Chiswick Auctions-WOA & Clocks - 12 Dec by Chiswick Auctions

Fine European Works of Art & Clocks 12 December 2019

Fine European Works of Art & Clocks London, 12th December 2019

European Works of Art & Clocks Department

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Fine European Works of Art & Clocks Thursday 12th December 2019, 2pm Full Sale & Viewing at Chiswick Saturday 7th December 11am - 5pm Sunday 8th December 11am - 5pm Monday 9th December 10am - 6pm Tuesday 10th December 10am - 6pm Wednesday 11th December 10am - 6pm Thursday 12th December 10am - 2pm Buyerâ&#x20AC;&#x2122;s Premium The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission. Cites Please be aware that all lots marked with the symbol Îť are subject to CITES regulations. Please see our Terms & Conditions for more information. Clock Movements 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 clock is in poor condition. Prospective buyers must satisfy themselves as to the condition of all lots Photography Steven McCauley Jordan Salzmann Darrell Russell Basak Ulukose

Front Cover Lot 5 Title Page Lot 53 Back Cover Lot 12

1 A 15TH CENTURY GOTHIC CARVED ALABASTER MODEL OF A LION possibly English, the reclining beast with left paw on a sphere, retaining traces of polychrome decoration, carved in the full round on an integral naturalistic base, 12cm long x 8cm high Nottingham in England became the centre of alabaster carving during the 15th century, where it was mined and then transported across Europe as far south as Spain and as far north as Iceland. £1,000-£1,500

2 A RARE 13TH CENTURY GOTHIC PERIOD CARVED AND POLYCHROME STONE FIGURE OF CHRIST BLESSING the standing figure carved in the full round, an orb in his left hand, his right raised in blessing, stood on an integral shaped base, with original polychrome decoration, 37cm high £2,500-£3,500 3 AN EARLY 16TH CENTURY FLEMISH POLYCHROME DECORATED AND CARVED OAK FIGURE OF A SOLDIER the standing figure wearing a plumed helmet, holding shield and sword, wearing a long blue cloak falling to the ground, carved with an integral base, 40cm high £2,500-£3,500

*See page one for information regarding fees

4 4 AN ITALIAN RENAISSANCE TERRACOTTA RELIQUARY BUST, PROBABLY 16TH CENTURY the young female saint or Virgin Mary with centrally parted hair flowing down her shoulders, wearing a gown with circular aperture to reveal the relic, now filled, the interior with an old red wax seal, the exterior later painted, 37cm high

The form of the present bust, modelled in the full round and cut at the shoulders was developed in the 15th century but probably derived from an ancient prototype. As well as religious and reliquary busts, portrait busts of particular patrons were produced for specific commissions, for example see the late 15th century terracotta portrait bust in the Metropolitan Museum, New York which depicts a young man, probably a member of the Medici family. Museum No. 41.100.239, which is of similar form to the present bust. Reliquary busts were also produced in carved wood such as oak and polychrome and gilt decorated, for example the reliquary bust of Saint Balbina, also in the Metropolitan Museum, which was produced in the South Netherlands ca. 1520-30. Museum No. 67.155.23 £5,000-£8,000 5 A LATE 15TH / EARLY 16TH CENTURY LOWER RHINE OR NETHERLANDISH POLYCHROME DECORATED LIMESTONE BUST OF THE VIRGIN the carved stone bust with original painted decoration (refreshed in some places), wearing a blue veil and red mantel, her eyes downcast and looking to sinister, later mounted on an ebonised plinth, 27cm high x 26cm wide The exaggerated facial features of the Madonna are reminiscent of the polychrome oak sculptures produced in the Lower Rhine in the early 16th century, with wide set, heavily lidded eyes. £4,000-£6,000 5A A LARGE 18TH CENTURY FLEMISH TERRACOTTA RELIEF OF THE VIRGIN DATED 1760 of oval form, depicted in profile wearing a veil, hand modelled and dated in the terracotta at the back ‘1760’ 55cm high x 40cm wide £3,000-£5,000

6 A 15TH CENTURY STAINED GLASS ROUNDEL DEPICTING THE MARTYRDOM OF SAINT SEBASTIAN, PROBABLY FLEMISH depicting the Saint tied to a tree and pierced by arrows the archer and a further figure beside him, in a lead surround, 22cm diameter £2,500-£3,000 7 A RARE 15TH CENTURY STAINED GLASS GLASS DEPICTING SAINT PETER, PROBABLY FLEMISH the saint enthroned and holding a large key, in lead border, 23cm diameter Auction Comparable: See Christie’s, Amsterdam, 15 December 2008, lot 94 for a similar stained glass panel depicting St James. £2,000-£3,000 8 A RARE AND IMPORTANT FIRST HALF OF THE 16TH CENTURY GERMAN ALABASTER RELIEF DEPICTING THE PIETA the Virgin in the centre supporting the dead body of Christ, a skull beneath her feet, flanked by Mary Magdalene and St John, with further figures behind and the symbols of the Passion, the complex background depicting the crucifixion cross flanked by the Good Thief and the Bad Thief on their crosses, with figures on horseback and others preparing the tomb, carved in high relief with a flat back, 59cm high x 39cm wide x 9cm deep £10,000-£15,000

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*See page one for information regarding fees

9 A PAIR OF ITALIAN 18TH CENTURY MARBLE RELIEFS DEPICTING CHRIST AND THE MOURNING VIRGIN IN THE MANNER OF ORAZIO MARINALI (ITALIAN, 1643-1720) the Baroque style busts of oval form, the Virgin Mary looking upwards with lips slightly parted, Christ with mouth open and long flowing hair, 49cm high (2) £5,000-£8,000 10 A PAIR OF 17TH CENTURY SICILIAN (TRAPANI) ALABASTER FIGURES OF SEATED NUDES derived from the antique Spinario, both the female and male figures seated on a tree stump attending to their feet, on shaped integral bases, 30cm high (2) £1,000-£1,500 10

A Private Collection of Early Bronzes

11 A LATE 16TH / EARLY 17TH CENTURY ITALIAN GILT BRONZE FIGURE OF DIANA THE HUNTRESS WITH A HOUND the standing nude with crescent moon diadem her seated hound at the ground beside her, with an integral shaped base, later applied on an ebonised, stepped plinth, the bronze 14cm high, 24cm high overall Provenance: Inherited by the present owner from a relative in Vienna. Please see the old photograph of the bronze in situ in a panelled room at the family property. Other examples of this small statuette have appeared at auction in recent years, but the model has not been attributed to a specific sculptor. The Mannerist proportions and spirally turned, contra-posto pose of the figure are features reminiscent of the work of the great Italian Mannerist sculptors Girolamo Campagna (1549-1625) and Tiziano Aspetti (1559-1606) both working in Venice in the late 16th century and early 17th century. Auction Comparables: See Christie’s, lot 221, 2 October 2013, catalogued as early 17th century and of similar size to the present bronze and lot 442, 7 July 2005 catalogued as late 16th / early 17th century, both in gilt bronze. £600-£800

*See page one for information regarding fees

12 12 WORKSHOP OF BARTHELEMY PRIEUR (FRENCH, 1540-1611): A RARE BRONZE FIGURE OF A WOMAN CUTTING HER NAILS, EARLY 17TH CENTURY the nude seated on a draped stool and cutting the nails on her right foot, seemingly a solid cast, unfinished, 9.2cm high This intimate and touching bronze appears to be unfinished and is perhaps a working model. A finished cast of this statuette is now in the National Gallery of Art, Washington (Samuel H. Kress Collection, 1957.14.24). The finished cast is a hollow cast, produced using the in-direct lost wax method, but with solid head, arms and lower legs which were probably formed free hand and joined to the rest of the figure. The three feet of the stool visible in our bronze have been removed from the finished cast, and without these feet the present bronze is the same size as the finished example. There is the remains of a sprue hole visible at her right hip and other small lumps of bronze such as at the end of the right foot which would have been removed and finished in the final cast. The bronze has been patinated and there are traces of black lacquer remaining over a mid brown patination which is consistent with Prieur’s bronzes. Prieur and his workshop were known to have produced solid cast bronzes, for example that ‘Man Carrying a Child’ (The Blind Orion Guided by Cadalion) in the Metropolitan Museum, New York (Inv. No. 24.212.12). Provenance: Private UK Collection. £800-£1,200 13 ATTRIBUTED TO THE WORKSHOP OF NICOLO ROCCATAGLIATA (ITALIAN, 1575-1625): AN EARLY 17TH CENTURY BRONZE FIGURE OF A PUTTO the winged putto standing a contra posto, holding a cross and raised on a small square base, with remains of gilding, raised on an alabaster rectangular plinth inscribed ‘IHS’, the bronze 15.5cm high, overall 17cm high Provenance: A private UK Collection. This small bronze of a putto can be attributed to the workshop of Roccatagliata based on its similarity to another gilt bronze putto now in the Museum Boijmans Van Beuningen, Rotterdam. Although our putto has lost part of his wings, they are delineated in the same way as the museum bronze, the sash and knotted drapery have been treated in the same manner and the pose, proportions and the long curly hair are all comparable. Roccatagliata is well known for his production of bronze putti in various poses and activities, from carrying dogs to playing musical instruments. £300-£500

14 A 17TH CENTURY GILT BRONZE FIGURE OF VENUS WITH A DOLPHIN TOGETHER WITH THREE FURTHER FIGURES Venus resting her left hand on the tip of the dolphin’s tail, on an integral bronze base raised on a rectangular marble plinth, 12cm high overall, an 18th century Flemish carved boxwood figure of the Virgin trampling a snake, on an ebonised cylindrical plinth, 19cm hgih overall, an 18th / 19th century polychrome decorated carved wood figure of the Virgin and Child, and a 19th century gilt bronze figure of Mercury after Giambologna, on an ebonised plinth 35cm high, (4) £300-£500

15 A SMALL LATE 16TH / EARLY 17TH CENTURY ITALIAN GILT BRONZE FIGURE OF ST JOHN THE BAPTIST TOGETHER WITH A 17TH / 18TH CENTURY FIGURE OF ST SEBASTIAN the figure of Saint John the Baptist holding a cross in his right hand and a lamb in his left, raised on a stepped ebony plinth, the figure of Saint Sebastian in silver gilt, tied to a boxwood tree and with arrow holes to his body, wearing a perizonium, raised on an ebonised plinth with gilt dolphin feet, with inventory number below, 11cm high and 15cm high overall respectively, (2) £200-£300

16 A PAIR OF 19TH CENTURY BRONZE RELIEFS DEPICTING NUDE MAIDENS of oval form, each depicted half length and with long flowing hair, mid brown patination, mounted in gilt bronze moulded frames with hanging loops over, together with a lead figure of a young woman yawning and stretching, the reliefs 21cm high, the lead figure 13.5cm high (3) £200-£300

Other properties 17 A LATE 17TH / EARLY 18TH CENTURY GERMAN GILT BRONZE FIGURE OF FORTUNA the nude figure in mid step, her left leg raised and balanced on the toes of her right, her arms raised and supporting her flowing drapery, raised on an ebonised, stepped plinth base, the figure 30cm high, 35cm high overall £3,000-£5,000

18 CIRCLE OF NICCOLO ROCCATAGLIATA (ITALIAN, 1593-1636): A LATE 16TH CENTURY / EARLY 17TH CENTURY VENETIAN BRONZE FIGURE OF VICTORY the figure in mid step and with left arm outstretched, holding a laurel wreath in the other hand, with wings outstretched, dark brown patination, raised on a later solid ebony plinth, the bronze 23cm high, overalll 26cm high £3,000-£5,000

*See page one for information regarding fees

19 CIRCLE OF LORENZO VACCARO (ITALIAN, 1655-1706): A 17TH CENTURY GILT BRONZE FIGURE OF SAINT MICHAEL DEFEATING THE DEVIL portrayed in a dynamic Baroque pose, brandishing his sword in his right hand and raised on his left foot, his right leg extended behind, wearing an antique cuirass and helmet, previously gilded, the areas of skin now revealing the brown patination of the bronze below, raised on an associated rectangular alabaster plinth, the bronze 28cm high The form of this bronze is derived from Vaccaro’s silver and bronze figure of the same theme made between 1685 and 1700 and now in a private collection but known through photographs. Related Literature: “St Michael Defeating the Devil by Lorenzo Vaccaro: A sculpture to intercede for the souls of several important owners”, Journal of the History of Collections, Vol. 30, Issue 1, 2018, pp. 113- 125. £4,000-£6,000

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20 WORKSHOPS OF GIANLORENZO BERNINI (ITALIAN, 1598-1680): AN IMPORTANT THIRD QUARTER 17TH CENTURY ROMAN GILT BRONZE FIGURE OF CRISTO MORTO the Corpus Christi wearing a flowing perizonium, his eyes closed and head down-tured, later mounted on a perspex stand, 43.5cm / 17 ¼ inches high Provenance: European private collector, London; By whom gifted to the present private collection, England Related Literature: Roberto Battaglia, Crocifissi del Bernini in S. Pietro in Vaticano, Rome, 1942; Rudolph Wittkower, Gian Lorenzo Bernini, The Sculptor of the Baroque (London: Phaidon, 1966), pp. 229- 30, fig. 79 WITH THANKS TO DR CHARLES AVERY FOR HIS ASSISTANCE WITH CATALOGUING THIS LOT. This fine gilt bronze figure of the dead Christ crucified on the cross (Cristo morto) is related to two crucifixes of the dead and living Christ, which in 1657 Pope Alexander VII Chigi (1655-67) commissioned Bernini to produce in order to decorate the side aisle altars of St Peter’s. Twenty-three of these crucifixes are still in situ at St Peter’s today on their original crosses, eighteen of the living version (Cristo vivo) and five of the dead Christ. Although the original model for the Cristo morto (presumably a drawing or terracotta figure) was made by Bernini, documents published by Roberto Battaglia in 1942 (op. cit.) reveal that the wax models for the crucifixes were made in 1658 by his studio assistant, the sculptor Ercole Ferrata (1610-86), and then, under Bernini’s supervision, 10

cast in bronze twenty-five times by the specialist founder Paolo Curieri, after which each figure was individually chased and finished by Bortolomeo Cennini. At the end of 1660 the casts for St Peter’s were finished; the moulds for both types of crucifix, however, are listed in the inventory of Ferrata’s studio after his death (see Wittkower, p. 229), so it is possible that some casts were produced after 1660, for other patrons.The present bronze is clearly based on the same model as the Cristo Morto crucifixes in St Peter’s, exhibiting the same downturned emaciated head, with sharp brows and a long chin ending in a pointed beard, long arms extending above the head, thin torso with a gushing, bleeding wound on the right side of His chest, and wearing a windswept loincloth (perizonium) swirling in a downward direction to His left. Like the present bronze, all of the crucifixes in St Peter’s, as well as several other casts based on the same model, measure approximately 43.5 centimetres. The casting and finishing, however, differ from piece to piece, which lends each figure its individual character. According to Wittkower, (op. cit., p. 229) Bernini often eschewed pronounced anatomical details in favour of the ‘tense energy’ and ‘vitality’ which can be seen in an earlier model he made of the Cristo morto, the large crucifix for King Philip IV of Spain (c.1654: Escorial, Sacristy of the Colegio, fig. 3). Indeed, other contemporary bronze figures made in Bernini’s Roman workshops, such as the Countess Matilda of Tuscany (c.1634: Melbourne, National Gallery of Victoria) and the Risen Christ (c.1673-74: Walters Art Museum, Baltimore,), also exhibit a lack of concern for minute anatomical detailing, for Bernini was a sculptor by training and not a small bronze specialist or goldsmith. This, together with the fine gilding and appropriate age-related wear, lead to the conclusion that the present figure is likely to be a contemporary cast based closely on Bernini’s original design, made in his bronze workshops in Rome in the third-quarter of the seventeenth century. £8,000-£12,000

