1900 urn-shaped, die-stamped with columns, leaf festoons and rams’ masks, metal mechanism, 950 standard 10cm high £80-120 322 AN AMERICAN NEW YORK YACHT CLUB CIGARETTE BOX, MICHAEL C. FINA CO. INC., NEW YORK, CIRCA 1950 oblong, the slightly domed lid engraved below the club’s applied enamel burgee N.Y.C.C. 1951 SLOOPS AND YAWLS OVER 40FT...., stamped STERLING 24cm long, 711gr including enamel and cedar lined base £150-250

323

323 AN AMERICAN SILVER CIGARETTE BOX, GOLDMAN SILVERSMITHS CO., NEW YORK, CIRCA 1941 rectangular, the lid applied with a helm wheel below enamelled burgees of the New York Yacht Club, the Seawanhaka Yacht Club and another, lid interior engraved W.M.D. FROM J.S.D. JR. DEC. 22, 1941, stamped STERLING 13cm wide, 427gr including enamel and cedar lining to base £80-120

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324 329 part 324 AN AMERICAN NEW YORK YACHT CLUB TROPHY JUG AND BOWL, TIFFANY & CO., NEW YORK, CIRCA 1965 the otherwise plain circular bowl engraved with an inscription, the handle-less goblet form jug also inscribed, stamped STERLING 22cm diameter, 979gr (2) The inscription to the bowl reads: N.Y.Y.C. 1967, The Rear Commodore’s Cup Class 1, won by Bolero. Similarly inscribed to the jug, but for The Astor Cup. £250-350 325 THREE NEW YORK YACHT CLUB TROPHIES, 20TH CENTURY comprising a pepper mill, plain baluster except for engraved inscription, French grinding mechanism, stamped STERLING, Tiffany & Co., New York, circa 1965,15cm high; a plain circular shallow dish, inscribed below applied enamel twin club burgees, stamped STERLING, Tuttle Silversmiths, Boston MA, circa 1956, 15.5cm diameter; and a counter dish, inscribed, in the form of a strawberry dish, Tessiers, London, 1967, 10cm diameter (3) £150-200 326 A SET OF SIX SMALL AMERICAN SILVER COUNTER DISHES, CARTIER, 20TH CENTURY plain circular, the centres engraved with the initials mWd, 7cm diameter; together with four smaller dishes, Egyptian, also 20th century, 5.2cm diameter 220gr (7oz) (10)

329 ROYAL: A SCOTTISH SILVER PRIZE BOWL, HAMILTON & INCHES, EDINBURGH, 1961 the otherwise plain body engraved with the royal arms, the arms of the Royal Company of Archers and an inscription, 20.2cm. diameter, together with the following related items: a copy of Ian Hay’s The Royal Company of Archers 1676-1951, Edinburgh and London, 1951; a pamphlet, The Queen’s Body Guard for Scotland Royal Company of Archers, List of Members, 1980; a photograph by E.R. Yerbury & Son, circa 1963, of Colonel A.D. Vickers, the recipient of the above bowl; and a scrap book containing photographs, letters, Press cuttings and other related ephemera of the Royal Company of Archers, 1951-1966, including photographs of Queen Elizabeth II and other members of the royal family; also an inscribed silver quaich, ‘Presented to Mr. & Mrs. Angus Douglas Vickers on the occasion of their marriage by the Tenants of Tulloch & Brae Moor Estates 1937,’ maker’s mark G&C, Birmingham, 1933, 21cm over handles (6) 736gr (23oz 13dwt), excluding ebonized wood plinth for the first The inscription on the first reads: ‘Queen’s Body Guard for Scotland / Royal Company of Archers / The Queen’s Prize / 1963 / presented by / Her Majesty Queen Elizabeth II / to the winner / Colonel a.D. Vickers, T.D., D.L. / at Holyrood House / on 2nd July 1963’ Angus Douglas Vickers of Tulloch Castle, Dingwall and Phyllis Maud, eldest daughter of Mr and Mrs Norton Francis were married in the bride’s native city of Christchurch, New Zealand. £300-400

£70-100 327 A PAIR OF AMERICAN SILVER BON-BON DISHES, WHITING MFG. CO., NEW YORK, CIRCA 1900 die-stamped and pierced, oval, the centres engraved with the initials EBD, 16.8cm; together with two American silver bowls, plain circular, 20th century, 12.2 and 16.6cm diameter, the larger stamped ‘P. REVERE PATTERN’ 720gr (23oz) (4) £180-220 328 A JUGENDSTIL ELECTROPLATE AND CUT GLASS CRUET BOTTLE AND STOPPER, WURTTEMBERGISCHE METALWARENFABRIK (WMF), CIRCA 1900 tapering cylindrical glass with simple curved linear cutting, the Britannia metal ‘Antique Silver’ finished mounts with openwork stylised scrolls and female masks, openwork stopper 23.5cm high £120-180

328

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330 A PAIR OF DANISH SILVER CANDELABRA, GEORG JENSEN, COPENHAGEN, 1933-44 Acorn pattern designed by Harald Nielsen (1892-1977), each on a stepped circular base rising to curved leaf-like arms and vase-shaped sconces centred by the acorn motif below cross-linked leafy stretchers, pattern No.619, 925 standard 16.5cm high, 772gr (24oz 16dwt) Â£4000-6000

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331 AN ARTS AND CRAFTS SILVER DISH AND SPOON, DESIGNED BY CHARLES ROBERT ASHBEE (1863-1942), GUILD OF HANDICRAFT LTD., LONDON, 1901 hammered circular bowl, elongated looping twin-wire handle set at the shoulder with a mother-of-pearl cabochon, the spoon with elongated bowl and openwork terminal of stylised leaves and tendrils centred by another mother-of-pearl cabochon dish 20.3cm long, spoon 14.7cm long, 177gr (5oz 13dwt) all in Provenance: George Samuel Jebb (b.1861), partner in the law firm of Tunnard & Jebb in Boston, Lincolnshire, who married Georgina Martha Tunnard in 1908. Thence by family descent. This model of dish (sometimes called a porringer or a butter dish) is usually found with a chrysoprase cabochon and on a few occasions with an accompanying butter knife: the present example, with its very rare spoon, has always been used in the family for jam. Another example, with chrysoprase cabochon and butter knife, was sold in these rooms, Matthew Barton Ltd., 25 May 2016, lot 416 and another Sotheby’s, London, 5 October 2004, lot 23. Also see a version on display in the Victoria and Albert Museum, London, room 67, case 16, shelf 1 (Museum No. CIRC.351-1959) and see Alan Crawford, C.R. Ashbee, Architect, Designer and Romantic Socialist, Yale University Press, 1985, p.334, pl.167. Ashbee’s related double handled design version of the dish is illustrated in his Modern English Silverwork, London, 1909, p.22. £6000-8000

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332 332 AN ART DECO SILVER BEAKER, H.G. MURPHY, THE FALCON STUDIO, LONDON, 1929 the slightly flared body engraved with an arabesque trellis and stylised leaf design above a band of further stylised leaves, on a knopped and spreading foot 13cm high The works of Henry George Murphy (1884-1939), art jeweller and silversmith, although highly regarded at the time, passed into relative obscurity until the exhibition at Goldsmiths Hall: At the Sign of the Falcon: H.G. Murphy - Art Deco Silversmith and Jeweller, London, 4-30 April 2005 and the book published to coincide by Paul Atterbury and John Benjamin, Arts & Crafts to Art Deco: The Jewellery and Silver of H.G. Murphy, Woodbridge, 2005.

334 334 AN EDWARDIAN SILVER PHOTOGRAPH FRAME, LAWRENCE EMANUEL, BIRMINGHAM, 1908 inverted shield shaped, stamped with openwork stylised scrolling leafage, the leaves later decorated with shaded blue and green enamel paints, later wood easel back, retailer’s stamp DESPREZ / BRISTOL for Charles Desprez of Park Street frame 22cm high £1200-1800

£500-700

333 333 A SET OF SIX ‘CYMRIC’ SILVER TEASPOONS, DESIGNED BY ARCHIBALD KNOX (1864-1933), LIBERTY & CO., BIRMINGHAM, 1904 the disc-like terminals fielded in mottled blue/green enamel, the simple stems splaying to flank the almost circular bowls 10.2cm long £250-350

335 335 AN EDWARDIAN SILVER PHOTOGRAPH FRAME, W.I. BROADWAY & CO., BIRMINGHAM, 1908 elongated oblong, stamped with Art Nouveau stylised flowerheads and tendrils flanking vacant cartouches, oak easel back frame 28.5cm high £500-700

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336 336 A PAIR OF EDWARDIAN SILVER LARGE PHOTOGRAPH FRAMES, WILLIAM NEALE & SON OF BIRMINGHAM, CHESTER, 1904 shaped oblong, each stamped with Art Nouveau stylised water lily flowers upon which perch an opposing pair of kingfishers above floating lily pads either side of a vacant cartouche, each with three flowerheads later decorated with shaded blue and green enamel paint, P.O.D.R. No. 412167 for 1903 frame 32cm high £2000-3000 337 AN EDWARDIAN SILVER PHOTOGRAPH FRAME, HORTON & ALLDAY, BIRMINGHAM, 1902 shaped oblong, openwork stamped with leafy tendrils flanking the vacant cartouches, the aster flowerheads later decorated in yellow and orange enamel paint, later oak easel back and bevelled glass frame 21cm high £700-900

338 338 AN EDWARDIAN SILVER PHOTOGRAPH FRAME, W.J. MYATT & CO. LTD., BIRMINGHAM, 1908 shaped oblong, stamped with roses flanking the vacant cartouches, the roseheads later decorated in orange and yellow enamel paint, later oak easel back and bevelled glass frame 21.5cm high £1000-1200

337

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341

341 A GEORGE V SILVER TEAPOT AND MILK JUG SET, S.J. PHILLIPS LTD., LONDON, 1934 in mid 18th century style, plain inverted baluster on spreading foot, with reeded rims teapot 23.5cm long, 640gr (20oz) including wood handle and finial £200-300

339 339 A VICTORIAN SILVER BOER WAR PATRIOTIC PHOTOGRAPH FRAME, JAMES DEAKIN & SONS OF BIRMINGHAM, CHESTER, 1900 stamped with a vacant cartouche below draped flags flanked by veldtland scenes of an artilleryman firing a 12-pounder gun of the Naval Brigade and another firing a Gatlin gun above further vignettes of martial trophies, soldiers holding flags and a group of British and Imperial troops, P.O.D.R. No.35555 for 1900, later wood easel back frame 22.5cm high £700-1000

342 part 342 A GEORGE V SILVER SAUCEBOAT, DEAKIN & FRANCIS, BIRMINGHAM, 1832 in George III style, oval, gadroon rim, on three shell-headed pad feet, C-scroll handle, 18.5cm long; together with a silver milk jug and sugar bowl set, in Regency ribbed oblong style, gadroon rims, William Hutton & Sons Ltd., Sheffield, 1926 754gr (24oz 4dwt.) (3) £200-300

340 part 340 A SILVER HOT WATER JUG, JAY, RICHARD ATTENBOROUGH CO. LTD., CHESTER, 1929, RETAILED BY JAY’S, OXFORD STREET in George II style, plain tapering cylindrical, fibre handle, 19.4cm high; together with a small German silver coffee pot, baluster, stiff leaf border, ‘925’ standard, Wilhelm Binder, Schwäbisch Gmünd, circa 1910, 13cm high 648gr (20oz 16dwt) all in (2) £200-300

343 343 A PAIR OF EDWARDIAN SILVER CASTERS, NATHAN & HAYES OF BIRMINGHAM, CHESTER 1904 in early 18th century style, baluster, each with a band of fluting below the applied girdle, each bayonet fitting cover engraved and pierced with scrolls below the girdle and diaper above, with girdled ball finials 20.5cm high, 612gr (19oz 13dwt) £250-350

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344 344 AN EDWARDIAN SILVER ROSE BOWL, MARTIN, HALL & CO. LTD, SHEFFIELD, 1908 chased with a band of alternate lobes and flutes below a presentation inscription, applied to the rim with scrolls interrupted by openwork foliate motifs and C-scroll handles, on a spreading foot 41cm wide across handles, 1992gr (64oz) The inscription reads: Presented by the Employees of the Airlie Estates to The Right Hon. The Earl of Airlie on attaining his Majority, 18th July 1914. Provenance: Colonel David Lyulph Gore Wolseley Ogilvy, 12th Earl of Airlie KT, GCVO, MC (1893-1968), who was awarded the Military Cross in the Great War and whose second son (of six children) married Princess Alexandra of Kent; thence by descent. £700-900 345 A GEORGE V SILVER PORRINGER AND COVER, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1911 in late 17th century style, with cut-card decoration and rope-twist borders, the cover doubling as a stand on three volute feet, Britannia standard 17cm across scroll handles, 564gr (18oz) £200-300

345

346 AN EDWARD VII SILVER INKSTAND, CHARLES STUART HARRIS, LONDON, 1905, RETAILED BY THE BRISTOL GOLDSMITHS’ ALLIANCE rectangular, applied gadroon border above four panel supports, engraved with an inscription, complete with two detachable silver-mounted glass inkwells the stand, 22.5cm wide, 348gr (11oz 3dwt) The inscription reads: ‘Presented to Mrs C.M.A. Lenanton Commandant B.R.C.S.B/12 1939-1944 by Officers & Members of the Detachment’ £120-180 347 A GEORGE VI SILVER THREE-PIECE TEASET, BARKER BROTHERS OF BIRMINGHAM, CHESTER, 1923 of small size, compressed circular, the teapot with fibre handle and knop the teapot, 11cm high, 610gr (19oz 12dwt) all in

346

£200-250

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348 A GEORGE VI SILVER FOUR-PIECE TEA AND COFFEE SET, FORDHAM & FAULKNER, SHEFFIELD, 1912 the otherwise plain faceted baluster bodies engraved with a crest and motto, the teapot and coffee pot with fibre handles and knops height of coffee pot, 22.5cm, 1877gr (60oz 6dwt) all in £600-800

348

351 A GEORGE V SUGAR CASTER, WILLIAM COMYNS & SONS LTD, LONDON, 1927 in late 17th century style, lobed borders, bayonet cover, 19.2cm high; together with three silver milk or cream jugs: the first helmet-shaped, later engraved, Godbehere & Wigan, London, 1798, 12cm high; the second, baluster, chased with flowers and foliage, John Muns, London, 1765, 9.3cm high; the third oval, Ollivant & Botsford Ltd, Sheffield, 1906, 6.5cm high 526gr (16oz 18dwt) (4) £200-300

349

350 TWO EDWARD VII SILVER SALVERS, WILLIAM HUTTON & SONS LTD AND THE GOLDSMITHS & SILVERSMITHS CO LTD, LONDON, 1902 AND 1905 shaped circular, each engraved with a crest or crest and motto and on three hoof supports 24.5 and 20cm diameter, 771gr (24oz 15dwt)

