Chiswick-Auctions-Fine-European-Art-Clocks-March-2019 by Chiswick Auctions

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Fine European Works of Art & Clocks 27 March 2019

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Fine European Works of Art & Clocks London 27th March 2019

Chiswick 27th March Works of Art and Clocks Covers.qxp_Layout 1 28/02/2019 16:02 Page 2

SPECIALIST

Rachael Osborn-Howard Head of Department Fine European Works of Art & Clocks rachael@chiswickauctions.co.uk

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IMPORTANT INFORMATION CITES

Some lots will require Export or Cites Licences in order to leave the UK or the European Union. It is the buyer’s responsibility to ensure that lots have the relevant licences before shipping them. Please contact the department for assistance. Please be aware that all lots marked with the symbol ƀ are subject to CITES regulations. Please see our Terms & Conditions for more information. CONDITION OF LOTS

Please note any comments on the clock movements do not constitute a full condition report and are for general guidance only, the absence of any such comments is not an indication that the movement is in poor condition. Prospective buyers must satisfy themselves as to the condition of all lots.

Fine European Works of Art & Clocks

Wednesday 27th March 2019, 14.00

VIEWING AT CHISWICK full sale Friday Saturday Sunday Monday Tuesday Wednesday

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GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk 1 Colville Road, London W3 8BL 127 Fulham Road, London SW3 6RT

Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Basak Ulukose Front cover: Lot 86 Back cover: Lot 105 Inside back cover: Lot 213 Calendar: Lot 211

1λ A SECOND QUARTER 18TH CENTURY FRENCH BOULLE STYLE CUT BRASS, GILT BRONZE AND TORTOISESHELL INLAID BRACKET CLOCK BY JACQUES CLOUZIER, PARIS the shaped case in the Rococo style, with a caddy top surmounted by a gilt bronze figure of a Chinese man holding an umbrella, the inswept sides with glazed panels, on four scrolling feet, the balloon shaped front door with foliate mounts and an enamel plaquette signed ‘CLOUZIER A PARIS’, the inside of the case with chequered base and cut brass foliate inlay, the gilt brass dial with enamel Roman numerals and engraved outer minute track, the twin barrel movement with anchor escapement, silk suspension and numbered five pointed star outside countwheel striking on a bell mounted in the removable caddy top, signed ‘Clozier A Paris’, with pendulum, the bracket with similar decoration, with Rococo style gilt bronze mounts and cut brass inlay of scrolling tendrils, the clock 61cm high, 88cm high on bracket The movement is winding, ticking and striking but not fully tested or guaranteed. Jacques Clouzier became a Master clockmaker in 1692 and a member of the Jurande from 1700. He was based at Rue des Pretres St Paul in 1748 and is recorded as still working in 1753. Tardy states that he signed his clocks ‘Clouzier a Paris’. (see Tardy, ‘Dictoinnaire des Horlogers Francais’, p.133). £2,000-£3,000

2λ A LARGE MID 19TH CENTURY FRENCH ‘BOULLE’ STYLE TORTOISESHELL, CUT BRASS AND GILT BRONZE MOUNTED BRACKET / TABLE CLOCK the straight sided case surmounted by a scrolling top surmounted by a female mask, the canted front angles with goddess term mounts and the door with bevelled glass, the shaped base with further ornate mounts over foliate cast feet, the front and sides with cut brass decoration in the Renaissance style depicting figures, lambrequin and strapwork, the 9” gilt brass dial with enamelled Roman numerals and engraved outer minute track, the twin train movement with outside countwheel striking the hours and half hour on a bell, with pendulum and substantial winder, 70cm high The clock is winding, ticking and striking when the hands are turned but not fully tested or guaranteed. £2,000-£3,000

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*See page 2 for information regarding fees

3 A FINE AND RARE FRENCH LOUIS XV PERIOD VERNIS MARTIN AND GILT BRONZE MOUNTED QUARTER CHIMING MANTEL CLOCK OF THREE WEEKS DURATION BY VERNEAUX A PARIS, CIRCA 1760 in the Rococo style, the scrolling case painted with white roses on a dark blue background, with fine fire-gilded bronze mounts, fish-scale frets to the sides and surmounted by a pair of doves symbolising love, the signed enamel dial with blue Roman numerals for the hours, Arabic numerals for the five minutes and gold stars for the half-hours, the triple train movement with circular plates with flat tops, with verge escapement and silk suspension, striking the quarters on three silvered bells, with two outside countwheels, a small lever on the left of the dial allows for the easy setting up of the hourly strike, the backplate with engraved signature ‘Verneaux à Paris’, of three weeks duration, with pendulum, 48cm high x 27cm wide The movement is ticking and chiming but not fully tested or guaranteed. Related Literature: Tardy, ‘Dictionnaire des horlogers français’, Paris, 1972; JeanDominique Augarde, ‘Les Ouvriers du Temps, La Pendule à Paris de Louis XIV à Napoléon Ier’, Genève 1996. Provenance: Former Dillée collection, Paris. £3,000-£5,000 5

5 4 A SECOND QUARTER 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK IN THE ROCOCO STYLE the case profusely decorated with scrolls, foliage and rocailles, the rectangular base with pierced decoration and surmounted by a pair of ormolu children, one taking a chick from a nest of birds, the twelve piece enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, with silk suspension, 41cm high £800-£1,200 5 A SECOND QUARTER 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK BY RAINGO FRERES, PARIS the case surmounted by a figure of a 16th century explorer holding a flat, on a naturalistic base, raised on a plinth with acanthus scrolling feet and foliate decoration, the white enamelled dial with Roman numerals signed ‘RAINGO FRERES A PARIS’, the twin train movement with outside countwheel striking on a bell, stamped ‘RAINGO FRERES PARIS’, 45cm high £300-£500 6 A MID 19TH CENTURY FRENCH GILT BRONZE MUSICAL AUTOMATON MANTEL CLOCK the case formed as numerous reeds, raised on four feet cast with shells and rocailles and with two ducks to the base, the white enamelled dial with Roman numerals over the aperture revealing the ship on a silk ground with painted sky behind, with a pull cord activating the musical movement and automaton rocking ship, the clock movement with outside countwheel striking on a bell, with pendulum, 44cm high The clock movement is winding, ticking and striking and the automaton and music are working but not fully tested or guaranteed. £1,500-£2,000

*See page 2 for information regarding fees

7 A FINE EMPIRE PERIOD FRENCH GILT BRONZE AND VERDE ANTICO MANTEL CLOCK SIGNED ‘DENIERE & MATELIN, PARIS’ the marble case surmounted by an ormolu figure of Cupid playing a lyre, a laurel wreath and telescope beside him, raised on a plinth base with foliate cast border and mounted with a relief of two Cupids placing roses at a flaming altar, the white enamelled dial with Roman numerals signed ‘Deniere & Matelin Fabr de Bronze a Paris’, the twin train movement with outside countwheel striking on a bell, stamped ‘180 C’, with pendulum, 38cm high Francois Matelin and Jean-François Dénière established their workshop in Paris in 1803, and records show that it was based at 58 rue de Turenne in 1813 and at 9 rue d’Orléans au Marais by 1820. During this period the firm flourished, employing over two hundred workers, and supplied clocks and candelabra for the French palaces, most notably Versailles and the Grand Trianon. In 1822, Dénière received the title of Provider of the King, Queen, Princes and Princesses and the Conservation of the Crown Furnishings, and also counted among his privileged clients the Duchesse de Berry and the King of Spain. In 1844 Deniere’s son Guillaume went into partnership with him and in the following years they exhibited at numerous exhibitions including the Great Exhibitions of 1851 and 1862 in London. At the time they were favourably compared to the great ormolu master Thomire.

Museum Comparables: A malachite mounted and gilt bronze mantel clock dating to 1810 by Deniere & Matelin is now in the Frick Collection, New York, (Horace Wood Brock Collection). Literature: H.L. Tardy, ‘Dictionnaire des Horlogers Français’, Paris; S. 191 P. Kjellberg, ‘Encyclopedie de La Pendule Francaise du Moyen Age au XX Siecle’, Les Editions de l’Amateur, Paris, 1997, p. 226. Auction Comparables: A gilt and patinated bronze mantel clock of similar date to the present clock by Deniere was sold at Christie’s, Paris, 21st June 2007, lot 234, 74,000 euros. £1,200-£1,800

Napoleon Crossing the Alps by Jacques-Louis David

8 A MID 19TH CENTURY FRENCH GILT AND PATINATED BRONZE MANTEL CLOCK DEPICTING NAPOLEON CROSSING THE ALPS the clock movement set into the rocky mountain, raised on a rectangular plinth base, the gilt dial with Roman numerals and foliate centre, the single train timepiece movement with vertically mounted lever platform escapement, 41cm high The movement is winding and ticking but not fully tested or guaranteed. This clock is based on the famous painting by Jacques-Louis David of 1801. £500-£700 9 A 19TH CENTURY FRENCH EMPIRE STYLE GILT BRONZE MANTEL CLOCK of small size, the plinth case surmounted by a figure of an angel holding a flaming torch and wearing a helmet, with a laurel wrapped quiver of arrows to the other side of the base, the dial with Roman numerals, the single train timepiece movement with silk suspension, with pendulum, 35cm high The movement is winding and ticking but not fully tested or guaranteed. £400-£600

*See page 2 for information regarding fees

10 A LARGE PAIR OF NAPOLEON III PERIOD BRONZE EWERS BY VICTOR PAILLARD (FRENCH, 1805-1886) the ewers of baluster form with long necks and lips cast with bearded masks, the bodies decorated with reliefs of stylised dolphins and garlands formed of shells, the scrolling handles decorated with winged female caryatids, raised on gadrooned socles over Rouge Griotte marble circular plinths, signed ‘Victor Paillard’, 67cm high (2) Auction Comparable: A slightly larger pair of bronze ewers of identical form except for the plinth bases were sold at Sotheby’s, New York, 14 April 2008, lot 375, $8000. Victor Paillard was one of the most highly regarded bronze founders of the mid 19th century. He set up his own firm in the 1830’s at 105 boulevard Beaumarchais and 6 rue Saint-Claude and by the 1850’s was employing over one hundred workers. He exhibited numerous pieces at exhibitions both in England and in France, including numerous bronze clocks in the Salon of 1844, and was appointed as a member of the jury of the Universal Exhibition of 1855 in Paris.That he was sought to cast the massive and prestigious zinc and bronze figure of Queen Victoria for the 1851 Great Exhibition shows the high esteem he was held in. He received many official commissions such as the interior decoration of the Ministry of Foreign Affairs at the Quai d’Orsay in Paris, and was employed by some of the most famous sculptors of the day to cast their bronzes, such as Pradier, Barye and Carpeaux. £1,500-£2,000 10

11 A PAIR OF LOUIS XVI STYLE GILT BRONZE AND GILT HEIGHTENED PORCELAIN LAMP BASES the vases of baluster urn form, decorated with gilt sprigs of roses and other flowers on a cobalt blue ground, the domed covers fitted with metal reservoirs to the inside and surmounted by grape mounts to the open top, with oak leaf and acorn handles, on spreading cylindrical bases, not drilled for electricity, 46cm high (2) £800-£1,200

12 A LOUIS XVI STYLE BLUE PORCELAIN AND GILT BRONZE MOUNTED URN the egg and dart and foliate rim over the waisted neck and bulbous body, with foliate stylised handles, raissed on a petal cast and circular foot, 31cm high £300-£500

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13 A LATE 19TH CENTURY FRENCH NEO-GREC GILT AND PATINATED BRONZE GARNITURE BY FERDINAND BARBEDIENNE, DESIGNED BY FERDINAND LEVILLAIN AND HENRY CAHIEUX the amphora vases with gilt rims, their necks cast with gilt leafy fronds, the tapering bodies each with a pair of reeded handles, cast in relief with classical figures, the first with a male nude playing pipes at a small altar, the reverse with a further altar with a bearded Bacchic head on the ground and a thrysus, the other depicting a male nude offering a ram to the flaming altar, the reverse with a further altar with a Bacchic male head on the ground, both raised on three Bacchic bust monopediae terminating in paw feet over Rouge Griotte marble and ormolu triform plinth bases, both vases signed to the bodies ‘F. LEVILLAIN’ and ‘F. BARBEDIENNE’, together with a matched urn, signed ‘F. BARBEDIENNE FONDEUR’ and ‘HENRY CAHIEUX’, the tapering body cast in relief with classical figures and anthemions, raised on a spreading circular foot, the vases 32cm high,the urn 31cm high (3) Ferdinand Levillain: Ferdinand Barbedienne (1810-1892) and Ferdinand Levillain (1837-1905) exhibited a large amphora vase of similar Neo-Grec design to the present pair at the Paris Universal Exhibition in 1878, at the same exhibition Levillain was unanimously awarded a gold medal for his NeoGrec pieces, and the famous Parisian bronzier Henri Servant declared in the report of the jury for Artistic Bronzes that the work of Levillain ‘chased like the finest jewels’, and works were ‘so diverse and pure of form (…) are of the highest degree of perfection’. Levillain receiving a first class medal at the 1884 Salon for a cup entitled ‘The Elements, the Months and the Seasons’ and won a silver medal at the 1889 Universal Exhibition in Paris. In 1892, the French Republic made Levillain a Chevalier de la Légion d’Honneur. Auction Comparable: A pair of vases of identical design but 56cm high were sold at Sotheby’s, New York, 22 October 2008, lot 72, $15,000. A very large pair of amphora shaped vases of similar design to the present pair and also produced by Levillain and Barbedienne were sold at Christie’s, New York, 24 April 2001, lot 251, £68,000. Henry Cahieux: The classical relief decorating the present urn is identical to that featured in a pair of urns exhibited by Henry Cahieux at the 1855 Paris Universal Exhibition. Cahieux supplied Barbedienne with numerous design for casting in bronze during the 1850’s and 1860’s, and the urn that featured this relief was described as follows: “The two vases (...) selected from many exquisite and beautiful decorative works in bronze from the atelier of Messrs. Barbedienne & Cie, of Paris; they are formed, and ornamented, on the best models of the ancient Greeks”. Auction Comparable: See Sotheby’s, New York, 20 April 2007, lot 3, $12,000 for a pair of urns by Cahieux and Barbedienne that feature the same classical relief to the present urn. £2,000-£3,000 10

*See page 2 for information regarding fees

14 A LATE 19TH CENTURY FRENCH CHAMPLEVE ENAMEL, BRONZE AND ONYX FOUR GLASS CLOCK GARNITURE the clock case of typical form with four bevelled glass panels, the front corners with freestanding Corinthian columns, over a bow-front plinth, the dial with gilt Arabic chapter ring, the twin barrel movement signed ‘S. Marti & Cie, MEDAILLE D’ARGENT 1889’, striking on a coiled steel gong, with twin tube mercury pendulum also with champleve enamel decoration, together with a pair of matching urns of baluster form with flaming finials, all raised on giltwood plinths, the clock 37cm high (3) The clock is winding, ticking and striking but not fully tested or guaranteed. £700-£1,000 15 A LATE 19TH CENTURY FRENCH WHITE MARBLE AND GILT BRONZE MOUNTED MANTEL CLOCK SIGNED ‘LEROUX LE MANS’ the case modelled as a shaped pedestal surmounted by a draped urn and raised on a plinth base, the front corners with tapering columns and with a musical trophy mount to the front, the white enamelled dial with floral garlands, with Arabic numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘A.D. MOUGIN DEUX MEDAILLES’, 41cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £200-£300

18 16 A LOUIS XV STYLE GILT AND PATINATED BRONZE MANTEL CLOCK MODELLED WITH AN ELEPHANT the drum case surmounted by a Chinese figure with a parasol and raised on the back of an elephant over a shaped, scrolling base of Rococo style, the dial with Roman numerals, the twin train movement striking the half hour and the hours on a bell, 44cm high The clock is ticking and striking when the hands are turned but not fully tested or guaranteed. £250-£350

18 A LATE 19TH CENTURY FRENCH GILT BRONZE AND VERDE ANTICO MARBLE MANTEL CLOCK BY MARLIN & COTTIN, PARIS of Louis XVI style, surmounted by a flaming urn with lion mask, ring handles, over a plinth base with trellis work and laurel garlands, over the marble plinth, the white enamelled dial signed ‘Marlin & Cottin A Paris 26 Rue Amelot’, the twin train movement striking on a bell, stamped ‘E.M’, with pendulum, 42cm high The movement is winding, ticking and striking but not tested for time keeping or guaranteed. £700-£1,000

19 17 A MID 19TH CENTURY GILT METAL AND PORCELAIN MOUNTED MANTEL CLOCK WITH GLASS DOME in the Louis XV style, the case with repousse decoration of shells, C scrolls and foliage, with vines and porcelain flowers, the white enamelled dial with Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, the pendulum with repousse butterfly mount, raised on a gilt decorated wooden base, with an ebonised plinth with glass dome over, 45.5cm high, the dome 51cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £450-£550 19 A THIRD QUARTER 19TH CENTURY FRENCH NAPOLEON III PERIOD MARBLE AND BRONZE FIGURAL CLOCK SIGNED ‘LEBLOIS, PARIS’ the Rouge Griotte and black marble oval and fluted case surmounted by a bronze figural group of three children representing music, mathematics and literature, the dial with gilt numerals signed ‘LEBLOIS BLVD BONNE NOUVELLE 27 PARIS’, the twin train movement with outside countwheel striking on a bell, with pendulum, 45cm high x 54cm wide The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1,200 *See page 2 for information regarding fees

20 A MID 19TH CENTURY FRENCH NAPOLEON III BRONZE AND ROUGE MARBLE CLOCK GARNITURE surmounted by a figure of a Bacchic putto holding grapes, reclining on a naturalistic ground, the clock case with acanthus cast mounts and with ornate gilt bezel decorated with vines, the silvered dial with Roman numerals, the twin barrel movement with outside countwheel striking on a bell, with silk suspension, the garniture tazzas of with ormolu borders, the clock 53cm high x 33cm wide (3) The movement is winding, ticking and striking but not fully tested or guaranteed. £1,000-£1,500 21 A LATE 19TH CENTURY FRENCH GILT BRONZE AND TOLE PEINTRE CLOCK GARNITURE IN THE RENAISSANCE REVIVAL STYLE the clock case of rectangular form surmounted by a twin handled urn, decorated throughout with tole ware panels in the manner of enamel, with griffin terms and scrolling foliage, the dial with Roman numerals, the twin train movement striking on a bell, with pendulum, the matching garniture candelabra with three scrolling branches centred by a fourth, the clock 41cm high £400-£600

22 A LATE 19TH CENTURY PAINTED AND GILT METAL CLOCK GARNITURE in the Renaissance Revival style, the architectural case surmounted by a shell crest and with female herm figures to the front angles, raised on scrolling feet mounted on twin-headed swans, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel and silk suspension striking on a bell, the garniture candelabra with confirming decoration and each with three urn shaped nozzles, all raised on ebonised plinths, the clock 57.5cm high overall (3) The movement is winding, ticking and striking but lacking pendulum and not fully tested or guaranteed. £400-£600

23 A LATE 19TH CENTURY FRENCH PATINATED BRASS REPOUSSE WALL CLOCK BY EUGENE FARCOT in the Renaissance Revival style, the rectangular frame ornamented with trailing foliage, grotesque masks and a shell cresting, with a wooden back panel, the protruding dial with enamelled Roman numerals and gilt hands, with gilt sunburst mask pendulum swinging from the single train timepiece movement and visible from beneath the dial, 55cm high The movement is winding and ticking but not fully tested or guaranteed. Eugene Farcot was an important French clockmaker and inventor famous for his conical pendulum clocks. He exhibited numerous examples at the International Exhibitions throughout the late 19th century including a monumental example at the Exposition Universelle of 1878 which featured a huge pendulum hung from the ceiling with a bob 125cm in diameter. £200-£300

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24 A 19TH CENTURY FRENCH ORMOLU AND PORCELAIN MOUNTED FIGURAL MANTEL CLOCK SIGNED ‘HENRY MARC, PARIS’ the stepped plinth case with porcelain panels depicting winged putti with flowers and fruit and with floral porcelain panels, surmounted by the clock movement and a gilt bronze figure of a putto cutting grapes from vines, the white enamelled dial with Roman numerals and Arabic five minute markers signed ‘HRY MARC A PARIS’, the twin train movement also signed ‘H.L MARC PARIS’, with silk suspension and outside countwheel striking on a bell, raised on a later wooden plinth, the clock 39cm high x 42cm wide The movement is winding and striking when the hands are turned but not fully tested or guaranteed. £1,200-£1,800

25 A LATE 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE FIGURAL MANTEL CLOCK DEPICTING A LOVELORN MAIDEN the maiden wearing a hat and reclining across the top of the marble plinth clock case, her fingers entwined and looking up pleadingly, at the base of the clock a figure of Cupid inspects a broken urn, raised on a shaped plinth base with a relief of frolicking putti, raised on six toupie feet, the white enamelled dial with Arabic numerals, the twin barrel movement stamped ‘Samuel Marti’, striking on a bell (now lacking), 45cm high £1,500-£2,000

26 A FINE MID 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN FIGURAL MANTEL CLOCK BY BAVOZET & FILS, PARIS the case of Rococo style, richly ornamented with volute scroll feet, vines and trailing flowers and surmounted by a group of three Bacchic putti in the manner of Clodion, enriched with a pair of porcelain panels depicting Cupid with a dove and Cupid with a bow, the porcelain dial also depicting Cupids with a floral garland, signed in gilt lettering ‘BAVOZET & FILS PARIS’, with gilt Roman numerals and Breguet style hands, the twin train movement with outside countwheel striking on a bell, stamped ‘Vincenti & Cie MEDAILLE D’ARGENT’, and signed ‘Bavozet et fils a Paris’, numbered 303, with pendulum, raised on a later silk covered wooden plinth, the clock 35cm high x 43cm wide The movement is striking when the hands are turned but not fully tested or guaranteed. Related Literature: Tardy lists Bavozet & Fils at Rue Nve StEtienne in 1850, see ‘Dictionnaire des Horlogers Francais’, p. 37. P. Kjellberg, Encyclopédie de La Pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 452, fig B. Auction Comparable: During the 1830’s Bavozet produced a series of clocks modelled after the facades of French Gothic cathedrals, including Reims, Paris, Rennes and Rouen. These exceptional cases were fitted with clock movements by the most highly regarded clockmaker of the 19th century, Breguet. An example was sold at Christie’s, London, 16 November 2017, lot 474, sold £20,000. £1,200-£1,800

