European & Asian Works of Art by Olympia Auctions

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

023 TOPPS

Enquiries:

Matthew Barton Henrietta Grant

Consultants:

Arthur Millner (Islamic, Indian, Himalayan & South East Asian) Brijeshwari Gohil (Indian Inscriptions) Peter Arney (Ceramics) Phillip Howell (Ceramics) John Culme (Silver & Vertu) Anabel Yorke (Jewellery) Online Catalogue: www.OlympiaAuctions.com www.the-saleroom.com www.invaluable.com Live internet bidding available through:

www.the-saleroom.com

www.OlympiaAuctions.com Matthew Barton Ltd Olympia Auctions 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Fax:+44 (0) 20 7806 5546 Email: enquiries@matthewbartonltd.com Photography: Rolant Dafis Front Cover: Lots 268 & 424 Back Cover: Lot 411

www.invaluable.com

Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART

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

VIEWING BY APPOINTMENT DAY OF SALE Wednesday 18th November 2020 at 11am, precisely

This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue.

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Sale Day: Wednesday 18th November 2020 Lots 1-475 Starting at 11am

European & Asian Works of Art 3 (illustrated online) A DERBY PART DESSERT SERVICE, CIRCA 1815-20 painted by Thomas Steel with panels of fruits and flowers arranged on a ledge, with gilt broad line rims and foliate borders, comprising: four dessert plates, a pair of sauce tureens and covers, a two-handled basket on short pedestal foot, a shell shaped dish, a cordate shaped dish and a shaped lozenge dish, red painted crown, crossed batons and D marks basket 30cm wide, cracks and wear (12) 1 A SET OF MINTON PLATES, MID 20TH CENTURY with gilt-edged fluted rims, each painted with a variety of flowers (one with plums), the six dinner plates and six dessert plates all painted by Joseph Colclough, the six side plates by a variety of artists, printed and impressed marks 27cm, 20cm and 16cm diameter (18)

Thomas Steel (or Steele, 1772-1850), greatly prized for his still life painting, was trained by John Davenport, moving to Derby in about 1815, then on to Minton in 1832. See John Twitchett, ‘Derby Porcelain’, London, 1980, p.257, No.353, for a similar dessert-service. £180-220

£100-200

2 A MEISSEN GROUP OF AUGUSTUS III AND MARIA JOSEPHA, LATE 19TH CENTURY after the model by Johann Joachim Kändler (1706-1775), depicted standing holding hands, he with a snuff box in his other hand, she in wide crinoline dress holding a fan, on a mound base applied with flowers, underglaze blue crossed swords mark, incised 550, impressed 137, painted 18. 28cm long

4 TWO ITALIAN PORCELAIN GROUPS, PROBABLY NOVE, LATE 18TH CENTURY in the white, each modelled with a young couple, one with a lady showing a letter to a seated gentleman with a tree between them, the other with a peasant holding a fowl and his seated companion with a basket of grapes, the mound bases on drum socles moulded with Neo-classical swags 22cm highest £180-220

£500-700 1

5 A DUTCH DELFT JAR, SAMUEL VAN EENHOORN, ‘DE GRIEKSCHE A’ FACTORY, 1678-1685 faceted octagonal baluster, blue and white chinoiserie decoration of a continuous frieze of four figures in a landscape between borders of lappets and stylised foliage, SVE mark 26cm high, glaze losses £250-350

7 A HISPANO MORESQUE CHARGER, VALENCIA (MANISES), LATE 16TH CENTURY pale copper lustre, the cavetto with scrolls against a lustre ground, the broad rim moulded with leaves detailed in lustre between diaper panels, underside with geometric and stylised leaf lustre decoration 41cm diameter £1200-1800

6 A DUTCH DELFT JAR, LATE 17TH CENTURY faceted octagonal baluster, painted in blue, green and yellow with Chinoiserie exotic birds amidst flowers and foliage below a scroll and foliate border and the slightly flared foot with lanceolate lappets, partly obscured mark 28cm high, rim chips and losses

8 A PAIR OF JAPANESE SATSUMA BUD VASES, MEIJI PERIOD (1868-1912) slender ovoid, with gilt formal borders to the rims, each painted with wisteria blossoms trailing from the shoulder and to the base with a hen and a cockerel, underside signed ‘Satsuma zo’ 16cm high excluding wood stands £100-200

For a larger but similarly shaped and decorated vase see Lyon & Turnbull, 26 June 2013, lot 19. £250-350 2

9 A BLUE AND WHITE CHARGER, PROBABLY ANAMESE 15TH / 16TH CENTURY with flowerhead and leaf roundel and a band of trailing flowers within a scroll border, with lappets to the underside 38.5cm diameter Provenance: Private Collection, London £180-220 10 A CHINESE BLUE AND WHITE CHARGER, PROBABLY ‘SWATOW’ WARE 16TH CENTURY loosely painted with a stylised dragon roundel below two sprays of trailing flowers within a diaper pattern border 41cm diameter Provenance: Private Collection, London £180-220 11 (illustrated online) AN ANAMESE GREEN-GLAZED POTTERY BOWL, EARLY 17TH CENTURY the deep rounded lobed sides rising from a short straight foot to a foliate rim, covered overall in a green glaze save for a ring in the interior and the foot 16cm diameter £40-60 12 A CHINESE QINGBAI EWER AND COVER, SONG DYNASTY (960-1279) the lobed globular body rising from a slightly concave base to a tall trumpet neck, set to one side with a elegant curved spout and to the other with a strap handle, the cover dished, covered overall in an iceblue glaze, box 13cm high

13 A CHINESE QINGBAI EWER AND COVER, SONG DYNASTY (960-1279) the globular body rising from a short foot to a tall cylindrical neck, the rounded shoulder set to one side with a curved spout and to the other with a strap handle, carved around the exterior with a band of stiff leaves, the cover dished, covered overall with a pale bluish glaze 15cm high Provenance: Private European Collection, acquired from D. Mun, Singapore, August 1981 £200-300 14 (illustrated online) TWO CHINESE EXPORT PORCELAIN MUGS, LATE 18TH / EARLY 19TH CENTURY both slightly bulbous and moulded with beaded borders and applied with entwined branch handles terminating in flower and leaf clusters, gilded and enamelled, the taller with initials JM within ovals flanked by flower sprays and insects below a swagged flower rim, the smaller with flowered roundels 16cm & 15cm high, the taller cracked and repaired £80-120

15 A CHINESE DEHUA FIGURE OF BUDAI, 18TH CENTURY jovially modelled seated at ‘Royal Ease’, wearing a floppy hat (damaged) and balancing a scroll against his right shoulder 14cm high, losses £200-300

Provenance: Private European Collection, acquired in Hong Kong, 1993 £200-300 3

18 A CHINESE DEHUA FIGURE OF GUANYIN, LATE 19TH CENTURY modelled standing on a rockwork and wave base, wearing a long flowing robe open at the chest to reveal a beaded necklace, both hands holding a ruyi sceptre at her waist, the face with gentle smile and framed by log hair falling down over the shoulder, wood stand 33.5cm high Provenance: Private English Collection. £400-600 16 A PAIR OF CHINESE FAMILLE ROSE TAPER HOLDERS, QIANLONG, LATE 18TH CENTURY each modelled as a bearded male figure standing on an oval base, wearing a prunus decorated black tunic and with one leg raised and one arm raised holding aloft a taper holder, wood stands figure 16.5cm high Provenance: Private English Collection £300-500

17 TWO CHINESE FAMILLE-ROSE FIGURES, 18TH CENTURY one modelled as Li Taiguai, standing, resting against his staff on a rectangular base, the other figure standing on a rectangular pedestal base, wearing a pink ground dragon robe tallest 23.5cm high Provenance: Private English Collection. £200-300

19 A CHINESE FAMILLE VERTE BEAKER, KANGXI PERIOD (16621722) the body of deep U-shape rising from a short spreading foot to an everted rim, brightly enamelled around the exterior with two large flower sprays, 8cm high; together with a polychrome enamelled cockerel dish, Tianqi Period, circa 1640 (2) Provenance: Private English Collection. £100-200 20 A CHINESE LONGQUAN CELADON CENSER, YUAN DYNASTY (1279-1368) the slightly tapering cylindrical body rising from three short cabriole legs to an inverted rim, decorated around the exterior with an incised geometric band and covered overall with a bluish-green crackled glaze, wood stand 22.5cm diameter Provenance: Private English Collection £500-700 4

21 A CHINESE BLUE AND WHITE ‘COCKEREL’ EWER, 17TH CENTURY the compressed globular body set to one side with a cockerel head spout and to the other with a tail feather handle, all surmounted by a flaring trumpet neck, painted around the exterior wth a floral scroll, wood stand, box 11.5cm wide Provenance: Private European Collection, acquired from D. Mun, Hong Kong, August 1981 £100-200

24 A CHINESE COPPER-RED BOWL, 20TH CENTURY the deep rounded sides rising from a short straight foot, brightly decorated around the exterior with three large red fish reserved on a white ground, the base with apocryphal Yongzheng six-character reign mark 12.2cm diameter Provenance: Private European Collection,acquired in Hong Kong, August 1989 £100-200

22 A PAIR OF CHINESE DOUCAI OGEE BOWLS, 20TH CENTURY each with flaring sides rising from a short foot, painted and enamelled to the interior with a floral medallion encircled by the bajixiang at the rim, the exterior with a composite floral scroll above a ruyi band, the base with apocryphal Qianlong seal mark 20cm diameter Provenance: Private European Collection £200-300 23 A CHINESE TURQUOISEGLAZED MOON FLASK, 19TH / 20TH CENTURY the flattened lobed globular body rising from a short spreading foot to a garlicshaped mouth, set at the shoulder with a pair of leafy scroll handles, covered overall with a rich turquoise glaze, wood stand 24.5cm high Provenance: Private European Collection

25 A CHINESE FAMILLE ROSE BOWL, 20TH CENTURY the deep rounded sides rising from a short straight foot to a slightly everted rim, finely and brightly enamelled around the exterior with two log rafts, each enclosing a seated maiden and an attendant punting towards the ‘Immortals Paradise’ engulfed in clouds 13.8cm diameter Provenance: Private European Collection, acquired in Hong Kong, 1993 £200-300 26 A CHINESE FLAMBE-GLAZED BEAKER VASE, GU, QING DYNASTY, 19TH / 20TH CENTURY the central knopped section rising from a tall spreading foot to a tall trumpet neck, covered overall in a rich and thick red glaze thinning to a buff tone at the rim 24.5cm high Provenance: Private European Collection, acquired at Moongate, Singapore, 1981 £100-200

£300-500

27 A CHINESE PEACHBLOOM WATER POT, 20TH CENTURY of beehive shape with a recessed base and short narrow flaring neck, covered overall in a rich crushed raspberry red glaze, the base white with the apocryphal Kangxi six-character reign mark in underglaze blue 12.2cm diameter Provenance: Private European Collection, acquired at Moongate, Singapore, 1981 £100-200

30 A CHINESE TEADUST-GLAZED VASE, HU, 20TH CENTURY the flattened pear-shaped body rising from a short spreading foot to a tall neck, set to either side with a pair of elephant-head handles suspending fixed rings, covered overall in a golden-green glaze, the base incised with an apocryphal Daoguang seal mark, box 16cm high Provenance: Private European Collection, acquired in Hong Kong, November 1990 £100-200

28 A PAIR OF CHINESE YELLOW AND GREEN ‘DRAGON’ BOWLS, 20TH CENTURY each with rounded sides rising from a short tapering foot to an everted rim, enamelled around the exterior with a fruiting strapwork band between ruyi and cash bands, the interior with a dragon medallion, the base with an apocryphal Kangxi reign mark, fitted box 11.5cm diameter

31 A PAIR OF CIHNESE WUCAI ‘DRAGON AND PHOENIX’ BOWLS, 20TH CENTURY each with deep rounded sides rising from a short tapering foot, brightly enamelled around the exterior with two dragons in pursuit of flaming pearls and divided by phoenix in flight, the interior with a medallion enclosing five bats in flight (wu fu), apocryphal Qianlong seal marks, fitted box 15.5cm diameter

Provenance: Private European Collection £150-250

Provenance: Private European Collection, acquired in Hong Kong, 1998

29 A PAIR OF CHINESE DOUCAI BOWLS, 20TH CENTURY each with gently curved sides rising from a short straight foot to an everted rim, painted around the exterior with floral strapwork, the interior with a floral medallion, the base with apocryphal Daoguang seal mark, fitted box 15cm diameter

32 A PAIR OF CHINESE COPPER-RED AND BLUE-GROUND SANDUO BOWLS, 20TH CENTURY each with deep rounded sides rising from a short foot to an everted rim, brightly decorated around the exterior with the three red fruit reserved against a blue ground, the interior white, the base with apocryphal Kangxi reign marks 15.5cm diameter

Provenance: Private European Collection, acquired from Eileen Kershaw, Hong Kong, 1991

Provenance: Private European Collection, acquired in Hong Kong, 1989

£300-500

£200-300

£300-500

33 A CHINESE WUCAI VASE AND COVER, 19TH CENTURY oviform, decorated with an archer displaying his skill to figures ranged behind him, the scene terminating in a band of cloud scrolls, a band of irregular paving below the neck and domed cover with chrysanthemums, peonies and rocks, underside with underglaze blue apocryphal Kangxi seal mark 40.5cm high, rim chips

35 A PAIR OF CHINESE CANTON ENAMEL SAUCER DISHES, QIANLONG PERIOD (1736-1785) each with shallow rounded sides rising from a short spreading foot, brightly enamelled to the interior with a medallion enclosing figures beside a pavilion, all within a leafy scroll band at the rim, the exterior with a floral and grapevine scroll 22cm diameter Provenance: Private English Collection £400-600

£500-800 34 A GROUP OF CHINESE CANTON ENAMEL WARES, 18TH CENTURY comprising four square dishes with canted corners and four teabowls dishes 10cm wide Provenance: Private English Collection £300-500

36 A CHINESE CANTON ENAMEL INKWELL AND COVER, QIANLONG PERIOD (1736-95) the straight-sided hexagonal body rising from three short bracket feet to a dished inverted rim pierced with three holes, finely enamelled to each face with alternating rectangular panels of flowers and people, the domed cover enamelled with a floret 6.5cm high Provenance: Private English Collection £200-300 7

37 A CHINESE CANTON ENAMEL SMALL JAR AND COVER, QIANLONG PERIOD (1736-95) the globular body rising from a short spreading foot to a flaring narrow neck, enamelled around the exterior with two flower-filled cusped panels reserved on a dense tellow and green floral strapwork ground, the domed cover with a band of radiating lappets and surmounted by a gilt lotus bud finial, wood stand 8cm high Provenance: Private English Collection £200-300

39 A CHINESE CANTON ENAMEL ‘POMEGRANATE’ PLATE, QIANLONG PERIOD (1736-95) finely and brightly enamelled to the interior with a medallion enclosing a fruiting and blossoming branch of pomegranate, the rim with four flower-filled quatrefoil panels reserved on a floral strapwork ground, the base with florets and a pomegranate 19cm diameter Provenance: Private English Collection £200-300 40 TWO CHINESE CANTON ENAMEL DISHES, QIANLONG PERIOD (1736-95) comprising a kidney-shaped dish raised on three short feet, enamelled to the interior with lotus strapwork, and a small quatrefoil dish enamelled with two scholars seated at a table kidney-shaped dish 17cm wide

38 A CHINESE CANTON ENAMEL SNUFF BOX, QIANLONG, MID 18TH CENTURY cartouche shaped, the lid painted with birds amid flowering and fruiting branches, the domed underside with a yellow ground flowerhead oval protected by a plain gilt-metal border surrounded by trailing flowers, the sides similarly painted, the interior with further flowers, the contemporary Chinese giltmetal rim mount chased with matted ground foliate panels and a rocaille thumbpiece 7.5cm long Provenance: Private English Collection £500-800

Provenance: Private English Collection. £100-200

41 A JAPANESE BRONZE VASE, GENRYUSAI SEIYA, TOKYO, MEIJI PERIOD (1868-1912) ovoid, finely worked in relief with three tigers attacking an elephant, with bracketed rim, underside with signature tablet ‘Seiya Sei’ 40cm high £400-600

44 A CHINESE BRONZE ARCHAISTIC VASE, MING DYNASTY, 17TH CENTURY pear-shaped body cast with four pendent blades with key-fret and linear decoration divided by a pair of stylised dragon handles, the neck with a band of strapwork below apocryphal Xuande marks, showing traces of gilt and silvered details 25cm high £500-800

42 A CHINESE GOLD AND SILVER INLAID BRONZE VASE, HU, LATE QING DYNASTY, CIRCA 1900 the pear-shaped body rising from a short spreading foot to a tall neck with everted rim, cast around the lower neck with a liewen band divided by two tubular handles, all between gold and silver inlaid flower-filled lappet and keyfret bands 32cm high

45 A CHINESE BRONZE VASE, MING DYNASTY, 17TH CENTURY pear shaped, oval outline, on spreading foot, each side with a relief scaly dragon amidst ruyi cloud scrolls between applied stylised phoenix handles, underside with apocryphal Xuande mark 21cm high £500-800

£1500-2500

43 A SMALL CHINESE PARCEL-GILT BRONZE BOTTLE VASE the ovoid body rising from a short foot to a tall neck with everted rim, decorated around the exterior in relief and gilt with a band of dragons chasing flaming pearls, all in between dragon fish bands and reserved on a liewen ground 13cm high £400-600

46 A JAPANESE MIXED METAL PARCEL-GILT KORO, MEIJI PERIOD (1868-1912) canted square outline, the brown ground bombé sides with one panel of a praying mantis beside a tree stump and bulrushes, one of an exotic bird and a snake beside a flowering prunus and two applied with bar and scroll handles on a diaper ground, on scroll panel feet, cover lacking 20cm wide £200-300 9

47 (illustrated online) A CHINESE CINNABAR LACQUER AND WOOD JAR AND COVER, 20TH CENTURY the baluster body rising from a short foot to a rounded shoulder, decorated around the exterior with four quatrefoil panels enclosing figures and pavilions, all reserved on a dense scroll ground, the domed cover similarly decorated 21.8 cm high Provenance: Private European Collection £100-200 48 (illustrated online) A PAIR OF CHINESE CARVED WOOD TRAYS, 20TH CENTURY each of dished oval shape with protruding rectangular handles 23.8cm long

49 A CHINESE SILK ‘DRAGON’ SURCOAT, CIRCA 1900 the pale yellow ground robe couched with eight gilt-thread five clawed dragons amid shou characters and auspicious symbols and silk embroidered clouds, flaming pearls, bats and flowers, all above a wave and lishui border with further gilt-thread couching, with collar, cuffs and hem of gilt-thread ground and turquoise embroidered borders, side opening, with orange lining 130cm high, 168cm wide £800-1200

Provenance: Private European Collection

50 (illustrated online) A CHINESE JADE FIGURE OF A LION, 20TH CENTURY carved in Ming style in curled recumbent pose, grey-green tone with cream/yellow/brown inclusions 8.5cm long

£30-50

£80-120

51 A CHINESE JADE ARCHAISTIC SMALL BOX AND COVER octagonal, the cover carved with a chilong, sides with low relief scrolls above a pierced rim foot, with openwork carved stylised dragon handles, of pale green tone with applied patination 7.5cm high £200-300

54 A PAIR OF CHINESE JADEITE PLAQUES, EARLY 20TH CENTURY each rectangular plaque carved and pierced with a kylin amidst foliage and ruyi cloud swirls, the stone of pale green colour with bright apple-green inclusions, each mounted as a table screen with openwork scroll carved wood frame and affixed stand plaques 8cm high Provenance: Private English Collection. £400-600 52 A CHINESE JADE BOX AND COVER compressed circular, the cover carved with Buddhist lion finial surrounded by low relief trailing flowers, the shallow base with fluted sides and on four short curved legs, translucent cloudy tone with some brown inclusions 12.3cm diameter £100-200

53 A CHINESE GREY JADE PEBBLE CARVING OF A BAT carved and pierced with body and tail feathers curled and wings held open, the head with large hooked beak, the stone of mottled greyish-white tone 13.5cm long Provenance: Swiss Private Collection of Chinese Jades: sold for the benefit of Mission Bambini. See lot 79 for further information on the charity. £200-300

55 A CHINESE SPINACH JADE ARCHAISTIC CENSER AND COVER, 20TH CENTURY the body with deep rounded sides rising from a short spreading foot to a rolled rim, set with a pair of high relief taotie mask handles, the domed cover carved and pierced with a dragon scroll band, all surmounted by a finial formed of four dragon heads grasping a pearl and each suspending a loose ring, wood stand 17.5cm wide Provenance: Private European Collection, acquired in Milan £300-500 11

59 (illustrated online) A CHINESE ARCHAISTIC JADE PLAQUE, 20TH CENTURY square, carved to the front and back in the Tang style with a seated musician, the stone of mottled cream and brown tone 3.8cm wide Provenance: Private European Collection, acquired in Hong Kong, February 1989 £80-120

56 ~ A CHINESE CARVED CORAL VASE, 20TH CENTURY carved and pierced in high relief, the baluster body supported on rockwork issuing a fruiting peach tree, the cover surmounted by a bird perched on a cage of fruiting branches, wood stand 14cm high Provenance: Private European Collection, acquired in Milan £400-600 57 (illustrated online) A CHINESE ARCHAISTIC JADE BUCKLE, 20TH CENTURY carved in low relief as a taotie mask attached to a loop at the reverse, further carved with key-fret and chilong 7.5cm wide Provenance: Private European Collection, acquired in Hong Kong, August 1987 £80-120