*See page one for information regarding fees

21 A PAIR OF SECOND HALF 17TH CENTURY ITALIAN (ROME) GILT BRONZE WINGED CHERUBS IN FLIGHT each wearing a sash securing flowing drapery, their wings separately cast and each secured with a single screw, their backs hollow, raised on later white veined, black marble, stepped square plinths, the putti 24cm high, 43.5cm high overall (2) WITH THANKS TO DR CHARLES AVERY FOR ASSISTANCE WITH CATALOGUING THIS LOT. Provenance: Property of a private collector, England Related Literature: Alessandro Angelini, Gian Lorenzo Bernini e I Chigi tra Roma e Siena (Cinisello Balsamo, Milan 1998), p. 146, figs. 144-45; Boudon–Machuel, François du Quesnoy, 1597-1643, Paris 2005, pp. 141-46, figs 142-44 ; pp. 247-49, pls. Fig. 140; Oreste Ferrari and Serenita Papaldo, Le sculture del Seicento a Roma (Rome, 1999), p. 320; Jennifer Montagu, Gold, Silver and Bronze: Metal Sculpture of the Roman Baroque, (New Haven & London, 1996), pp. 12-13, fig. 18; Rudolph Wittkower, Gian Lorenzo Bernini, The Sculptor of the Baroque (London, 1966), pls. 44-45 Notes: Flying cherubim became one of the favourite motifs of the Baroque in Rome, often inspired by the need to lighten the sombre mood of images of cruel martyrdoms that were so emphasised in the imagery of the CounterReformation. Originated there by Algardi, Bernini and Duquesnoy, they rapidly became standard features in the repertory promulgated by their followers of the second generation. For instance, in the Algardian interior decoration of the church of Sant’Agnese in Agone that dominates Piazza Navona, Ercole Ferrata master-minded from 1658 eight enormous marble reliefs with ‘angioletti’ set around the entrance of the church bearing the symbols of the martyrdom of the name-saint. During the 1660s he and others modelled the angels in four semi-domes hovering above the huge marble side-altars of Saints Alessio, Emeranzia and Eustace, while Antonio Raggi did the one dedicated to St Cecilia. Furthermore, when it came to the High altar itself, an enormous marble relief of The Holy Family on the return from Egypt, a multitude of cherubim in

mid-air pluck dates to feed them from a palm-tree (1673-76) Meanwhile Bernini, an addict of putti and cherubim, aided by his followers and a host of silversmiths working to his designs, was producing just as many little angels in metalwork for the successive popes, Urban VIII (Barberini) and Alexander VII (Chigi). Wonderfully plump and alive are the marble babies held as attributes in the arms of successive statues of Charity on the tombs of these popes in St Peter’s. Putti abound amidst the trails of foliage round the ‘barley-sugar’ columns of Bernini’s Baldacchino (1) in St. Peter’s of 1624-30, some more or less flying, as in the present instance. Then in 1657, Bernini designed a hanging lamp (2) with three flying putti holding up a crown bearing the 8-pointed stars of the Chigi, for their family chapel in Santa Maria del Popolo: this was cast in bronze and gilded by Peter Verpoorten (1656-7, 3). These dangling putti were much replicated, and from this view the respective poses are not unlike those of the present pair of putti.François Duquesnoy, the Flemish immigrant among the triumvirate of founders of Baroque sculpture, secured himself the epithet of ‘the master of the putti’, which indicates how highly his babies - with their charming expressions, uncannily soft-looking infant skin and wispy hair - were regarded. Characteristic are a pair sadly and respectfully raising a curtain over the epitaph of Ferdinand van den Eynde, in Santa Maria dell’Anima. He could work the same magic in three dimensions in bronze, as in a flying Cupid meant to be accompanying a Mercury (Copenhagen).From a volume of drawings belonging to the Barberini, Jennifer Montagu illustrates a silver mirror-frame made by Michele Strinati in 1660, in which the two angels (or cupids) at either side are composed in twisted positions looking away from the frame and each other, just like those of the present pair, writing: ‘Almost certainly this exceptionally large mirror in its luxurious frame with its frolicking putti was a wedding-present for Lorenzo Onofrio Colonna’s wedding to one of the most intriguing women of the Roman Seicento [Maria Mancini, in 1661]’. References: 1. Charles Dempsey, Inventing the Renaissance Putto (Chapel Hill and London, 2001), passim. 2. Oreste Ferrari and Serenita Papaldo, Le sculture del Seicento a Roma, Ugo Bozzi (Rome) 1999, p. 320. 3. See also Rudolph Wittkower, Gian Lorenzo Bernini, The Sculptor of the Baroque (London: Phaidon, 1966), pl. 44-454. Alessandro Angelini, Gian Lorenzo Bernini e I Chigi tra Roma e Siena, Cinisello Balsamo, Milan 1998.5. Boudon–Machuel, François du Quesnoy, 1597-1643, Paris 2005, p. 63, fig. 48.6. Jennifer Montagu, Gold, Silver and Bronze: Metal Sculpture of the Roman Baroque, New Haven & London, 1996, pp. 12-13, fig. 18. £4,000-£6,000

22 A LARGE 17TH CENTURY FLEMISH OAK CARYATID FIGURE the floorstanding figure carved in the round, with a basket of fruit including grapes, apples and pomegranates raised on her head, her drapery falling in folds to the ground, raised on a later square oak base, 136cm high £6,000-£8,000 23 A 16TH / 17TH CENTURY SPANISH COLONIAL CARVED AND PAINTED WOOD FIGURE OF CHRIST the Corpus Chrsti from a crucifixion, now lacking arms, retaining traces of paint, 43cm high Provenance: Acquired in Mexico. £200-£300 24 A BRONZE CORPUS CHRISTI IN THE MANNER OF ALESSANDRO ALGARDI (ITALIAN, 15981654), PROBABLY 19TH CENTURY the figure of Cristo Vivo with mouth and eyes open, wearing a perizonium, with holes to the hands and feet to mount on a cross, 52cm high

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The model for this bronze Corpus was previously attributed to Bernini but has since been convincingly attributed to Algardi by Jennifer Montagu. £800-£1,200 *See page one for information regarding fees

25 A 19TH CENTURY BRONZE CORPUS CHRISTI ON EBONISED CRUCIFIX wearing a rope tied perizonium, traces of gilding to the face, raised on a cross with ebony shaft and ebonised stepped base, the Christ 38cm high, the cross 78cm high £400-£600 26 A 19TH CENTURY BYZANTINE STYLE BRONZE CORPUS CHRISTI from a crucifix, the hair, beard and ribs clearly delineated, cast in high relief with a hollow back, 28cm high £300-£500 27 λ A 17TH CENTURY ITALIAN IVORY AND EBONY CRUCIFIXION SCENE the Corpus Christi figure of Cristo Vivo with eyes open and head looking up, wearing the crown of thorns and with a rope tied perizonium, raised on an ebony cross over a rectangular plinth on a shallow bronze base, with an ivory cartouche above inscribed ‘INRI’, and an ivory figure of the Virgin Mary kneeling at the base, her mouth open revealing carved teeth within, her arm and part of her left side detachable to fit around the cross, her left hand grasping the other edge of the cross, 64cm high £2,000-£3,000 27 13

28 λ A 19TH CENTURY NEO-GOTHIC CARVED IVORY FIGURE OF THE VIRGIN AND CHILD the standing figure with S shaped Gothic pose, wearing a pierced foliate crown and a mantel which the Christ Child holds in his right hand, he holds an orb in his left, her drapery falling in complex folds to the ground and revealing her feet in pointed shoes, with remains of polychrome decoration and gilding, raised on a later square marble plinth, the ivory 22cm high £800-£1,000 29 λ AN 18TH CENTURY INDO-PORTUGUESE (GOAN) IVORY FIGURE OF SAINT ANTHONY OF PADUA HOLDING THE INFANT CHRIST the standing figure holding the Christ Child in his right hand, Christ holding an orb and raising his hand in blessing, traces of gilding to the hood and paint around the hair and other recesses, 17cm high £500-£1,000 30 λ A 16TH / 17TH CENTURY SPANISH / PORTUGUESE COLONIAL CARVED AND PAINTED IVORY CORPUS CHRISTI the figure of Christ with eyes open, wearing a perizonium, the beard and hair painted naturalistically, from a crucifix, possibly Goan or Ceylon, 22.5cm high £500-£800

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*See page one for information regarding fees

32 31 31 A 19TH CENTURY NORTH EUROPEAN SILVER GILT, ROCK CRYSTAL AND IVORY RELIQUARY OF SAINT SIMON THE ZEALOT the silver gilt Gothic style niche surmounted by an arched canopy with rock crystal faceted finial atop, with rock crystal columns, raised on a square pierced base set with cabochons, the ivory figure of St Simon holding a saw, with traces of green decoration and gilding, with import marks for London 1925, 17cm high £1,500-£2,000 32 A 17TH CENTURY ITALIAN GILT BRONZE RELIEF DEPICTING THE ASCENSION OF CHRIST of rectangular form, the risen Christ appearing in the sky flanked by clouds and a pair of angels, with various figures below, a town in the background, 15.5cm wide x 13cm high £1,500-£2,000 33 A 16TH CENTURY ITALIAN BRONZE MEDALLION DEPICTING CHRIST AND THE CRUCIFIXION the medal depicting Christ in profile, inscribed ‘EGO SVM VIA VERITAS ET VITA’, the reverse with a relief of the Crucifixion in the manner of Guglielmo della Porta, pierced, 8.5cm diameter £1,800-£2,200 34 A 19TH CENTURY DUTCH SILVER MOUNTED VELVET BAG the velvet purse with silver mounts depicting various figures, with a ring handle above and a relief depicting a courting couple to the belt hook, marked R PS and WT to the hook, 31cm high £300-£500

36 35 AN 18TH CENTURY FRENCH LEAD MODEL OF TWO PUTTI PLAYING WITH A GOOSE the two boys wrestling with the goose, modelled in the full round and on a naturalistic integral base, 25cm high £2,000-£3,000 36 AFTER FRANCESCO FANELLI (ITALIAN, 1577-1657): A 19TH CENTURY BRONZE FIGURE OF THE INFANT HERCULES WRESTLING TWO SERPENTS the young Hercules with a serpent in each hand, a solid cast raised on an integral square base, 22cm high £300-£500 37 LOUIS-SIMON BOIZOT (FRENCH, 1743-1809): AN EARLY 19TH CENTURY TERRACOTTA MODEL OF VENUS AND CUPID ENTITLED ‘LA CURIOSITE’ depicting Venus pulling back drapery to reveal the crouching putto beneath, and a nest with two doves, Venus with flowing drapery and seated on a rocky crop, the integral base inscribed ‘LA CURIOSITE’ and ‘Boizot’, 24cm high Boizot was director of the sculpture workshop at the Manufacture nationale de Sèvres from 1773-1800, producing works in terracotta that were reproduced in white un-glazed biscuit porcelain designed to look like marble. The present group was reproduced in biscuit porcelain by the Sevres factory under his direction. Boizot’s hard paste porcelain group of Charity, also produced by the Sevres factory, is now in the Getty Museum. £500-£800

38 A SMALL BRONZE OIL LAMP IN THE MANNER OF ANDREA RICCIO (ITALIAN, 1470-1532) modelled as the head of a satyr, a scrolling handle at the back and a hinged lid to the crown of his head, with silvered eyes, on a circular base, 7.5cm high A similar example from the early 16th century is in the Ashmolean Museum, Oxford. £200-£300

*See page one for information regarding fees

39 AN 18TH CENTURY ITALIAN MARBLE BUST OF A NOBLEWOMAN depicting in the ancient style, her drapery pinned at the shoulder, her hair centrally parted and arranged in a chignon, on a spreading rectangular plinth, 25cm high £2,500-£3,500 40 AFTER ALESSANDRO ALGARDI (ITALIAN, 1598-1654): A CLAY HEAD OF ST PIERRE INSCRIBED ‘ETIENNE FILS 1818’ the bearded saint with furrowed brow and flowing curly hair, the reverse inscribed ‘St Pierre 1818 Etienne fils’, 24cm high £600-£800 41 A SMALL 17TH / 18TH CENTURY ITALIAN MARBLE BUST OF A ROMAN EMPEROR the head carved in white Carrara marble with full head of hair and beard, the torso in coloured marble, wearing a toga, the back rusticated, raised on a later Verde Antico marble cylindrical plinth, 30cm high overall £1,200-£1,800 42 A LATE 19TH CENTURY PAINTED PLASTER BUST OF A BISHOP, POSSIBLY SAINT AUGUSTINE wearing a Bishop’s mitre and ecclesiastical vestments, looking downwards and slightly to dexter, raised on a stained wood plinth, 50cm high Provenance: Reputedly from St Augustine’s Abbey, Ramsgate, which was built by the important architect and designer Augustus Pugin. £300-£500

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43 A 17TH CENTURY FLEMISH (FLANDERS) BRASS SIX LIGHT CHANDELIER the central stem surmounted by a trefoil suspension loop over a domed ceiling rose, the baluster, knopped and ringed stem with decorative borders of stamped circles, with a dot numbered disc issuing six decorative floral scrolling branches, above the main disc issuing the six scrolling branches terminating in circular drip pans and urn shaped nozzles, also dot marked, later drilled for electricity, 53cm high overall £2,500-£3,500 44 A SMALL 18TH CENTURY ITALIAN BAROQUE STYLE SILVERED BRASS MIRROR the toilette mirror of arched form, the corners with laurel leaf mounts, with a pair of acanthus wrapped feet to the base, with hook at the back for hanging on the wall, 42cm high £300-£500

45 A FINE SECOND QUARTER 19TH CENTURY FRENCH ROSEWOOD, SATINWOOD, GILT BRONZE MOUNTED AND PAINTED WRITING BOX BY SUSSE PAPETIER, PARIS of rectangular form, the inset satinwood hinged lid with brass escutcheon and ormolu foliate handle, the sides of the box with miniature painted panels depicting Jardin du Palais royal, Parc de Monteaux, Lacs du bois de Boulogne, Vue Generale du St Cloud, the interior with red leather letter holder with paper label inscribed ‘SUSSE Papetier Passage des Panoramas, No. 7 a Paris’, 27cm wide Nicolas Susse and his brother Victor Susse, a paper merchant, founded the fine stationers ‘Susse Papetier’ in 1806, and were based at 7 Passage des Panoramas from 1806. Here, according to Montigny, they sold ‘mechanical screens, nice souvenirs, chests, writing desks, secret desks, boxes for business cards’. In 1827 they opened a second store 31 rue Vivienne on the Place de la Bourse. £300-£500 46 AN 18TH CENTURY RUSSIAN WHITE METAL FILIGREE CASKET of domed rectangular form, with filigree decoration of scrolling tendrils on a red velvet ground, the interior void, 18cm wide x 9cm high £800-£1,200 *See page one for information regarding fees