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*See page 2 for information regarding fees

27 A LATE 19TH CENTURY FRENCH GILT BRONZE AND SEVRES STYLE PORCELAIN MANTEL CLOCK BY HOWELL JAMES, LONDON & PARIS, CLOCKMAKER TO THE QUEEN in the Louis XVI style, surmounted by a twin handled urn, the sides decorated with classical masks and laurel garlands over a shaped plinth base, set with porcelain panels depicting a courting couple and a winged cherub with gilt borders, the white enamelled dial with Roman numerals, the twin train movement stamped ‘HOWELL JAMES & CIE TO THE QUEEN LONDON & PARIS’, with pendulum, 42cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,000-£1,500

28 A LATE 19TH CENTURY FRENCH ORMOLU AND PORCELAIN MOUNTED FIGURAL MANTEL CLOCK SIGNED ‘ROBELIN A PARIS’ in the Louis XV style, the shaped case surmounted by a scene of two gilt bronze Bacchic putti cutting grapes, on a naturalistic base, the back stamped ‘ROBELIN A PARIS’, the front of the case with porcelain panels depicting putti with fruit and flowers, the porcelain dial signed in gilt lettering ‘ROBELIN A PARIS’ and with gilt Roman numerals, the twin train movement also stamped ‘ROBELIN A PARIS’, with pendulum striking on a bell, on a later wooden plinth, 36cm high x 37cm wide The clock is ticking and striking when the hands are turned but not fully tested or guaranteed. £400-£600

28 29 A LATE 19TH CENTURY CHANTILLY STYLE PORCELAIN FIGURAL CLOCK, POSSIBLY SAMSON the clock case surmounted by a group depicting a maiden in floral decorated dress about to untie a native girl who is bound to a palm tree, the clock case with a pair of Greek Key mounts to the sides, decorated in blue, white and gilt and with a pair of putti reclining above the dial and a pair of floral panels beside, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘MIROY A PARIS SGDG’, 44cm high The movement is winding, ticking and striking when the hands are turned but not fully tested or guaranteed. £1,200-£1,800

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31 30 AN EARLY 19TH CENTURY AUSTRIAN STAINED AND PAINTED WOOD, ALABASTER AND GILT METAL GRANDE SONNERIE AND AUTOMATON CLOCK the portico type case with four alabaster columns supporting the drum case and raised on a plinth base with floral and fruiting gilt pierced mounts and mirrored back, the gilt mask with a pair of gilt figures of Roman centurions holding hammers, their arms moving to strike the bells as the clock strikes, the central Roman enamelled chapter ring above a subsidiary calendar dial, the triple train movement with rectangular plates and silk suspension striking on two coiled gongs, the pendulum with large pierced bob, 65cm high The movement is winding, ticking and striking and the figures moving, but not fully tested or guaranteed. £1,000-£1,500 31 AN 18TH CENTURY ENGRAVED BRASS STRUT CLOCK, PROBABLY AUSTRIAN the shaped, scrolling dial engraved with decoration of flowers and foliage, with Roman chaper ring and engraved centre, the movement encased in a brass cover with engraved back, the single train timepiece movement with verge escapement and pendulum, supported on a shaped brass strut, 20cm high The movement is ticking but not fully tested or guaranteed. £350-£500

32 A LATE 19TH CENTURY GERMAN YEW, EBONISED AND ALABASTER AND ORMOLU MOUNTED MANTEL CLOCK the architectural case surmounted by a twin headed eagle and with eagle finials, raised on six alabaster columns with mirrored back and an alabaster and ormolu staircase supporting further gilt bronze figures, the white enamelled dial with Arabic numerals signed ‘Franz Leuwer, Bremen’ the twin barrel movement with outside countwheel striking on a coiled gong, stamped ‘LENZKIRCH 1 Million’, with sunburst mask pendulum, 65cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,500-£2,000

*See page 2 for information regarding fees

33 A SMALL EARLY 20TH CENTURY GILT BRASS AND PORCELAIN TRIPOD CLOCK the faux bamboo supports raised on a circular base set with a porcelain bowl with floral centre, the alabaster dial with Roman numerals, the single train timepiece movement with pendulum, 24cm high The movement is winding and ticking but not fully tested or guaranteed. £300-£500 34 A FRENCH NAPOLEON III PERIOD EGYPTIAN REVIVAL BRONZE, ORMOLU AND MAHOGANY MANTEL CLOCK SIGNED ‘ROBIN A PARIS’ the mahogany case of plinth form and surmounted by a model of a sphinx, with ormolu mounts depicting thrysus, the gilt beaded bezel enclosing the white enamelled dial with Arabic numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘VINCENTI & CIE MEDAILLE D’OR 1855’, with pendulum, 36cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £700-£1,000 35 A SMALL REGENCY PAINTED WOOD AND BRASS MOUNTED TABLE CLOCK the case with brass beaded bezel surmounted by an urn finial and raised on a spreading rectangular plinth base over four paw feet, the white enamelled dial with Roman numerals and Arabic five minute markers, the back cover revealing the 18th century watch movement signed ‘C. Forbes London’, 29cm high £200-£300

36 A LATE 19TH CENTURY VIENNESE SILVERED METAL AND ENAMEL BOUDOIR CLOCK in the Rococo style, the case finely ornamented with trellis-work, C scrolls, flowers and foliage, raised on four paw feet, the front with an enamelled panel depicting an 18th century couple beside a lake, the white enamelled dial with Roman numerals, the timepiece movement winding from the back, 15cm high The movement is ticking but not fully tested or guaranteed. £800-£1,200 37 A LARGE BRASS, CLOISONNE AND ENAMEL CARRIAGE CLOCK WITH ALARM, REPEAT AND CENTRE SECONDS the Anglaise Riche case with geometric and fluted handle over a dentil cornice and Corinthian columns to the corners, the sides with enamelled panels depicting nude maidens, the dial with a nude maiden reclining in an Arcadian landscape with floral garlands above, with Roman chapter ring and subsidiary alarm dial below, the twin barrel movement striking the half hour and hours on a bell, with lever platform escapement, 21cm high The movement is ticking, winding and striking, the alarm and repeat are functioning but not fully tested or guaranteed. £400-£600

38 A 19TH CENTURY GILT BRONZE AND CHAMPLEVE ENAMEL STRUT CLOCK IN THE MANNER OF THOMAS COLE the case of typical form with three triangular protrusions and scrolling easel support, with oval glass panel enclosing the engraved dial decorated with strapwork, with Roman chapter ring, the single train timepiece movement with balance wheel escapement, 15cm high The movement is winding and ticking but not fully tested or guaranteed. £600-£800

*See page 2 for information regarding fees

39 A MID 19TH CENTURY FRENCH ENGRAVED GILT BRASS CARRIAGE CLOCK SIGNED ‘ROY A PARIS’ the case with foliate wrapped swing handle over the sides with bevelled glass panels and hinged front and back doors, decorated in the Rococo Revival style with C scrolls, trellis work and foliage, the white enamelled dial with Roman numerals, signed but signature now worn, the twin barrel movement with outside countwheel and cylinder escapement, signed to the backplate ‘Roy a Paris’, striking on a bell, 15.5cm high with handle down £400-£600 40 A FINE 19TH CENTURY FRENCH GILT BRASS GRANDE SONNERIE CARRIAGE CLOCK WITH ALARM AND REPEAT BY CHAMPION OF PARIS, CIRCA 1850-1860 the unusual case with ribbed decoration to the handle and edges, raised on a plinth base with bevelled glass panels, the white enamelled dial with Roman numerals and trefoil hands, signed to the centre ‘CHAMPION RUE NVE. DES PTE. CHAMPS 21’ with subsidiary alarm dial below, the twin barrel movement with lever platform escapement striking the quarters and the last hour every quarter when set to grande sonnerie, with a winding square to the back which activates a switch for silent / petite sonnerie / grande sonnerie, the backplates signed ‘Champion’, 19cm high handle up The movement is winding and ticking but not fully tested or guaranteed. Literature: Tardy lists Champion as based at Rue Neuve des Petits Champs from 1830-1860, see ‘Dictionnaire des Horlogers Francais’. £2,000-£3,000 41 A RARE LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK WITH MUSICAL BOX TO THE BASE the Anglaise Riche type case surmounted by a swing handle and with push repeat button, the corners with fluted pilasters over a plinth base, the gilt engine turned mask enclosing the white enamelled dial with Roman numerals and Arabic five minute markers, the twin barrel movement striking the half hour and hours on a coiled steel gong, with lever platform escapement, the plinth base fitted with a music box activated by a sliding switch, 20cm high handle up The movement is winding, ticking and striking, the push repeat working and the music box working, but not fully tested or guaranteed. £2,000-£3,000

42 A LATE 19TH / 20TH CENTURY FRENCH LACQUERED WOOD AND GILT BRASS MOUNTED PENDULE D’OFFICIER SIGNED ‘GROTTENDIECK BRUXELLES’, the case of typical form, surmounted by a serpent form handle and with later foliate mounts to the sides, raised on four toupie feet, the white enamelled dial with ‘Grottendieck Bruxelles’ and with Arabic numerals, the twin train movement with platform escapement striking on a coiled steel gong, the backplate stamped ‘VINCENTI & CIE, MEDAILLE D’OR 1855’, 22cm high The clock is winding, ticking and striking but not fully tested or guaranteed. Charles Grottendieck of Bruxelles was Clockmaker to the King and Queen of Belgium. £600-£800 43 A RARE MID 18TH CENTURY FRENCH GILT BRONZE CARRIAGE / TRAVELLING CLOCK WITH ALARM BY COUTEREZ A LYON the case with three quarter columns at the corners surmounted by finials, the sides glazed, the front engraved with a wreath and signed ‘COUTEREZ A LYON’, the white enamelled dial with Roman numerals and Arabic five minute markers, with alarm disc to the centre, the single train timepiece movement with ringed pillars, anchor escapement and silk suspension, the alarm wound with a pull cord and striking the bell mounted to the top, with pendulum, 16cm high The movement is ticking but not fully tested or guaranteed. Coutterez a Lyon is listed in Tardy ‘Dictionnaire des Horlogers Francais’ working in the Louis XV period. £700-£1,000 44 λ A LATE 19TH CENTURY FRENCH TORTOISESHELL AND GILT BRONZE MOUNTED MANTEL CLOCK the case with bell top surmounted by a foliate swing handle and flanked by four urn shaped finials, the sides with glazed panels with gilt bronze frames surmounted by winged putto masks, the white enamelled dial with floral garlands and Arabic numerals, the twin train movement stamped ‘HP & CIE PARIS’ and ‘MEDAILLE D’ARGENT’, numbered 9610, striking a coiled steel gong, with pendulum, 33cm high

The movement is winding, ticking and striking but not fully tested or guaranteed. £600-£800 45 A MID 19TH CENTURY FRENCH GILT AND PATINATED BRONZE SEDAN CLOCK of rectangular form with applied gilt flowerheads, the brass bezel enclosing the enamelled dial with Roman numerals, the single train, timepiece movement with vertically mounted balance wheel escapement, winding from the back, 17cm high The movement is ticking but not fully tested or guaranteed. £200-£300

*See page 2 for information regarding fees

46 A LATE 19TH CENTURY FRENCH GILT BRONZE DESK COMPENDIUM of rectangular form, surmounted by a carrying handle, the front and sides with bevelled glass panels revealing the gilt clock mask with silvered Roman dial and pierced ornate centre, the barometer with similar silvered dial, the top of the clock set with a glass aperture, the top of the barometer with a compass, with a thermometer mounted between the two dials, the clock with a single train timepiece movement winding from the back, 16cm high The clock movement is winding and ticking but not fully tested or guaranteed. £400-£600 47 A RARE 1960 / 1970’S POLISHED BRASS ELGIN SOLAR ELECTRIC CLOCK the case of rectangular form, the top with a solar panel to power the clock, the bevelled glass front enclosing the dial signed ‘ELGIN SOLAR’, with circular applied numerals and batons for 3 and 9, the hinged back door revealing the movement, powered by the solar panel which charges the battery, with a back up cell battery, the battery activates a solenoid that rewinds the mainspring every few minutes, with a balance wheel escapement, 15cm high x 20cm wide The movement is currently ticking but not fully tested or guaranteed. £400-£600 48 A CROCODILE SKIN AND 9CT GOLD DESK CLOCK SIGNED ASPREY AND HALLMARKED LONDON 1926 the case of rectangular form on a plinth base, with shaped gold fluted bezel and similar gold mounts to the base, the dial signed ‘Asprey’ with Arabic numerals, the sliding back cover opening to reveal the single train timepiece movement winding from the back, with platform escapement, 14cm high The movement is winding and ticking but not fully tested or guaranteed. £500-£800 49 AN EARLY 20TH CENTURY SWISS GUILLOCHE ENAMEL AND SILVERED METAL DESK CLOCK of strut form, the shaped square case with blue enamel centred by the gilt bezel and Arabic dial, inscribed ‘SWISS MADE’, the timepiece movement winding from the back, 7.5cm high

The movement is winding and ticking but not fully tested or guaranteed. £200-£300

51 50 A 19TH CENTURY BRASS SKELETON CLOCK TOGETHER WITH ANOTHER the larger 19th century example with scrolling plates raised on four spreading, domed feet, with silvered scallop edged dial with Roman numerals, the single chain fusee movement striking the hours on a bell, on a rosewood and brass inlaid oval plinth with glass dome over, the second skeleton clock of smaller size and similarly scrolling form, also striking on a bell, on a green onyx oval plinth, both with pendulums, the first 27cm high, 41cm high including dome, the second 30cm high overall (2) Both winding, ticking and striking but not fully tested or guaranteed. £250-£350 51 A LACQUERED BRASS FUSEE SKELETON CLOCK the pierced shaped frames united by five ringed pillars and raised on four domed feet, on a burr walnut plinth base fitted with a drawer, the twelve piece enamelled dial with Roman numerals, the single fusee movement with anchor escapement, striking a bell on the hour, with pendulum and rectangular, brass mounted glass case, the case 56cm high x 35cm wide £400-£600

52 A 1930’S SILVERED METAL MANTEL CLOCK DEPICTING A VICTORIOUS ROWER SIGNED J.W. BENSON, LONDON the shaped clock case surmounted by the figure holding a winning cup in his left hand an his oar in his right, the white enamelled dial with Arabic numerals, signed ‘J.W. BENSON 25 Old Bond Street London’, the eight day single train timepiece movement with vertically mounted lever platform escapement, 48cm high The movement is winding and ticking but not fully tested or guaranteed. £400-£600 52A A 19TH CENTURY BRASS SKELETON CLOCK MODELLED ON LICHFIELD CATHEDRAL the frames with three spires over scrolling bases and raised on four domed feet, over an ebonised plinth with glass dome over, the enamelled dial with Roman numerals, the single chain fusee movement striking the hours on a bell, with brass bob pendulum, 34cm high, 45cm high overall

52A 22

The movement is winding, ticking and striking but not fully tested or guaranteed. £400-£600 *See page 2 for information regarding fees

53 53 A 1950’S FRENCH NAVAL AURICOSTE RADIO ROOM BULKHEAD CLOCK in an aluminium circular case with painted dial, of good precision, with four hands: seconds hand, minute hand, hour hand, and secondary hour hand (red) for different time zone, the red hand is easily set so as to show any other time zone selected by the user, or it can simply be hidden behind the main hour hand if not in use, the two blue zones (0 to 3 and 30 to 33 minutes) are the times dedicated to encoded transmissions every hour, the two red zones (15 to 18 and 45 to 48 minutes) are the times dedicated to radio silence for listening to distress signals, easy adjustment of retard and advance through the dial near the number 3. MN 753 is the inventory number of the Marine Nationale (French Navy), signed ‘AURICOSTE, Horloger de la Marine de l’Etat’ (Clockmaker to the State Navy), the door seals with a screw key to the right, the same key being used to wind the clock every 8 days, 21cm diameter overall The movement is in full working order and has recently been cleaned and overhauled. All parts original. Auricoste is the firm known to supply all precision clocks and watches to the French Navy for the past 80 years, and to this day. For further information see the online catalogue. £600-£800 54 A SECOND QUARTER 20TH CENTURY BULLE ELECTRIC CLOCK the brass frame with a single pillar raised on an ebonised plinth below a glass dome with etched, floral decoration, the 3.5 inch Arabic dial signed ‘BULLE CLOCKETTE’ and with Arabic numerals, with skeletonised centre with solenoid pendulum swinging over the curved magnetic bar, 28cm high The clock is running but not fully tested or guaranteed. £200-£300

55 A LACQUERED AND GILT BRASS CARRIAGE CLOCK WITH ALARM AND REPEAT SIGNED ‘CAMERDEN & FORSTER NEW YORK’ the Anglaise Riche case with dentil border, the gilt mask with twelve piece enamel Arabic numerals and gilt pierced centre, with subsidiary alarm dial below, the twin barrel movement striking the quarters and the hours on two coiled steel gongs, 19.5cm high The movement is currently ticking but not fully tested or guaranteed. £200-£300 56 A LATE 19TH CENTURY SWISS BIRD’S EYE WALNUT AND EBONISED ‘BELLS EN VUE’ MUSIC BOX possibly by Nicole Freres, the hinged and glazed dust cover opening to the 11 inch cylinder and three combs, with six bells in sight and a brass drum, 52cm wide x 26cm high £400-£600 57 AN EARLY 19TH CENTURY GILT BRASS CAPUCINE FRENCH OFFICERS CLOCK IN LATER CASE in a later ebonised case on four brass feet and with brass handle over, with glazed sides, the brass mask with enamel Roman dial within Greek key bezel, the single train timepiece movement with vertically mounted balance wheel escapement, previously with alarm, 22cm high £200-£300

58 A RARE MID 19TH CENTURY ENGLISH BRASS SKELETON CLOCK WITH VERTICAL MOVEMENT AND OF TWO WEEK DURATION BY JOHN PACE, BURY ST EDMUNDS the frame with chamfered plates formed as a circle on a pair of scrolling supports beneath a vertical spire, raised on an oval base signed in Gothic style script ‘John Pace Bury St Edmunds’ over a stepped, ebonised plinth, the pierced, skeletonised dial with Arabic numerals with a dotted minute border, the movement with a going barrel of two week duration, high count pinions and very delicate wheels of five and six crossings mounted in a straight line through the central spire, with deadbeat escapement, the pendulum regulated by a knurled screw at the apex of the frame, mounted on the rear of the frame are two pulleys linked by a cord to drive the hands, with pendulum, under a glass dome, 38cm high excluding dome, 43cm high including glass dome Comparative Literature: D. Roberts, ‘British Skeleton Clocks’, Woodbridge, 1987, pp. 89-95, plate 14 for an identical model. Auction Comparable: Bonhams, London, 17 June 2008 lot 77 sold for £9000. A skeleton clock of one year duration was sold at Christie’s, London, 17 March 2011, lot 129.

John Pace was renowned for his clocks of long duration and specialised in skeleton clocks. He exhibited a similar clock to the present lot at the Great Exhibition of 1851 which was described as: “Pyramidal skeleton timepiece, which goes three months. The dial is placed at the bottom of the clock to show the motion of the wheels; Graham’s dead beat escapement, and the hands moved by a simple mechanism.” At the same exhibition he also displayed an exceptional three year duration skeleton clock. £1,800-£2,200

59 A LATE 19TH CENTURY PATINATED AND LACQUERED BRASS INDUSTRIAL NOVELTY STEAM HAMMER CLOCK, ATTRIBUTED TO A. R. GUILMET no.466, realistically modelled with cornice and steam chamber over the shaped supports, on a stepped slate plinth base with brass bracket feet, the 3 inch square silvered dial with brass frame and applied Roman numerals, blued steel hands, the movement stamped for P. LTRE, numbered 466, with special escapement and pendulum operation to mimic the action of the hammer, striking on a bell, 46cm high Guilmet first produced the steam hammer clock in the 1880’s, and most of his examples are numbered and also bear the mark of the movement supplier, in this case P. LTRE. £3,500-£4,500

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*See page 2 for information regarding fees

60 A RARE AND EXCEPTIONAL LATE 19TH CENTURY FRENCH BLACK MARBLE AND GILT BRASS ORRERY CLOCK the black marble clock case modelled as a fluted column with volute scrolls to the sides and raised on a shaped base, the gilt foliate bezel enclosing the white enamelled, Roman dial with recessed centre and visible Brocot escapement, the twin barrel movement striking on a bell, the movement operating the orrery above, with pendulum, the clock surmounted by a twin handled tazza, the tazza rim engraved for the months of the year in French and supporting the moving orrery which demonstrates the movements of the earth, moon and sun, the whole raised on a red velvet covered plinth, with a glass dome cover for the orrery, 55cm high ÂŁ10,000-ÂŁ15,000 25

61 A LARGE AND IMPRESSIVE THIRD QUARTER 19TH CENTURY EBONISED AND GILT BRASS MOUNTED QUARTER CHIMIING MUSICAL BRACKET / TABLE CLOCK WITH PULL REPEAT BY JOHN MOORE & SONS, LONDON, NO. 15290 the bell top case surmounted by a flaming finial and four further finials, the canted front angles with female caryatids terminating in floral garlands, the sides with pierced gilt frets cast with putto masks, raised on four gilt brass scrolling feet, the 8” arched brass dial with silvered Roman chapter ring signed at the top ‘John Moore & Sons London 15290’, with gilt engraved centre, with two subsidiary dials above for strike / silent and slow / fast regulation, with pierced gilt foliate and floral spandrels, the substantial triple chain fusee movement with anchor escapement, chiming the quarters on a nest of eight graduated bells activated by a pin wheel playing Westminster chimes and the hours on a coiled steel gong, with pull repeat striking the last quarters and hours, the backplate signed ‘JOHN MOORE & SONS 58 & 59 Clerkenwell Close, LONDON 15290’ with pendulum, 77cm high The movement is winding, ticking and striking and the pull repeat is working but not fully tested or guaranteed. John Moore & Sons are recorded in B. Loomes ‘Watchmakers and Clockmakers of the World’ Vol 2, and listed as working between 1844 and 1881 and producing chiming clocks. £4,000-£6,000

62 A LATE 19TH CENTURY EBONISED AND GILT BRASS MOUNTED QUARTER STRIKING FUSEE TABLE / MANTEL CLOCK the case of break-arch form with canted front angles set with floral caryatid mounts over a plinth base, the sides with pierced Rococo style gilt brass frets, the 6.5” brass break-arch dial with silvered Roman chapter ring with 60 minute markers to the outer track, with slow / fast regulation dial above and gilt matted centre, the twin fusee movement with rectangular plates, the backplate stamped ‘A.B. PATENT W&H Sch’ for Winterhalder and Hofmeier, striking the quarters on two coiled steel gongs, with pendulum, 42cm high The movement is winding, ticking and striking but looks to require a clean and service and is not in sync at the moment, not fully tested or guaranteed. £500-£800

*See page 2 for information regarding fees

63 A THIRD QUARTER 19TH CENTURY EBONISED AND GILT BRASS MOUNTED QUARTER CHIMING MUSICAL TABLE / BRACKET CLOCK SIGNED ‘HENRY BORRELL, LONDON’ the moulded arched case surmounted by a dome with gilt brass pierced decoration and with a finial above, the corners with freestanding Corinthian columns with fruiting finials over, on a shaped plinth base, the arched and glazed door enclosing the 6.25 inch gilt brass arched dial, with engraved foliate decoration to the corners and arabesques to the centre of the silvered Roman chapter ring, with subsidiary dials to the arch for chime / silent and chime on eight bells / Westminster chimes, the substantial triple chain fusee movement with pin wheel activating the hammers for the nest of eight graduated bells, which play a tune on the quarters, the hours sounds on a coiled steel gong, the backplate signed ‘HENRY BURRELL LONDON’ with an engraved oval, with pendulum, 60cm high

Paul Rimboult is synonymous with the fine clocks produced for the Ottoman market in the late 18th and early 19th centuries. He is particularly renowned for his musical and automata clocks which were sometimes produced for specific commissions, This clock was made towards the end of his illustrious career in about 1840. His workshop was established at 15 Wilderness Row, London in 1795 and was still based there in 1840. Auction Comparables: Henry Borrell and Markwick Markham’s exceptional monumental musical clock made for the Ottoman market was sold at Christie’s, Paris, 4 November 2015 lot 527, £193,000. A gilt bronze automata and musical clock Burrell made for the Chinese market in 1795 was sold at Christie’s, London, 5 July 2012, lot 36, £735,000.