60 A CHINESE CARVED TURQUOISE ‘PEONY’ VASE AND COVER, EARLY 20TH CENTURY the baluster body carved in high relief with a bird perched on a rockwork base issuing peony and chrysanthemum branches, the domed cober similarly decorated, wood stand, box 8.5cm high Provenance: Private European Collection £100-200 61 A CHINESE CARVED TURQUOISE ‘PEONY’ VASE AND COVER, EARLY 20TH CENTURY the baluster body carved around the exterior in high relief with a pair of long-tailed birds perched on blossoming peony branches, the domed coved surmounted by a peony sprig, wood stand, box 9cm high Provenance: Private European Collection £100-200

58 A CHINESE CARVED TURQUOISE VASE AND COVER, 20TH CENTURY the flattened baluster body carved in high relief with chrysanthemum issuing from rockwork, the domed cover similarly carved with flowers and a cricket, silver wire inlaid wood stand 12cm high Provenance: Private European Collection £300-500

62 ~ A CHINESE CARVED AND PIERCED CORAL VASE AND COVER, 20TH CENTURY the flattened bottle vase standing on a rock work base and carved around the body in high relief with birds perched on branches of blossoming magnolia, the domed cover similarly decorated, wood stand, box 14.5cm high Provenance: Private European Collection, acquired in Hong Kong, March 1997 £500-700

65 A CHINESE CARVED TURQUOISE FIGURE OF A MAIDEN, 20TH CENTURY carved and pierced standing leaning against a gnarled tree stump, wearing a long-sleeved robe and holding a fan in her left hand and a scroll in the right, silver wire-inlaid wood stand, box 14.5cm high Provenance: Private European Collection, acquired in Hong Kong, November 1995 £150-250

63 ~ A CHINESE CARVED CORAL FIGURE OF A MAIDEN, EARLY 20TH CENTURY carved and pierced standing wearing a long sleeved robe and billowing scarf adorned with high relief florets, holding aloft a censer on a tray, wood stand, box 17.8cm high Provenance: Private European Collection, acquired in Milan £600-800

66 A CHINESE CARVED AGATE VASE AND COVER, 20TH CENTURY carved and pierced in high relief around the flattened baluster body with leafy fruiting branches, the cover domed, wood stand, box 8.5cm high Provenance: Private European Collection, acquired in Milan £150-250

64 A CHINESE CARVED LAPIS LAZULI ‘MAIDENS’ GROUP, EARLY 20TH CENTURY carved and pierced as three maidens standing wearing longsleeved robes, silver wire-inlaid wood stand, box 15cm high

67 A PAIR OF CHINESE AGATE ‘PEACH’ CUPS, EARLY 20TH CENTURY each body of hollowed peach form set to the side with a leafy branch handle, wood stands, fitted box 6cm wide Provenance: Private European Collection, acquired in Hong Kong, April 1979 £100-200

Provenance: Private European Collection £600-800 13

70 A CHINESE JADEITE BOWL, LATE QING DYNASTY (CIRCA 1900) the curved sides rising from a short spreading foot to an everted rim, the well polished stone of light green colour, wood stand, box 11.2cm diameter Provenance: Private European Collection, acquired in Hong Kong, April 1979 £200-300 68 A CHINESE CARVED JADEITE DISH, 20TH CENTURY the shallow curved sides rising from a short straight foot to a flaring rim, carved in low relief to the interior with a large chrysanthemum medallion encircled at the rim by four lotus scrolls, the stone of very pale whitish-green colour, the base with apocryphal Kangxi mark, box 24cm diameter Provenance: Private European Collection, acquired at Lee, Hong Kong, 1993 £150-250 69 A CHINESE ARCHAISTIC JADEITE CENSER AND COVER, 20TH CENTURY the compressed square body rising from four cylindrical legs to a short neck with everted rim set with a pair of loop handles, carved to each face with a taotie mask, the stepped cover surmounted by a censer finial, the stone of pale green colour with darker green inclusions, wood stand, box 14cm high Provenance: Private European Collection, acquired in Milan

71 ~ A CHINESE CARVED CELADON JADE ‘MANDARIN DUCK’ GROUP, 20TH CENTURY carved and pierced as a pair of confronting ducks, each grasping a lotus spray in its beak, the stone of pale celadon tone with russet inclusions, carved and stained ivory stand, box 17cm wide Provenance: Private European Collection, acquired in Hong Kong, August 1984 £800-1200

£600-800

74 A CHINESE CARVED JADEITE FIGURE OF A MAIDEN, EARLY 20TH CENTURY carved standing wearing a long-sleeved robe and holding a wind instrument in her left hand, the stone of pale green and lavender colour with apple-green flecks, wood stand, box 25cm high 72 A CHINESE ARCHAISTIC JADEITE CENSER, 20TH CENTURY the rounded sides rising from a short spreading foot to an everted rim, set with a pair of loop handles, the stone of pale green colour with darker green flecks, wood stand 16.5cm wide

Provenance: Private European Collection £400-600

Provenance: Private European Collection, acquired in Milan £200-300

73 ~ A CHINESE CARVED CORAL FIGURE OF A MAIDEN, EARLY 20TH CENTURY carved standing wearing long flowing robes and a billowing scarf, holding a basket of peaches in her left hand, ivory stand 19cm high Provenance: Private European Collection, acquired in Milan £300-500

75 A CHINESE CARVED TURQUOISE MAIDEN GROUP, 20TH CENTURY carved and pierced with two maidens standing wearing long-sleeved robes, one holding a fly whisk in her left hand and a peony spray in her right, the other holding a loft a basket of flowers, wood stand, box 17cm high Provenance: Private European Collection £400-600

76 A CHINESE CARVED ROSE QUARTZ MOTHER AND CHILD GROUP, 20TH CENTURY carved and pierced, the mother wearing a a long flowing robe and holding aloft a large peach in a bowl, to her side stands a small boy holding a peach, wood stand, box 23.5cm high Provenance: Private European Collection £200-300

79 A CHINESE WHITE JADE ‘LINGZHI AND MONKEY’ RUYI SCEPTRE naturalistically carved as a ‘lingzhi’ with large ruyi head, the curved shaft carved and pierced in high relief with two monkeys and small leafy ‘lingzhi’ shoots, the stone of creamywhite tone 46.5cm long Provenance: Swiss Private Collection of Chinese Jades: sold for the benefit of Mission Bambini. “Mission Bambini is an independent, non-profit organization, created in Italy by Goffredo Modena, engineer and entrepreneur, in 2000. Our mission is to help and support children living in poverty, sickness and without education, giving them the opportunity and hope of a better life. In 18 years of activities Mission Bambini has helped more than 1,350,000 children through 1,500 projects in 73 countries around the world. Our Balance sheet is public and certificated and at least 75% of funds raised are used for humanitarian work. Early in 2015 the Italian Foundation created Mission Bambini Switzerland and Friends of Mission Bambini USA.” Maria Elena Di Fazio (International Development, Mission Bambini Switzerland Foundation, March 2019) For further information, please see the charity’s website: www. missionbambini.org/en/ £400-600

77 A CHINESE CARVED JADE CHAIN, 20TH CENTURY carved with forty-four links, attached to one end with a square seal with uncarved face, the stone of very pale celadon-white tone, box 28cm long Provenance: Private European Collection, acquired at Lee, Hong Kong, 1989 £100-200

78 A CHINESE JADE RING, 20TH CENTURY carved as a continuous rpe twist, the stone of celadon colour with russet skin, box 4.7cm diameter Provenance: Private European Collection, acquired in Hong Kong, February 1989 £100-200

80 A JAPANESE PAINTING OF A MACAQUE, BY KAWABATA SHUNSUI (1882-1934), EARLY 20TH CENTURY depicting the monkey balancing in a maple tree with one hand and holding a dragonfly in the other, ink and colour on silk laid on card, signed and red seal stamp 54.5 x 74cm The Kyoto artist Kawabata Shunsui graduated from the Kyoto School of Art and Crafts and studied under the master Yamamoto Shunkyo (1871-1933). £200-300 16

81 TWO CHINESE LANDSCAPE PAINTINGS ink and colour on paper, one depicting houses amidst cherry blossom at the waters edge, the other a house amidst bamboo on a mountain, framed and glazed image 77.5 x 67cm Provenance: Private European Collection £800-1200

82 A CHINESE PAINTING, ‘BLOSSOM’, CIRCA 1940 ink and colour on paper, depicting a flock of cranes in flight over a house amidst blossoming trees, two line calligraphic inscription, mounted as a hanging scroll image 82 x 74cm Provenance: Private European Collection £600-800

83 A CHINESE PAINTING, ‘BAMBOO’, 20TH CENTURY ink on paper, depicting stems of bamboo, four line calligraphic inscription, mounted as a hanging scroll image 112 x 45cm

85 A CHNESE PAINTING, ‘CRABS’, BY XIE ZHIGUANG, CIRCA 1960 ink and colour on paper, depicting crabs and flowers, mounted as a hanging scroll image 52.5 x 34.5cm Provenance: Private European Collection £600-800

Provenance: Private European Collection £600-800

86 A CHINESE PAINTING, ‘GOLDFISH’, BY WANG YACHEN, CIRCA 1940 ink and colour on paper, depicting goldfish in a lotus pond, one line calligraphic inscription, mounted as a hanging scroll image 68 x 24cm Provenance: Private European Collection 84 A CHINESE PAINTING, ‘LANDSCAPE’, 20TH CENTURY ink and colour on paper, depicting a mountainous landscape, two line calligraphic inscription, mounted as a hanging scroll image 34 x 68cm

£600-800

Provenance: Private European Collection £300-500 18

87 A CHINESE PAINTING, ‘SCHOLARS’, CIRCA 1940 ink and colour on paper, depicting two scholars conversing on a mountain, two line calligraphic inscription, mounted as a hanging scroll image 82 x 74cm Provenance: Private European Collection £600-800

88 A CHINESE PAINTING, ‘SAMPANS’, MID 20TH CENTURY, ink and colour on paper depicting two sampans beneath bamboo, twenty-two line calligraphic inscription, mounted as a hanging scroll image 82 x 74cm Provenance: Private European Collection £600-800

89 A GLAZED POTTERY SHRINE OR ORNAMENT, BURMA, EARLY 20TH CENTURY honey glazed slip decorated red earthenware, depicting two devotees flanking an altar, on an elaborate raised plinth, a scrolling openwork finial at the back 39cm high Provenance: Private Collection, London, acquired about 60 years ago Although Burma is better known for other crafts, such as wood and stone sculpture, lacquer, metalwork and painting, glazed pottery figural tilework was produced in Pegu in the 15th century, an example of which is in the Victoria and Albert Museum (IS 2 1966), as well as a later example thought to date from the early 19th century (04160A IS). This lot was probably produced during the late colonial period for the British market. £180-220 90 A JAVANESE TERRACOTTA CORNER ANTEFIX, INDONESIA, CIRCA 10TH CENTURY in the form of a kirtimukha mask, with fierce expression, bulging eyes and flaming hair 20 x 20 x 18cm approx. Provenance: Private Collection, London £150-250 91 (illustrated online) A GREY SANDSTONE ALTAR TRAY, BURMA, PROBABLY 19TH CENTURY of circular form, with incised scroll decoration, outlet channel at one end, carved lotus decoration and three semicircular feet underneath 42cm max length

92 A JAVANESE TERRACOTTA ANTEFIX, INDONESIA, CIRCA 10TH CENTURY carved in relief, depicting the head of a Buddhist monk, within a fiery halo, 15 x 29.5 x 15cm Provenance: Private Collection, London £150-250 93 A JAVANESE TERRACOTTA ANTEFIX, INDONESIA, CIRCA 10TH CENTURY carved in relief, depicting the head Buddha, under a sun and moon emblem, 26 x 26 x 11cm approx. Provenance: Private Collection, London £150-250 94 A MAJAPAHIT FRAGMENTARY TERRACOTTA HEAD OF A BUFFALO, JAVA, CIRCA 14TH CENTURY with long crescent-shaped horns and outstretched ears 9cm high excluding stand Provenance: Private Collection, London £120-150 95 A MAJAPAHIT FRAGMENTARY TERRACOTTA HEAD OF VARAHA, JAVA, CIRCA 14TH CENTURY the boar-headed avatar of Vishnu depicted wearing a crown 10cm high excluding stand

Provenance: Private Collection, London

£120-150

£100-150

96 A SANDSTONE FIGURE OF A BUDDHIST DEVOTEE, BURMA, CIRCA 15TH CENTURY kneeling with hands in anjali mudra, wearing a monk’s robe 32cm high Provenance: Private Collection, London £400-600

97 A KHMER PEDESTAL VASE, ANGKOR, CAMBODIA, 12TH CENTURY monochrome olive brownglazed stoneware, of bulbous form, with shallow incised ridge and wave decoration, overhanging rim 30cm high Provenance: Private Collection, London For a closely-related lidded jar, see Rosemary Scott et al.: ‘The World in Monochromes’, Oriental Ceramic Society, 2009, no.155, p.70. See also Dawn F. Rooney, ‘Khmer Ceramics’, Bangkok 2010, p.108-9 for two other closely related examples.

98 A GROUP OF SAWANKHALOK AND KHMER POTTERY VESSELS, THAILAND AND CAMBODIA, 12TH-15TH CENTURIES comprising a celadon jar and cover, three ‘owl’ vessels, an underglaze painted reliquary and two other small bottles 18cm high ( jar and cover) and smaller (7) Provenance: Private Collection, London £400-600

99 A MAJAPAHIT TERRACOTTA HEAD OF A WOMAN, JAVA, CIRCA 14TH CENTURY with elaborate coiffure, her face with grimacing expression 9.5cm high excluding stand Provenance: Private Collection, London £200-300

100 A MAJAPAHIT TERRACOTTA HEAD OF AN OLD WOMAN, JAVA, C.14TH CENTURY her hair tied at the back in a bun 7cm high excluding stand Provenance: Private Collection, London £120-150

£300-400

101 A MAJAPAHIT TERRACOTTA HEAD OF HANUMAN, JAVA, CIRCA 14TH CENTURY with protruding lips and frowning expression, wearing disc earrings 9cm high Provenance: Private Collection, London £120-150 102 A MAJAPAHIT TERRACOTTA FRAGMENTARY BUST OF A MAIDEN, JAVA, CIRCA 14TH CENTURY with elaborate coiffure, her right hand raised, wearing large disc earrings 11cm high excluding stand Provenence: Private Collection, London £200-300

104 A LARGE BRONZE SHRINE DEPICTING SAMVARA, TIBET, 20TH CENTURY the multi-armed, multi-headed deity in yab-yum with his consort, dancing within a fiery aureole, on an elephant headed figure, on lotus base 40cm high £600-800

103 A GILT-BRONZE FIGURE OF A LAMA, TIBETAN STYLE, CHINA, 20TH CENTURY seated on a double lotus throne, his hands in dharmacakra mudra, wearing brocaded robes, his hair shaven 16.5cm high £200-300

105 A NEWARI PRIEST’S HAT, PROBABLY PATAN, NEPAL, 19TH/20TH CENTURY of domed form, the red felt with applique copper gilt and silver decoration, including the flaming jewels, a stupa, and apsaras, with bud finial 15.5cm high approx. For illustrations of similar hats worn by priests in Patan, see Ars Orientalis, vol.47: http:// dx.doi.org/10.3998/ ars.13441566.0047.012 £800-1200

106 A COPPER REPOUSSE ZODIAC MANDALA, TIBET, 19TH CENTURY of circular form, with central silver medallion depicting Vajrapani, surrounded by a lotus border with each of the twelve animal emblems of the Tibetan zodiac 14.5cm diameter £150-200 107 A SINO-TIBETAN BRONZE FIGURE OF YAMA IN YAB-YUM, 19TH CENTURY stepping to the right on a buffalo and prostrate human figure on a lotus throne, the buffalo headed deity with billowing hair, clasping his consort in erotic embrace, holding a skull staff in his raised right hand 13.5cm high £250-350

109 A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, BENGAL, EASTERN INDIA, 19TH CENTURY the ten armed Hindu goddess on a serrated rectangular base, spearing the buffalo demon with her trident (now missing), aided by her vehicle the lion 29cm high £400-600 110 A BRASS GAURI HEAD, WESTERN INDIA, 19TH CENTURY with stylised features, her hair gathered in a ponytail at the back, traces of red lac decoration 11.5cm high £180-220

108 A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, DECCAN, SOUTHERN INDIA, 18TH CENTURY the eight armed Hindu goddess on rectangular base, spearing the buffalo demon emerging from the body with her trident, wielding an array of weapons in her other hands, her right foot resting on her vehicle the lion, the decapitated head on the ground in front, 24.8cm high Provenance: From the collection of the late Peter Cochrane, acquired in 1968, inv. no. JPC 68/68. £700-900 23

112 A BRONZE FIGURE OF KHANDOBA AND MHALSA, WESTERN DECCAN, CIRCA 18TH CENTURY seated on horseback brandishing a sword, his consort holding a bowl by his side, 15.5cm high Provenance: From the collection of the late Peter Cochrane, acquired in 1965, inv. no. JPC 65/65 £150-250

111 A JAIN BRASS SHRINE, GUJARAT, WESTERN INDIA, CIRCA 16TH CENTURY of openwork arched form, with three central jinas on a tiered base, supported by adorsed lions, surrounded by diminutive seated figures of the remaining twenty one tirthankaras, flanked by a pair of vyalas and chauri bearers, a composite emblem for the three jinas at the front, dedicatory inscription and indistinct date on the reverse 31cm high £2500-3500

113 A BRASS SIVA MASK (MOHRA), HIMACHAL PRADESH, 15TH CENTURY OR LATER in the form of a stylised bust, the head with crown, large earrings and srivatsa emblem on forehead, wearing beaded necklace 25cm high £350-450 24

114 A PALA BRONZE FIGURE OF SARASWATI, EASTERN INDIA, 11TH / 12TH CENTURY the Hindu goddess standing in tribhanga on a double lotus, her hands in varada mudra and holding a veena, wearing crown, large earrings and tall headdress, 8.5cm high £1000-1500

118 A BRONZE FIGURE OF SIVA RIDING ON NANDI, KERALA, SOUTHERN INDIA, CIRCA 18TH CENTURY holding a khadga (now missing) and a patra, wearing tall looped headdress 13cm £400-600

115 A BRONZE FIGURE OF HANUMAN, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the monkey-headed deity standing on a lotus, his left knee slightly flexed, his hands in anjali mudra, his long tailed curled around the top of his head 8.5cm high £300-400 116 A SMALL BRASS YONI-LINGAM, PROBABLY WESTERN DECCAN, INDIA, 18TH / 19TH CENTURY of plain turned form, with projecting spout, topped with cylindrical lingam 8cm high; 10cm long £300-400

117 A BRASS SIVALINGAM SHRINE, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY the lingam in the form of a head of Siva, resting on a coiled cobra with a small figure of Nandi in front, the stand on four splayed feet, sheltered by the flared cobra canopy 20cm high

119 A BRONZE FIGURE OF NANDI, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY crouching on a rectangular base, wearing necklace with lingam pendant 12.5cm high; 14.5cm long £1000-1500

120 A BRONZE VIRABHADRA PLAQUE, SOUTHERN INDIA, CIRCA 17TH CENTURY depicting the four-armed deity in relief openwork, holding various weapons, standing within a lobed arch under a kirtimukha, flanked by diminutive figures of Daksha and Sati 21.7 x 14 x 2.5cm £350-450

£600-800 25

122 A SMALL JAIN BRASS SHRINE, WESTERN INDIA, CIRCA 17TH CENTURY of arched form, with central figure of Rishabanatha, seated under a parasol, lustrated by elephants, surrounded by diminutive figures of the other 23 tirthankaras in relief 12.5cm high £500-700

121 A LARGE BRASS FIGURE OF VISHNU, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY in two sections, the four-armed deity with gada, patera, sankha and cakra, standing on a circular base on separately cast stand, the latter with diminutive figures of a horse, Nandi, a lingam and a dog(?) 29cm high

123 A BRASS FIGURE OF KRISHNA VENUGOPALA, WESTERN DECCAN, INDIA, 18TH CENTURY the four-armed deity playing the flute (now missing) with his primary hands, a cakra and sankha in his upper hands, standing on a lotus base, wearing tall headdress 13.2cm high £600-800

£1500-2000

124 A BRONZE FIGURE OF NARASIMHA, DECCAN, SOUTHERN INDIA, 17TH / 18TH CENTURY the lion-headed avatar of Vishnu seated on a lotus, his vehicle Garuda in front, his legs loosely crossed, his diminutive consort on his knee, his primary hands in varada and abhaya mudra 8.5cm high

127 A BRONZE FIGURE OF GANESHA, SOUTH INDIA, CIRCA 18TH CENTURY the four armed, elephant headed, deity with pot belly, eating sweets out of his primary left hand with his trunk, his vehicle, the rat at his side 9.2cm high £700-900

£750-850

125 A JAIN BRONZE FIGURE OF AMBIKA, WESTERN INDIA, DATED SAMVAT 1567 / 1510 AD the mother goddess seated in lalitasana, her child on her left knee and her lion at her feet, an attendant figure to her right, framed by a prabha with small seated figure of a jina at the top, dedicatory inscriptions in devanagari including date at the back 12.5cm high

128 A BRASS FIGURE OF VISHNU, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY the four-armed deity standing on a circular base on raised plith, wearing tall tapering headdress with bud finial 18.8cm high £700-900