47 A FINE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD BRONZE FIGURE OF THE VENUS CALLIPYGE, AFTER THE ANTIQUE the standing goddess removing her drapery to reveal her behind, raised on a plinth modelled as a fountain, with bearded mask to the front emitting a gilt stream of water, flanked by a pair of swans, 56cm high £2,000-£3,000 48 AFTER PIERRE I LEGROS (1629-1714): A LATE 18TH / EARLY 19TH CENTURY FRENCH BRONZE GROUP OF SILENUS, PAN AND A NEREID ‘THE DRUNKEN SILENUS’ the drunken figure of Silenus supported by the nude Nereid and Pan, a tambourine at his feet, on a naturalistic integral base, dark brown patination with brassy high points, raised on a later black marble circular plinth, the bronze 18.5cm high, 23.5cm high overall Museum Comparable: An example of this bronze is in the Wallace Collection, London. The Wallace Collection note that the composition derives from early 17th century drawings by Sir Peter Paul Rubens but that the bronze is likely to have been cast in the workshops of Pierre Legros. Auction Comparable: A near identical figure of the same size and also catalogued as late 18th / early 19th century was sold at Christie’s, Amsterdam, 22 September 2009, lot 68. £1,000-£1,500 49 AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A 19TH CENTURY BRONZE FIGURE OF MERCURY leaping on a gust of wind from the mouth of the God of Wind, Boreas, holding his caduceus in his left hand, on a black marble and relief cast plinth, 66.5cm high £600-£800 49 19

50 A LATE 19TH CENTURY ITALIAN ALABASTER FIGURAL GROUP OF VENUS AND CUPID IN THE MANNER OF CANOVA in the Neo-Classical style, depicting Venus nude reclining on a sofa, embracing the figure of Cupid beside her, raised on a rectangular base with egg and dart border, 40cm wide x 24cm high £600-£800

51 A LATE 19TH CENTURY ITALIAN ALABASTER FIGURE OF AN ODALISQUE the seated nude figure wearing roses in her hair and a headdress, looking back over her right shoulder and raised on a base carved with drapery and a feathered fan, with canted edges, 36cm high x 29cm wide £500-£800

52 A WHITE MARBLE FIGURE OF A SLEEPING PUTTO IN THE STYLE OF FRANCOIS DUQUESNOY (FLEMISH, 1597-1643) the reclining baby laying on drapery and holding a scythe and ears of wheat, on an integral shaped base, unsigned, 54cm wide x 39cm high £1,500-£2,000

*See page one for information regarding fees

53 AFTER ANTONIO CANOVA (ITALIAN, 1757-1822): A FIRST HALF 19TH CENTURY MARBLE BUST OF THE VENUS ITALICA her hair arranged in an elaborate coiffure, looking to sinister, raised on a later cylindrical socle, 65cm high £5,000-£8,000

54 AN EARLY 19TH CENTURY FRENCH TERRACOTTA BUST OF A VESTAL VIRGIN hand modelled, wearing a headdress with a laurel crown atop, her eyes downcast, with bronze patinated surface, raised on later coloured marble cylindrical socle, 67cm high £500-£800

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55 AFTER THE ANTIQUE: A LATE 19TH CENTURY ITALIAN MARBLE FIGURE OF THE SPINARIO the nude male figure seated on a rocky mound, removing a thorn from his foot, on a circular base, with brass retailers disc fitted to the back, inscribed ‘BELLMAN, IVEY & CARTER, NEW BOND STREET, BY APPOINTMENT TO THE QUEEN’, 37cm high £1,000-£1,500 56 AFTER THE ANTIQUE: A LARGE LATE 19TH CENTURY FRENCH BRONZE FIGURAL GROUP OF THE WRESTLERS the nude wrestling figures on a naturalistic rectangular base, signed ‘MUSEE DE FLORENCE’ and with ‘BLANCHET FONDEUR PARIS’ foundry stamp, dark brown patination, 42cm high x 47cm wide The original Roman marble of this group is in the Uffizi Collection, Florence. £2,000-£3,000 57 PAUL DUBOIS (FRENCH, 1829-1905): A PAIR OF BRONZE FIGURES OF MAIDENS depicting Ceres, allegorical of Summer and a Bacchante representing Winter, both in long flowing drapery, on circular bases over Belgian slate plinths with gilt bronze edges, signed ‘Dubois’ 57cm high (2) £600-£800

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*See page one for information regarding fees

58 A LATE 17TH / EARLY 18TH CENTURY ITALIAN BRONZE CARYATID FIGURE OF MERCURY wearing his winged hat and holding a purse in his left hand, his drapery secured by a sash tied across his body, terminating in a tapering support with trailing bell flowers and acanthus leaves to the base, the back hollow and with initials ‘HPR’, probably a mount from a piece of furniture, 24.5cm high £300-£500 59 AFTER THE ANTIQUE: A LARGE FIRST HALF 20TH CENTURY BRONZE FIGURE OF THE VENUS DE MILO dark brown patination with copper tones below, on a shaped rectangular plinth, 88cm high £400-£600 60 AFTER THE ANTIQUE: A LARGE 19TH CENTURY BRONZE FIGURE OF THE BORGHESE GLADIATOR the nude male in dramatic pose, mid brown patination, raised on a Belgian black marble rectangular plinth, 58cm high x 60cm wide £1,200-£1,800 61 AFTER CLAUDE MICHEL CLODION (1738-1814) A LARGE 19TH CENTURY FRENCH BRONZE FIGURE OF A MAIDEN CARRYING A BABY SATYR the nude maiden with the baby satyr on her shoulder, on an oval base cast with a tree stump, signed ‘Clodion’, dark brown patination, 76cm high £800-£1,200

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63 62 A 19TH CENTURY ENGLISH STAINED GLASS TRIPTYCH WINDOW DEPICTING THE NATIVITY the three arched panels in later rectangular frames, the Virgin kneeling beside the Christ Child to the centre, surrounded by the shepherds, each panel 127cm high x 45cm wide, the frames 137cm high x 54cm wide £1,500-£2,000

63 A 19TH CENTURY ENGLISH STAINED GLASS PANEL DEPICTING THE GOOD SHEPHERD ATTRIBUTED TO CHARLES EAMER KEMPE (1838-1907) of rectangular form, Christ with a halo and holding a staff and a lamb, within a border featuring decorative pearl beading, in a later ebonised, stained wood frame, 93cm high x 60cm wide The delicately painted pearls visible in the present example feature in many of Kempe’s stained glass windows, for example his detail of St Dorothy, at Staplefield. Other examples of his work can be found at Wightwick Manor, near Wolverhampton, now managed by the National Trust. £600-£800

64 A FINE 18TH CENTURY FRENCH SILK, GOLD AND SILVER THREAD CHASUBLE PANEL CIRCA 1730-40 the ecclesiastical vestment with white woven silk ground backed with canvas and mounted on a coral pink silk lining, embellished with embroidery of Rococo style scrolls, foliage and trellis work worked in gold and silver thread, applied in techniques of couching and laidwork to create different textures, with flowers including roses, carnations, violets, pansies and tulips, worked in coloured silks in shaded long and short stitch, paillettes (gold sequins) feature in the lower section of the design, with a border of two laid gold threads, 98cm high x 63cm wide £600-£800 *See page one for information regarding fees

65 A RARE 17TH CENTURY ITALIAN SCAGLIOLA PANEL DEPICTING SAINT FRANCIS of rectangular form, the Saint depicted holding a crucifix, inscribed below ‘Ss. ANDREAS. AVELLI.s’, within a floral border of tulips and other flowers, in a black ground, 27cm high x 22cm wide £1,500-£2,000 66 A FINE 19TH CENTURY ROMAN MICROMOSAIC PANEL DEPICTING A FLORAL SPRAY BY CESARE ROCCHEGGIANI, ROME of circular form, depicting roses and pansies set in a black ground, in original gilt bronze circular frame with pierced C scroll border, the reverse with silk backing with gilt lettering signed ‘C. ROCCHEGGIANI ROMA’, 34cm diameter Cesare Roccheggiani was a master mosaicist employed at the Vatican workshops from 1856 to 1864. Once he had built his reputation he set up his own workshops at 125 Via Babuino and then, by 1874, at 14 & 15 Via Condotti. Although there were numerous micromosaic workshops established in Rome, Rocceggiani’s was one of the most highly regarded and specialised in very large scale works which were extremely costly and time consuming to produce. An example of his work in the Victoria and Albert Museum, on loan from the Rosalinde and Arthur Gilbert Collection, Museum No. GILBERT.9552008. A very large micromosaic by Roccheggiani depicting the Roman Forum was sold at Christie’s, London, 2 December 2014, lot 109, £290,500. £4,000-£6,000 67 A LARGE EARLY 19TH CENTURY FRENCH CARRARA MARBLE FIGURAL MANTEL CLOCK depicting a mourning Vestal Virgin at an altar, the standing figure leaning against an ormolu mounted urn, a flaming torch beside, wiping her tears away with her veil, raised on a stepped plinth base, the silvered clock dial with Roman numerals, the twin train movement with silk suspension striking on a bell, with pendulum, 57cm high £4,000-£6,000

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68 A PAIR OF LATE 19TH CENTURY MARBLE PORTRAIT RELIEFS IN GILTWOOD FRAMES of oval form, each carved in relief depicting a gentleman and lady in profile, mounted in giltwood and gesso glazed frames in the manner of Fournier, with ribbon-tied rope twist frames, 59cm high (2) £800-£1,200 68

69 69 A PAIR OF 19TH CENTURY SEVRES BISCUIT PORCELAIN AND GILT BRONZE MOUNTED FIGURAL CANDELABRA AFTER THE MODEL BY ETIENNE-MAURICE FALCONET (FRENCH, 1716-1791) each modelled as a pair of nude nymphs, their hair arranged with plaits and centred by a classical pedestal with rams mask mounts and draped with roses, raised on circular base, the undersides with impressed Sevres marks, each holding a central ormolu, acanthus wrapped stem issuing three upward scrolling branches terminating in beaded drip pans and with leaf cast, urn shaped nozzles, centred by a ribbon tied fluted shaft with flaming finial, 64cm high (2)

70 70 A PAIR OF VERY LARGE EARLY 20TH CENTURY FRENCH WHITE GLAZED TERRACOTTA CHINESE FIGURES SEATED ON PLINTHS depicting a Chinese lady with a fan and a gentleman wearing a hat, each seated on a cushion and raised on a plinth comprising two sections, later white painted over the original white glaze, 188cm high (2) Auction Comparable: A pair of identical figures were at Christie’s New York, 23 April 2004, 186. £1,500-£2,000

Related literature: H.Ottomeyer, P.Pruschel, ‘Vergoldete Bronzen’, Munich, 1986, vol.I, p.254, fig 4.7.1). Auction Comparable: See Christies, London, 5 April 2005, lot 318. £1,500-£2,000

*See page one for information regarding fees

71 A PAIR OF FIRST HALF 20TH CENTURY CHIPPENDALE STYLE GILTWOOD AND GESSO GIRANDOLES the mirror frames of scrolling asymmetric design formed as acanthus leaves and enclosing the mirror plates, each with a pair of foliate scrolling lights, the branches terminating in candle nozzles fitted for electricity, 114cm high x 43cm wide (2) £600-£800

72 A PAIR OF LATE 19TH CENTURY GILT BRONZE GIRANDOLE MIRRORS in the Renaissance Revival style, the rectangular frames surmounted by crests with bearded masks amongst foliage, enclosing the bevelled glass mirror plates, with a female mask at the base issuing three upward scrolling, acanthus wrapped branches terminating in urn shaped candle nozzles, 55cm high (2) £300-£500

73 A LARGE PAIR OF FLOOR STANDING SPECIMEN MARBLE OBELISKS decorated throughout with various marbles and hard stones in a Belgian marble surround, including malachite, Verde Antico and onyx, on rectangular plinth bases, 120cm high £1,500-£2,000

74 A LARGE PAIR OF 19TH CENTURY AND LATER GILT BRONZE CANDELABRA the fluted shafts on acanthus cast bases over cylindrical fluted plinths hung with flora garlands, the underside to one stamped ‘ABBOTT’, the foliate capitals later drilled to each fit four leaf wrapped branches and a fifth central branch, all with urn shaped nozzles and beaded drip pans, with flaming snuffers to the central sconces, the bases drilled but the whole not fitted for electricity, 72cm high (2) £400-£600

75 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE AND CLOISONNE ENAMEL CANDELABRA in the manner of Barbedienne, the central stems surmounted by fruiting finials, with enamelled drip pans issuing scrolling vines cast branches terminating in urn shaped foliate nozzles, raised on triform bases cast with three paw feet, 27cm high (2) £1,000-£1,500 76 A PAIR OF 19TH CENTURY FRENCH BRONZE CANDELABRA AFTER A MODEL BY CLODION each modelled as a standing baby satyr beside a tree stump, holding a candle branch in each arm, terminating in leafy drip pans and urn shaped nozzles, raised on white marble circular plinths, 30cm high (2) £400-£600 77 A PAIR OF MEIJI PERIOD SATSUMA POTTERY VASES ADAPTED AS LAMP BASES of baluster form, the bodies with typical decoration of warriors, with lacquered brass circular bases and covers, each fitted with an electric nozzle, 59cm high overall (2) £1,000-£1,500 78 A PAIR OF LATE 19TH CENTURY COLD PAINTED SPELTER VENETIAN BLACKAMOOR CANDLESTICKS each figure sumptuously dressed and holding aloft a candle nozzle modelled as an urn, raised on circular bases, 37cm high (2) £250-£350

*See page one for information regarding fees

79 A PAIR OF LATE 19TH CENTURY BRONZE EWERS AFTER CLODION each of baluster form, the scrolling handle surmounted by a figure of a putto, the bodies cast in relief with Bacchanalian putti and a goat, on lappet cast socles over circular bases and rectangular plinths, 59cm high (2) £800-£1,200 80 TWO MID 19TH CENTURY ENGLISH GILT METAL AND CRYSTAL GLASS CHURCH FLAGONS in the Pugin Neo-Gothic style, each with scrolling handle and band of engraved text around the glazed body, with hinged lids on circular stepped feet, the larger inscribed ‘GLORY BE TO GOD ON HIGH’, the smaller inscribed ‘TE LAUDAMUS TIBI BENEDICIMUS’ 25cm and 28cm high (2) A flagon was used in both Protestant and Roman Catholic worship to hold the communion wine during Holy Communion. Museum Comparable: Although with ruby glass rather than clear glass, the Victoria and Albert Museum have a gilt bronze mounted church flagon by John Hardman Powell of similar form to the present two. He was the pupil and son-inlaw of the influential architect A.W.N. Pugin, who promoted the Gothic as the true Christian style. Museum ref. M.39- 1972. £400-£600 81 A LATE 19TH CENTURY GILT BRONZE AND AGATE TAZZA IN THE MANNER OF BENVENUTO CELLINI (ITALIAN, 1500-1571) modelled as a merman riding a turtle and holding aloft a shell, the carved agate dish of oval form, raised on a Rouge Griotte marble rectangular plinth, 22cm high £600-£800 82 A LATE 19TH CENTURY FRENCH GILT BRONZE JARDINIERE in the Rococo style, the pierced, shallow bowl with a pair of foliate handles, with removable liner, 13cm high x 54cm wide £150-£200

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83 AN EARLY 19TH CENTURY GILTWOOD MIRROR carved on both sides, with scrolling swan neck pediment centred by a basket of flowers, with free standing, fluted columns flanking the sectional mirror plates, both sides equally decorated, 108cm high £800-£1,200 84 A 19TH CENTURY FRENCH GILT BRONZE FIRESCREEN IN THE LOUIS XV STYLE the frame of scrolling form, ornamented with scrolling foliage, rocailles and C scrolls, the mesh panel centred by a female mask within a roundel, on scrolling feet, 83cm high x 69cm wide £300-£500 85 A VERY LARGE PAIR OF SILVERED AND GILT METAL URNS AND COVERS ON EBONISED PLINTHS the 18th century style urns of baluster form with domed covers, each surmounted by a pair of winged putti blowing horns and hung with floral and fruiting garlands, raised on cylindrical socles with C scroll decoration over circular bases, raised on ebonised and gilt metal mounted plinths, with stepped, white marble square tops, hung with laurel garlands issuing from rams masks, with classical masks above, on square bases, the urns 100cm high, the plinths 137cm high, 237cm high overall, the plinths 53cm wide (2) £2,000-£3,000