The clock is ticking and chiming but not fully tested or guaranteed.

Museum Comparables There is a late 18th century gilt bronze musical and automata clock by Henry Borrell in the Palace Museum, Beijing.

Henry Borrell produced some of the most exceptional, fine and valuable clocks for the Turkish and Chinese markets that were ever made. His name, along with Markwick Markham, Francis Perigal and

Related Literature: G.H. Baillie ‘Watchmakers and Clockmakers of the World’, Vol. 1. £3,000-£5,000

64 A GEORGE III MAHOGANY LONGCASE CLOCK SIGNED GEORGE CLARKE, LEADEN HALL STREET, LONDON the case with caddy top with pierced fretwork to three quarter columns to the front angles, with concave moulding over the plain trunk with plinth base, the 12” brass break-arch dial with pierced gilt spandrels with putti masks, matted centre with chamfered date aperture and subsidiary seconds, with a silvered boss to the arch signed ‘Geo. Clarke, Leaden Hall Street, London’ flanked by gilt dolphin mounts, with strike / silent lever, the eight day weight driven movement with anchor escapement striking on a bell, with pendulum and two weights, 242cm high £1,800-£2,200 65 A GEORGE III MAHOGANY LONGCASE CLOCK WITH MOONPHASE BY EDWARD SANDERS, POOL the case with two brass urn finials to the domed caddy hood, surmounting a break-arch cornice with free standing fluted Corinthian columns, the trunk with arched door inlaid with fruitwood border on a similarly inlaid plinth base, the brass 12” break-arch dial with Roman chapter ring, Arabic five minute markers to the outer track and subsidiary seconds dial, square date aperture, the lower margin signed ‘Edward Sanders, Pool’, the silvered arch with three apertures above a rolling moonphase, the apertures denoting the days age of the moon, the high water minutes and the pass of the clock, the eight day weight driven movement with anchor escapement striking on a bell, with pendulum and two weights, 238cm high £600-£800 66 A GEORGE III MAHOGANY AND SATINWOOD STRUNG STICK BAROMETER BY WARNER, LONDON the case with broken-arch pediment centred by a brass finial over the glazed and hinged door to the silvered register plate, signed ‘Warner London’ and with thermometer, the mercury filled tube terminating at the moulded cistern cover, 96cm high Provenance: This barometer has been in the same English family for at least fifty years. £250-£350 67 A GEORGE III MAHOGANY LONGCASE CLOCK CASE the hood with swanneck pediment and free standing fluted columns with brass caps, over the trunk with quarter column pilasters, 217cm high £100-£150 68 A GEORGE III STYLE BURR WALNUT AND BRASS MOUNTED TABLE / BRACKET CLOCK WITH MOONPHASE the case with bell top surmounted by a brass handle, the sides with carved pierced frets, the break-arch dial with silvered Roman chapter ring, matted gilt centre and nameplate with faux signature ‘John Smith London’, with moonphase to the arch, the twin barrel movement with anchor escapement striking the half hour and hour on a bell, signed ‘Juba’, with pendulum, 42cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £150-£200

69 A GEORGE III STYLE MAHOGANY AND BRASS MOUNTED TABLE / BRACKET CLOCK WITH MOONPHASE the case surmounted by a brass handle, the sides with carved pierced frets, the break-arch dial with silvered Roman chapter ring, engraved centre with an image of Tower Bridge and moonphase to the arch, the twin barrel movement with anchor escapement striking the half hour and hour on two bells, with pendulum, 36cm high £150-£200

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70 A 19TH CENTURY BRASS BULKHEAD CLOCK BY BROCKBANK & ATKINS , LONDON, NO. 12616, CIRCA 1870 of good precision, with the main part of the case made to be recessed, now with removable keyhole hanger allowing it to be hung as is, the solid brass case with hinge above opening to access the dial, and lock and key below, the silvered brass dial with Roman numerals for the hours, subsidiary seconds dial below XII, blued “spade” hands, signed Brockbank & Atkins, London, and numbered 12616, a small winding hole with winding square visible under the signature, adjustment for retard and advance on top of the numeral XII and visible only when door opened, the movement with four turned pillars between two thick shouldered plates, chain and fusee winding system, maintaining power, large platform escapement with crab-tooth escape wheel and bi-metallic cut balance wheel, of eight days duration, 18cm diameter, outer depth 2cm, total depth 13cm

detail

In working order but not fully tested or guaranteed. John Brockbank & Samuel Elliot Atkins, are recorded as having their shop in Cowpers Court, London, and were partners from 1815. Their workshop was widely recognised for their production of marine chronometers. Related Literature: G.H. Baillie, ‘Watchmakers and Clockmakers of the World’, Tony Mercer, ‘Chronometer Makers of the World’, 1991. £700-£1,000

detail 71 A SMALL MID 19TH CENTURY BRASS WALL CLOCK BY EDWARD JOHN DENT, LONDON, CIRCA 1845, WITH TRAVELLING CASE the clock in a brass, turned and patinated case, closed by a front door with a latch activated by a small button on the left side, a larger loop on top for hanging, a smaller loop at the bottom for setting straight, the painted dial with Roman numerals, and signature ‘DENT LONDON’, with three blued steel hands and subsidiary seconds dial, the single train movement with vertical rectangular plates and four turned pillars, with a horizontal crab-tooth escapement platform and very finely cut ratchet wheel, of eight days duration, with unusual transport box with its own latch and key, it can also be suspended and has an inner wooden latch for securing the clock inside, the clock 18cm diameter, the travelling case 23cm high

In working order but not fully tested or guaranteed. Edward John Dent was born in 1790 and was apprenticed by his grandfather. He was soon employed by well known and prestigious firms including Vuillamy, Barraud and McCabe until 1929. He went into partnership with John Roger Arnold in 1830 and was admitted to the Clockmaker’s Company and given the Freedom of the City of London in 1831. By 1840 he was in business by himself, and he gained the contract in 1844 to supply the clock later known as ‘Big Ben’ (although this name actually refers to the bell rather than the clock). £1,000-£1,500

72 A THIRD QUARTER 19TH CENTURY ENGLISH MAHOGANY REGULATOR SIGNED E. BLURTON, STOURBRIDGE the arched case with glazed rectangular side panel and hinged lockable door to the top, the moulded front door with pierced, carved stylised foliate mount beneath the dial, the signed, 13” painted dial with Roman numerals and subsidiary running seconds dial, the A frame movement united by four pillars and with jewelled deadbeat escapement, with pendulum and weight and winder, the inside of the case with brass scale for the pendulum, 147cm high x 50cm wide x 26cm deep The movement is winding and ticking but not fully tested or guaranteed. Literature: B. Loomes ‘Watchmakers and Clockmakers of the World’ listed Edward Blurton of Stourbridge as active between 1860 and 1876. £2,500-£3,500 30

*See page 2 for information regarding fees

detail 73 A UNIQUE LATE 19TH CENTURY DANISH REGULATOR OF ONE MONTH DURATION BY THE INVENTOR / CLOCKMAKER PEDER NIELSEN (DENMARK, 1849-1938) in an oak case with triangular pediment over glazed front door and sides, with an oval brass plaque inscribed ‘TILKJENDT SOLVMEDAILLE 1893’, and with a thermometer mounted to the inside of the case beside the pendulum, the 12 inch silvered dial with Arabic minute chapter ring with chequered inner ring, with subsidiary dials for seconds and hours, with blued steel hands, signed ‘P. NIELSEN LEMVIG / 1893’ and inscribed ‘KRONO METER’, the twin train brass movement with shaped triangular plates, deadbeat escapement and replaceable screwed bushes, the large pendulum with steel / nickel rod and solid brass bob, with brass and silvered compensation indicator to the top signed ‘P. NIELSEN’ with blued steel hand with crescent moon tip, with two brass weights. 200cm high x 57cm wide Peder Nielsen was a well-known inventor, owner of various patents and clock and watchmaker. His clocks are located in both Danish and US collections. This precision pendulum clock was designed and produced from handmade, non-prefabricated parts produced by Nielsen himself. Nielsen is perhaps best known for the early automobile that he built in 1906 in Lemvig, which was particularly notable because of the gear system. £4,000-£6,000

detail

Peder Nielsen 31

75 74 A LATE 19TH CENTURY ENGLISH MAHOGANY QUARTER CHIMING FUSEE MANTEL CLOCK the case of lancet form with brass inlay on four bun feet, the sides with carved, pierced frets and brass handles, the 6” silvered dial with Roman numerals, the triple chain fusee movement with rectangular, shouldered plates and substantial pendulum, with a pin wheel activating four hammers to the four gongs for the quarters to Westminster chimes and a fifth for the hours, the backplate numbered 1250, 44cm high The movement is winding, ticking and chiming but not fully tested or guaranteed. £700-£1,000 75 A SMALL REGENCY EBONISED AND BRASS MOUNTED FUSEE TABLE CLOCK the case of arched form with brass three quarter columns to the front angles, raised on four tapering brass feet, the slow / fast regulation lever above the brass door opening to the white enamelled dial with Roman numerals and later inscription ‘T. WALKER & SON CASTLE STREET LONDON’, the single fusee timepiece movement with rise and fall regulation, with rectangular shouldered plates and pendulum, The clock is ticking but not fully tested or guaranteed. £350-£450

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76 A LATE 19TH CENTURY ENGLISH OAK MUSICAL FUSEE TABLE CLOCK WITH PULL REPEAT the case of architectural form with pediment over a plinth base with brass reticulated sound frets to the sides, the silvered brass dial with Roman numerals, the twin fusee movement with pin wheel activating five hammers to five coiled steel gongs, with pendulum, 34cm high £200-£300 *See page 2 for information regarding fees

77 77 A MID 19TH CENTURY ENGLISH MAHOGANY FUSEE WALL CLOCK the case with foliate carved bezel over straight sides and curved base fitted with a door, with leaf carved lugs to the sides and a door either side of the dial, the painted dial with Roman numerals, the single fusee timepiece movement with rectangular plates with cut corners and united by four ringed pillars, with anchor escapement, with pendulum and winder, 69cm high x 41cm wide

The movement is winding and ticking but not fully tested or guaranteed. £550-£650 78 A SMALL LATE 19TH CENTURY WALNUT GRANDE SONNERIE VIENNA REGULATOR the case in the Neo-Gothic style with an arched cornice and applied motifs of dark-tinted carved oak, the front and sides glazed, the enamel dial made of two pieces, the centre piece with the three winding holes, the chapter ring with Roman numerals for the hours and outer ring for the minutes, with Poker and Beetle blued steel hands, the weight driven movement with weight and pulley for constant force timekeeping and springs for the Grande Sonnerie strike, the rack strike indicating the quarters followed by the hours every 15 minutes, on two gongs, with pull-repeat lever on the right and deadbeat Graham-type escapement, the long pendulum with pine rod (less susceptible to weather and temperature changes), and large brass polished brass bob, with original winding key, 101cm high x 29cm wide The movement is ticking and chiming but not fully tested or guaranteed. £800-£1,200 79 A RARE 19TH CENTURY AMERICAN MAHOGANY WAGON SPRING SHELF CLOCK BY BIRGE & FULLER, CONNECTICUT the case of steeple form, the pointed arched upper section flanked by a pair of pointed finials, the hinged door with a painted glass panel, the lower section with a glazed panel to the door, over ball feet, the painted Roman dial with skeletonised centre revealing the signed movement ‘BIRGE & FULLER BRISTOL CONN’, the twin barrel movement striking on a coiled gong and powered by the two ‘patent accelerating lever springs’ mounted in the base with heavy chains connected to a pair of pulleys, the original paper label pasted to the backboard and printed with “PATENT.. / EIGHT DAY BRASS CLOCKS / SECOND FEBRUARY 1845 / BIRGE & FULLER”, with pendulum, with later purpose-made wooden travelling case, the clock 69cm high The movement is ticking and striking but not fully tested or guaranteed. £800-£1,200

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80 A RARE EARLY 19TH CENTURY AMERICAN PRECISION WALL REGULATOR BY AARON WILLARD JR. BOSTON, CIRCA 1830 the mahogany case surmounted with a turned brass steeple finial, with a solid mahogany hinged moulded bezel, hinged bottom door and removable middle panel, the same key for both locks, with original black and gold verre églomisé glass panels, the painted iron dial with signature at the centre, ‘A. Willard Jr. Boston’, with Roman numerals for the hours and Arabic numerals for the 5 minutes increments, the upper subsidiary for the seconds and the lower for the 31 day calendar, the movement with truncated triangle brass plates and four turned pillars, maintaining power, the barrel with gutline, pulley and cast iron weight hidden behind a zinc panel inside the case, with heavy turned brass and lead weighed pendulum bob suspended by a steel suspension and a pinewood rod, all pivot holes in the movement plate with fine turned edge, very finely machined pinions and Graham type deadbeat escapement, of eight days duration, the backplate also signed, 142cm high x 49cm wide x 16cm deep The movement is in working order but not fully tested or guaranteed.

Aaron Willard Jr, 1783-1864, was apprenticed to his father Aaron Willard, before forming a partnership with his brother-in-law, Spencer Nolan, between 1804 and 1806, specialising in producing painted or decorated dials. Shortly thereafter, he took over his father’s business producing precision regulators and decorative clocks. He was the first to design the American-type ‘lyre’ clocks and was the last to use mahogany ‘banjo’ type cases, of which our clock is a perfect example. He continued to be listed in Boston city directories as a clockmaker working at 815 Washington Street until 1848/9 and retired in 1850. Auction Comparable: See Sotheby’s, New York, 17 January 2004, lot 1129 for a banjo-cased wall clock with verre eglomise decoration by Aaron Willard, sold for $51,000. Museum Comparable: A banjo clock by Aaron Willard, Jr. with an églomisé panel depicting Aurora is in the Metropolitan Museum of Art, New York. Related Literature: Chris Bailey, ‘Two Hundred Years of American Clocks and Watches’, Prentice-Hall, 1975. £3,000-£5,000 *See page 2 for information regarding fees

81 A LARGE EARLY 19TH CENTURY ENGLISH TAVERN OR ‘ACT OF PARLIAMENT’ CLOCK BY RICHARD FRANCIS, ATTLEBURGH, CIRCA 1810 with unusual square dial, painted black with gold Roman numerals, and bearing the marking “Tempus Fugit 1844”, and the original painter’s signature “NIARR” below, with very large goldpainted hands, the minute hand with couterweight for proper functioning and minimum power requirement, the straight painted case with door and lock for access to the pendulum and weight, signed on the dial and stamped on both movement plates ‘Richd Francis ATTLEBURGH’, with numerous markings of make and painters on the reverse of the dial, the substantial single train timepiece movement with four turned pillars, recoil anchor escapement and steel suspension with large count pinions for accuracy, gutline holding the original weight for an eight day duration, the pendulum beating the second, 152cm high x 96cm wide x 21cm deep

Related Literature: G.H. Baillie, ‘Watchmakers and Clockmakers of the World’, Ronald E. Rose, ‘English Dial Clocks’, Antique Collector’s Club, 1978. Tavern Clock History As a result of an Act passed by the English Parliament in 1797 tavern clocks were hung in many pubs and taverns throughout the country. The act declared that a tax would be collected on every clock in the realm, and as a result, many private clock owners either hid their clocks or got rid of them, and so had to visit the tavern to obtain the correct time. These clocks were usually of plain functional design, with large faces that were easy to read. £2,000-£3,000

The movement is ticking but not fully tested or guaranteed.

detail 82 82 A FINE REGENCY EBONISED, INLAID AND BRONZE MOUNTED TABLE / BRACKET CLOCK WITH PRECISION DEADBEAT ESCAPEMENT SIGNED THOMAS PRATT, CANTERBURY, CIRCA 1810 the arched case with reticulated fish-scale frets to the sides below flaming torch cast ring handles, raised on four ball feet, the front of the case inlaid with a stylised floral sprigs, the 8 inch silvered brass dial with Roman numerals for the hours, with strike suppressor lever (STRIKE – SILENT) above the numeral XII and subsidiary dial for seconds, with finely cut blued steel hands, the twin fusee movement with chain transmission, Graham-type precision deadbeat escapement, spring suspended pendulum with Harrison-type compensation made of 5 rods of brass and steel, adjustment under the bob, hourly rack strike on a bronze bell above, with pull-repeat on the right hand side, with finely engraved backplate also signed Thos Pratt, Canterbury, 42cm high x 28cm wide The movement is ticking and striking but not fully tested or guaranteed. Related Literature: G.H. Baillie, ‘Watchmakers and Clockmakers of the World’: Thomas Pratt is recorded as active around 1800, and a maker of travelling clocks, among others. £1,500-£2,000 83 A MID 19TH CENTURY ENGLISH EBONISED AND BRASS INLAID FUSEE BRACKET / TABLE CLOCK the case of arched form with brass handle to the top and brass reticulated frets to the sides, on four ball feet, the 8” silvered dial with Roman numerals, the twin chain fusee movement with anchor escapement striking the half hour on a bell and the hour on a coiled steel gong, with pendulum, 46cm high 83

The movement ticking and striking but not fully tested or guaranteed. £700-£1,000 *See page 2 for information regarding fees

84 A FINE REGENCY EBONISED AND BRASS INLAID FUSEE BRACKET CLOCK BY F. FARMER, ROCHFORD WITH PULL REPEAT AND BRACKET the scrolling arched top flanked by a pair of fruiting finials, the case inlaid with brass lyre decoration and scrolling foliage, the sides with brass reticulated frets and foliate ring handles, on four ball feet, the painted dial signed ‘F. Farmer ROCHFORD’, with twin fusee movement with anchor escapement, striking on a bell, the backplate with arched top corners and foliate engraved border, the pendulum with matching engraving, signed to the centre of the backplate ‘F Farmer’, the bracket with similar brass inlay, the clock 50cm high, 67cm high overall The movement is ticking and striking and the pull repeat is working, but not fully tested or guaranteed. £1,000-£1,500

85 A RARE MID 18TH CENTURY WEIGHT DRIVEN ‘HOOK AND SPIKE’ WALL CLOCK WITH ALARM BY JAMES WOOLLEY, CODNOR, CIRCA 1765 the square oak dial board fitted with a pine case to the back, with an iron hanging loop, spurs and removable back panel, the 9 inch brass circular dial with Roman numerals and alarm disc, with iron hand and signed ‘Woolley, Codnor’, the single train, seven day movement with four wheel going train between tapered plates united by four pillars, with anchor escapement and a bell mounted for the alarm, the backplate with backcock incorporating the long pendulum suspension arm, with pendulum and weight, 28cm high Literature: J. Darken & J. Hooper, ‘English 30 Hour Clocks’ illustrates this clock on p277-80 figs. 5/29 to 5/32 J. Darken, ‘Time & Place, English Country Clocks 1600-1840’ an exhibit 54 pages 180-1 (where the movement of this clock is extensively illustrated). Born in 1695 to a relatively well-off family, James Woolley became a clockmaker following his apprenticeship to the blacksmith Thomas Tantum of Lascoe. By 1726 he was working independently and secured a commission to produce a turret clock for the City of Nottingham. The present hook and spike clock is rare because it not only features an alarm but unlike many of the thirty hour clocks that Woolley was well known for, it runs for seven days. £1,500-£2,000