£700-900

126 A BRASS LINGAM COVER, WESTERN DECCAN, INDIA, 18TH / 19TH CENTURY of domed form with moustachioed face of Siva, wearing earrings and plaited hair 13cm £300-400

129 A SMALL BRASS FIGURE OF GANESHA, HIMACHAL PRADESH, NORTH-WESTERN INDIA, 18TH / 19TH CENTURY the four-armed elephant headed deity wearing a five-leaf crown, riding side saddle on his vehicle the rat, on openwork base 8cm high £600-800

130 A BRASS FIGURE OF BHADRAKALI, GUJARAT, WESTERN INDIA, CIRCA 16TH CENTURY the four-armed goddess holding sword, bowl, khatvanga and trisula, a prostrate figure and her vehicle the lion at her feet, surrounded by a lobed prabha topped with kalasa finial 9.5cm high £500-700

133 A BRASS SHRINE DEPICTING KHANDOBA, WESTERN DECCAN, 18TH/19TH CENTURY the four-armed form of Siva riding on horseback brandishing various weapons, a diminutive stylised image of his consort Mhalsa at his side, on raised rectangular base, an arched aureole behind with central five headed cobra 25cm high Provenance: Private Collection, London £250-350

131 A BRASS FIGURE OF PARSVANATHA, WESTERN DECCAN, CIRCA 14TH / 15TH CENTURY seated in padmasana on a raised throne, his hands in dhyana mudra, sheltered by a seven headed cobra 12cm high £1200-1500

134 A BRASS STAND IN THE FORM OF GARUDA, INDIA, 19TH CENTURY the winged bird deity kneeling on a square plinth, a bowl-shaped attachment supported by a peacock at the back, traces of tin in places 17cm high Provenance: Private Collection, London £250-350

132 A BRONZE FIGURE OF KRISHNA, SOUTH INDIA, 18TH / 19TH CENTURY the infant deity standing on a coiled cobra, sheltered by its five heads, holding a butter ball in each hand, on raised plinth 8.5cm high For a very closely related figure, see Christie’s New York, 14 September 2010, lot 164. £750-850

135 A BRASS FIGURE OF NANDI BULL, WESTERN DECCAN, CIRCA 18TH CENTURY standing on a rectangular base, wearing necklaces and headband 12.5cm high Provenance: Private Collection, London £300-400

136 A BRONZE FIGURE OF KRISHNA, SOUTH INDIA, 17TH / 18TH CENTURY the youthful deity dancing on a lotus, holding a butter ball in his outstretched right hand, a bud in his raised left hand 10.5cm high Provenance: Private Collection, London

139 A BRONZE ATTENDANT FIGURE, HIMACHAL PRADESH, 18TH CENTURY probably part of a ritual pourer, standing on a tiered base under a five headed cobra, whose tail forms a handle, his arms outstretched forming loop attachments 13cm high

£400-600

£200-300

137 A BRONZE FIGURE OF VISHNU, KERALA, SOUTHERN INDIA, CIRCA 18TH CENTURY the four-armed deity standing on a tapered rectangular base, his primary right hand in varada mudra, his upper hands holding cakra and sankha, a horseshoe-shaped aureole behind, traces of tin 14.2cm high Provenance: Private Collection, London £350-450

138 THREE BRONZE IMAGES, INDIA, 18TH / 19TH CENTURY comprising a shrine depicting Siva and Parvati, a figure of Khandoba on horseback, and a figure of Kalkin, the horse avatar, his consort on his knee 14.7cm high, and smaller

140 A BRONZE SHRINE DEPICTING A FORM OF DURGA, WESTERN DECCAN, CIRCA 16TH CENTURY the four armed goddess with tall pointed headdress, seated with legs loosely crossed, holding a weapon in each hand, a small figure seated on her left knee, flanked by two diminutive camels, three demon heads in front 14.3cm high £600-800

£300-400 29

144 A SMALL BLACK STONE PLAQUE DEPICTING DURGA MAHISASURAMARDINI, KASHMIR, CIRCA 9TH CENTURY the six-armed Hindu goddess with her right foot and trident resting on the Buffalo Demon, wearing crown and large earrings, a devotee by her side 13.3cm high £600-800

141 A CAST BRASS VIRABHADRA PLAQUE, WESTERN DECCAN, INDIA, 19TH CENTURY the four-armed form of Siva depicted in relief holding a sword in his primary right hand, lingam, Nandi, sun and moon emblems above, flanked by diminutive figures of Daksha and Sati, sheltered by a cobra canopy with further head of Siva at the top, set into later carved wood frame 23 x 11.5cm approx. (plaque) For another plaque, similarly framed, sold in these rooms, see 14th July 2020, lot 85. Daksha had offended Siva at a sacrifice and his daughter. Sati, who was Siva’s wife, felt so insulted that she threw herself on the pyre. Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. The gods pleaded for Daksha’s life but his severed head could not be found, so the head of a goat was substituted instead. £200-300 142 A BRONZE FIGURE OF NANDI, INDIA, 18TH / 19TH CENTURY probably a weight, the bull vehicle of Siva lying on a flat base 4 x 4 x 2.5cm Provenance: Private Collection, London £120-150 143 A SMALL BLACK STONE PLAQUE DEPICTING BUDDHA, KASHMIR, CIRCA 9TH CENTURY seated on a lion throne, supported by a gana, his hands in dharmacakra mudra, flanked by Padmapani and Vajrapani, a pair of apsaras above, 13.3cm high

145 A BUFF SANDSTONE FRAGMENTARY BUST OF A MALE DEITY, MADHYA PRADESH OR RAJASTHAN, 11TH / 12TH CENTURY with long beard, large earrings and multiple necklaces 20.5cm high £400-600

£600-800 30

148 A TERRACOTTA MALE TORSO, KUSHAN OR GUPTA, CENTRAL INDIA, 3RD-5TH CENTURY wearing sash and heavy necklace 10cm high excluding stand £120-150

149 A GANDHARA STUCCO FRAGMENTARY HEAD OF BUDDHA, NORTH-WEST FRONTIER REGION, PAKISTAN, 4TH/5TH CENTURY his pleated hair with bun usnisa 10cm high excluding stand Provenance: Private Collection, London £200-300

150 A GUPTA TERRACOTTA FRAGMENT DEPICTING A MOTHER AND CHILD, CENTRAL INDIA, 5TH/6TH CENTURY mounted 9cm high overall

146 A BUFF SANDSTONE HEAD OF A JINA, WESTERN INDIA, 11TH/12TH CENTURY with arched eyebrows, hair arranged in regular curls, with lotiform topknot 21cm high excluding stand

Provenance: Private Collection, London £80-120

£1200-1500 147 A GANDHARA GREY SCHIST MINIATURE STUPA, NORTH-WEST FRONTIER REGION, PAKISTAN, 3RD / 4TH CENTURY AND LATER in three sections, the square base, with a seated figure of Buddha flanked by devotees carved in relief, the later upper parts comprising drum and tiered lotus parasol, mounted 17cm high £300-500

151 A GUPTA TERRACOTTA HEAD OF A DEITY, CENTRAL INDIA, 4TH/5TH CENTURY probably part of a votive plaque, with large disc earrings, with long hair tied in a topknot 12.5cm high excluding stand Provenance: Private Collection, London £200-300 152 (illustrated online) A SUNGA TERRACOTTA HEAD OF AN ELEPHANT, CENTRAL INDIA, CIRCA 1ST CENTURY B.C. probably from a toy, with cylindrical piercing at the bottom for an axle, wearing ornamental trappings in relief 11.5cm high Provenance: Private Collection, London £80-120 31

153 FOUR PAINTINGS OF INDIAN CHARACTERS, COMPANY SCHOOL, TRICHINOPOLY (TIRUCHIRAPALLI), SOUTH INDIA, MID 19TH CENTURY gouache on mica, depicting a lady on a palanquin, servants washing dishes, a village barber and rice winnowing, each framed, 10 x 13.3 approx. each Provenance: Private Collection, London; acquired Arthur Millner Ltd. 14th November 2000 £300-400

155 A SCENE FROM A BATTLE, KASHMIR OR DELHI, INDIA, 19TH CENTURY gouache with silver and gold on paper, depicting two warriors with a decapitated enemy in the foreground, inscribed with four lines of nastaliq on the reverse, separate attached border with fern motifs 17.5 x 12.5cm (image) £250-350

154 AN ILLUMINATED FOLIO DEPICTING NARASIMHA, KASHMIR, 19TH CENTURY gouache with gold on paper, the lion headed avatar of Vishnu depicted disembowelling Hiranyakashipu, seated in a shrine, flanked by a boy and girl devotee 13 x 9.8cm £250-350

156 MATSYA PREPARES TO KILL SANKHASURA, CENTRAL INDIA, LATE 18TH CENTURY gouache with silver and gold on paper, laid on a small album page 13.5 x 9cm (image) £250-350 32

157 A PORTRAIT OF SANGRAM SINGH II, MEWAR, INDIA, 18TH CENTURY gouache with gold and gesso on paper, the ruler depicted in profile at an arched window, smoking a huqqa, framed 21.5 x 15cm (folio)

Provenance: George Pratts Collection, Sydney, Australia Sangram Singh II (1690-1734) succeeded his father, Amar Singh II, as Maharana of Mewar in 1710. On his death, his son inherited the throne as Jagat Singh II. For a portrait of Sangram Singh in the Victoria and Albert Museum, see inv. no. IS.611959 ÂŁ2000-3000 33

158 A PORTRAIT OF THE EMPEROR MUHAMMAD SHAH WITH HIS COURTIERS, LUCKNOW OR MURSHIDABAD, MID-18TH CENTURY gouache with ink and gold on paper, the Mughal emperor seated on a gilt throne under a canopy flanked by six courtiers, each inscribed and labelled in nastaliq script 35 x 27cm (folio)

Provenance: The George Pratts Collection, Sydney, Australia The figures are identified as Fakruddin Khan, Indar-Ul-Mulk, Nizam Ul Mulk, Burhan-Ul-Mulk, Chandu Khan, Roshan-udDaulah. Muhammad Shah ruled over the rapidly diminishing Mughal empire between 1719- 1748. He was an enthusiastic patron of the arts, but this along with invasions and rebellions contributed to the decline of his financial resources. Â£3000-5000 34

159 INDIAN TRADES AND OCCUPATIONS, TRICHINOPOLY (TIRUCHIRAPALLI), TAMIL NADU, SOUTH INDIA, 19TH CENTURY ten gouache paintings on mica, each depicting a man or woman, including a cloth merchant, a servant and a potter 11.8 x 8cm approx. each

162 A PORTRAIT OF A SIKH NOBLEMAN, DELHI OR PUNJAB, INDIA, MID19TH CENTURY gouache with gold on paper, of oval form, set into a gold brooch 6 x 4.5cm (image) £300-400

£200-300

160 (illustrated online) A PAINTED CLOTH HANGING DEPICTING A YANTRA, WESTERN INDIA, 20TH CENTURY of square form, the interwoven medallion with central svastika, surrounded by four smaller medallions of different forms in each corner, surrounded by a scrolling floral border 89cm approx. square Provenance: Private Collection, Northern England £100-150

161 BRITISH WARSHIPS OFF AN ITALIAN COAST, KUTCH, WESTERN INDIA, 18TH CENTURY ink and watercolour on paper, black painted border, with cloth lining and backing paper, the latter inscribed in devanagari script 25.5 x 39cm (image) Provenance: Private Collection, Northern England The interest in western prints amongst Indian artists resulting from increasing interaction with Europe is well known, but the artists of Kutch from the mid-18th century onwards, developed a unique style, with works ranging from exact copies of European scenes to local scenes with exotic European features. See B.N.Goswamy and A.L.Dallapiccola, ‘A Place Apart: Painting in Kutch, 1720-1820’, Delhi, 1983, p. 33ff. £700-900

163 A PORTRAIT OF A MUSLIM HOLY MAN, DECCAN, SOUTHERN INDIA, 18TH CENTURY gouache with gold on paper, wearing green brocade coat and turban, seated on a terrace with an attendant, mounted and framed 24.3 x 16.7cm (inside mount) £500-700

164 PORTRAIT OF A LADY, PROVINCIAL MUGHAL, NORTHERN INDIA, CIRCA 18TH CENTURY gouache with gold on paper with possibly earlier arabesque border, laid on a later album page, the image surrounded by scrolling floral arabesque border, mounted and framed 15.5 x 8.5cm (image) £400-600

165 A PRINCESS WITH HER THREE SONS, PROBABLY LUCKNOW, INDIA, EARLY 19TH CENTURY gouache with gold on paper, the group in a domed pavilion within a palace courtyard, the orange border with islamic inscription at the top, mounted and framed 17.7 x 10.4cm The inscription reads ‘malfar ra-zahar’ (‘you are like my mother’). £500-700

166 A SCENE FROM A HINDU EPIC, MEWAR, 18TH CENTURY gouache on paper, depicting a rural landscape by a river, with repeated images of Garuda flying and diving towards a fish and a group of cobras, while a holy man meditates outside a shrine ad a pair of noblemen play a board game, framed 11.5 x 30cm £300-400

167 ~ A RULER, PROBABLY NAWAB SURAJ UD-DAULA OF BENGAL, WATCHING A NAUTCH, PATNA, MID-19TH CENTURY gouache on ivory, framed 9 x 13cm

168 ~ A GROUP OF PORTRAITS OF MUGHALS, DELHI, INDIA, MID19TH CENTURY six gouache miniature paintings on ivory, depicting Bahadur Shah II, and five ladies, probably Zeenat Mahal and his four other wives, framed together 9 x 6.3cm and smaller £500-800

£400-600

169 VASUDEVA CARRIES AWAY THE BABY KRISHNA, DECCAN, LATE 18TH CENTURY gouache with gold on paper, divided into three scenes depicting Kamsa(?), Krishna’s mother mourning the loss of her baby, and Vasudeva carrying Krishna across the Yamuna, framed with gallery certificate at the back 21 x 15cm Provenance: Moreau-Gobard, Paris, 8 December 1971

171 A MAIDEN RECLINES ON A TERRACE AT NIGHT, PAHARI, PROBABLY KANGRA, FIRST HALF 19TH CENTURY gouache on paper, from a ragamala series, an attendant massaging her foot while she smokes a huqqa, another attendant sleeping in the foreground, framed 20.5 x 12.7cm (image) £1500-2500

£800-1200 170 A FOLIO FROM A DISPERSED MANUSCRIPT, PROVINCIAL MUGHAL, LATE 17TH CENTURY gouache with ink on paper, comprising verses Persian poetry written in four columns of nastaliq script, the unrelated illustration laid on one side, depicting a ruler with a river flotilla, framed 24 x 17cm (inside margins)

172 A MAN DRINKING WINE ON A TERRACE, QAJAR PERSIA, 19TH CENTURY black ink on paper, laid on an album page with gold painted floral border, framed 14 x 8.7cm (image) £150-250

Provenance: Property of a Deceased Estate, sold by order of the Executors. £60-80 38

173 NAWAB ASAF UD-DAULAH (r.1775-1797) LISTENING TO A MUSIC PERFORMANCE, PROBABLY LUCKNOW, EASTERN INDIA, 19TH CENTURY gouache with gold on paper, the main figure seated on a rug with the female musicians in front, a crowd of men and women in the foreground, verdant gardens and forest in the background, an inscription with the bismillah in nastaliq in the middle, framed 27 x 19cm (image) £700-900

174 A QAJAR LACQUER BOOKCOVER, PERSIA, LATE 19TH CENTURY painted in red, black, dark blue and gold, with central lobed medallion depicting three figures in a palace setting, surrounded by scrolling arabesque designs, in European painted frame, old labels on the reverse 36.5 x 23.4cm Provenance: John Beattie Dunlop (b.1875), physician at Bradford Royal Infirmary, probably acquired in Persia at the beginning of the 20th century. £120-180

175 A MAJAPAHIT FRAGMENTARY TERRACOTTA FIGURE OF A DVARAPALA, JAVA, CIRCA 14TH CENTURY comprising two fragments mounted together, a crowned head with protruding fangs and bulging eyes, and a chest section, wearing necklace and armlet, perspex stand 13 x 12 x 6cm (head); 12 x 20 x 7cm (chest fragment) approx. (2) Provenance: Private Collection, London £200-300

176 A BRONZE MIRROR, BURMA OR CHINA in the form of a circular disc with pierced handle 29cm high Provenance: Private Collection, London £100-150

179 A SEATED FIGURE OF BUDDHA, BURMA, CIRCA 15TH CENTURY iron-bronze alloy, seated in padmasana, his hands in bhumisparsa and dhyana mudra, with elongated earlobes, tightly curled hair and bud usnisa 14.5cm high Provenance: Private Collection, London £400-600

177 A BRONZE BELL, JAVA, CIRCA 14TH CENTURY the handle with lotus decoration at the base, the finial in the form of Nandi 14cm high Provenance: Private Collection, London £250-350

178 A BRONZE BELL, JAVA, CIRCA 14TH CENTURY the handle with closed vajra finial, 14cm high Provenance: Private Collection, London

180 THREE KHMER BRONZE BELLS, CAMBODIA, CIRCA 12TH CENTURY each of helmet shape, with twin points on the lower edge and cylindrical suspension loop on top 13cm, 12cm, 9cm Provenance: Private Collection, London £500-800

£200-300

181 A BRONZE FIGURE OF BUDDHA, BURMA, 16TH / 17TH CENTURY seated in sattvasana on a waisted pierced throne, his hands in bhumisparsa and dhyana mudra, with elongated earlobes and pointed usnisa, traces of lacquer and gilding, 14cm high Provenance: Private Collection, London £600-900

183 TWO BRONZE HANGING LAMPS, JAVA, 14TH / 15TH CENTURY the larger with quatrefoil reservoir, arched suspension loop framing a seated figure, the smaller with lemon shaped reservoir, a stylised serpent within the suspension loop, chain attached at the top 20cm, 13cm Provenance: Private Collection, London £500-800 184 (illustrated online) A CANAKKALE SPLASHWARE POTTERY BOWL AND COVER, WESTERN ANATOLIA, LATE 19TH CENTURY on tripod feet with applique floral decoration, the lid modelled with lion holding a bowl 19.5cm high (with lid) £120-180

182 A KHMER BRONZE FIGURE OF VISHNU, ANGKOR WAT, CAMBODIA, 12TH CENTURY the four-armed Hindu deity standing on a rectangular base, with an attribute in each hand, with flared crown and cylindrical coiffure, mounted 9.5cm high Provenance: Private Collection, London £300-500

185 TWO BLUE AND WHITE TILES, PERSIA, 19TH CENTURY underglaze painted fritware, each of convex square form with central iron fixing, the design comprising scrolling arabesques, framed 22 x 44cm (together) The shape and the iron fixings suggest that these tiles may been part of a border around the base of a dome. Similar iron fixings can be seen in Multan on the tiles, added in the 18th century, around the dome of the Tomb of Shams al-Din Sabzwari. £400-600 41

186 A QAJAR CUERDA SECA GLAZED TILE, PERSIA, CIRCA 1900 painted with a calligraphic medallion inscribed in blue nastaliq text within yellow scrollwork 19.5 x 20cm The inscription reads: ‘Nasriminallah minlahe wa fathun qareeb’ (‘Aid from Allah and victory is near’). £150-250

188 A GHAZNAVID MARBLE FRAGMENT, EARLY 12TH CENTURY carved in relief with interlocking arched arabesques, a palmette border along the bottom 39 x 38cm Provenance: Bonhams Knightsbridge, 24 April 2002, lot 280 £2000-3000

187 A QAJAR BLUE AND WHITE VASE, PERSIA 19TH CENTURY glazed fritware, of baluster form, underglaze painted on the sides with a youth hunting and another with a teacher 30cm high £120-180

189 A LARGE HEXAGONAL FAUX LAJVARDINA TILE, POSSIBLY PERSIA, 19TH CENTURY turquoise glazed terracotta, overglaze painted in black red and gold with central figure of a simurgh, surrounded by a border of pseudo-kufic script 31.2cm max. diameter £200-300

190 TWO QAJAR POTTERY VESSELS, PERSIA, DATED AH 1245 (1830 AD) comprising a small charger and a bowl, each with blue and white floral decoration and central tondo with inscription and date in nastaliq script 32, 29.5cm diameter £500-700 191 A LATE SAFAVID BLUE AND WHITE DISH, PERSIA, 18TH CENTURY glazed fritware, the tondo with chinoiserie landscape design surrounded by concentric borders of honeycomb and adorsed stylised peacocks, the underside with scrolling foliage and faux Chinese reign mark within the foot 24cm diameter, 6cm high £150-200 192 A SPLASHWARE EWER, PROBABLY CANAKKALE, WESTERN ANATOLIA, CIRCA 1900 in the form of a bulbous camel, ochre splashed with green 32.5cm high; 36cm long £200-300

193 A KOFTGARI EWER, PUNJAB, INDIA, MID-19TH CENTURY iron, with silver damascened arabesque decoration, with bulbous body, domed hinged lid and scrolling handle and spout 23cm high £300-500 194 A BIDRI PAN BOX (PANDAN), DECCAN, SOUTHERN INDIA, MID 18TH CENTURY alloy inlaid with silver, of flared circular form, the lid with late 19th century restoration in repousse silver, the sides with ogival floral trellis design 12cm high; 15cm diameter £250-350 195 A SILVER BOX, SRI LANKA, 19TH CENTURY of oval form, with chased decoration and removable lid, with scrolling leaves around a central rosette 4cm high, 9.5cm max. diameter £80-120 196 A SILVER BOX, SRI LANKA, 19TH CENTURY of cylindrical form, with chased decoration, the lid with ball finial, with design of mythical lions amidst scrolling foliage 8.3cm high, 7.3cm diameter £80-120