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86 A 19TH CENTURY PORCELAIN BOWL AND COVER WITH GILT BRONZE MOUNTS the bowl with gilt rim and domed cover, in blue with fields of flowers on a white ground, the domed cover surmounted by an ormolu fruiting finial, raised on a circular base with acanthus scrolling supports, probably Samson, 33cm high £200-£300 *See page one for information regarding fees

87 87 A SET OF FOUR LATE 19TH / EARLY 20TH CENTURY GILT BRONZE WALL LIGHTS, POSSIBLY BY HENRY VIAN (FRENCH, 1860-1905) the backplates modelled as ribbon-tied quivers of arrows issuing from baskets of fruit, and with an oval relief of Cupid to the centre, each issuing a pair of upward scrolling arms casts as winged putti, with urn shaped nozzles above cast with laurel wreathes and arrows, with beaded drip pans, the backplate marked ‘H. Vian’, alll stamped ‘H.V’ and numbered 077, fitted for electricity, 60cm high (4) Henry Vian was renowned bronzier with a large workshop based at 5 rue de Thorigny, Paris, in the second half of the 19th century specialising in decorative works of art and lighting. £800-£1,200 88 A FINE AND RARE EARLY 19TH CENTURY REGENCY GILT AND PATINATED BRONZE COLZA FLOOR STANDING LAMP the Colza receiver shaped as an antique oil lamp, the handle cast as a bird's head and neck over a ram’s mask, raised on a fluted shaft over a triform base with three acanthus wrapped, paw shaped feet, later fitted for electricity, 152cm high £1,500-2,000 89 A PAIR OF EARLY 19TH CENTURY ITALIAN BRONZE AND SIENNA MARBLE CANDLESTICKS with beaded nozzles over marble stems raised on acanthus cast bases each terminating in three scrolling feet over triangular plinths, 25cm high (2) £300-£500 90 A LOUIS XVI STYLE GILT METAL AND MARBLE URN of baluster form, surmounted by a fixed cover with fruiting finial, with swan neck handles, raised on a lappet cast foot over a re-entrant cut, square base, 47cm high £200-£300 91 AFTER THE ANTIQUE: A 19TH CENTURY ITALIAN BRONZE URN in the Etruscan style, with twin scrolling handles, the body cast in relief with a frieze of various classical figures on a circular lappet cast foot over a square black marble base, 31cm high £150-£200 92 A 19TH CENTURY FRENCH BRONZE FIGURE OF NAPOLEON TOGETHER WITH TWO BRONZE MODELS OF EAGLES the figure of Napoleon standing beside a small pedestal, raised on a square base, dark brown patination, the two bronze eagles both with wings outstretched, one on an oval black marble base, the other a circular marble base, 23cm high, 13cm high and 11cm high respectively (3) £200-£300

93 AFTER MICHELANGELO: A LATE 19TH CENTURY FRENCH BRONZE FIGURE OF LORENZO DE MEDICI the seated figure poised in thought and leaning on a moneybox and wearing ancient Roman dress, on a rectangular plinth, dark brown patination, 32cm high This portrait of the Duke of Urbino is derived from the tomb created by Michelangelo for the Sacristy of San Lorenzo and known as the Capitani. This bronze is unmarked but the famous Parisian foundry Barbedienne did cast versions of this model. £300-£500 94 A LATE 19TH CENTURY FRENCH BRONZE FIGURAL GROUP ENTITLED ‘ANTIQUE ET MODERNE’ BY JEAN BOUCHE (FRENCH) modelled as a classical god in the manner of Zeus seated in a throne partly carved from rock and ancient ruins, a nude female seated at his feet reading a book, on a shaped base, mid brown patination, titled to the front of the base ‘ANTIQUE ET MODERNE’, and signed to the side ‘Jean Bouche’, 38.5cm high x 38cm wide £2,000-£3,000 95 JEAN JULES SALMSON (FRENCH, 1823-1902): A LARGE PAIR OF BRONZE FIGURES OF SHAKESPEARE AND MILTON Shakespeare wearing a ruff and holding a book in his left hand, Milton gesturing with his right hand, both on circular bases signed ‘Salmson’, 54cm high (2) Auction Comparable: A similar pair were sold at Bonhams, 15 December 2015, lot 104. £800-£1,200

96 AFTER THE ANTIQUE: A LATE 19TH CENTURY NEAPOLITAN BRONZE OF THE SEATED MERCURY the nude figure seated on a rocky outcrop, dark brown patination, on a naturalistic base, 26cm high £150-£200

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97 97 EMILE CORIOLAN HIPPOLYTE GUILLEMIN (FRENCH, 1841-1907): A LATE 19TH CENTURY BRONZE FIGURE OF ATHENA CAST BY THE DELAFONTAINE FOUNDRY the standing figure holding her shield in her left hand and a figure of Peace in her right, dark greenish patination, on a stepped circular base, the back of the shield stamped ‘A.D’. 73cm high Numerous examples of this bronze signed ‘E. Guillemin’ have been sold at auction, and so we can firmly attribute the model to him, although the present cast is not signed. It features the stamp ‘A.D’ which refers to the Delafontaine foundry, who cast bronzes for many of the most renowned Parisian sculptors of the late 19th century. £1,000-£1,500 98 A FINE AND LARGE LATE 19TH CENTURY FRENCH GILT AND PATINATED BRONZE FIGURE OF A NUBIAN WATER CARRIER CAST BY GRAUX-MARLY, PARIS the standing figure wearing drapery revealing her left breast and a decorative necklace, an urn raised on her left shoulder, raised on a circular base cast to resemble a rush floor, signed ‘GRAUX-MARLY’, raised on an associated carved and ebonised cylindrical plinth with decorative chain ornament, the bronze 138cm high, 208cm high overall This bronze is identical to one sold at Christie’s, London, 19 March 2008, lot 183, £42,500. Jules Graux’s foundry was based at 8 rue du Parc-Royal from 1860. By 1880 his sons M Graux-Marly took over the business from their father and their works were stamped GRAUX-MARLY or GRAUX-MARLY FRÈRES. The foundry produced bronze and gilt bronze candelabra, clocks, statuettes and other fine decorative works of art. They cast bronzes for many of the most renowned sculptors of the day including Carpeaux, Pradier, Fremiet and Carrier-Belleuse, as well as reproducing important and popular antique, Renaissance and later models. Their reputation was cemented in 1849 when they won the bronze medal at the Exposition Universelle and a first-class medal for the bronzes d’art et d’ameublement six years later. £15,000-£20,000

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99 HORACE DAILLION (FRENCH, 1854-1946): A LARGE LATE 19TH CENTURY BRONZE FIGURE OF THE GODDESS AURORA the nude goddess emerging from sunbursts and flowing drapery, mid brown patination, signed ‘H. DAILLION’, on a white marble plinth, 77cm high £2,200-£2,800 100 OTTO SCHLIESSLER (GERMAN, B. 1885): A BRONZE FIGURE OF A NUDE GIRL the standing nude figure leaning against a pedestal hung with garlands, on a square base, dark brown patination, signed ‘Otto Schliessler’, 46cm high £600-£800 101 FRANCESCO SAVERIO SORTINI (ITALIAN, C.1869-1923): A BRONZE FIGURE OF A YOUNG GIRL WITH FLOWERS the standing figure looking down to the mass of roses in her arms, on an integral canted square base signed Sortini, dark patination, 60.5cm high £800-£1,200 102 PIERRE DE SOETE (BELGIUM, 1885-1948): A BRONZE FIGURE OF VICTORY the nude male figure wearing a laurel crown and with right arm raised, light brown / goldish patination, signed to the base ‘P. de. Soete’, raised on a rectangular, stepped marble plinth, 47.5cm high overall £350-£450 101 34

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103 JEAN-LEON GEROME (FRENCH: 1824-1904): A GILT BRONZE FIGURE OF A NUDE, BETHSABEE (BATHSHEBA) CAST BY SIOT-DECAUVILLE, PARIS the standing nude maiden at her toilette, an urn at her feet, on a circular base, signed ‘GEROME’, numbered L291 and with foundry stamped ‘SIOT DECAUVILLE FONDEUR PARIS’, 31cm high This rare gilt bronze figure of Bathsheba, which dates to 1896, is said to have been adapted from Gerome’s painting of the same title, recorded in 1889 but now lost. Related Literature: Ackerman, p.320, S.37 Auction Comparable: See Sotheby’s, London, 27 April 2001, lot 206 for another example of this model. £1,500-£2,000 104 JOSEF LORENZL (AUSTRIAN, 1892-1950): A GILT BRONZE FIGURE OF A DANCER the youthful nude girl balance on one foot, with arms outstretched, on a circular base, signed ‘LORENZL’, raised on an onyx plinth, 18.5cm high overall £300-£500 105 JOSEPH BREITNER (AUSTRIAN, 1864-1930): A BRONZE FIGURE OF ST GEORGE AND THE DRAGON ‘ST GEORGE PATRONUS’ the equestrian bronze depicting St George on a rearing horse, spearing the dragon below, on an shaped oval base inscribed to the front ‘ST. GEORGUS PATRONIS’, dark brown patination, signed ‘J. BREITNER WIEN’, and numbered 79/103 MADE IN AUSTRIA’ raised on a stepped oval black marble plinth, 63cm high Auction Comparable: Bonhams, London, 25 July 2018, lot 112. £2,000-£3,000

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107 106 AFTER ANTOINE-DENIS CHAUDET (FRENCH, 1763-1810): A 19TH CENTURY BRONZE BUST OF NAPOLEON mid brown patination, raised on a Jaune marble rectangular plinth, 43cm high overall The marble version by Chaudet is now in the Victoria and Albert Museum. £800-£1,200 107 LUCA MADRASSI (ITALIAN, 1848-1919): A BRONZE BUST OF AN ARAB GIRL the laughing girl wearing an ornate headdress and looking to dexter, wearing a blouse tied at the centre with a ribbon, signed ‘L. MADRASSI. PARIS’, mid brown patination, raised on an integral cylindrical socle, 45cm high £800-£1,200 108 AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A PAIR OF LATE 19TH CENTURY BRONZE FIGURES OF MERCURY AND FORTUNA both raised on a gust of wind from the mouth of Boreas, over Verde Antico marble cylindrical plinths with ormolu bases, 77cm high (2) £1,500-£2,000 109 A LATE 19TH CENTURY FRENCH BRONZE AND WHITE MARBLE FIGURAL CANDLESTICK the standing figure of Cupid representing Winter with his pelt wrapped around him, holding aloft a single candle nozzle, raised on a cylindrical fluted marble column plinth, 35.5cm high £150-£200

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110 AFTER GUILLAUME COUSTOU THE ELDER (FRENCH, 1677-1746): A PAIR OF LATE 19TH CENTURY GILT BRONZE MODELS OF THE ‘MARLEY HORSES’ depicting two nude trainers restraining two rearing stallions, on naturalistic bases, 40cm high (2) £200-£400 *See page one for information regarding fees

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111 IVAN KLAPEZ (CROATIAN B.1961): A BRONZE GROUP OF THE LAMENTATION OF CHRIST the kneeling barefoot Virgin Mary cradling the slumped dead body of Christ, her head raised in lamentation, the base signed ‘Ivan Klapeź’ and dated 1988, also with London foundry mark, 33cm high £500-£800 112 † IVAN KLAPEZ (CROATIAN B.1961 AAR): A LARGE BRONZE GROUP OF THE DEPOSITION OF CHRIST the bearded figure of Joseph of Arimathea supporting the slumped body of Christ, the kneeling Virgin Mary below, the base signed ‘Ivan Klapeź’ and dated 1988, also with London foundry mark, dark brown patination, 57cm high £800-£1,200 113 BARNEY SEALE (BRITISH, 1896-1957): A BRONZE SELF PORTRAIT a self portrait of the sculptor looking pensive, with furrowed brow, signed ‘Barney Seale 33’, mid to dark brown patination, raised on the original carved Serpentine marble plinth with cylindrical socle over faceted base, the bronze 38cm high, 53cm high overall Another cast was exhibited at The Fine Art Society, Sculpture in Britain Between the Wars, London 1986.Another example was at Sotheby’s, London, 5 February 2019, lot 90. £500-£800 114 A. TITZE (AUSTRIAN, FL. EARLY 20TH CENTURY): A BRONZE BUST OF MOZART looking to dexter, the bust terminating in a decorative plinth inscribed ‘MOZART’ at the base, signed ‘A. Titze’, 23cm high £120-£180

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115 CLEMENTE SPAMPINATO (AMERICAN, 1912-1933): A BRONZE FIGURE OF A NATIVE AMERICAN INDIAN FALLING FROM HIS HORSE ‘THROWN BY THE REBEL’ the dynamic composition depicting the horses rearing and the man falling and holding his reins, on a naturalistic base, mid brown patination, signed to the base ‘Clem. Spampinato’, raised on a black marble rectangular plinth with plaquette inscribed ‘THROWN BY THE REBEL’, 53cm high £700-£1,000 116 A LARGE 20TH CENTURY BRONZE MODEL OF A CAT mid brown patination, unsigned, raised on a Verde Antico marble, rectangular plinth, 70cm wide x 44cm high £600-£800

117 GEORGES-RAOUL GARREAU (FRENCH B.1885): AN EARLY 20TH CENTURY BRONZE OF A SEA GULL dark brown patination, signed ‘G. Garreau’ and raised on a rectangular marble plinth, 72cm wide x 69cm high £500-£800 118 THEODORE COINCHON (FRENCH, 1814-1881): A BRONZE MODEL OF A PANTHER with silvered decoration to the prowling beast, raised on a naturalistically carved, rocky base, signed to the base ‘COINCHON’, raised on a later rectangular black marble plinth, 25cm high x 43cm wide excluding marble plinth, £800-£1,200

*See page one for information regarding fees

119 BARBARA TRIBE (1913-2000): LOVERS I, A PATINATED BRONZE FIGURAL GROUP CIRCA 1981 the entwined lovers with their hair flowing and matching the waves below, green patination, signed indistinctly and numbered 2/9, on an associated black marble rectangular plinth, the bronze 60cm high, 64cm high overall Number 3 of this small edition of 9 is now on display in the Art Gallery New South Wales, Australia, Accession number 192.1982.a-b. £3,000-5,000

120 ALFREDO PINA (ITALIAN, 1883-1969): A BRONZE STUDY OF AN AFRICAN WOMAN AND CHILD CAST BY SUSSE FRERES, PARIS the seated woman with the child laying on her legs, on a rectangular integral base signed ‘Pina’ and with foundry mark ‘Susse Frs. Eds. Paris Cire Perdue’ stamped ‘BRONZE’, raised on an ebonised plinth, the bronze 17cm high x 17.5cm wide Alfredo Pina was a pupil of Auguste Rodin and is perhaps best known for his portrait busts of Beethoven, Wagner and Victor Hugo. Susse Freres were arguably the best bronze foundry in Paris during the early years of the 20th century. £600-£800

121 AN EARLY 19TH CENTURY MAHOGANY AND BRASS MOUNTED FUSEE BRACKET CLOCK the case surmounted by a pad top with brass handle, the sides with reticulated brass frets, raised on four ball feet, the painted dial with Roman numerals, the single chain fusee timepiece movement with shouldered plates, anchor escapement and pendulum, 45cm high handle up The movement is ticking but not fully tested or guaranteed. £400-£600

122 A FINE REGENCY FAUX ROSEWOOD, PARCEL GILT AND BURGUNDY LEATHER OPEN SOFA the volute scroll ends with acanthus leaf decoration below, with large gilt paw feet and beaded rail, later upholstered in button back burgundy aged leather, 203cm wide x 63cm deep x 82cm high £2,000-£4,000

