Chiswick Auctions March 2018 European Works of Art & Clocks by Chiswick Auctions

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Fine European Works of Art & Clocks 21 March 2018

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

Fine European Works of Art & Clocks Including Exceptional Sculpture from an Important Private Collection

London 21st March 2018

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SPECIALIST

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

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IMPORTANT INFORMATION CITES

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

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

Fine European Works of Art & Clocks

Wednesday 21st March 2018, 13.00

VIEWING AT SOUTH KENSINGTON selected highlights only Friday 23 February - Wednesday 14 March

VIEWING AT CHISWICK full sale Friday Saturday Sunday Monday Tuesday Wednesday

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

16 March 17 March 18 March 19 March 20 March 21 March

12.00 - 18.00 11.00 - 17.00 11.00 - 17.00 10.00 - 18.00 10.00 - 18.00 10.00 - 13.00

PHOTOGRAPHERS Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Front cover: Lot 31 Back cover: Lot 34

Haute Epoch Gothic to Baroque

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1 A LATE GOTHIC, 15TH CENTURY FRENCH LIMESTONE HALF LENGTH FIGURE OF THE VIRGIN AND CHILD the Virgin wearing a crown with flower head decoration, her hair centrally parted and falling down in delineated curls, her mantel carved with a decorative scrolling foliage and beaded border, supporting the Christ Child in the crook of her left arm, his hair finely delineated, his mouth in a slight smile and his left hand reaching back to hold on to the Virgin, raised on a later wooden plinth, roughly carved and flat at the back (probably from a niche), the Virgin 66cm high, 76cm high overall The slightly S shaped pose of the Virgin is typical of the late Gothic period. £7,000-£10,000 2 A LATE GOTHIC FRENCH CARVED LIMESTONE COLUMN CAPITAL, PROBABLY 14TH CENTURY carved with stylised foliage, 13.5cm high £500-£800 3 A FRENCH GOTHIC CARVED LIMESTONE CORBEL CARVED WITH A GROTESQUE BEAST, PROBABLY 13TH / 14TH CENTURY the shaped shelf over stylised leaves with an open mouth beast emerging from the leaves, 16cm x 20cm £600-£800 4 A 15TH / 16TH CENTURY ITALIAN RENAISSANCE CARVED STONE COLUMN CAPITAL each corner carved with a winged putto supporting a fruiting garland, each side differently carved, representing a bird with outstretched wings, a pair of lizards, a floral sprig and a bunch of fruit, above a single relief carved, winged putto head, 49cm high £1,200-£1,800

5 5 A 12TH CENTURY BYZANTINE CARVED STONE HOLY WATER VESSEL DEPICTING THE TWELVE APOSTLES carved in relief with the figures of the twelve Apostles in prayer and each with a book, possibly adapted from a capital, repaired, 30cm diameter x 20cm high PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Provenance: Property of a European gentleman. £4,000-£6,000 5A A SMALL 17TH CENTURY MARBLE HEAD OF JULIUS CAESAR, PROBABLY GERMAN the Roman Emperor depicted wearing a laurel crown secured at the nape of his neck, raised on an ebonised plinth 22cm high £1200-£1800 6 A MEDIEVAL HAMSTONE GARGOYLE IN THE FORM OF A LION, CIRCA 1500 carved with flowing mane to the sides and with a hole to the reverse, 25cm high x 43cm wide x 55cm deep Provenance: Sutton Bingham Manor, Somerset. Hamstone is a coarse grained limestone from the quarries of Ham Hill, Somerset. £600-£800

7 A FIRST HALF 19TH CENTURY CARVED SANDSTONE KEYSTONE DEPICTING A JESTER MASK the laughing face with open mouth and flanked by stylised scrolling strapwork, 35cm high x 30cm wide x 59cm deep £600-£800 *See inside front cover for information regarding fees

8 A 13TH / 14TH CENTURY ITALIAN GOTHIC CARVED WOOD HEAD OF CHRIST his eyes closed and mouth slightly open, a curled ringlet of hair falling down the left side of his face, with slightly recessed, flat back, 33cm high £1,500-£2,000 9 A 17TH CENTURY SOUTH GERMAN GILT BRONZE FIGURE OF A CLASSICAL WARRIOR the soldier wearing a plumed helmet, his right hand resting on his hip and his left on a shield, raised on square base with punched decoration, raised on a modern ebonised stand, the figure 21.5cm high

10 AN 18TH CENTURY ITALIAN SILVERED BRONZE RELIEF DEPICTING CHARITY the female allegorical figure swathed in drapery and seated with a baby at her breast, a further baby asleep to her right and another crying to her left, her drapery falling in delicate folds around her as her left foot protrudes, the rocky base with finely tooled work throughout, the recessed back fitted with two protruding screws to apply the piece to a mount, 18cm high £300-£500

PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. The distinctive facial features, moustache and beard, the dis-regard for correct proportion and lack of any classical influence all point to a South German origin for this delightful bronze. The chasing and facture of the bronze, as well as the thickness of the cast are all typical of bronzes produced in this region in the 17th century. £3,000-£5,000

12 11 AN EARLY 17TH CENTURY STAINED AND LEADED GLASS PANEL DEPICTING THE VIRGIN AND CHILD DATED 1606 of oval form, the Virgin enthroned and flanked by winged putti masks, the Christ Child with an orb, indistinctly inscribed below and dated 1606, later mounted in a wooden frame, the glass 35cm, the frame 42cm high £700-£1,000

12 A MID 17TH CENTURY SWISS STAINED AND LEADED GLASS PANEL DEPICTING CHRIST IN THE TEMPLE inscribed ANNO 1648, mounted in a modern black painted frame box with electric light inside to illuminate the glass, the glass 21cm high, the frame 29cm high £600-£800

13 A 16TH CENTURY STAINED AND LEADED GLASS PANEL OF AN INTERIOR SCENE IN THE MANNER OF DURER of circular form, depicting a pilgrim arriving at a tavern, with other figures pouring drinks and two dogs sniffing at his feet, in the background a fireplace with two devil like creatures torturing a man, later mounted in a black frame with aperture for an electric light (now lacking) to illuminate, the glass 26cm diameter, the frame 34cm wide £1,500-£2,000

*See inside front cover for information regarding fees

14 A 16TH CENTURY STAINED GLASS PANEL DEPICTING THE ASSUMPTION OF THE VIRGIN of oval form, the Virgin with long flowing hair, her hands in prayer and flanked by four angels, mounted in a modern black frame with electric light within to illuminate, the glass 23cm high, the frame 37cm £500-£800 15 A 17TH CENTURY STAINED AND LEADED GLASS PANEL DEPICTING DOUBTING THOMAS of circular form, within a later red and blue glass mount and mounted in a modern black frame with electric light to illuminate, the glass 17cm diameter, the frame 38cm high £500-£800 16 A 17TH CENTURY STAINED AND LEADED GLASS PANEL OF CHRIST IN THE TEMPLE of oval form, the young figure of Christ surrounded by the Elders, later mounted in a black frame with electric lamp behind to illuminate, the glass 32cm high, the frame 43cm high £700-£1,000 17 A STAINED GLASS PANEL DEPICTING THE PELICAN IN HER PIETY, PROBABLY 17TH CENTURY of circular form with two arched protrusions above, the pelican depicted with a halo and feeding four chicks in a nest, 43cm high £300-£500

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18 A LARGE PAIR OF 16TH CENTURY SOUTH GERMAN CARVED WOOD AND POLYCHROME DECORATED RELIEFS OF SAINTS the first facing right, with long curly hair and beard, a cloak thrown over his shoulder, the second with shorter hair and beard, with blue tunic tied at the waist, looking to dexter, both with remains of original polychrome decoration, carved with flat backs, 86cm high (2) These figures once formed part of a large multi-figural altarpiece, possibly representing two of the Apostles from a group depicting scenes from the life of Christ. £1,500-£2,000

19 λ A 15TH / 16TH CENTURY ITALIAN IVORY AND GILT BRONZE MOUNTED CASKET of sarcophagus form, surmounted by a knopped and ringed swing handle, the gilt bronze escutcheon and clasp engraved with stylised leaves and buds, the interior with stringing around the rectangular inlaid wood panels, 18cm wide x 13cm high x 10cm deep A near identical casket was sold at Sotheby’s, London, 5 April 2006, lot 119 and catalogued as ‘15th / 16th century or earlier’. £5,000-£8,000

*See inside front cover for information regarding fees

20 AFTER GUGLIELMO DELLA PORTA (ITALIAN, 15151577): A STUCCO RELIEF OF THE DEPOSITION OF CHRIST, PROBABLY 17TH CENTURY depicting Christ’s body in the foreground, supported by Joseph of Arimathea and Nicodemus, Mary Magdalene leaning forward to kiss the wrist of Christ and the Virgin fainting to the centre, with the cross in the background flanked by the two thieves, with onlookers to the sides, in a rectangular, fruitwood frame, the panel 52cm high x 38cm wide, 63.5cm high overall Della Porta’s study of the present composition dating from 1555-1559 is now in the Kunstmuseum, Dusseldorf, and the marble relief is in the Museo d’Arte Antica, Milan. Numerous bronze plaquettes of this composition are also known. It is thought that Giambologna based his own designs for the Grimaldi chapel on Della Porta’s Passion scenes such as the present example. Related Literature: M. Weitzel Gibbons, ‘Giambologna: Narrator of the Catholic Reformation’, p. 141. £1,500-£2,000

21 A PAINTED AND GILT DECORATED VELLUM PANEL DEPICTING THE VIRGIN, PROBABLY LATE 18TH / 19TH CENTURY wearing a blue veil with white lining, with a gilt decorated halo flanked by various flowers including roses and daffodils, within a scrolling gilt foliate border, later applied to a wooden board, 43cm high x 33cm wide £600-£800