197 A SILVER MASK (MOHRA), PROBABLY WESTERN DECCAN, INDIA, 19TH CENTURY the painted and engraved repousse face depicting Siva, mounted 16.5cm high £500-800

198 AN EGYPTIAN SILVER BOWL, CAIRO, 1933/34 circular, with a milled rim and milled guilloche border, Egyptian 900 standard marks, also with ‘tughra’ and arabic ‘9’ marks 22cm diameter, 433gr (13oz 18dwt) £200-300 199 A BRONZE CENSER IN THE FORM OF A HAMSA, DECCAN, SOUTHERN INDIA, 16TH/17TH CENTURY the stylised bird standing on rectangular platform on circular base, the burner compartment with hinged opening, the body with piercings, projecting support behind 22.5cm high; 27cm approx. long For related incense burners, see Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, nos. 103 & 105 £600-800

200 A BRONZE POT, SOUTH INDIA, PROBABLY KERALA, 19TH CENTURY with bulbous body, ridged shoulder and flared rim 17cm high

202 A GROUP OF ANGLO-INDIAN SILVER OBJECTS, CIRCA 1900 comprising a Madras pair of flower vases, two jugs, a miniature salver and a pill box; a Burmese sugar bowl, three Kutch salts and a pepper pot; a napkin ring and another salver vases 21.5cm high (13) £300-500

£120-180

201 A SMALL ENAMELLED COPPER POT, CHINA FOR THE MUGHAL MARKET, 18TH CENTURY with repeated gold flower motifs within an ogival leafy trelllis design, palmette and chain borders above and below 5.5cm £200-300 203 A MUGHAL BRASS EWER, NORTHERN INDIA, CIRCA 1800 with bulb-shaped body, serpentine handle and straight tapered spout, engraved with repeated leaf design, the hinged lid with bud finial 28cm high £100-150 45

204 A BRONZE CANDLESTICK, ANATOLIA, PROBABLY KONYA, 14TH/15TH CENTURY the waisted body pierced and engraved with a row of roundels, with split palmette design above and below, the flared base with register of pseudo-kufic decoration, decorated around the top with a waisted frieze of calligraphy 23.5cm high Provenance: Kunstkammer Georg Laue, Munich, 9 October 2003 £1200-1500

205 A COLLECTION OF SMALL LACQUER BOXES, MOSTLY KASHMIR, 20TH CENTURY mostly of oval form and made of papier mache, painted with floral designs, one containing a set of five coasters 4 x 7 x 7cm (average size) (34) £450-550

206 A COLLECTION OF SMALL KASHMIR LACQUER BOXES, 20TH CENTURY mostly of oval form and made of papier mache, painted with floral designs, one containing a set of six coasters 4 x 9 x 8cm (average size) (33) £400-600

207 A KASHMIR PAINTED WOOD FOLDING SIDE TABLE, PROBABLY SRINAGAR, CIRCA 1880 the octagonal top resting on arcaded legs with mihrab arches, the entire outer surface profusely painted in polychrome and gold with figures including a muslim holy man, angels, princely figures, demons and divs 53cm high; 53cm max. diameter £800-1200

208 ~ AN ANGLO-INDIAN TEA-CADDY, BOMBAY, INDIA, CIRCA 1880 decorated with carved wood figural and foliate panels with sadeli work borders, the hinged lid opening to reveal two lidded compartments lined with zinc 14 x 24 x 13cm Provenance: Private Collection, Northern England £100-150

209 ~ TWO ANGLO-INDIAN CARD CASES, SOUTH INDIA AND SRI LANKA, LATE 19TH CENTURY comprising a profusely carved Mysore sandalwood case with image of Saraswati to one side and Kannada inscription in central roundel to the other, and a Sinhalese porcupine quill inlaid ebony case 13.5 x 8 x 1.7cm and smaller

210 ~ A HORN AND IVORY FLASK, INDIA, CIRCA 1800 the wide end with turned ivory cap, the narrow end with turned horn finial and bulb-shaped stopper 33.5cm long approx. Provenance: Robert Binnenweg, Paris, 1 February 2010 £300-500

£300-400

211 A PAINTED AND LACQUERED PAPIER MACHE PEN BOX (QALAMDAN), KASHMIR, 19TH CENTURY of cigar shaped form, with sliding compartment, the exterior painted with flowers and Persian inscriptions in nastaliq script, the interior with brass inkwell and spoon 21cm long The inscriptions on the sides have been translated: ‘God willing you live in /this world with excellent destiny/good fortune, wealth and young hearth always’ & ‘Oh! Almighty who controls the destiny of this world/If there is no grief from your side/so also/ We do not have sadness.’ The end inscriptions translate: ‘Amal (‘work of’) Safdar Mughal’, and a date ‘10th March [?]70’.

214 A CARVED WOOD HEAD OF A WOMAN, WESTERN INDIA, 18TH / 19TH CENTURY wearing headband, her hair tied in a bun, mounted 20.5cm high £400-600

£400-600 212 A CARVED WOOD ARCHITECTURAL BRACKET IN THE FORM OF A VYALA, INDIA, 18TH / 19TH CENTURY standing in rearing position, its long tongue terminating in a leafy scroll, its head with projecting tenon, mounted 55cm high £150-200

213 A CARVED WOOD MODEL OF A KANDYAN ROYAL COUPLE, SRI LANKA, FIRST HALF 20TH CENTURY both wearing traditional dress, the male with long moustache and hexagonal hat, the female wearing large beaded necklaces and holding a fold of her robe 24cm high

215 A PAIR OF CARVED WOOD SCONCES, JAVA, CIRCA 18TH CENTURY each decorated with a pair of makara heads amidst dense leafy scrolls, copper gilt lamp attachments below, traces of painted decoration 23 x 15.5 x 3.5cm Provenance: Private Collection, London £200-300

£200-300

217 THREE BURMESE BOXES, 20TH CENTURY two in black lacquered cane with red interiors, the other of wood with green lacquered exterior 7.5 x 23.5 x 14.5cm (green box) and smaller Provenance: Private Collection, London £250-350 218 TWO LACQUER BETEL BOXES, BURMA, FIRST HALF 20TH CENTURY each of cylindrical form with sgraffito decoration one on black, the other red ground, each containing two trays 11cm, 8cm high Provenance: Private Collection, London £180-220 219 A LACQUER BETEL BOX, BURMA, EARLY 20TH CENTURY of cylindrical form with intricate sgraffito decoration, containing two trays 15cm high Provenance: Private Collection, London £200-300 216 A PAINTED WOOD DANCER’S MASK, JAVA, EARLY 20TH CENTURY with pierced mouth and eyes, with bristle moustache and traces of gilding 20cm long Provenance: Private Collection, London £200-300

220 AN OTTOMAN SILK EMBROIDERED COTTON PANEL, 19TH CENTURY of square form, the decoration comprising four floral and leafy scrolling tendrils, in pink, blue, ochre, crimson and green on red ground 119 x 122cm approx. £400-600 221 AN APPLIQUE FELT MIHRAB HANGING, BANYA LUKA, OTTOMAN BALKANS, FIRST HALF 19TH CENTURY of rectangular form, the design comprising a polychrome central floral arch containing a stylised tree of life, surrounded by a scrolling floral border fringed with scale pattern, laid onto cloth backing 169 x 104cm £500-800 222 A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY woven russet, ochre and indigo cotton, with a design of tiers of stylised ships between bands of abstract geometric and scroll motifs, mounted on card 67 x 53cm (cloth) Tampans were produced mostly by the women of Lampung, a region rich from the cultivation of pepper. Almost all families would have possessed a few of these cloths which were used for display at family ceremonies such as marriage £120-150

223 THREE CLOTH HATS, SINDH, PAKISTAN, 20TH CENTURY each with polychrome cotton embroidered decoration, one with mirror glass applique; together with a Banjara Bag and a length of striped Persian jajim cloth 18cm diameter approx. each (hats) (5) £200-300 224 AN UZBEK BROCADE COAT (CHAPAN), CENTRAL ASIA, LATE 19TH / EARLY 20TH CENTURY the gilt thread woven leafy palmette motifs on salmon pink ground, lined with bright red, vermilion and saffron ikat lining 120cm long £200-300 225 A BATIK HIP-CLOTH (KAIN PANJANG), CENTRAL JAVA, FIRST HALF 20TH CENTURY dyed cotton, of rectangular form, the design comprising diagonal bands of foliate and semi-abstract motifs and, at one end, a border of double ‘tumbal’ (triangle) and lozenge motifs amidst dense foliage, mounted on stretcher 201 x 105cm Provenance: Joss Graham, London, circa 1980. For related cloths in the Victoria and Albert Museum, see Inv. Nos. 626-1891 & 145-1984. They were wrapped around the lower body, and there are two zones of design, so that the same garment could be worn on different occasions. £400-600

226 TWO CEREMONIAL CLOTHS (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY woven russet, ochre and indigo cotton, with a design of tiers of stylised ships between bands of abstract geometric and scroll motifs, mounted on stretcher 59.5 x 50cm; 54 x 49cm (cloth) Tampans were produced mostly by the women of Lampung, a region rich from the cultivation of pepper. Almost all families would have possessed a few of these cloths which were used for display at family ceremonies such as marriage £300-400 227 (illustrated online) A WOVEN AND EMBROIDERED HEAD SCARF (KEMBEN), PALEMBANG, SUMATRA, CIRCA 1900 of rectangular form, with repeated stylised floral ikat and embroidered design, surrounded by crimson borders, mounted on stretcher 55 x 48cm approx. £150-250

229 A CHINTZ PANEL, MASULIPATAM, SOUTH INDIA, FIRST HALF 19TH CENTURY cotton, printed and resist dyed with areas of hand drawing, of rectangular form, depicting a central flowering ‘tree of life’ on cream ground decorated with botehs, under a cusped arch with flowering plants in the spandrels, surrounded by a scrolling floral border, mounted on stretcher 101 x 72cm £1000-1500 228 AN EMBROIDERED BAYTON KANTHA, BENGAL, INDIA, 20TH CENTURY of square form, the polychrome design on cream ground, the central floral roundel surrounded by animals, plants and human figures, mounted on stretcher 84 x 82cm £400-600 52

230 A WOVEN WOOL ‘MOON’ SHAWL, KASHMIR, CIRCA 1840-50 of square form, with central cream ground circular medallion, ringed with concentric polychrome boteh borders, surrounded by densely decorated boteh and anthemion designs, tasselled ends with mihrab motifs in various colours 198 x 188cm £800-1200

231 A WOVEN WOOL ‘MOON’ SHAWL, KASHMIR, CIRCA 1840-50 of square form, with central cream ground circular medallion with four double botehs and embroidered inscription, ringed with tulip and cypress border, surrounded by densely decorated composite boteh designs contained within rectangular panels, tasselled ends with mihrab motifs in various colours 189 x 195cm £800-1200

232 A CHAMBA RUMAL, HIMACHAL PRADESH, NORTHERN INDIA, 19TH CENTURY of square form, cream cotton embroidered with polychrome silk, with figural and foliate designs, together with an embroidered and mirror glass applique cotton Rumal, Rajasthan, early 20th century 59, 41cm square (2)

234 A LENGTH OF KIRMAN SHAWL CLOTH, PERSIA, FIRST HALF 19TH CENTURY woven wool, composed of two rectangular panels, decorated with polychrome stripes and stylised foliate motifs 111 x 104cm approx. £200-300

£300-400

235 A WOVEN WOOL PANEL, KASHMIR OR PERSIA, FIRST HALF 19TH CENTURY composed of three length of border decorated with complex boteh design, tasselled floral stripes at either end, 151 x 123cm approx. £500-700 233 FOUR INDIAN TEXTILES, 20TH CENTURY comprising an embroidered pachhisi layout, a silver and giltthread embroidered satin panel depicting two oversize birds above the Taj Mahal, an embroidered and applique mirror hanging and a printed sari with gilt-thread weave 500 x 108cm approx (sari); 66 x 66cm (pachhisi) Provenance: Private Collection, London £80-120

236 (illustrated online) A COTTON WARP IKAT, SAVU OR ROTI ISLAND, INDONESIA, FIRST HALF 20TH CENTURY of rectangular form, composed of two pieces stitched together and then sewn again into a ‘tube’, decorated with stylised foliate horizontal bands on blue-black ground 165 x 59cm (half width, laid flat) Provenance: Private Collection, London £80-120 54

237 A PALM-LEAF BUDDHIST MANUSCRIPT, BURMA, CIRCA 19TH CENTURY of long rectangular form, approximately 350 gilt edged folios, each inscribed with nine lines of Burmese script, with twin piercings for binding, enclosed by a pair of gilt wood covers with stylised foliate decoration, 5.5 x 50.5cm (folios); 22cm deep (including covers); together with two further palmleaf Buddhist manuscripts, Burma, 19th/20th century, each of long rectangular form, with approximately 300 gilt-edged folios, each inscribed with eleven lines of Burmese script, with twin piercings for binding, enclosed by a pair of wood covers, one lacquered in red, 6 x 49.5, 6 x 49cm (folios); 21.5, 19cm deep (including covers) (3) Provenance: From the collection of a retired manuscript curator £300-500

240 A BRONZE FIGURE OF BUDDHA, THAILAND, 19TH CENTURY seated in sattvasana on a Chinese style throne, with bracket feet, his hands in bhumisparsa and dhyana mudra, the tightly curled hair with central miniature shrine, his head with flame usnisa 51cm high Provenance: Private collection, Southern England, acquired about 40-60 years ago. £400-600 241 CHARLES CLIFFORD, WELSH, (1820-1863) ‘Cordova, Cathedral or Mosque, Interior, 1862’ albumen print, framed 41 x 30cm inside mount

238 TWO BURMESE CHARACTERS, PEGU, BURMA, CIRCA 1900 bronze, depicting a drummer and a farmer with scythe, each realistically modelled, wood bases 15.5, 15cm

The site of the famous mosque-cathedral of Cordoba is thought to have been constructed originally as a Christian church and, after the Umayyad invasion in the 8th century, shared by Christians and Muslims, in much the same way as the Great Mosque in Damascus. After a few decades, however, it became a wholly Muslim building and was fully rebuilt as a mosque. Thus it remained until 1236 when it was turned back into a Church, and the nave was added three centuries later. Charles Clifford lived and worked in Spain for much of his life. His subjects included landscapes and portraits of royalty. For another print of this scene in the Victoria and Albert Museum, see inv. no. 35581

£100-150

£600-800

239 A BRONZE FIGURE OF BUDDHA, THAILAND, EARLY 20TH CENTURY seated in sattvasana on a waisted throne, his hands in bhumisparsa and dhyana mudra, with tightly curled hair and flame usnisa, traces of gilding 44cm high Provenance: Private collection, Southern England, acquired about 4060 years ago. £400-600

ISLAMIC TILES: PROPERTY OF A EUROPEAN COLLECTOR (Lots 242-282) ‘‘This collection of Islamic tiles has been amassed over a decade or so starting in 1996 and was until recently displayed in the owners’ delightful Georgian town house in central London. The majority are Ottoman Damascus tiles and form a comprehensive selection of designs produced from the mid-16th to early 18th centuries. Others in the collection include Safavid cuerda seca and Iznik examples. All were acquired from auctions and well-known antique dealers in London and Paris. I have known the collection well for many years, as it played an important role in providing some of the illustrations in my book*.’’ Arthur Millner, October 2020

*‘Damascus Tiles’, Prestel, Munich 2015

242 A DAMASCUS TILE, OTTOMAN SYRIA, CIRCA 1570-90 glazed fritware, underglaze-painted with a tulip, hyacinths, roses, honeysuckle and dog roses, mounted 22.5cm square Provenance: Arthur Millner Ltd., 15th July 1997 (a copy of the invoice is sold with this lot) Published: Damascus Tiles, fig.1.19, p.37 £700-900 243 A DAMASCUS CORNER TILE, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, of rectangular form, underglaze painted with part of a vase decorated with arabesques, framed by plain turquoise and acanthus borders, mounted 28.5 x 18.5cm Provenance: Simon Ray Ltd., London, 4th February 2003. (a copy of the invoice is sold with this lot) For another tile with similar arabesque-decorated vase, see Damascus Tiles, fig. 6.85, p.278. £800-1200 244 A DAMASCUS TILE, OTTOMAN SYRIA, CIRCA 1570-90 glazed fritware, underglaze painted with a design of cusped lotus medallions, mounted 29 x 20.7cm Provenance: Acquired privately from the late Sir Howard Hodgkin before 2000. Similar tiles can be seen in the Darwishiyya Mosque, Damascus (1575). See Damascus Tiles, fig. 4.34, p.146 £700-900 57

245 A DAMASCUS TILE DEPICTING A PEACOCK, OTTOMAN SYRIA, 17TH CENTURY glazed fritware, underglaze painted with the bird perching on the branches of a flowering tree, mounted 23.5cm approx. square Provenance: Amir Mohtashemi, London, 17 June 2005 (a copy of the invoice is sold with this lot) It is unusual for animals to be depicted on Damascus tiles, but there are some examples depicting peacocks and parrots amongst the tiles in the Arab Hall at Leighton House, London, which most likely came from private houses belonging to non-muslims. See Damascus Tiles, fig. 5.13, p. 227 & 6.115, p. 294. £800-1200

246 A TILE FROM A ‘MOSQUE’ PANEL, DAMASCUS, OTTOMAN SYRIA, CIRCA 1700 glazed fritware, the underglaze-painted decoration with part of an arch, probably representing the mosque at Medina, part of an inscription above, reading ‘Muhammad, Abu B[akr]’, mounted 23.2cm square Provenance: J.M.Béalu, Paris, 12 July 2006 (a copy of the invoice is sold with this lot) This type of tile formed part of a square panel of nine. There are several examples in situ in Damascus and also in museums. They were installed as expressions of piety in both mosques and private houses. For an image of three such panels on the walls of the mausoleum of Mohi al-Din Arabi in Salihiyya, see Damascus Tiles, fig. 4.58, p. 166. Remains of another panel were also found during restoration of Bayt Aqqad, a private house in Damascus. A few are inscribed with late 17th or early 18th century dates. £400-600

247 A SAFAVID CUERDA SECA CALLIGRAPHIC TILE, PERSIA, CIRCA 17TH CENTURY glazed buff earthenware, the thulth script reserved in white on cobalt ground with turquoise scrolls and manganese purple and yellow detailing, mounted 23.5 x 24cm Provenance: Acquired privately from the late Sir Howard Hodgkin, before 2000 £400-600

248 A DAMASCUS TILE, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, underglaze painted with part of a floral trellis, with grapes, tulip and cusped medallion, an arabesque band on the right with part of a faux marble border on the edge, mounted 24.5 x 18.2cm approx. Provenance: Acquired in London or Paris before 2005. £700-900

249 A DAMASCUS TILE, OTTOMAN SYRIA, SECOND HALF 16TH CENTURY glazed fritware, underglaze painted with a design of arabesque medallions with a floral trellis, mounted 23.5 x 30cm approx. Provenance: Acquired in London or Paris before 2005 This is one of earliest and most popular designs to be seen on Damascus tiles. There are numerous subtle colour variations. For a panel of tiles in the Selimiyya Madrasa (c.1566)with green and blue reversed, see Damascus Tiles, fig.4.14, p. 130. £500-800

250 A DAMASCUS TILE, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, of rectangular form, underglaze painted with naturalistic leafy honeysuckle, tulip and carnation design, an acanthus border along one edge, mounted 26.5 x 19.3cm Provenance: Acquired in London or Paris before 2005. An interesting feature of this tile is on the left edge, where the artist has tested his brush with the cobalt and manganese oxides. The rounded edges of the glaze on each side suggest that this tile was made as a rectangle, and not as a square, subsequently reduced. £1000-1500

251 A DAMASCUS CORNER TILE, OTTOMAN SYRIA, CIRCA 1600 glazed fritware, underglaze painted with floral trellis design, broad border of ‘Buddha’s lips’ and cintamani design on two sides, mounted 23 x 22cm Provenance: Purchased from Charlet, Marché au Puces, Clignancourt, Paris, circa 2006 £800-1200

252 A DAMASCUS TILE, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, with underglaze painted design of radiating arabesque medallion around a central floral star, mounted 25.5 x 26cm Provenance: Purchased from Charlet, Marché au Puces, Clignancourt, Paris, circa 2006 Published: Damascus Tiles, fig. 6.45, p. 263 This design is based on an Iznik prototype seen in the Sulemaniye Mosque, Istanbul, which was completed in 1557. £700-900

253 A DAMASCUS TILE, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, underglaze painted floral trellis design with peony, hyacinths and carnations, a thin turquoise band at the top, mounted 23cm square approx. Provenance: Acquired in London, possibly at auction, circa 1999. £1000-1500

254 A DAMASCUS TILE, OTTOMAN SYRIA, CIRCA 1600 glazed fritware, underglaze painted with leafy arabesque medallion motif, a quarter floral medallion in each corner, mounted 25.5 x 26cm Provenance: Christopher Gibbs, London, 26 March 2002 (a copy of the invoice is sold with this lot) Published: Damascus Tiles, fig. 6.50, p. 264. A very similar tile to this, but with green instead of blue in the central medallion, can be seen in the Arab Hall at Leighton House. £800-1200 60