86 AN EXCEPTIONALLY RARE AND FINE MID 19TH CENTURY ENGLISH ROSEWOOD TRIPLE FUSEE QUARTER STRIKING GIANT FOUR GLASS CLOCK WITH ORIGINAL TRAVELLING CASE AND KEY BY GROHE, LONDON, NO.9799 the case with bevelled glass panels to the sides and stepped top with glazed viewing panel, surmounted by a gilt bronze faceted handle, the backdoor with pierced scrolling fretwork panel, raised on four bracket feet, with push repeat button to the left side, the front with gilt chamfered edges enclosing the engraved gilt mask decorated with strapwork and scrolling foliage in the manner of Thomas Cole, complimenting the silvered dial, the centre similarly engraved and with a cartouche signed 'Grohe Wigmore Street', with a further cartouche below inscribed 'London 9799', with Roman numerals and blued hands, the massive triple chain fusee movement with rectangular plates united by six tapering, finned pillars, with jewelled lever platform escapement, striking the quarters on two coiled gongs with hour strike on a further larger gong, with strike / silent lever to the backplate, the backplate signed GROHE Wigmore Street London 9799', the movement secured to the case with four brass brackets; the substantial rosewood travelling box with brass handle over and Bramah lock, the padded interior lined with the green baize, with original winding key inscribed 'Wind up to the left hand', and featuring an arrow, the reverse initialled F.D., the base of the front plate of the movement also initialled F.D., the top of one brass support for the gong also initialled F.D., the clock with handle up 26.5cm high, the travelling case with handle up 30cm high The clock is ticking and striking and the push repeat working but not fully tested or guaranteed. Provenance: This clock has been in the same English family for at least eighty years. The closest comparable to this exceptional clock is another clock made by Grohe in the mid 19th century which is of very similar design, large size and also features a triple chain fusee movement, and is numbered 2449. Number 2449 was sold at Christie's, London, the Collection of Dr. Eugene & Rose Antelis, 10 June, 1998, lot 114, where it realised £56,500 and was described thus "This clock is one of the most important examples of glazed mantel clocks commonly known as four glass clocks. The individual who ordered this clock must have specified that no refinement should be spared. The dial, the movement, the case and the travelling box are all of the very best quality whilst its large and handsome proportions leave no doubt in the mind that it would have required a very deep pocket indeed to have bought this clock". It was subsequently sold again at Christie's, London, Magnificent Clocks, 15 September 2004, lot 28 for £47,800. Importantly, both the present clock and no. 2449 both retain their original rosewood carrying cases with Bramah locks, and their original winders. No. 2449 is slightly larger in size as it features gilt brass, adjustable feet unlike the present clock. £20,000-£30,000

*See page 2 for information regarding fees

87 A GEORGE III (LAST QUARTER 18TH CENTURY) EBONISED FUSEE BRACKET / TABLE CLOCK WITH PULL REPEAT BY THOMAS BROWN, BIRMINGHAM the break-arch case surmounted by a brass swing handle, over a plinth base and four brass bracket feet, the silvered break arch dial with strike / silent subsidiary to the arch, with Roman numerals and date aperture below, signed Thos. Brown BIRMINGHAM’, the twin fusee movement with verge escapement, the backplate finely engraved with a lambrequin border and centred by a similar oval inscribed ‘Thos Brown BIRMINGHAM’, with pendulum, striking the hours on a bell, 43cm high The movement is ticking, winding and striking and the pull repeat is functioning, but not fully tested or guaranteed. Thomas Brown is listed as working from Birmingham (Digbeth and Bull Ring) from circa 1751. He died in 1802. £2,000-£3,000

88 A LATE 18TH CENTURY GEORGE III MAHOGANY AND GILT BRASS FUSEE BRACKET / TABLE CLOCK the case of break-arch design on a plinth base, the sides with brass reticulated fish-scale frets, the painted dial with strike / silent to the arch and Roman numerals and painted floral spandrels, the twin gut fusee movement with anchor escapement striking on a bell, the backplate with engraved lambrequin border, the pendulum also engraved, 46cm high The movement is ticking and striking but not fully tested or guaranteed. £800-£1,200

*See page 2 for information regarding fees

89 A FINE GEORGE III MAHOGANY AND BRASS MOUNTED BRACKET / TABLE CLOCK WITH PULL REPEAT BY DWERRIHOUSE, CARTER & SON, BERKLEY SQUARE CIRCA 1815 the break-arch case surmounted by a brass handle, the sides with brass reticulated frets, the brass lined front door over the plinth base and bracket feet, the 6.75 inch brass dial with engraved floral motifs, the silvered Roman dial signed ‘Dwerrihouse Carter & Son Berkley Square’, with silvered subsidiary dials above for strike / silent and pendulum regulation, the shouldered plates united by ringed pillars, with twin gut fusee and anchor escapement striking the hours on a bell, with pull cord repeat, the backplate signed ‘Dwerrihouse Carter & Son London’, the pendulum with heavy bob, with winder and case key, 42cm high The movement is winding, ticking and striking and the pull repeat is working but not fully tested or guaranteed. Dwerrihouse, Carter & Son are listed in C.H. Baillie, ‘Watchmakers & Clockmakers of the World Vol 1’, from 1808-15. £3,000-£5,000

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90 A LARGE 19TH CENTURY MAHOGANY FUSEE BRACKET / TABLE CLOCK SIGNED JOHN TODD, DUMFRIES the pagoda top over the arched case with globular finials over fluted, freestanding columns to the front corners, the sides with quatrefoil decoration and brass, foliate ring handles, the painted dial with Roman numerals, the twin fusee movement with anchor escapement striking on a bell (now detached), the backplate with signature ‘John Todd 1830 Dumfries’, with heavy brass bob pendulum, 63cm high The movement is ticking and the strike is functioning but bell detached, not fully tested or guaranteed. Case possibly associated. John Todd is recorded in B. Loomes as working from 1828-49. £700-£1,000 91 A RARE EARLY 19TH CENTURY ENGLISH GILT BRONZE FUSEE CLOCK BY WILLIAM PAYNE, LONDON, NO 1216 the drum case flanked by volute scrolls and raised on a stepped plinth base, the 2.25” Roman dial signed ‘WM PAYNE LONDON 1216 PAYNE 163 NEW BOND ST’, the single fusee timepiece movement also signed ‘Payne 163 New Bond St.’, with pendulum, 17cm high The clock is winding and ticking but not fully tested or guaranteed. AUCTION COMPARABLE: See Christie’s, London, 1 July 2005, lot 2 for a four glass mantel clock by William Payne sold £18,500. £1,000-£1,500

92 A REGENCY MAHOGANY AND BRASS MOUNTED FUSEE BRACKET / TABLE CLOCK the caddy top surmounted by a lotus leaf finial, with cornucopiae cast ring handles to the sides over brass reticulated sound frets, over a plinth base and four ball feet, the enamelled circular dial with Roman numerals, the twin fusee movement with anchor escapement, striking the hours on a bell, with heavy brass bob pendulum, 45cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £700-£1,000

*See page 2 for information regarding fees

93 A FINE GEORGE III BALLOON SHAPED EBONISED FUSEE BRACKET / TABLE CLOCK WITH SUBSIDIARY DIALS FOR SECONDS AND DATE, SIGNED WRIGHT, LONDON, CIRCA 1780 the case of waisted form with brass handles to the sides and concave moulding to the top surmounted by a pineapple finial, the front applied with a brass sunburst centred by an Apollo mask above a ribbon-tied wreath, the arched and moulded base on brass bracket feet, the 7¼in. diameter painted dial signed ‘WRIGHT LONDON’ with Roman chapters with arrowhead blued steel hands, subsidiary seconds dial beneath XII and calendar dial above VI, the movement with twin fusee movement with spring barrels with gut lines and deadbeat escapement with Graham-type pallets, the strike train with vertical fly driven by worm-and-wheel and strike on a bell on the plain backplate, with pendulum, 54cm high The movement is ticking and striking but not fully tested or guaranteed. £2,500-£3,500

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94 A LATE 18TH CENTURY MAHOGANY AND GILT BRASS MOUNTED FUSEE QUARTER CHIMING MUSICAL TABLE / BRACKET CLOCK BY JOHN SCOTT, GLOUCESTER STREET, LONDON the finely proportioned case with crossbanding and satinwood stringing, the steep bell top inlaid with the Prince of Wales feathers and flanked by four pillars surmounted by urn finials, the canted front angles with gilt caryatids, over a plinth base, the sides with later gilt brass pierced frets with a sunburst design centred by a putto’s head, the painted break-arch dial with strike / silent subsidiary to the arch, Roman numerals and Arabic five minute outer track, signed ‘JOHN SCOTT, GLOUCESTER STREET, LONDON’, the substantial triple chain fusee movement with anchor escapement, chiming the quarters on a nest of eight graduated bells and a the hours on a separate bell, the backplate finely engraved with scrolling acanthus leaves centred by an urn and over a cartouche signed ‘John Scott, London’, the pendulum with similar engraved decoration, 58cm high The movement is winding and ticking but the strike-work may need attention, not fully tested or guaranteed. £6,000-£8,000

95 A GEORGE II MAHOGANY FUSEE BRACKET / TABLE CLOCK SIGNED ‘PRESBURY COVENTRY’ the inverted bell top surmounted by a brass handle, with blind fretwork to the quadrants over the break-arch front door, the backdoor with similar quadrants, the signed break-arch silvered dial with foliate engraved spandrels and subsidiary regulation dial to the arch, with Roman numerals and Arabic five minute markers, the single train timepiece movement with five knopped pillars and verge escapement, with rise and fall regulation, the backplate engraved with foliate and C scrolls, with pendulum, 52cm high The movement is winding and ticking but not fully tested or guaranteed. £1,500-£2,000

*See page 2 for information regarding fees

96 A FINE GEORGE III MAHOGANY AND GILT BRASS MOUNTED MUSICAL QUARTER CHIMING BRACKET / TABLE CLOCK SIGNED THOMAS STRAHAN, LONDON the bell top case surmounted by a pierced scrolling mount centred by an urn finial, flanked by four further flaming urn finials, the front angles with female caryatids terminating in floral garlands, the sides with pierced ormolu frets centred by winged cherubs, with carrying handles over, raised on bracket feet, the door with pierced quadrant frets, the break arch dial with silvered Roman chapter ring, chamfered date aperture and name plate signed ‘Thos Strahan London’, with strike / silent subsidiary dial to the arch, the triple fusee movement with verge escapement, with a pin wheel activating the nest of eight graduated bells playing a tune on the quarter and striking the hours on a separate bell, the backplate engraved with an urn amongst scrolling foliage, the pendulum with pear shaped bob, with case key and winder, 62cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £6,000-£8,000 detail 45

97 AN 18TH CENTURY AUSTRIAN EBONISED AND GILT BRASS MOUNTED GRANDE SONNERIE TABLE CLOCK WITH CALENDAR AND PULL REPEAT the inverted bell top surmounted by a ribbon tied handle and flanked by four finials, the break-arch door with brass C scroll quadrants, with rope twist mounts, over a plinth base set with cabochons, the break-arch brass dial with two subsidiary dials for Nicht / Repetirt and Nicht / Schlagt, with silvered Roman chapter ring and inside calendar markers, with mock pendulum aperture, the triple train movement with rectangular plates united by four turned pillars, with verge escapement striking on two bells, the backplate engraved with scrolling acanthus leaves, with small bob pendulum, 52cm high The movement is winding, ticking and striking and the pull repeat is functioning but not fully tested or guaranteed. £1,000-£1,500

98 A LATE 18TH CENTURY AUSTRIAN EBONISED QUARTER CHIMING AND REPEATING TABLE / BRACKET CLOCK SIGNED ‘JOHAN BENTELE A SALZBURG NO. 650’ the case with shallow bell top surmounted by a Rococo style brass handle and flanked by flaming finials, the sides with arched, glazed panels, on a plinth base, the break-arch enamelled dial painted with a riverside scene, with Roman chapter ring and Arabic outer ring, the two day triple train movement striking the quarters on one bell and the hours on another, with pull repeat for the hours and quarters, the backplate signed ‘Johan Bentele a Salzburg No. 650’, with pendulum, 52cm high The movement is ticking and striking and the pull repeat is working but not fully tested or guaranteed. Johann Bentele came from a distinguished family of clockmakers and created clocks for churches in Salzburg such as St Peter’s in 1780 as well as the cathedral clock in 1799. £500-£800

*See page 2 for information regarding fees

99 A FINE EARLY GEORGE III PERIOD EBONISED AND GILT BRASS MOUNTED MUSICAL BRACKET / TABLE CLOCK WITH PULL QUARTER REPEAT SIGNED GEORGE LINDSAY, CIRCA 1762-1770 the case with inverted bell top surmounted by a brass carrying handle and flanked by four pinecone finials, the sides with circular, carved pierced frets over glazed panels, on ogee bracket feet, the front with pierced scrolling quadrants over the gilt brass lined, break-arch door, the six inch break-arch brass dial with silvered Roman chapter ring with Arabic five minute markers flanked by gilt brass Rococo style spandrels, with gilt matted centre, with subsidiary dials for pendulum regulation and strike / silent to the arch and a name plate signed ‘George Lindsay London’, the movement with six knopped pillars and verge escapement striking the hours on a large bell and the hours and quarters upon the pull repeat on a pin wheel playing a tune on a nest of six graduated bells, the elaborate backplate profusely engraved with foliate scrolls and signed ‘Geo. Lindsay Watchmaker to His Majesty London’, with pendulum with rise and fall regulation, with two case keys, 44.5cm high with handle up The movement is winding, ticking and striking and the pull repeat is working but not fully tested or guaranteed. Literature: C.H. Baillie, ‘Watchmakers and Clockmakers of the World’, lists George Lindsay as watchmaker to George III, recorded as early as 1743 and died in 1776. Records show he was paid £150 per annum as George III’s official clockmaker. Museums: Lindsay’s work features in many collections and museums including the Wetherfield and the Guildhall. Auction Comparable: See Bonhams, London, 17 June 2003, lot 102 for a similar ebonised striking table clock by Lindsay with pull quarter repeat, sold for £14,300. £8,000-£12,000

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100 A LATE 17TH / EARLY 18TH CENTURY EBONISED BRACKET / TABLE CLOCK SIGNED JOHN BUSHMAN, LONDON the case with inverted bell top surmounted by a ‘Quare’ type scrolling brass handle, the sides with later carved foliate frets, the break arch door with later quadrant frets, the back door with square glazed panel, the 7” square brass dial with unusual crown and sceptre gilt spandrels, silvered Roman chapter ring with Arabic outer track, inscribed ‘LONDON’ at the base, with matted centre and mock pendulum aperture and chamfered date aperture, with ringed winding squares, with associated arch joined to the dial with silvered boss signed ‘John Bushman London’ flanked by a pair of applied putto, the knopped and finned four pillar fusee movement converted from a twin fusee striking clock into a timepiece movement with false winding square, with converted anchor escapement, the backplate finely engraved with a cornucopia and scrolling acanthus leaves, with pendulum, 47cm high The movement is ticking but not fully tested or guaranteed. This late 17th century clock movement and dial have been re-housed in an early 18th century break-arch case and a brass arch added to the dial, it would probably once have been fitted into a basket top case, typical of this period. Provenance: Phillips New Bond Street, 11th December 1990, lot 149. Literature: C.H. Baillie records John Bushman as free of the Clockmakers from 1687 and working until circa 1710. He may have been related to the Buschmann dynasty of clockmakers who came from Hagen, Germany. £2,000-£3,000 101 A LARGE 19TH CENTURY EBONISED FUSEE BRACKET / TABLE CLOCK THE DIAL SIGNED THOMAS GRACE, LONDON the ebonised case with inverted bell top over break-front door and glazed sides with foliate brass handles, on a plinth base and later ball feet, the back door lacking hinges and glass, repainted and repaired, the 11” brass break-arch dial with silvered boss to the arch inscribed ‘Thomas Grace London’, with gilt spandrels, matted centre and mock pendulum aperture, with chamfered date aperture below, the twin fusee movement with anchor escapement, 73cm high

101 48

The movement is ticking and striking but lacking bell and pendulum, back door detached, not fully tested or guaranteed. £800-£1,200

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102 A RARE AND SMALL GEORGE III EBONISED AND BRASS MOUNTED STRIKING TABLE / BRACKET CLOCK WITH PULL REPEAT SIGNED WILLIAM ALLAM, LONDON. CIRCA 1775-1780 the bell top case with brass carrying handle over, flanked by four pinecone finials, on a plinth base and brass bracket feet, with gilt pierced quadrants above the break-arch, brass lined front door opening to the 6” break-arch dial with Rococo style gilt spandrels, with Roman chapter ring and Arabic five minute markers, the matted gilt centre with mock pendulum aperture and chamfered date aperture, with subsidiary silvered dials to the arch for strike / silent and pendulum regulation, signed on a cartouche above ‘William Allam LONDON’ with a flourish below, the twin fusee movement secured to the case by a pair of L shaped engraved brass brackets located in the uprights of the rear door, the substantial plates united by five knopped pillars with verge escapement striking the hours on a bell, the backplate signed within a foliate border, the lenticular pendulum secured via a pin to the rise and fall regulation, with two case keys, 44.5cm high handle up. Auction Comparables: A similarly proportioned George III brass-mounted ebonised table clock, but with a slightly smaller domed top and by Allam and Clements, sold Christie’s London, 20 February 2008, lot 96 (£36,500). Another clock of related design also by Allam and Clements, sold Christie’s London, 6 December 2006, lot 99 (£19,200). An ebonised and brass mounted table clock of almost identical appearance was sold at Bonhams, London, 15 December 2004, lot 171, £30,000. Literature: C.H. Baillie ‘Watchmakers and Clockmakers of the World’ records Allam as Freeman of the Clockmakers’ Company from 1743-1785. From 1764 he was in partnership with Clements until 1795. £6,000-£8,000

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103 A MID 18TH CENTURY AUSTRIAN EBONISED PETIT SONNERIE TABLE / BRACKET CLOCK WITH PULL REPEAT, THE DIAL SIGNED ‘CHATER LONDON’ the shallow inverted bell top surmounted by a brass swing handle, the sides with glazed break-arch panels (one panel lacking), raised on a plinth base over four brass bun feet, with Rococo style pierced gilt sound frets over the brass break-arch dial with conforming gilt spandrels and engraved centre also with Rococo style ornament and with faux pendulum aperture, with three silvered bosses to the arch, the largest central boss signed ‘Chater London’, the smaller subsidiary dials with German inscriptions for fast / slow and strike / silent, the Roman silvered chapter ring with Arabic five minute markers, the triple barrel movement with verge escapement, striking the hours on one bell and the quarters on a second, with pull repeat striking the last hours and quarters, 46cm high The movement is winding, ticking and striking and the pull repeat is working but not fully tested or guaranteed, pendulum bob lacking. £1,800-£2,200

104 A GEORGE II EBONISED AND BRASS BRACKET / TABLE CLOCK THE DIAL SIGNED THOMAS WASHBOURN, LONDON the case with inverted bell top and brass handle over, the sides with circular frets over glazed apertures, the breakfront door with upper quadrant frets, the back door with similar frets, over a plinth base and bracket feet, the 8” brass break-arch dial with strike / silent subsidiary dial to the arch and Roman chapter ring, with gilt putto mask spandrels and matted centre, with mock pendulum aperture and chamfered date aperture below, with name plate inscribed ‘Thos. Washbourn LONDON’, the twin fusee movement with four knopped pillars and verge escapement striking on a bell, the finely engraved backplate centred by a ho ho bird and with scrolling acanthus leaves, with pendulum and pull repeat but lacking cord, 56cm high The clock is ticking and will strike but the gut fusee needs replacing. Thomas Washbourn is recorded in G.H. Baillie, ‘Watchmakers & Clockmakers of the World’ as working in London from before 1744 until his death in 1756. £1,500-£2,000

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105 JACOB MASSEY, LONDON: A RARE AND FINE WILLIAM III EBONISED STRIKING BRACKET / TABLE CLOCK WITH PULL QUARTER REPEAT CIRCA 1700 the case with caddy top surmounted by an unusual gilt bronze handle cast with merman caryatids and dolphins centred by a crown and sceptres, the moulded cornice over the sides with rectangular glazed panels, with pierced ormolu fret cast as a mask flanked by scrolling foliage, with a similar pierced fret to the front of the case centred by a putto mask, the 7” square brass dial with strike / silent lever to the top engraved ‘S N’, with gilt spandrels matching the side frets, the silvered Roman chapter ring with Arabic five minute markers, the gilt matted centre with mock pendulum aperture, the silvered back to the aperture signed ‘Massy London’, with chamfered date aperture below, the twin fusee movement with five knopped and finned pillars and verge escapement striking the hours on a bell, the pull quarter repeat striking the quarters on a smaller bell and the hours on the larger, the backplate finely engraved throughout with scrolling acanthus leaves and flowerheads, signed ‘Jacob Massy London’ the pendulum cock pierced and finely engraved, the pendulum with pear shaped bob, with two case keys and winder, 41cm handle up The movement is winding, ticking and striking and the pull repeat is working but not fully tested or guaranteed. The ornate gilt bronze handle features identical addorsed caryatids to that of a Joseph Windmill's table clock sold at Bonhams, London, 16 December 2015, lot 101, however the crown and sceptres to the centre of the handle are unusual features which embody the case with a certain grandeur. Literature: Jacob Massy / Massey is first recorded in C.H. Baillie ‘Watchmakers and Clockmakers of the World’ in 1689. He worked at at Cranbourn Street, London and was free of the Clockmakers Company from 1715-25. Jacob Massey was descended from a family of renowned clock makers, his father was Nicholas Massey, also recorded at Cranbourn Street and free of the Clockmaker’s in 1682, he came to London from Blois, France, where his father was also a clockmaker ‘of repute’. Nicholas Massey died in 1698 and mentions his son Jacob in his will. Auction Comparable: A fine late 17th century ebonised table clock by Edmund Massey, presumably part of the Massey dynasty, was sold in these rooms on 6th June 2018, lot 260 for £18,000, this was a timepiece rather than a striking clock. £25,000-£35,000

detail

106 A COLLECTION OF REPOUSSE SILVER RELIEFS, POSSIBLY 16TH CENTURY, LATER MOUNTED ON A 19TH CENTURY CASKET the 16th century silver reliefs depicting Juno and her peacock within an egg and dart border to the top, flanked by borders of scroll work, putti, urns and foliage, the back also with a relief of Juno and the peacock flanked by a scrolling acanthus border and flanked by a pair of female figures with baskets atop their heads, the front panel depicting Venus and Cupid within an acanthus border and with an escutcheon modelled as a pair of putti, similarly flanked by female figures, the left side with Venus and Cupid and Apollo and his lyre, the right side with Venus and Cupid and Saturn with a scythe within a guilloche border, the 19th century calamander casket with yellow silk lined interior, 37cm wide x 17cm high x 29cm deep Provenance: Purchased from the auction of the Collection of Baron de Sellieres at Chateau de Melot, France. £2,000-£3,000