123 A LATE 19TH CENTURY FRENCH WALNUT, CUT BRASS, ORMOLU AND MARBLE TOPPED LOW BOOKCASE / CABINET of very narrow design and of breakfront outline, the ends with cupboard doors with cut brass decoration centred by classical female masks, on a plinth base with foliate gilt bronze mount, the central section with open adjustable shelf, with white marble top, 224cm wide x 28cm deep x 75cm high £1,500-£2,000

*See page one for information regarding fees

124 A FINE SECOND QUARTER 19TH CENTURY FRENCH BRONZE AND MARBLE FIGURAL MANTEL CLOCK ‘L’EMPLOI DU TEMPS’ BY DENIERE, PARIS AFTER THE MODEL BY LAURENT GUIARD (1732-1788) in the Louis XVI style, depicting a classical maiden reclining and reading a book, leaning against the clock case which is modelled as a pedestal, raised on a white marble plinth with ormolu mounts depicting Cupids amongst scrolling acanthus leaves, with enamelled dial with Roman numerals and Arabic five minute outer track, signed ‘DENIERE FT DE BRONZES PARIS’, with twin train movement striking on a bell and numbered 3183, signed ‘Deniere’, and stamped ‘PONS Medaille D’or 1827’, 57cm wide x 38cm high The movement is winding, ticking and striking but not fully tested or guaranteed. This fine clock produced by the prestigious bronze manufacturer Deniere, probably in the 1830’s. The firm was established by Francois Matelin and Jean-François Dénière 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, Deniere 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. Pons was also a highly regarded horologist, they used the 1827 Paris Medaille d’Or stamp which can be found on the present movement between 1827 and 1834, in 1834 they won the gold medal again. Related Literature: This model is illustrated in ‘French Bronze Clocks’, E. Niehuser, p. 81. An 18th century example is shown which also features a cockerel atop the pedestal beside the maiden, a reference to study and the sleepless nights and wakefulness that it requires. £1,500-£2,000

125 A FINE LATE 19TH / EARLY 20TH CENTURY MAHOGANY AND GILT BRONZE MOUNTED BUREAU PLAT the writing desk with rectangular top fitted with with a gilt tooled leather writing surface, with a long frieze drawer with ormolu Vitruvian scroll mounts flanked by a pair of short drawers each with a pair of lion mask handles holding garlands in their mouths, the back of the desk with faux drawers and matching mounts, on four square, tapering legs hung with fruiting and floral garland mounts, with key, 179cm wide x 88cm deep x 79cm high £3,000-£5,000

126 A LATE 18TH CENTURY GEORGE III MAHOGANY AND BRASS MOUNTED TWIN FUSEE BRACKET CLOCK SIGNED HEITSZMAN CAMBRIDGE the shallow pad top over the break-arch cornice, with brass swing handle, with brass reticulated sound frets to the sides and front, on bracket feet, the painted dial signed and with Roman numerals, the twin fusee movement with verge escapement, with finely engraved backplate decorated with scrolling foliage, striking on a bell, with pear shaped bob pendulum, with winder and case keys, 43cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,500-£2,000

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127 A 19TH CENTURY MAHOGANY AND BRASS MOUNTED FUSEE BRACKET CLOCK SIGNED ‘DAVID MORICE, LONDON’ the late 19th century case with pinecone finial and lion ring handles, on bracket feet, the later dial signed ‘DAVID MORICE LONDON’ with Roman numerals, the associated late 18th / early 19th century twin chain fusee movement striking on a bell, the backplate signed ‘David Morice LONDON’, within an oval border with lambrequin engraved decoration, the backplate with matching border, the pendulum with adjustable rod and large engraved brass bob, 48cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1,200 128 A PAIR OF EARLY 19TH CENTURY DUTCH MAHOGANY AND MARQUETRY INLAID CORNER CABINETS the upper display cabinet sections with break-arch cornices over bevelled glass doors flanked by borders of entwined circles, with silk lined interior and shelves, the cupboards below with marquetry inlay depicting shells flanked by floral paterae, 189cm high x 45cm deep x 77cm wide (2) £2,000-£3,000

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129 A SMALL 19TH CENTURY ITALIAN EBONISED AND PAINTED GESSO CONSOLE TABLE WITH MARBLE TOP the ebonised frieze with gilt brass beaded border, with marble top, raised on a support modelled as lion monopedia, 86cm high x 73cm wide £300-£500

*See page one for information regarding fees

130 A LATE 19TH CENTURY FRENCH EMPIRE STYLE GILT BRONZE AND MARBLE LYRE CLOCK the lyre surmounted by a mask of Zeus flanked by swan necks, raised on a stepped rectangular plinth base, the 12 pieces enamelled dial with Arabic numerals, the twin train movement with outside countwheel striking on a bell (now lacking), 49cm high The movement is ticking and striking but lacking bell and pendulum, not fully tested or guaranteed. £1,000-£1,500 131 A VERY LARGE FRENCH GILT BRONZE PORTICO CLOCK SIGNED ‘HOTEL DE CHOISEUL A PARIS’, THE CASE 19TH CENTURY, THE MOVEMENT AND DIAL 18TH CENTURY the case with he dentil cornice over four free standing columns raised on a stepped plinth base with foliate cast ormolu border, the acanthus cast bezel enclosing the white enamelled dial signed ‘Hotel de Choiseul A Paris’ with Roman numerals, the 18th century twin train movement with flat bottomed plates, previously with silk suspension now with Brocot type suspension, with outside countwheel striking on a bell, with later pendulum, 63cm high

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The inscription on the dial ‘Hotel de Choiseul’ refers to the Parisian mansion of that name. Originally known as the Hotel de Crozat, it came into the possession of the Duke of Choiseul through his marriage to Louise-Honorine Crozat in 1750. He soon turned it into one of the most lavishly decorated and famous buildings in Paris, housing an important and large art collection. in 1780 the Duke was forced to divide and sell the mansion due to financial difficulties, and so the inscription on the dial presumably dates to before 1780. £2,000-£3,000 132 A FINE PAIR OF MATCHED FRENCH TRANSITIONAL STYLE KINGWOOD, ROSEWOOD, PARQUETRY AND ORMOLU MOUNTED CABINETS, ONE LATE 18TH CENTURY, ONE LATE 19TH CENTURY of identical form, the late 19th century example presumably made to match the earlier cabinet / bookcase, each of rectangular form with canted front angles over a frieze drawer with parquetry inlay, over a pair of glazed cupboard doors enclosing shelves, with gilt bronze mounts cast as shells, fruiting garlands and acanthus leaves, 94cm wide x 39cm deep x 96cm high £4,000-£6,000

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133 A LATE 19TH CENTURY EMPIRE STYLE VERDE ANTICO MARBLE AND ORMOLU MOUNTED MANTEL CLOCK the case of arched form over a rectangular, stepped plinth with gilt bronze relief mounts of classical scenes, the gilt bezel enclosing the white enamelled dial with Roman numerals, the twin train movement stamped ‘A.D. MOUGIN DEUX MEDAILLES’, with outside countwheel striking on a bell, 49cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,200-£1,800 134 A FINE LATE 19TH CENTURY FRENCH GILT BRONZE, GLASS AND SILVERED METAL MANTEL CLOCK the architectural case surmounted by a gilt bronze model of a pair of putti, the corners with free standing foliate wrapped columns, over a shaped plinth base mounted with a further putto, the front, back and sides glazed and with pierced engraved and silvered panels depicting floral scrolls below, the white enamelled dial with Roman numerals and Arabic five minute markers, the twin train movement striking the half hour and the hours on a bell, stamped ‘CHLES MT’, and with Japy Freres stamp, 38cm high

135 A 17TH CENTURY WALNUT TABLE WITH MARBLE TOP AND LATER EBONISED DECORATION the moulded rectangular top enclosing an early panel of coloured Breccia marble, the marble with uneven, worn surface, raised on a quadripartite base formed of four volute scrolls, 107cm wide x 53cm deep x 79cm high £600-£800 136 A THIRD QUARTER 19TH CENTURY FRENCH NAPOLEON III EBONISED AND CUT BRASS MOUNTED CABINET IN THE BOULLE STYLE of rectangular form with canted front angles, and shaped Belgian Black marble top above, the sides with ormolu mounts of ribbon-tied musical trophies, the panelled doors with intricate cut brass inlay (some lifting), the interior mahogany lined and with two adjustable shelves, 120cm wide x 44cm deep x 112cm high £1,000-£2,000

The movement is winding and striknig but not fully tested or guaranteed. £2,000-£3,000

*See page one for information regarding fees

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137 AN EARLY 20TH CENTURY FRENCH GILT BRONZE LOUIS XVI STYLE CARTEL CLOCK BY SAMUEL MARTI, PARIS the case of typical form with a hanging loop at the back and numbered 5844, surmounted by an urn with fruiting finial, the sides with pierced, trellis decoration, hung with laurel leaves and with a white enamelled dial with Roman numerals and Arabic five minute markers, the twin train movement also numbered 5844, striking on a bell with pendulum, stamped ‘Samuel Marti MEDAILLE D’OR PARIS 1900’ 40cm high

139 A LATE 19TH CENTURY FRENCH KINGWOOD, OLIVEWOOD AND GILT BRONZE MOUNTED SIDE TABLE in the Louis XVI style, the shaped top with decorative scrolling veneer, the frieze with a sliding leather covered writing surface with gilt tooled decoration, raised on cabriole legs with a matching under tier, on cartouche cast feet, 71cm high x 38cm wide £600-£800

The movement is winding, ticking and striking but not fully tested or guaranteed. £400-£600 138 A THIRD QUARTER 19TH CENTURY FRENCH GILT BRONZE FIGURAL MANTEL CLOCK depicted a seated maiden reading a book, a vase of flowers beside her, on a rectangular plinth with foliate scroll mounts, raised on a giltwood plinth, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking the hours and half hour on a bell, stamped ‘Japy Freres 1855’, with pendulum, 48cm high x 52cm wide The movement is winding, ticking and striking but looks as though it would benefit from a clean and service, not fully tested or guaranteed. £500-£700

140 A FINE SECOND QUARTER 19TH CENTURY FRENCH ROSEWOOD AND GILT BRASS MOUNTED MANTEL CLOCK WITH THERMOMETER SIGNED ‘BROCOT’ the egg and dart moulded ormolu bezel over foliate scrolls and mounted on a rosewood and fruitwood marquetry plinth set with a silvered thermometer ‘Selon Reaumur’, on a rectangular base over an oval pedestal, the silvered Roman dial with recessed centre revealing the Brocot escapement with jewelled pallets, the twin barrel movement with unusual rise and fall regulation, striking on a bell, the backplate signed ‘Brocot BREVETE’, the movement covered with a glass dome, with twin tube mercury pendulum, with winder, 57cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1,200

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143 144 141 A 19TH CENTURY GEORGE III STYLE MAHOGANY, SATINWOOD AND EBONISED KNIFE BOX MODELLED AS AN URN the domed and hinged cover surmounted by a flaming finial with lappet carving over a border of satinwood and ebonised inlay, the interior now void and red velvet lined, the baluster body rotating on the lappet carved, circular foot, raised on a square plinth base with similar inlay, 64cm high £600-£800 142 A LATE 19TH CENTURY ITALIAN CARVED ALABASTER URN ON STAND of baluster form, the body carved with pairs of griffins and foliage, with a pair of scrolling handles, raised on a ringed, cylindrical pedestal over a square base, comes apart in numerous sections, 102cm high x 50cm wide £400-£600

143 AN 18TH CENTURY DUTCH AMBOYNA AND EBONISED CABINET ON LATER STAND the upper section with ripple moulding and with six short drawers centred by a locking column securing the drawers, with key, with pierced brass handles, raised on a later stand with spirally turned legs united by a scrolling stretcher, 117cm high x 95cm wide x 34cm deep £800-£1,200 144 A LATE 19TH / EARLY 20TH CENTURY DARK GREY SCAGLIOLA AND WHITE MARBLE PEDESTAL with white marble circular top over the cylindrical column shaft with waisted base, raised on a stained wood plinth, the top 33cm diameter, 90cm high £500-£800

*See page one for information regarding fees

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145 A LATE 19TH / EARLY 20TH CENTURY FRENCH SEVRES STYLE PORCELAIN LAMP BASE of slender baluster form, with raised gilt decoration to the dark blue ground, the centre with a painted scene of a courting couple, the reverse with a lake scene, on a spreading cylindrical socle over a shaped gilt bronze base, fitted for electricity, 60cm high £600-£800 146 A 19TH CENTURY FRENCH SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED URN AND COVER decorated with an 18th century style scene of a couple playing blind man’s buff in the manner of Fragonard, signed indistinctly ‘Poiteries’, on a dark blue ground with in a raised gilt border, the reverse painted with a lake scene with roses, the domed cover repaired and surmounted by an ormolu fruiting finial, the sides with bronze foliate mounts, raised on a cylindrical socle over a square base and toupie feet, 80cm high £700-£1,000

147 A LARGE LATE 19TH CENTURY FRENCH BRONZE AND CHAMPLEVE ENAMEL EIGHT LIGHT CHANDELIER the foliate ceiling rose above the champleve enamel decorated shaft, with circular outer frame hung with laurel garlands interspersed with flaming urn finials, the interior with eight branches fitted for electricity, 123cm drop x 89cm diameter £600-£800 148 A ROCOCO STYLE GILT AND PATINATED BRONZE MANTEL CLOCK MODELLED AS AN ELEPHANT AND RIDER the elephant carrying an Oriental figure holding a parasol, raised on a Rococo base ornamented with foliage, shellwork, rocailles and C scrolls, the twelve piece enamel dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘ Japy Freres G Med d’Honneur’, with pendulum 56cm high £800-£1,200

149 149 A LATE 19TH CENTURY FRENCH SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED CLOCK GARNITURE the clock surmounted by a porcelain urn and flanked by a pair of female caryatid columns over a plinth base, the sides with porcelain panels depicting Arcadian landscapes, the front panel depicting a shepherdess playing a flute, the dial with Roman numerals flanked by Cupids, the twin train movement stamped ‘JAPY FRERES’, striking on a gong, with pendulum, the garniture urns with matching decoration, the porcelain decorated with courting couples, the clock 41cm high (3) The movement is ticking but not fully tested or guaranteed. £2,000-£3,000 150 A LATE 19TH / EARLY 20TH CENTURY JAPANESE SATSUMA PORCELAIN VASE WITH ORMOLU MOUNTS the Meiji period baluster vase decorated with various figures within complex gilt borders, with pierced gilt bronze mount to the rim and raised on a circular gilt bronze base, 40cm high £300-£500 151 AN EARLY 20TH CENTURY VIENNESE COLD PAINTED SPELTER FIGURE OF A DONKEY ADAPTED AS A LAMP BASE with gilt bridle and saddle cloth, on an oval base, with later lamp fitment with brass shade, 41cm high including shade £200-£300 152 A PAIR OF EARLY 20TH CENTURY FRENCH GILT BRONZE ROCOCO STYLE WALL LIGHTS the triple branch wall appliques modelled as three foliate branches with leaf cast nozzles, later drilled for electricity, 55cm high including faux candles (2) £200-£300 48

153 A CANTAGALLI IZNIK STYLE CERAMIC DISH with black and white stylised border, the centre decorated with flowers on white ground, with the Cantagalli cockerel to the reverse, 28cm diameter £500-£800 154 AN 18TH CENTURY ITALIAN GILTWOOD AND GESSO CANDELABRA ADAPTED AS A LAMP BASE the triform stem with beaded circular top with later faux candle fitting and electric nozzle, raised on a Baroque style shaft with foliate decoration over the triple volute scroll base and toupie feet, 113cm high including faux candle £200-£300 155 A LATE 19TH CENTURY CARVED AND PAINTED WOOD FIGURE OF ST AGNES WITH A LAMB the standing figure with the lamb in her right hand, wearing a diadem and raised on a canted rectangular integral plinth, 61cm high £200-£300 156 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. £300-£500