352 MISCELLANEOUS ENGLISH SILVER comprising: a Georgian epergne basket, bright-cut and pierced, swing handle, Henry Chawner, London, 1792, 14.5cm wide, with later ruby glass liner; a George V sweetmeat dish, in Dutch style, James Dixon & Sons Ltd, Sheffield, 1921, 15.7cm wide; a Victorian waiter, circular, engraved with ivy below beaded border, on three supports, D. & C. Houle, London, 1856, 15cm diameter; a tumbler cup, inscribed and dated, Hawksworth, Eyre & Co Ltd, London, 1928, retailed by Rowell of Oxford, 6.5cm high; a silver-cased travelling clock, oblong, inscribed, Grey & Co of London, Chester, 1916, 8.8cm long; together with a Victorian electroplate bon-bon basket, die-stamped, swing handle, unmarked, probably circa 1850, 20.5cm diameter 587gr (18oz 17dwt) of silver (excluding the travelling clock) (6)

£200-300

349 A PAIR OF ELECTROPLATE LARGE CANDLESTICKS, DEYKIN & HARRISON, BIRMINGHAM, EARLY 20TH CENTURY in mid Victorian style, die-stamped with foliage, complete with detachable nozzles, the undersides stamped ‘1570’ 36cm high £80-120

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353 353 ~ A VICTORIAN SILVER FOUR-PIECE TEA AND COFFEE SET, EDWARD BARNARD & SONS, LONDON, 1898/99 the bulbous bodies chased with foliage and scrolls around vacant cartouches, on rim feet, pots with cast flower sprig finials, bowl with gilt interior coffee pot 25cm high, 2328gr (74oz 18dwt) including ivory insulators to tea and coffee pots £800-1200

356

354 355 354 A PAIR OF VICTORIAN SILVER CANDLESTICKS, MARTIN, HALL & CO. LTD., LONDON, 1891 the square bases with laurel swags hanging from ram masks at the angles and formal foliate borders, fluted columnar stems, capital sconces, one detachable nozzle only 19cm high excluding nozzle, loaded

356 A VICTORIAN SILVER DISH, R. & S. GARRARD & CO., LONDON, 1845 shaped circular, applied gadroon borders, on scrolled foliate supports and engraved with a coat-of-arms, motto, supporters and baron’s coronet, the underside stamped GARRARDS / Panton Street / LONDON 25cm diameter, 850gr (27oz 6dwt) Provenance: The arms are those of Crewe, Barons Crewe, Cheshire, probably for Hungerford Crewe, 3rd Baron (1812-1894). Thence by descent to Mary Innes-Ker, Duchess of Roxburghe (1915-2014), West Horsley Place, Surrey.

£200-300

£400-600

355 A PAIR OF ELECTROPLATED SHEFFIELD PLATE CANDLESTICKS, UNMARKED, PROBABLY SHEFFIELD OR BIRMINGHAM, CIRCA 1830 of cast shell pattern form, complete with detachable nozzles 23cm high

357 A FOUR-PIECE SILVER CONDIMENT SET, HENRY CLIFFORD DAVIS LTD., BIRMINGHAM, 1959 plain bulbous below shaped rims, comprising a pair pepperettes, a mustard pot and a salt cellar 242gr (7oz) excluding blue glass liners

£80-100

£50-70

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360

360 ROYAL: A VICTORIAN SILVER BOWL, F.B. THOMAS & CO., LONDON, 1885 circular, chased with bands of curved lobes, fluting and and scroll foliage on a matted ground, one shaped oblong cartouche engraved with an Earl’s coronet, the other with Royal presentation inscription below the date 19TH. JANUARY 1886, gilt interior 22cm diameter, 726gr (23oz 6dwt)

358 358 A VICTORIAN SILVER COFFEE POT, HOLLAND, SON & SLATER, LONDON, 1881 the faceted baluster body decorated in early 18th century German style, applied cherub vignettes 20.3cm high, 453gr (14oz 11dwt) including fibre handle £150-250 359 A PAIR OF VICTORIAN SILVER SHELL DISHES, ATKIN BROTHERS LTD., SHEFFIELD, 1891 richly chased, each on three whelk supports, 14.7cm long; together with a lobed oval silver milk jug and sugar basin, The Alexander Clark Manufacturing Co. Ltd., Birmingham, 1921; and a silver pot-pourri box and cover, shaped oval, pierced and inset with coins, John Edward Wilmot, Birmingham, 1899, 14.5cm wide 822gr (26oz) (5) £250-350

The presentation inscription reads: To Major The Earl of Airlie, 10th (Prince of Wales Own Royal) Hussars, on his marriage, from Albert Edward Prince of Wales. Provenance: Presented by Albert Edward Prince of Wales (later Edward VII) to David Ogilvy, 11th Earl of Airlie (1856-1900), who married on 19 January 1886 Lady Mabell Frances Elizabeth Gore, daughter of the 5th Earl of Arran, at St George’s Hanover Square, London; thence by descent. David Stanley William Ogilvy (18561900), when not pursuing his role as a Representative Peer of Scotland, was a career soldier. He fought in the Second AngloAfghan War (1878/79) and in the Sudan and Nile Expedition (1884/85). Gaining the rank of Lieutenant-Colonel in 1897, he fought in the Boer War, twice mentioned in despatches, 31 March 1900 and again for gallantry at Modder River. He died in action, aged 44, at the Battle of Diamond Hill, killed after leading his regiment in a charge which saved the guns. £1000-1500

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361

361 A SCOTTISH VICTORIAN SILVER FREEDOM CASKET, HAMILTON & INCHES, EDINBURGH, 1874 rectangular, the lid chased with three roundels surrouded by thistles on a matted ground and formal foliate border, the central roundel engraved with the presentation inscription, the flanking roundels applied with the cast and chased arms of the Earl of Airlie and the arms of the Royal Burgh of Dundee, the front applied with the openwork initial A (for Airlie) interlaced with the date 1875 flanked by chased arms matching those on the lid and all on a chased scrolling thistle border above the engraved names of the Provost and Bailies of the burgh, the sides applied with lion mask drop-ring handles, applied to the corners with cast openwork scroll supports capped by gryphon masks, wood lined base with blue watered silk lining 29cm long The presentation inscription reads: The Freedom of the Royal Burgh of Dundee, the certificate of which is enclosed in this casket, was unanimously conferred by the Provost, Magistrates and Town Council of Dundee on The Right Honorable David Graham Drummond Ogilvy, Earl of Airlie, Baron Ogilvy of Alyth & Lintrathen, K.T., in respect of his eminent position and public services and in testimony of their appreciation of the cordial and equitable manner in which his Lordship granted a supply of water from Lintrathen to the town of Dundee. Dundee 2nd September 1875. Provenance: David Ogilvy, 10th Earl of Airlie (1826-1881); thence by descent. £800-1200

362 362 A VICTORIAN SILVER-GILT TEA CADDY AND SPOON, EDWARD BARNARD & SONS, LONDON, 1872/73 the vase-shaped body and hinged cover flat-chased with foliage within formal borders, the underside stamped ‘266 W’, the spoon with single-struck formal leaf and shell terminal, pearl finished, in original fitted morocco case with burgundy silk and velvet lining, impressed case-maker’s mark ‘B’ 14.5cm high, 297gr (9oz 10dwt) £300-500 363 TWO EARLY VICTORIAN SILVER MUSTARD POTS one hexagonal, floral engraved below a shaped band of diaperwork, chairback thumbpiece, John James Keith, London, 1845, 7cm high, the other octagonal, engraved with pendants of flowers below arches of wrigglework vermiculation, faceted domed lid with bun finial, Edward Edwards, London, 1846, 8.5cm high 275gr (8oz) excluding blue glass liners £120-180

363

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364

364 A SET OF FOUR SILVER CANDLESTICKS AND A PAIR OF SHEFFIELD PLATE CANDELABRA BRANCHES, JOHN & THOMAS SETTLE AND THEIR SUCCESSORS HENRY WILKINSON & CO., SHEFFIELD, 1825/37 the sticks with stamped foliate and shell borders, the circular bases engraved with a crest rising to flared stems and campana-shaped scones, with two crested detachable nozzles, the three-light branches of conforming pattern, each of two scrolled arms and central light candelabra 47cm high, sticks 28cm high, loaded £2500-3500

365

365 A VICTORIAN SILVER FRUIT OR SWEET DISH, HORACE WOODWARD & CO., LONDON, 1888 oval, the pedestal foot and bowl richly chased with scrolls, fruit, foliage and flowers on a matted ground 28.5cm long, 506gr (16oz) £150-250 366 A PAIR OF SHEFFIELD PLATE DISH COVERS, CIRCA 1830 in sizes, cushion oval, each with engraved coat of arms to silver inset and applied foliate reeded border, 41 & 36cm long; together with a Victorian electroplate meat dish cover, oval, beaded rim, Joseph Rogers & Son, Sheffield, late 19th century, 30cm long (3) £100-200

366

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367 367 A GEORGE IV SILVER CHRISTENING MUG, WILLIAM ELLIOTT, LONDON, 1824 campana-shaped, fluted and chased with flowers, inscribed: ‘THOS. WILLIAM WATSON 1864.’, 10.3cm high; together with a Victorian silver Christening beaker, the tapering cylindrical body profusely chased with flowers and foliage, inscribed, gilt interior, Wakely & Wheeler, London, 1889, 9.5cm high 268gr (8oz) (2) The inscription on the beaker reads: To Douglas Hamilton Watson from his Grandfather John Watson of Earnock, 12th October 1892. £120-180 368 AN IRISH GEORGE IV SILVER SUGAR BOWL, EDWARD CROFTON, DUBLIN, 1828 ribbed circular, chased on a matted ground with alternate leaves and flowers and two vacant cartouches, leafy scroll handles 23cm across handles, 511gr (16oz 8dwt) £150-250 369 A GEORGE III SILVER MUSTARD POT, CHARLES FOX, LONDON, 1818 oval, the sides and domed hinged lid engraved circa 1845 with scrolled foliage and flowers, angular handle, 8cm wide; together with a silver bon-bon or nut dish, oval, pierced and bright-cut in late 18th century style above four bun supports, applied gadroon lip, lion mask and drop handles, Nathan & Hayes of Birmingham, Chester, 1908, 16cm wide 224gr (7oz), excluding two blue glass liners (2)

371 371 A VICTORIAN SILVER LARGE EWER, GOUGH & SILVESTER, BIRMINGHAM, 1860 the bulbous body engraved below a corded border with a band of hatched strapwork and formal foliage surrounding ovals filled with flower sprays, three ovals later engraved with a crest, interlaced initials EBH and a presentation inscription, short pedestal foot and slender neck with further engraving 38cm high, 1134gr (36oz) including wood handle The inscription reads: Presented to E.B. Horlick, Esq. on the occasion of his Marriage Dec. 31st. 1902 by the Tenantry and Employees on the Cowley Estate. Provenance: Sir Ernest Burford Horlick, Bt. (1880-1934), son of Sir James Burford (1844-1921), first Baronet of Cowley Manor, Gloucestershire and co-founder with his brother William of the eponymous malted milk firm, Horlicks Ltd. £1000-1500

£150-200 370 A GEORGE III SILVER INKSTAND, WILLIAM ROBERTSON, LONDON, 1762 gadroon bordered rectangular, on four paw supports, the pierced square bottle holders complete with three silvermounted cut-glass bottles, later engraved with a crest below a Baron’s coronet 26.7cm wide, 670gr (21oz 10dwt) of weighable silver Provenance: The crest is that of Crewe, Barons Crewe of Crewe, Cheshire, perhaps for Hungerford Crewe, 3rd Baron (1812-1894). Thence by descent to Mary Innes-Ker, Duchess of Roxburghe (1915-2014), West Horsley Place, Surrey.

370

£500-700

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372

372 A SET OF FOUR GEORGE IV SILVER CANDLESTICKS, TIMOTHY SMITH & THOMAS MERRYWEATHER, LONDON, 1824 Rococo Revival, engraved with a crest to the wells and nozzles, cast and chased with matted shells and stylised foliage, complete with detachable nozzles 21cm high, 2574gr (82oz) £4000-6000 373 A GEORGE III SILVER WAITER, PAUL STORR FOR RUNDELL, BRIDGE & RUNDELL, LONDON, 1812 shaped circular, engraved with the Ogilvy coat of arms below a Baron’s coronet, the applied gadroon rim interrupted by shell motifs, on four scroll-capped paw feet, stamped No.8OO 16.3cm diameter, 297gr (9oz 10dwt)

373

Provenance: The Earls of Airlie, by descent. The arms (with a mark of cadency) are those of David Ogilvy (1785-1849), Baron Ogilvy (later 9th Earl of Airlie). This waiter (and the mustard pot of the same pattern and order number in the following lot) probably formed part of a larger order from Rundell’s for his new household, following Lord Ogilvy’s marriage to Clementina Drummond on 7 October 1812. £300-500

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374 A GEORGE III SILVER MUSTARD POT, PAUL STORR FOR RUNDELL, BRIDGE & RUNDELL, LONDON, 1812 bulbous oblong, the lid engraved with the Ogilvy coat of arms below a Baron’s coronet, the applied gadroon rim interrupted by shell motifs, on four scroll-capped paw feet, interior with traces of gilding, stamped No.8OO; together with a George V silver mustard pot, made and engraved to match, C.J. Vander, London, 1923 9.5cm long, 494gr (15oz 17dwt) (2) Provenance: The Earls of Airlie, by descent. The crests are those of are those of David Ogilvy (1785-1849), Baron Ogilvy (later 9th Earl of Airlie) - see footnote to previous lot.