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23 22 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 The distinctive facial features of the dancing Fortuna represent an ideal of beauty very different to ours, her round face and double chin, overly large, wide nose and heavily lidded eyes further defined by the lower eye lids as well as the upper give her an appeal far from the classical ideal. Her eyebrow hairs have been individually tooled and her hair swept back. Her physique is strong and stocky with her small breasts very close together, the nipples well cast over the delineated rib cage. The drapery has been finely tooled in places to suggest different textures and a pattern throughout, cast separately it is screwed on to the back of her left arm and the side of her left thigh, with a further separately cast part attached just below her bottom. A supporting bronze bracket has been applied to the base and screwed to her back. These physical features show the influence of the important German sculptor Leonard Kern. £3,000-£5,000 23 AFTER THE ANTIQUE: A SMALL BRONZE STATUETTE OF BACCHUS, PROBABLY 18TH CENTURY the standing figure holding vines in his raised left hand, wearing a vine leaf headdress, with greenish and dark patination, raised on a carved ebonised, cylindrical plinth, the bronze 21cm high, 29cm high overall £600-£800

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24 AN 18TH CENTURY FLEMISH CARVED BOXWOOD CRUCIFIX the Corpus Christi with eyes open and head turned slightly to sinister, raised on a velvet covered cross, Christ 24.5cm high, 41cm high overall £500-£800 *See inside front cover for information regarding fees

25 25 A 17TH / 18TH CENTURY NORTH EUROPEAN ROUGE MARBLE RELIEF BUST OF A QUEEN depicted in profile in bas-relief with flat back, wearing a coronet with her hair cascading down her shoulders, her classical style drapery pinned at her shoulder, raised on a modern metal stand, the head 20cm high £1,200-£1,800

26 A 16TH CENTURY ITALIAN RENAISSANCE BRONZE DRAGON FROM A TABLE FOUNTAIN the female dragon with enlarged teats, her scrolling tail with a fringed cloth tied to it, her head turned backwards and her mouth with a spout to emit water from her hollow neck, with copper coloured patination showing through and minute traces of gilding, 24cm high £2,000-£3,000

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

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28 A RARE 16TH / 17TH CENTURY ITALIAN EBONISED, PARCEL GILT, AGATE, MARBLE AND MOTHER OF PEARL INLAID TABLE CABINET of architectural form, the caddy top opening to reveal the compartment within, the inside of the lid fitted with a mirror and with red silk lining, the front of the cabinet with oval panels centred by an arch, with three drawers below with gilt lion mask ring handles, framed by plain columns, with gilt foliate scrolling decoration, the oval panels set with various types of marble and with agate flanked by gilt decorated mother of pearl panels, 33cm high x 38cm wide A similar table cabinet dating to the second half of the 16th century is now in The Quirinal Palace in Rome. The type of gilt scrolling decoration which is employed in the present table cabinet was developed in Florence during the 16th century and was favoured by the Medici and popular at their court. The technique was known as ‘all ‘indiana’ as it re-interpreted the stylistic influences of the Indian and Islamic works that were arriving in Italy at the time. Although much of the furniture and works of art decorated in this style are now lost, the inventory of the Royal Palace in Florence of 1637 lists several pieces in the ‘all’ indiana’ technique, and invoices exist dating back to 1586 which also refer to the term. For a similar table cabinet at auction see Sotheby’s, London, 28 October, 2004, lot 313. £6,000-£8,000

*See inside front cover for information regarding fees

29 λ A LATE 17TH / EARLY 18TH CENTURY INDO PORTUGUESE ROSEWOOD AND IVORY MOUNTED TABLE CABINET of rectangular form with fall front, raised on four stepped square feet, the sides with knopped, swing brass handles, decorated throughout with ivory flowerheads within stylised trellis type borders, the interior with one long drawer over three short drawers, the drawer fronts with trellis type carving and finely turned handles, 26cm wide x 14.5cm high £1,500-£2,500

30 A LARGE 16TH CENTURY POLYCHROME LIMEWOOD FIGURE OF SAINT JOHN THE EVANGELIST MOURNING depicted looking upwards to where Christ would have been on the cross, wearing a green tunic and red cloak, his hair finely carved with curls, 110cm high This large free standing figure would almost certainly have been part of a multi-figure altarpiece depicting the Crucifixion, with the Virgin Mary on the left side and the present figure on the right, looking up to Christ on the cross. £2,500-£3,500

30A λ AN 18TH CENTURY INDO-PORTUGUESE (GOAN) IVORY AND CARVED WOOD CRUCIFIX the ivory figure of Christ with finely carved hair, previously painted, with rope tied perizonium with gilt fringe, raised on a cross with ivory quatrefoil mounts over a shaped plinth base, the Christ 9.5cm high, the cross 26.5cm high £400-£600

*See inside front cover for information regarding fees

Exceptional Sculpture from an Important Private Collection

A photographic print dated 1903 illustrating the marble version, included with the lot.

31 LOUIS-ERNEST BARRIAS (FRENCH, 1841-1905): AN EXCEPTIONAL LIFE SIZE SILVERED BRONZE FIGURE OF A GIRL SPINNING ‘LA JEUNE FILLE DE MEGARE’ EXHIBITED AT THE VIENNA INTERNATIONAL EXHIBITION OF 1873 the youthful nude raised on a plinth modelled as a low stool, signed to the right side ‘BARRIAS’, sold together with a photographic print showing two stills of the marble version, titled ‘116 Paris, Luxembourg: Jeane fille de Megare, par Barrias’, inscribed to the reverse ‘NEUE PHOTOGRAPHISCHE GESELLSCHAFT A.G. BERLIN-STGLITZ 1903’,(18cm wide x 9cm high) 126cm high x 66cm wide PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Provenance: Purchased by the present owner from a gallery in Switzerland around forty years ago. This exceptional master work by one of the most important sculptors of the 19th century has been in private hands for a generation and its reemergence into the art world provides a rare opportunity to acquire a truly museum-worthy work of art. The identical marble figure of the ‘Jeune Fille de Megare’, which is the same size as the silvered bronze and was exhibited at the same time, is now in the Musee D’Orsay, Paris.

The sculpture gallery of the 1873 Vienna International Exhibition ‘La Jeune Fille de Megare’ came relatively early in Barrias’s illustrious career. Having studied at the Ecole des Beaux-Arts, Paris, he won the prestigious Prix de Rome in 1864, which entitled him to study at the French Academy in Rome, then based at the Villa Medici. It is here, surrounded by ancient marbles and classical works that he first began work on this seminal sculpture. The influence of the ancient world is apparent not only in the theme but in the stylistic qualities of the sculpture. ‘La Jeune Fille de Megare’ depicts a seated youthful girl spinning, for wool production was the main export of her home; the small Greek port town of Magara, in ancient times. She is depicted nude, but not in any overtly erotic sense; for her pose is refined, static and balanced in the classical tradition; her gaze is measured and her gestures are graceful and poised. She is seated on a low stool designed in the Neo-Classical taste and is depicted as an idealised beauty rather than as a portrait of a particular girl. Her features are generalised and finely proportioned, and she performs a simple, every day act but with a graceful movement that emphasises her female form. The subject of the spinning girl was not a new theme devised by Barrias, rather a re-interpretation of a subject explored a generation earlier by the important German Neo-Classical sculptor Rudolph Schadow. Schadow was also working in Rome when he witnessed the Roman spinsters twisting their yarn and was so inspired by their elegant movements whilst immersed in this repetitive act that he spent years working on his Neo-Classical marble figure of a spinning girl, ‘Die Spinnerin’ of 1819 (Sold at Sotheby’s, London, 8 July 2010, lot 122 sold £241,000). It is not known whether Barrias was aware of this important work which was exhibited in Rome, but as a pupil of the French Academy there, he was immersed in a rich artistic heritage which influenced his work.

Barrias initially produced a plaster version of his spinning girl in 1867, and by 1870 had carved a full size marble version, which is of identical form and size to the present lot. He sent the marble figure to the Paris Salon of 1870, where it was widely admired, to such an extent that it was purchased by the state (decree of 8/06/1870, acquired for 6000 F at the Salon of 1870). It was then exhibited at the Luxembourg Museum in 1872, before being sent by the state to the Vienna International Exhibition of 1873, where it was paired with the present lot. The official catalogue entry of the 1873 exhibition lists the works as follows: Barrias Ernest Louis, geb. Zu Paris, Schuler von Cavelier und Jouffroy, Paris, avenue Montaigne 37. 831 Die Spinnerin von Megara, Statue aus versilberter Bronze. 832 Die Spinnerin von Megara, Marmor-Statue. Staatseigenthum (public property) ‘Die Spinnerin vo Megara, Statue aus versilberter Bronze’ translates as ‘The Spinner from Megara, silvered bronze statue’, and records show that it was this sculpture, the present lot, that won Barrias the Art Medal at the exhibition. The marble spinning girl ‘Die Spinnerin’, was subsequently exhibited by the state at the Paris Exposition Universelle of 1878, and then returned to the Luxembourg Museum; and it appears in a 1903 photographic print whilst on display there, which is sold together with the present lot. In 1923 the marble version was moved to the Louvre, where it remained until 1986 when it was moved to its current location at the Musee d’Orsay.

*See inside front cover for information regarding fees

The sculptor’s studio showing the marble version of ‘Jeune Fille de Bou-Saada’

Barrias’s continued admiration of ‘La Jeune Fille de Megare’ is confirmed by his re-interpretation of the composition for his study of a young Algerian girl entitled ‘Jeune Fille de Bou-Saada’. Seated cross legged on a similar low stool, the young girl from Bou-Saada raises her right arm rather than her left, and is elaborately dressed in fine, jewelled clothes. The sculpture depicts a young Algerian girl, fully clothed, wearing a headdress and holding flowers, whilst raised on a base modelled as a rug over the low stool plinth. No longer surrounded by the marbles of ancient Rome, back in Paris Barrias was instead inspired by the fashion for Orientalism, and other influences for this later work include Achille Guillaumet’s painting of 1885 entitled ‘La Carieuse de aine de Bou-Saada’ (Musée des Beaux Arts, Rouen). The obvious differences between these two canonical works by the sculptor clearly illustrate the stylistic journey that he took from the refined Neo-Classical style at the beginning of his career, to the exotic, emotive Romanticism that he embraced by the 1880’s and which is apparent in the ‘Jeune Fille de Bou-Saada’. Barrias worked his ‘Jeune Fille de Bou-Saada’ first in wax and exhibited it at the Paris Salon of 1890, later producing a full size marble version, which can be seen in a photograph of this time showing the sculptor in his studio, reproduced above. A bronze version of the Bou-Saada was also made for a funerary monument at Montmartre cemetery, and the sculptor subsequently worked with the Susse Freres bronze foundry to produce an edition of the model in various sizes and materials, such as chryselephantine, enamelled and gilt bronze. Even the use of these more colourful and exotic materials employed in the various versions of the ‘Jeune Fille de BouSaada’ reflect a change in the sculptors artistic goals, from the elegant idealism of the present silvered bronze which as a material reflects light and gives an ethereal look to the finely chiselled surface, to the much more exuberant and exotic appearance of this later work.