255 A DAMASCUS CORNER TILE FRAGMENT, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, with underglaze painted grape and arabesque design reserved in white, interlocking arabesque border on green ground with thin turquoise band on two sides, mounted 22.5 x 18.5cm Provenance: Arthur Millner Ltd., 10 June 1998 (a copy of the invoice is sold with this lot £800-1200 256 A DAMASCUS TILE, OTTOMAN SYRIA, LATE 19TH CENTURY glazed fritware, underglaze painted with tulip and saz-leaf design, mounted 23.5cm square Provenance: Sotheby’s London, 14 October 1999, lot 578 (part; a copy of the invoice is sold with this lot) Published: Damascus Tiles, fig. 6.90, p. 281 Similar tiles can be seen in the Arab Hall, Leighton House and in the British Museum (inv. no. OA10786) £1000-1500 257 A PANEL OF DAMASCUS TILE FRAGMENTS, OTTOMAN SYRIA, LATE 17TH CENTURY glazed fritware, underglaze painted with interlocking octagons, each with central floral medallion, framed together 23 x 47cm Provenance: Amir Mohtashemi, 3 August 2001 (a copy of the invoice is sold with this lot) Published: Damascus Tiles, fig. 6.136, p. 303 There is another tile which probably comes from the same group in the Louvre, Paris (inv. no. MAO 2197) £700-900 61

258 TWO ‘DOME OF THE ROCK’ TILES, OTTOMAN SYRIA, 16TH CENTURY glazed fritware, each of square form, underglaze painted with green split palmette motif, framed together 19.5 x 39cm (together) Provenance: Arthur Millner Ltd., 20 February 2001 (a copy of the invoice is sold with this lot) This design is an unusual variant of the blue and white design associated with the Dome of the Rock in Jerusalem, here with the introduction of the characteristic Damascus green. £1200-1800 259 A DAMASCUS TILE, OTTOMAN SYRIA, CIRCA 1560-70 glazed fritware, underglaze painted with arabesque medallions within a floral trellis, mounted 26.5 x 24.4cm Provenance: Acquired in London or Paris before 2005 £800-1200 260 A DAMASCUS TILE, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, underglaze painted with an elaborate design of flowers within a lobed medallion, surrounded by quarter rosettes in each corner amongst cintamani and ‘Buddha’s lip’ motifs, mounted 27 x 26.5cm Provenance: Amir Mohtashemi, London, 8 February 2006 (a copy of the invoice is sold with this lot) For a closely-related tile in the Victoria and Albert Museum, see inv. no. 452-1901 £1500-2000

261 A DAMASCUS TILE FRAGMENT, OTTOMAN SYRIA, CIRCA 1560-70 glazed fritware, underglaze painted with arabesque medallion amongst scrolling foliage, framed 15 x 29.5cm approx. Provenance: Arthur Millner Ltd., 14 June 1999 (a copy of the invoice is sold with this lot) £400-600 262 A DAMASCUS BORDER TILE, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, underglaze painted with repeated arabesque medallions intertwined with tendrils, a thin turquoise band along the top, mounted 13.5 x 26cm Provenance: Sotheby’s London, 14 October 1999, lot 573 (part; a copy of the invoice is sold with this lot) Published: Damascus Tiles, fig. 6.103, p. 288 £700-900 263 A DAMASCUS BORDER TILE SECTION, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, underglaze painted with scrolling arabesque medallions intertwined with stylised leaves enclosing undulating ribbons, black bands along the edges, mounted 15 x 19cm Provenance: Sotheby’s London, 14 October 1999, lot 573 (part; a copy of the invoice is sold with this lot) A considerable number of border tiles of this design can be seen in the Arab Hall at Leighton House. £400-600 264 AN IZNIK BORDER TILE, OTTOMAN ANATOLIA, EARLY 17TH CENTURY glazed fritware, underglaze painted with scrolling flower and leaf design, turquoise borders along the long edges, mounted 12.4 x 21.5cm Provenance: Amir Mohtashemi, London, 3 October 2001 (a copy of the invoice is sold with this lot) £400-600 63

265 A DAMASCUS TILE FRAGMENT, OTTOMAN SYRIA, SECOND HALF 16TH CENTURY glazed fritware, underglaze painted with a vase with spiral decoration on flared stand, interwoven arabesque border on the right, mounted 14 x 22cm Provenance: Acquired in London or Paris before 2001 £400-600 266 A RARE EARLY IZNIK BORDER TILE FRAGMENT, OTTOMAN ANATOLIA, CIRCA 1540-45 glazed fritware, underglaze painted in blue and turquoise on white ground with arabesque medallion amidst scrolling floral tendrils, mounted 18.2 x 16.4cm Provenance: Arthur Millner Ltd., 31 October 1996 (a copy of the invoice is sold with this lot) This type of Iznik tile predates the classic ‘relief red’ Iznik style of the second half of the 16th century. A number of similar blue and white tiles are in the Victoria and Albert Museum which have relatively recently been identified as originating in the Cinili Hammam in Istanbul. They were removed during a refurbishment at the end of the 19th century, and the museum acquired them in various groups around the turn of the century. For more information on these tiles, see http://collections.vam.ac.uk/item/ O224569/tile-unknown/ £600-900 267 A SMALL BORDER TILE, PERSIA OR CENTRAL ASIA, 15TH CENTURY OR LATER glazed fritware, underglaze painted in pseudo ‘cuerda seca’, depicting part of a cartouche motif, mounted 14.5cm square approx. Provenance: acquired in London or Paris before 2008. The rounded edges of the glaze suggest that this is an intact tile which has not been reduced. £300-400 268 TWO IZNIK BORDER TILES, OTTOMAN ANATOLIA, CIRCA 1600 glazed fritware, underglaze painted with polychrome floral scrolls, with twin turquoise and white bands top and bottom, mounted together 12 x 50cm (together) Provenance: Vincent L’Herrou, Galerie Theoreme, Paris, 2001. £1000-1500

269 AN IZNIK BORDER TILE FRAGMENT, OTTOMAN ANATOLIA, LATE 16TH CENTURY glazed fritware, painted with polychrome scrolling leaf and cloud scrolls, a cusped arch at one end 17.2 x 15cm Provenance: Arthur Millner Ltd., 31 October 1996 (a copy of the invoice is sold with this lot) £700-900 270 A GROUP OF IZNIK TILE FRAGMENTS, OTTOMAN ANATOLIA, CIRCA 1580 glazed fritware, underglaze painted with polychrome floral patterns, framed together 13.2 x 29cm Provenance: J. M. Béalu, Paris, 2006 £700-900 271 A FRAGMENT FROM A LARGE IZNIK TILE, OTTOMAN ANATOLIA, LATE 16TH CENTURY glazed fritware, of triangular form, underglaze painted with a cusped floral medallion amidst scrolling floral tendrils, a thin cobalt border along one edge, mounted 31.5 x 22.5cm approx. Provenance: acquired privately from the late Sir Howard Hodgkin before 2000. £800-1200

272 A QAJAR LUSTRE PAINTED TILE, PERSIA, 19TH CENTURY of rectangular form, with scrolling band of relief arabesques, a line of calligraphy above, and two further decorative bands below, framed 16 x 19cm Provenance: Juliette Noujaim, Louvre des Antiquaires, Paris, 26 November 2005; Collection of Ambassadeur C. Graeff, French Ambassador to Iran 1988-1991. (A copy of the invoice is sold with this lot). £400-600

273 A SAFAVID CUERDA SECA TILE, PERSIA, 17TH CENTURY glazed buff earthenware, painted with complex interlocking arabesques, a carnation in one corner, mounted 24cm square Provenance: Galerie Kevorkian, Paris, 5 November 2005 (a copy of the invoice is sold with this lot which includes a note stating that the tile was formerly in the collection of the Chateau de Boursault) £1000-1500

274 A SAFAVID CUERDA SECA TILE, PERSIA, 17TH CENTURY glazed buff earthenware, painted flowers and a Chinese cloud, a scrolling floral border along one side, mounted 23.5 x 24.5cm square Provenance: Galerie Kevorkian, Paris, 5 November 2005 (a copy of the invoice is sold with this lot which includes a note stating that the tile was formerly in the collection of the Chateau de Boursault) £800-1200

275 AN IZNIK BLUE AND WHITE TILE, OTTOMAN ANATOLIA, MID-17TH CENTURY glazed fritware, underglaze painted with spiralling floral tendrils, mounted 25cm square Provenance: Amir Mohtashemi, London, 3 August 2001 (a copy of the invoice is sold with this lot) £1000-1500 276 AN IZNIK BLUE AND WHITE TILE, OTTOMAN ANATOLIA, MID-17TH CENTURY glazed fritware, underglaze painted with a radiating peony trellis around a central floral star, mounted 25cm square Provenance: Amir Mohtashemi, London, 3 August 2001 (a copy of the invoice is sold with this lot) £800-1200

277 A PANEL OF FOUR DAMASCUS TILES, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, underglaze painted in the ‘Piyale Pasa’ design, comprising an ogival floral trellis with peonies and arabesque medallions amongst abundant hyacinth strands, framed together 53cm square (together) approx. Provenance: Amir Mohtashemi, London, 29 September 2001 This design, so called because it is closely modelled on Iznik prototypes in the Piyale Pasa Mosque in Istanbul (1573), is also seen in the Arab Hall at Leighton House. The Leighton House tiles were in turn copied by William de Morgan and installed in a house in Kent, probably in the 1880s. See ‘Damascus Tiles’, pp.270-271, and fig. 5.8, p.221. £5000-8000

278 A PANEL OF FOUR DAMASCUS TILES, OTTOMAN SYRIA, 17TH CENTURY glazed fritware, underglaze painted with a cruciform split palmette and lotus design around a central floral star, framed 40cm square (together) Provenance: Alexis Renard, Paris, 14 June 2005 (a copy of the invoice is sold with this lot) Tiles of this design can be seen in the mausoleum of Mohi al-Din Arabi in Salihiyya, Damascus, and a very similar tile, but without the green is in the Church of St. James, in Jerusalem. Several others feature in museums and collections, such as the Victoria and Albert Museum (inv. no. 506 to B-1900) and the Robert Mouawad Museum in Beirut. As a self contained design, these tiles were versatile and probably produced for stock, to be used in a variety of settings. See Damascus Tiles, fig. 4.60, p.168. £3000-4000

279 A PANEL OF FOUR ‘DOME OF THE ROCK’ TILES, OTTOMAN PALESTINE OR SYRIA, 16TH CENTURY glazed fritware, with underglaze painted blue palmette design on white ground, framed 38cm square (together) Provenance: Arthur Millner Ltd., 20 February 2001 (a copy of the invoice is sold with this lot) This design was first seen on the Dome of the Rock in Jerusalem, which was tiled on the instructions of the Ottoman Sultan around 1545, but soon after this, similar tiles appeared on several buildings in Aleppo, most notably Bait Jumblatt, the Umayyad Mosque and the Khosrowiyya Mosque, as well as numerous private houses. There are also near-identical tiles in the Ramanazoglu Mosque, Adana (Turkey). See Damascus Tiles, fig. 4.74, p. 182; 4.85, p.189; fig. 4.105, p.205 £2000-3000

280 A PANEL OF THREE DAMASCUS TILES, OTTOMAN SYRIA, LATE 16TH CENTURY glazed fritware, underglaze painted with a lobed medallion design, with stylised floral motifs emanating from a central rosette, framed together 76.5 x 25cm Provenance: Alexis Renard, Paris, 14 June 2005 (A copy of the invoice is sold with this lot) This Damascus design is very closely modelled on an Iznik prototype, and was produced in several variations of colour scheme. See Damascus Tiles, fig.6.66-69, p.272-3. £2500-3500

281 A DAMASCUS TILE PANEL, OTTOMAN SYRIA, CIRCA 1600 glazed fritware, composed of eight tiles, underglaze painted with an inscribed cartouche, surrounded by interlocking split palmette border, with arabesque spandrels at either end, framed together 87 x 28cm Provenance: Amir Mohtashemi, London, 7 June 2001. (A copy of the invoice is sold with this lot) The inscription reads: ‘Allah al-Rahim, al-Hakim’, ‘Allah the bestower of mercy and generosity’. £3000-4000

282 PART OF A DAMASCUS TILE PANEL DEPICTING A GARDEN PAVILION, OTTOMAN SYRIA, CIRCA 1600 glazed fritware, comprising seventeen tiles and tile fragments, the building with window grilles, fountain and front steps, amidst verdant floral and fern decoration, surrounded by a border of interlocking leaf motifs 99 x 96cm approx. (together) Provenance: Gros & Delettrez, Paris, 21 June 2010, lot 162; Bonhams, Oxford, 28 November 2012, lot 379 This panel is thought to have been installed in a house in France, where it was overpainted to make a more complete composition. The subject matter is very rare and indicates the sort of designs which were commissioned for private houses in

the Old City of Damascus. Today, only religious buildings retain their Ottoman tiles, but it is clear from 19th century travellersâ&#x20AC;&#x2122; accounts that many private houses had been decorated with tiles. The closest parallels to this panel are to be found in Leighton House; Frederic Leighton is known to have purchased many of his tiles directly from owners of Damascus houses. A panel at the back of the Arab Hall not only depicts ponds, fountains and various animals, but also what may be the only example of a human figure in a Damascus tile. (Damascus Tiles, fig. 5.13, p. 227) ÂŁ2000-3000

283 (illustrated online) A SILVER LIMEBOX, BURMA, 19TH CENTURY of flattened spherical form, the lid and body with dense chased and repousse decoration composed of concentric bands of acanthus leaves, scrolling foliage, repeated stylised florets and convex medallions, traces of writing in Burmese on underside 9cm high; 10.5cm diameter, 110gr

285 A LIMESTONE PANEL, PROBABLY 17TH CENTURY carved in relief with an eagle’s wing behind part of a laurel and fruit garland and pendant 34 x 71cm £400-600

Provenance: Private Collection, London £100-150 284 AN ITALIAN TERRACOTTA RELIEF PANEL OF ‘LO SPASIMO’ (THE SWOON OF THE VIRGIN), PROBABLY AFTER GIOVANNI GONNELLI (1603-1664) 17TH CENTURY the Virgin in anguish supported by the ‘Mary’s’ and to her right a kneeling St John, all on a narrow ledge 24.5 x 25cm This composition was originally attributed to Giovanni Della Robbia (1469-1529) then by some to Agnolo Di Polo (1470-1528), but many now think it is the work of Giovanni Gonnelli (called il Cieco da Gambassi, ‘The blindman from Gambassi’). A number of versions exist, in particular as the centrepiece of the Chapel of Lo Spasimo, part of the Holy Mount at the monastery of San Vivaldo in Tuscany, in large format painted terracotta. A version of similar size to the present lot, with traces of paint, is held by the Princeton University Art Museum (No.y1937-269), as well as another cold painted version in the Museum of Fine Arts, Budapest (No.84.23), one offered at Semenzato, Venice, 5 October 2006, lot 155, as well as a version at the ‘Legne Chapel’ at the Cappuccina in San Gimignano. £800-1200

286 A FRENCH FOUR-GLASS TABLE CLOCK, LATE 19TH CENTURY the oval typical case with curved and bevelled glass, the white enamel dial with recessed visible Brocot escapement and Roman numerals, the eight-day movement striking the hours and half hours on a bell, unsigned, numbered 9503, with chamfered brass pendulum, with key and watch key for the suspension regulator 34.5cm high £300-400 287 A PAIR OF GILT-METAL AND CUT-GLASS TWO-LIGHT WALL SCONCES each with fluted oval backplate supporting a turned and milled vertical bar with glass terminals and a canopy of nine pendent lustres, each faceted glass scroll arm terminating in a hob-nail cut drip-pan hung with twelve lustres and a campana-shaped sconce (four pendent lustres lacking); with four electroplate nozzles approximately 45cm high £300-500 288 A PAIR OF GILT-BRONZE TWO-LIGHT WALL SCONCES, PROBABLY ENGLISH MID 19TH CENTURY cast as oak branches with acorns, each with long narrow backplate centred by a scroll bifurcated arm terminating in leafy drip pans and sconces 57cm high £500-700 72

289 A PAIR OF ‘GOUT TURC’ GILTWOOD WALL BRACKETS, FRENCH, CIRCA 1800 each canted ledge supported by three chained camel heads with elongated necks centred by a tapered back support and undertier with leaf pendant 40cm high excluding suspension brackets £150-250 290 A GILTWOOD WALL BRACKET, FRENCH, EARLY 18TH CENTURY the ledge with gadroon rim above a pierced scroll and shell backplate and animal headed scroll supports flanking a pierced scroll strapwork panel 34cm high excluding suspension brackets

292 A SILVERED BRONZE INKWELL, RENAISSANCE STYLE, 19TH / 20TH CENTURY the lobed compressed urn applied with three winged herms terminating in paw feet, with swags and grotesque masks between, the cover cast with further masks and swags rising to an agate ovoid finial, 15.5cm high; together with a giltbronze putto, perhaps 18th century, modelled seated (an element from a larger piece), 11cm long (2) £200-300

£100-150 291 THOMAS FRANCOIS CARTIER (1879-1943): COMBAT DE CERFS (RUTTING STAGS) a French patinated bronze group, Paris, early 20th century, realistically modelled on a naturalistic base, signed in the bronze, on its oval Breccia marble base bronze 56cm long Literature: Pierre Kjellberg, ‘Bronzes of the 19th Century’, Atglen, 1994, p.195, fig.1. The animalier sculptor, Thomas Cartier, primarily known for his figures of hunting dogs, wolves and big cats, trained under Georges Gardet and in the early 20th century participated in the Salon des Artists Français and the Salon d’Automne. £400-600

293 A GEORGE III SILVER FISH SLICE (OR SERVING TROWEL), THOMAS DANIELL, LONDON, 1775 Feather Edge pattern, with scroll foliate pierced and engraved spade and shell join to the bright-cut foliate embellished handle 31cm long, 149gr (4oz 15dwt) £300-500

294 A GEORGE III SILVER SOUP LADLE, ISAAC CALLARD, LONDON, 1764 Onslow pattern with shell bowl 34.5cm, 213gr (6oz 16dwt) £200-300

295 A MATCHED PAIR OF GEORGE III SILVER SALAD SERVERS, LONDON, 1796/98 Beaded pattern, plain, the fork George Smith, 1796, the spoon Stephen Adams, 1798 spoon 31cm long; 215gr (6oz 18dwt) 293

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£150-250

296 AN IRISH GEORGE IV SILVER FISH SLICE, WILLIAM CUMMINS, DUBLIN, 1825 Kings pattern, the shaped blade pierced and engraved with a fish flanked by geometric borders 32.5cm long, 256gr (8oz) £200-300

297 AN IRISH GEORGE IV SILVER FISH SLICE, CHRISTOPHER EADES, RETAILED BY MATTHEW WEST, DUBLIN, 1823 Kings pattern, later monogrammed LB, the oblong blade with pierced and engraved panel of a swordfish and another fish, further embellished with bright-cut foliage and wrigglework and a reeded rim 29cm long, 193gr (6oz) £200-300

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298 AN IRISH PROVINCIAL GEORGE III SILVER SOUP LADLE, SAMUEL GREEN, CORK, CIRCA 1805 Celtic Point Bright-cut Star pattern, engraved with scroll initials LG, incuse stamped SG twice and STERLING 36cm long, 185gr (5oz 18dwt) £250-350 299 AN IRISH GEORGE III SILVER SOUP LADLE, MICHAEL CORMICK, PROBABLY RETAILED BY JOHN LAUGHLIN, DUBLIN, 1767 with fluted bowl and hook end, the terminal engraved with a crest within a Rococo cartouche above trailing foliage 36cm long, 218gr (7oz) £300-400 300 AN IRISH GEORGE III SILVER SOUP LADLE, JOHN DALRYMPLE, DUBLIN, 1792 Old English pattern with fluted bowl, engraved with a crest above the initials RCB 34.5cm long, 171gr (5oz) £250-350 301 TWO IRISH GEORGE III SILVER BRIGHT-CUT GRAVY SPOONS Old English pattern, both engraved with crested cartouches, one with star pattern above, John Stoyte, Dublin, 1803, 32cm long, the other smaller, Michael Keating, Dublin, 1783, 28.5cm long 196gr (6oz)

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£250-350 302 A SET OF FOUR IRISH GEORGE III SILVER TABLESPOONS, MICHAEL KEATING, DUBLIN, 1797 Bright-cut Old English pattern, engraved with a crest below a Baron’s coronet 22cm long, 278gr (8oz 18dwt) £150-200 303 A SET OF FOUR IRISH GEORGE III SILVER TABLESPOONS, JOHN POWER, DUBLIN, 1794 Celtic Point Bright-cut Star pattern, engraved with a crest below a motto 24cm long, 272gr (8oz) £120-180

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304 A SET OF SIX IRISH GEORGE III SILVER TABLE FORKS, RICHARD SAWYER, DUBLIN, 1812 Fiddle pattern, engraved with a crest; together with an Irish silver marrow scoop, Philip Weekes, Dublin, 1837, Old English pattern, crested, 22cm long 420gr (13oz) (7) £180-220 305 AN IRISH GEORGE III SILVER GRAVY SPOON, SAMUEL NEVILLE, DUBLIN, 1801 Celtic Point pattern, engraved with two crests, 34cm long; together with three Irish silver tablespoons, Old English, bottom marked, one crested and traces of initials to reverse, John Hamilton, Dublin, 1736, one plain, Michael Homer, Dublin, 1776, and one crested, maker’s mark overstruck and indecipherable, Dublin, 1789 303gr (9oz) (4) £150-250 306 A GEORGE III SILVER GRAVY SPOON, JOHN FOUNTAIN, LONDON, 1800 Old English pattern, engraved with scrolling initials DEW, 29cm long; together with a Continental silver spoon, marked ‘B’, ‘1815’, flattened terminal showing traces of pricking, 19.5cm 117gr (3oz) (2) 304