107 PROBABLY GENOESE, 16TH OR 17TH CENTURY: A SLATE LINTEL PANEL WITH A ROMAN EMPEROR IN PROFILE flanked by two vase-ornaments, 200cm wide x 58cm high x 3cm deep With thanks to Dr Charles Avery for his assistance with cataloguing this lot. Portals in Genoa in the late 15th and early 16th centuries were frequently carved with over-door panels depicting St George, patron saint of the city, or the Annunciation, or the Holy Monogram, IHS, beginning with Giovanni Gaggini in a late gothic style and gradually evolving into the Renaissance (almost half a century later than what had happened in Florence). Two whole portals, magnificent in conception and in a fully Renaissance style carved in slate by Giovanni Gaggini, one of 1472 with an Annunciation, and the other of 1480 with the Resurrection, and three separate panels of St George and the Annunciation, are to be seen in the Victoria & Albert Museum, London. Others are still to be found in situ in Genoa,

notably on the Doria Palace, and in museums world-wide. Initially the portals tended to be overladen with rich – albeit Renaissance detailing, but later on, in the hands of Gian Giacomo della Porta, some simplification took place, leading towards a more austere rendering of classical Roman architecture. The present panel may well be an example of this stylistic shift. Literature: John Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria & Albert Museum, London, 1964, nos. 410-14, pls. 406-12. Hanno-Walter Kruft, Portali Genovesi del Rinascimento, Florence, 1971, plates 36-37; 21-22. £4,500-£5,500

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108 λ A FINE EARLY 19TH CENTURY ANGLO-INDIAN ROSEWOOD LIBRARY TABLE the top with gilt tooled, red leather writing surface with moulded gadrooned edge and leaf carved corners, fitted with a pair of drawers with stylised foliate carving centred by a lyre motif and with floral paterae to the ends, raised on lyre shaped end supports with an acanthus and scroll carved stretcher, 158cm wide x 82cm deep x 73cm high £1,500-£2,000

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109 A WILLIAM IV MAHOGANY TABLE WITH LATER SPECIMEN MARBLE TOP the reeded legs terminating in ringed and lotus leaf carved feet, the rectangular table with a later specimen marble top comprising a geometric pattern of numerous coloured marbles and hard stones, 128cm wide x 83cm deep x 74cm high £1,500-£2,000

110 A 19TH CENTURY EMPIRE STYLE PARCEL GILT AND PATINATED BRONZE LAMP BASE of Corinthian column form, the fluted shaft raised on a stepped rectangular plinth with ormolu laurel wreath mounts, previously an oil lamp base now converted to electricity, 66cm high including later electric fitment £200-£300

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111 A CHINESE PORCELAIN FAMILLE VERTE LAMP BASE of baluster form, the body decorated with various Chinese figures amongst trees and within interiors, with a floral band to the base, raised on pierced hardwood stand, later fitted as a lamp base, with silk shade, 51cm high excluding electric fitment and shade £200-£300 53

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112 AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A PAIR OF LATE 19TH CENTURY BRONZE FIGURES OF MERCURY AND FORTUNA Mercury holding his caduceus, Fortuna with her horn, both raised on a gust of wind issuing from the mouth of the god Boreas, mid brown patination, raised on Belgian Black marble and relief cast cylindrical plinths, 84cm high £1,000-£1,500 113 A 19TH CENTURY CARVED OAK OCCASIONAL TABLE MODELLED AS A WINGED LION the standing beast supporting the shaft between his large feathered wings, the table with oval top with foliate carved border, raised on a shaped plinth base, 72cm high x 47cm wide x 34cm deep £1,000-£1,500 114 A MASSIVE REGENCY STYLE EBONISED AND PARCEL GILT WOOD TORCHERE STAND the circular top with egg and dart border over the fluted and lotus leaf carved shaft, decorated with three winged panther monopediae and raised on a triform base with relief carved masks and decorated with gilt stars, raised on three paw feet, 202cm high £700-£1,000

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115 AN 18TH CENTURY GILTWOOD AND GESSO WALL MIRROR the frame of oval form with Rococo ornamentation, the shell and C scroll cresting over the ornate frame decorated with volute scrolls and cartouches, 115cm high x 87cm wide £300-£500 *See page 2 for information regarding fees

116 λ A FINE LATE 19TH CENTURY ITALIAN EBONISED AND IVORY INLAID CABINET ON STAND IN THE MANNER OF FERNANDO POGLIANI (ITALIAN, 1832-1899) profusely inlaid with ivory throughout, the upper section with an ivory balustrade surmounted by three ivory figures of musical muses one playing flute, one with a triangle and one with pipes, over an arrangement of various drawers all with ivory bun handles, the drawers inlaid with scrolling acanthus leaves and stylised flower heads and centred by a panelled cupboard door inlaid with a stylised plant with scrolling tendrils, opening to reveal three further matching drawers, raised on a stand with conforming decoration, fitted with two frieze drawers centred by an engraved ivory panel of Venus and Cupid, the corners also inlaid with ivory depictions of classical goddesses including Venus and Cupid and Justice, raised on a ringed and knopped baluster legs united by a geometric stretcher centred by an urn with ivory ball finial, 184cm high x 125cm wide x 66cm deep Auction Comparable: See Sotheby’s, New York, 20 April 2007, lot 35 for a cabinet on stand of similar design, inlaid throughout with ivory foliage and surmounted by an ivory balustrade with ivory finials over. Museum Comparable: Comparable cabinets by Pogliani are in the Museo del Castello Sforzesco in Milan. This exceptional cabinet on stand clearly shows the influence of Pogliani’s work, embracing the Renaissance and classical styles of Italy’s past and yet also demonstrating the influence of the Middle East, with stylised inlay and arabesques more often found in Islamic furniture. Ferdinando Pogliani had a workshop in Borgo di Porta, Vittoria N.81, Milan and a gallery at Via Monte Napoleone. He was renowned for his use of ivory inlay in his Renaissance inspired pieces of furniture, he won numerous prizes at exhibitions for this work which was famous across Europe. £7,000-£10,000

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117 A FOSSILISED PSITTACOSAURUS DINOSAUR IN DISPLAY CASE the skeleton supported on a black metal stand and mounted in a mahogany and glazed display case, the dinosaur 89cm long from end to end in current position, 44cm high, the case 102cm wide x 76cm high x 44cm deep £4,000-£6,000 118 A LATE 19TH / EARLY 20TH CENTURY FRENCH OAK MANTEL CLOCK the case with scrolling arched top and raised on a plinth base over four brass feet, the white enamelled dial with Arabic numerals, the twin barrel movement stamped ‘JAPY FRERES’, striking on a coiled steel gong, with pendulum, 30cm high

119 A LOUIS XV STYLE MARBLE AND BRONZE URN AND COVER the squat body with foliate scrolling handles, the domed cover with fruiting finial, raised on a gadrooned socle over a laurel cast base and circular plinth, 42cm high £400-£600 120 A 16TH / 17TH CENTURY SPANISH CUIR BOUILLI AND IRON BOUND CASKET / DOCUMENT BOX the leather covered exterior with iron arrow-headed straps and clasp, of rectangular form with void interior, 47cm wide x 11.5cm high £300-£500

The movement is ticking and striking but not fully tested or guaranteed. £200-£300

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122 121 121 λ A WILLIAM IV ROSEWOOD OCCASIONAL TABLE WITH SPECIMEN MARBLE TOP the square top with canted angles, inset with a later specimen marble top inlaid with various coloured marbles and hard stones, within a Verde Antico and white marble border, raised on a reeded support over a triform base, 72cm high x 47cm wide £800-£1,200 122 λ A 1920’S SILVER, IVORY AND GILT METAL DRESSING SET IN MAHOGANY CASE ON STAND the mahogany case with satinwood stringing and raised on a base set with a drawer to the side and four legs with X stretcher below, the lid opening to reveal a mirror to the inside and a removable tray of tools, with a further drawer fitted with tools below which automatically opens when the lid is opened, the silver mounts marked for 1920, 82cm high x 33cm wide x 27cm deep £600-£800 123 AN EARLY VICTORIAN MAHOGANY WELLINGTON CHEST of typical form, the twelve drawers with articulated covers, the right hand upright with locking mechanism, with key, on a plinth base, 112cm high x 61cm wide x 29cm deep £600-£800 124 λ A LATE 19TH CENTURY SPANISH ROSEWOOD BOOK CARRIER BY AUGUSTO CEZAR RIBEIRO, MADEIRA with scrolling sides carved with shaped handles, the ends hinged, with a paper label to the underside inscribed ‘Augusto Cezar Ribeiro, Cabinet Maker, Funchal, Madeira’, 55.5cm wide x 13cm high x 28cm deep £200-£300

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125 AN EARLY 20TH CENTURY REGENCY STYLE GILT AND PATINATED BRONZE CHANDELIER in the style of a Colza ceiling light, the fluted stem over the waisted circular reservoir, with ormolu anthemion mounts hung with chains attached to the foliate ring at the top, the central reservoir issuing three acanthus wrapped branches terminating in scalloped drip pans and urn shaped nozzles, interspersed with eagle heads holding tasselled rings in their beaks, with a pineapple finial below, fitted for electricity, 65cm drop x 43cm wide £400-£600

126 A LARGE EARLY 20TH CENTURY REGENCY STYLE TOLE PEINTRE AND ORMOLU CHANDELIER the green painted metal colza style receiver issuing eight acanthus wrapped branches with foliate nozzles, hung from four chains from the corona above, fitted for electricity, 102cm high x 85cm wide £500-£800

127 A PAIR OF 17TH CENTURY STYLE BRASS FIVE LIGHT CANDELABRA BY L. LEGRAND, PARIS 19th century, the vase shaped stems raised on knopped bases over spreading, domed circular feet, each issuing five downward scrolling branches terminating in ringed, urn shaped nozzles, and surmounted by a ring to hang from the ceiling (base can be removed so that they can be hung as chandeliers), stamped to the foot ‘L. LEGRAND, PARIS’, 56cm high £400-£600

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128 A 19TH CENTURY GEORGE III STYLE GILTWOOD AND MARBLE CONSOLE TABLE modelled as an eagle, the eagle holding a sprig in its beak, its outstretched wings supporting the shaped top with bead and reel border, raised on a plinth base, the marble top with moulded edge, 80cm high x 65cm wide x 40cm deep £500-£800

129 A LARGE EARLY 20TH CENTURY GILTWOOD MODEL OF A CROWNED EAGLE the bird with wings outstretched and wearing a crown, raised on a naturalistic rocky base, mounted on a rectangular ebonised plinth, 100cm wide x 74cm high £300-£500

130 AN 18TH CENTURY STYLE ROCOCO GILTWOOD MIRROR the ornate frame decorated with a pair of Ho Ho birds centred by a C scroll crest, the whole decorated with rocailles, shellwork and foliage, with an oval bevelled glass plate, 100cm high x 76cm wide £300-£500

131 A RARE PAIR OF LATE 19TH CENTURY BELLE EPOQUE GILT AND SILVERED BRASS AND STEEL GIRANDOLES, POSSIBLY RUSSIAN the mirror frames of rectangular form with re-entrant cut corners with demilune protrusions, with filigree type decoration of scrolling floral stems within rope twist borders, with oval mirror plates, the lower section of the frames each issuing three steel knopped branches with gilt cup nozzles, later drilled for electricity, the backs with wooded supports, 45cm high x 36cm wide (2) £2,000-£3,000

131

132 A SET OF FOUR ROCOCO STYLE GILT BRONZE WALL LIGHTS WITH GLASS SHADES each modelled as a single acanthus cast branches with large drip pan decorated with C scrolls and foliage below a single electric nozzle, with a frosted glass shade above also with foliate mounts and a domed glass cover with pinecone finial above, one glass domed cover missing, the backplates 47cm high, 74cm high overall (4) £700-£1,000

132 2 of a set of 4

133 A PAIR OF LATE 19TH CENTURY GILTWOOD WALL BRACKETS MODELLED WITH PUTTI the shaped shelves above scrolling backplates modelled with winged putti standing on shells, 45cm high x 24cm deep x 34cm wide (2) £300-£400

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134 AN IMPRESSIVE PAIR OF GILT BRONZE ROCOCO STYLE FOURTEEN LIGHT CANDELABRA ON COLUMNS the ormolu candelabra formed of scrolling acanthus branches terminating in nozzles cast with brickwork and cartouches with scrolling drip pans and leafy collars, raised on painted wood, spreading circular plinths resembling porphyry, over painted wood, faux marble columns on square bases, the candelabra 62cm high, overall 195cm high (2) £8,000-£12,000 61

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136

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135 A 17TH CENTURY VENETIAN BRONZE STATUETTE OF JUPITER the bearded figure depicted nude except for a piece of drapery, his right foot raised on an anvil, on a rectangular base, later mounted on a stepped alabaster plinth, the bronze 15cm high, 22cm high overall This small bronze figure was probably cast as a mount or finial to ornament a functional item such as an andiron or piece of desk furniture. Auction Comparable: Sotheby’s, London, 5 December 2017 lot 657. This pair of bronze figures of Juno and Jupiter, catalogued as Venetian early 17th century, features a Jupiter in similar pose to the present lot. £700-£1,000 136 A BRONZE STATUETTE OF APOLLO, PROBABLY DRESDEN MIDDLE OF THE 18TH CENTURY AFTER THE ANTIQUE MARBLE ORIGINAL OF APOLLO AND MARSYAS, RESTORED PERHAPS BY ERCOLE BOSELLI (ACTIVE BEFORE 1667) the figure of Apollo with arms outstretched, his drapery swirling around his nude body, raised on his right foot with his left leg outstretched, mounted on a later square marble plinth, the bronze 32cm high With thanks to Dr Charles Avery for his assistance with researching this bronze. The present bronze statuette is thought to represent Apollo holding a knife, about to make the first cut whilst flaying Marsyas. It appears to be derived from a known group that is in part ancient and in part a 17th century reconstruction that also depicts Apollo about to flay Marsyas. For further information see the online catalogue. Related Literature: Jennifer Montagu ‘Roman Baroque Sculpture: the Industry of Art’, New Haven / London, 1989, p. 163. £800-£1,200 137 AFTER SEVERO DA RAVENNA (ITALIAN, ACTIVE C.1496 - C.1543): A BRONZE FIGURE OF A SATYR, PROBABLY 19TH CENTURY depicted striding forward and holding a torchere, raised on a circular base with three paw feet, mid brown patination, 25cm high The design of this small bronze has been attributed to the Paduan sculptor Severo da Ravenna, who along with Riccio was one of the most important sculptors of 16th century Italy. Stylistically the design is derived from antique bronzes, and the functional nature of the work of art is typical of the small and decorative bronzes produced in Padua during the early 16th century. Auction Comparables: See Christie’s, Paris, 23rd February 2009, Collection Yves Saint Laurent et Pierre Bergé, lot 484 for a 16th century example of this model. Museum Comparables: Brescia, Musei Civici inv. no. BR136, Museo di Palazzo Venezia, inv. no. 9243. £700-£1,000 62

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138 AN EARLY 18TH CENTURY ROMAN VARIEGATED AND CARRARA MARBLE FIGURE OF THE MADONNA AND CHILD in the late Baroque style, the Virgin’s mantle slipping from her head as she looks down to the Christ Child supported in his right arm, her coloured marble drapery falling in soft folds to her feet, on a rectangular plinth, 74cm high £3,000-£5,000 139 AN EARLY 16TH CENTURY GERMAN CARVED, POLYCHROME DECORATED AND PARCEL GILT WOOD FIGURE OF ST JOHN THE EVANGELIST MOURNING FROM A CRUCIFIXION GROUP the figure carved in the round but with a flat back, the distinctive hair with tight curls around the forehead, his lips parted and teeth revealed within, with tears running down his face he holds aloft part of Christ’s white perizonium and holds a book in his left hand, raised on a naturalistic base, 84cm high £3,000-£5,000 140 A BRONZE FIGURE OF EVE, POSSIBLY 16TH CENTURY GERMAN, CIRCLE OF LOY HERING (1485-1554) the standing figure looking at a serpent in her left hand, holding an apple in her right, her right foot raised on a conch shell, over an integral circular base, dark brown patination, raised on a later Rouge marble cylindrical base plinth, the bronze 40.5cm high, 52cm high overall This bronze figure of Eve shares stylistic similarities with a bronze of Eve previously in the collection of Leon Bagrit that Yvonne Hackenbroch had attributed to Loy Hering and catalogued as Augsburg circa 1525. (See Sotheby’s, London, 8 December 2006, lot 250, Yvonne Hackenbroch, ‘Bronzes in the collection of Mr. Leon Bagrit’, Connoisseur, May 1959, p.217, figs.7-8). £400-£600

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141 A 17TH CENTURY VENETIAN PAINTED, GILDED AND CARVED WOOD BUST OF A MALE SAINT the bearded saint carved in the full round, his body centred by an oval carved panel which would have been an aperture for a reliquary, now filled, raised on a spreading stepped plinth base carved with a pair of crossed palms, 62cm high £800-£1,200

141 142 A 17TH / 18TH CENTURY ITALIAN POLYCHROME TERRACOTTA FIGURE OF ST JOHN THE BAPTIST SLEEPING the reclining figure with eyes closed, wearing his sheepskin tunic with a staff beside him, on a rectangular naturalistic base, 45cm wide x 20cm high £1,500-£2,000 143 A LATE 15TH CENTURY FRENCH CARVED LIMESTONE FIGURAL CORBEL, PROBABLY BURGUNDY the open mouthed angel with thick curly hair and wearing a gown, holding a shaped shield and supporting the shaped shelf above, 18cm high x 23cm wide x 31cm deep

142

For a comparable corbel see the Metropolitan Museum of Art, New York, No. 1974.126.2, Bequest of Irwin Untermyer. The museum’s 15th century corbel retains traces of polychromy and gilding and features small winged angels with similar curly hair and gowns supporting a shaped shield beneath the architectural shelf. £800-£1,200

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144 144 A LARGE LATE 19TH CENTURY ENGLISH CARVED MARBLE RELIEF DEPICTING THREE SINGING ANGELS of arched form, the three winged angels with halos, holding a scroll of music, inscribed below ‘PRESENTED BY MRS FRANKLIN EYRE WILLIAMS’, 126cm wide x 78cm high £600-£800 145 A PAIR OF 19TH CENTURY ENGLISH WAX HEADS OF AN OLD MAN AND AN OLD WOMAN SIGNED T. COOPER AND DATED 1840 both laughing with open mouths, the backs signed ‘T. COOPER 22 New Bond St, London, 1st March 1840, raised on later oval ebonised plinths, 20cm high (2) £300-£500 146 A 19TH CENTURY ENGLISH CARVED SOAPSTONE MODEL OF A PUG the reclining dog wearing a collar and with inset eyes, raised on a rectangular plinth, 9.5cm wide £200-£300 147 A 20TH CENTURY BRONZE STATUETTE OF A NUDE IN THE ORIENTALIST STYLE the standing nude maiden wearing a necklace, bracelets and sandals, raised on an integral circular base, 26cm high £200-£300

148 A 19TH CENTURY FRENCH OR ITALIAN WHITE MARBLE CORBEL MODELLED AS A MALE MASK the grinning man bearing his teeth, wearing a laurel headdress and issuing from stylised foliage and flanked by scrolls, 27cm high x 29cm wide £300-£500 149 A LATE 19TH CENTURY FRENCH GILT BRONZE AND AGATE ENCRIER / INKWELL in the Neo-Classical style, the agate dished bowl centred by the inkpot with engraved anthemion decoration and hinged domed lid, the scrolling handle with similar decoration, 15cm wide x 8cm high £300-£500 150 A PAIR OF THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE AND ROUGE MARBLE CANDELABRA IN THE MANNER OF BARBEDIENNE in the Neo-Classical taste, the tapering stems cast in relief with rams heads, floral garlands and masks, each issuing a pair of downward scrolling, acanthus wrapped branches terminating in bulbous urn shaped nozzles and centred by a flaming finial, raised on triform bases with lambrequin, on three hoof feet over shaped marble plinths, 32cm high (2) £400-£600

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151 A 17TH CENTURY ITALIAN CARRARA MARBLE FIGURE OF ST BARBARA WITH HER TOWER holding her drapery in her right hand, the tower in her left, her toes revealed beneath the edge of her gown over an integral circular base, inscribed ‘TIE CON FORENTIVM’, the back flat and with two holes drilled in, 74cm high The inscription on the marble may relate to the Italian town of Forentum which was established from the time of the Emperor Augustus, eight miles south of Mount Vultur. £4,000-£6,000 152 AN 18TH CENTURY ITALIAN CARVED CARRARA MARBLE FIGURE OF A WEEPING PUTTO holding his drapery to his face to catch his tears, on an integral rectangular base, probably from a tomb, 80cm high £1,000-£1,500

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153 AN 18TH CENTURY FRENCH TERRACOTTA BOZZETTO OF CERES WITH A PUTTO Ceres with her drapery falling to reveal her right breast, stood a contra posto and with her right arm raised, her hair in an elaborate coiffure and finely modelled, the chubby putto at her feet supporting the cornucopia, on an oval integral base, 41cm high £2,500-£3,500

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154 154 A 17TH CENTURY SICILIAN (TRAPANI) GILDED AND PAINTED ALABASTER FIGURE OF CHRIST AS THE MAN OF SORROWS the standing figure wearing a gilt cloak tied at his chest, his head turned to sinister and mouth opening revealing carved teeth within, raised on a shaped plinth carved with a central cartouche flanked by a pair of pierced scrolls, 39.5cm high £1,000-£1,500