*See page one for information regarding fees

157 157 A LATE 19TH / EARLY 20TH CENTURY MAJOLICA WINE COOLER / JARDINIERE in the Minton style (unmarked), the shaped edge over the body decorated in relief with a scenes of frolicking putti witih foliate borders, with acanthus decoration to the ends, 60cm wide x 28cm high £1,500-£2,000 157A A LATE 19TH CENTURY GLAZED TERRACOTTA, MAHOGANY AND ORMOLU MOUNTED SIDE TABLE the circular top decorated with a central scene en grisaille of trees beside a lake, flanked by majolica style decoration of dancing figures and classical masks, raised on a circular mahogany table with three column legs with gilt bronze mounts, united by a shaped stretcher, 50cm diameter, 70cm high £500-£800 157A 158 RENE CHARLES MASSE (FRENCH, 1855-1913): A LARGE PAIR OF TERRACOTTA FIGURAL STICKSTANDS MODELLED AS PEASANTS DATED 1889 each figure with a small basket and previously holding fishing rods, raised on naturalistic bases modelled with tree stumps to hold umbrellas and canes, signed ‘Ch. Masse 1889’, 92cm high (2) £400-£600 159 A LATE 19TH CENTURY ITALIAN ALABASTER BUST OF A YOUNG ARAB GIRL wearing a shawl tied around her shoulders and a decorative necklace, looking to dexter, raised on a spreading cylindrical socle, 40cm high £400-£600 160 A LATE 19TH CENTURY PAINTED TERRACOTTA GROUP OF TWO SPANIELS the two dogs depicted on a naturalistically modelled base, 15cm high x 23cm wide £200-£300 161 A 19TH CENTURY RENAISSANCE STYLE CARVED OAK CASKET the miniature coffer of inverted break-front form, with fluted columns to the front corners and a 17th century style carved panel to the front, the lid carved with a mask emitting foliage, with iron hinges and ring handles, the interior void except for a candle box, 60cm wide x 34cm deep x 38cm high £300-£500

162 A LOUIS XVI STYLE GILT BRASS AND ENAMEL MANTEL CLOCK WITH SUBSIDIARY SECONDS HAND surmounted by a model of two Cupids, with two further Cupids adorning the case with floral garlands, on a plinth base, the sides with blue enamelled panels depicting Cupid, the dial with Roman numerals, the subsidiary seconds hand, the twin train movement striking on a bell, of recent manufacture, 30cm high The movement is winding and ticking but not fully guaranteed. £200-£300 162A A 19TH CENTURY FRENCH / ITALIAN BRONZE FIGURE OF VENUS ARRANGING HER HAIR AFTER THE CIECHANOWIECKI MASTER the standing semi-nude figure holding sections of her long hair, her drapery tied below her waist and falling to the floor revealing her toes, mid brown patination, 27cm high The so-called Ciechanowiecki Master was a 17th century sculptor, probably working in Rome and strongly influenced by classical sculpture and the masters of the previous generation. £300-£500

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164 163 A VERY RARE MID 18TH CENTURY PARQUETRY INLAID OAK GRAND SONNERIE LONGCASE CLOCK BY JOHN SEDDON OF FRODSHAM, CIRCA 1740 the break-arch oak case with ogee and cavetto mouldings over a curved frieze fret and with fluted hood columns and windows to the sides of the hood, over the trunk door of bridge-top design inlaid with a parquetry star, replicated in the trunk’s base panel, the 12 inch brass break-arch dial with subsidiary seconds dial and a decorated scroll-engraved and pierced panel around the calendar aperture also signed “Seddon”, the dial centre and the centre of the lunar indicating ring in the arch both decorated with black velvet, the chapter ring with Roman numerals for the hours and Arabic for the minutes in a “Dutch” arcaded band, with pierced, blued steel hands, the pierced spandrels set between a herringbone [wheatear] engraved border which continues into the arch, the arch with a penny-moon aperture whose ring is calibrated for the moon’s age and fitted with a brass indicating hand, the substantial five-pillar movement with three trains and bell strike movement, the going train regulated by seconds pendulum and the quarter train sounding on a nest of six bells with six hammers before unlocking the hour strike on its own bell, each quarter hour, 220cm high There are church records for the Seddon family in Frodsham Cheshire, starting in 1676. John and Daniel Seddon both made good and complex clocks there throughout the early 18th century. A two-train longcase similarly signed “Seddon” and with very similar inlaid case was sold at auction in Berkshire in 2011 for £13000 hammer. That clock possessed a globe moon in the arch. This lot is considerably rarer in having the three-train grande sonnerie movement; only a handful of longcase clocks are known to have this complication, together with the moonphase this clock is a very rare and fine example of a complicated longcase clock. That both Seddon clocks feature very similar cases is surely a good indication that the dial, movement and case are all original to each other. £6,000-£8,000

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164 A LATE 19TH CENTURY ENGLISH EBONISED AND GILT BRASS MOUNTED QUARTER CHIMING MUSICAL BRACKET CLOCK SIGNED ‘JOSEPH BROS.’ the case with bell top surmounted by a brass carrying handle, the sides with pierced gilt Rococo style scrolling leaves and silk backing, on a plinth base with similar Rococo style pierced mounts, the door with shaped quadrant frets, the 7.5 inch dial with matching foliate decoration, the silvered Roman chapter ring with Arabic five minute markers, with silvered name plate signed ‘JOSEPH BROS. 50 WESTBOURNE GROVE W’, with gilt matted centre, with subsidiary dials above for chime / silent, slow / fast and eight bells / four bells / Westminster, the substantial triple fusee movement with rectangular plates, with anchor escapement and slow fast regulation pendulum, with two pin wheels one to activate the hammers on the nest of eight graduated bells, the other for the four gongs, with a further hammer for the large blued steel coiled gong, with pendulum, 60cm high £1,500-£2,000 *See page one for information regarding fees

165 165 AN EARLY 19TH CENTURY MAHOGANY LONGCASE CLOCK SIGNED JOHN BISHOP, SHERBOURNE the break-arch hood with carved pierced frets to the sides and spirally turned columns to the front corners, the trunk with moulded and brass capped fluted quarter columns to the front angles, on a plinth base with shaped apron, the painted Osborne type dial with gilt flowers to the corners and an oval containing gilt shells to the arch, with Roman numerals and engraved gilt hands, with subsidiary seconds dial and calendar aperture, signed ‘Jno Bishop Sherbourne’, the eight day, weight driven movement with anchor escapement, with pendulum and two weights and winder, 210cm high £400-£600

166 166 A FINE MID 19TH CENTURY MAHOGANY VIENNA REGULATOR SIGNED ‘JOSEF ELSNER WIEN’ the case with scrolling cornice over straight glazed front and sides, the signed, white enamelled dial with Roman numerals, the single train movement with A frame plates, with maintaining power and anchor escapement, with single brass cased weight and pendulum with large brass bob, 94cm high The movement is winding and ticking but not fully tested or guaranteed. £600-£800

167 167 A GEORGE III MAHOGANY LONGCASE CLOCK BY GEORGE SOMERSALL, CIRCA 1760 the break-arch hood with three brass ball and spire finials, the trunk with arched door and plinth base (restored), the 12 inch brass break- arch dial with gilt Rococo spandrels, silvered Roman chapter ring, gilt matted centre and silvered subsidiary seconds dial, the arch with a silvered boss signed ‘Geo Somersall London’, the eight day weight driven movement with anchor escapement, with pendulum and two weights, 223cm high including brass finials Related Literature: Britten’s ‘Old Clock and Watches and their Makers’, 9th edition, p. 608. The Somersalls were a family of clockmakers, the present clock dating to circa 1760 must have been made by George Somersall Junior, who was a member of the Clockmakers company from 1752-1773, and was based at Leadenhall from 1750. £600-£800

168 A RARE AND FINE MID 18TH CENTURY MAHOGANY AND GILT BRONZE MOUNTED SIX TUNE MUSICAL FUSEE TABLE CLOCK WITH AUTOMATA SIGNED MARRIOT, FLEET STREET the case with inverted bell top surmounted by an ormolu allegorical figure of Music playing a lyre and flanked by four flaming urn finials, the sides with gilt brass pierced frets cast with winged putti and strap-work, the sides with canted angles and fruitwood and boxwood inlay and stringing, on acanthus scrolled feet, the door with gilt floral quadrants and break arch glazed panel enclosing the eight inch square brass dial with gilt spandrels and painted centre with Roman numerals signed ‘Marriot FLEET STREET’, with subsidiary chime / silent dial and tune selection, listing DANCE / DANCE / COTILLION / LANGOLEE / MARCH / MINUET, the arch painted with a scene of a lady reading and a man spying on her with a telescope within an Arcadian landscape, centred by a moving figure of the Chronos holding an egg timer and scythe, moving in time with the pendulum, the substantial triple chain fusee movement with verge escapement and large pin wheel activating the hammers playing the six tunes on the hour on a nest of eight graduated bells, striking the hours on a further bell, the backplate with engraved foliate decoration, with pendulum with pear shaped bob, with pull cord repeat on the single bell and nest of bells, with case key and winder, 66cm high The movement and automaton is in working order and chiming but not fully tested or guaranteed. John Marriot of Fleet Street is listed in Britten’s ‘Old clocks and Watches & Their Makers’ as working from 1755-1799 during which time he took on numerous apprentices. £8,000-£12,000

168 169 AN EARLY 19TH CENTURY FRENCH BRONZE AND ORMOLU AUTOMATON FOUNTAIN CLOCK WITH ALARM modelled as a fountain surmounted by a foliate finial with a pair of dolphins flanked by a pair of spires, on a rectangular plinth with palmette cast feet, centred by a gilt bronze mask emitting a glass spirally turned rod to simulate water, which revolves when activated, the gilt clock dial with Roman numerals and subsidiary alarm hand, with an 18th century verge watch movement, 36cm high The clock is ticking and the fountain automata working but not fully tested or guaranteed. £700-£1,000 170 A 19TH CENTURY AND LATER WALNUT AND MARQUETRY FUSEE BRACKET CLOCK WITH NIGHT DIAL in the late 17th century style, with caddy top surmounted by a bronze handle cast with caryatids, profusely inlaid throughout with floral marquetry, the a blind fret frieze over the moulded door and plinth base, the rectangular brass dial engraved with scrolling flowers including tulips and sunflowers, probably early 18th century, with later silvered Roman chapter ring and arched aperture above with silvered dial with pierced Roman numerals, the twin chain fusee movement with anchor escapement striking on a bell, with floral engraved backplate bearing the later signature ‘Edward East Londini’, with pendulum, 62cm high 170

The movement is ticking and striking but not fully tested or guaranteed. £1,000-£1,500

169

*See page one for information regarding fees

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171 A SMALL LATE 18TH CENTURY DIRECTOIRE STYLE FRENCH GILT AND PATINATED BRONZE CLOCK OF NAUTICAL THEME depicting a sailor of African descent holding an anchor, the clock case modelled as a sack, raised on an oval plinth base with dolphin mounts, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, converted to vertically mounted balance wheel escapement, 19cm high £300-£500 172 A FINE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE MANTEL CLOCK DEPICTING DIANA THE HUNTRESS the standing figure of Diana in a toga and holding a bow in her left hand, leaning on the clock case, a hound beside a tree stump flanking her, on a rectangular plinth base raised on four toupie feet, the plinth with relief decoration of hounds bringing down a wild boar flanked by anthemions and foliage, the white enamelled dial with Roman numerals and ormolu centre, the twin train movement with outside countwheel and silk suspension, striking the half hour and the hours on a bell, with pendulum, 30cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1,200

173 A LATE 19TH CENTURY WHITE MARBLE AND GILT BRONZE MANTEL CLOCK BY J.W. BENSON, LONDON the drum shaped marble case flanked by a pair of volute scrolls and surmounted by a pair of ormolu doves, on a plinth base, the white enamelled dial signed ‘J.W. BENSON Ludgate Hill, LONDON’, with Roman numerals, the twin train movement initialled JWB and with outside countwheel striking on the half hour and the hours on a bell, 34cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £300-£500 174 A LATE 19TH / 20TH CENTURY LOUIS XVI STYLE GILT BRONZE CLOCK MODELLED WITH AN ELEPHANT the standing elephant with a tasselled seat raised on its back, with a reclining putto atop, raised on a shaped plinth with four scrolling feet, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, 25cm high The movement is striking when the hands are turned but not in sync, not fully tested or guaranteed. £400-£600 53

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175 A FINE LATE 19TH CENTURY VIENNESE SILVER, SILVER GILT AND ENAMEL TABLE CLOCK MODELLED AS A HARP BY HERMANN BOEHM the harp surmounted by a twin handled urn finial, with scrolling champleve enamel decoration and further enamelling on a cream ground depicting a lady in 18th century dress with a dove, raised on a shaped base, the underside also decorated with a courting couple, on three paw feet, the base hinged and opening to reveal the concealed 18th century watch movement within, with white enamelled Arabic dial, marked HB for Hermann Boehm and A for Austria, 20cm high £2,500-£3,500 176 AN EXQUISITE LATE 19TH CENTURY VIENNESE ROCK CRYSTAL, SILVER, LAPIS LAZULI, ENAMEL AND SEED PEARL TABLE CLOCK modelled as a merman leading a pair of hippocampi through the sea, the hippocampi profusely inlaid with seed pearls and with jewelled eyes, their reins also formed from seed pearls, pulling a chariot formed as a shell carved from rock crystal and set with an 18th century watch movement within, the movement signed ‘Anton Hiebner’, the dial with Roman numerals, raised on a base formed of Lapis Lazuli to represent the sea, over a plinth base with champleve enamel decoration, with Austrian control marks for 1902-21 and also French control marks for 1893, 10cm wide x 6cm high £3,500-£4,500 177 A LATE 19TH CENTURY VIENNESE GILT BRONZE AND ENAMEL FIGURAL BOUDOIR CLOCK modelled as a classically attired maiden reclining atop a Rococo style pedestal with scrolling sides and pierced C scroll feet, the enamel panels depicting a courting couple in 18th century dress and Venus and Cupid to the sides, with a shaped clock beside the maiden with enamelled dial, the watch type movement winding from the back, 12.5cm high £800-£1,200

177 *See page one for information regarding fees

178

181 178 A LATE 19TH CENTURY VIENNESE ENAMEL AND GILT BRONZE MOUNTED BOUDOIR CLOCK in the Rococo style, the shaped case ornamented with ormolu scrolls and foliage and with enamel decoration of a courting couple, the white enamelled dial with Arabic numerals, the watch type movement winding from the back, 10cm high £300-£500 179 AN EARLY 20TH CENTURY FRENCH GREEN SHAGREEN AND GILT BRONZE MOUNTED BOUDOIR CLOCK of arched form with a swing handle over, on a plinth base with ribbon- tied laurel mount to the front, and paste set bezel, the white enamelled dial decorated with floral garlands, with Arabic numerals, the twin train movement stamped ‘A.D. MOUGIN’, with vertically mounted balance wheel escapement striking on a bell, 24cm high £600-£800

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182 180 A SMALL LATE 19TH CENTURY FRENCH GILT BRONZE CARTEL CLOCK in the Louis XVI style, the case modelled as a ribbon tied lyre decorated with laurel leaves, the white enamelled dial painted with floral garlands and with Arabic numerals, the single train, timepiece movement with vertically mounted balance wheel escapement, the backplate initialled ‘LD’, 30cm high £300-£500