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£80-120 307 A GEORGE II SILVER MOTE SPOON, ROGER HARE, LONDON, CIRCA 1740 typical form with elongated pyramidal terminal, the pierced bowl with shell back, bottom marked maker and lion passant only, 12.5cm long; together with another Georgian silver mote spoon, mid 18th century, typical form with pointed terminal, bottom marked lion passant and indecipherable maker’s mark only, 14cm long; and a George III silver small size marrow spoon, Eley & Fearn, London, 1805, teaspoon sized, shouldered bowl and girdled short stem, 13.5cm long (3) £200-300 308 A PAIR OF GEORGE III SILVER TABLESPOONS AND EIGHT TEASPOONS, JOSEPH HICKS, EXETER, 1786 AND CIRCA similarly bright-cut, with vacant cartouches; together with a set of five silver teaspoons, bright-cut, initialled maker’s mark I.P, probably Exeter 1803; and a George III silver tablespoon and five assorted teaspoons, similarly bright-cut, various makers, circa 1800 429gr (13oz) (21) £150-250 309 (illustrated online) A SET OF SIX VICTORIAN SILVER SOUP SPOONS, JOSIAH WILLIAMS & CO. OF BRISTOL, LONDON, 1895 Old English pattern, plain; together with a cased pair of Edwardian silver servers, Josiah William & Co. of Bristol, London, 1932, Old English pattern with wrigglework rims, comprising a large fork and a flat circular server 638gr (20oz) (9)

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£200-300

310 (illustrated online) ASSORTED ENGLISH SILVER comprising: a sugar bowl with everted shaped rim and on three feet, S. Blanckensee & Son Ltd., Birmingham, 1930, 10cm diameter, a set of ten teaspoons with bright-cut stems, W.S. Savage & Co., Sheffield, 1910, a tea strainer, with pierced circular bowl and openwork handle, Viners Ltd., Sheffield, 1958, a cased set of six tea knives with electroplate blades and loaded silver handles, Sheffield, 1911, and a pair of Feather-edge pattern sugar tongs, Birmingham, 1926; together with a set of seven electroplate teaspoons, with key-fret border weighable silver 267gr (8oz) (27) £100-200 311 A SET OF TWELVE GEORGE III SILVER TABLESPOONS, WILLIAM WATKINS, LONDON, 1761 Shouldered Old English pattern, engraved with a crest 22cm long, 784gr (25oz) £300-500 312 ASSORTED KINGS SHAPE ENGLISH TABLE SILVER comprising: six George III Hourglass pattern table forks and six dessert forks, crested, various makers, London & Dublin, 1815-1819; three Kings pattern table forks, two dessert forks and a single struck teaspoon, various markers, 19th century; and two Queens pattern dessert spoons, a Queens pattern dessert fork and a Fiddle Shell & Thread pattern dessert fork, various makers, 19th century; together with a set of six French silver fruit knives, Philippe Berthier, Paris, third quarter 19th century, Kings pattern, loaded silver handles engraved with scrolled initials, silver blades, 950 standard; and a silver fruit knife and fork, Sheffield, circa 1825, Vine & Shell pattern loaded silver handles and silver blade and tines weighable silver 1601gr (51oz) (30)

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£600-800 313 A SET OF TWELVE VICTORIAN SILVER-GILT COFFEE SPOONS, JOHN WILMIN FIGG, LONDON, 1871 the stems single struck with a putto playing a harp amidst foliate scrolls; together with a set of four silver teaspoons, Joseph Mayer of Liverpool, Exeter, 1854/55, Fiddle Thread pattern engraved to the crested terminals with strapwork 269gr (8oz)

313

314

£100-150 314 FOUR SETS OF ENGLISH SILVER COFFEE OR TEASPOONS comprising: a set of six George IV teaspoons, Old English pattern, engraved scrolled initials PMB, Thomas Streetin, London, 1823; a set of eleven Victorian coffee spoons, Old English pattern, monogrammed BW, Josiah Williams & Co. of Bristol, London, 1896; a set of six William IV teaspoons, Fiddle pattern, initialled WEC, William Bateman, London, 1834; and a set of six Victorian teaspoons, Fiddle pattern, initialled EH, Walker & Hall, Sheffield, 1884 540gr (17oz) (29) £200-300 315 TEN ASSORTED GEORGIAN SILVER TABLESPOONS, VARIOUS MAKERS, LONDON, 1776-1824 each engraved with initials or a crest, nine Old English pattern, one Fiddle pattern 627gr (20oz)

315

£250-350 77

316 A CANTEEN OF GEORGE IV TABLE SILVER, THOMAS BARKER, LONDON, 1823-25 Fiddle pattern, later engraved with a crest, comprising: eighteen tablespoons eighteen table forks (twelve John Hawkins, 1820) twelve dessert spoons twelve dessert forks seventeen teaspoons and a pair of sauce ladles; together with twelve table knives and twelve dessert knives, C.J. Vander Ltd., London, 1967, with Trefid pattern hollow silver handles and stainless steel blades; all in a 1960s fitted wood case with hinged top and frieze drawer 4300gr (138oz) excluding knives The crest is that of the Anti-Aircraft Command ÂŁ2500-3500 317 A SET OF VICTORIAN TABLE SILVER, ELIZABETH EATON & SON AND HAYNE & CATER, LONDON, 184447 Victoria pattern, comprising: six tablespoons twelve table forks twelve dessert spoons twelve dessert forks twelve teaspoons and a pair of sauce ladles, a sifter ladle, a butter knife, a pair of salt spoons and a mustard spoon; together with seventeen table knives and twelve dessert knives, 20th century, with stainless steel blades and ivorine handles silver 4200gr (135oz) (90) ÂŁ2000-3000

318 A SET OF VICTORIAN TABLE SILVER, G.W. ADAMS FOR CHAWNER & CO., LONDON, 1860 Kings Husk pattern, engraved with a crest above the intials G&EM, comprising: four tablespoons, six table forks, twelve dessert spoons, twelve dessert forks, five teaspoons and a butter knife 2854gr (91oz) (40) £1200-1800 319 A SET OF SIX TABLE KNIVES AND SIX DESSERT KNIVES, WILLIAM COMYNS & SONS LTD., LONDON, 1962 with plain pistol grip silver handles and stainless steel blades (12) £120-180 320 COLLECTION OF AMERICAN TABLE SILVER, TIFFANY & CO., NEW YORK, LATE 19TH CENTURY Chrysanthemum pattern (introduced 1880, designed by Charles T. Grosjean), each engraved with scrolled initials, comprising: a table fork, two fish forks, a grapefuit spoon, a pair of ice cream spoons, a teaspoon, a dessert knife with silver blade and a pair of knives with shaped silver blades 365gr (11oz) excluding knives with loaded handles (10) £120-180

321 SIX CONTINENTAL SILVER DECORATIVE SPOONS comprising: a pair of German berry spoons, the large bowls cast with fruits, each short stem cast with a Renaissance figure after the Antique on a column, Hanau, import marked J.G. Piddington, London, 1905, 17cm long; another German spoon, the bowl with a cow and milkmaid, the short stem with flanking dolphins and rustic dwelling, Simon Roth, Hanau, circa 1900; a pair Dutch silver-gilt Christening spoons, openwork stems with figural terminals, pseudo marks, 19th century; another Dutch Christening spoon, the stem with terminal emblematic of Faith, Hope and Charity, 19th century; together with a Russian silver sifter ladle, Vasili Ashmarin, Moscow, 1884, the twisted stem with bright-cut decorated terminal; and a German silver sifter ladle, mid 19th century, plain handle with applied cherub oval to terminal 408gr (13oz) (8) £150-250 322 A SMALL SILVER WINE TASTER, UNMARKED, PROBABLY GERMAN, CIRCA 1680 circular, chased in high relief with the head of a man emerging from liquid, the sides with ribs and fluting, with two wirework scroll handles 10cm long, 29gr £300-400

323 A PAIR OF FRENCH SILVER CANDLESTICKS, ANTOINE LUCAS, PARIS, 1781 shaped circular bases with ovolo border below a fluted band, the knopped and flared stems of canted triangular outline with shells and scroll moulding, charge and discharge marks of Henri Clavel, with probably associated nozzles with moulded rims, each engraved with a coat of arms and another shield with obliterated arms 27cm high, 1402gr (45oz) £2000-3000

324 A FRENCH SILVER SAUCEBOAT ON STAND, PIERREFRANCOIS-AUGUSTINE TURQUET, PARIS, 1844-55 lobed shaped oval, the double lipped bowl with scroll handles and pedestal foot attached to the stand of conforming outline, engraved with a count’s coronet, on shaped panel feet, 950 standard 26cm long, 814gr (26oz) £400-600 325 (illustrated online) A GERMAN SILVER SWEETMEAT BOWL, PROBABLY HANAU, CIRCA 1900 the cast and pierced circular bowl with two cartouches of cavorting cherubs amidst flower swags, on four seraphim headed sabre supports above the pierced spreading platform base 13cm high, 265gr (8oz) £120-180

328 A DANISH SILVER CAKE SERVICE, GEORG JENSEN, COPENHAGEN, CIRCA 1962 Acanthus pattern (designed by Johann Rohde in 1917), comprising: twelve cake forks, twelve teaspoons, a cake server and a cake knife with stainless steel blade, Jensen marks, import marked for Georg Jensen Ltd., London, 1962 693gr (22oz) excluding knife (26 pieces) £700-1000

326 (illustrated online) A PORTUGUESE ELECTROPLATE-MOUNTED CLARET JUG, TOPAZIO (FERREIRA MARQUES & IRMAO SA), OPORTO, LATE 20TH CENTURY the glass body with diaper decoration, the neck mount and handle with vines, putti and a Bacchus mask, lid with lion and shield thumbpiece 29cm high £30-50 327 AN AMERICAN SILVER LARGE TAZZA, TOWLE SILVERSMITHS, NEWBURYPORT MA, SECOND QUARTER 20TH CENTURY ‘Pompeian Adam’ pattern (introduced 1921), the circular dish on a vase-shaped stem and spreading foot all deocrated with Neo-classical foliate borders including gryphons flanking urns, underside with stamped trademarks, pattern name and ‘STERLING’ 30.5cm diameter, 727gr (23oz) £250-350

329 A DANISH SILVER SMALL BOWL, GEORG JENSEN, COPENHAGEN, CIRCA 1960 Blossom pattern (designed by Georg Jensen in 1905), the plain bowl on an openwork band of Magnolia design, underside with Jensen marks and pattern No. ‘2’, import marked for Georg Jensen Ltd., London, 1960, 6.7cm diameter; together with a Danish silver tea strainer, Georg Jensen, Copenhagen, circa 1959, Acanthus pattern (designed by Johan Rhode in 1917), Jensen marks, import marked for Georg Jensen Ltd., London, 1959, 14.5cm long 130gr (4oz) (2) £250-350 330 A PAIR OF DANISH SILVER SMALL DISHES, GEORG JENSEN, COPENHAGEN, CIRCA 1961 355G pattern (designed by Gundorph Albertus in circa 1920), each shallow circular bowl with two shell handles and a rim foot, Jensen marks and designer’s monogram, import marked for Georg Jensen Ltd., London, 1961, 13cm long; together with a pair of Danish silver butter knives, Georg Jensen, Copenhagen, circa 1962, Old Danish pattern (designed by Harald Nielsen in 1937), Jensen marks, import marked for Georg Jensen Ltd., London, 1962 227gr (7oz) (4)

332 ~ A SET OF EIGHT ZIMBABWEAN PLACE CARD HOLDERS, PATRICK MAVROS, HARARE, MODERN each modelled and lost wax cast as an African animal before the tree stump holder, on African blackwood oval bases, comprising: a black rhino, a Nile crocodile, a warthog, an ostrich, a lion, a bull elephant, a sable antelope, and a pair of meerkats, each with PM monogram and antelope head marks, PM monogrammed roundel to bases, with small booklet ‘Patrick Mavos / SCULPTURES IN SILVER’ and nine cards bases 6cm long £600-900 333 A PAIR OF SILVER WINE COASTERS WITH SILVERMOUNTED PERSPEX COOLERS, GERALD BENNEY, LONDON, 1984 the slightly flared coasters with moulded base and simple line border to rim, wood base, the removable slightly tapered double walled smoky Perspex ‘ViniCool’ liners with plain silver rim mounts 24.5cm high £1500-2500

£250-350 331 A DANISH SILVER DRESSING TABLE SET, GEORG JENSEN, COPENHAGEN, CIRCA 1965 150A pattern (designed by Harald Nielsen), each piece with simple stepped edging and embellished with a dolphin motif, comprising: a Baccarat cut-glass jar with silver cover, a hand mirror, a hand brush, another brush, a miniature brush and a comb, Jensen marks, import marked for Georg Jensen Ltd., London, 1963-69 hand mirror 23cm long (7) £400-600 82

334 A SILVER BEAKER, GERALD BENNEY, LONDON, 1966 slightly bulging cylindrical, with bark texturing below a plain rim 8.6cm high, 174gr (5oz) £400-500

335 A SILVER-GILT ‘SURPRISE’ EGG, STUART DEVLIN, RETAILED BY ANDREW GRIMA, LONDON, 1967 covered in crater-like texturing with a differently textured girdle, opening to reveal a bee en tremblant over a silver daisy set with a lilac paste, limited edition number 16, 6.5cm high, in its box with gilt stamped label; together with another silver-gilt egg, Stuart Devlin, London, 1962, of textured filigree, limited edition number 14, 6cm high, in its box with gilt stamped label (2) £300-400 336 A SILVER-GILT CHRISTMAS BOX, STUART DEVLIN, LONDON, 1972 the textured cylinder topped by a silver and oxidised silver holly sprig, opening from the base to reveal a scene modelled in oxidised and plain silver as two top-hatted gentlemen carousing beneath a street lamp, numbered 238 from an edition limited to 500, with its numbered card 7cm high, 157gr (5oz) £200-300 337 A SILVER CHILD’S CUP, ANTHONY HAWKSLEY, LONDON, 1972 the spot hammered compressed baluster body with an acid etched oval of a pair of dancing teddy bears, on spreading rim foot 8cm diameter, 181gr (5oz)

338 A PAIR OF GEORGE V SILVER VASES, COOPER BROTHERS & SONS LTD., SHEFFIELD, 1926 each inverted baluster body on a socle and spreading square base with pale pierced rim foot, with bead and rail rims to the lips 19cm high, 405gr (13oz) £180-220

Anthony Paton Hawksley (1921-1991) trained at the Maidstone School of Art and the Royal College of Art. His work is represented in The Pearson Silver Collection, the Victoria and Albert Museum and many Oxford colleges. This cup (or bowl) was probably retailed by Payne & Son of Oxford, with whom Hawksley enjoyed a long association. At this date Hawksley was producing silver from his home-based workshop at Great Rollright in north Oxfordshire. He began experimenting with acid etching on silver in the early 70s; each piece he made for a large commission for Wolfson College features this decoration. For further information see John Andrew and Derek Styles, ‘Designer British Silver’, Woodbridge, 2015, pp.246-251. £200-300

342 (illustrated online) AN ELECTROPLATE WINE COOLER, ENGLISH, 20TH CENTURY pedestal campana urn shaped, with bands of lobes and gadroon rim, applied foliate handles, with detachable liner, underside bears ‘Boulton’ type sunburst mark twice, 24cm high; together with an electroplate wine cooler, English, mid 20th century, pedestal campana urn shaped, loop handles, corded or gadroon borders, foliate stamping to the belly, 25cm high (2) £80-120

339 A GEORGE V SILVER ROSEBOWL, WAKELY & WHEELER, LONDON, 1919 the bowl with shaped ‘Monteith’ type rim, engraved inscription ‘S.S. “Selvistan” / 1st. May 1924’, short pedestal foot with lobed border 25cm diameter, 769gr (24oz) excluding wood stand SS Selvistan was a cargo steamer, built in 1924 by Short Brothers for the Hindustan Steamship Co. Ltd. (Common Brothers Ltd.), torpedoed by a U-boat in 1943. £300-500

343 A GEORGE V SILVER FOUR-PIECE SILVER TEA AND COFFEE SET, BRITTON, GOULD & CO., BIRMINGHAM, 1929 bulbous oblong, angular handles, on ball feet coffee pot 23cm high; 1920gr (61oz) including composition handles and finials to pots £800-1200

340 A SILVER SWEETMEAT DISH, MAPPIN & WEBB LTD., SHEFFIELD, 1965 oblong, the rim cast as fruit-laden grape vines above a band of pierced and engraved further vines, on spreading short pedestal foot 36cm long, 898gr (28oz) £400-600 341 A SILVER VASE, GARRARD & CO. LTD., LONDON, 1987 inverted baluster, applied with a cast shell and foliate scroll rim above a band of flat-chased matted ground foliate strapwork panels and pendent husks, on stepped spreading foot 27cm high, 989gr (31oz) £500-700

344 A PAIR OF BRITANNIA STANDARD SILVER CASTERS, MAPPIN & WEBB LTD., LONDON, 1936 George II style, reeded borders, girdled baluster bodies below geometric pierced covers with orb finials 17.5cm high, 532gr (17oz) £250-350 347 A GEORGE V SILVER SALVER, VINERS LTD., SHEFFIELD, 1931 shaped square George I style, moulded rim, engraved ‘S’, on four shell feet 26.5cm wide, 631gr (20oz) £250-350

345 A CASED GEORGE V SILVER EIGHT-PIECE CONDIMENT SET, ADIE BROTHERS LTD., BIRMINGHAM, 1828 baluster, each on four pad feet, comprising four salt cellars with blue glass liners, a pair of mustard pots with blue glass liners and a pair of pepperettes; together with four silver salt spoons and a pair of mustard spoons, Old English pattern, various makers, Birmingham, 20th century; all in a fitted buckram case pepperettes 7.5cm high; silver 269gr (8oz) (13) £100-200 348 AN EDWARDIAN SILVER THREE-LIGHT CANDELABRUM, THOMAS BRADBURY & SONS LTD., LONDON, 1905 in George II style, the loaded stick with cut-cornered square base rising to an octagonal shaped stem and urn-shaped sconce, the detachable branch with two scroll arms terminating in drip pans and scones, the central light with conforming stem, complete with three detachable nozzles 37.5cm high; branch 740gr (23oz) 346 A SILVER CIGAR BOX, WILLIAM NEALE & SON LTD., BIRMINGHAM, CIRCA 1915 rectangular, the slightly domed lid with linear engine-turning and a vacant roundel, cedar lined, date letter rubbed, 24cm long; together with a silver cigar cutter, import marked for M. Wachenheimer & Co. Ltd., London, 1965, typical engine-turned form, 17.5cm long (2)

£400-600

£150-250

£400-600

349 A PAIR OF GEORGE V SILVER CANDLESTICKS, THOMAS BRADBURY & SONS LTD., SHEFFIELD, 1928 in George II style, cut-cornered square bases rising to octagonal shaped stems and girdled urn-shaped sconces, complete with their detachable nozzles 23cm high, loaded

350 (illustrated online) A GEORGE V SILVER SALVER, HARRISON BROTHERS & HOWSON, SHEFFIELD, 1917 shaped circular, moulded rim, on four scroll feet 20cm diameter, 370gr (11oz 18dwt) £120-180 351 AN EDWARDIAN SILVER HOT WATER JUG, WALKER & HALL LTD., SHEFFIELD, 1902 ovoid on short pedestal foot, chased with alternate curved flutes and lobes of which four chased with acorns and oak leaves on a matted ground, everted rim, domed lid with cone finial, underside with Walker & Hall trademarks 19.5cm high, 435gr (13oz 19dwt) including composition handle £150-200 352 (illustrated online) A VICTORIAN SILVER BOWL, EDWARD BARNARD & SONS, LONDON, 1860 scroll pierced sides with vacant cartouche below a waved gadroon rim, on three Rococo leaf-headed feet, 8.5cm diameter; together with a silver sugar bowl, plain circular, moulded rim and girdle, short pedestal foot, C.S. Harris & Sons Ltd., London, 1910, 11cm diameter; and a small silver basket, bonnet shaped, part pierced below the swing handle, Henry Matthews of Birmingham, Chester, 1908, 18.5cm high 425gr (13oz) (3) £150-200

353 AN VICTORIAN SILVERMOUNTED DECANTER AND STOPPER, JOHN ROUND & SON LTD., SHEFFIELD, 1894 with plain silver neck mount, the reel shaped stopper with ball finial above stiff leafage, the glass of quatrelobed bottle form cut with floral sprays 33.5cm high

354 A PAIR OF VICTORIAN SILVER DESK CANDLESTICKS, MARTIN, HALL & CO. LTD., SHEFFIELD, 1896 square bases with acanthus borders and ram headed swags rising to Corinthian column stems 19cm high, loaded £250-350 355 (illustrated online) TWO VICTORIAN SILVER CHRISTENING MUGS one baluster, engraved with berried ivy sprays flanking a presentation inscribed shield below the motto ‘The Lord Bless Thee and Keep Thee’, Hilliard & Thomason, Birmingham, 1875, 9.5cm high, the other tapered cylindrical and brightcut engraved with foliate ovals, one presentation inscribed, Richards & Brown, London, 1876, 8.5cm high; together with a Victorian silver sugar bowl, John Septimus Beresford, London, 1886, laurel border above lobes interrupted by two crested oval, gilt interior, 11cm diameter 413gr (13oz) (3) £150-200 356 A VICTORIAN SILVER CASED SET OF FOUR SALT CELLARS AND SPOONS, STOKES & IRELAND, BIRMINGHAM, 1884 the circular cellars with curved lobes below beaded rims, gilt interiors, each on three ball feet, the spoons with slender cylindrical stems and ball terminals, in the original gilt edged circular leather case lined in magenta silk and velvet cellars 4.2cm diameter; 104gr (3oz) £120-180