374

£1000-1800 375 A GEORGE III SILVER SUGAR BOWL AND MILK JUG SET, PAUL STORR FOR RUNDELL, BRIDGE & RUNDELL, LONDON, 1814 oblong, each body and short pedestal foot with a band of lobes, engraved above with the initials WO below the Ogilvy crest, applied with shell interrupted gadroon rims, leaf-capped reeded scroll handles and gilt interiors, stamped No.284 milk jug 21cm wide, 803gr (25oz 16dwt) Provenance: The Earls of Airlie, by descent. The intials and crest are for Walter Ogilvy, de jure 8th Earl of Airlie (1733-1819). £500-700 376 A SET OF FOUR GEORGE III SILVER CHAMBER CANDLESTICKS, WILLIAM FOUNTAIN, LONDON, 1811/12 circular, the applied gadroon rims interrupted by shell and scroll and hourglass motifs, the stems with apertures for snuffers below lobed urn-shaped sconces, with three detachable nozzles (one lacking), the C-shaped leaf-capped handles complete with four conical extinguishers, the dished bases, nozzles and extinguishers all engraved with the Ogilvy crest below a Baron’s coronet 17.5cm long, 1586gr (50oz 19dwt)

375

Provenance: The Earls of Airlie, by descent. The crests are those of David Ogilvy (1785-1849), Baron Ogilvy (later 9th Earl of Airlie). These chambersticks were probably ordered for his new household, following Lord Ogilvy’s marriage to Clementina Drummond on 7 October 1812, see lots 373 & 374. £1000-1500 377 A GEORGE III SHEFFIELD PLATE CHAFING DISH, CIRCA 1800 oval, reeded rim, lid engraved with a crest below the bun finial, with screw-in wood handle to the water reservoir, 31.5cm long; together with a George III Sheffield plate salver, circa 1800, plain except for engraved matching crest, on fluted panel feet, underside with double-struck serrated punch reading SILVER / EDGES, 25cm long (2) £50-70

376

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378

379

378 TWO GEORGE III SILVER SWEETMEAT BASKETS, ALEXANDER FIELD, LONDON, 1800 boat-shaped, applied reeded borders and swing handles, one engraved with the initials ‘JACA’ below a bright-cut and engraved trellis border, the other with bright-cut flower and foliage border 18cm long, 279gr (8oz 9dwt) £300-500 379 AN IRISH GEORGE III SILVER SWEETMEAT BASKET, JOHN WEST, DUBLIN, 1799 oval pedestal foot and boat-shaped body decorated with bright-cut and pricked motifs, engraved on one side with a crest and on the other with the initials ‘UEJ,’ applied reeded lip and swing handle 18cm wide, 270gr (8oz 13dwt)

380

£200-300 380 A GEORGE III SILVER PORRINGER, WALTER BRIND, LONDON, 1781 in anachronistic early 18th century taste, chased with a scroll and foliate cartouche engraved with scrolling initials JATC between corded and alternate curved lobed and fluted bands, two simple scroll handles, spreading foot 10.5cm high, 265gr (8oz 10dwt) £250-350 381 A GEORGE III SILVER WINE FUNNELL, CHARLES CHESTERMAN, LONDON, 1804 plain bell-shaped, applied reeded borders, complete with detachable strainer and ring 16.3cm long, 161gr (5oz)

381

£200-300

382

382 A GEORGE II SILVER PAP BOAT, MAKER’S MARK ?J, LONDON, 1744 typical form, 11.5cm; together with a Victorian silver porringer, of single handled ‘bleeding bowl’ form, maker’s mark rubbed, London, 1891, 18cm long, 287gr (9oz) (2) £150-200

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383 ~ A GEORGE III SILVER THREE-PIECE TEA SET, BENJAMIN & JAMES SMITH AND STORY & ELLIOTT, LONDON, 1810/14 compressed circular, chased to the shoulder with a band of paterae, gadroon rims, the handles formed as double serpents, gilt interior to sugar bowl sugar bowl 24cm wide, 1959gr (63oz) including ivory teapot handle £1000-1500 384 A GEORGE III SILVER MEAT DISH, WILLIAM BENNETT, LONDON, 1807 shaped oval, the border engraved with a coat-of-arms, motto and crest below the applied gadroon rim 40.7cm wide, 1251gr (40oz) The arms are those of Farrer quartering Loxham with a label of difference for Oliver Farrer of the law firm, Farrer & Co., whose obituary was published in The Gentleman’s Magazine, London, in March 1866 (p. 435): ‘Jan. 1. At 66, Lincoln’s-inn-fields, in the 80th year of his age, Oliver Farrer, Esq., of Ingleborough, Yorkshire.

383

‘The deceased was the second son of the late James Farrer, Esq., who died in 1820, by Frances, daughter of William Loxham, Esq., and uncle of James Farrer, Esq., late M.P. for South Durham. He was born at Manchester in the year 1786, received an early education at a private school, and subsequently entered Brasenose College, Oxford, where he graduated B.A. in 1806, and proceeded M.A. in 1809. He was called to the Bar at Lincoln’s Inn in 1812, and was a magistrate and DeputyLieutenant for the West Riding of Yorkshire, and also a magistrate for the counties of Westmoreland and Lancaster. He was co-proprietor of the estate of Ingleborough, with his brother, the late J.W. Farrer, Esq., and was a director in the Law Life Assurance Society, the Provincial Bank of Ireland, and several other longestablished joint-stock banks in the city of London, and always took an active part in the management of their affairs. He died unmarried, and was interred in the family vault in Clapham churchyard, Yorkshire.’ A silver soup tureen and cover, Richard Sibley, London, 1833, engraved with the same coat-of-arms, crest and motto is in the Farrer Collection. This celebrated group of antique silver was bequeathed to the Ashmolean Museum, Oxford, in 1946 from the estate of William Francis Farrer (1858-1924), formerly a partner in the law firm of Farrer & Co., solicitors to the royal family, of which his father, Sir William James Farrer (1822-1911) had been chief partner.

384

£800-1200

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385

385 A PAIR OF GEORGE III SILVER SALVERS, PAUL STORR FOR RUNDELL, BRIDGE & RUNDELL, LONDON, 1810 shaped circular, each engraved with Ogilvy coat of arms below a Baron’s coronet, the applied gadroon rims interrupted by shell motifs, on four formal foliate and panel feet 26.5cm diameter, 1428gr (45oz 18dwt) Provenance: The Earls of Airlie, by descent. The arms are those of David Ogilvy (1785-1849), Baron Ogilvy (later 9th Earl of Airlie). £800-1200 386 A GEORGE III SILVER TEAPOT, SMITH & SHARP, LONDON, 1783 beaded oval, engraved and bright-cut with formal borders and cartouches, scratch weight ‘12oz 17d’ 12.7cm high, 384gr (12oz 6dwt) including wood handle and finial £250-350 387 A GEORGE III SILVER TEAPOT STAND, HESTER BATEMAN, LONDON, 1787 plain oval, applied beaded border above four claw and ball supports 15.7cm long, 140gr (4oz 10dwt)

386

£80-120

387

388 A GEORGE III SILVER CREAM JUG, THOMAS HAYTER, LONDON, 1805 helmet-shaped, bright-cut, reeded handle, 9cm high; together with a silver mustard pot, engraved and crested cylindrical, C.T. & G. Fox, London, 1837, 7.5cm high, and a crested silver Fiddle pattern mustard spoon, Mary Chawner, London, 1837; a small silver teapot, oblong, fibre handle and knop, William Hutton & Sons Ltd, London, 1910, 10.7cm high; and a small silver rose bowl, lobed circular, Fenton Brothers Ltd, Sheffield, 1900, 14.3cm diameter 738gr (23oz 14dwt) all in, excluding blue glass liner for the mustard pot (5) £250-350

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389 A GEORGE III SILVER TEAPOT, HENRY CHAWNER, LONDON, 1790 plain oval, applied beaded borders and girdle, straight tapering spout 13.7cm high (428gr) including wood handle and finial £300-400 390 A GEORGE III SILVER COFFEE POT, WILLIAM & JAMES PRIEST, LONDON, 1770 plain baluster, with cast spout and decorative cone finial 28cm high, 817gr (26oz 5dwt) including wood handle £600-800

389

391 391 A PAIR OF GEORGE II SILVER SALT CELLARS, DAVID MOWDEN, LONDON, 1759 with gadroon rims, each on three pad feet, 6cm diameter; together with a Victorian silver mustard pot, Hilliard & Thomason, Birmingham, 1882, cylindrical, bright-cut decorated, with blue glass liner 6.5cm high weighable silver 233gr (7oz) (3)

390

£120-180 392 A GEORGE III SILVER CASTER, JOHN DELMESTER, LONDON, 1763 the baluster body later engraved with a coat of arms below a baron’s coronet surrounded by chased scrolls and foliage, the cover with diagonal panels of alternate piercing below a leafy finial 18cm high, 224gr (7oz) £120-180 393 A GEORGE II SILVER CASTER, GEORGE GREENHILL JONES, LONDON, 1738 urn-shaped, spreading foot, the cover with alternate panels of pellet and scroll piercing beneath a bell finial 16cm high, 159gr (5oz) £200-300

392, 393

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394

395

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394 A GEORGE III SILVER TEA TUB (CADDY), THOMAS HEMING, LONDON, 1766 square, imitating a wooden Chinese tea chest, engraved to the sides in the workshop of Robert Clee with simulated planks and Chinese characters for ‘righteous’, ‘patriotic’, ‘loyal’ and ‘Chang’ (prosperous, glorious and good) within borders of scroll foliage on a linear ground, the flush-hinged lid with cast flower sprig finial and similarly bordered, on later ball feet with lead filling 9.4cm wide, 445gr (14oz) all in For an another caddy with exactly the same engraving (including the border details), but with a differing finial, marked Aaron Lestourgeon, 1768, see the Ashmolean Museum, Oxford, No.WA1955.46 and another similar sold Sotheby’s, New York, 16 April 2005, lot 274, marked Parker & Wakelin four times, circa 1770. Examples of this model of caddy or canister (called a ‘tea tub’ at the time) appear between about 1765 and 1773, many with Lestourgeon’s maker’s mark. Helen Clifford, in her book Silver in London: The Parker and Wakelin Partnership 1760-1776, (Yale University Press, 2004) reconstructs the fascinating system of outworkers who produced these caddies for Parker & Wakelin. The bodies were formed from sheet by Ansill and Gilbert or by Aldridge and Woodnorth for £1 8s. each, the former also supplying three sizes of sprig finial. Aaron and William Lestourgeon then fitted the locks and lined the interiors in lead for 5s. each. The borders and characters were subsequently engraved in Robert Clee’s workshop, opposite Parker & Wakelin’s shop in Panton Street, before delivery to the retailer. It would seem the process, from start to finish, took under three weeks. Apparently they were retailed by Parker & Wakelin for about £9. The same procedure would have been followed for the supply of these caddies to another leading goldsmiths of the day, Thomas Heming, who had been appointed Principal Goldsmith to the King in 1760. ‘The career of one specialist silver engraver, Robert Clee (c.1710-1773), has been studied in depth by Robert Barker. In addition to silver, Clee engraved a number of signed trade cards, including those of the chemist Richard Sidall and the goldsmith Thomas Heming. Barker has demonstrated that Clee’s establishment, which included both apprentices and outworkers, provided extensive engraving services for the prominent London retailers Parker and Wakelin as well as for Thomas Heming. Although it is impossible to distinguish among the various engravers he employed, it seems likely that much of the best silver engraving carried out during this period passed through Clee’s workshop.’ (Beth Carver Wees, English, Irish & Scottish Silver and the Sterling and Francine Clark Art Institute, New York, 1997, pp. 338-340) Interestingly Robert Clee’s will (National Archives, PROB 11/987) stipulates: ‘I give and bequeath to Mr Parker Mr Wakelin and Thomas Heming Esquire a Diamond Ring Each of the value of Ten pounds to be made by themselves’. £3000-4000

395 A GEORGE III SILVER SPOUTED EWER AND COVER, PAUL STORR FOR RUNDELL, BRIDGE & RUNDELL, LONDON, 1810 in the form of an Antique oinochoe, the otherwise plain body engraved on one side with a crest, applied with two bearded masks in sizes, one below the scroll handle, the other below the short curved spout, gadroon borders, plain bun knop to the detachable cover, gilt interior 18.5cm high, 986gr (31oz 14dwt) Provenance: The Collection of J. Anderson Rose; The Collection of Charles Chichele Oman (1901-1982), thence by descent. Charles Oman (1901-1982) is a name which is familiar to most collectors of old silver, partly because of his position and influence as Keeper of Metalwork at the Victoria and Albert Museum from 1945 until 1966 and partly because of his books and numerous articles on the subject. His English Domestic Silver was published in 1933, which was followed by English Church Plate (1957), The English Silver in the Kremlin, 1557-1663 (1961), Caroline Silver, 1625-1688 (1971) and English Engraved Silver, 1150-1900 (1978). These standard works are accompanied by various articles which demonstrated the breadth of Oman’s knowledge and interests, including the ground-breaking Apollo article of 1966, ‘A Problem of Artistic Responsibility’ in which he explored the contribution made by William Theed the elder, John Flaxman, E.H. Baily and other artists in the success of the royal goldsmiths, Rundell, Bridge & Rundell’s plateworking activities. Beyond the relatively narrow world of antique silver scholarship, Oman was also known for his deep knowledge of English historic buildings and cathedrals. Early in his career at the Victoria and Albert Museum, which he joined in 1924 as an assistant keeper in the department now known as Prints and Drawings, he researched and wrote a catalogue of the museum’s collection of early wallpapers, published in 1929. This jug, formerly one of a pair, was shown with its companion at ‘The Fine Art Exhibition of the Worshipful Company of Cordwainers’ at no. 7, Cannon Street, City of London during April and May 1890. Admission was one shilling and the proceeds raised were ‘applied to the FUND for the RELIEF of the SURVIVORS of the BALACLAVA CHARGE.’ The exhibition, which brought together a wide range of pictures and works of art, all contributed by members of the Company, including old English pottery and Greek and Etruscan vases sent by Sir Henry Doulton. By far the largest group of paintings and objects exhibited belonged to the then Master of the Cordwainers’ Company, James Anderson Rose (1820-1890), great-uncle of Charles Oman, the well-known authority on antique silver, to whom this jug descended. Rose, a lawyer, was a familiar figure in creative circles, being solicitor to Whistler, Rosetti and many other artists of the Victorian period. According to the Cordwainers’ 1890 exhibition catalogue, this jug and its pair, described as coffee pots, were of ‘Etruscan shape. Head of Jupiter on handles, designed by John Flaxman, R.A. for the Prince Regent and formerly in his possession.’ This is quoted by N.M. Penzer in his book, Paul Storr, Last of the Goldsmiths (London, 1954, p. 142, pl. XXXII), who states that the design of the jugs was based on Roman originals (urceus and lagona), which, he says, have been discovered as far apart as Kent and Pompeii. No exact ancient parallel has been found, however, indicating that the pattern was based on an invention by one of Rundell, Bridge & Rundell’s resident artists, the most likely candidate being William Theed (1764-1817). Other, similar jugs of oinochoe form and applied with the same masks, maker’s mark of Paul Storr for Rundell’s, London, 1812, have been recorded, including one from the collection of the Marquess of Ormonde, an important patron of Rundell, Bridge & Rundell (Christie’s, New York, 19 October 2010, lot 114). It should be noted that these examples do not represent Paul Storr’s earliest essays in ‘pure’ classical form. A silver jug in the shape of an Etruscan bronze oinochoe, hallmarked London, 1798/99, when he was an independent manufacturing silversmith to the trade, was sold in these rooms, Matthew Barton Ltd., 21 May 2013, lot 273. £3000-5000

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396 396 A SET OF FOUR GEORGE III SILVER CANDLESTICKS, GEORGE ASHFORTH & CO., SHEFFIELD, 1781 the square bases stamped with tassel-hung drapery swags rising to columnar stems with a band of ribs below further drapery and capital sconces, complete with detachable nozzles, beaded borders throughout 29cm high, loaded £800-1200 397 A GEORGE II SILVER COFFEE POT, JOHN GORHAM, LONDON, DATE LETTER RUBBED, CIRCA 1745 baluster, bell finial, cast scroll spout 21cm high, 497gr (16oz) including wood handle £300-400 398 A GEORGE II SILVER TWO-HANDLED CUP, JOHN BAYLEY, LONDON, 1753 the baluster body later engraved with a small crest, on a spreading foot, with simple reeded scroll handles 11cm high, 227gr (7oz) £120-180

397

399 A GEORGE II SILVER-GILT MILK JUG, ROBERT KERSILL, LONDON, 1745 baluster, with probably early 19th century Irish chasing of rocaille and scrolls surrounding panels of fruit and flowers and a crested cartouche surmounted by a peacock, three shell headed pad feet 10.5cm high, 155gr (5oz) £150-200

398

399

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400 400 A PAIR OF GEORGE II SILVER TRENCHER SALTS, EDWARD WOOD, LONDON, 1728/30 square, incurved corners, the underside of one engraved with initials (?G) 6.9cm 121gr (3oz 16d wt) £300-400