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183 182 A 19TH CENTURY FRENCH GILT METAL AND CUT GLASS SCENT BOTTLE of square form, with pierced and engraved ormolu decoration throughout, raised on four ball feet, the sides and cover decorated with circular panels with coloured print views of Paris, with glass stopper, 11cm high £200-£300

181 A MID 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK IN THE ROCOCO STYLE the arched case decorated with foliage and on scrolling feet, the white enamelled dial wtih Roman numerals, the twin train movement stamped ‘Japy Freres’, with outside countwheel striking on a bell, with pendulum, 24cm high

183 A FIRST HALF 20TH CENTURY SWISS GILT BRASS MINIATURE CARRIAGE CLOCK BY THE GENEVA CLOCK CO. RETAILED BY GUBELIN, LUCERNE the Anglaise Riche case surmounted by a geometric handle and with three quarter fluted columns to the corners, with copper sides and mask enclosing the silvered dial with Arabic numerals, signed ‘E. GUBELIN LUCERNE’, the single train, jewelled and silvered timepiece movement stamped JTC for the Geneva Clock Co., 8cm high with handle up

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

The movement is winding and ticking but not fully tested or guaranteed. £300-£500

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186 184 A LATE 19TH / EARLY 20TH CENTURY ALABASTER FIGURE OF REBECCA AT THE WELL, SIGNED ‘GILBERT’ the youthful Arab maiden leaning against an urn raised on a brick wall behind her, raised on a stepped integral base, 45cm high £500-£800 185 A PAIR OF LATE 19TH CENTURY CONTINENTAL CERAMIC FIGURES OF ARABS the female holding a melon in her right hand and a rose in her left, with gilt highlights to her robes and headdress, the male figure holding arrows, both on naturalistic canted integral bases, 46cm and 45cm high (2) £1,000-£1,500

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187 186 A 19TH CENTURY MEISSEN PORCELAIN FIGURAL GROUP DEPICTING A BACCHANALIAN SCENE modelled in the full round, the figures in 18th century dress, a lady playing a violin to the centre flanked by further figures and putti with a goat, on a Rococo style base, the underside with the blue crossed swords mark, raised on an associated giltwood base with glass dome over, the porcelain 35cm high, the dome 47cm high £1,500-£2,000 187 A 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MANTEL CLOCK modelled as a small gird amongst leaves and flowers, on an ormolu Rococo style base cast with foliage and reeds, with a branch issuing the clock case, also decorated with foliate scrolls, the white enamelled dial with Roman numerals and Arabic five minute markers, with a timepiece movement winding from the back, 30cm high £1,500-£2,000 *See page one for information regarding fees

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190 188 ATTRIBUTED TO JACOB PETIT: A PAIR OF MID 19TH CENTURY PORCELAIN VASES ADAPTED AS LAMP BASES the Campana style urns with pierced foliate rims over faceted bodies and with scrolling twin handles, raised on faceted feet over rectangular plinths, decorated with floral sprays on white ground to one side and floral sprays on a black ground to the other, raised on later ebonised plinths with brass light switches, and with brass light fitments to the tops, 83cm high (2) £2,000-£3,000 189 A PAIR OF 19TH CENTURY SAMSON PORCELAIN PARROTS WITH ORMOLU MOUNTS modelled perched on a rocky outcrop with outspread green and coloured wings, each raised on a Rococo style gilt bronze foliate base, with underglaze blue mark, 37cm high £2,000-£3,000

190 A 19TH CENTURY DRESDEN PORCELAIN URN WITH GILT BRONZE MOUNTS of Campana form, with gilt decorated everted lip over the body decorated with 17th century figures in Arcadian landscapes, with a pair of scrolling handles and an ormolu foliate mount over the spreading cylindrical socle and square foot, 50cm high £1,500-£2,000 191 A PAIR OF LATE 19TH CENTURY FRENCH KINGWOOD, MAHOGANY AND MARQUETRY AND GILT BRONZE AND PORCELAIN MOUNTED BEDSIDE CABINETS the small commodes each with pierced gallery enclosing the marquetry tops inlaid with floral sprigs in various woods, each with two drawers with rosewood banding centred by a porcelain panel of flowers, on four cabriole legs, 66cm high x 39cm wide (2) £800-£1,200 57

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192 A LATE 19TH CENTURY FRENCH GILT BRASS QUARTER CHIMING CARRIAGE CLOCK WITH ALARM AND REPEAT the gorge case with swing handle over, the white enamelled dial with Roman numerals and Arabic five minute markers, with subsidiary alarm dial below, the twin barrel movement striking on a bell, with lever platform escapement, with leather covered travelling case, the clock 16cm high handle up £500-£800

194 AN EARLY 19TH CENTURY FRENCH BRASS STRIKING TRAVELLING OR CAPUCINE CLOCK WITH ALARM SIGNED ‘LEROY A PARIS’ the case surmounted by a bell with brass carrying handle over and flanked by four finials, on toupie feet, the white enamelled dial signed ‘Leroy a Paris’ with Roman numerals and alarm hand, within a Greek Key cast bezel, with winding squares below the dial, the movement with vertically mounted balance wheel escapement and pull cord for the alarm, 29cm high handle up

193 A VERY LARGE LATE 19TH CENTURY FRENCH LACQUERED BRASS CARRIAGE CLOCK WITH MAHOGANY TRAVELLING BOX the corniche case with dentil cornice, with geometric swing handle over the circular glazed aperture fitted with a silvered dial for a compass and Reaumur barometer, the dial with glazed and beaded door opening to the Arabic dial with engraved and recessed centre revealing the vertically mounted lever platform escapement, the twin train movement striking on a gong, with mahogany travelling case, the clock 26cm high with handle up The clock is ticking and chiming but looks to require and clean and service, not fully tested or guaranteed. £1,200-£1,800

The movement is winding, ticking and striking and the alarm working but not fully tested or guaranteed. £700-£1,000 195 A LATE 19TH CENTURY FRENCH GILT BRASS QUARTER STRIKING CARRIAGE CLOCK WITH ALARM AND REPEAT the Anglaise Riche case with brass geometric handle over the three quarter Corinthian columns to the four corners, the gilt mask enclosing the white enamelled dial with Arabic numerals, signed ‘FRIEDEL MONTREUX’, with subsidiary alarm dial below, the twin train movement striking the quarters on two coiled steel gongs, with lever platform escapement, with switch below for ‘Sonnerie / Silent’, 17cm high handle up £400-£600

*See page one for information regarding fees

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196 A MID 19TH CENTURY ENGLISH BRASS SKELETON CLOCK the brass frame raised on four domed feet over a stained wood base and glass dome, the skeletonised and silvered dial with Roman numerals, the single chain fusee movement with anchor escapement, with pendulum, 39cm high including the dome £300-£500

198 A LATE 19TH CENTURY BRASS SHIP’S CLOCK WITH FUSEE MOVEMENT of typical form, the dial signed ‘Chas. FRODSHAM & CO. 84 STRAND LONDON’, with Roman numerals and subsidiary seconds dial, the backplate stamped ‘S.D.N’, numbered 234955, the single fusee movement with maintaining power, with lever platform escapement, 23cm diameter

197 AN ART DECO PERIOD MARQUISITE, LACQUERED BRASS AND GLASS STRUT CLOCK of triangular form, each terminal mounted with a glass jewel resembling an emerald, the pierced marquisite decoration revealing the lacquered brass behind, centred by black glass and the Arabic dial, the timepiece movement winding from the back, 10cm high

The movement is winding and ticking but not fully tested or guaranteed. £250-£350

The movement is ticking but not fully tested or guaranteed. £300-£500

199 A LATE 19TH CENTURY SILVER CASED TRAVELLING CLOCK, HALLMARKED BIRMINGHAM 1901 the case of square form with rounded corner and scrolling handle over, on four paw feet, the single train, timepiece movement with vertically mounted lever platform escapement marked ‘MADE IN SWITZERLAND’, the silver case marked for the Douglas Clock Company, 12.5cm high The movement is ticking but not fully tested or guaranteed. £400-£600 59

200A 200A A FINE MID 19TH CENTURY MAHOGANY AND BOXWOOD STRUNG GRAND SONNERIE VIENNA REGULATOR the case surmounted by a scrolling acanthus crest, the front door and sides glazed, the gilt bezel enclosing a silvered dial with Roman numerals and blued steel hands, the three train movement with deadbeat escapement striking on two coiled steel gongs, with wood rod pendulum with large diameter brassfaced lenticular bob and with three brass cased weights and winder, 125cm high The movement in working order but not fully tested or guaranteed. £2,000-£3,000

199A 199A 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 £800-£1,200 200 A 1950’S RETRO JAEGER FOR SMITHS ELECTRIC MYSTERY CLOCK with brass circular bezel enclosing the glass dial with Arabic quarter hour markers and batons, signed to the base ‘Smiths’, the reverse signed ‘JAEGER BREVETE PATENTS’, wired for electricity, 24cm high £250-£350

201 A LATE 19TH CENTURY FRENCH GILT BRONZE AND ONYX DESK COMPENDIUM OF NAUTICAL THEME modelled with a barrel featuring the silvered clock dial with Roman numerals, the single train timepiece movement with vertically mounted balance wheel escapement, an anchor leaning against the barrel fitted with a thermometer, a small silvered statuette of the Venus with an apple after Canova beside, and a sack fitted with a barometer, and a compass, all on a rectangular onyx plinth, 21cm wide x 15.5cm high The clock is ticking but not fully tested or guaranteed. £400-£600 202 A LATE 19TH CENTURY FRENCH GILT BRONZE TRAVELLING CLOCK WITH COMPASS in the style of a pendule d’officier, the circular case surmounted by a carrying handle, on a rectangular plinth base and four bun feet, the white enamelled dial with Roman numerals, the top of the case fitted with a compass with silvered dial, the twin train movement striking the half hour and the hours on a bell, numbered 12171 and with platform escapement, 19.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £250-£350 *See page one for information regarding fees

206 203 A LOUIS PHILIPPE PERIOD SIENNA MARBLE AND BRONZE MOUNTED MANTEL CLOCK CIRCA 1840 of architectural form, modelled as a plinth on bracket feet, the Roman dial enclosed by a bronze bezel, the large twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, 32cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £250-£350 204 AN EARLY 20TH CENTURY SILVER CASED TRAVELLING STRUT CLOCK HALLMARKED BIRMINGHAM 1930 the engine turned case of lancet form on two shaped feet with brass easel behind, the gilt bezel enclosing the dial with gilt Arabic numerals, the single train, timepiece movement winding from the back, hallmarked for F. Burton Crosbee, 10.5cm high The movement is ticking but not fully tested or guaranteed. £200-£300 205 A SMALL LATE 19TH CENTURY FRENCH GILT BRONZE ROCOCO STYLE CARTEL CLOCK the case ornamented with acanthus leaves and trellis work, the white enamelled dial with Roman numerals and Arabic five minute markers, the single train timepiece movement with vertically mounted balance wheel escapement, mounted on a green velvet covered board, with winder, the clock 31cm high The movement is ticking but not fully tested or guaranteed. £200-£300 206 IRENEÉ ROCHARD (FRENCH, 1906-1984): AN ART DECO PERIOD MARBLE, BRONZE AND SILVERED MANTEL CLOCK GARNITURE the four glass mantel clock flanked by a pair of patinated and silvered bronze pheasants, signed ‘I. ROCHARD’, raised on a stepped, coloured marble plinth, the faux abalone dial with Arabic numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, the garniture pieces of canted, rectangular form, mounted with bronze and silvered panels decorated with birds and trees, the clock 36cm high, the garnitures 27cm high (3) The movement is winding and striking but not fully tested and would benefit from a clean and service. £500-£800

207 A MID 19TH CENTURY FRENCH GILT BRONZE CLOCK GARNITURE IN THE ROCOCO STYLE the clock of scrolling form with floral crest and typical Rococo motifs, raised on an integral, scrolling base, the gilt dial with enamelled Roman numerals, the twin train movement with silk suspension and outside countwheel striking on a bell, with pendulum, the garniture candelabra with a pair of acanthus scrolling branches and urn shaped nozzles, the clock 37cm high (3) The clock is winding, ticking and striking but not fully tested or guaranteed. £250-£350 208 A 19TH CENTURY VIENNESE GILT METAL QUARTER STRIKING CLOCK WITH ALARM SIGNED ‘HIZLBERGER, WIEN’ in the Empire style, with lion mask ring handles to the sides and claw and ball feet, the white enamelled dial with Arabic numerals, with subsidiary alarm hand, the triple train movement striking on two bells fitted to the underneath, with watch type escapement, one back foot lacking, 13cm high £150-£200 209 AN EARLY 20TH CENTURY ART NOUVEAU STYLE GILT METAL CLOCK WITH ORIGINAL SILVER TRAVELLING CASE the arched and shaped case signed ‘ANSONIA CLOCK CO. PATD. MAY 3RD 1892’, with timepiece movement winding from the back, in the original silver display case with embossed decoration and green silk lining to the interior, hallmarked Sheffield 1910, Walker and Hall, 10cm high £100-£150 210 A LATE 19TH CENTURY FRENCH GILT BRONZE ROCOCO STYLE MANTEL CLOCK the scrolling foliate cast case raised on an integral ormolu base modelled with acanthus leaves, the twelve piece enamelled dial with Roman numerals, the twin barrel movement with outside countwheel striking on a bell (pendulum and bell now lacking), movement loose, 43cm high £300-£500 211 A 19TH CENTURY COPELAND PARIAN MODEL OF THREE TERRIERS, AFTER PIERRE JULES MENE (FRENCH, 1810-1879), CIRCA 1870 the three dogs looking into a rabbit hole, on a naturalistic base, with impressed mark ‘COPELAND’, 31cm long £200-£300

Terms and Conditions for Buyers at Chiswick Auctions 1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. 'HÂźQLWLRQV *SV XLI TYVTSWIW SJ XLI GYVVIRX 8IVQW ERH 'SRHMXMSRW XLI 7IPPIV WLEPP FI HIÂ˝RIH EW XLI S[RIV SJ XLI +SSHW It is implied that the Seller is the legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply. &DWDORJXH GHVFULSWLRQV Any representation in any catalogue or otherwise as to the origin, date, age, attribution, genuineness or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the Catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representa-tion of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good. ,QVSHFWLRQ Prior to auction, prospective purchasers are strongly advised to personally examine personally any property in which they are interested to satisfy themselves in relation to matters which may concern them. &RQGLWLRQ UHSRUW CA Ltd may issue a Condition Report on request prior to the sale. 8LMW 'SRHMXMSR 6ITSVX MW JSV MHIRXMÂ˝GEXMSR TYVTSWIW SRP] ERH GERRSX FI GSRWMHIVIH EW KMZMRK E TVIGMWI EGGSYRX of the Lotâ&#x20AC;&#x2122;s true state.Thus, some imperfections and faults may not be accounted for in the Condition Report. As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyerâ&#x20AC;&#x2122;s sole duty to inspect in person the Lot in order be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. (OHFWULFDOV All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety. It is the Buyerâ&#x20AC;&#x2122;s duty to take necessary steps to be assured that the Lot is safe for normal use. (VWLPDWHV Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates. 1.8 Reserves 1ER] 0SXW EVI SJJIVIH WYFNIGX XS E VIWIVZI [LMGL MW XLI GSRÂ˝HIRXMEP QMRMQYQ WEPI TVMGI 8LI VIWIVZI [MPP never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. 5HJLVWUDWLRQ WR WKH VDOH New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneerâ&#x20AC;&#x2122;s entire discretion. International bidders may be required to register 48 hours before the sale and to submit bank details. A deposit may be requested prior to each sale. Failure to register shall result in the impossibility for the bidder to purchase a Lot. 3URRI RI LGHQWLW\ Bidders not previously known to CA Ltd will be required to provide: Â&#x2C6; 3JÂ˝GMEP TVSSJ SJ MHIRXMX] MR XLI JSVQ SJ E TEWWTSVX SV TLSXSGEVH HVMZMRK PMGIRGI 2S SXLIV JSVQW SJ ID are acceptable. Â&#x2C6; 4VSSJ SJ EHHVIWW SJ QEMR VIWMHIRGI 3RP] SJÂ˝GMEP HSGYQIRXW WLS[MRK REQI ERH EHHVIWW [MPP FI accepted. â&#x20AC;˘ Both landline and mobile telephone numbers â&#x20AC;˘ A bank reference for foreign bidders may be requested Â&#x2C6; 'SVTSVEXI GPMIRXW [MPP LEZI XS TVSZMHI E GIVXMÂ˝GEXI SJ MRGSVTSVEXMSR TVMSV XS XLI EYGXMSR EPSRK [MXL the representativeâ&#x20AC;&#x2122;s ID in accordance with the abovementioned requirements for proof of identity. Any Bidder that does not match the provided identity for registration may not purchase during the sale.