155

155 A LARGE LATE 15TH / EARLY 16TH CENTURY ITALIAN CARVED WOOD AND POLYCHROME DECORATED FIGURE OF CHRIST CRUCIFIED the figure of Cristo Morto with head turned to dexter, his feet crossed, his body naturalistically carved, wearing a white, rope tied perizonium, with a later iron ring attached to the back to hang, retaining much of the original polychrome paintwork, 128cm high x 96cm wide This well preserved Corpus Christi would have originally hung above an altar. The pose, idealised features and the modelling of the physique indicate an Italian origin, £7,000-£10,000 156 A LATE 15TH CENTURY GERMAN CARVED WALNUT FIGURE OF SAINT ANTHONY THE HERMIT the standing figure with a full beard and dressed in a hermit’s robe and cap, holding a staff in his left hand and a book and a bell in his right, on a naturalistically carved integral base with a small pig, carved in the full round, 89cm high Auction Comparable: See Sotheby’s, Amsterdam, 21 November 2007, lot 23. Museum Comparable: See Metropolitan Museum of Art, Inv. No. 1988.159.St Anthony the Hermit was also known as St Anthony the Abbot and St Anthony the Great. Born to a wealthy family in Egypt in 251 AD, he gave away his property and wealth to live as a swineherd. £3,000-£5,000

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157 FRANCO-FLEMISH, c.1640, PERHAPS BY THE YOUNG GERARD VAN OPSTAL (1605-1668): AN OVAL MARBLE RELIEF OF THE VIRGIN SUCKLING THE CHILD attended by Joseph and the infant St john the Baptist, with his reed- cross and symbolic lamb, mounted in a later oval giltwood frame, the marble 30cm wide x 22cm high With thanks to Dr Charles Avery for his assistance with cataloguing this lot. Comparative Literature: G. Bresc-Bautier / I. Leroy-Jay Lemaistre / Guilhem Scherf, Musée du Louvre, Département des Sculptures…, Sculpture française II – Renaissance et Temps Modernes, vol 2 Goujon – Warin, Paris, 1998, p. 605, MR 2771, marble relief, 37.5 x 55.5cm – ‘La Vierge allaitant l’Enfant adoré par des anges’. The date of Van Opstal’s birth in Brussels has recently been established as 1605, rather than c. 1594. He trained in his native city under Nicolas Diedon, but matriculated into the Guild of St Luke in Antwerp in 1635-6, where he seems to have concentrated on carving in ivory. In 1643 he moved to Paris and embarked instead on a career as a marble and alabaster carver, producing decorative reliefs for many buildings, including the Palais du Louvre (under Sarrazin) and the Hotel Carnavalet (1655-61). He also worked in terracotta and bronze. In 1648 he was one of the twelve founding members of the Académie royale de peinture et sculpture and was appointed ‘sculpteur ordinaire du roi’. His style is indebted on the one hand to ancient Roman sarcophagi and Renaissance reliefs, but on the other to his fellow-countrymen, the sculptor François Duquesnoy and the painter Rubens, who were helping to create the Baroque style in Rome and in Flanders. Nearly twenty bas-reliefs in marble were recorded first in Van Opstal’s posthumous inventory of 1668, then in the Cabinet des Dessins du Roi (Louis XIV), and finally in the Musée du Louvre. Of these, one depicting The Virgin suckling the Child adored by Angels (MR 2771) seems to be a re-working of, or to have been inspired by, the present, more tentative, composition. There, the Virgin is enthroned on a classical architectural podium, holding the child comfortably in the crook of her proper left arm as He suckles at her breast: here she is a Virgin of Humility, seated on the rocky ground (as in a typical Rest on the Flight into Egypt), supporting her weight by propping her right arm behind her, while Joseph attends her with a wicker basket laden with ripe fruit – perhaps large, luscious dates (as again was traditional in that scene, though there is no sign of the palm-tree from which angels shook them down). There, the infant St John reaches up at her knees and passes to her the scroll with his famous later prophecy, ‘Behold the Lamb of God,..’. Here, the classical profile of the Virgin’s cowled head and the play of drapery carefully arranged to reveal her limbs beneath it are reminiscent of the work of the sculptor François Duquesnoy (mentioned above), while the frizzy hair and beard of Joseph seem to show the beginnings of Van Opstal’s characteristic treatment of hair as a windswept mass. Alternatively, the present scene may instead be derived from Van Opstal’s similar, adult work in the Louvre by a gifted assistant within his workshop, for the relief described above remained there until it was acquired by the King, and so was probably not disseminated further afield. £2,500-£3,500 68

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158 158 A LATE 16TH / EARLY 17TH CENTURY GERMAN SOLNHOFEN STONE RELIEF DEPICTING THE HOLY FAMILY AND ST. JOHN THE BAPTIST of rectangular form, the Virgin seated and holding the Christ Child who takes some grapes from a bowl offered by St John, with a flying putto in the sky about to offer Christ two apples, 31cm wide x 20cm high Solnhofen stone was quarried in Franconia from the 16th century onwards, and was prized in Augsburg and Nuremberg for its soft texture which made it easier to carve than marble, its attractive colour and smooth surface that could be polished to good effect. It was often used for small scale sculpture and reliefs such as the present carving and employed by sculptors such as Loy Hering and Peter Flotner. Auction Comparable: Sotheby’s, London, 12 November 2013, lot 195, South German solnhofen stone relief dated 1634, attributed to Georg Schweigger (1613-1690). Museum Comparable: Victoria and Albert Museum, Inv. No. A.41-1947. £1,500-£2,000 159 A 19TH CENTURY FRENCH SEVRES STYLE BISQUE PORCELAIN FIGURAL MANTEL CLOCK SIGNED ‘BLANC FILS PALAIS EGALITE’ depicting Venus and Cupid, Cupid pointing to a globe, the clock set within a fluted pedestal surmounted by a book and a cockerel, on a naturalistic base, the underside with pseudo Sevres mark, the signed white enamelled dial with Arabic numerals, the single train, timepiece movement with silk suspension and pendulum, 41cm high £500-£800

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160 A RARE AND IMPORTANT 19TH CENTURY SEVRES BISCUIT PORCELAIN ‘SURTOUT DE TABLE’ OR SUITE OF SEVEN SCULPTURES OF HUNTING THEME AFTER JEAN-BAPTISTE OUDRY (1686-1755). CIRCA 1870-80 modelled after paintings by Jean-Baptiste Oudry, all stamped ‘SEVRES’ and with incised marks, comprising a large centrepiece ‘Chasse au Cerf ’ depicting a stag with five hounds, 62cm wide x 30cm high, ‘Chasse au Sanglier’, the boar held at bay by two hounds, 42cm wide x 25cm high, ‘Chasse au Loup’, a group of a wolf attacking a dog, 39cm wide x 22cm high, ‘Valet de Chiens’, a group of a dog handler with two hounds, 33cm wide x 30cm high, another group of a handler with a horn and hounds, ‘Valet de Chiens au Cor’, 34cm wide x 37cm high, a model of a hunter priming his gun ‘Chasseur au Fusil’, 22cm wide x 35cm high, a model of a hunter blowing his horn ‘Chasseur au Cor’, 20cm wide x 37cm high, Losses (7) Literature Emile Bourgeois states that the sculptor who produced the original models for this wonderful suite was Pierre Blondeau. see Emile Bourgeois, ‘Le Biscuit de Sèvres au XVIIIème siècle’, 1909, plate 20 nos. 603 Valet de chiens, 604 Valet de chiens au cor and 133 Chasse au sanglier, and plate 21 nos. 135 Chassuer au fusil no. 1 and 186 Chasseur au cor. More recently Tamara Préaud has dismissed this attribution as there are no firm records in the Sevres archives to support this assertion. She discusses the suite in detail in ‘Porcelaines du Musée Condé à Chantilly’, 2005, no. 28. Catalogue Note The dramatic hunting scenes and figures that form this rare suite of sculptures are derived from paintings by the French Rococo painter JeanBaptiste Oudry (1686-1755). First designed in the 18th century and produced in glazed Vincennes porcelain, the original models were added to and adapted by the Sevres factory in the 1770’s for the royal family. Records show that in 1776, King Louis XV purchased three of the groups that form part of the present suite, Chasse au cerf, Chasse au loup and Chasse au sanglier. The other groups that form part of the present lot are not recorded until 1787. In the 1840’s the duc d’Aumale ordered an edition of the surtout and it remains in the Château de Chantilly (Musée Condé). The present suite was produced in the second half of the 19th century, and the Sevres factory was known to have produced these further sets for display in French embassies and for diplomatic gifts. Auction Comparables: For the early Vincennes version of the Chasse au sanglier group see Christies, 6th October 1986, lot 258. An example of the Valet de chiens group was sold at Sotheby’s, London 1st July 1985, lot 6. A further set dating from the 1870’s which lacked the main centrepiece depicting the stag with five hounds and the group of a hound attacked by a wolf was sold at Sotheby’s, London, Fine Furniture and Decorative Arts sale, 13 April 2011, lot 225, £25,000. £3,000-£5,000 161 No Lot

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162 CLOVIS-EDMOND MASSON (FRENCH, 18381913): A THIRD QUARTER 19TH CENTURY FRENCH SEVRES STYLE BISCUIT PORCELAIN GROUP OF A PANTHER ATTACKING A BOAR the pant162 CLOVIS-EDMOND MASSON (FRENCH, 18381913): A THIRD QUARTER 19TH CENTURY FRENCH SEVRES STYLE BISCUIT PORCELAIN GROUP OF A PANTHER ATTACKING A BOAR the panther raised on a rocky naturalistic group, signed ‘C. Masson’, and with incised Sevres mark to the reverse, 22cm high x 36cm wide £250-£350 162

163 A THIRD QUARTER 19TH CENTURY FRENCH SEVRES STYLE BISCUIT PORCELAIN MANTEL CLOCK MODELLED AS A LION AFTER A MODEL BY CLOVIS-EDMOND MASSON (FRENCH, 1838- 1913) the lion raised on a naturalistic rocky base signed ‘C. Masson’, the clock set into the rocky base, with white enamelled dial with floral garlands and Arabic numerals, the twin train movement stamped ‘VINCENTI & CIE MEDAILLE D’ARGENT 1855’, with outside countwheel striking on a bell, 35cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£400

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164 JEF (JOSEPH MARIA THOMAS) LAMBEAUX, (BELGIAN, 1852-1908): A LARGE ALABASTER BUST OF FLORA looking to sinister, her hair adorned with a headdress of roses, signed ‘Jef LamBeaux’, 49cm high £400-£600 165 A LARGE LATE 19TH / 20TH CENTURY WHITE MARBLE BUST OF A YOUNG GIRL her hair arranged in an elaborate coiffure of four plaits joined at the crown, her eyes downcast and head bowed, raised on a later grey veined marble socle, 62cm high £2,500-£3,500 166 λ A 19TH CENTURY DIEPPE IVORY FIGURE OF NAPOLEON the standing figure with his arms crossed, a pile of cannon balls at his feet, raised on a canted square integral base over a later ebonised plinth, the ivory 24.5cm high £3,000-£5,000 167 A 20TH CENTURY CARVED CARRARA MARBLE FEMALE HEAD the neck and back of the head carved in a rusticated manner, inscribed H1 to the reverse, 34cm high £400-£600 166 72

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168 A LATE 19TH CENTURY CREAM PAINTED PLASTER FIGURE OF WILLIAM GLADSTONE holding a document and wearing a frock coat seated on a chair, on rectangular plinth base, 78cm high £400-£600

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169 A LARGE PAIR OF NEO-CLASSICAL STYLE CARVED, PAINTED AND GILDED WOOD PANELS DEPICTING ROMAN EMPERORS the oval reliefs with integral frames carved with shells and foliage, the first depicting a bust of Caesar Augustus, the second inscribed ‘NERO ROMA’, both with flat backs with iron loops for hanging, 80cm high x 67cm wide x 9cm deep £800-£1,200

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170 A LARGE PAIR OF BAROQUE STYLE CARVED WOOD RELIEFS DEPICTING FEMALE BUSTS each oval cartouche surmounted by a flaming finial and flanked by pair of angels their bodies terminating in acanthus leaves, one bust depicting a maiden with roses in her hair, the other a maiden wearing a necklace, within beaded oval borders, carved in high relief with flat backs and painted white, with an iron loop to hang at the back, 80cm high x 67cm wide x 9cm deep (2) £600-£800

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171 A PAIR OF NEO-CLASSICAL STYLE WHITE MARBLE AND LAPIS LAZULI URNS of baluster form, with a continuous band of lapis lazuli around the bodies, surmounted by knopped finials and raised on circular feet over rectangular plinths, 38cm high (2) £500-£800 172 A PAIR OF NEO-CLASSICAL STYLE WHITE MARBLE AND MALACHITE INLAID URNS of baluster form with inlaid fluted decoration, surmounted by ringed finials and raised on circular feet over rectangular plinths, 38cm high (2) £500-£800 173 A PAIR OF LATE 19TH / 20TH CENTURY CHINESE CARVED SOAPSTONE FIGURES LATER FITTED AS LAMP BASES the female figures in flowing robes upturning baskets of flowers, mounted on gilt brass bases with electric lamp fittings, 70cm high overall, (2) £400-£600 174 A CHINESE PORCELAIN BLANC DE CHINE LAMP BASE modelled as a female figure holding a flower, on a shaped base with lilies over a hardwood, pierced plinth and brass lamp fitting, with silk shade, the lamp 51cm high including fitment £300-£500 173 74

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175 λ A 19TH CENTURY DIEPPE IVORY FIGURE OF A CAVALIER ON HORSEBACK the mounted figure wearing a plumed hat and blowing a horn, the standing horse on a naturalistic ground, over a shaped and stepped plinth base, 17.5cm high. £1,000-£1,500 176 λ TWO 19TH CENTURY DIEPPE IVORY FIGURES OF MUSICIAN BEGGARS both in ripped, ragged clothes, the first playing a violin and the second a hurdy gurdy, both raised on stained wood rectangular plinths, 21.5cm high (2) £600-£800 177 λ A PAIR OF 19TH CENTURY DIEPPE IVORY DANCING FIGURES both in 18th century dress and large hats, the female figure holding a guitar, both raised on Rococo style pierced bases over stepped cylindrical plinths, 25cm and 26cm high (2). £3,000-£5,000 178 AN 18TH CENTURY ITALIAN GLAZED CERAMIC FIGURE OF A WARRIOR IN THE MANNER OF DOCCIA depicting a soldier in a plumed helmet supported by a shield and a drum, a flag beside him, on a rectangular spreading and moulded base, repaired, 27cm high £300-£500

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179 AFTER LOUIS-SIMON BOIZOT (FRENCH, 1743-1809): A PAIR OF MID 19TH CENTURY BRONZE FIGURAL GROUPS OF ‘THE RAPE OF PROSERPINA’ AND ‘THE ABDUCTION OF ORITHYIA’ BY BOREAS’ Boreas depicted on a cloud base, Pluto abducting Proserpina on a naturalistic base cast with a cylindrical plinth and an upturned basket of flowers, both on circular bases and with dark brown patination, 47cm high and 43cm high (2) Literature: J.G. Mann, Wallace Collection Catalogues: Sculpture - Marbles, Terra-Cottas and Bronzes, Carvings in Ivory and Wood, Plaquettes, Medals, Coins, and Wax-Reliefs, London, 1931, pp. 65-66, ills. 50-51. Knoedler Gallery, Catalogue of the French Bronze 1500-1800, exhib. New York 1968, no. 80a-b. Museum Comparable: Wallace Collection, London, Inv. No. S197 and S196 for a pair of 19th century examples of similar size to the present pair. Auction Comparable: Sotheby’s Amsterdam, 29 September 2008, lot 12, sold 27,000 euros. This pair of extremely finely executed bronzes are cast after models conceived by Boizot for reproduction in Sevres biscuit porcelain which he exhibited at the Salon of 1786. They are derived from the well-known full size marble groups originally made for the gardens of Versailles in the second half of the 17th century by Gaspard Marsy (1628-1681) and François Giradon (1636-1711),The marble sculptures formed part of a group of twenty four figures commissioned by King Louis XIV and sketches for these statues are preserved in the Cabinet des desseins at the Louvre. £2,500-£3,500 180 AFTER THE ANTIQUE: A SMALL LATE 19TH CENTURY NEAPOLITAN BRONZE OF THE DANCING FAUN OF POMPEII raised on a rectangular plinth, 15cm high £150-£200

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181 AFTER ALESSANDRO ALGARDI (ITALIAN, 1595/1598-1654): A PAIR OF BRONZE FIGURES OF PUTTI, POSSIBLY FRENCH LATE 18TH CENTURY the first boy blowing a double conch shell, the second boy kneeling and holding aloft a shell, both on a rocky, naturalistic ground over square bases, heavy casts with dark brown patination and lighter high points, raised on separately cast gilt bronze plinths with C scroll and acanthus decoration, the bronzes 26.4cm high, 32cm high including ormolu base (2) This rare pair of bronze figures are of identical size and design to a pair which were acquired by the 4th Marquess of Hertford by 1865 and are now in the Wallace Collection. The Wallace Collection state that the design for these figures seem to have originated in Rome, in the circle of sculptors such as Alessandro Algardi (15951654) and François Duquesnoy (1597-1643), but that their casts were almost certainly made in the mid 18th century in France. Jennifer Montagu more firmly attributes the design to Algardi based on the similarity to the Putto on a hippocamp now in the Walters Art Gallery, Baltimore. A further pair that were almost identical to those in the Wallace Collection, and also raised on the same Neo-Classical style gilt bronze bases were sold at Christie’s, London, 7 July 2005, lot 531, £60,000 and catalogued as circa 1780 based on the design of the ormolu plinths.

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Museum Comparable: Wallace Collection, S202 and S203 for a near identical pair, on different gilt bronze plinths. Louvre, Paris for a bronze of the putto with double conch shell (inv. OA, 10289). Auction Comparable: Christie’s, London, 7 July 2005, lot 531, a pair of the same design as the present, 26cm high, £60,000. Christie’s, New York, 28 January 2015, the Abbott Guggenheim Collection: A New York Kunstkammer, lot 105; a pair of putti comprising the boy with double conch shell with slightly different base and a different model of a boy holding a lyre wreath, catalogued as Roman mid 17th century, sold $25,000. Literature: J. Montagu, Alessandro Algardi, London, 1985, vol. II, p. 394-396, nos. L.104, L.104 I.B.I, 104 C.I, 104 D.I and 105 D.I. R. Wenley, French Bronzes in the Wallace Collection, London, 2002, pp. 84-85. £1,000-£1,500 182 A FINE 19TH CENTURY FRENCH BRONZE FIGURE OF CUPID WITH HIS BOW the kneeling figure with one eye closed as he looks to the distance and pulls the string of his bow back, mid to dark brown patination, the hair finely chased, raised on a grey veined, white marble rectangular plinth, 28cm high £700-£1,000

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183 183 AFTER GUILLAUME COUSTOU THE ELDER (FRENCH, 1677-1746): A PAIR OF LATE 19TH CENTURY FRENCH BRONZE MODELS OF ‘THE MARLEY HORSES’ the rearing horses each being restrained by a semi-clad handler, on a naturalistic bases signed ‘COUSTOU’, 55cm high (2) Guillaume Coustou the Elder was a French Sculptor and academic. He won the Colbert prize which awarded him a four year scholarship at the French Academy in Rome, however according to legend he soon left the academy and wandered homeless around the streets of Rome for some time. On his return to Paris the Roman influence was materialised in his monumental sculptures of the horse tamers, now known as the Marly Horses. Coustou’s design reinvented the theme of the colossal Roman marbles in the Piazza Quirinale, Rome; and the Marly Horses take their name from Louis XVI’s royal hunting lodge of that name. At Marly the notoriously private king could escape from the vast construction at Versailles, for Marly was large enough only to accommodate the royal hunting party. £2,000-£3,000 184 A BRONZE REDUCTION OF THE STATUE OF ST PETER FROM ST PETER’S BASILICA holding a key in his left hand, blessing with his right, seated on a throne above a square plinth, 46cm high This bronze is a reduction of the famous bronze of Saint Peter in the basilica of Saint Peter’s, Rome. The origin of the bronze is not known, it has been suggested that it dates to the 5th or 6th century and that St. Leo, who was Pope from 440 to 461, had the statue of St. Peter made out of the bronze of the ancient Jupiter Capitolinus. Other scholars have attributed it to the 13th century sculptor Arnolfo di Cambio, who also created the tabernacle of St. Paul. £400-£600 184 78

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185 A LARGE LATE 19TH CENTURY GILT AND PATINATED SPELTER GROUP DEPICTING A CHARIOT BY DOMENECH ET PFEFFER, ‘CHAR DE LA VICTOIRE’ the charioteer with a pair of rearing horses, raised on a rectangular Portor marble base signed ‘Domenech et Pfeffer’, 54cm high x 70cm wide £300-£500 186 AFTER GIAMBOLOGNA (1529-1608, ITALIAN): A PAIR OF 19TH CENTURY BRONZE FIGURES OF MERCURY AND FORTUNA both raised on a base modelled as the mask of Boreas issuing a gust of wind, raised on Verde Antico marble cylindrical plinths over gilt bronze foliate bases, 77cm high (2) £1,500-£2,000

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187 AFTER ANDREA DEL VERROCCHIO (ITALIAN, 1435-1488): A 19TH CENTURY BRONZE REDUCTION OF THE EQUESTRIAN MONUMENT TO BAROLOMEO COLLEONI dark brown patination, with a rectangular base, raised on a stepped yellow marble plinth, 51cm high This bronze is a reduction of the famous equestrian monument to the Condottiero Bartolomeo Colleoni who served many years under the Republic of Venice. Verrocchio was commissioned to produce the sculpture in 1480 by the Venetian Signoria using funds left by Colleoni in his will. He began work on the model only to be told that they had changed their mind and given the commission to another sculptor; Verrocchio was so enraged at this that he smashed his model to pieces and left Venice in a rage. The Signoria soon realised their mistake and had to re-employ him at twice the previous rate; but these delays meant that the monument was still unfinished eight years later when the sculptor fell ill with a chill and died. It was therefore finished by Alessandro Leopardi. £2,000-£3,000

188 CHARLES VALTON (FRENCH, 1851-1918): A BRONZE MODEL OF A GREAT DANE AND HER YOUNG ‘LA CHIENNE DANOISE ET SES PETITS’ the seated dog with puppies at her feet, on a naturalistic base signed ‘CH VALTON’, raised on its original red velvet covered plinth with a gilt plaque inscribed ‘CHIENNE DANOISE, SALON DES BEAUXARTS, VALTON SCULPT’ the bronze 45cm high, 53cm high including plinth Model Exhibited: 1884, Salon des Artistes Français, no. 3952 (acquired by M. Perzynka). As stated in the Salon booklet, ‘La chienne danoise et ses petits’ was purchased at the Salon by M. Perzynka, a sculptor and founder of Russian origin who worked with Edmond-Gustave Siot from 1888 to 1891. At the 1885 Salon, Perzynka purchased another sculpture by Charles Valton, ‘Un taureau échappé’ (Runaway Bull). Perzynka worked as a founder for Auguste Rodin from 1896 to 1901. £1,200-£1,800

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190 detail

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189 A FINE MID 19TH CENTURY FRENCH BRONZE EQUESTRIAN STATUE OF LOUIS XIV AFTER THE MONUMENT BY LOUIS PETITOT (FRENCH, 1794-1862) AND PIERRE CARTELLIER (FRENCH, 1757-1831) POSSIBLY CAST BY CHARLES CROZATIER (1795-1855) depicting the Sun King with plumed hat astride a large stallion, mid to dark brown patination, raised on a ‘Boulle’ style rectangular plinth decorated with cut brass and inlaid tortoiseshell, with a bronze foliate border, the bronze 67cm high, the base 69cm wide x 36cm deep, 89cm high overall

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Pierre Cartellier was originally commissioned by Louis XVIII in 1816 to produce an equestrian monument for the Place de la Concorde to replace Bouchardon’s monument which had been destroyed during the revolution. The horse was finally completed in 1831, however sadly that year Cartellier died, and it was left to his son-in-law, Louis Petitot, who had worked with him, to complete the commission. Petitot produced the figure of Louis XIV and the large monument was finally erected at Versailles in 1836. The monument was cast in bronze by the renowned bronze founder Charles Crozatier (French, 1795-1855), who had himself studied under Cartellier at the School of Fine Arts in Paris. Upon leaving Cartellier’s studio, Crozatier travelled to Italy where he studied the great sculptors of the Renaissance and Baroque and produced casts of some of their works to use in his own bronzes. He set up his own studio at Rue du Parc Royal, Paris, and his exceptional skill won him numerous commissions from royalty and nobility both in France and beyond.