The offical 1873 catalogue entry listing the sculpture

Reductions of the ‘Jeune Fille de Bou-Saada’, mostly cast by the Susse Freres foundry, have come to auction in recent years, and the prices realised even for these smaller reductions reflect the continued admiration for the sculptor’s work. For example a bronze and ivory of the Bou Saada girl at 33cm high and cast by Susse Freres was sold at Sotheby’s, London, 30 May, 2008, lot 117, for £34,000. Reductions of the present sculpture were never made, and so no other examples have ever come to auction. The re-emergence of this exhibition piece therefore presents a unique opportunity to acquire a work of true art historical importance by this renowned sculptor. Related Literature: Universal Exhibition (1873, Wien) Officieller Kunst-Catalog - Wien, 1873 Welt-Ausstellung 1873 in Wien, Verl. der General-Direction, 1873. Le rapport de la Commission supérieure fournit la liste des sculptures françaises exposées à Philadelphie en 1876 [viii] states that Barrias won the medal for Art for the Megara Spinner, silvered bronze statue. A. Pingeot , The Norman-Roman Antoinette - Margerie Laure, Musée d’Orsay. Illustrated Summary Catalog of Sculptures, Paris, 1986 Bonfait Olivier [ed.], Maesta di Romà. Da Napoleone all’unità d’Italia. From Ingres to Degas. French artists in Rome., Rome, 2003. £60,000-£80,000

32 FERDINANDO VICHI (ITALIAN, 18751945): A LARGE CARRARA MARBLE FIGURE OF A DANCING GIRL ‘DANZATRICE ESOTICA’, SIGNED ‘F. VICHI SALON 1914’ the young girl wearing a jewelled bikini and necklace, her hair flowing around her shoulders in loose curls, dancing with a veil, her diaphanous skirt with ribbons flowing around her, palm leaves at her feet and the oval base naturalistically carved as a carpet, signed ‘F. Vichi Salon 1914, Marmo di Carrara’, with inset metal disc inscribed ‘BAZAR COLON, MONTEVIDEO’, raised on an oval plinth, sold together with two copies of ‘Selecta’ magazine, the first dated May 1917, Ano 1, Numero 1, Montevideo, and including a full page advertisement for the ‘El Bazarcito Y Bazar Colon’ gallery, Calle Sarandi, 580—586, Montevideo, showing a single photograph with the present marble on display in the centre of the image, the second dated October 1917, Ano 1, Num .6 and including a full page advert for the gallery, with four illustrations of the various sculptures in the gallery, the magazine 36cm high, 153cm high PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Provenance: Presumably carved in Florence, inscribed for the Paris Salon of 1914. Acquired between 1914 and 1917 by the Bazar Colon Gallery, Montevideo, Uruguay. Purchased by the present owner from a gallery in Geneva, Switzerland over forty years ago and part of an important private collection. Rarely is a sculpture offered at auction with such intriguing and well documented provenance as the present ‘Danzatrice Esotica’. She was presumably carved in Florence, where Ferdinando Vichi’s workshop was based, and the signature on an identical marble which came to auction some years ago supports this assumption, for it was signed ‘F. VICHI FIRENZE’. Our example is signed ‘Salon 1914’, the last Paris Salon to take place before the Great War, but she has also bears a small medallion for the ‘Bazar Colon, Montevideo’ and appears in a photographic advert for the gallery in 1917. Looking back over a hundred years later, we can hardly imagine the intermittent years and circumstances that led to her escaping Paris on the cusp of war and arriving in Uruguay at the ‘Columbus Gallery or ‘Bazar Colon’ as it was known. The accompanying advertisement shows four photographs of the gallery at this time, brimming with marble sculpture, bronzes and other works of art, from floor to ceiling. We know that she was back in Europe by the 1970’s when she was purchased by the present owner from a gallery in Switzerland, meaning that during her lifetime, she has already travelled from Florence, to Paris, Uruguay, Geneva and London.

An original magazine advert from 1917 showing the sculpture, to be included in the lot.

The ‘Danzatrice Esotica’ demonstrates the high technical virtuosity of this talented sculptor who manages to create a variety of textures and surfaces from the hard crystalline surface of the white marble. Highly respected during his lifetime, Vichi was part of a group of Italian sculptors who exhibited at the Bazzanti Gallery in Florence, including Cesare Lapini, Pietro Bazzanti and Guglielmo Pugi. He specialised in female nudes and busts, exploring the theme through a variety of styles, from his more idealised figures inspired by classical art to the Romantic figures such as the ‘Sea Nymph’, (sold at Sotheby’s, New York, 20 April 2005, lot 75, $108,000). He also worked in the Orientalist style, producing exotic figures such as his marble ‘Danse of the Peacock’, (Sotheby’s, New York, 16 November 2011, lot 351), depicting a dancer in similar garb to lot 34 of this sale. An identical marble of the same size as the present sculpture but inscribed ‘F. Vichi, Firenze’, was sold Christie’s, London, 20 March 2003, lot 66, £65,000. Related Literature: A. Panzetta, Dizionario Degli Scultori Italiani Dell’ Ottocento e del primo Novecento, 1994, Vol. II, p.201, No.828, (illustration of the smaller version). £30,000-£50,000

33 AN 18TH / 19TH CENTURY ITALIAN MARBLE STATUE OF AN AMAZON IN THE 1ST CENTURY A.D. ROMAN STYLE the fragmentary torse raised on a later stand, the marble 85cm high x 40cm wide Provenance: Purchased by the present owner from a gallery in Geneva, Switzerland, over forty years ago. £3,000-£5,000

34 ORAZIO ANDREONI (ITALIAN, FL. LATE 19TH CENTURY): A LIFE SIZE CARRARA MARBLE FIGURE OF DANCING GIRL the exotic dancer wearing a feathered headdress and a jewelled bikini in the Orientalist style, poised dramatically on one foot, her revealing skirt falling in folds to the ground, signed ‘O.M. Andreoni / Spono’, raised on a waisted Verde Antico, circular base, the marble girl 160cm high, 167cm high including circular base PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Provenance: From an important private collection. Orazio Andreoni was based in Rome and established a large and successful workshop there, training many other sculptors such as Emilio Fiaschi, Antonio Rossetti and Oscar Spalmach (who carved the impressive marble ‘Oceanides’ in Andreoni’s studio that are now installed at York House, Twickenham). All of whom were proud to add ‘Studio O Andreoni’ beside their own signatures. Andreoni was typical of many of the Italian sculptors of the late 19th century whose work had to appeal to an almost global market; although based in Rome, Andreoni was a truly international artist exhibiting throughout Europe and further afield. He exhibited his marble ‘Le Pharisien’ in Turin in 1883 (a version is now in the Sydney Museum in Australia) and his ‘Negrése’ in Berlin 1892. He exhibited at the Glasgow International Exhibition of 1888 and is believed to have worked in America at some point during in his career (his ‘Pereat’ is at Wadsworth Museum in Hartford, Connecticut). The present marble figure clearly demonstrates the sculptor’s expertise with the material, for here reality is momentarily suspended as we admire the flamboyant dancer, her exaggerated pose as she rests her full body weight solely on the tip toes of one foot, her body seemingly suspended in the air and her gauze-thin drapery falling in soft folds to the ground. The technical skill required to carve this complex pose from the solid marble is immense, and would have been too great a challenge for all but the most talented of sculptors. For here Andreoni allows us to momentarily believe that he has created life from this most solid and dense material, he has recreated the softness of skin, flesh and bone, with nothing more than a chisel.

Comparables: A marble figure of 'Suzanna' by the Studio of Orazio Andreoni was sold at Christie's, New York, 29 March 2000, Lot 294, for $101,500 A small marble bust of 'Rebecca' by Orazio Andreoni was sold at Sotheby's New York on 11 November 2008, Lot 41, for £42,000. Related Literature: E. Benezit 'Dictionaire des Peintres, Sculpteurs, Dessinateurs et Graveurs' Volume I, Page 184. £20,000-£30,000

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Property of a Gentleman 35 HOLME-CARDWELL (BRITISH, 1813-1895): A LARGE MARBLE FIGURE OF DIANA ABOUT TO BATHE the nude figure of Diana resting against a draped tree stump, her hair arranged in a chignon, on an integral naturalistic base signed to the side ‘HOLME-CARDWELL Fect.Rome 1879’, 128cm high Provenance: In the private collection of a gentleman for at least a generation. PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. The form of this beautiful Neo-Classical sculpture is derived from a monumental marble Diana that Holme-Cardwell carved in Rome in 1862 and was shown at the London International Exhibition of that year. The monumental Diana recently came to auction at Sotheby's, London, 13 December 2017, lot 41 and realised £357,000. Holme-Cardwell also exhibited two other sculptures in the International Exhibition of that year, 'Pan and Cupid' and 'Sabrina', and that fact that these are both now in public institutions, (Pan and Cupid was given to the Victoria and Albert Museum in 1871, and Sabrina is now in the Hove museum, Sussex) is surely testament to the high esteem shown to the sculptor's works both at the time and in the present day. The exquisite modelling of Diana's nude physique and the idealised beauty of her facial features are combined in a marble figure that embodies both the ideals of the neo-classical style and the skill of the talented sculptor who carved her realistic figure from a block of marble. When the monumental Diana was exhibited in 1862 she was titled 'Diana about to Bathe', a title which provides a narrative for the elegant nude figure which in this example, lacks all attributes; for she has undressed and has removed her shoes and bow and quiver of arrows in order to bathe. The Handbook to the exhibition compared the Diana to the famous neoclassical sculptures of Bertel Thorvaldsen and Antonio Canova, further evidence of the high regard this sculptor enjoyed both during his lifetime and beyond, and placing him firmly among the masters of his generation. The present marble was probably produced for a specific commission by a patron who had seen the monumental Diana and wanted his own version. Related Literature: International Exhibition 1862, Official Catalogue, p. 141, Trusscot, son and Simmons, London, (National Art Library) R. Gunnis, Dictionary of British Sculptors 1660-1851, The Abbey Library, London, p 78. D. Bilbey & M. Trusted, British Sculpture 1470-2000 A Concise Catalogue of the Collection of the Victoria and Albert Museum, V&A Publications, London, 2002, page 232. Mapping the Practise and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII online database 2011 £60,000-£80,000