401 401 A GEORGE II SILVER COFFEE POT, THOMAS MASON, LONDON, 1741 tapering cylindrical, chased (probably at a somewhat later date) with exuberant rococo cartouches, fruit and scrolls, silver vaseshaped finial to the hinged lid, the underside engraved with the initials ER and scratch weight ‘18*15’ 20.4cm high, 585gr (18oz 16dwt) including wood handle £400-600

402 402 AN ENGLISH PROVINCIAL GEORGE II SILVER COFFEE POT, PENTECOST SYMONS OF PLYMOUTH, EXETER, 1741 tapering cylindrical, engraved with a coat of arms flanked by scroll foliage, the lid with bell finial, the underside inscribed EP / Nov. 4. 1741 / TP 23cm high, 654gr (21oz) £1500-2000 403 A GEORGE II SILVER SAUCEBOAT, JOHN POLLOCK, LONDON, 1748 the oval body engraved with a coat of arms within a Rococo cartouche below the waved rim, on three cast pad feet, with C-scroll handle 18.5cm long, 372gr (11oz) £300-500

403

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404 404 A PAIR OF GEORGE I SILVER CANDLESTICKS, MATTHEW COOPER, LONDON, 1718 each octagonal domed and faceted base engraved with a crest within a scroll foliate cartouche, the knopped stems of conforming outline, with chevron faceted sconces, Britannia standard 21cm high, 915gr (29oz) £3000-5000

405 405 A GEORGE I SILVER CRUET STAND, LEWIS CUNY, LONDON, 1716 with octagonal frames for two bottles and tops and for a small caster, with scroll supports between and handle, Britannia standard, the probably later 18th century glass bottles with contemporary silver tops (unmarked), the baluster octagonal silver caster (London, 1727) with badly struck maker’s, town, date, and lion passant marks to body only 17.5cm long, 839gr (27oz) £1200-1800

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406 406 FOUR SILVER WINE LABLES oblong gadroon, shell and leaf pattern, one pierced Sherry, William Knight, London, circa 1825, a pair pierced Port and Madeira, John W. Story, London, 1829, and one engraved Sherry, Charles S. Green & Co Ltd, Birmingham, 1960

410 AN ART NOUVEAU CONTINENTAL SILVER PILL BOX, PROBABLY BELGIAN, EARLY 20TH CENTURY cushion-shaped, hammer-finished, chased and engraved with a flower spray and a beetle, gilt interior, stamped 925, 6cm diameter; together with a French silver pill box, circa 1900, engraved with interlaced initials bordered by formal foliage, similar border to sides, gilt interior, boar’s head mark, maker’s mark indecipherable, 6.2cm diameter; and a pair of Continental silver salt cellars, ribbed oblong, with clear glass liners, stamped 800, 9cm long over end handles (4) £150-200

£100-150

407 407 A GEORGE III SILVER NOVELTY VINAIGRETTE, T. SIMPSON & SON, BIRMINGHAM, 1817 in the form of an articulated fish, with engraved details, the head hinging open to the scroll foliate engraved hinged grille 7.2cm long 411 411 TWO SILVER CIGAR LIGHTERS, BOTH LONDON, 1886 AND 1917 the first of square classical plinth form with a ram’s mask to each corner and laurel swags below urn cameos, with four detachable pine-cone tapers, Richard Hodd & Son, 12cm high, the second of grenade form, the wick holder as Prince of Wales feathers, maker’s mark poorly struck, 11cm high 635gr (20oz) all in including wick

£600-900

£400-600

408 408 ~ TWO AMERICAN SILVER PAPER KNIVES, GORHAM MANUFACTURING CO., PROVIDENCE (RI), EARLY 20TH CENTURY the first with openwork scroll and foliate terminal, the blade engraved with the initials AW, the second with cast briar rose pattern terminal and plain ivory blade 30 & 31cm long, the first 105gr (3oz) £80-120 409 A SILVER AND MOTHER-OF-PEARL MAGNIFYING GLASS, UNMARKED, PROBABLY NETHERLANDISH OR NORTHERN FRENCH, CIRCA 1730 the lens with reeded rim mount hinging out from between two plain oval nacre panels with pinned reeded ribs between 8.5cm long

412 412 A VICTORIAN SILVER BOSUN’S CALL (WHISTLE), GEORGE UNITE, BIRMINGHAM, 1846 of typical form, with fouled anchor to the bowl, reeded bands to the pipe and bright-cutting to the panel,12.5cm long; together with another Victorian silver bosun’s call, similar, Roberts & Belk, Sheffield, 1865, 9cm long (2) £300-400

£300-400

409

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413 ~ A GEORGE III GOLD, IVORY AND TORTOISESHELL TEA CADDY, LATE 18TH CENTURY octagonal, the ivory panels applied with rows of gold beads and pellets between tortoiseshell stringing, a tortoiseshell band to the base, applied to the front with a bright-cut bordered gold oval initialled H below the gold key escutcheon, the lid rising to a silver loop hinged handle, foiled interior 13cm wide £800-1200

413

414 A GILT-METAL AND CROCODILE SKIN CIGAR CASE, ALFRED DUNHILL LTD., LONDON, CIRCA 1938 oblong, red stained skin, the lid applied with angular initials RT for Richard Tauber, the chromed interior with facsimile presentation inscription, lid rim stamped DUNHILL LONDON 17.3cm long, damaged hinge The presentation inscription reads: To dear Richard with our love / we shall never forget May 23rd 1938 / Olive + Adrian

414

Provenance: Richard Tauber (1891-1948), the famous Austrian tenor, to whom the box was presented by his friends the Hon. Lady and Sir Adrian Baillie. Tauber and his wife attended a dinner given by Lady Baillie on 23 May 1938 at Grosvenor Square, at which he must have sung, prior to the dance for her daughter (The Times, ‘Court Circular’, 24 May 1938). On other occasions, Tauber was also a guest of the well-known hostess at her country house of Leeds Castle. Although at this time no stranger to Britain, Tauber had only just moved to the kingdom permanently, having fled Vienna and the Nazis during the Anschluss of March 1938. £80-120

415

415 AN AMERICAN GOLD ROUGE BOX, CIRCA 1919 octagonal, the lid bright-cut foliate engraved on an engine-turned ground and fitted to the interior with a mirror, with suspension loop, the underside presentation inscribed, stamped 14 KARAT 2.7cm wide The inscription reads: U.S.S. Destroyer Dickerson launched March 12, 1919 Mrs John Stiles Dickerson Sponsor £150-250

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416 IMPERIAL: AN AUSTRIAN GOLD PHOTOGRAPH FRAME, UNMARKED, PROBABLY VIENNA, CIRCA 1917 rectangular, with bead and rail borders, surmounted by the diamond-set cypher of Emperor Charles of Austria-Hungary, the initial K on a blue guilloché enamel ground, the crown with red enamel, with diamond-set flowerhead and foliate spandrels to the corners, on small feet of openwork chevron design, the reverse with silver-gilt easel strut, hinged suspension ring, inner frame and nuts and washers 30.3cm high Charles I of Austria and IV of Hungary (1887-1922) was the last of the Hapsburg emperors. He is also remembered as Blessed Charles of Austria following his beatification in 2004. Succeeding to the throne in November 1916, his subsequent secret attempts to sue for peace in vain and his empire crumbling under demands for ‘Self-Determination’, he was forced to relinquish his thrones in December 1918. He went with his family to Switzerland, but following two attempts in 1921 to reclaim the Hungarian throne, was exiled to Madeira, dying there of pneumonia on 1 April 1922. Anatole France stated: “Emperor Karl is the only decent man to come out of the war in a leadership position, yet he was a saint and no one listened to him. He sincerely wanted peace, and therefore was despised by the whole world. It was a wonderful chance that was lost.” £2500-3500

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417 A CARTIER ‘PASHA’ DUAL TIME ZONE CALENDAR DESK CLOCK WITH MOON PHASE, CIRCA 1995 jewelled quartz movement, frosted silver signed dial with subsidiary dials for the day, date and second time zone below the midnight-blue oval aperture for the moon phase all within applied luminous hour dots and outer minute track, blued steel centre seconds and luminous lozenge hands, the angled gilt brass case in the form of a Pasha watch with blue lacquer details to the decorative lugs and concave calibrated bezel, signed case numbered 8913 01852, in original signed red leatherette case and outer card slipcase, with instruction manual and certificate in its red leatherette folder 13cm long

417

£600-900 418 A GOLD POCKET WATCH, CIRCA 1913, WITH GOLD ALBERT CHAIN keyless wind 17 jewel Swiss movement, white enamel dial with Roman numerals and minute track, subsidiary seconds dial, English circular case initialled CO to reverse, 18 carat gold hallmarked case and cuvette, Arthur George Rendell, London, 1913, 4.4cm diameter, the gold curb link chain with additional belcher links and 9 carat hook, chain 36.5cm long; together with a silver pocket watch and Albert chain, keyless wind Swiss movement, white enamel dial with Roman numerals and minute track, circular silver case initialled CO to reverse, 3.4cm diameter, the silver curb link Albert chain with attached Louis XV coin, George III silver shilling and a small medallion after the Antique, 32cm long (2) £700-1000

418

419 A SWISS GOLD LADY’S POCKET WATCH, CIRCA 1900 keyless wind movement, white dial with Arabic numerals within gilt pellet minute indicators and further gilt borders, case with formal foliate engraved borders to sides, the back engraved with an eighteenth century lady and her companion in a landscape, case and brass cuvette numbered, 93841, fourteen carat gold marks for La Chaux-de-Fonds case 3.4cm diameter £100-150 420 ROLEX: A GENTLEMAN’S SILVER POCKET WATCH, CIRCA 1926 keyless wind 15 jewel Swiss movement signed ROLEX and numbered to outer flange 9502, white dial with Arabic numerals within a minute track, subsidiary seconds dial with ten second Roman numerals within a one second track, blued steel hands, plain silver case and cuvette, Denison Watch Co. Ltd., Birmingham, 1926, case and cuvette both numbered 519502 case 5cm diameter

419

£200-300

420

100

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422 421 421 A COLLECTION OF ELEMENTS OF MINIATURE FRAMES, 18TH/19TH CENTURY a gold frame with scroll surmount, a smaller gold frame, a fausse montre frame, a gold frame with cracked glass reserve, a blue glass reverse, a gilt bezel and a pierced gilt-metal frame; together with a Swiss gold watch case, 20th century, shaped rectangular the first 10cm high (8) £600-800 422 A GOLD AND SPLIT PEARL MINIATURE FRAME, ENGLISH, CIRCA 1790 oval, the oval opalescent central reserve applied with enamelled motto L’amitié vous la donne, blue glass band flanked by pearl borders, glazed reverse 7.7cm high including loop £100-150 423 ~ A PORTRAIT MINIATURE OF A LADY, BY CHARLES SHIRREFF (1750-1831), CIRCA 1800 her hair bound with a bandeau, wearing a white dress, on ivory, gilt-metal mount and rectangular lacquer frame, oval 6.7cm; together with a portrait miniature of a lady, Thomas Richmond (1771-1837), circa 1805, wearing a white dress, on ivory, similarly framed, oval 7.4cm (2)

423 424

£120-180 424 ~ TWO PORTRAIT MINIATURES OF A LADY AND GENTLEMAN, PERHAPS BRUSSELS, CIRCA 1815 he with receding hair wearing a yellow waistcoat, she with curled brown hair and wearing a white ruff dress and black pelisse, on ivory, metal mount, rectangular wood frames oval 7.6cm £100-150 425 ~ FOUR PORTRAIT MINIATURES, ENGLISH SCHOOL, LATE 19TH CENTURY all after earlier works, comprising: a gentleman after Richard Cosway, a lady called Mary Marchioness of Salisbury, a pensive lady and a lady called Princess Amelia, all on ivory, three framed all oval, largest 10.5cm £100-150

(one illustrated on page 104)

425 part

101

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426 427 426 ~ A PORTRAIT MINIATURE OF A LADY, BY GEORGE ENGLEHEART (1750-1829), CIRCA 1785 wearing a black hat adorned with ostrich plumes and a ruff edged chemise, on ivory, gilt-metal frame with split pearl border oval 3.5cm £1000-1500 427 A PORTRAIT MINIATURE OF LOUIS XIV, KING OF FRANCE AND NAVARRE, FRENCH SCHOOL, CIRCA 1670 with a long brown wig, wearing a rust coloured doublet and a lace cravat, on vellum laid on table-book leaf, turned wood frame oval 7.8cm £800-1200

428

428 ~ A PORTRAIT MINIATURE OF AMALIE HAIZINGER, GERMAN SCHOOL, CIRCA 1835 her elaborately dressed hair adorned with pink flowers, wearing a black dress with pearl jewellery, indistincly signed, on ivory, giltmetal mount, black stained wood frame oval 8.5cm Amalie Haizinger (née Morstadt, 1800-1884), sometimes called Neumann-Haizinger, was a well-known German actress. Starting her stage career in her birth-town’s Karlsruhe Theatre, she toured widely across Europe. Following her second marriage in 1827, to the singer Anton Haizinger, she developed comedic roles in the German ‘Lustspiel’ genre. Working from 1834 at Vienna’s Burgtheater, she was celebrated until her death as a ‘veteran comic’. £400-600 429 ~ A PORTRAIT MINIATURE OF A YOUNG LADY, BY AIMEE PERLET (ACTIVE 1798-1854), CIRCA 1815 wearing a straw hat adorned with black ostrich plumes, an ochre dress and a cashmere shawl, on ivory, signed, gilt-metal mount, set in a contemporary French poudre d’ecaille snuff box with silver-gilt mounts and lining oval 8.8cm, box 10.1cm diameter £400-600

429

102

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430 ~ A PORTRAIT MINIATURE OF A YOUNG GIRL, BY JOHN SMART (1740-1811), 1781 with brown hair, wearing a muslin cap trimmed with black ribbon and flowers, her black dress with muslin trimmings matching the cap, on ivory, signed and dated, gold frame with bright-cut sides, the reverse with glazed aperture containing hair-work monogram oval 4.8cm £700-1000

430

431 ~ A PORTRAIT MINIATURE OF A LADY, BY JOHN SMART (CIRCA 1740-1811), CIRCA 1775 with piled brown hair, wearing a gold edged blue dress and white chemise, on ivory, gold frame wrigglework decorated to reverse and glazed over woven hair oval 4.6cm £3000-4000

431

432 ~ A PORTRAIT MINIATURE OF A LADY, BY RICHARD COSWAY (1742-1821), CIRCA 1790 curled hair, in Vandyke costume, on ivory, associated milled gilt-metal mount oval 6.1cm £1000-1500

432

103

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436

434 433 435 433 ~ A PORTRAIT MINIATURE OF A GENTLEMAN, BY JEREMIAH MEYER (1735-89), CIRCA 1770 unfinished, with hair en queue, wearing a green coat, on ivory, later gold brooch frame with mother-of-pearl reverse oval 4cm £80-120 434 A PORTRAIT MINIATURE PROBABLY OF SIR RICHARD LYTTLETON, CONTINENTAL, PROBABLY ITALIAN SCHOOL, CIRCA 1765 with powdered hair, blue coat with a fur collar, on vellum, silver frame oval 3cm Lt-General Sir Richard Lyttelton KB (1718-1770), served as Governor of Minorca from 1763 until 1766 and also Governor of Guernsey, marrying Rachel, Duchess of Bridgewater (widow of Scroop Egerton, 1st Duke of Bridgewater) on 14 December 1745. See the portrait by Pompeo Batoni (1708-1787) of Lyttelton, painted in Rome, 1762, whilst the sitter was on the Grand Tour, Collection Viscount Cobham, Hagley Hall, Worcestershire.