£200-300 357 A VICTORIAN SILVER BASKET, T. HARWOOD & SON, BIRMINGHAM, 1894 elongated oval, on short pedestal foot, with beaded rims, the bowl stamped with diaper cartouches and flowerhead and fruit garlands between 33cm across end handles, 411gr (13oz) £150-250 86

358 ~ A VICTORIAN SILVER TEAPOT, SAMUEL SMILEY FOR GOLDSMITHS’ ALLIANCE LTD., LONDON, 1872 compressed globular, bright-cut engraved with formal foliate strapwork around a cartouche with two crests and another vacant, with cast gourd and leaf finial, silver handle, underside with retailer’s stamp ‘GOLDSMITHS ALLIANCE / LIMITED / CORNHILL LONDON’ 25cm long, 568gr (18oz) including ivory insulators £200-300 359 A VICTORIAN SILVERMOUNTED DRESSING TABLE MIRROR, WILLIAM COMYNS & SONS, LONDON, 1895 the heart-shaped bevelled looking glass framed by the openwork silver broad mount of waisted outline, stamped with a vacant cartouche flanked by birds, snakes and grotesque masks amid foliate scroll and diaper work, worn fabric covered wood back with easel strut 28cm high £250-350 360 A VICTORIAN SILVER DRESSING TABLE MIRROR, HENRY MATTHEWS, BIRMINGHAM, 1900 the bevelled shaped oblong looking glass framed by the mount of conforming outline stamped with Rococo foliate scrolls and rocaille, worn fabric covered wood back with easel support 31cm high

361 A VICTORIAN SILVER CENTREPIECE STAND, EDWARD BARNARD & SONS, LONDON, 1860 the triform base with openwork scroll leaf feet and three cartouches, two the engraved presentation inscriptions and one monogrammed AC, the openwork stem and bowl support formed of two cast and chased fruit-laden vine branches 38.5cm high, 1424gr (45oz) The inscriptions read: Presented 18th April 1862 by the Independent Congregation and other Friends in Darlington. To Andrew Common on his leaving Darlington to reside in Sunderland. £800-1200

£150-250

364 A VICTORIAN SILVER BACHELOR’S TEAPOT, HENRY HOLLAND & SON, LONDON, 1860 chased to the shoulder with scroll foliage surrounding one vacant and one crested cartouche, the domed lid with cast flower finial, on four splayed foliate panel feet, silver handle with white composition insulators 21cm long, 383gr (12oz) all in £120-180

362 A PAIR OF VICTORIAN SILVER CANDLESTICKS, HENRY WILKINSON & CO., SHEFFIELD, 1837 the shaped square bases, waisted stems, campana shaped sconces and detachable nozzles all embellished with stamped matted-ground acanthus leafage, bases and nozzles engraved with a crest 24cm high, loaded £500-700

365 A PAIR OF VICTORIAN SILVER BUTTER SHELLS, R. & S. GARRARD & CO., LONDON, 1875 of scallop shell form each on two spindle shell supports, engraved with a small crest to the rim 11.5cm long, 218gr (7oz) £300-400

363 A VICTORIAN SILVER BASKET, HENRY WILKINSON & CO., SHEFFIELD, 1845 shaped circular, the everted rim diaperwork pierced and applied with fruit laden trailing grape vine, the swing handle of openwork further trailing vine, the pedestal foot pierced with stylised foliage 27cm diameter, 699gr (22oz) £400-600

366 A PAIR OF WILLIAM IV SILVER SALT CELLARS, BENJAMIN SMITH, LONDON, 1837 shaped circular, applied with leafy scrolls to the rim, each engraved with a crest below an Earl’s coronet, on lobed pedestal feet, interiors showing traces of gilding 9.5cm diameter, 288gr (9oz) The crest is that of the Earls of Galloway £200-300

367 A PAIR OF GEORGE IV SILVER SALT CELLAR STANDS, CRADDOCK & REID, LONDON, 1824 oval with leaf and scroll ends between gadroon rims, engraved with the crest and motto of Barclay, the top sides gilded 15.5cm long, 241gr (7oz) £200-300 368 A PAIR OF GEORGE IV SHEFFIELD PLATE LARGE CANDLESTICKS, CIRCA 1825 circular, applied leafy decoration, baluster stems, urn shaped sconces and complete with detachable nozzles 32cm high £100-200 369 AN IRISH GEORGE IV SILVER SALVER, JAMES LE BAS, DUBLIN, 1829 shaped circular, chased with a broad band of acanthus sprays and flowerheads on a matted ground surrounding two vacant cartouches with Prince of Wales feather surmounts and two exotic birds holding sprays of berries in their beaks, the moulded border with a cast and applied rim of shells, scrolls and flowerheads, on four cast acanthus headed paw feet 48cm diameter, 3223gr (103oz) £2000-3000

370 A GEORGE III SILVER SUGAR BOWL, THOMAS ROBINS, LONDON, 1816 circular, gadroon rim, the belly chased with a band of curved lobes and applied with leaf-capped angular handles, on ball feet, gilt interior 19cm long, 434gr (13oz 18dwt) £120-180 373 A SET OF FOUR GEORGE III SILVER SWEETMEAT DISHES, PAUL STORR, LONDON, 1798 oblong, engraved with a crest, with wide lobed and scalloped sides, on a rectangular rim foot 11cm long, 262gr (8oz) Provenance: English Private Collection; acquired from Shrubsole, London, November 1964 £1200-1800

371 A GEORGE IV SILVER TOAST RACK, EMES & BARNARD, LONDON, 1824 with seven reeded bars, central loop handle, reeded oblong base and four anthemion panel feet 16cm long, 284gr (9oz) £250-350 372 ~ AN IRISH GEORGE III SILVER TEAPOT, ISAAC SOLOMON, DUBLIN, 1817 chased with a girdle of a running ribbon encircling roseheads flanked by thistles and shamrocks on a matted ground, a lobed band below, the everted shoulder with gadroon rim interrupted by leafy vine and flowerhead motifs, with similar motifs applied to the silver handle and spout tip, the lobed lid with silver lobed button knop, on paw and panel feet 28.5cm long, 868gr (27oz 18dwt) including ivory insulators £400-600

374 A PAIR OF GEORGE III SILVER SALVERS, WILLIAM BENNETT, LONDON, 1807 oval, each later engraved with three crests surrounded by a contemporary engraved ‘Egyptianesque’ band of hieroglyphic inspired motifs on a stippled ground between wrigglework borders, on four panel feet, gadroon rims 28cm long, 1274gr (40oz 18dwt) The crests are those of Daniel, Amhurst and Tyssen, for William Amhurst Tyssen-Amherst, 1st Baron Amherst of Hackney DL, JP (18351909), a Conservative Member of Parliament and collector of books and works of art. There was a surge in Eyptomania following Napoleon’s campaigns and Nelson’s victories in Egypt, although hieroglyphs were little understood at the time, hence the idiosyncratic motifs to the engraving. For a Samuel Pemberton vinaigrette of 1805 with similar engraved decoration sold in these rooms, see lot 488, 20 November 2019. £1200-1800

375 A GEORGE III SILVER FOURPIECE TEA SET, JOHN EMES, LONDON, 1804/05 oval, each bright-cut engraved on the broad girdle with diaperwork above wrigglework vacant ovals, milk jug and sugar bowl with gilt interiors and bifurcated leafy terminals to the angular handles, teapot and coffee or hot water jug with wood handles jug 20cm high; 1649gr (53oz) all in £1200-1800

378 A SET OF FOUR GEORGE III SILVER ENTREE DISHES AND COVERS, WILLIAM FOUNTAIN, LONDON, 1808/09 oblong, with gadroon borders, the covers engraved with crest and coat of arms, the dishes with crests only, two with their screw-in leafy loop handles dishes 29cm long; 7170gr (230oz) (10) Provenance: the arms are those of Sir John Sheffield, 2nd Baronet of Normanby (1743?-1815); thence by family descent. £3000-5000 376 A GEORGE III SILVER SMALL CHAFING OR ENTREE DISH AND COVER, HENRY GREEN, LONDON, 1791 each shallow oblong with loop handles and reeded rims, the cover engraved to the top long sides with two crests, the base similarly engraved to interior sides 29cm long, 600gr (19oz)

379 (illustrated online) A GEORGE III SILVER TEAPOT STAND, JONATHAN EMES, LONDON, 1799 oval, reeded rim, bright-cut with a leaf band and a vacant cartouche of crossed branches, on curved panel feet 17cm long, 119gr (3oz)

£600-800

£100-150 380 A GEORGE III SILVER MUSTARD POT, ALDRIDGE & GREEN, LONDON, 1773 cylindrical, the sides pierced with interlaced roundels between gadroon rims, the lid engraved with a crest and reeded borders 8.5cm high, 137gr (4oz) excluding blue glass liner £200-300

377 A SET OF SIX GEORGE III SILVER SALT CELLAR STANDS, JOHN EMES, LONDON, 1803 oval, the everted sides engraved with a crest below a reeded rim 13cm long, 329gr (10oz)

381 (illustrated online) A GEORGE III SILVER CASTER, PROBABLY JOHN CARTER, LONDON, 1794 the girdled ovoid body on pedestal foot, the cover with reeded rim below simple piercing 13cm high, 97gr (3oz)

£300-500

£60-90 92

382 A GEORGE III SILVER CRUET SET, CHARLES HUNTER, LONDON, 1772 the circular stand with geometric pierced sides and a later engraved coat of arms below a gadroon rim, silver topped wood base, three ball and claw feet on scroll supports and a central handle, set with five blue cut glass condiment bottles and stoppers, with unmarked silver neck mounts, hung with five ring and pendent banner bottle tickets for TARRAGON, CAYENNE and SOY, Robert Garrard, London, 1804/06/08, and for CHILI and ANCHOVY, probably Samuel Whitford, London, 1809/10 17cm high

385 A GEORGE III SILVER MUSTARD POT, PROBABLY WILLIAM ABDY (GRIMWADE 3860), LONDON, 1769 cylindrical, with oval trellis piercing, domed lid with gadroon rim, 7.5cm high; together with a silver mustard spoon, Eley & Fearn, London, 1815, Fiddle pattern, initialled 114gr (3oz) excluding blue glass liner (2) £150-250

£300-500

383 A PAIR OF GEORGE III SILVER SALT CELLARS, MAKER’S MARK RUBBED, LONDON, 1784 pedestal oval, with beaded rims, 11cm long; together with a pair of silver salt spoons, Edward Farrell, London, 1818, Old English pattern, crested and initialled; and a George III silver milk jug, maker’s mark rubbed, London, 1800, slightly bulbous, bright-cut decorated between reeded rims and engraved with scrolling initials, 10.5cm high 302gr (9oz) (5)

386 A SET OF FOUR GEORGE III SILVER SAUCEBOATS, WILLIAM SKEEN, LONDON, 1784/86 pedestal oval, with beaded rims and reeded handles, each engraved with scrolled initials within a bright-cut oval 19cm long, 1125gr (36oz) £700-1000

£200-300 384 A PAIR OF SILVER CASTERS, JOHN DELMESTER, LONDON, 1761 baluster, with corded rims and girdles, engraved with a crest, the covers with stylised geometric foliate piercing and wrythen finials 15cm high, 294gr (9oz) £300-400 93

387 A GEORGE III SILVER BASKET, ROBERT HENNELL, LONDON, 1777 in Neo-classical taste, oval, centrally engraved with a coat of arms, the everted rim applied with foliate Vitruvian scrollwork on a matted ground interrupted by ram and lion masks, the pale pierced sides chased with ribbon-tied husk swags, the swing handle with further husks centred by a vacant oval, the short spreading pedestal foot pierced and chased, with beaded borders throughout 36cm long, 1518gr (48oz 16dwt) The arms are those of Blackwell of Sprowston, County Norfolk. Although predominantly known for sheet silver teapots and the like, as well as relatively light-weight baskets, wine coasters, etc., this basket shows Hennell’s workshop was also capable of producing heavy gauge and highly fashionable silver for the very top end of the market. Interestingly Hennell used the same running border on a matted ground on a similarly high quality piece, an epergne of 1781, sold Sotheby’s, London, 22 March 1978, lot 105. £3000-4000 388 A GEORGE III SILVER SALVER, PROBABLY LEWIS HERNE, LONDON 1766 engraved with a coat of arms within crossed foliate sprays, the border openwork cast with beaded scrolls and foliage, on four openwork shell and foliate scroll panel feet, underside with engraved with a crest and scratch weight ‘46 / oz / = 3 / dwt’ 36.5cm diameter, 1464gr (47oz) The maker’s mark of a scrolling ‘LH’ (Grimwade No.3719) is usually ascribed to Louis Hamon or Lewis Herne. Given that a number of salvers with cast openwork borders may be found (see Christie’s, London, 20 March 2011, lot 190 or Doyle, New York, 23 October 2003, lot 395), maker’s mark of Lewis Herne & Francis Butty, from which partnership Lewis Herne ‘absconded’ in 1765, it seems most likely that it is Herne’s mark on this salver. £1500-2000

389 A GEORGE III SILVER WINE FUNNEL, PETER & JONATHAN BATEMAN OVERSTRUCK BY GEORGE GRAY, LONDON, 1790 typical form, with reeded borders and shaped clip 13cm high, 78gr (2oz 10dwt) George Gray’s mark is often found overstriking pieces from the Bateman’s workshop. The rare mark of Peter & Jonathan Bateman was registered in early December 1790 but only used until 2nd May the following year, following Jonathan’s death and his widow entering a mark with her brother-in-law, Peter.

393 A GEORGE III SILVER LEMON STRAINER, MAKER’S MARK IS.AN (GRIMWADE 3689), LONDON, 1765 the circular bowl pellet pierced and applied with twin cast scroll handles 24.5cm long, 113gr (3oz) £200-300

£150-250 390 A GEORGE III SILVER CREAM PAIL, FRANCIS SPILSBURY, LONDON, CIRCA 1770 cylindrical, the sides pierced and engraved with pales and trailing flowers and foliage inhabited by birds centred by a vacant shaped square small cartouche, with waved beaded rim and twisted swing handle, maker’s mark only 11cm high handle raised, 110gr (3oz) excluding blue glass liner £300-500 391 A GEORGE III SILVER MUSTARD POT, FRANCIS SPILSBURY, LONDON, 1768 cylindrical, the sides pierced with pales and trailing foliage inhabited by birds, the lid engraved with large scrolling initials surrounded by trailing leafage 8cm high, 132gr (4oz) excluding blue glass liner

394 A GEORGE III SILVER SAUCEBOAT, THOMAS CHAWNER, LONDON, 1784 oval, engraved with a coat of arms below the waved rim, leaf capped scroll handle, lion mask headed paw and ball feet 18cm long, 284gr (9oz) £200-300 395 A GEORGE III SILVER SAUCEBOAT, MAKER’S MARK G.S (GRIMWADE 3596), LONDON, 1764 oval, waved rim, on three shell-headed pad feet, with C-scroll leaf-capped handle 16cm long, 211gr (6oz) £180-220

£300-400 392 A GEORGE III SILVER TEAPOT, ALDRIDGE & GREEN, LONDON, 1782 shaped oval, bright-cut with foliate swags and a vacant oval between stylised leaf borders 25.5cm long, 440gr (14oz) including wood handle and finial £200-300

396 A SET OF THREE GEORGE II SILVER SALVERS, JOHN ROBINSON, LONDON, 1746 comprising a pair of waiters and a larger salver, each shaped circular with moulded shell border, a band of flat-chased foliate scroll and diaper and an engraved coat of arms within a rococo cartouche, each on three paw feet 18.5cm and 30cm diameter, 1527gr (49oz) The arms are those of Drew, with those of another in pretence. £1500-2500 397 A GEORGE III SHEFFIELD PLATE HOT WATER JUG, CIRCA 1780 baluster, on short pedestal foot, part fluted, with beaded rims, ball finial and leaf terminal to the handle mount 30cm high

399 A GEORGE II SILVER SPOUT CUP, JAMES GOODWIN, LONDON, 1729 the plain flared cylindrical cup with simple spout and scroll handle 13.7cm long, 95gr (3oz) £500-800

£100-200 398 A SET OF THREE GEORGE II SILVER CASTERS, SAMUEL WOOD, LONDON, 1735/36 in sizes, girdled baluster, each engraved with a coat of arms and crest flanked by scroll foliage, on spreading feet, covers with bell finials pierced below with alternate panels of pellet or stylised foliate piercing tallest 17.5cm; 479gr (15oz) £1000-1500

403 A GEORGE I SILVER TOT CUP, JOHN ALBRIGHT, LONDON, 1724 urn shaped, with moulded borders 6cm high, 76gr (2oz) £300-400

400 A CHANNEL ISLANDS SILVER PORRINGER (OR CHRISTENING CUP), MAKER’S MARK IA, GUERNSEY, SECOND HALF 18TH CENTURY the cup with flared rim engraved with initials A.S.M / ADG, on a spreading rim foot, with two beaded scroll handles, maker’s mark only three times 12.5cm wide, 114gr (3oz 12dwt) For similar cups by this unascribed maker, see The Michael Paint Collection, Martel Maides, Guernsey, 18 October 2017, lots 5 and 23. £500-800

404 A PAIR OF GEORGE II SILVER WAITERS, EDWARD WAKELIN FOR GEORGE WICKES, LONDON, 1747 later engraved with a crest, with openwork cast border of fruitladen grape vines interrupted by masks of the young Bacchus alternating with shell motifs, each on four vine leaf panel feet, scratch weights ‘15=6’ and ‘15=4’ 21.5cm, 810gr (26oz) £1000-1500

401 A PAIR OF GEORGE II SILVER SAUCEBOATS, MARKS RUBBED, LONDON, CIRCA 1750 oval, shaped rims, leaf-capped C-scroll handles, each on three shell-headed pad feet 17.5cm long, 520gr (16oz) £300-400 402 A GEORGE II SILVER CREAM PAIL, EDWARD ALDRIDGE, LONDON, 1752 the cylindrical sides with bands of ribbing and a small engraved crest, the swing handle of openwork loops 8.5cm high handle raised, 100gr (3oz)

405 A GEORGE II SILVER SALVER, EDWARD FELINE, LONDON, 1730 shaped square, moulded rim, later engraved with a crest and garter motto, on four scroll feet 19cm wide, 407gr (13oz) £400-600

£300-400

406 A GEORGE II SILVER SALVER, JOHN HUGH LE SAGE, LONDON, 1746 shaped circular, the applied rim cast and pierced with fruiting vine and bearded bacchanal masks and shells at intervals, on three vine panel feet, the centre later engraved (probably in the mid 19th century) with a coatof-arms, crest, motto and rococo cartouche within a larger 18th century Rococo engraved cartouche, scratch weight oz34=11 33.5cm diameter, 1012gr (32oz 10dwt) The arms are probably those of Wyndham impaling Peto for Penruddocke Wyndham who was born about 1829 at Great Marlow, Buckinghamshire. He married on 22 September 1852, Mary (1832?-1876), daughter of Sir Samuel Moreton Peto, 1st Bt. (1809-1889) and his first wife, Mary (d. 1842), daughter of Thomas de la Garde Grissell. Mr. and Mrs. Wyndham had four children: two daughters and two boys. He outlived his wife by nearly 35 years, dying at Fulham on 29 July 1910. £600-900

407 A PAIR OF GEORGE II SILVER WAITERS, JOHN ROBINSON, LONDON, 1741 each shaped circular, moulded rim, flat-chased foliate, shell and diaper border and engraved with a coat of arms, each on three scroll feet, engraved scratch weights ‘11-7 1/2’ and ‘11-6 1/2’ 18cm diameter, 527gr (16oz 18dwt)

409 A WILLIAM III SILVER PORRINGER, JOHN CORY, LONDON, 1697 chased with a band of alternate curved lobes and flutes and a corded girdle and pricked between ‘R.T / A.D / 1697’, with two ropetwist scroll handles, Britannia standard 7cm high, 94gr (3oz) £400-600

£250-350

408 A PAIR OF GEORGE I SILVER SMALL DISHES, EDWARD HOLADAY, LONDON 1716 circular, each with ribs from the scalloped rim surrounding a later engraved crest, one with scratch weight ‘11=17’, Britannia standard 11cm diameter, 121gr (3oz 17dwt)

410 A RHODONITE CUP, PROBABLY RUSSIAN EARLY 20TH CENTURY with rounded foot, applied with a silver noble’s coronet, 5.6cm high; together with a Jugendstil electroplate bowl, WMF (Wuerttembergische Metallwarenfabrik), Geislingen an der Steige, circa 1903-1910, stamped with stylised foliate vertical tendrils, 12cm diameter (2) £120-180

£600-800 98

411 A FABERGE JEWELLED SILVER-MOUNTED RHODONITE BOWL, WORKMASTER JULIUS RAPPOPORT, ST PETERSBURG, 1899-1903 circular, the plain rim mount above a broad openwork band of scrolling acanthus set with cabochon rubies, sapphires and emeralds, the silvermounted foot stamped with workmaster’s initials, Fabergé in Cyrillic and 84 standard kokoshnik 11.7cm diameter Provenance: English Private Collection; acquired from Wartski circa 1990 £8000-12000