36 AN ITALIAN CARVED PORPHYRY BUST OF A YOUNG SATYR, PROBABLY 17TH CENTURY depicted all’ antica with rusticated back, on a 19th century veined white marble cylindrical socle, the bust 34cm high, 44cm high overall Provenance: In the private collection of a gentleman for at least a generation. PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. £15,000-£20,000 26

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37 AN EARLY 19TH CENTURY NEO-CLASSICAL WHITE MARBLE BUST OF A YOUNG BOY depicting all’ antica wearing robes, his idealised face with mouth slightly open, his hair carved with a central parting at the back, raised on a Verde Antico cylindrical socle, 66cm high PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. £1,000-£1,500 38 JOHN FRANCIS (BRITISH, 1780-1861): A MARBLE BUST OF HENRY JOHN TEMPLE, 3RD VISCOUNT PALMERSTON (17841865) depicted in the Antique style with classical drapery, signed to the reverse ‘J. FRANCIS SC. 1832’, on a stepped cylindrical socle, 36cm high. A further bust by John Francis of Palmerston is in the Collection of the State Library of Victoria, Australia. John Francis studied under the important English sculptor Francis Chantrey and produced marble busts of many political figures of the day. £600-£800 39 JAMES MITCHELL (BRITISH, FL. 1850-80): A MARBLE BUST OF A YOUNG GENTLEMAN wearing a shirt with buttoned collar and drapery, signed to the reverse ‘Jas. Mitchell Sculpt. 1868’, on a stepped cylindrical socle, 45cm high Provenance: Purchased by the current owner from the J Wiseman Collection, Christie’s, London, 23 April 20016, lot 61. James Mitchell (fl.1850-80) specialised in portrait busts and copies after the antique, exhibiting at the Royal Academy between 1850 and 1852 from his studio at Mount Street and later on Cheapside. His marble bust of Geoffrey Chaucer was sold at Sotheby’s, London, 12 July 2005, lot 60. £500-£800

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40 40 ATTRIBUTED TO THE STUDIO OF FERDINANDO VICHI (ITALIAN 1875-1945): AN EARLY 20TH CENTURY ITALIAN CARVED WHITE MARBLE FIGURAL GROUP OF FIVE MUSICAL PUTTI the five young children holding a scroll, cymbals, grapes and pipes, on a naturalistic base, 68cm high x 97cm wide. A small number of very similar marble groups of five putti, depicted in a row in various poses and with various musical instruments or other attributes have come to auction in recent years, including a group inscribed ‘Galleria F. Vichi’ sold at Christie’s, New York, April 20, 2006, lot 144, and so it is likely that the other groups were also produced in his workshop. £10,000-£15,000 41 ALBERT MARQUE (FRENCH, 1872-1947): A MARBLE RELIEF DEPICTING A YOUNG WOMAN ‘SLEEP’ the nude figure with head turned to dexter and eyes closed, depicted half length with a window ledge at her bust surrounded by lilies, with long flowing hair, signed ‘A. Marque’ to the lower left corner, 59cm high x 44cm wide Provenance: Ludovic Baschet, Paris Exhibited: Paris, 1899, Salon de la Société Nationale des Beaux-Arts, Sculpture, no. 96, in the collection of Ludovic Baschet

Biographical references: L. Vaillat, “L’art décoratif: Albert Marque” in Art et les artistes, XV, April-September 1912, pp. 274-8 £1,800-£2,200

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42 42 AFTER THE ANTIQUE: A 19TH CENTURY ITALIAN CARVED CARRARA MARBLE FIGURE OF A NYMPH the reclining figure scooping water from a pool with a shell, on an integral oval plinth, 36cm high x 40cm wide Provenance: Purchased by the present owner from Christie’s 6 July 2008, The Sunday sale: The Langford Hall Collection, Nottinghamshire – Property of the late Mr & Mrs Patrick Radford. Related Literature: Haskell and Penny, ‘Taste and the Antique’ p.281 No. 67. This marble is derived from the ancient marble nymph first recorded in 1638 and purchased by Napoleon in 1807. It is now in the Louvre, Paris. £1,000-£1,500 43 LOT TORELLI (ITALIAN, 1835-1896): ‘SOAP BUBBLES’, A MARBLE FIGURE OF A GIRL BLOWING BUBBLES ON A MARBLE, ONYX AND CHAMPLEVE ENAMEL PLINTH the Carrara marble half length figure depicting a young girl with a small pipe to blow bubbles, signed to the reverse ‘Sic Transit Gloria Mundi’ (Thus passes the glory of the world) ‘Lot Torelli Firenze’, raised on a Breccia marble plinth over an onyx and champleve enamel cylindrical pedestal with rectangular top and square base, 160cm high ovearll (the marble 42cm high, with base 51cm high, the pedestal 109cm) Lot Torelli is perhaps most famous for his large marble figures of Adam and Eve which were mounted on the facade of the Duomo, Florence. Like many sculptors of his generation he exhibited internationally and was well known during his lifetime for his craftsmanship and skill, winning medals in numerous countries. For example he exhibited at the 1876 Centennial Exposition in Philadelphia and won a gold medal, he won the Cross of Gold at the International Exhibition in London and also a gold medal at the 1873 international exhibition in Vienna (Please see lot 31 for more information and an image of this important exhibition). £3,000-£5,000

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44 EMILE-CORIOLAN-HIPPOLYTE GUILLEMIN (FRENCH, 1841-1907): A LARGE BRONZEDSPELTER MODEL OF AN ARAB RIDING A HORSE ‘CAVALIER ARABE’, CAST BY BARYE ET FILS on a naturalistic oval base, signed ‘E. Guillemin’ and ‘Barye Fils’, dark brown patination, 90cm high overall Provenance: From an important private collection. Emile Coriolan Hippolyte Guillemin specialised in Oriental bronzes of this type, and is one of the most renowned sculptors of late 19th century Paris. He was inspired by the Middle East to produce various Romantic figures such as Ottoman maidens and Arab hunters, and regularly exhibited at the Paris Salon from 1870. A bronze cast of this model was sold at Sotheby’s, New York, 28 November 2006, lot 122, $9000. Related Literature: P. Kjellberg, ‘Les Bronzes du XIXe Siecle’, Paris, 1987, p. 369. £1,200-£1,800

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45 ARTHUR WAAGEN (GERMAN, 1833-1898): A VERY LARGE BRONZE FIGURAL GROUP OF A BERBER HUNTER ‘KABYLE AU RETOUR DE LA CHASSE’ the tribesman on horseback with three hounds, holding a rescued lamb in one arm and the pelt of its predator in the other, dark brown patination, on a naturalistic oval base, signed 'Waagen Scu', 89cm high x 73cm wide Provenance: From an important private collection. Arthur Waagen was born in Germany but settled in Paris, opening his own studio at Cours-deVincennes. Records show that he exhibited regularly at the Paris Salon between 1861 and 1887 and this dramatic sculpture was one of his most highly regarded works. Another large cast of this bronze was at Sotheby’s, London, 16 December 2015, lot 69, a further cast is in the Dahesh Museum, New York, and another is known to have been owned by the Rockefeller family. Related Literature: C. Payne, ‘Animals in Bronze, Reference and Price Guide’, Woodbridge, 1986, pp. 284-285; P. Kjellberg, ‘Bronzes of the Nineteenth Century; Dictionary of Sculptors’, Atglen, 1994, p. 647 £10,000-£15,000

46 A LARGE LATE 20TH CENTURY PATINATED AND COLD PAINTED, ORIENTALIST BRONZE OF AN ARAB RIDING A CAMEL with a rifle slung over his shoulder, and a pair of greyhounds running beside on a naturalistic base, with cold painted decoration in red and green, 139cm high x 140cm wide £3,000-£5,000

47 47 AFTER GUILLAUME COUSTOU (FRENCH, 1677-1746): A LARGE PAIR OF 19TH CENTURY FRENCH BRONZE MODELS OF THE MARLEY / MARLY HORSES each horse rearing beside a semi-clad male figure, on naturalistic bases, dark brown patination, signed ‘COUSTOU’ 60cm high (2)

Coustou’s design for the Marly horses reinvented the theme of the colossal Roman marbles in the Piazza Quirinale, Rome. The original full size pair were produced for Louis XVI’s royal hunting lodge at Marly. £2,000-£3,000

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48 AFTER ANDREA DEL VERROCCHIO (ITALIAN, 14351488): A LARGE 19TH CENTURY BRONZE REDUCTION OF THE EQUESTRIAN MONUMENT TO BAROLOMEO COLLEONI dark brown patination, with a rectangular base, raised on a stepped Verde Antico marble plinth with a plaquette inscribed ‘BARTY COLLEONE GENERAL DE LA REPUBLIQUE DE VENISE 15 SIECLE PAR VERROCCHIO’ 81cm high overall This bronze is a reduction of the famous equestrian monument to the Condottiero Bartolomeo Colleoni who served many years under the Republic of Venice. Verrocchio was commissioned to produce the sculpture in 1480 by the Venetian Signoria using funds left by Colleoni in his will. He began work on the model only to be told that they had changed their mind and given the commission to another sculptor; Verrocchio was so enraged at this that he smashed his model to pieces and left Venice in a rage. The Signoria soon realised their mistake and had to re-employ him at twice the previous rate; but these delays meant that the monument was still unfinished eight years later when the sculptor fell ill with a chill and died. It was therefore finished by Alessandro Leopardi. £4,000-£6,000