438 ~ A PORTRAIT MINIATURE OF A LADY, MANNER OF PHILIP JEAN, CIRCA 1790 powdered hair adorned with strands of pearls, wearing a grey dress and a gold-edged fichu, on ivory, glazed, associated case, oval 6.8cm; together with a portrait miniature of a gentleman, English School, circa 1815, wearing a blue coat, on ivory, gilt frame, oval 6.1cm (2) £100-150 439 ~ A PORTRAIT MINIATURE OF A LADY, POSSIBLY ITALIAN SCHOOL, CIRCA 1830 with dark hair wearing a white chemise and a red shawl, on ivory, later giltwood frame oval 6cm £80-120

£120-180 435 A PORTRAIT MINIATURE OF KARL THEODOR, ELECTOR OF BAVARIA, GERMAN SCHOOL, CIRCA 1770 wearing armour, an ermine-lined crimson cape and the sash of the Order of St Hubert, on vellum, gold fausse-montre associated English frame oval 4.3cm £100-150 436 ~ A PORTRAIT MINIATURE OF A LADY, IRISH SCHOOL, CIRCA 1785 in profile to sinister, with backswept curled brown hair, on ivory, associated gold frame, glazed hair reverse, oval 2.7cm; together with a hand-coloured miniature print of George III, late 18th century, pierced gilt-metal frame (2)

437

425 part

£100-150 437 A PORTRAIT DRAWING OF A LADY, ENGLISH SCHOOL, CIRCA 1785 in profile to dexter, wearing a hat tied with ribbons and a posy at her corsage, pencil heightened with watercolour on card, giltmetal entrelac de rubans bezel and gold painted frame oval 12.3cm

438 part 439

£60-80

441

104

440

438 part

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440 ~ A PORTRAIT MINIATURE OF LOUIS XIV KING OF FRANCE AND NAVARRE, BY *** OBREY, LATE 19TH CENTURY wearing ermine robes, signed, on ivory, gilt-metal electrotype frame oval 6.5cm £60-80 441 A VERNIS MARTIN PLAQUE, FRENCH, CIRCA 1770 painted with a scene of children playing Shop, 6.5cm diameter excluding stamped gilt-metal mount; together with a pastoral landscape plaque, French, early 19th century, oil on card, 5.6cm diameter excluding gilt-metal mount (2) £60-80

442

442 AN ENGLISH BLACK LACQUER LACQUER SNUFF BOX, SAMUEL RAVEN, BIRMINGHAM, CIRCA 1825 the cover painted with ‘The Proposal: Observe her eyes; the flattering tale’s believed’ after George Henry Harlow (1787-1819) , underside of cover signed S. Raven pinx. / Patronised by H.R.H. the Duke of Sussex / & Prince Leopold of Saxe-Coburg 10cm diameter £200-300 443 A GERMAN BLACK LACQUER SNUFF BOX, W. STOCKMANN, BRUNSWICK, CIRCA 1830 the cover painted with the Madonna della Sedia after Raphael, underside of cover with painted title and numbers 1306, base interior similarly numbered, marked St. St. and with scratched painter’s initials 9.4cm diameter £150-250

443

444 TWO BLACK LACQUER THAMES TUNNEL SOUVENIR SNUFF BOXES, ENGLISH, SECOND QUARTER 19TH CENTURY the circular box cover painted with shipping and warehouses above a cross-section of the tunnel, the rectangular hinged lid to the other with a longitundinal view of the twin-bore tunnel with horse-drawn traffic below shipping and the riverside 9cm diameter and 9.2cm long The world’s first successfully completed tunnel under a navigable river, the Thames Tunnel, built by Marc Brunel and his son Isambard Kingdom, opened in 1843. It swiftly became a major tourist attraction. The American traveller, William Allen Drew writing about the interior transverse arches in 1851 noted: ‘There may be fifty of them in all, and these are finished into fancy and toy shops in the richest manner - with polished marble counters, tapestry linings, gilded shelves, and mirrors that make everything appear double. Ladies, in fashionable dresses and with smiling faces, wait within and allow no gentleman to pass without giving him an opportunity to purchase some pretty thing to carry home as a remembrancer of the Thames Tunnel. The Arches are lighted with gas burners, that make it as bright as the sun; and the avenues are always crowded with a moving throng of men, women and children, examining the structure of the Tunnel, or inspecting the fancy wares, toys, &c., displayed by the arch-looking girls of these arches ... It is impossible to pass through without purchasing some curiosity. Most of the articles are labelled - “Bought in the Thames Tunnel” “a present from the Thames Tunnel”. Although always intended for horse-drawn traffic, as evidenced by the rectangular box, it remained pedestrian only until becoming a railway tunnel after 1865, a function it still performs today.

444

£300-500

105

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445 A LACQUER AND PIQUE SNUFF BOX, FRENCH, CIRCA 1765 oval, inlaid with mother-of-pearl, silver and gold piqué wire and points, the lid with a basket of flowers and a bird, the sides and base with further floral clusters, gilt-metal hinge mounts and flowerhead thumbpiece 8.4cm wide £180-220 446 A PRESSED HORN ‘CATAFALQUE DE NAPOLEON’ SNUFF BOX, FRENCH, CIRCA 1840 rectangular, the lid pressed with the titled funerary barge bearing the Emperor’s ashes gliding down the Seine after the lithograph by Jean Baptiste Arnout (1788-1865) and his son Jules Arnout (1814-1868) 9cm long

446

Napoléon’s ashes returned from St Helena in 1840 arriving with some ceremony at the Hotel des Invalides in December of that year. £400-600 447 A PRESSED HORN SNUFF BOX COMMEMORATING THE BATTLE OF THE PYRAMIDS, FRENCH, EARLY 19TH CENTURY rectangular, depicting Napoleon standing before the pyramids inspiring his troops before the battle 6.2cm long

447

Versions of the box are sometimes found inscribed with Napoleon’s famous quote on the day of the battle, 21 July 1798: “Soldats, songez que, du haut de ces pyramides, quarante siècles vous contemplent” (Soldiers, be aware that from the heights of these pyramids, forty centuries look down on you.) £150-200

LOTS 448-508 SNUFF BOXES FROM THE HOFFENREICH COLLECTION

448

448 A ‘NAPOLEON’S HAT’ HORN SNUFF BOX, FRENCH, SECOND QUARTER 19TH CENTURY the lid pressed with ‘NAPOLEON A TOULON’, the reverse inlaid with a cockade 8cm long £200-300 449 AN IBEX HORN SNUFF BOX, GERMAN, SECOND QUARTER 19TH CENTURY oval with natural protusion, the lid and base pressed with the same scene of three ibex in a mountain setting, each panel respectively initialled JA and MH, silver mounts with maker’s mark TA 9cm long £250-350

106

449

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450

452 451

450 ~ A TORTOISESHELL PORTRAIT BOX, FRENCH, CIRCA 1900 the cover inset with a miniature on ivory of lady in the costume of circa 1795 bearing signature Graff in gilt-metal mount, base with mother-of-pearl starburst 8.6cm diameter £120-180 451 A GERMAN BLACK LACQUER SNUFF BOX, PROBABLY BRUNSWICK, CIRCA 1820 the cover painted with a shepherd beside his flock, interior inset with a miniature of The Agony in the Garden 10.6cm diameter £300-400

453

452 ~ A TORTOISESHELL BOITE A MINIATURE, FRENCH, CIRCA 1830 the cover inset with a ‘fixé sous verre’ miniature of figures in fluvial landscape, gilt-metal mount 9.3cm diameter £180-220 453 ~ AN ITALIAN GOLD-MOUNTED TORTOISESHELL PIQUE WORK SNUFF BOX, NAPLES, CIRCA 1775 oval, the lid and base inlaid with a strutting peacock surrounded by fruiting vine trails, the sides with further vines and birds above islands with exotic trees, bright-cut gold rims and scallop thumbpiece 7.1cm wide

455

£700-1000 454 A FRENCH BLACK LACQUER CALENDAR SNUFF BOX FOR THE YEAR 1816 cover and base with printed calendar of Saints, 8.7cm diameter; together with a lacquer box, early 19th century, with an engraving of a tooth extraction; and a French lacquer box, late 19th century, the cover painted with ‘The Pursuit of Love’ after Fragonard (3)

455 ~ AN ITALIAN TORTOISESHELL PIQUE WORK SNUFF BOX, NAPLES, CIRCA 1765 oval, decorated in gold piqué with bunches of flowers and insects, 8.8cm wide; together with a carved amber snuff box, oval, the lid with a mythological subject, scroll work sides, possibly Eastern Prussia 18th century, the silver mounts, 5.9cm wide (2)

£150-250

£200-300

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459 460 458

458 A GERMAN ENAMEL SNUFF BOX, PROBABLY BERLIN, CIRCA 1780 cartouche shaped, decorated in earlier Pierre Fromery style, blue counter enamel, silver mounts 6.4cm long £60-80

456 456 AN ENAMEL DOUBLE SNUFF BOX, GERMAN, MID 18TH CENTURY waisted oval, the white ground painted with flower sprigs, giltmetal hinge mounts to either end with scroll thumbpieces 6.4cm long

459 AN ENAMEL SNUFF BOX, GERMAN, MID 18TH CENTURY rectangular, white ground, painted with roses, tulips and other flowers, silver mounts 8.2cm long

£500-700

£180-220 460 A ENAMEL SNUFF BOX, CONTINENTAL, LATE 19TH CENTURY egg-shaped, painted with a military subject, 5.5cm long; together with an enamel snuff box, French, late 19th century, cartouche shaped, in 18th century Staffordshire style, silver mounts, 6cm long (2) £100-150 461 A PORCELAIN SNUFF BOX, GERMAN, LATER 19TH CENTURY oval with waisted sides, the lid and sides painted with fowl vignettes, the interior with St Catherine of Alexandria, gilt-metal mounts 6.5cm long £150-200

457 A GERMAN ENAMEL SNUFF BOX, PROBABLY BERLIN, CIRCA 1760 circular, the lid and sides painted with military subjects involving Prussian troops within black and gilt scroll borders, lid verso with another battle scene, gilt-metal mounts 7.8cm diameter

462 A PORCELAIN SNUFF BOX, GERMAN, LATE 19TH CENTURY cartouche shaped with waisted sides, the lid and sides painted with vignettes of military figures in a skirmish and outside tents reserved on a magenta scalework ground, the lid interior with a portrait of Frederick the Great, silver-gilt mount maker’s marked DE 7.8cm long

£250-350

£200-300

457

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462 463 461

464

466 465

463 A CONTINENTAL PORCELAIN DOUBLE SNUFF BOX, PROBABLY GERMAN, LATE 19TH CENTURY rectangular, the textured ground painted with floral sprigs, the double lids with portraits of a prince in armour and his consort to the interior, the silver-gilt mounts bearing Paris charge and discharge mark of Eloi Brichard and date letter for 1759, porcelain with spurious Sevrès mark of 1780 6.9cm long

467

467 AN ENAMEL SNUFF BOX, GERMAN, THIRD QUARTER 18TH CENTURY rectangular, basketweave white ground with scattered blue floral sprigs, gilt-metal mounts 6.9cm long £100-150

464 A PORCELAIN SNUFF BOX, GERMAN, LATE 19TH CENTURY oval with waisted sides, painted in Meissen style in the manner of Herold with vignettes of Oriental merchants within Laub und Bandelwerk borders, gilt-metal mounts 7.1cm long

468 TWO GERMAN ENAMEL SNUFF BOXES COMMEMORATING FREDERICK THE GREAT’S VICTORIES, BERLIN, CIRCA 1765 rectangular, one white ground, the lid with crowned cypher and battle names and dates surrounded by laurel garlands overlooked by a Prussian eagle, 19th century gilt-metal mount, the other blue ground with raised gilt highlights and contemporary gilt-metal mounts 8cm long

£100-150

£200-300

465 AN ENAMEL SNUFF BOX, THE LID GERMAN, PROBABLY BERLIN, MID 18TH CENTURY rectangular, the lid painted with two putti flanking an elector’s crown, the verso with putti glorifying an elector, possibly Frederick the Great, the associated base and mounts with flower sprigs, 19th century 6.8cm long £120-180 466 A GERMAN ENAMEL SNUFF BOX, BERLIN, CIRCA 1765 rectangular, painted with scenes allegorical of the Peace of Hubertusberg, gilt-metal mounts 6.8cm long

468

£200-300

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469 470 469 A FRENCH SILVER AND MOTHER OF PEARL SNUFF BOX, MAKER’S MARK APPARENTLY F?F, PARIS, 1739/30 shaped oval, the mounts chased with flowers and basketwork, plain mother of pearl base, the similarly-inset hinged lid faintly etched with a landscape, struck with a 1726-1732 charge mark and a later discharge mark 7cm wide £300-400 470 A MOTHER-OF-PEARL, SILVER-GILT AND HARDSTONE SNUFF BOX, PROBABLY LOW COUNTRIES, EARLY 18TH CENTURY AND LATER cartouche-shaped, the lid set with a mother-of-pearl panel finely carved with grotesques in low relief in the manner of Jean Berain (1640-1711) with Europa and the Bull at the centre surrounded by birds, putti, urns, canopies, Caesar profiles and other motifs, circa 1720, the later base of subtly striated honey-coloured hardstone 7.7cm wide £400-600

471

471 A HUNGARIAN GILT COPPER SOUVENIR TOBACCO BOX, HERRENGRUND, DATED 1745 oval, the sides engraved with the inscription ‘1745 Eysen Wahr ich . Kupfer bin ich . Goldt und Silber zirt mich . Knaster trag ich.’ (I used to be iron . I am copper now . Gold and Silver cover me . Tobacco I carry), the hinged lid chased with a stag hunting scene with equestrian figures, hounds and trees at sunset, silver hinge and thumbpiece 12.5cm wide The inscription refers to the method of obtaining copper in the Herrengrund mines. The local water had a high concentration of copper sulphate and iron scraps were placed in hollows where the water collected and reacted with the sulphate to precipitate copper from the solution. The copper either settled as a sludge or formed a crust over the surface of the iron. This gave rise to the legend that the water had mysterious, if not magical properties and the consequent production of various souvenirs, such as tumbler cups and boxes. £300-400

472

472 A SCOTTISH SILVER-MOUNTED COWRIE SHELL SNUFF BOX, PROBABLY JAMES MITCHELLSONE, EDINBURGH, CIRCA 1720 the flush-hinged lid mount engraved with the dove of peace above a foliate flanked urn on socle and further stylised foliage, maker’s mark only 6.6cm long £400-600

110

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473

474

475

473 A ROCK CRYSTAL SNUFF BOX, PROBABLY GERMAN, MID 18TH CENTURY cartouche shaped, bevelled lid and sides, reeded silver-gilt mounts with arc-en-arbelette shaped thumbpiece 7.5cm long