414 (illustrated online) A SILVER CIGARETTE CASE, CARR’S OF SHEFFIELD LTD., SHEFFIELD, 2001 rounded oblong, textured to suggest crocodile leather, with a vacant rectangle, 10.5cm long; together with a silver-mounted cork bottle stopper, Douglas Pell Silverware, Birmingham, 2000, typical form, the silver mount with stepped top; and a silver-mounted glass dish stand, Adie Brothers Ltd., Birmingham, 1934, the glass disc with geometric pierced silver mount (3) £70-100 412 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL MINIATURE CASKET, PAVEL OVCHINNIKOV, MOSCOW, 18981908 the rectangular box with domed lid, corner panel feet and hasp all covered in geometric and stylised foliate enamelling, with silver-gilt drop loop handles to the sides, gilt interior, underside with Ivan Lebedkin assayer 875 standard Kokoshnik, maker’s and Imperial warrant marks 8.5cm long, 157gr all in £1200-1800

415 AN AUSTRIAN ENAMELLED SILVER CIGARETTE CASE, PROBABLY JOSEF ZAUZA, VIENNA, EARLY 20TH CENTURY canted rectangular, yellow guilloché enamel ground, silver line borders, the lid set with a glazed roundel of a fashionable young woman painted on fabric, gilt interior, 950 standard 9cm long £200-300 416 A GERMAN SILVER CIGARETTE CASE, CIRCA 1900 pocket fitting oblong form, the lid partly covered by an en plein enamel panel painted with a stable scene of a horse and attendant with two dogs, gilt interior, maker’s mark a circled R, 900 standard 8cm long £150-250 417 A SILVER CIGARETTE CASE, PROBABLY GERMAN, EARLY 20TH CENTURY oblong pocket fitting form, the lid enamelled with an en plein roundel of a grey and a bay horse in a landscape, gilt interior, pushpiece stamped ‘935’ 9cm long

413 A RUSSIAN PARCEL-GILT-SILVER AND CLOISONNE ENAMEL MOUNTED ICON OF CHRIST PANTOCRATOR, SYLVESTER GERASIMOVICH VOLKOV, MOSCOW, 1898-1908 Christ painted in tempera with right hand raised in Benediction and left holding the gospels, the oklad applied with a matted gilt ground cloisonné enamel halo and Christ’s robes finely hatched between gilt borders, all on an engine-turned ground within a formal strapwork border, maker’s mark to edge and robes, Ivan Lebedkin assayer 875 standard Kokoshnik to edge, robes and halo, worn red velvet backing, with a later gilt and red flocked card box oklad 27 x 22cm £1000-1500

£150-250 418 (illustrated online) A COLLECTION OF SIX VICTORIAN POSY HOLDERS, PROBABLY BIRMINGHAM, LATE 19TH CENTURY comprising: a silver example, trumpet shaped, with vacant oval surrounded by stamped foliage, with chain and finger ring, securing pin to bowl, George Unite, Birmingham, 1900; two electroplate examples with sprung legs to the handle and another electroplate with three leafy feet below the handle; and an electroplate example and a gilt-metal example with ring handles £100-200 100

420 (part)

421

420 A CANADIAN SILVER BOTTLE TICKET (WINE LABEL), PETER NORDBECK, HALIFAX, NOVA SCOTIA, CIRCA 1825 oblong, for MADEIRA, gadroon type border, with chain, maker’s mark twice, ‘H’ mark and anchor mark, 4.5cm long; together with three Victorian silver bottle tickets, comprising: one shaped oval stamped with Rococo foliate scrolls for SHERRY, with chain, George Unite, Birmingham, 1852, one as an openwork strapwork banner for MADEIRA, with chain, Rawlings & Summers, London, 1849, and one canted rectangular for SHERRY, chain lacking, Holland, Aldwinckle & Slater, London, 1868 (4) £250-350 421 A VICTORIAN SILVER COMBINED CIGARETTE / VESTA CASE, EDWARD STOCKWELL, RETAILED BY P. & F. SCHAFER, LONDON, 1880 rounded oblong, covered in ribs, gilt interior, the lid hinging from the side and fitted with a hinged match compartment topped by the striker, inscribed to interior rim ‘SCHAFER 27 PICCADILLY & 48 CORNHILL’ 9.5cm long, 125gr (4oz) Edward Stockwell supplied a variety of high quality gold and silver to London’s leading luxury goods retailers, such as Thornhill & Co., Leuchars & Son and P. & F. Schafer. £120-180

422

422 A VICTORIAN SILVER CARD CASE, MAKER’S MARK D&M, BIRMINGHAM, 1877 rectangular, each side bright-cut engraved with a fern leaf filled panel below a vacant cartouche and surrounding border of stylised scroll leaves, hinged to top side 9.7cm long, 64gr (2oz)

419

£70-100

419 A SILVER COLLAR, LONDON, CIRCA 1900 formed of ten openwork cast sections of birds amidst scroll foliage with curb links between, maker’s mark indecipherable, apparently no date letter interior diameter 52cm, 153gr (4oz 18dwt)

423 (illustrated online) A CARTIER GOLD PLATED LIGHTER, LATE 20TH CENTURY of oval outline, horizontally ribbed, moulded girdle below the hinged lid inscribed ‘Cartier’, underside with trademarks and numbered E27027 6cm long

£60-80

£60-90

101

424 AN ITALIAN SARDONYX CAMEO OF OMPHALE, PROBABLY ROMAN CIRCA 1810-20 carved in relief through the brown band of the floral headband and the attribute of Hercules’ Nemean lion on her shoulder to the white of the young woman’s dexter profile, hair and draped shoulders against the almost black oval base, 38 x 28mm, perhaps later set in an unmarked gold brooch mount with a band of pearls between a corded border and a scalloped milled rim, 49 x 37mm Provenance: The Estate of Mrs Harriet Bull Pitman (nee Brown, 1922-2019), of the ‘Brown-Goodwin’ House in Marblehead Old Town, Massachusetts. The house was purchased in 1832 by William Peach Brown (1780-1838), son of Captain John Brown, a privateer during the American Revolution. It remained in the Brown family for six succeeding generations. Omphale, a Lydian queen, became the wife of Hercules. Following advice from the oracle at Delphi, the hero was enslaved in recompense for the slaying of Iphitos; purchased by Omphale, his strength and beauty resulted in their marriage upon his release. The hairstyle with floral headband and strongly Neo-classical profile of this cameo bear close affinities with the ‘Ideal Head’ of Antonio Canova (1757-1822), presented by the sculptor to the Duke of Wellington, which arrived in England in 1818. One of four ‘Ideal Heads’ epitomising female beauty, the bust at Apsley House also resembles the head and hairstyle of Canova’s ‘Dancer’, commissioned by Josephine Bonaparte and now at the Hermitage Museum in St Petersburg. The quality of carving displayed by the present cameo was undoubtedly carried out by a master of the glyptic arts; for comparisons with signed works by Nicolo Morelli (1771-1838), renowned for his work for Napoleon and the Bonaparte family, see Bonhams, London, 12 Nov 2020, lot 12, similarly brooch-set with pearls. Also see for another, similarly mounted, Sotheby’s, 20 March 2018, lot 182, and one of Bacchus, Bonhams, London, 25 April 2012, lot 21. For an unsigned cameo, attributed to Morelli, see Sotheby’s, London, 9 July 2020, lot 64. The Roman studio of Morelli were not alone in producing high quality cameos however; for the work of Giuseppe Girometti (1780-1851) see the British Museum, No. 1978,1002.249, or for that of Angelo Angelo Amastini (1754-1815) see Lempertz, Cologne, 17 November 2016, lot 35. £5000-7000 425 LADY’S GOLD BRACELET WATCH, ROY KING / BUECHE GIROD, CIRCA 1987 Swiss seventeen jewel manual wind movement, textured gold dial with black hour markers and signed ‘Bueche Girod’, rounded square case with textured bezel, textured brick-link slightly tapered bracelet, 9 carat gold hallmarks for Roy Cecil King, London, 1987 case 2.2cm wide, bracelet and case approximately 17cm long £300-400 426 A GOLD HUNTER POCKET WATCH, SWISS, CIRCA 1900 keyless wind 20 jewel movement, white dial with Arabic numerals and Louis XIV type hands, subsidiary seconds dial with gilt hand, brass cuvette and suspension ring, circular hunting case engraved with monogrammed Gothic initials HT and with Swiss 18 carat gold marks, 5.2cm diameter; with a short black grosgrain ribbon with gold clip and short suspension chain, Swedish 18 carat gold marks; in a walnut box, probably associated (3) £500-800 102

429 TURQUOISE AND CULTURED PEARL BROOCH/PENDANT, 1960s the polished ‘spider web’ turquoise surmounted with a burst of textured graduated rays accented with cultured pearls, together with a pair of whorl earclips, 1950s, set with simulant turquoise cabochons £200-300

429

427

430 TEXTURED WIDE BRACELET, SPANISH, 1960s designed as a flexible mesh ribbon, JPML maker’s mark and Spanish assay mark post 1934 length approximately 193mm

430

£4000-6000 428 (part)

427 DIAMOND LEAF BROOCH, FRENCH, 1950s the curved leaf of undulating textured design set with a central row of brilliant-cut stones, French import mark

431

£400-500 428 THREE BROOCHES comprising: a foliate and floral brooch/pendant set with foiled rose diamonds (illustrated overleaf) and step cut stones; a double leaf textured spray brooch; and an oval enamelled plaque brooch

431 GOLD AND DIAMOND PENDANT AND CITRINE RING the pendant designed as a whale blowing spume pavé-set with single-cut diamonds, 6.4gr all in, the ring invisibly set with a square mixed cut citrine size N½

£400-600

£200-300

103

432 DIAMOND NECKLACE, EARLY 20TH CENTURY the articulated pear shaped rose diamond pendant within a graduated surround suspended from a foliate swirling surmount set throughout with rose diamonds chain length approximately 215mm, pendant and surmount length approximately 50mm £600-800

433 DIAMOND PENDANT, 1900s the oval scalloped pendant set throughout with rose diamonds with arched knife wire surmount and swing oval foiled rose diamond centre suspending a kite shaped pendant set with a pear shaped rose diamond, on a fine back chain back chain length approximately 250mm, pendant length approximately 59mm £1000-1500

432

434

428 (part)

434 DIAMOND AND RUBY PENDANT, 1900s of foliate and floral entrelac design set throughout with rose diamonds and channel set French-cut ruby detail on a double circular link back chain, some rubies deficient chain length approximately 705mm, pendant length approximately 79mm

433

£500-700

435 DIAMOND BRACELET, EARLY 20TH CENTURY the central openwork plaque set with rose diamonds between graduating panels similarly set length approximately 183mm £300-400

435

104

438 LAPIS LAZULI AND DIAMOND DRESS RING, 1970s the lapis lazuli cabochon within a square bezel set throughout with brilliant-cut diamonds size O ½ £150-250 439 CULTURED PEARL AND DIAMOND DRESS RING the grey pearl measuring approximately 13.5mm13.7mm within a pavé-set brilliant-cut surround size N £1000-1500 440 PAIR OF CULTURED PEARL AND DIAMOND EARCLIPS each pearl measuring between 13.5mm-14mm approximately within a swirl surround pavé-set with brilliant-cut diamonds, two diamonds deficient

436

£800-1000

437

438

436 PAIR OF OPAL AND DIAMOND EARCLIPS each drop shaped plaque set with a central rectangular polished opal between graduating step-cut diamonds, in a pavé set brilliant cut diamonds surround, assay and maker’s mark to the clip fittings

439

£3000-4000 437 DIAMOND AND OPAL DRESS RING the oval cabochon opal set between a row of channel set baguette diamonds in a bezel pavé set with brilliant-cut stones, French assay and maker’s mark size M £1500-2000

440

105

442 EMERALD AND RUBY TORQUE NECKLACE designed as a graduated hinged flat torque textured with a grid design and set with step-cut emeralds and oval cabochon rubies £5000-6000

441 RUBY AND EMERALD CUFF BRACELET AND PAIR EARRINGS the hinged bangle of burnished grid design set with alternating collet set oval rubies and emeralds, the pair of matching earrings each of shield design set with oval and circular rubies and emeralds with a cabochon circular emerald to the base, one emerald deficient internal dimmensions of bracelet approximately 55mm x 48mm

443 (illustrated opposite) WHITE GOLD ‘HAPPY DIAMONDS’ BRACELET, CHOPARD with an openwork plaque forming the word LOVE, the heartshaped ‘O’ set with brilliant-cut diamonds surrounding a glazed floating diamond of similar cut, on three rows of cable links interspersed with polished hearts, Convention marks for Swiss (Geneva) 18 carat gold, reference numbers and signed ‘Chopard’, in its ‘Chopard’ blue leather case and card outer box, length approximately 173mm

£2000-3000

£1000-1500

106

444 RED SPINEL, DIAMOND AND PLATINUM DRESS RING, BOODLES the oval spinel of 7.39 carats, the bezel continuing round in a swirl to form the shank set with brilliant-cut diamonds, London platinum hallmarked, 2015, maker’s mark Boodle & Dunthorne size R Accompanied by a report from The Gem & Pearl Laboratory stating that the red spinel is natural, with no evidence of heat treatment (Report No. 19166, dated 21st October 2020). £3500-4500

446

445

443

445 DIAMOND AND PLATINUM, RING, TIFFANY & CO. the brilliant-cut diamond weighing 1.09 carats between channel set brilliant-cut diamonds, signed Tiffany & Co., London platinum hallmarks, numbered 19812723, with ‘TIFFANY & CO.’ stamped case, pouch, box and certificate folder with its ‘Tiffany & Co. Diamond Certificate’ (Registration No.19812723/G03150488) stating that the diamond is VVS1 clarity and I colour size L

446 DIAMOND AND PLATINUM HALF ETERNITY RING, TIFFANY & CO. channel set with a row of brilliant-cut diamonds, signed Tiffany & Co., London platinum hallmarks, with ‘TIFFANY & CO.’ stamped case, pouch and box size L 1/2

£4000-6000

£500-800

107

447

447 PAIR OF SAPPHIRE PENDENT EARRINGS each a cascade of graduating pear-shaped sapphires £180-220 448 PERIDOT NECKLACE the fine chain centred by an oval peridot cabochon suspending two further peridots length approximately 415mm £150-250

448

449 RUBY NECKLACE collet set with oval cabochon rubies length approximately 461mm £400-600 450 SAPPHIRE NECKLACE the fine chain set at intervals with three pear-shaped sapphires length approximately 552mm

449

£400-600

PROPERTY OF A BRITISH NOBLEMAN (Lots 451-475)

451

450

451 PAIR OF TOPAZ AND DIAMOND CUFFLINKS AND STUDS each designed as a cluster of four mixed cut crescent shaped blue topaz with brilliant-cut diamonds in between, together with three matching studs, makers mark VD £600-800 452 ENAMEL AND DIAMOND DRESS STUDS each cobalt blue enamel dome set with a brilliant-cut diamond with pierced curlicue pattern to backs, Italian gold marks for Alessandria to fittings

452

£300-400

108

453 PAIR OF GARNET CUFFLINKS each carbuncle within a moulded bezel, French import mark £300-400

457 PAIR OF GOLD CUFFLINKS, PROBABLY ALAN MARTIN GARD, LONDON, 1969 each rectangular plaque of textured jumbled cubes, hallmarked 14 carat gold, makers mark poorly struck £500-700

454 RUBY, MOTHER-OF-PEARL AND ENAMEL DRESS SET pair of circular gold cufflinks with a central cabochon ruby within a mother of pearl and dark red enamel border, with four matching dress studs, Birmingham hallmark for 18 carat gold, maker’s mark Deakin & Francis (6)

458 THREE PAIRS OF CUFFLINKS comprising: two oval pairs, hallmarked 9 carat gold, maker’s mark LJ; and a rectangular pair with brushed and ribbed decoration £600-900

£700-900

455 PAIR OF DIAMOND AND RUBY CUFFLINKS each circular panel designed as a coiled snake set with an oval ruby and rose diamond, French assay marks £300-400

459 ONYX DRESS SET comprising: a pair of cushion shaped onyx cufflinks tied with cording and four matching dress studs (6) £350-450

456 GOLD AND DIAMOND DRESS STUDS each stylised flowerhead set with four brilliant-cut diamonds, Birmingham hallmarks for 18 carat gold, maker’s mark Deakin & Francis (4) £400-600

460 PAIR OF GOLD AND GEMSTONE CUFFLINKS, 1930s each cufflink set with elongated hexagonal gemstone including: amethyst, citrines and green paste within stylised foliate engraved bezels £200-300 109

461 GOLD DRESS SET, AUSTRIAN, CIRCA 1900 comprising: a pair of circular basket weave cufflinks; and two matching dress studs, Austrian assay mark for 14 carat gold, maker’s mark indecipherable (4)

465 THREE SETS OF DRESS STUDS each set of four silver gilt collar studs of spherical design, one in Ede and Ravenscroft box (12) £80-120

£400-600

462 PAIR OF GOLD CUFFLINKS, FIRST HALF OF 20TH CENTURY each of spherical design £150-250

466 GENTLEMAN’S GOLD DRESS SET comprising: a pair of square, cut cornered cufflinks with engine turned design; four matching buttons; and four studs (one stud with associated screw in back), Birmingham hallmarked 9 carat gold, in fitted case (10) £200-300

463 PAIR OF HEMATITE CUFFLINKS each cushion shaped cufflink set with faceted and polished hematite £200-300

467 GOLD DRESS SET, CIRCA 1947 comprising: a pair of hexagonal cufflinks with engine turned decoration; four matching buttons; and two studs, hallmarked Birmingham 9 carat gold, 1947, in it’s original fitted ‘Moderne’ leatherette case (8) £200-300

464 GOLD DRESS SET, VICTORIAN comprising: a pair of oval cufflinks decorated with bright cut foliate engraving; and four matching studs, Chester hallmarked 9 carat gold, maker’s mark C&A, in fitted case (6)

468 (illustrated online) PAIR OF CUFFLINKS each triangular engine turned panel set with a brilliant-cut diamond; together with two similar oval cufflinks each with a vacant rectangle and engine turning; and a single enamel globe cufflink, French assay mark (5)

£150-250

£500-700 110

469 COLLECTION OF GENTLEMAN’S JEWELLERY comprising: a pair of knotted cufflinks, Dunhill; four knot studs; a pair of rectangular cufflinks, Swank; and two cased sets of mother of pearl buttons, 1900s; one set of open work enamelled buttons (26)

472 PAIR OF RUBY AND DIAMOND CUFFLINKS each square panel invisibly set with four princess-cut diamonds within a border of square rubies £600-800

£150-200

473 PAIR OF RUBY AND DIAMOND CUFFLINKS each square panel invisibly set with square rubies and three by three brilliant-cut diamonds to the junctions 470 THREE SETS OF MOTHER OF PEARL BUTTONS, EDWARDIAN each in sets of six: one with turquoise centre; one with surround of white enamel zig zag pattern; one with gold chain cross centre and bevelled edge (18)

£500-700

£300-400

474 PAIR OF CHALCEDONY AND RUBY CUFFLINKS, MARGHERITA BURGENER each square chalcedony cufflink decorated with a central stud pavé-set with circular rubies, signed Margherita Burgener, Italian gold marks for Alessandria £800-1200 475 (illustrated online) SILVER AND ONYX DRESS SET the hexagonal onyx cufflinks set with central brilliant-cut diamond, and four matching dress studs, Birmingham hallmark for silver, 2005, maker’s mark Deakin & Francis (6) £120-180 471 COLLECTION OF TIE PINS comprising: two with pearl terminals one drop shaped, one bouton; a circular toped pin with starburst design set with a pearl; one turquoise enamel terminal set with a circular diamond and accented with rose diamonds and one circular sapphire and single-cut diamond cluster pin (5)

End of Sale Next Sale 26th May 2021 Closing for entries by end of March

£150-250 111

Conditions of Business for Buyers 1. Introduction (a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers; (iii) The Auctioneers Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement. (b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot. 2. Definitions “Bidder” is any person making, attempting or considering making a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent, or executors; “Auctioneers” Thomas Del Mar Ltd, Matthew Barton Ltd and 25 Blythe Road Ltd trading as Olympia Auctions. For other auctioneer’s at 25 Blythe Road, such as Charles Miller Ltd, please see their website for their Conditions of Business “Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3. Examination of Lots (a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion. 4.Exclusions and limitations of liability to Buyers (a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee. (b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for

Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller. 5. Bidding at Auction (a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained). (b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 6. Import, Export and Copyright Restrictions (a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES). (b) Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such. 7. Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

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8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers. 9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise 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 the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days' written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings 10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer's expense and risk at the Auctioneers premises or in independent storage (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

11. Data Protection Privacy Policy (a) What is the legal basis on which the Auctioneers rely to process your data? On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events). On other occasions, the Auctioneers processes your data when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction). The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms. (i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law. (ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11 (a) (i) (b) Who gets to see your personal data? The Auctioneers and other auctioneer’s at Olympia Auctions, such as Charles Miller Ltd. The Ltd company that initially receives your data will process it. Your data may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers. Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services. Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct antimoney laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

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When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law. (c) How long will the Auctioneers keep your personal data? The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims. In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest. What steps do the Auctioneers take to keep your personal data secure? The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise. The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access. As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data. (d) Third party websites The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us

will not be transmitted to other websites, but these other websites may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites. (e) Your data You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above. How can I access the information you hold about me? You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers. The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect. (f) Complaints If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers. 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers. (b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

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

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

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Matthew Barton Ltd Olympia Auctions, 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Email: enquiries@matthewbartonltd.com www.matthewbartonltd.com