49 PIERRE-LOUIS DETRIER (FRENCH, 1822-1897): A LARGE BRONZE FIGURAL GROUP OF A YOUNG GIRL AND A BABY ‘LA GRANDE SOEUR’ (THE BIG SISTER) the girl carrying the baby and raised on a naturalistic base cast as a path beside a stream, mid brown patination, signed ‘Detrier’, raised on a Rouge Griotte marble circular plinth with brass rod to the centre to turn the bronze, and a brass plaquette inscribed ‘LA GRANDE SOEUR PAR DETRIER salon 1892’, 68cm high £800-£1,200

50 MATHURIN MOREAU (FRENCH 18221912): A LARGE BRONZE FIGURE DEPICTING A MAIDEN OFFERING WATER TO A PUTTO the semi clad peasant girl seated on rocky mound, holding a jug which she tips towards the expectant mouth of a small winged putto at her feet, mid brown patination, signed ‘Math Moreau’ and with foundry stamp ‘Cie des Bronzes Bruxelles’, 70cm high £2,500-£3,500

51 ADRIEN-ETIENNE GAUDEZ (FRENCH, 1845-1902): A BRONZE FIGURE OF A MAIDEN ‘MARGUERITE’ the standing figure with her hair in two long plaits, in a Renaissance period dress, picking petals from a daisy, raised on a circular base signed ‘GAUDEZ’ and with a cartouche to the front inscribed ‘MARGUERITE PAR A. GAUDEZ HORS-CONCOURS’, 41cm high £800-£1,200

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52 EMILE LAPORTE (FRENCH, 1858-1907): A LARGE BRONZE FIGURAL GROUP OF A MALE AND FEMALE the semi-clad male figure holding a sword and wearing an animal’s pelt, the female figure pointing into the distance, on a square naturalistic base signed ‘E. LAPORTE’, dark brown patination, 67cm high £2,000-£3,000

53 EMILE ANDRE BOISSEAU (FRENCH, 1842-1923): A LARGE BRONZE FIGURAL GROUP ‘LA DEFENSE DU FOYER’ depicting a warrior protecting a mother and child, dark brown patination, raised on a circular base signed ‘E. BOISSEAU’, with a plaquette to the front inscribed ‘LA DEFENSE DU FOYER’, 59cm high £1,500-£2,000

54 LEON ALEXANDER DELHOMME (FRENCH, 1841-1895): A BRONZE FIGURE OF A SEMI-CLAD VIKING WARRIOR CAST BY THIEBAUT FRERES, PARIS the figure holding a shield in his left hand, pointing to the ground, his left foot raised on a winged helmet beside a sword, the naturalistic base signed ‘L. Delhomme’ and with Thiebaut foundry stamp, dark brown patination, raised on stained wood, oval plinth, 59cm high overall £1,200-£1,800

55 EUGÈNE MARIOTON (FRENCH, 1857-1933): A BRONZE FIGURE OF A MAIDEN ‘PHOEBE’ the dancing figure in a diaphanous dress, her arms outstretched and looking to dexter, raised on a stylised cloud base with a globe, mid brown patination, signed ‘MARIOTON SC.’, and inscribed ‘SALON 1889’, raised on a shaped marble plinth, 63cm high £1,500-£2,000

56 EDOUARD DROUOT (FRENCH, 1859-1945): A BRONZE FIGURE OF A SEMI-CLAD MAIDEN FITTED AS A LAMP BASE the dancing figure with diaphanous dress and flowing drapery, holding aloft two sunflowers in her hands, each fitted with an electric nozzle, raised on a naturalistic domed base over a re-entrant cut square plinth, dark brown patination, signed ‘Drouot’, 71cm high £1,200-£1,800

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57 EUTROPE BOURET (FRENCH, 18331906) ‘AU CLAIR DE LA LUNE’ A BRONZE FIGURE OF A LUTE PLAYER / JESTER raised on a square base inscribed with the title to the front and signed ‘BOURET’, mid brown patination, 48cm high £600-£800

58 A LATE 19TH CENTURY FRENCH BRONZE FIGURE OF A MEDIEVAL WARRIOR Standing a contra-posto and holding his gauntlets in his right hand, mid brown patination, unsigned, raised on a black marble cylindrical base, 58cm high £600-£800

59 PAUL FOURNIER (FRENCH, 1859-1926): A LARGE BRONZE FIGURE OF A MINSTREL PLAYING A LUTE the figure in Renaissance dress, looking to dexter and seated on a fountain with lion mask spout and shaped bowl below, on a circular base, signed ‘Paul Fournier’ and with unusual foundry stamped initialled ‘A.B.’ with a design of a Bassett hound, dark brown patination, 72cm high £1,500-£2,000

Detail of lot 49

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60 A 19TH CENTURY FIGURE OF A PUTTO PLAYING THE HORN, PROBABLY SILVER GILT, UNMARKED the standing figure with finely chased, curly hair, nude except for a sash, raised on a rectangular marble plinth, 21cm high £600-£800 61 A MID 19TH CENTURY BRONZE FIGURE OF NARCISSUS SIGNED JRC 1846 the nude male figure seated on a rock looking down into a pool, dark brown patination, on a ringed, circular plinth, signed ‘JRC 1846’, 16.5cm high £300-£500

62 JOSEPH-FRANÇOIS BELIN (FRENCH, FL. LATE 19TH CENTURY): A PAIR OF BRONZE FIGURES ‘LA REVERENCE’ AND ‘BOUQUETIERE’ (THE FLOWER SELLER AND THE CURTSY) both figures wearing corseted dresses and raised on circular naturalistic bases signed ‘Belin’, 39cm high (2) £500-£800 63 EMILE LOUIS PICAULT (FRENCH, 1833-1915): A PAIR OF BRONZE FIGURES OF SOLDIERS one holding a flag and looking to sinister, the other looking to dexter, both raised on square bases signed ‘E. PICAULT’, and stamped ‘Syndicat des Fabrts. de Bronzes 1818/ Unis France’, dark brown patination, 42cm high (2) £300-£500

64 SIR WILLIAM HAMO THORNYCROFT (ENGLISH, 1850-1925): A BRONZE MAQUETTE OF AN ANGEL FROM THE MONUMENT TO THE HON. W. OWEN STANLEY the bronze figure depicting a female angel with outstretched wings, holding a flaming torch in her left hand, her eyes downcast, numbered '1' to the bronze base, mounted on a black marble square plinth with incised inscription to the reverse 'BRONZE CAST SKETCH MODEL OF AN ANGEL PART OF A MONUMENT ERECTED IN HOLYHEAD CHURCH IN MEMORY OF THE HON. W. OWEN STANLEY / HAMO THORNYCROFT R.A. SC 1896' the bronze 21cm high, 24cm high overall PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Thornycroft is known to have cast in bronze some of his small working models that he produced for larger bronze statues, such as those for the Teucer and the Mower, which were both cast in an edition of twenty five. The present small bronze maquette would have been cast from the plaster original that was made as a sketch model for the full size marble figure. The style of the maquette is typical of Thornycroft's other bronze maquettes, the surface is unfinished and lacking the detail apparent in the full size original. There are seams visible in the casting from the original moulds which

have not been polished and removed, and other marks from the casting process are still apparent on the surface of the bronze as well as traces of plaster. The backs of the wings have been loosely modelled with no attempt to delineate feathers. Similar maquettes of the same size, by Thornycroft have appeared at auction recently, a bronze maquette for The Mower (20cm high) was sold at Bonhams, London, 2 September 2014, lot 158. This maquette is illustrated in J. Cooper, 'Nineteenth Century Romantic Bronzes', David & Charles, London, 1975 page 67. A further maquette, of 'The Teucer', at 21cm high, was also sold at Bonhams, London, 12 June 2013, lot 192 (£5000). A similar version of this maquette is illustrated in 'Sir Alfred Gilbert & The New Sculpture' Exhibition Catalogue, The Fine Art Society, illustrated on pages 104-105. The present maquette is a study for a large marble figure which was part of a funerary monument, featuring a sculpture of the deceased on a plinth, with an angel to either side. The monument was finished in 1897 and is in St Cybi's Church, Holyhead, in North Wales. Related Literature: 'The Chronicle of Art. January.' Magazine of Art 22 (November 1897-October 1898): 166-72. Internet Archive version of a copy in the University of Toronto Library. Web. 1 November 2014. £500-£800

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65 JEAN-LEON GEROME (FRENCH, 1824-1904): A GILT BRONZE FIGURE OF A DANCING GIRL ‘LA DANSEUSE A LA POMME’ the semi-clad girl with long diaphanous dress, balancing on one foot, the other leg outstretched, an apple in her right hand and the hem of her dress held up in her left, on a shaped base signed ‘J.L. GEROME’ and numbered ‘1845’, raised on a green marble cylindrical plinth, the bronze 27cm high, 35.5cm high overall PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Gérôme is perhaps most famous for his paintings but also achieved great success as a sculptor and his bronzes are now highly sought after. He was trained by the important painter Paul Delaroche and became a professor at the École des Beaux-Arts, where he taught for nearly forty years and trained more than 2,000 students. The original ‘Dancing Girl with Apple’, also known as the ‘Ancient Dancer’ was first modelled in 1890 and was made of a luxurious combination of materials; the dress carved in green marble, the skin from ivory and the jewellery cast in bronze and mounted with semi-precious stones. It was 95cm high and was exhibited at the Salon in 1891, and at the Cercle de l’Union Artistique in 1893, and is now in a private

collection in Geneva. In a letter of circa 1890 Gérôme compared the sculpture to his hoop dancer, held in the hand of his famous Tanagra:‘I have also lately finished a little figure in marble, half lifesize, of a dancing girl, it is like the one Tanagra holds in her hand only this is more seriously made, and the nude portions, as well as the draperies, have been studied with care.’ The dancing girl was subsequently cast in bronze by the Parisian founder Siot-Decauville who made editions in three different sizes and also produced versions like the original, incorporating combinations of materials such as marble, ivory, gilt and patinated bronze and even semi-precious stones. A chryselephantine example (gilt bronze and ivory) was sold Sotheby’s London, 28th June 2007, lot 104, £84,000. A further example of this model cast by Siot Fondeur Paris, at 52cm high was sold at Christie’s, London, 17 June 2004, lot 54, £10,700. Related Literature: G. M. Ackerman, The Life and Work of Jean-Léon Gérôme, Paris, 1986, no. S. 20 £800-£1,200