475 A GOLD-MOUNTED ROCK CRYSTAL BONBONNIERE, GERMAN, LATE 19TH CENTURY shell shaped, reeded mounts and rocaille thumbpiece, unidentified marks 5.2cm long

£500-800

£600-800

474 A GOLD-MOUNTED GLASS SNUFF BOX, UNMARKED, PROBABLY J. & L. LOBMEYR OF VIENNA, CIRCA 1880 oval, the sides engraved with conch-blowing cherubs, grotesques and foliage, the hinged lid decorated in relief with scrolls enclosing a vignette of the Birth of Venus, plain mounts 6.7cm wide

476 A GEORGE II GOLD-MOUNTED AGATE SNUFF BOX, UNMARKED, PROBABLY LONDON, CIRCA 1745 rectangular with tapered sides, cagework mounts, the hinged cover applied with a pierced and chased panel of rococo scrolls, honey-coloured and greyish hardstone with white striations 5.7cm wide

£600-800

£800-1200

476

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478

479

477

477 A SILVER-MOUNTED HARDSTONE SNUFF BOX, UNMARKED, GERMAN, MID-18TH CENTURY rectangular, boat-shaped, mottled brownish body and lid, plain moulded mounts 7.3cm wide

480 A DUTCH SILVER SPICE BOX, MAKER’S MARK KR14, 1873 shaped square, engraved decoration, 5cm wide; together with an Austrian silver miniature box, rectangular, engine-turned, 900 standard, Vienna, 20th century, 1.6cm wide (2)

£200-300

£60-80

478 A GILT METAL-MOUNTED AGATE SNUFF BOX, GERMAN, MID18TH CENTURY circular, compressed circular, the lid carved a concave indentation, the mottled liver and claret coloured stone with mossy areas 7.5cm diameter

481 A SILVER SNUFF BOX WITH DETACHABLE BEAKER BASE, PROBABLY GERMAN, MID TO LATE 18TH CENTURY oval baluster form, embossed scroll borders and applied thumbpiece, gilt interiors, 812 standard, crown mark 6.7cm wide £150-250

£120-180 479 A SILVER-MOUNTED BLOODSTONE SNUFF BOX, UNMARKED, PROBABLY GERMAN, 18TH / 19TH CENTURY plain cartouche-shaped 6.7cm wide

482 A SILVER SNUFF BOX WITH DETACHABLE BEAKER BASE, PROBABLY GERMAN, SECOND HALF OF THE 18TH CENTURY oval, plain upright waisted form, gilt interiors, unmarked apart from Austro-Hungarian E control mark 7.8cm wide

£150-250

£100-150

481

112

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484

485 483

483 A SILVER TIMEPIECE SNUFF BOX, MID 18TH CENTURY the unmarked box probably German, cartouche shaped, double lidded, the main lid covering the snuff compartment, the top lid opening to reveal the English watch with silver dial with Roman hours and Arabic five minute indicators, the verge fusée movement with square baluster pillars, dial and movement signed Decharmes, London, with later key 7.2cm wide £700-1000 484 A SILVER TIMEPIECE DOUBLE SNUFF BOX, MID 18TH CENTURY the unmarked box probably German, waisted oval, hinged lids, gilt interiors, the top lid opening to reveal the watch signed Riam London with silver dial with Roman hours and Arabic five minute indicators, the verge fusée movement with square baluster pillars, dial and movement signed, key 8cm wide

485 A SILVER-GILT TIMEPIECE SNUFF BOX, MID 18TH CENTURY the unmarked box probably German, cartouche shaped and double lidded, Rococo decorated with scrolls and shells on matted grounds, the main lid covering the snuff compartment, the top lid with a scene of reclining Apollo opening to reveal the watch by Charles Cabrier II of London with silver dial with Roman hours and Arabic five minute indicators, the verge fusée movement with square baluster pillars, dial and movement signed Cabrier, London, with modern key 8cm wide For another probably German timepiece snuff box with English movement by Cabrier, see Sotheby’s, London, Dr Heller’s Lexicon, 4 December 2012, lot 251. £1200-1800

£700-900

485 closed

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487

486

488

486 A FRENCH SILVER SNUFF BOX, PARIS, 1738-1744 cartouche shaped, chased and engraved with Venus and Adonis, the base with Venus in her chariot, traces of a maker’s mark and date letter, charge and discharge mark of Louis Robin 7.5cm wide

489 AN AUSTRIAN SILVER SNUFF BOX, MAKER’S MARK AW, VIENNA, 1782 plain oval, the interior lightly gilt, maker’s mark and town mark with date 7.7cm wide

£300-500

£150-250

487 A FRENCH SILVER-GILT SNUFF BOX, PARIS, 1753 shaped rectangular, the lid chased with a vignette of Mark Antony visiting Cleopatra and her attendants, the sides and base with patterns of swirling feathery foliage and flowers, gilt interior, maker’s mark rubbed, charge and discharge mark of Julien Berthe, date letter 8.5cm wide

490 A DUTCH SILVER BOX, AMSTERDAM, CIRCA 1800 elongated rectangular, engraved with flowers and foliage within similar borders, maker’s mark GB incuse and town mark 13cm wide £400-600 491 AN AUSTRIAN SILVER SNUFF BOX, MAKER’S MARK I.R, GRAZ, 1780s oval, with borders of stylised engraving, gilt interior, Radlpunze only partly legible, 812 standard 8.7cm long

Compare with a similar silver-gilt snuff box in the Metropolitan Museum of Art, New York, the lid decorated with dancing lovers, Antoine Daroux, Paris, 1755-56, illustrated in Clare le Corbeiller, European and American Snuff Boxes, London, 1966, fig. 417. £800-1200

£120-180 488 A SILVER SNUFF BOX, PROBABLY GERMAN, MID 18TH CENTURY cartouche shaped, the parcel-gilt lid with a mythological scene of Apollo and a companion surrounded by Rococo scrolls, gilt interior, maker’s mark only ‘TB’ 7cm long

492 A FRENCH SILVER-GILT SNUFF BOX MOUNT WITH GLASS COVER, ALEXANDER LEFERRE, PARIS, POST 1838 cartouche shaped, corded and engraved stiff leaf border to the mount, lacking base, 7.7cm wide; together with a red leather case for a snuff box, the cover with impressed formal decoration, early 19th century, 14.5cm wide

£150-200

£60-100

490

489

114

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494 493

495

493 AN AUSTRIAN SILVER SNUFF BOX, MAKER’S MARK ?FK, VIENNA, DATE BADLY STRUCK, CIRCA 1840-1850 rectangular, decorated in very low relief with formal strapwork and foliage, gilt interior, TF below A control mark, 812 standard 8cm cm £120-180 494 A GERMAN SILVER SNUFF BOX, UNMARKED, PROBABLY BERLIN, CIRCA 1760 commemorating Frederick the Great’s victories, waisted oblong, the lid applied with a gilt equestrian figure of the King against an engraved ground of cannons and bedecked halberds, applied front and back with the Prussian eagle against a similarly engraved ground 7cm long

496

£300-400 495 AN AUSTRIAN SILESIA SILVER SNUFF BOX, MAKER’S MARK AO, TROPPAU (OPAVA), 1810 rectangular, engraved with alternate bands of wrigglework and chequerboard within Greek wave borders, gilt interior, 812 standard 9cm long £120-180 496 AN AUSTRIAN SILVER SNUFF BOX, VIENNA, 1811 OR 1821 cut-cornered rectangular, the surfaces engraved or carved with ribbon-tied flowers and formal motifs, the hinged lid with applied gold plaque, gilt interior, 1810-1824 Vienna tax mark, 812 standard 6.8cm wide

497

£120-180 497 A SILVER SNUFF BOX, GERMAN, CIRCA 1780 oval, engraved with flowers on a sunray ground within stylized ornament, gilt interior, 812 standard, maker’s mark ?H, 1809-1810 Austrian control mark and Linz control mark 8.3cm wide £150-250 498 AN AUSTRIAN SILVER DOUBLE SNUFF BOX, JOSEF RÜMPLER, VIENNA, 1790 boat-shaped with thumb aperture and two hinged lids, the borders with brightcut wrigglework decoration, gilt interior, 812 standard 10.3cm wide

498

£300-400

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501

500 499

502

499 A SILVER SNUFF BOX, GERMAN OR DUTCH cartouche shaped, engraved and chased with a cherub in an architectural setting with fountains, the underside with a shepherd, gilt interior, maker’s mark badly struck, possibly AVE, the rim struck ‘58’ 7.5cm wide £400-500

503 A DUTCH SILVER SNUFF BOX, MAKER’S MARK BADLY STRUCK, 1892, IMPORTER’S MARK OF E.T. BRYANT, LONDON, 1892 cartouche-shaped, the hinged lid with die-stamped carousing figures, scroll sides, shell-fluted base, 6cm wide; together with a brass ‘bishop’s’ ring, cast with classical profiles and other motifs, seal matrix on hinged lid, initialled ‘CP/FS,’ 5.3cm high (2) £80-120

500 A SILVER SNUFF BOX, MID 18TH CENTURY cartouche shaped, chased with Diana and attendants within rocaille ornament, the base with shells and flowers, the border struck ‘RIO’ and with a 1814-1956 Dutch control mark 7.4cm wide £150-250 501 A GERMAN SILVER SNUFF BOX, PROBABLY HANAU, LATE 19TH CENTURY cartouche shaped, the lid with putti holding garlands within a shell, scroll and diaper border, the base with Orpheus charming animals and birds, gilt interior, pseudo hallmarks 7.2cm wide £150-250

504 A GERMAN SILVER SNUFF BOX, B. NERESHEIMER & SOEHNE, HANAU, CIRCA 1900 of bombé form, the sides cast with military trophies and vignettes, the hinged cover similarly decorated with an heraldic device, struck with pseudo marks and the Prague 1901-1921 import mark 8.8cm wide £100-200 505 AN AUSTRIAN SILVER SNUFF BOX, GEORGE SCHIEGEL, VIENNA, 1856 cartouche shaped, engraved and engine turned, gilt interior, 812 standard 9cm wide

502 A SILVER SNUFF BOX, CENTRAL EUROPE, MID 18TH CENTURY cartouche shaped, the lid with a chased cluster of fruit within strapwork, the interior lid with a glazed and painted miniature of the Virgin and Child adored by St John Nepomuk, maker’s mark IS, further struck D crowned, rampant beast, later Austrian control mark three times 6.2cm wide

£150-250 506 A GERMAN SILVER SNUFF BOX, EARLY 19TH CENTURY cartouche shaped, the hinged lid engraved with a large songbird in a landscape, engraved foliate borders, gilt interior, 812 standard, later Austro-Hungarian control mark of Salzburg 7.8cm wide

£200-300

503

504

505 506

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507 507 A GERMAN SILVER PERPETUAL CALENDAR SNUFF BOX, AUGSBURG, 1743-1745 circular, each side with rotating plaque, one engraved with months and dates, the other engraved with the days of the week, further decorated with scrolling foliage on linear grounds, gilt interior 8cm diameter

508 front

£700-1000 508 A RUSSIAN PARCEL-GILT-SILVER AND NIELLO COMMEMORATIVE SNUFF BOX, ASSAY MASTER ALEXEI TORLOV, VELIKY USTYUG, 1773 circular, the cover depicting a line of infantrymen firing at fleeing troops on a tip of land with mountains to the background and boats at sea, the sides with a band of raised scrolls, the sides of the base with trophies of arms between piled cannonballs, the underside with a band of matching scrolls surrounding a coat of arms, base with town and assay marks only, 9.5cm diameter The arms are those of the Counts zu Windisch-Graetz, Barons von Waldstein (or Wallenstein) of Austria (J.B. Rietstap, Armorial Général, Vol.II, p.1098), perhaps for Count Josef-Niklas zu Windisch-Graetz (1744-1802), Chamberlain to Marie-Antoinette. The scene on the lid appears to depict an engagement on the southern tip of the Crimea, presumably during the Russo-Turkish war of 1768-1774. Russia had invaded the Crimea in 1771 and the following year Austria ended her alliance with the Ottomans, allying instead with Russia (and Prussia), so as to benefit from the Partition of Poland. Windisch-Graetz was probably involved in Austria’s complicated diplomatic manoeuvres with Russia at this time, but his precise role in these exchanges and thus the exact significance of this box remains a mystery.

508 back

£2000-3000

509 A RUSSIAN GOLD AND SILVER SNUFF BOX, CARL EKQVIST, ST PETERSBURG, PROBABLY 1839 cartouche shaped, the matted silver body overlaid with gold foliate and floral scrolls, the lid with exotic birds drinking from a bowl, assay master Dmitri Tverskoi, 875 standard 8cm long £600-800

509

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510

511

510 A RUSSIAN ENAMELLED SILVER-GILT TRAVELLING EGG CUP SET, MOSCOW, 1908-17 egg-shaped, matt enamel painted with a view of the Moscow Kremlin and with a detail after Viktor Vasnetsov (1848-1926) of one of his Bogatyrs, with filigree enamel border between, the two halves opening to reveal screw-in pedestal feet, maker’s mark PYe (in Cyrillic), 875 standard egg 6.4cm long

512

The famous painting of the Bogatyrs hangs in Moscow’s State Tretyakov Gallery, painted by the artist in 1898. £400-600 511 A RUSSIAN JEWELLED SILVER-GILT AND FILIGREE ENAMEL PILL BOX, MOSCOW, 1899-1908 cushion shaped, lid and base centred by leafy rosettes, the sides with flowers in coloured ovals, highlighted with green and red garnets, apparently no maker’s mark 5.7cm diameter £400-600

513

512 A DIAMOND AND PEARL SET LADY’S GUN-METAL CIGARETTE CASE, PROBABLY RUSSIAN, CIRCA 1910 oblong, part decorated with trellis pattern, the front with gem-set lily-of-the-valley spray, with gold hinge and rose diamond pushpiece, unmarked 8.4cm long £500-700 513 TWO RUSSIAN PAINTED BLACK LACQUER DISHES, VISHNYAKOV FACTORY, LATE 19TH CENTURY one depicting a couple riding in a horse-drawn through a summer landscape, the other with a child piggy-backing his mother crossing a stream in a windy landscape, silver printed factory mark 20cm diameter £300-500 514 A RUSSIAN BLACK LACQUER PURSE, LUKUTIN FACTORY, 1863-80 oblong, painted with a forlorn maiden by a lake, pale blue watered silk lined interior, printed label for A.P. Lukutin 8.8cm long £200-300

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517 514 515 516

515 A RUSSIAN BLACK LACQUER LADY’S CIGARETTE CASE, LUKUTIN FACTORY, LATE 19TH CENTURY oblong, painted with a smiling girl holding the ace of hearts, red interior with gold printed factory mark 10.4cm long

518

£150-200 516 A RUSSIAN BLACK LACQUER BOX, LUKUTIN FACTORY, LATER 19TH CENTURY oval, the cover painted with a Boyar and his wife, red interior, underside with orange printed factory mark 10cm long £150-250 517 A RUSSIAN BLACK LACQUER BOX, LUKUTIN FACTORY, THIRD QUARTER 19TH CENTURY barrel shaped, the cover painted with figures at a doorway in winter, interior with gilt painted factory initials below the Imperial warrant 5.5cm diameter £200-300 518 A RUSSIAN LACQUERED TOLE WARE SMALL TRAY, VISHNYAKOV FACTORY, LATE 19TH CENTURY oval, painted with a summer troika, with stylised floral border, silver printed factory mark 21.5cm wide