Louis XVIII commissioned him to produce a sculpture of Napoleon in place Vendome, Paris, as well as the monumental cast of the present group, and Charles X made him Chevalier of the Légion d’honneur. Arguably the most renowned bronze founder in Paris for large monumental works, Crozatier was also known to have produced reductions and statuettes of monumental sculptures, such as Coustou’s Marly horses, ‘Ajax defying the Gods’ after Louis Dupaty (see Christies, London, 23 May 2014, lot 529) and the bronze figure of Hercules after Guillaume Boichot made for the portico of the Pantheon in Paris, which is now in the Royal Collection (RCIN 31361). The exceptional quality of the casting, after-working, surface treatment, patination and minute detail apparent in the present bronze reduction all indicate a Parisian bronze founder of the highest calibre. For example, even the underside of the bronze is depicted in fine detail, the nails in the horseshoe of the horses raised hoof have been clearly defined, a casting trait reminiscent of the great equestrian sculptor Pietro Tacca who Crozatier surely would have studied whilst in Italy. That Crozatier is known to have cast the monumental version of this bronze means that we know he would have had maquettes of this group in his workshop, and it is therefore possible that he was commissioned to produce a fine reduction of the equestrian figure for a particular patron. The Boulle style used to ornament the plinth was fashionable again in the 1840’s and would have been much more costly and time consuming to produce than an ordinary base, this technique is another sign that the sculpture was produced by an important sculptor such as Crozatier during this period. £10,000-£15,000

190 MATHILDE THOMAS-SOYER (FRENCH, B. 1861): A BRONZE EQUESTRIAN MODEL OF A CAVALRYMAN ‘EN VEDETTE’ CAST BY THIEBAUT FRERES wearing full military dress and looking into the distance, his horse standing on a naturalistic base, dark brown patination, signed ‘Math de Thomas’ and with Thiebaut Freres foundry stamp, 58cm high Auction Comparable: See Sotheby’s, New York, 22 October 2008, lot 47, sold $7,500. Mathilde Thomas-Soyer was one of the few professional female sculptors working in Paris in the late 19th century, and like Rosa Bonheur, specialised in Animalier subjects. She studied under the well-known sculptors Auguste Cain, himself an Animalier sculptor, and Henri Chapu. She exhibited at the Salon from 1879 a group entitled ‘Vache terrassant un loup qui vient d’égorger son veau’, which depicted a cow slaying a wolf that has just killed her calf. The Thiebaut Freres foundry cast a number of her plaster maquettes in bronze. £2,000-£3,000 84

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191 EVGENI ALEXANDROVICH LANCERAY (RUSSIAN, 1848-1886): A GILT BRONZE EQUESTRIAN STATUE OF THE EMIR OF BOKHARA the mounted figure wearing a kaftan and ornate turban fitted with an emerald paste jewel, his richly caparisoned horse standing on a naturalistic base signed ‘LANCERAY’, raised on an oval Verde Antico marble plinth, 48cm high, 52cm high overall Auction Comparable: An identical bronze was sold at Sotheby’s, New York, 20 May 1994, lot 29, also with the emerald coloured paste gem set in the turban. This bronze was probably cast by the prestigious Parisian foundry Susse Freres, who were authorised to edit Lanceray’s bronzes and produced a catalogue of 123 models including the present sculpture. The Russian foundry Chopin also cast his bronzes and these feature his signature in Russian Cyrillic text rather than the English version that appears on the present bronze. Literature: Pierre Cadet, ‘Susse Freres 150 Years of Sculpture’, Paris 1992, pp456, fig.75. £1,000-£2,000

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192 ANDOR RUFF (AUSTRIAN, 1885-1951): AN EARLY 19TH CENTURY BRONZE ALLEGORICAL FIGURE OF A LITERATURE the standing maiden in Renaissance dress and holding open a large book, raised on an outswept plinth, mid to dark brown patination, signed ‘RUFF’, raised on a shaped marble base, 29cm high £250-£350 193 A MID 20TH CENTURY RUSSIAN CAST IRON FIGURE OF A MAN SMELTING IRON the standing labourer holding a pot of molten iron on a long staff, on a shaped base, 49cm high Provenance: Purhased by the present owner from Russia approximately thirty years ago. £500-£800 194 A LATE 19TH / EARLY 20TH CENTURY CAST IRON FIGURE OF MEPHISTOPHELES AFTER THE MODEL BY JACQUES LOUIS GAUTIER (FRENCH, B. 1831), POSSIBLY RUSSIAN the standing figure raised on a rocky base, signed ‘Gautier’, 72cm high Auction Comparable: A further cast iron sculpture of this figure was sold at Sotheby’s New York, 8 January 1998, lot 459, sold $3750. Other cast iron examples have appeared at auction with Cyrillic inscriptions. £800-£1,200 194 86

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195 ALFRED DRURY A.R.A. R.I. (BRITISH, 1856-1944): A BRONZE FIGURE OF A SEATED BOY, DATED 1919 seated on a rocky, naturalistic base and drying his right foot, the back of the base signed ‘A. Drury 1919’, raised on the original green marble plinth, the bronze 25cm high, 31.5cm high overall Marion Harry Spielmann summed up Drury’s enduring qualities perfectly when writing of the sculptor in 1901 when she wrote ‘Mr. Drury is among the most personal of our sculptors, always in search of the graceful, the tender, the placid, and the harmonious’. He first discovered his love for sculpture as a choir boy at New College, Oxford after seeing Chantry’s works. This inspired him to attend art school in Oxford before joining the National Art Training School, where he studied under the ground-breaking French sculptor Jules Dalou. Dalou was so impressed by his young student that when he returned to France he took Drury with him to work in his studio for the next four years. Upon Drury’s return to England, he joined the studio of another famous sculptor, Sir Edgar Boehm, who was a favourite of Queen Victoria. In 1885 he sent his first contribution to the Royal Academy, a group in terracotta entitled ‘The Triumph of Silenus’, but it was not until the following year when he exhibited his ideal busts at the RA that he achieved great popular success. Now considered to be a key member of the New Sculpture group of artists, his work is still well sought after; and unlike many of the mass produced bronze sculptures that were made in France during this period, his lost wax cast bronzes were not made in large quantities and come to auction relatively rarely. Related Literature: Beattie, Susan. The New Sculpture. New Haven: Yale University Press, 1983. Spielmann, Marion Harry. British Sculpture and Sculptors of Today. London: Cassell, 1901. Internet Archive. Web. 1 May 2013. £1,200-£1,800

196 AGATHON LÉONARD (FRENCH, 1841-1923): A BRONZE KNEELING FIGURE ‘LES BRAS TENDUS’ in the Impressionist style, dark brown patination, signed ‘Leonard’, 18cm high Provenance: Purchased from Christie’s, London, 3 December 1976, lot 158. A copy of the original invoice to be sold with the lot. £400-£600

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197 A 19TH CENTURY BRONZE BUST OF NAPOLEON raised on a cylindrical plinth over a square base, 23cm high £300-£500 198 AFTER JEAN-ANTOINE HOUDON (FRENCH, 1741-1828): A SMALL 19TH CENTURY BRONZE BUST OF VOLTAIRE raised on a spreading socle over an alabaster cylindrical plinth and a bronze base, 20cm high £300-£500 199 A 19TH CENTURY ITALIAN GRAND TOUR BRONZE BUST OF HOMER AFTER THE ANTIQUE the bust raised on a waisted socle inscribed ‘OMERO’, and raised on a green marble cylindrical plinth, 37cm high £250-£350

199 88

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200 ARR BARNEY SEALE, ARBS (BRITISH, 1896-1957): A BRONZE BUST OF JUDUS, CIRCA 1937 the bearded man gesticulating with his left hand and looking downward to sinister, with hollow back and raised on an integral rectangular base with supporting bar, signed ‘JUDUS Barney Seale’, to the right side and ‘To Tommy Dugdale from Wendy and Barney / 36’, dark brown patination, 42 cm high Model Exhibited: Aberdeen Artists’ Society Exhibition of Works of Modern Artists, 1937 Literature: Aberdeen Artists’ Society. Twenty-Fourth Exhibition of Works of Modern Masters, 1937. November 1937.p. 69 (390) Enlisted into the Artists Rifles in 1914 and commissioned in 1915 Seale established his reputation as an architectural sculptor. His large scale figurative works featured in the British Pavilion in 1938 at the Empire Exhibition and in 1939 in New York. Seale also painted in oils and created a number of portraits. Many of his sitters were friends and fellow artists, notably Augustus John, James Pryde, Thomas Cantrell Dugdale and C.R.W. Nevinson (with whom Seale exhibited at the Leger Galleries in 1931). Seale was a Fellow of the Royal Society of Arts, the Royal Society of British Sculptors and Royal Society of British Artists (from 1938). £3,000-£5,000 89

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202 201 AFTER BARON FRANCOIS JOSEPH BOSIO (FRENCH, 17681845): A LARGE LATE 19TH CENTURY BRONZE FIGURE OF THE YOUNG HENRI IV the standing figure looking to sinister and raised on a square base with tree stump beside, dark brown patination, 74cm high £2,000-£3,000 202 AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A LARGE LATE 19TH CENTURY FRENCH BRONZE FIGURE OF FORTUNA the nude goddess balanced on the wheel of fortune and holding aloft a torch in her left hand (the torch now drilled with a hole to wire for electricity), and holding a cornucopia in her right hand, mid brown patination, raised on a cylindrical plinth of black marble and bronze, decorated with reliefs of classical goddesses, 118cm high £2,000-£3,000 203 JEAN TURCAN (FRENCH, 1846-1895): A BRONZE MODEL OF AN ARCHER CAST BY FUMIERE ET CIE, PARIS the figure in Renaissance style dress, looking to his right heel where a small insect crawls, on a naturalistic base signed ‘J. TURCAN’, and stamped FUMIERE ET CIE, 61cm high £500-£800 203 90

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204 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL MANTEL CLOCK DEPICTING OEDIPUS AS A BABY BROUGHT BACK TO LIFE BY A SHEPHERD the nude shepherd with a hat hanging from his neck, holding the baby Oedipus limp in his arms as he offers him a drink, leaning on a tree stump, his staff beside him, on a naturalistic base, raised on a stepped plinth of Sienna marble, the dial set into the tree stump and with Arabic numerals, the twin train movement with outside countwheel and silk suspension, striking on a bell, lacking pendulum, 55.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,000-£1,500 205 AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A 19TH CENTURY SILVERED BRONZE FIGURE OF MERCURY the nude figure leaping from a gust of wind issuing from the mouth of Boreas, holding his caduceus in his left hand, raised on a cylindrical plinth with fruiting and floral garlands over a foliate cast foot, 69cm high £800-£1,200 206 AFTER THE ANTIQUE: A LATE 19TH CENTURY ITALIAN SERPENTINE MARBLE FIGURAL GROUP OF CUPID AND PSYCHE the semi-clad lovers embracing, on a circular naturalistic base, 63cm high The original Roman marble version of this model was discovered on the Aventine Hill in 1749 and is now in the Capitoline Museum, Rome. £800-£1,200

206 91

207 ANTOINE LOUIS BARYE (FRENCH, 1795-1875): A RARE BRONZE MODEL OF A TIGER, ‘TIGRE MARCHANT’ the walking beast with mouth open, raised on a stepped rectangular plinth, signed ‘BARYE’ with mid brown / greenish patination, 27cm wide x 14cm high Related Literature: M. Poletti & A. Richarme, Barye Catalogue Raisonne, Univers de Bronze, Paris, 2000, A70, p.199. This model was also cast by Barbedienne, the famous Parisian bronze foundry. They purchased many of Barye’s original moulds from the 1876 atelier sale after the sculptor’s death and produced their own editions which they stamped ‘Barbedienne’. They cast this model in this size and the larger size until 1925. £800-£1,200

208 HENRI MOLINS (FRENCH, FL. EARLY 20TH CENTURY): AN ART DECO BRONZE MODEL OF A PANTHER dark brown patination with lighter high points, raised on a Portor d’Italie marble plinth signed ‘Molins’, 56cm wide x 22cm high £300-£500 92

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209 JULES GRAUX (BELGIAN, 1867-1930): A PAIR OF LATE 19TH CENTURY BRONZE FIGURE OF NEAPOLITAN DANCERS the female dancer holding a tambourine, and wearing a Bacchic headdress of vines, the male figure semi-clad in a lion pelt, both on circular naturalistic bases signed ‘J. Graux’, mid brown patination with lighter high points, over marble circular plinths, 38cm high (2) The theme of Neapolitan dancers was explored by some of the most influential sculptors during the second half of the 19th century in Paris, including Carrier-Belleuse, Duret and Delafontaine. £1,200-£1,800

210 JEAN JULES SALMSON (FRENCH, 1823-1902): A PAIR OF COLD PAINTED BRONZE FIGURES OF ARABS, ‘LA PORTEUSE’ AND ‘LE GUERRIER ARABE’ both in long flowing robes and raised on naturalistic bases, signed ‘SALMSON’, raised on circular black marble bases, 44cm high (2) Literature: H. Berman, ‘Bronzes Sculptors & Founders’, Abage Encyclopedia, Chicago, 1980, Vol. IV, page 951 and page 1035. P. Kjellberg, ‘Les Bronzes du XIXe Siecle’, Les Editions de L’Amateur, Paris, pages 609 and 610. Auction Comparable: Christie’s London, 4 February 1998, lot 694, of the same size, sold £10,000. £3,000-£5,000

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211 LOUIS AUGUST MOREAU (FRENCH, 1855-1919): A BRONZE FIGURE OF JUDITH the semi-clad maiden with long flowing hair, looking to dexter and holding a sword in her right hand, wearing a skirt with a gilt belt with blue and green glass cabochons, wearing a similar crown (part lacking), raised on a base inscribed ‘JUDITH’, mid brown patination, 53cm high £1,500-£2,000 212 JEAN JULES SALMSON (FRENCH, 1823-1902): A PAIR OF BRONZE FIGURES OF ARABS, ‘LA PORTEUSE’ AND ‘LE GUERRIER ARABE’ the female carrying an urn and looking to sinister, the male with a rifle, both in long flowing robes and raised on naturalistic bases, signed ‘SALMSON’, mid to dark brown patination, 56cm high (2) Literature: H. Berman, ‘Bronzes Sculptors & Founders’, Abage Encyclopedia, Chicago, 1980, Vol. IV, page 951 and page 1035. P. Kjellberg, ‘Les Bronzes du XIXe Siecle’, Les Editions de L’Amateur, Paris, pages 609 and 610. Auction Comparable: Sotheby’s Paris, 19 October 2006, lot 29, sold 14,000 euros, a pair of this model of the same size. Salmson exhibited regularly at the Salon from 1859, and worked on various monuments in Paris including those at L’Opera, les Tuileries, and le tribunal de Commerce. As well as being known for his Orientalist subject matter he is known for his statues of great historical figures such as Shakespeare, Rubens, Hamlet and Byron. The present pair are perhaps his best known figures and he modelled the female figure in 1880 and the male in 1875. £3,000-£5,000

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213 MATHURIN MOREAU (FRENCH 1822-1912): A LARGE BRONZE FIGURAL GROUP OF A MOTHER AND CHILD IN A STORM ENTITLED ‘TEMPETE’ the mother supporting a small child in her left arm, with a young girl huddled beside her, she carries a fishing net and walks barefoot over the rocky ground, her shawl blowing in the wind, on a circular base signed ‘Math Moreau Hors Concours’, and stamped ‘MEDAILLE D’HONNEUR’, stamped to the back ‘GALERIA ARTISTICA S.C. REGUAN PERU 134’, light brown and goldish patination, raised on a separate rotating base above a Verde Antico marble plinth, set with a plaquette inscribed ‘TEMPETE PAR MATH MOREAU MEDAILLE D’HONNEUR’, 67cm high The unusual stamp to the reverse of this bronze is probably a retailers stamp for a Peruvian gallery. It was not uncommon for galleries to add their own stamps to sculptures, for example the Ferdinand Vichi marble that was sold in these rooms last year had a metal disc inset to the marble inscribed ‘BAZAR COLON, MONTEVIDEO’ referring to the gallery in Uruguay that sold the work in the early 20th century. (See lot 32, 21st March 2018, Chiswick Auctions). £3,000-£5,000 95

214 214 AFTER THE ANTIQUE: A COLOURED MARBLE BUST OF THE ROMAN EMPEROR LUCIUS VERUS the bearded Emperor wearing a toga and armour, the head and neck in Carrara marble, the bust in Blue Tarquin and Brocatelle marble, 60cm high £1,000-£1,500 215 PROFESSOR GIOVANNI BESJI (ITALIAN, LATE 19TH CENTURY SCHOOL): A CARVED ALABASTER BUST OF A MAIDEN ON PEDESTAL ENTITLED ‘GIUDITTA’ the young beauty wearing a fabric headdress and looking to dexter, her dress finely carved with flowerhead (with traces of gilding), signed ‘Prof G Besji’, on a plinth with canted angles, raised on a pedestal with square canted shelf over ringed cylindrical shaft and raised on a stepped base, the bust 42cm high, 147cm high overall £500-£800 216 A FIRST HALF 20TH CENTURY BRONZE FIGURE OF A GIRL WITH HER DOG, SIGNED ‘J. FAES’ the standing girl embracing the seated hound, mid brown patination, raised on a verde antico marble rectangular plinth, 28cm high £250-£350

215 217 † THOMAS SYMINGTON HALLIDAY (SCOTTISH, 1902-1998): A PAINTED AND CARVED WOOD KNEELING FIGURE wearing a headdress, raised on a rectangular painted wood plinth, signed ‘HALLIDAY’ 33cm high TS Halliday was a well-known painter and sculptor during the 1950s and 60s. He won a scholarship to the Glasgow School of Art and in 1963 was awarded the MBE. Many of his works are held in private collections throughout the world and his pieces were exhibited by the Royal Scottish Academy and the Royal Academy, as well as in Italy, Poland, Canada, the US, and South Africa. £300-£500 218 A FIRST HALF 20TH CENTURY CARVED WOOD RELIEF OF CLASSICAL STYLE FIGURES the rectangular relief with shallow carving depicting a semi-clad male figure playing a lute with a resting nude couple beside, unsigned, 138cm wide x 45cm high £300-£500 219 A FIRST HALF 20TH CENTURY PAINTED PLASTER RELIEF OF A SHEPHERD the semi-nude figure with a crook on a rocky base, painted to resemble terracotta, with indistinct monogram ‘GHP’?, in a stained oak frame, the relief 30cm x 17cm £150-£200

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220 A SMALL PAIR OF LATE GOTHIC 16TH CENTURY NUREMBERG BRASS PRICKET CANDLESTICKS the prickets issuing from dish bowl tops raised on ringed baluster stems, each with a ringed drip pan over a domed circular foot, 17cm high (2) £300-£500 221 A 16TH CENTURY LIMOGES ENAMEL DEPICTING THE DEATH OF THE VIRGIN IN THE MANNER OF PIERRE REYMOND, (ACTIVE 1537-1578) of rectangular form, the Virgin in her bed hung with green drapes, surrounded by the apostles, losses, 25cm high x 20cm wide The composition of this enamel on copper is based on that first devised by the print maker Martin Schongauer in about 1470. Prior to that Byzantine and earlier artists traditionally depicted the Virgin lying a bed or sarcophagus in the centre of the composition. Schongauer depicted her on a large bed with the apostles spread around all three sides, as in the present depiction. £600-£800 222 A 16TH CENTURY NUREMBERG REPOUSSE BRASS ALMS DISH OF BACCHIC THEME of typical bowl form, the outside rim with punched flower heads and wavy line, the gadrooned sides enclosing the central field with a band of panther heads issuing pine cones, centred by a raised roundel, 45cm diameter £300-£500

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223 AFTER JULES MOIGNIEZ (FRENCH, 1835-1894): A LATE 19TH CENTURY GILT BRONZE MODEL OF A HOUND raised on a naturalistic, oval base, with later gilding, 21cm wide x 9cm high £200-£300 224 AN EARLY 18TH CENTURY QUEEN ANNE PERIOD HAND COLOURED ENGRAVING OF KENSINGTON PALACE showing a view of the palace, the landscaped gardens and hills to the background, with a four angels in the sky holding aloft a banner titled ‘Her Majesties Royal Palace at Kensington’, inscribed below ‘To her most serene and most sacred Majesty Anne by ye Grace of God Queen of Great Britain, France & Ireland’ and ‘6 of 7’, in a later gilt and ebonised frame, 93cm wide x 59cm high This engraving can be dated to between 1707 when England and Scotland united to become Great Britain, and 1714 when Queen Anne died. £200-£300 225 A PAIR OF 19TH CENTURY DRESDEN PORCELAIN CANDLESTICKS DEPICTING VENUS AND A SATYR IN THE 18TH CENTURY MEISSEN STYLE the bearded satyr seated on a panther and holding a stem issuing a candle nozzle, Venus raised on a dolphin and with a similar Rococo style nozzle, both on shaped bases decorated with gilt C scrolls, 29.5cm high (2) £150-£200

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1V\MZVM\ JQL[ Some sales may be available to internet bidding, as well as personal I\\MVLIVKM 1V \PQ[ M^MV\ +) 4\L [PITT VW\ JM PMTL ZM[XWV[QJTM NWZ Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\QWV *QLLQVO WV JMPITN WN [WUMWVM ) *]aMZ UIa JQL Ja XZW`a 1V \PQ[ M^MV\ XZWWN WN QLMV\Q\a WN JW\P \PM Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required. *QLLQVO WV IV Q\MU Bid incrementing is at the auctioneerâ&#x20AC;&#x2122;s entire discretion. >QLMW \ZIV[UQ[[QWV For the purpose of the sale, Lots may be displayed on video during the I]K\QWV 1V \PM M^MV\ WN \ZIV[UQ[[QWV Q[[]M[ +) 4\L [PITT VW\ JM PMTL responsible for any subsequent outcome. ! 7VTQVM WVTa I]K\QWV[ Some auctions may be available to bidders only through an online XTI\NWZU 1V \PQ[ M^MV\ *]aMZ[ PI^M I LIa XMZQWL I\ ZMKMX\QWV WN \PM Lot to withdraw from the sale, in accordance with EU Consumer Law. ,Q[X]\M ZM[WT]\QWV L]ZQVO \PM I]K\QWV Any dispute shall be settled at the auctioneerâ&#x20AC;&#x2122;s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneerâ&#x20AC;&#x2122;s entire discretion. 3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. ?PMV I *]aMZ X]ZKPI[M[ U]T\QXTM 4W\[ MIKP 4W\ Q[ \PM []JRMK\ WN I separate contract of sale. <ZIV[NMZ WN XZWXMZ\a Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyerâ&#x20AC;&#x2122;s premium, relevant taxes, and costs in relation to shipping.