65A A LARGE 20TH CENTURY FRENCH TERRACOTTA NUDE FIGURE OF A GIRL BY SUSSE FRERES, PARIS the nude depicted half length in the 18th century style, her hair arranged in a chignon and eyes downcast, signed indistinctly ‘Guy Ditton’ and stamped ‘SUSSE FRES EDIT PARIS’ with Susse circular stamp, 80cm high £1,200-£1,600

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66 66 AFTER NICCOLO TRIBOLO (ITALIAN, 1500-1550): A 19TH CENTURY BRONZE FIGURE OF A SATYR ATTRIBUTED TO FREDERICK WILLIAM POMEROY (BRITISH 1856-1921) the figure playing pipes and seated on an urn, on an oval base over a black marble, rectangular plinth, the bronze 27cm high, 29cm high overall This bronze is derived from the original sculpture by Tribolo which is now in the Museo Nazionale, Florence. Pomeroy is known to have produced a bronze after this design, signed examples with direct provenance have appeared at auction. £600-£800

67 67 HANS STOLTENBERG LERCHE (ITALIAN, 1867-1920): A BRONZE RELIEF CAST ‘BAT’ VASE of baluster form with long neck, cast in relief with three bats with a stylised townscape and gilt stars, signed ‘H.S. Lerche Paris 1892’, 19.5cm high Another example of Stoltenberg’s ‘Bat’ vase, also dated 1892 was sold at Sotheby’s, London 16 November 2006, lot 122, £2280. £1,000-£1,500

68 AFTER THE ANTIQUE: A 19TH CENTURY ITALIAN BRONZE FIGURE OF THE DYING GAUL the injured nude solider on an oval base with a sword beside him, dark brown patination with greenish high points, 17cm high x 30cm wide Related Literature: F. Haskell and N. Penny, ‘Taste and the Antique. The Lure of Classical Sculpture’ 1500-1900, New Haven and London, p. 224-227, no. 44

The original marble of the Dying Gaul was first recorded in 1623 in the Ludovisi Collection, and later acquired for the Capitoline Museum by Pope Clement XII before it was sent to Paris in 1797. After Napoleon’s defeat it was returned to the Capitoline. £700-£1,000

69 AFTER GUILLAUME COUSTOU (FRENCH, 1677-1746): A PAIR OF 19TH CENTURY FRENCH BRONZE MODELS OF THE MARLEY / MARLY HORSES each horse rearing beside a semi-clad male figure, on naturalistic bases, dark brown patination, signed ‘COUSTOU’ 49cm high (2) Coustou’s design for the Marly horses reinvented the theme of the colossal Roman marbles in the Piazza Quirinale, Rome. The original full size pair were produced for Louis XVI’s royal hunting lodge at Marly. £1,500-£2,000

70 A PAIR OF 20TH CENTURY BRONZE MODELS OF SPANIELS naturalistically cast in the Animalier style, raised on shaped integral bases and with glass eyes, signed ‘Mark Kennedy’, mid brown patination, 45cm high (2) £1,000-£1,500

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71 71 ATTRIBUTED TO JACQUE-EDME DUMONT (FRENCH, 1761-1844): A TERRACOTTA FIGURE OF A NUDE BACCHANTE the female figure reclining on her front, with long flowing hair and resting on an upturned urn, with an upturned cup and grapes beside her, on a naturalistic integral base, 23.5cm long This wonderfully modelled terracotta can be attributed to Dumont based on the delicate and precise modelling apparent in the details such as her lips, nose, eyes and the vines at her side, as well as its similarity to other known works by the sculptor such as the ‘Standing Woman coming out of the Bath’, sold Calmels, Paris, 19 May 1995, lot 60.Both feature the distinctive elongated physique and relatively small head. Dumont trained under the important sculptor Augustin Pajou, and his influence is apparent in many of his fine terracotta studies. He won the prestigious Prix de Rome in 1788 and was therefore working in Italy from 1788 until 1793, when he returned to France. He was hoping to secure public commissions from the Revolutionary Convention but instead began producing small scale statuettes, reliefs and medals, of which the present Bacchante is typical. Later in his career he achieved public recognition winning numerous official commissions including works for the Louvre and the Arc de Triomphe du Carrousel. His terracotta statue of Paris is now in the Metropolitan Museum, New York. Related literature: S. Lami, ‘Dictionnaire des sculpteurs de l’école française au dix-huitième siècle’, I, 1910, Kraus Reprint, Nendeln, 1970, pp. 301-6 £600-£800 72 72 A LARGE LATE 19TH CENTURY FRENCH TERRACOTTA FIGURE OF CUPID WITH A DOVE IN THE MANNER OF FALCONET the seated figure resting on his quiver of arrows, on an oval naturalistic base, 56cm high £1,000-£1,500

73 AN 18TH CENTURY STYLE LIFE-SIZE TERRACOTTA BUST OF PEACE looking to dexter and wearing a laurel crown, depicted in the Antique style with drapery pinned at her left shoulder, raised on a spreading cylindrical socle, 86cm high Provenance: purchased from Crowther’s Syon Lodge, at least thirty years ago by the present owner. £1,000-£1,500

74 A 19TH CENTURY CARVED STONE KEYSTONE modelled as a female mask with floral headdress, 47cm high x 40cm wide Provenance: Property of a London gentleman. £400-£600

75 A LARGE LATE 19TH CENTURY POLYCHROME CERAMIC TILE PANEL DEPICTING ‘THE MADONNA DELLA RONDINE’ AFTER CARLO CRIVELLI (ITALIAN, 1430-1495) depicting the Madonna supporting the Christ Child on her left knee, Christ holding an apple, comprised of polychrome and gilt decorated tiles mounted on to a black slate support, 146.5cm high x 65cm wide £1,000-£1,500 75 46

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76 AFTER CLAUDE MICHEL CLODION (FRENCH, 1738-1814): A LATE 19TH CENTURY BRONZE FIGURAL GROUP OF A SATYR AND A BACCHANTE the semi-clad satyr pushing the nude Bacchante girl in a wheel barrow, a tambourine in her left hand and a thyrsus in her right hand, bearing the signature ‘Clodion’, raised on a Verde Antico marble plinth, 30cm high £600-£800 77 A MID 19TH CENTURY FRENCH GILT BRONZE MODEL OF A GREYHOUND IN THE MANNER OF PIERRE-JULES MENE the standing hound raised on a rectangular naturalistic base, 27cm high x 36cm wide £800-£1,200 78 A FRENCH LATE 18TH / EARLY 19TH CENTURY WOOLWORK AND BEADED TAPESTRY in the Orientalist style, depicting a dramatic hunting scene with Ottoman and Arabian figures on horseback with a greyhound hunting a boar, with details such as the eyes and parts of the jackets decorated with beads, later mounted in a glazed frame, the panel 120cm wide x 96cm high £800-£1,200

79 A FINE AND LARGE 19TH CENTURY ROMAN MICROMOSAIC DEPICTING THE FORUM OF ROME the rectangular panel depicting the Forum of Ancient Rome with the columns of the Temple of Vespasian at the centre flanked to the left by the Arch of Septimus Severus and the Church of Saints Martin and Luke, to the right are the columns of the Temple of Saturn, the grassy foreground has two couples conversing, in the background are the column of Foca and the columns of the Temple of Castor and Pollux leading to the arch of Titus, set in black Belgian marble, with an ebonised frame with simulated basket weave and ripple moulding, the panel 39.5cm wide x 29cm wide, the frame 54cm wide x 43cm high ÂŁ12,000-ÂŁ18,000

Detail 48

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80 AFTER THE ANTIQUE: A 19TH CENTURY FRENCH BRONZE FIGURE OF DIANA THE HUNTRESS ATTRIBUTED TO BARBEDIENNE the standing figure with a plumed helmet at her feet, her right arm raised and clad in a short draped robe, on an integral rectangular base, with the ‘A.COLLAS BREVETE REDUCTION MECANIQUE’ stamp to the reverse (usually used by Barbedienne), dark brown patination, 39.5cm high £800-£1,200 81 AFTER THE ANTIQUE: A LATE 19TH / EARLY 20TH CENTURY NEAPOLITAN BRONZE FIGURE OF NARCISSUS the standing nude figure looking down to his own reflection, on a circular plinth, dark brown / greenish patination, 33cm high £200-£300 82 AFTER THE ANTIQUE: AN EARLY 19TH CENTURY BRONZE FIGURE OF THE MATTEI CERES the standing figure holding ears of corn in her left hand, on a spreading oval plinth, dark brown patination, 34cm high The Mattei Ceres was produced by an unknown Roman sculpture circa 300 BC-200 BC. The original marble figure was found on the Roman estates of the Mattei family and was purchased by Pope Clementine in 1770. £1,000-£1,500

83 83 A RARE AND FINE LATE 17TH / EARLY 18TH CENTURY DUTCH MOTHER OF PEARL INLAID PANEL DEPICTING A VASE OF FLOWERS IN THE MANNER OF DIRCK VAN RIJSWIJCK (1596-1679) the engraved mother of pearl flowers inlaid into a stained wood ground, depicted in a twin-handled urn type vase on rectangular base, mounted in a later moulded rectangular gilt frame, the panel 26cm high x 21cm wide, the frame 34cm wide x 40cm high Dirck Van Rijswijck was trained as a goldsmith, and worked as a silversmith in Antwerp before developing his own distinctive style; and this training and technical finesse is apparent in the exceptional workmanship of his inlaid panels. He perfected the technique of using mother of pearl inlay to represent floral still life pictures, using the natural variations of colour apparent in the material to simulate the colours and surface textures of the various flowers. He produced a number of panels depicting vases of flowers inlaid with mother of pearl in a similar style to the present lot, many with a chained monkey beside the vase. Examples are now in the Rijksmuseum and the Victoria and Albert Museum. For a mother of pearl inlaid panel by Van Rijswijck sold at auction, see Christie’s, London, 4 July 2017, lot 156, £87,500. £12,000-£18,000