519

£200-300 519 A PAINTED BLACK LACQUER PANEL, RUSSIAN, LATE 19TH CENTURY rectangular, depicting a young Boyar lady in a blue robe dressing her hair 27cm high £300-400 520 A PAINTED BLACK LACQUER PANEL, RUSSIAN, LATE 19TH CENTURY rectangular, depicting a girl sitting in a bosky glade crowning herself with a ringlet of flowers 30cm high £300-400

520

119

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522

521

521 A RUSSIAN ICON OF THE PROPHET ELIJAH, 19TH CENTURY the centrally depicted prophet surrounded by images representing various scenes from his life, including his ascension into heaven in the fiery chariot, egg tempera on wood panel 44 x 37cm Provenance: Christie’s, London, 14 June 1995, lot 35 £350-450 522 A RUSSIAN NINE PART ICON, 19TH CENTURY centred by the Holy Virgin Hodegetria, tempera on panel 35 x 30cm £600-900

523

523 A RUSSIAN PORCELAIN EASTER EGG CONTAINER, KORNILOV BROTHERS, ST PETERSBURG, LATE 19TH CENTURY the egg-shaped body with hen’s head finial, gilt-metal hinge mounts opening to reveal The Resurrection painted to the interior lid and a detachable liner, the waisted pedestal flanked by three hen’s legs standing on a triform base set with shells between, with gilt borders, gilt and lilac details and two green borders, blue factory and Imperial warrant mark 19cm high £800-1200

524

120

524 A RUSSIAN PORCELAIN PART TEA SET, KORNILOV BROTHERS, ST PETERSBURG, LATE 19TH CENTURY the cobalt blue ground reserved with painted ovals of buildings in riverside landscapes within raised gilt leaf borders, with further gilt borders and handles, comprising: a teapot and cover, a sugar bowl and cover, a milk jug and a teacup and saucer, blue factory and Imperial warrant marks teapot 22cm long (7) £400-600

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525 A SOVIET PROPAGANDA TEACUP AND SAUCER, BY THE IMPERIAL PORCELAIN FACTORY, 1889, AND THE STATE PORCELAIN FACTORY, 1921 designed by Mikhail Mikhailovich Adamovich (1884-1947) in 1920, the cylindrical cup inscribed in Cyrillic “In battle you will encounter your rights.” flanking crossed red flags with RSFSR above and 25 October 1917 below, with geometric pattern border to cup and saucer, both with green Imperial cypher for Alexander III and date and blue State Porcelain Factory mark and date 13.5cm diameter, crack to cup For another example, see T.N. Nosovich and I.P. Popova, Gosudarstvennyi farforovyi zavod, 1904-1944, Orkestr, St Petersburg, 2005; p. 251. £1000-1500

525

527

526 526 A RUSSIAN PARCEL-GILT-SILVER CUP AND COVER, MOSCOW, 1750 gourd shaped, after 16th century German patterns, cast woodman stem, the base, bowl and detachable cover richly chased with shells, scrolls and other motifs below a cast Imperial eagle finial, gilt interior 36.5cm, 479gr (15oz 8dwt) £1500-2500

527 AN ENAMELLED SILVER-GILT BOWL AND LADLE, RUSSIAN STYLE, 20TH CENTURY the bulbous bowl with a band of shaded cloisonné enamelled profiles flanking a Bogatyr holding aloft a mug of frothing ale above a band of black eagles between pan-Slavic type borders and a rim with bears in a snowy landscape, applied with cast wolf mask handles, the ladle with foliate cloisonné enamelling on a matted gilt ground, all bearing spurious Fabergé and kokoshnik marks 21cm wide, 1289gr all in For an original and larger version of this bowl, by Feodor Rückert, Moscow, circa 1910, see Sotheby’s, New York, 22nd April 2009, lot 265, sold for $482,500. £600-900

121

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528 529 528 A RUSSIAN SILVER WINE COASTER, ROBERT COLQUHOUN FOR NICHOLLS & PLINKE, ST PETERSBURG, 1864 the rim applied with cast and chased fruiting vines above openwork basketweave sides, the base with concentric bands, 875 standard 19cm diameter, 599gr (19oz 5dwt) £1200-1800 529 A RUSSIAN SILVER BASKET, ADRIAN IVANOV, MOSCOW, LATE 19TH CENTURY oval, the lightly frosted sides engraved either end with a cartouche flanked by wheat stalks and scrolls, one cartouche initialled VC (VS in Cyrillic), the other vacant, with swing handle 22cm long, 534gr (17oz) £600-900 530 A RUSSIAN PARCEL-GILT-SILVER-MOUNTED COCONUT CUP AND COVER, UNMARKED, MID 18TH CENTURY the circular foot and cover-straps chased with stylized foliage and shells, cast Imperial eagle finial 26.78cm high £600-900 531 A SET OF TWELVE RUSSIAN PARCEL-GILT-SILVER AND NIELLO TEASPOONS, VASSILY SEMENOV (OR SEMYONOV), MOSCOW, 1862 AND CIRCA, RETAILED BY SAZIKOV the bowl backs decorated with vacant scroll cartouches surrounded by an exuberance of flowers and foliage, in fitted oak case (damaged) with printed Sazikov label 13cm long, 358gr (11oz 10dwt)

530

£300-400

531

532

122

532 A SET OF FOUR RUSSIAN SILVER VODKA TOTS (OR KIDDUSH CUPS), MAKER’S MARK IEZ (IN CYRILLIC), KIEV, 1899-1904 wrigglework decorated, 875 standard 6cm high together with a Russian silver goblet, bright-cut with alternate arched panels of buildings and foliage between wrigglework borders, 875 standard, maker’s mark Z.Z (in Cyrillic), Moscow, late 19th century 166gr (5oz 6dwt) (5) £80-120

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534

533 535

533 KARL FABERGE: A RUSSIAN SILVER-MOUNTED GLASS INKWELL, WORKMASTER JULIUS RAPPOPORT, ST PETERSBURG, LATE 19TH CENTURY the glass body of bold swirled ribs, the onion-domed silver lid cast and chased with rocaille scrolls and flowers, maker’s mark in full with Imperial warrant, 916 standard 16.5cm high £2000-3000 534 KARL FABERGE: GEM-SET GOLD-MOUNTED SILVER-GILT AND ENAMEL LOCKET, WORKMASTER AUGUST HOLLMING, ST PETERSBURG, 1903-1908 oval, the sunburst engine-turned ground enamelled in irridescent translucent pink enamel, decorated with a bow and garland swag set with rose diamonds and terminating in two pearls (untested), diamond-set suspension loop, opening to reveal glazed and mirrored compartments, workmaster’s mark, assay master Alexander Romanov, 56 and 84 Zolotniks mark, scratched inventory No.76471 49mm high overall £4000-6000 535 KARL FABERGE: ENAMEL AND DIAMOND BROOCH, WORKMASTER OSCAR PIHL, MOSCOW, LATE 19TH CENTURY disc shaped, with translucent plum enamel over spiral engine-turning, decorated with three curling fronds set with circular and rose diamonds, workmaster’s mark, town mark, 56 Zolotniks 26mm diameter

536

536 KARL FABERGE: SAPPHIRE AND DIAMOND BAR BROOCH, WORKMASTER AUGUST HOLLMING, ST PETERSBURG, 1899-1903 the oval cabochon sapphire within a surround of rose diamonds, workmaster’s mark, assay master Yakov Nikolayevich Lyapunov, 56 Zolotniks, scratched inventory No.66702 37mm wide £1500-2000

£2500-3000

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537 KARL FABERGE: GOLD, RUBY AND DIAMOND BROOCH, WORKMASTER AUGUST HOLMSTROM, ST PETERSBURG, LATER 19TH CENTURY designed as a foliate scroll set with two oval cabochon rubies and cushion shaped, circular and rose diamonds, workmaster’s mark, 56 Zolotniks, scratched inventory No.10749 32mm wide £1800-2200

541 TWO BI-COLOURED GOLD BRACELETS, RUSSIAN, EARLY 20TH CENTURY one designed as a series of alternating whorl links, 56 Zolotniks mark for St Petersburg, numbered 5, makers mark AM, the other designed with oval floral motifs joined by brick links, 56 Zolotniks mark for Moscow numbered 4, makers mark PS (in Cyrillic) length approximately 210mm and 260mm respectively, 20.6gr, 17.5gr respectively £800-1000

538 ENAMEL, RUBY, DIAMOND AND PEARL GOLD PENDANT, RUSSIAN, 1899-1908 designed as a green enamel leaf cartouche set with oval rubies and circular diamonds suspending a pearl drop (untested), Kokoshnik mark 34mm wide £600-900

542 PAIR OF GOLD, ENAMEL AND DIAMOND CUFFLINKS, RUSSIAN, 1899-1908 each disc with an openwork Imperial eagle centred by a circular diamond, with an engine-turned rim enamelled in oyster white, indistinct Kokoshnik mark, later French import mark 14mm diameter, 9.8gr all in £400-600

539 RUSSIAN GOLD AND DIAMOND BROOCH, ST PETERSBURG, 1908-1917 designed as an eagle holding a cushion shaped diamond in his beak, 56 Zolotniks, indistinct maker’s mark to pin 49mm wide £800-1200 540 RUSSIAN GOLD, DIAMOND, RUBY, SAPPHIRE AND PEARL BROOCH, ST PETERSBURG, LATE 19TH CENTURY designed as a knotted heart suspending a clover leaf set with a cushion shaped diamond, oval ruby, sapphire and a pearl (untested), maker’s mark I CH (in cyrillic), 56 Zolotniks 27mm high

543 KARL FABERGE: SET OF FOUR GOLD AND ENAMEL TIE PINS, MOSCOW, 1899-1908 each pin with card suit terminal: a heart, spade, diamond or club respectively, maker’s mark, assay master Ivan Lebedkin, 56 Zolotniks, scratched inventory No.26202 45mm long approximately £1000-1500

£300-500

537 538

540 539

542

541 543

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544 EIGHTEEN CARAT GOLD AND MICRO-MOSAIC ‘ARCHAEOLOGICAL’ DEMI-PARURE, C. & E. TOMBINI, ROME, CIRCA 1870 the stylized bulla pendant/brooch decorated with granulation, applied wire and rope twist borders, set to the centre with a micro-mosaic depicting the head of a pharaoh within a laurel border suspending a pendant depicting a scarab and chain swags, with two pairs of matching earrings, one pair mirroring the pharaoh head design, the other the scarab, Papal States gold marks, indecipherable maker’s mark, in original red leather case with applied label Roma, Babuino 133 134, C. ed E. Tombini, Orefici, Londra, 22 Wigmore St Tombini were known for their jewellery in the ‘archaeological style’; pieces by the firm could be purchased at the shop in Rome, as well as through their retailer in London’s Wigmore Street. Such revivalist style jewellery was popularised by Napoleon III’s wife, who wore items from the Campana collection, which included many pieces of ancient jewellery. The most influential jeweller at this time was Fortunato Pio Castellani and his sons Alessandro and Augusto, who endeavoured to re-create historically precise models of recently excavated finds. They displayed their work at International Exhibitions and had shops in London and Paris. The style gained momentum with Carlo Giuliano & John Brogden in London, Henri Vever & Eugene Fonteney in Paris and Josef Bacher & Sohn in Vienna.

No traveller’s trip to Rome would be complete without a visit to a jeweller working in this new ‘Classical’ style. George Eliot and George Henry Lewes, when visiting the city, chose Tombini to mount a cameo of a Bacchante they had acquired. In his diary for 18 April 1860 Lewes wrote: “The Bacchante we took to a goldsmith and there chose an Etruscan mounting” (see Yale University Library GEN MSS 818 for the cameo in its Tombini gold mount). A Handbook of Rome and its Environs (John Murray, London, 1871) notes that Cesare Tombini was ‘a good working jeweller at 65, via Babuino who can be relied upon for setting cameos, mosaics, etc’. There was an increasing interest in the Egyptian style through the 1860s, helped by Auguste Mariette’s excavations for the Louvre and the digging of the Suez Canal. Verdi’s Aida (1871) was based on a plot by Mariette, following the Khedive’s request for an opera story. This demi-parure, with its strong pharaonic motifs, reflects the time’s passion for objects in the Egyptian taste, displaying a freer adaptation of the ‘archaeological style’ than early Castellani examples; for a similar Tombini pendant in similar case see Diana Scarisbrick’s chapter in Castellani an Italian Archaeological Jeweller, p.328, fig.12-25 (edited Susan Weber Soros & Stephanie Walker, New York, 2004). £1200-1800

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551 as tiara

545 PAIR OF DIAMOND PENDENT EARRINGS each surmount designed as a graduated swirl set with baguette diamonds suspending a crescent motif enclosing an articulated pear-shaped diamond decorated with single- and brilliant-cut stones throughout £1200-1800 546 SAPPHIRE AND DIAMOND RING designed as a row of three slightly graduated oval sapphires accented with six cushion shaped diamonds size Q £1200-1500 547 SAPPHIRE AND DIAMOND BROOCH designed as a bow with calibré-cut sapphires and single-cut diamonds in millegrain settings length 38mm approximately, two calibré-cut sapphires deficient £400-600 548 PAIR OF CULTURED PEARL AND DIAMOND EARRINGS each pearl measuring 8-8.5mm approximately within a surround of claw set brilliant-cut diamonds £400-600 549 DIAMOND CHAIN NECKLACE AND SAPPHIRE BRACELET the necklace set to the centre with a diamond cluster of brilliant-cut stones on a three row brick link chain, the matching bracelet with three circular sapphire and brilliant-cut diamond clusters necklace length approximately 430mm, bracelet 180mm approximately, necklace 29.7gr all in, bracelet 16.4gr all in (2) £1000-1200 550 DIAMOND DRESS RING of bombé design, set with brilliant-, single- and marquise-cut diamonds variously coloured yellow, brown and white size L £800-1000

550

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551 as necklace

551 DIAMOND AND CULTURED PEARL NECKLACE / TIARA designed as a spray of twisting branches interspersed with brilliant- and marquisecut diamonds with cultured pearl details; together with a cultured pearl drop pendant measuring 13.5mm approximately and chain links for use when a necklace length of spray 170mm approximately, total weight 91 gms (including chain for necklace)

546

ÂŁ2000-3000

545

548 547

549

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552

554 EIGHTEEN CARAT GOLD AND AQUAMARINE NECKLACE designed as a torsade of circular aquamarines in open collet mounts, modern London hallmark length approximately 445mm

552 DIAMOND AND EMERALD BROOCH designed as a prawn, set throughout with brilliant-cut diamonds with circular emerald eyes and looping antenae £300-400

£800-1000 553 HORN, RESIN AND SIMULANT TURQUOISE BUTTERFLY PENDANT, ELIZABETH BONTE, PARIS, EARLY 20TH CENTURY designed as a carved horn moth set to the centre with a paste turquoise cabochon and a conical paste drop suspended from a brown silk cord necklace decorated with ovoid resin, black and stimulant turquoise beads, signed E Bonté length approximately 820mm, one black bead deficient

555 OPAL BEAD NECKLACE the slightly graduated opal beads interspersed with two flat and faceted paste spacers on an opal cabochon mounted clasp, length 360mm approximately; together with an opal pendant, two opal bead earrings and a jade bar brooch mounted with a carved oval plaque (5)

The French designer, Elizabeth Bonté, is renowned for her Art Nouveau carved horn jewellery, easily identifiable by the signature that appears on nearly all of her pieces. The butterfly pendant of this sautoir is a classic motif of hers; others include dragonflies or exotic flowers and most are finished with a drop of simulated stone. The engraved horn is either soaked in hydrogen peroxide to add sheen to the translucent material or painted with a fine layer of pearly enamel to give the effect of real insect wings. The paste beads simulate turquoise or other hard stones and ambers. Her contemporary George Pierre created similar jewellery in horn and later went into partnership with her in French Jura until 1936.