3HUVRQDO ELGGLQJ Bidders attending the auction in person shall be required to collect a number plate prior to the sale. &RPPLVVLRQ ELGV CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it. Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyerâ&#x20AC;&#x2122;s responsibility to check if they have been successful in purchasing a Lot. In the event of multiple commissions at the same price, the commission set at the older date shall be taken into account. 7HOHSKRQH ELGV If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder. ,QWHUQHW ELGV Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. %LGGLQJ RQ EHKDOI RI VRPHRQH A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required. %LGGLQJ RQ DQ LWHP Bid incrementing is at the auctioneerâ&#x20AC;&#x2122;s entire discretion. 9LGHR WUDQVPLVVLRQ For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome. 2QOLQH RQO\ DXFWLRQV Some auctions may be available to bidders only through an online platform. In this event, Buyers have a 14 day period at reception of the Lot to withdraw from the sale, in accordance with EU Consumer Law. 'LVSXWH UHVROXWLRQ GXULQJ WKH DXFWLRQ 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. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale. 7UDQVIHU RI SURSHUW\ 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. 7UDQVIHU RI ULVNV Purchased Lots shall be at the Buyerâ&#x20AC;&#x2122;s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise. &DQFHOODWLRQ RI WKH VDOH 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 the sale of the Lot or reoffer and resell the Lot if it becomes aware of 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. +VSYRHW JSV GERGIPPEXMSR YRHIV XLI TVIWIRX WIGXMSR WLEPP MRGPYHI FYX RSX FI PMQMXIH XS ER] HMWTYXI VIPEXMRK to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or GIVXMÂ˝GEXIW ER] WYFWIUYIRX GLERKIW MR HSQIWXMG SV MRXIVREXMSREP PIKMWPEXMSRW VIWXVMGXMRK XLI WEPI SJ I\TSVX of goods etc. In the event of internet-only auctions, the Buyer shall have a 14 day right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

2. DURING THE SALE 4. AFTER THE SALE $WWHQGDQFH DW DXFWLRQ Attending the auction in person is recommended. CA Ltd has the right in their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises. Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

3D\PHQW 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. Cash payments shall not be receivable for amounts over â&#x201A;Ź10,000, regardless 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.

%X\HUÂłV 3UHPLXP The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that commission on the Â˝VWX Â&#x2020; ERH TPYW :%8 SR XLI FEPERGI XLIVIEJXIV % &Y]IVÂ´W 4VIQMYQ SJ TPYW :%8 MW GLEVKIH 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 of 2006/112/EC. Standard UK VAT will be charged on the buyersâ&#x20AC;&#x2122; 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 placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyerâ&#x20AC;&#x2122;s premium but will not be shown separately on the invoice. In order to receive a refund of VAT amounts/Import VAT (as applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and (b) export the lot from the EU within 30 days of collection for * lots and 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 satisfactory proof of export/shipping EVI EZEMPEFPI JVSQ SYV *MRERGI XIEQ % TVSGIWWMRK JII SJ Â&#x2020; TIV MRZSMGI MW GLEVKIH XS GLIGO WLMTTMRK export documents. (d) No VAT amounts or Import VAT will be refunded where the total refund (after deducting the processing JII MW YRHIV Â&#x2020; (e) If you are re-exporting a * lot outside of the EU, you must either use Chiswick Auctions Ltd TA Shipper or arrange for us to transfer the TA from our shipper to your own TA or bond account. 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. +SSHW WYGL EW FSSOW ERH ERXMUYI FSSOW QYWMG QETW ERH GLEVXW IXG EVI WYFNIGX XS ^IVS VEXIH :%8 In addition, any import taxes that may be incurred shall be paid by the 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. $UWLVW 5HVDOH 5LJKWV 'URLW GH 6XLWH Lots marked with â&#x20AC;&#x2DC;ARRâ&#x20AC;&#x2122; may be subject to a levy. 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 a period of 70 years after the artistâ&#x20AC;&#x2122;s death. Royalties are calculated 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 selling below the sterling equivalent of â&#x201A;Ź1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of â&#x201A;Ź12,500. Royalties for Droit de Suite are as follows: â&#x20AC;˘ From 0 to â&#x201A;Ź50,000 4% â&#x20AC;˘ From â&#x201A;Ź50,000.01 to â&#x201A;Ź200,000 3% â&#x20AC;˘ From â&#x201A;Ź200,000.01 to â&#x201A;Ź350,000 1% â&#x20AC;˘ From â&#x201A;Ź350,000.01 to â&#x201A;Ź500,000 0.5% â&#x20AC;˘ Exceeding â&#x201A;Ź500,000 0.25% 5HPHGLHV IRU QRQ SD\PHQW If the Buyer fails to make full payment in cleared funds within the time 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&#x20AC;˘ To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer â&#x20AC;˘ Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. â&#x20AC;˘ To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. â&#x20AC;˘ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of 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. &ROOHFWLRQ Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion. 4.7 Storage CA Ltd offers a discretionary 14 days free storage on purchased Lots from the date of the sale. Thereafter 0SXW RSX GSPPIGXIH WLEPP MRGYV WXSVEKI GLEVKIW SJ Â&#x2020; TIV PSX TIV HE] SV TEVX XLIVISJ '% 0XH WLEPP FI entitled to retain purchased Lots sold until all sums due have been paid to CA Ltd. If any purchased lot VIQEMRW YRGSPPIGXIH HE]W EJXIV XLI WEPI WXSVEKI GLEVKIW WLEPP XLIVIEJXIV FI Â&#x2020; TIV HE] ERH '% 0XH shall, 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. 6KLSSLQJ 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. CA Ltd does not offer insurance for shipping. However, CA Ltd may 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.

/RVV RU 'DPDJH CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling packing and 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. &XOWXUDO *RRGV LPSRUW DQG H[SRUW UHVWULFWLRQV Cultural goods may be subject to import and export restrictions. Under 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 value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them. Some countries restrict XLI MQTSVX SJ WTIGMÂ˝G GYPXYVEP KSSHW *SV I\EQTPI XLI 9RMXIH 7XEXIW TVSLMFMXW XLI MQTSVX SJ TVI 'SPYQFMER monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some GSYRXVMIW WYFNIGX XS EVQIH GSRÂžMGXW The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. &,7(6 LPSRUW DQG H[SRUW UHVWULFWLRQV Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit 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. Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol Ń¤ are subject to CITES regulations. /LPLWDWLRQ RI OLDELOLW\ UHJDUGLQJ &,7(6 H[SRUW OLFHQVHV 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. :DUUDQWLHV CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. $XWKHQWLFLW\ ZDUUDQW\ In the event of a Lot being sold as authentic under the catalogue 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. The Buyer shall give notice to CA Ltd within 28 days from knowledge 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. *SV XLI TYVTSWIW SJ XLI TVIWIRX TEVEKVETL EYXLIRXMGMX] WLEPP FI HIÂ˝RIH EW XLI WXEXI SJ E 0SX XLEX MW KIRYMRI and not a forgery or a copy. 5. ANTIQUITIES AND TRIBAL ART ,PSRUW DQG H[SRUW UHVWULFWLRQV DQG UHJXODWLRQV %VGLEISPSKMGEP KSSHW SZIV ]IEVW SJ EKI YRPIWW GSZIVIH F] I\IQTXMSR SJ PMQMXIH WGMIRXMÂ˝G MRXIVIWX [MPP require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be EWWYVIH XLI KSSH MW SV RSX SJ PMQMXIH EVGLEISPSKMGEP SV WGMIRXMÂ˝G MRXIVIWX Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological SFNIGXW VIKEVHPIWW SJ XLIMV SVMKMR [MPP VIUYMVI ER -RHMZMHYEP 0MGIRGI SV 3+)0 HITIRHMRK SR XLIMV ZEPYI Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyerâ&#x20AC;&#x2122;s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY *HPVWRQH WUHDWPHQW DQG HVWLPDWHV 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&#x20AC;˘ Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone â&#x20AC;˘ Staining â&#x20AC;˘ Irradiation â&#x20AC;˘ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. % GIVXMÂ˝GEXI QE] FI MWWYIH F] E PEFSVEXSV] TVSZMHMRK [MXL HIXEMPIH MRJSVQEXMSR SR XLI GSRHMXMSR SJ XLI KIQWXSRI and any treatment applied thereto.The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. -J E GIVXMÂ˝GEXI EGGSQTERMIW XLI 0SX XLI &Y]IV QYWX FI E[EVI XLEX MX MW QIVIP] E WXEXIQIRX SJ XLI PEFSVEXSV]Â´W STMRMSR ERH MR RS [E] GER '% 0XH FI LIPH VIWTSRWMFPI JSV ER] QIRXMSRW XLIVIMR 7YGL GIVXMÂ˝GEXIW EVI HIIQIH XS be delivered with the Lot for informative purposes only. (VWLPDWHG ZHLJKWV If a stoneâ&#x20AC;&#x2122;s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA 0XH [MXLMR MXW WIXXMRK ERH XLI HIÂ˝RIH [IMKLX MW E WXEXIQIRX SJ STMRMSR SRP] 8LMW MRJSVQEXMSR MW KMZIR EW E KYMHI and bidders should satisfy themselves with regard to this information as to its accuracy. 6LJQDWXUHV â&#x20AC;&#x2DC;$ GLDPRQG ULQJ E\ ;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;$ GLDPRQG ULQJ VLJQHG ;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;$ GLDPRQG ULQJ PRXQWHG E\ ;â&#x20AC;&#x2122;: Has been created by the jeweller, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, but using stones or designs supplied by the client. â&#x20AC;&#x2DC;0DNHUÂłV PDUN IRU ;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 species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details. 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 without defects, or has been subject to repair or restoration. CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and [EXGLIW SJXIR GSRXEMR Â˝RI ERH GSQTPI\ QIGLERMWQW FMHHIVW WLSYPH FI E[EVI XLEX E KIRIVEP WIVZMGI 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 import or export purposes in accordance with CITES regulations. 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

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 above mentioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not 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. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.

8SKROVWHUHG IXUQLWXUH DIWHU According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic TYVTSWIW '% 0XH WLEPP RSX FI VIWTSRWMFPI JSV PEXIV EPXIVEXMSRW XS XLI JYVRMXYVI QEOMRK MX YRÂ˝X JSV WEPI

16. AMENDMENTS

9. GLOSSARY OF PICTURE CATALOGUING TERMS

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. *SV XLI FIRIÂ˝X SJ '% 0XH EPP FMHHIVW ERH WIPPIVW EKVII XLEX XLI 'SYVXW SJ )RKPERH EVI XS LEZI I\GPYWMZI jurisdiction to settle all disputes arising in 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.

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: In our opinion a work by the artist. When the artistâ&#x20AC;&#x2122;s 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. $WWULEXWHG WR -0: 7XUQHU In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category. 6WXGLR RI -0: 7XUQHU In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artistâ&#x20AC;&#x2122;s direction. &LUFOH RI -0: 7XUQHU -R SYV STMRMSR E [SVO F] ER EW ]IX YRMHIRXMÂ˝IH FYX HMWXMRGX LERH GPSWIP] EWWSGMEXIH with the named artist and of the period, but not necessarily his pupil. 6W\OH RIÂ¨ )ROORZHU RI -0: 7XUQHU In our opinion a work by a painter working in the artistâ&#x20AC;&#x2122;s style, but not necessarily his pupil. 6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8 The term â&#x20AC;&#x2DC;signedâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;datedâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;inscribedâ&#x20AC;&#x2122; means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. 9 The term â&#x20AC;&#x2DC;with signatureâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;with dateâ&#x20AC;&#x2122; and/or â&#x20AC;&#x2DC;with inscriptionâ&#x20AC;&#x2122; means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated. 10. ASIAN ARTS ,PSRUW DQG H[SRUW UHVWULFWLRQV ;LIR HIEPMRK [MXL %WMER %VXW ERH QSVI WTIGMÂ˝GEPP] [MXL MXIQW QEHI SJ I\SXMG [SSH I K EPP WTIGMIW SJ rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or VI I\TSVX GIVXMÂ˝GEXIW QE] FI VIUYMVIH :IVMÂ˝GEXMSR PIXXIVW [MPP FI VIUYMVIH JSV VI I\TSVX SJ [SVOIH VLMRSGIVSW items. )LQH &KLQHVH 3DLQWLQJV 'YVVIRX WGLSPEVWLMT MR XLI Â˝IPH SJ 'LMRIWI 4EMRXMRKW ERH 'EPPMKVETL] HSIW RSX TIVQMX YRUYEPMÂ˝IH WXEXIQIRXW as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the 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, a ÂłJSVKIV]Â´ MW HIÂ˝RIH EW E [SVO GVIEXIH [MXL XLI MRXIRX XS HIGIMZI 11. BOOKS AND MANUSCRIPTS Books and manuscripts sold as incomplete are not subject to returns. 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 In accordance with agreed standards in the trade, estimates shall be deemed to have taken into EGGSYRX XLI Â˝PP PIZIP 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. 0EGO SJ QIRXMSR XLIVISJ MR XLI HIWGVMTXMSR MW RSX E VITVIWIRXEXMSR SJ ER ÂłEGGITXEFPIÂ´ Â˝PP PIZIP JVSQ CA Ltd. 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.

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION

European Works of Art & Clocks Department

AUCTION CALENDAR

JANUARY

Rachael Osborn-Howard Head of Department rachael@chiswickauctions.co.uk

Tuesday

Interiors & Antiques Fine Rugs & Carpets

Tuesday

From the Curious to the Extraordinary Urban

Online Bidding

&MH SRPMRI [MXL 'LMW[MGO 0MZI XS FIRI½ X from Chiswick Auctions’ standard buyer’s premium terms with no additional surcharges.

Chiswick Saleroom, Viewings & Valuations 1 Colville Road, London W3 8BL +44 (0)20 8992 4442

Opening Hours Monday to Friday 10am – 6pm Saturday to Sunday 11am – 5pm

South Kensington Showroom & Selected Highlights 127 Fulham Road, London SW3 6RT +44 (0)20 3949 7130

Opening Hours Monday to Friday 10am – 6pm Saturday to Sunday – Closed except for events

General Enquiries info@chiswickauctions.co.uk +44 (0)20 8992 4442 chiswickauctions.co.uk

Tuesday

Wednesday

Books & Works on Paper Autographs & Memorabilia

FEBRUARY Bank Holiday Hours 11am – 5pm

4 12 18

Tuesday

Asian Art Wednesday

Byron Tuesday

Interiors & Antiques

Please note that auction dates are subject to change.

Fine European Works of Art & Clocks 12 December 2019

Fine European Works of Art & Clocks London, 12th December 2019