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84 TWO PAIRS OF FOSSIL MARBLE OBELISKS comprising a large pair and a smaller pair, both raised on rectangular plinths, 74cm high and 44cm high (4) £800-£1,200 85 A 19TH CENTURY SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED JARDINIERE / CACHEPOT MARKED ‘CHATEAU DES TUILERIES’ raised on a circular base, the rim with a laurel mount flanked by a pair of female masks hung with floral garlands, the body of the vase with gilt mounts decorated with laurel garlands and scrolling foliage, the porcelain decorated with garlands of roses, floral bouquets, birds and musical tr ophies on a white ground, 32cm high £1,000-£1,500 86 A LATE 19TH / EARLY 20TH CENTURY FRENCH GILT BRONZE MOUNTED KINGWOOD, TULIPWOOD AND PARQUETRY GUERIDON ATTRIBUTED TO FRANCOIS LINKE, PARIS the circular fleur de pecher marble table top over the parquetry frieze with gilt bronze mounts, each depicting a female mask flanked by a pair of cornucopiae and flowers, the front fitted with a drawer, on cabriole legs united by an X frame stretcher mounted with a scrolling basket, the knees with acanthus and volute scroll mounts, with hoot feet, 73cm high x 61cm diameter PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. This gueridon is of very similar form to one that was signed ‘F. Linke’, sold at Christie’s, London, 9 March 2008, lot 99 (£23,000). The distinctive scrolling basket uniting the stretchers and the gilt bronze mask mounts are both apparent in both examples. A further example produced by Linke for Maison Sormani with almost identical basket was sold at Christie’s, 19 March 2009, lot 133 (£16,000). £600-£800

87 87 A FINE 19TH CENTURY RUSSIAN SILVER AND SILVER GILT TEA GLASS HOLDER (PODSTAKANNIKS) AND SPOON BY GUSTAV ALEXANDER SOHLMAN, ST PETERSBURG, 1878 the cup with stylised scrolling handle, engraved ‘A.R.’ below a crown to one side, the spoon similarly engraved ‘A.R.’ in a cartouche flanked by foliage, with spirally turned stem, both marked for Gustav Alexander Sohlman, St Petersburg 1878, with glass liner, mounted within a wooden and velvet lined presentation box, 12cm high excluding box £700-£1,000

88 AN EARLY 19TH CENTURY EMPIRE PERIOD GILT AND PATINATED BRONZE FIGURAL CLOCK BY BAUFSE, PARIS modelled as a figure of Cupid holding aloft the foliate scrolling support to the gilt foliate and floral cast bezel, raised on a gilt bronze baluster shaped pedestal over a circular base and stepped square plinth, the dial signed ‘Baufse au Merid. Bould. d’Antin’, with engine turned centre and enamelled Roman chapter ring, the twin train movement with silk suspension and outside countwheel striking on a bell, with sunburst mask pendulum, 43cm high The movement is winding, ticking and striking but not fully tested or guaranteed. An Empire clock depicting ‘La Liseuse’ and also signed ‘Baufse/ Au Meridien B.lvart d’Antin’ was sold at Christie’s, London, 16 September 2014, lot 480. £600-£800

89 A 19TH CENTURY FRENCH BRONZE MODEL OF A SPHINX the reclining beast on a stepped marble plinth, 27cm wide x 20cm high £400-£600

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90 A 19TH CENTURY ROMAN MICROMOSAIC OF THE FORUM depicting the Forum of Ancient Rome with the columns of the Temple of Vespasian at the centre flanked to the left by the Arch of Septimus Severus, to the right are the columns of the Temple of Saturn, set in black Belgian marble, within an ebonised C scroll and acanthus leaf frame, 25.5cm wide overall £600-£800 91 A REGENCY MAHOGANY AND BRASS MOUNTED FUSEE TABLE / BRACKET CLOCK OF SMALL SIZE the caddy top surmounted by a brass urn finial, the sides with floral cornucopiae cast, gilt brass, ring handles, on four ball feet, the 6” painted dial with Roman numerals, the single fusee timepiece movement with shaped plates and pendulum with heavy brass bob and pendulum lock, 38cm high The movement is currently ticking but not fully tested or guaranteed. £500-£800 92 A LATE 18TH CENTURY MAHOGANY AND CHEQUER STRUNG STICK BAROMETER BY JOSEPH SOMALVICO & CO., 256 HOLBORN, LONDON the case with a hinged door, revealing the silvered, signed scale with vernier and thermometer, the visible mercury tube to the trunk, with circular cistern cover below, 93cm high £500-£800 93 A LATE 19TH CENTURY TRIPLE TRAIN QUARTER STRIKING LONGCASE CLOCK MOVEMENT the square brass dial with moonphase above, painted with a cottage scene, the 13” dial with strike / silent and Westminster Chimes / Chime on Eight Bells subsidiary dials to the top corners, with silvered, engraved centre, the movement with musical pin wheel to activate four further hammers, 49.5cm high £250-£350 94 A GEORGE III AND LATER MAHOGANY AND BRASS MOUNTED TABLE / BRACKET CLOCK SIGNED ‘JAMES MURRAY ROYAL EXCHANGE’ the case of break-arch form and surmounted by a brass swing handle, on a plinth base over four bun feet, the sides with brass reticulated sound frets, the later dial with scrolling acanthus leaves and Roman numerals, the twin fusee movement striking on a bell, with anchor escapement, signed to the backplate ‘James Murray Royal Exchange’, with heavy brass bob adjustable pendulum, 47.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800

96 95

95 λ A MID 19TH CENTURY ANGLO INDIAN SANDALWOOD, IVORY AND SADELI WARE LAP DESK, PROBABLY CALCUTTA the upper caddy shaped section hinged and opening to reveal the interior fitted with lidded compartments above a sloping hinged velvet-lined writing surface which in turn encloses three drawers, 40cm wide £600-£800 96 λ A MID 19TH CENTURY FRENCH ‘BOULLE’ STYLE TORTOISESHELL AND CUT BRASS DESK STAND / ENCRIER Of rectangular form, the recessed pen tray with typical cut brass scrolling foliage decoration, with two recesses for ink pots, on a scrolling base with grotesque beast mounts to each corner, 37cm wide x 10cm high £600-£800

97 λ A RARE 19TH CENTURY OTTOMAN EBONY, TEAK, IVORY, BONE & MOTHER OF PEARL MASHRABIYA BIJOUTERIE TABLE decorated throughout with geometric inlay and carved wood latticework, the hinged and glazed rectangular top opening to reveal the cabinet within, 74cm wide x 82cm high x 53cm deep £6,000-£8,000 98 A FIRST HALF 20TH CENTURY LOUIS XV STYLE SATINWOOD AND KINGWOOD PARQUETRY INLAID AND GILT BRONZE MOUNTED BUREAU raised on cabriole legs, the fall front revealing a gilt tooled leather writing surface and three drawers within, 70cm wide x 89cm high x 44cm deep £400-£600 *See inside front cover for information regarding fees

99 TWO PAIRS OF BRECCIA MARBLE OBELISKS comprising a large pair of purple and white veined marble and a smaller pair of black, dark green and white veined marble, 74cm and 44cm high (4) £800-£1,200

100 A FINE REGENCY ROSEWOOD LIBRARY TABLE WITH SPECIMEN MARBLE TOP the rectangular marble top inlaid with a geometric design with various hard stones and marbles such as lapis lazuli, Sienna, Portor and Rouge Griotte marble, raised on end supports carved with volute scrolls and large floral paterae, 74cm high x 122cm wide x 64cm deep £2,000-£3,000

100

101 A PAIR OF LATE 19TH CENTURY FRENCH NEO-CLASSICAL STYLE GILT AND PATINATED BRONZE FIGURAL STANDING LAMPS depicting Venus and Mercury, Venus semi-nude with falling drapery, holding aloft an oak leaf and acorn wreath, Mercury also semi-clad and with large wings and finely chased hair, both raised on square bases with floral mounts and four paw feet, the bases supporting the brass spirally turned shafts, each now fitted for electricity, 163cm high (2) £3,000-£5,000

102 A LATE 19TH CENTURY COLOURED GLASS AND GILT BRASS STANDARD LAMP IN THE MANNER OF BACCARAT the spirally twisted stem with lambrequin and arrow gilt metal mounts and surmounted by a Corinthian column, raised on a spherical base over a domed foot with gilt feet cast with Rococo style cartouches, 153cm high £2,000-£3,000

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103

104

103 A LARGE MID 19TH CENTURY VENETIAN CARVED AND STAINED WOOD WALL MIRROR the ornate frame carved in the Baroque style with scrolling foliage, flower heads, putti and dolphins, with a male head cresting and a female head below, with original glass mirror plate, 125cm high x 122cm wide £800-£1,200 104 GABRIEL VIARDOT (FRENCH, 1830-1906): A CARVED WOOD WALL MIRROR MODELLED AS A DRAGON IN THE CHINESE TASTE the dragon with outswept wings and tail curling around the bevelled glass plate, a winged putti to the lower right side of the mirror, 137cm high x 108cm wide Viardot was considered one of the greatest designers of late 19th century Paris, specialising like others such as L’Escalier de Cristal in the highly fashionable Orientalist style. He exhibited widely, including at the Great Exhibition of 1851. He also exhibited and was a jury member at Paris Expositions Universelle of 1867, 1878 and 1889, and was awarded a gold medal at the 1889 exposition. £1,000-£1,500 105 A 19TH CENTURY FRENCH MAHOGANY ADJUSTABLE FLOOR STANDING EASEL IN THE EMPIRE STYLE carved with scrolling swan head terminals, 178cm high x 73cm wide £800-£1,200 105