£200-300 556 PAIR OF FIGURAL PENDENT EARRINGS each pendant cast as a winged angel blowing a trumpet hung on three links from a beaded and corded roundel 62mm long £250-350

See Deanna Farnetiu Cera, Amazing Gems, New York,1997, p.55 for a similar example. £300-500

556

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555 part 554

558 557

553

557 ROCK CRYSTAL PENDANT carved as a skull held by rope twist wire to a pendant fitting 35mm-30mm approximately, 16.3gr £150-200 558 OPAL RING the circular cabochon opal in a simple claw setting size M £600-800

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560 LATTICE BIB NECKLACE designed as a series of faceted gold bead links with white gold edges Verona 18 carat gold mark length approximately 425mm, 57.5gr £1200-1500 561 BI-COLOURED GOLD BRACLET, 1940s designed as a series of large circular hollow links, suspending a heart shaped pendant engraved with ‘Vous Avez La Clef’ length approximately 185mm, approximately 37.4gr £400-600 562 RUBY NECKLACE designed as two graduated rows of polished ruby beads on an adjustable cord fastening length of ruby chains respectively 515mm and 570mm approximately £200-300

559

563 A COLLECTION OF NEW YORK YACHT CLUB BROOCHES AND PAIR OF EARRINGS comprising: 9 carat and enamel signal flag brooch spelling ‘Betty’, Benzie, Cowes, hallmarked London; a silver gilt and enamel anchor brooch for the New York Yacht Club, Tiffany & Co; a gold and enamel triangular swallow tailed burgee brooch, Benzie, Cowes; a pair of gold and enamel earrings each depicting a burgee of pennant and swallow tail shape respectively; two other enamel brooches (7) £400-600

559 LADY’S DIAMOND WATCH, BRITISH WATCH COMPANY, 1950s the rectangular gold face signed BWC, Suisse with Arabic numerals, faceted circular indicators and black hands under a domed crystal, the lugs decorated with a horizontal row of singlecut diamonds on a flexible bangle, Swiss gold marks to reverse and bracelet expanding bracelet diameter from 50mm approximately to 72mm max

564 CULTURED PEARL, RUBY, SAPPHIRE AND DIAMOND NECKLACE, 1950s the clasp of bombé lattice design decorated with circular cut rubies, sapphires and single-cut diamond flowers suspending two rows of graduated cultured pearls measuring between 5mm8.5mm approximately shortest length (including clasp) 385mm approximately, one row deficient

£300-400

£500-700 565 PAIR OF CRYSTAL INTAGLIO EARCLIPS each crystal painted with a yacht within a textured surround £400-600

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560

561

562

563 part 564

565

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566 part

566 ~ SEED PEARL AND TURQUOISE PORTRAIT MINIATURE LOCKET, CIRCA 1910 painted with a young boy on an ivory oval surrounded by a border of alternate pearls and turquoises, glazed reverse, in original velvet easel display case; together with a pearl ring, 1880s, the five pearls (untested) with diamond points inbetween on a scroll gallery, size N (2) £150-200 567 CULTURED PEARL AND DIAMOND PENDANT, 1880s lozenge shaped, set throughout with cushion shaped and circular diamonds accented with cultured pearls 37mm approximately long excluding diamond set bale £800-1200 568 DIAMOND BROOCH / PENDANT, 1880s starburst design, set throughout with cushion shaped and rose diamonds 43mm diameter approximately £800-1200 569 PAIR OF DIAMOND AND CULTURED PEARL EARRINGS each cultured pearl measuring approximately 4.8mm and 5mm respectively, suspended from an articulated row of millegrain set circular diamonds and surmounted by a bow motif set with rose diamonds £300-500 570 CULTURED PEARL AND DIAMOND BROOCH, 1880s of annular design set to the centre with a circular-cut diamond on a knife-wire within a border of similarly cut diamonds accented with pearls at the terminal points 25mm diameter approximately £400-600

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571 ONYX AND DIAMOND RING, 1930s the carved onyx plaque centred by on a collet-set brilliant-cut diamond with circular and cushion shaped stones to each terminal point size L £300-400 572 DIAMOND BROOCH, 1860s the open work plaque with a quatrefoil floral decoration set throughout with cushion-shaped, rose and circular diamonds 20mm x 17mm approximately £400-600 573 PEARL NECKLACE the graduating knotted pearls (untested) measuring from 3.5mm7.5mm approximately length approximately 440 mm £200-400 574 PEARL NECKLACE designed as a graduated row of pearls (untested) measuring between 2mm-5.5mm length approximately 425mm £400-600 575 CULTURED PEARL AND DIAMOND BAR BROOCH, LATE 19TH CENTURY the cultured pearl set between two old-cut diamonds on a bar of similarly cut stones length 82mm approximately £600-800

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576

576 PAIR OF DIAMOND EARRINGS, LATE 18TH CENTURY COMPOSITE each foiled pear shaped diamond in a closed back setting within a surround of rose diamonds Â£4000-6000

567

568

570

571 569

572

573

574

575

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578

577 580 part 577 EIGHTEEN CARAT GOLD, MULTICOLOURED QUARTZ AND TOPAZ NECKLACE designed as a row of cushion shaped cabochons collet mounted with: blue topaz, amethyst and citrine suspending a line of smoky quartz, citrine and topaz, modern London hallmarks adjustable length 385-405mm approximately £700-900 578 EIGHTEEN CARAT GOLD AND AMETHYST CHOKER/BRACELET, CIRCA 1995 the square amethyst mounted on a tapering articulated gold bracelet which can be lengthened by attaching another length of matching flat gold links, London import marks for 1995, makers mark Ss length approximately 320mm and as a bracelet 160mm approximately, 91gr £2000-3000 579 LADY’S NINE CARAT GOLD WATCH, ETERNA, CIRCA 1971 the frosted shaped square dial with gold baton indicators and hands on a slightly tapered gold bracelet with original deployant clasp, English import marks to clasp, numbered 6134656 length approximately 175mm £200-300 580 AMETHYST BRACELET designed as a series of eight oval amethysts within twisted rope borders, length approximately 190mm; together with a ring set with a step-cut amethyst, size M½ (2) £400-600

(part illustrated on opposite page)

579

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581 CHALCEDONY, CITRINE AND PERIDOT PENDANT, 1840s designed as a carved chalcedony Maltese cross set to the centre with a foiled square peridot within a border of half pearls and cannetille, the reverse foil mounted with a cushion shaped citrine within a cannetille border accented with four turquoise suspended from a granulated bale on a fancy link chain pendant measures approximately 40mm x 40mm, chain measures 440mm approximately £600-800 582 CITRINE AND PEARL RING, EARLY 19TH CENTURY the oval citrine in a closed back setting mounted between four half pearls within granulated frames on a carved floral and fauna band size H ½ £100-150 583 PAIR OF AMETHYST EAR PENDANTS AND BROOCH, LATE 19th CENTURY each earring designed as a row of four oval amethysts within granulated surrounds, the brooch of similar design (central stone deficient) £100-150 584 COLLECTION OF THREE GEM-SET BROOCHES comprising: a probably Indian aigrette with three circular-cut rubies and a sapphire surrounded by lasque-cut white sapphires, a ruby and diamond crescent stock-pin and a cultured pearl and enamel memorial brooch dated 1894 (3) £120-180 585 GOLD BROOCH PENDANT, LATE 19TH CENTURY oval, centred by a seed pearl in a rosette surrounded by palm fronds, reverse with vacant glazed compartment 3.9cm long

581

£80-120

582

584 part

583 part 585

580 part

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586

587

591 part

588 589

590

591 part

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586 EIGHTEEN CARAT GOLD AND SAPPHIRE NECKLACE designed as a double row of oval sapphires in open collet mounts suspended from a single back row length approximately 565mm-575mm, modern London hallmarks £1500-2000 587 NINE CARAT GOLD AND AMETHYST RING AND BROOCH PENDANT,1970s, the oval cluster of amethysts set in a naturalistic textured mount; together with a brooch/pendant with similar centre surrounded by an openwork asymmetric petal border, both signed BU, London hallmarks 1975 and 1973 respectively size N £200-300 588 SAPPHIRE AND DIAMOND RING, CAVELTI, 1960s designed as a series of organic openwork cells with a beaten textured gallery set to the front with various circular sapphires and brilliant-cut diamonds size H £400-600 589 DIAMOND LAPEL PIN, WEST OF DUBLIN, 1970s the brilliant-cut diamond within a textured matrix-like setting, stamped WEST £200-300 590 NINE CARAT GOLD CHAIN, CIRCA 1973 designed as a row of textured oval links, London hallmarks for 1973, maker’s mark for Leonard Wilson length approximately 810mm, 51gr £600-800 591 NINE CARAT GOLD BRACELET, CIRCA 1972 designed as a ribbon of textured and raised cubic links, hallmarked London 1972, makers mark for Leonard Wilson, length approximately 175mm, 36.2gr; together with a ring of openwork abstract design, size M, 6.5gr (2) £450-650 592 ROPE TWIST LONGCHAIN, 1970s designed as a row of oval links length 890mm approximately, 53gr £600-800

592

End of Sale Next Sale 24th May 2017 Closing end March 2017

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Conditions of Business for Buyers 1.

Introduction (a) The contractual relationship of Matthew Barton Ltd and Sellers with prospective Buyers is governed by: (i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Matthew Barton Ltd; (iii) Matthew Barton Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer's announcement. (b) As auctioneer, Matthew Barton Ltd acts as agent for the Seller. Occasionally, Matthew Barton Ltd may own or have a financial interest in a lot. Definitions “Bidder” is any person making, attempting or considering making a bid, including Buyers;; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent or executors; “MBL” means Matthew Barton Ltd, Auctioneers, 25 Blythe Road, London, W14 0PD, company number 6504692. “Buyer’s Expenses” are any costs or expenses due to Matthew Barton Ltd from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell the lot.

(c) Without prejudice to Condition 4(b), any claim against MBL and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither MBL nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of MBL or the Seller for death or personal injury caused by the negligent acts or omissions of MBL or the Seller 5.

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

Import, Export and Copyright Restrictions MBL and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required under the Convention on the International Trade in Endangered Species (CITES).

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

Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until MBL has received the Purchase Price in cleared funds. MBL will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, MBL will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. MBL’s assumption of risk is subjected to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. MBL will not be liable for any acts or omissions of third party packers or shippers

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3.

Examination of Lots (a) MBL’s knowledge of lots is partly dependent on information provided by the Seller and MBL is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of MBL’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at MBL’s absolute discretion. Exclusions and limitations of liability to Buyers (a) MBL shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a counterfeit, subject to the terms of MBL’s Authenticity Guarantee. (b) Subject to Condition 4(a), neither MBL nor the Seller: (i) is liable for any errors or omissions in any oral or written information provided to Bidders by MBL, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by MBL in connection with the conduct of auctions or for any matter relating to the sale of any lot.

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Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, MBL may in its sole discretion exercise 1 or more of the following remedies: (a) Store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) Cancel the sale of the lot; (c) Set off any amounts owed to the Buyer by MBL against any amounts owed to MBL by the Buyer for the lot; (d) Reject future bids from the Buyer; (e) Charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) Re-sell the lot by auction or privately, with estimates and reserves at MBL’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in MBL’s possession, applying the sale proceeds to any amounts owed by the Buyer to MBL. MBL shall give the Buyer 14 days written notice before exercising such lien; (h) Commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) Disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 20 working days of the auction, the lot will be stored at the Buyer's expense and risk at MBL’s premises or in independent storage .

(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, MBL will re-sell the lot by auction or privately, with estimates and reserves at MBL’s discretion. The sale proceeds, less all MBL’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction. 11. Data Protection (a) MBL will use information supplied by Bidders or otherwise obtained lawfully by MBL for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties worldwide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by MBL are the copyright of MBL. (b) These Conditions of Business are not assignable by any Buyer without MBL’s prior consent, but are binding on Bidders’ successors, assignees and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of MBL.

Matthew Barton Ltd’s Authenticity Guarantee If Matthew Barton Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below Matthew Barton Ltd. will rescind the sale and return the Buyer the total amount paid by the Buyer to Matthew Barton Ltd. for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable. “Counterfeit” means an item of Property that in Matthew Barton Ltd’s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating. Please note that this Guarantee does not apply if either: (i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Matthew Barton Ltd’s reasonable opinion);

(iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this guarantee the Buyer must: (i) notify Matthew Barton Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (i) return the Property to Matthew Barton Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. Matthew Barton Ltd has discretion to waive any of the above requirements. Matthew Barton Ltd may require the Buyer to obtain at the Buyer's cost the reports of two independent and recognised experts in the relevant field and acceptable to Matthew Barton Ltd. Matthew Barton Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Matthew Barton Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by Matthew Barton Ltd.

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Matthew Barton Ltd

Absentee Bid Form (Please print or type)

Sale Title European & Asian Works of Art Name

Date 23 November 2016

Address

Code: LUDO Please mail, fax, or scan and email to: Matthew Barton Ltd 25 Blythe Road London W14 0PD Fax: +44 (0) 207 806 5546 Email: enquiries@matthewbartonltd.com

Postcode

Important

Telephone/Home

Business

Fax

Vat No.

Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned opposite. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.

I agree to be bound by Matthew Barton Ltd.’s Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.

Expiry Date

Methods of Payment Matthew Barton Ltd. welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Cardholder Signature

Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG Please ensure all bank charges are met so that we receive the total invoiced amount

Lot

Signed

Card type (Visa/Mastercard/Debit) Card Number Cardholder Name

Billing Address (if different from above)

IBAN No.: GB53MIDL40190491814001 BIC.: MIDLGB2128K Sort Code: 40-19-04 Account No.: 91814001 Account Name: Matthew Barton Ltd. Credit/Debit Card A 3% surcharge is payable on all credit card transactions; there is no charge for UK debit cards. Please note we do not accept American Express. By signing this form you are authorising payment for this sale. Sterling Bankers Draft Drawn on a recognised UK bank. Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from our bank. For Office Use Only

Date and time received

Date

Staff initials

Description

£ Bid Price

Matthew Barton Ltd

25 Blythe Road London W14 0PD Tel: +44 (0) 20 7806 5545 Fax: +44 (0) 207 806 5546 Email: enquiries@matthewbartonltd.com www.matthewbartonltd.com