+IVKMTTI\QWV WN \PM [ITM At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter. Under no circumstances can the Buyer cancel the sale. CA Ltd may at its entire discretion, during or after the auction, cancel \PM [ITM WN \PM 4W\ WZ ZMWâ&#x20AC;«Ùºâ&#x20AC;¬MZ IVL ZM[MTT \PM 4W\ QN Q\ JMKWUM[ I_IZM WN any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

3.5 Returns and refunds CA Ltd will only issue a refund using the same method of payment originally used by the Buyer to pay for the purchase, or by bank transfer. The Buyerâ&#x20AC;&#x2122;s refund will be processed without undue delay and in any M^MV\ _Q\PQV VW UWZM \PIV LIa[ WN \PM LIa \PM *]aMZ OI^M +) 4\L notice of cancellation. 1N \PM *]aMZ M`MZKQ[M[ \PMQZ ZQOP\ WN ZM\ZIK\QWV _PMV I]\PWZQ[ML \W LW [W by Law, CA Ltd shall proceed to issue a complete refund, comprising the hammer price of the Lot, buyerâ&#x20AC;&#x2122;s premium and shipping fees. However return fees shall remain at the expense of the Buyer. 4. AFTER THE SALE 8IaUMV\ All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. +I[P XIaUMV\[ [PITT VW\ JM ZMKMQ^IJTM NWZ IUW]V\[ W^MZ Ã&#x201A; ZMOIZLTM[[ of the payment being for one or multiple Lots. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. *]aMZÂ¼[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ã&#x2026;Z[\ Â&#x160; IVL XT][ >)< WV \PM JITIVKM \PMZMIN\MZ ) *]aMZÂ¼[ 8ZMUQ]U WN ! XT][ >)< Q[ charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 WN -+ ;\IVLIZL =3 >)< _QTT JM KPIZOML WV \PM J]aMZ[Â¼ premium and invoiced on an inclusive basis. â&#x20AC; : Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the EU for sale and XTIKML ]VLMZ \PM <MUXWZIZa )LUQ[[QWV ZMOQUM 1UXWZ\ >)< Q[ XIaIJTM I\ WV \PM PIUUMZ XZQKM >)< I\ _QTT JM ILLML \W \PM J]aMZÂ¼[ premium but will not be shown separately on the invoice.

1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show [I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. â&#x20AC;¢ To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. â&#x20AC;¢ To take such other action as is permissible by Law and in the discretion of CA Ltd. +WTTMK\QWV Purchased Lots can be collected from the auction room after the sale PI[ MVLML WZ JM\_MMV IU IVL XU ]X ]V\QT KTW[M WN J][QVM[[ WV the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyerâ&#x20AC;&#x2122;s premium. The rate applicable shall be the legal rate at the date of the sale. /WWL[ []KP I[ JWWS[ IVL IV\QY]M JWWS[ U][QK UIX[ IVL KPIZ\[ M\K IZM []JRMK\ \W bMZW ZI\ML >)< 1V ILLQ\QWV IVa QUXWZ\ \I`M[ \PI\ UIa JM QVK]ZZML [PITT JM XIQL Ja \PM Buyer above hammer price, VAT and Buyerâ&#x20AC;&#x2122;s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.7 Storage Purchased Lots not collected before 6pm on the day after the sale shall QVK]Z [\WZIOM KPIZOM[ WN Â&#x160; XMZ 4W\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L shall be entitled to retain purchased Lots sold until all sums due have been XIQL \W +) 4\L 1N IVa X]ZKPI[ML TW\ ZMUIQV[ ]VKWTTMK\ML LIa[ IN\MZ \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L [PITT in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

)Z\Q[\ :M[ITM :QOP\[ ,ZWQ\ LM ;]Q\M 4W\[ UIZSML _Q\P Â»)::Â¼ UIa JM []JRMK\ \W I TMâ Droit de Suite is a royalty payable to a qualifying artist or to the artistâ&#x20AC;&#x2122;s heir each time a work is resold during the artistâ&#x20AC;&#x2122;s lifetime and up to I XMZQWL WN aMIZ[ IN\MZ \PM IZ\Q[\Â¼[ LMI\P :WaIT\QM[ IZM KITK]TI\ML on a cumulative sliding percentage scale based on the hammer price excluding the buyerâ&#x20AC;&#x2122;s premium. The royalty does not apply to Lots [MTTQVO JMTW_ \PM [\MZTQVO MY]QÎTMV\ WN Ã&#x201A; IVL \PM UI`QU]U ZWaIT\a XIaIJTM WV IVa [QVOTM 4W\ Q[ \PM [\MZTQVO MY]QÎTMV\ WN Ã&#x201A; Royalties for Droit de Suite are as follows:

;PQXXQVO Any shipping costs that may arise subsequently to the sale shall be at the Buyerâ&#x20AC;&#x2122;s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. +) 4\L LWM[ VW\ Wâ&#x20AC;«Ùºâ&#x20AC;¬MZ QV[]ZIVKM NWZ [PQXXQVO 0W_M^MZ +) 4\L UIa arrange insurance upon the Buyerâ&#x20AC;&#x2122;s request and at the Buyerâ&#x20AC;&#x2122;s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

Â&#x152; .ZWU \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; -`KMMLQVO Ã&#x201A; :MUMLQM[ NWZ VWV XIaUMV\ 1N \PM *]aMZ NIQT[ \W UISM N]TT XIaUMV\ QV KTMIZML N]VL[ _Q\PQV \PM \QUM required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: â&#x20AC;¢ To cancel the sale â&#x20AC;¢ To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. â&#x20AC;¢ To resell the Lot on such terms by auction or otherwise entirely at CA Ltdâ&#x20AC;&#x2122;s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. Â&#x152; <W Wâ&#x20AC;«[Ùºâ&#x20AC;¬M\ IOIQV[\ IVa []U[ _PQKP +) 4\L UIa W_M \PM *]aMZ \PM outstanding sums unpaid by the said Buyer Â&#x152; ?PMZM \PM *]aMZ W_M[ []U[ \W +) 4\L QV ZM[XMK\ WN LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. Â&#x152; <W ZMN][M MV\Za \W \PM *]aMZ I\ IVa N]\]ZM I]K\QWV IVL WZ ZMRMK\ IVa N]\]ZM JQL[ Ja \PM *]aMZ IVL WZ [MMS I LMXW[Q\ NZWU \PM *]aMZ entirely in the discretion of CA Ltd. â&#x20AC;¢ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of

! 4W[[ WZ ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM [ITM +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT /WWL[ QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +]T\]ZIT OWWL[ UIa JM []JRMK\ \W QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ =VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s ^IT]M M`KMML[ \PM -= \PZM[PWTL =VLMZ =3 4I_ I TQKMVKM UIa IT[W JM required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to WJ\IQV \PMU ;WUM KW]V\ZQM[ ZM[\ZQK\ \PM QUXWZ\ WN [XMKQÃ&#x2026;K K]T\]ZIT OWWL[ For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural OWWL[ QV XZW^MVIVKM NZWU [WUM KW]V\ZQM[ []JRMK\ \W IZUML KWVÃ&#x2020;QK\[ The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. +1<-; QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +MZ\IQV MVLIVOMZML [XMKQM[ IZM TQ[\ML QV \PM +1<-; +WV^MV\QWV 4Q[\ML [XMKQUMV[ IVL IVa XIZ\[ WZ XZWL]K\[ \PMZMWN IZM []JRMK\ \W Q[[]IVKM WN IV export permit when leaving the European Union. )XXMVLQ` 1 [XMKQM[ IZM IT[W []JRMK\ \W Q[[]IVKM WN I XZQWZ QUXWZ\ XMZUQ\ from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyerâ&#x20AC;&#x2122;s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of

some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. ?WZSML Q\MU[ \PI\ IZM LI\ML JMNWZM ! IZM M`MUX\ NZWU QUXWZ\ restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol Æ&#x20AC; IZM []JRMK\ \W +1<-; ZMO]TI\QWV[ 4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them. CA Ltd cannot be held responsible if the Buyerâ&#x20AC;&#x2122;s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. ?IZZIV\QM[ CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. )]\PMV\QKQ\a _IZZIV\a 1V \PM M^MV\ WN I 4W\ JMQVO [WTL I[ I]\PMV\QK ]VLMZ \PM KI\ITWO]M description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. <PM *]aMZ [PITT OQ^M VW\QKM \W +) 4\L _Q\PQV LIa[ NZWU SVW_TMLOM or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall JM LMÃ&#x2026;VML I[ \PM [\I\M WN I 4W\ \PI\ Q[ OMV]QVM IVL VW\ I NWZOMZa WZ I KWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ IVL ZMO]TI\QWV[ )ZKPIMWTWOQKIT OWWL[ W^MZ aMIZ[ WN IOM ]VTM[[ KW^MZML Ja M`MUX\QWV WN TQUQ\ML [KQMV\QÃ&#x2026;K QV\MZM[\ _QTT ZMY]QZM IV -= 4QKMVKM NWZ M`XWZ\ \W I third country, regardless of their value. 1\ Q[ ZMKWUUMVLML \PI\ \PM *]aMZ KWV\IK\ \PM -`XWZ\ 4QKMV[QVO =VQ\ at Arts Council England in order to be assured the good is or not of TQUQ\ML IZKPIMWTWOQKIT WZ [KQMV\QÃ&#x2026;K QV\MZM[\ )ZKPIMWTWOQKIT OWWL[ NW]VL WV =VQ\ML 3QVOLWU [WQT WZ QV =3 \MZZQ\WZQIT _I\MZ[ W^MZ aMIZ[ WN IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination. 7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M *W\P -]ZWXMIV =VQWV IVL =3 4QKMVKM[ UIa JM ZMY]QZML [QU]T\IVMW][Ta NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZÂ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining Â&#x152; 1ZZILQI\QWV â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the

OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone. 1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only. -[\QUI\ML _MQOP\[ 1N I [\WVMÂ¼[ M`IK\ _MQOP\ IXXMIZ[ _Q\PQV \PM JWLa WN \PM LM[KZQX\QWV \PM [\WVM PI[ JMMV ]V UW]V\ML IVL _MQOPML Ja +) 4\L 1N \PM _MQOP\ WN a stone is stated to be approximate, the stone has been assessed by CA 4\L _Q\PQV Q\[ [M\\QVO IVL \PM LMÃ&#x2026;VML _MQOP\ Q[ I [\I\MUMV\ WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;) LQIUWVL ZQVO Ja @â&#x20AC;&#x2122;: When the makerâ&#x20AC;&#x2122;s name appears in the title, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion the piece is by that maker. â&#x20AC;&#x2DC;) LQIUWVL ZQVO [QOVML @â&#x20AC;&#x2122;: Has a signature that, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. â&#x20AC;&#x2DC;) LQIUWVL ZQVO UW]V\ML Ja @â&#x20AC;&#x2122;: Has been created by the RM_MTTMZ QV +PQ[_QKS )]K\QWV[Â¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZÂ¼[ UIZS NWZ @â&#x20AC;&#x2122;: Has a makerâ&#x20AC;&#x2122;s mark which in Chiswick Auctionsâ&#x20AC;&#x2122; opinion is authentic. Some items may include parts or products derived from endangered [XMKQM[ []KP I[ Q^WZa WZ KWZIT ;]KP Q\MU[ UIa JM []JRMK\ \W QUXWZ\ WZ M`XWZ\ ZM[\ZQK\QWV[ ;MM [MK\QWV WV +1<-; ZMO]TI\QWV[ NWZ UWZM LM\IQT[ 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and _Q\PW]\ LMNMK\[ WZ PI[ JMMV []JRMK\ \W ZMXIQZ WZ ZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for QUXWZ\ WZ M`XWZ\ X]ZXW[M[ QV IKKWZLIVKM _Q\P +1<-; ZMO]TI\QWV[ CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE =XPWT[\MZML N]ZVQ\]ZM IN\MZ ! According to The Furniture and Furnishings (Fire Safety) Regulations ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements

is deemed sold for purely aesthetic purposes.CA Ltd shall not be ZM[XWV[QJTM NWZ TI\MZ IT\MZI\QWV[ \W \PM N]ZVQ\]ZM UISQVO Q\ ]VÃ&#x2026;\ NWZ [ITM 9. GLOSSARY OF PICTURE CATALOGUING TERMS Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1 JMW Turner: 1V W]Z WXQVQWV I _WZS Ja \PM IZ\Q[\ ?PMV \PM IZ\Q[\Â¼[ forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. )\\ZQJ]\ML \W 25? <]ZVMZ" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja \PM artist, but less certainly as to the authorship expressed than in the preceding category. ;\]LQW WN 25? <]ZVMZ" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja IV unknown hand in the studio of the artist, which may or may not have been executed under the artistâ&#x20AC;&#x2122;s direction. +QZKTM WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QÃ&#x2026;ML but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. ;\aTM WNÂ°# .WTTW_MZ WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja I painter working in the artistâ&#x20AC;&#x2122;s style, but not necessarily his pupil. 6 Manner of JMW Turner: 1V W]Z WXQVQWV I _WZS QV \PM [\aTM WN \PM artist and of a later date. 7 After JMW Turner: 1V W]Z WXQVQWV I KWXa WN IVa LI\M WN I SVW_V work of the artist. 8 <PM \MZU Â»[QOVMLÂ¼ IVL WZ Â»LI\MLÂ¼ IVL WZ Â»QV[KZQJMLÂ¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV IZM NZWU \PM PIVL of the artist. 9 <PM \MZU Â»_Q\P [QOVI\]ZMÂ¼ IVL WZ Â»_Q\P LI\MÂ¼ IVL WZ Â»_Q\P QV[KZQX\QWVÂ¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated.

Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of â&#x20AC;&#x2DC;bindingâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;bindingsâ&#x20AC;&#x2122;. 12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM Ã&#x2026;TT TM^MT For the purposes of the present Terms and Conditions, the â&#x20AC;&#x2DC;Fill Levelâ&#x20AC;&#x2122; refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of IV Â»IKKMX\IJTMÂ¼ Ã&#x2026;TT TM^MT NZWU +) 4\L CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc. 13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyerâ&#x20AC;&#x2122;s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder.

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ ?PMV LMITQVO _Q\P )[QIV )Z\[ IVL UWZM [XMKQÃ&#x2026;KITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must JM I_IZM WN QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ QV IKKWZLIVKM _Q\P +1<-; Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QÃ&#x2026;KI\M[ UIa JM ZMY]QZML >MZQÃ&#x2026;KI\QWV TM\\MZ[ _QTT JM ZMY]QZML NWZ ZM M`XWZ\ WN _WZSML ZPQVWKMZW[ Q\MU[

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, []KP XZW^Q[QWV Q[ \W \ISM Mâ&#x20AC;«Ùºâ&#x20AC;¬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\ML WZ QUXIQZML I[ I ZM[]T\ 16. AMENDMENTS

.QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM Ã&#x2026;MTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQÃ&#x2026;ML [\I\MUMV\[ I[ \W \PM I]\PWZ[PQX WZ LI\M WN execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. 6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I Â»NWZOMZaÂ¼ Q[ LMÃ&#x2026;VML I[ I _WZS KZMI\ML _Q\P \PM QV\MV\ \W LMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[ IVL UIV][KZQX\[ [WTL I[ QVKWUXTM\M IZM VW\ []JRMK\ \W ZM\]ZV[

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ \PM JMVMÃ&#x2026;\ WN +) 4\L ITT JQLLMZ[ IVL [MTTMZ[ IOZMM \PI\ \PM +W]Z\[ WN -VOTIVL IZM \W PI^M M`KT][Q^M R]ZQ[LQK\QWV \W [M\\TM ITT LQ[X]\M[ IZQ[QVO QV connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

SPECIALISTS

ANTIQUITIES & TRIBAL ART Alice King, Head of Department alice.king@chiswickauctions.co.uk

JEWELLERY Sarah Duncan, Head of Department sarah@chiswickauctions.co.uk

ARMS, ARMOUR & MILITARIA Matt Easton, Specialist matt.easton@chiswickauctions.co.uk

Inez Flynn, Specialist QVMb ÆaVV(KPQ[_QKSI]K\QWV[ KW ]S

ASIAN ART Lazarus Halstead, Head of Department lazarus@chiswickauctions.co.uk Yasuko Kido, Japanese Art Specialist yasuko@chiswickauctions.co.uk CERAMICS & GLASS Dr. Jim Peake, Head of Department jim@chiswickauctions.co.uk DESIGN & INTERIORS Liz Winnicott, Head of Department liz.winnicott@chiswickauctions.co.uk

Lissa Holmes, Specialist lissa.holmes@chiswickauctions.co.uk MODERN DESIGN Bruce Addison, Head of Department bruce.addison@chiswickauctions.co.uk PHOTOGRAPHICA

Austin Farahar, Specialist austin.farahar@chiswickauctions.co.uk RARE BOOKS & WORKS ON PAPER

Clive Moss, Head of Department clive.moss@chiswickauctions.co.uk

Toby Roberts, General Valuer toby.roberts@chiswickauctions.co.uk

Dr. Carmen Donia, Specialist

DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department meg@chiswickauctions.co.uk

Valentina Borghi, Head of Sales - Autographs & Memorabilia

EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard, Head of Department rachael@chiswickauctions.co.uk FINE ART Adrian Biddell, Head of Department adrian.biddell@chiswickaucions.co.uk Suzanne Zack, Head of Sale - British and European Fine Art suzanne@chiswickaucions.co.uk Krassi Kuneva, Head of Sale - Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Melissa Van Vliet, Head of Sale - Old Masters melissa.vanvliet@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Department beatrice.campi@chiswickauctions.co.uk

carmen.donia@chiswickauctions.co.uk

valentina.borghi@chiswickauctions.co.uk RUGS & CARPETS Mark Henry Lampé, Head of Department mark.lampe@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers, Head of Department john.rogers@chiswickauctions.co.uk WATCHES Tomas Aznar, Specialist tomas.aznar@chiswickauctions.co.uk

SALE CALENDAR

MARCH

TUESDAY

Photographica

WEDNESDAY

Old Master Paintings

TUESDAY

Fine Oriental Rugs & Carpets

WEDNESDAY

Fine European Works of Art & Clocks

THURSDAY

Books & Works on Paper

APRIL

TUESDAY ,M[QOV 1V\MZQWZ[ QVKT]LQVO )â&#x20AC;«Ùºâ&#x20AC;¬WZLIJTM 4]`]Za

TUESDAY Antiquities & Tribal Art

TUESDAY Modern & Post-War British Art

WEDNESDAY Books & Works on Paper

Chiswick 27th March Works of Art and Clocks Covers.qxp_Layout 1 28/02/2019 16:02 Page 2

Chiswick 27th March Works of Art and Clocks Covers.qxp_Layout 1 28/02/2019 16:02 Page 1

Fine European Works of Art & Clocks 27 March 2019

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Fine European Works of Art & Clocks London 27th March 2019