106

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Detail

106 A RARE PAIR OF LOUIX XVI ENGRAVED, GILT AND POLYCHROME DECORATED SILVER FOIL VIEWS OF THE CHATEAU DE CHOISY-LE-ROY BY CLAUDE-LOUIS CHEVALLIER, PUPIL OF THOMAS COMPIGNE both inscribed ‘L.C. CHEVALIER Chateau de Choisi le Roy’, one also inscribed ‘VUE. DE. CHOISI. LE. ROY. DU COTE. DES. TERRES. EXECUTE. SUR LE TOUR’ above the main view, mounted in gilt rectangular frames, the reverse of the frames with a paper label inscribed ‘SCULPTURE-DORURE ATELIERS 5 & 11, Rue Treilhard ADOLPHE STOLL 11 Rue Treilhard fait tout ce que concerne l’encadrement’, the panels 25cm wide x 20cm high, the frames 32cm wide x 27cm high (2) PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Claude-Louis Chevallier was given the important title of Maître Tabletier chevalier in 1776. He was a student of the perhaps more famous master, Thomas Compigne, Tabletier Privilegie of Louis XV. A pair of panels of almost identical design depicting the Chateau de Choisi but inscribed ‘Par Compigne Tabletier Celebre en 1772’ to the reverse recently came to auction at Christie’s, London, 15 November 2017, lot 246, (£35,000), and it is therefore assumed that Chevallier worked in the same workshop and used Compigne’s moulds. Thomas Compigne’s shop was at Rue Grenetta, Paris, in the cabinetmakers’ quarters; which was useful for sourcing the finest materials for his works, which included ivory, tortoiseshell, exotic woods, paintings, gold and silver. He produced decorative works of art and exquisite objects such as snuff boxes, canes and games boxes, but became famous for his relief panels painted in coloured varnishes on a background of gold or as in the present lot, silver. His unique style drew clients from far and wide who marvelled as the beautiful objects and speculated as to how he had produced them. In 1773 he presented the King with views of his hunting lodge Saint-Hubert, and we can therefore speculate that the pair of panels that Compigne produced depicting the Chateau de Choisy, another royal residence favoured by the King, may also have been made as a royal commission. Related Literature: Exhibition Catalogue ‘Compignee, Painter and Roy’s Tabletier’, Fragonard Museum, Grasse, June-July 1991 A. Semail, ‘These delicate masterpieces of tableting in the 18th century, The Compignés’, Pleasures of France, March 1975, p. 25 to 31. £18,000-£25,000

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108

107 A RARE LOUIX XVI ENGRAVED, GILT AND POLYCHROME DECORATED SILVER FOIL PICTURE OF A NOBLEMAN PAYING HOMAGE ATTRIBUTED TO THOMAS COMPIGNE OR CLAUDE-LOUIS CHEVALIER within an interior scene, with various figures to the background, of circular form within a beaded, gilt frame, 14cm diameter overall

108 JEAN-BAPTISTE CARPEAUX (FRENCH, 1827-1875): A WAX PORTRAIT RELIEF OF MME. ARMANDE DIEUDE-DEFLY (17851875) of circular form, the lady wearing a ribbon-tied bonnet, with plaster infill to the reverse, 19cm diameter

Please see lot 106 for a footnote about Thomas Compigne. £800-£1,200

This wax relief is Carpeaux’s original working model. From it he made a plaster cast from which he could cast versions in bronze. A plaster version, presumably from this wax original, is in the Musee de Valenciennes (signed, Val.1927-9) and terracotta version is in the Musee d’Orsay (signed, and with the Carpeaux cachet, RF2943) and the Musee des Beaux-Arts Jules Cheret, Nice. The bronze founder A.A. Hebrard later cast another bronze edition, an example of one of these casts was sold at Sotheby’s, Paris, ‘The Collection de la Baronne Eugene de Rothschild’, 31 March 2004, lot 259. Madame Defly was the ‘dame lectrice’ (tutor) to Princess Mathilde Bonaparte between 1856-1870. £500-£700

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110

109 A LARGE PAIR OF 19TH CENTURY NEO-GOTHIC BRASS THIRTEEN LIGHT CANDELABRA the trellis pattern stems issuing three tiers of scrolling, knopped branches, on ringed and knopped shafts over domed circular bases, 104cm high (2) £800-£1,200 110 A PAIR OF LATE 19TH CENTURY SEVRES STYLE PORCELAIN VASES AND COVERS of urn form, each with a pierced, domed lid with fruiting finial above, with spreading, lappet neck decorated with trailing roses, with geometric handles terminating in classical female masks, raised on spreading socles over square bases, the bodies decorated with roses within foliate borders on a blue ground, the underside with the Sevres mark, 42cm high (2) £500-£800

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111 A SET OF FOUR LATE 19TH CENTURY VIENNA STYLE CABINET PLATES DEPICTING CLASSICAL SCENES the shaped plates with pierced borders, each with a square panel to the centre painted with scenes of classical gods and goddesses within Arcadian landscapes, on a blue ground with gilt decoration of floral garlands and scrolling foliage, 24cm diameter (4) £1,000-£1,500

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112 A FINE PAIR OF MINTONS PATESUR-PATE MOON FLASKS IN THE MANNER OF MARK LOUIS SOLON, CIRCA 1885 the bodies decorated with various flowers and trailing leaves with a butterfly to one vase and a moth to the other on a dark brown ground, the foliage extending to the reverse of each vase, the neck and foot with gilt decoration and a fan shaped design on a salmon ground, both with impressed ‘MINTONS’ mark, model number 1348, 19.5cm high (2) For a similar pair of Minton moonflasks signed by Louis Solon, see Bonhams, London, 17 May 2017, lot 412. £4,000-£6,000 112

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113

113 A FINE PAIR OF LATE 19TH CENTURY SEVRES STYLE GILT BRONZE MOUNTED ‘JEWELLED’ TURQUOISE PORCELAIN VASES ATTRIBUTED TO GEORGES EMILE POITEVIN of baluster form with long necks with gilt bronze collars, surmounted by removable lids modelled as crowns, raised on spreading circular and lappet form socles over ormolu re-entrant cut, square bases, the bodies centred by a continuous panel depicting pastoral scenes with young ladies and gentlemen in landscapes with sheep, on a turquoise ground with gilt heightened and ‘jewelled’ borders, 52cm high (2) Georges Émile Poitevin is recorded as exhibiting at the Paris Salons throughout the 1870’s and early 1880’s. The present pair of vases can be attributed to him on the basis of their similarity in design and form to a pair that were signed ‘Poitevin’, these signed vases have identical bodies to the present pair except that the continuous panel depicts Venus on a dolphin with putti. The signed pair were sold at Bonhams, Los Angeles, 3 December 2012, lot 1 ($13,750). £4,000-£6,000

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114 A PAIR OF LATE 19TH CENTURY SEVRES STYLE, GILT DECORATED AND ‘JEWELLED’ PORCELAIN AND GILT BRONZE MOUNTED VASES AND COVERS of baluster form, the slender necks with beaded collars, the domed lids surmounted by fruiting finials, raised on shaped laurel leaf cast bases, the bodies decorated with 17th century Dutch scenes on a dark blue ground the reverse with gilt decoration of a crown within a laurel wreath, 57cm high (2) £1,500-£2,000 115 A FINE PAIR OF LATE 19TH CENTURY FRENCH SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED VASES AND COVERS PAINTED BY CLAIRE MAGLIN ROCHETTE the vases of baluster form with domed covers over, the covers with bronze pinecone finials, the vases raised on in-swept square bronze bases, decorated with cobalt blue with applied gilt trellis-work and scrolling foliage, the bodies painted with young maidens and winged Cupids within abstract floral and cloud landscapes, one maiden holding a bird cage the other a daisy, both signed ‘Claire Maglin Rochette’, the underside of the covers with pseudo Sevres marks, 45cm high (2) Claire Maglin Rochette was the daughter and student of celebrated Sevres painter A. Maglin, who exhibited numerous pieces at the international exhibitions. £1,500-£2,000 116

116 A PAIR OF LATE 19TH CENTURY BRONZE LAMP BASES WITH GLASS SHADES the oil lamp bases with removable upper sections revealing the cylindrical reservoirs within, each with a pair of scrolling handles over a knopped foot and pierced, scrolling base, with frosted and fluted glass globular shades, 65cm high (2) £800-£1,200 *See inside front cover for information regarding fees

117

118

117 A PAIR OF LATE 19TH CENTURY GILT BRONZE, WHITE MARBLE AND PASTE SET FLORAL CANDELABRA in the Louis XVI style, the baluster stems with satyr mask mounts supporting floral garlands, with paste collars, each issuing four branches modelled as rose buds, mounted on domed circular bases and toupie feet, 41cm high (2) £1,200-£1,800 118 A PAIR OF LATE 19TH / EARLY 20TH CENTURY FLEUR DE PECHE MARBLE AND GILT BRONZE MOUNTED URNS in the Louis XVI style, of baluster form with fixed dome covers surmounted by fruiting finials, each with a pair of scrolling, ribbontied handles, with acanthus mounts to the base and raised on cylindrical socles over re-entrant cut square plinths, 49cm high (2) £1,500-£2,000 119 A PAIR OF LOUIS XVI MARBLE AND GILT BRONZE MOUNTED LAMP BASES of baluster form, the mounts with grotesque masks hung with ribbontied floral garlands, on square bases and each on four ball feet, fitted for electricity, 61cm high overall (2) £400-£600

119

120 A PAIR OF EMPIRE PERIOD BRONZE URNS BY PIERREPHILIPPE THOMIRE (FRENCH 1741-1843) the vases of baluster form, later drilled and adapted as lamp bases, with scrolled fluted handles terminating with flowerheads, the necks with rose and anthemions mounts, the bodies decorated with a dancing maiden holding a cup to one side, and Ganymede holding a ewer beside an eagle to the other, on lappet and acanthus cast domed feet over rectangular plinth bases with laurel wreath mounts, each signed ‘THOMIRE A PARIS’ to the base of the plinth, later drilled for electricity and the surface now stripped, the urns 51.5cm high (2). A similar pair of vases are in the collection of the Elysée Palace. A single vase of similar form, also signed ‘Thomire a Paris’ was sold at Sotheby’s, London, 9 June 2015, lot 185, £10,000, a further single example, similarly signed was sold at Dorotheum, Vienna, 22 October 2014, lot 745, sold for 13,750 euros. £4,000-£6,000 120

121 A LARGE PAIR OF 19TH CENTURY FRENCH GILT BRONZE FIGURAL CANDELABRA The stems modelled as a male and female classical figure, each holding aloft a putto, raised on stepped circular bases and supporting a central urn shaft which issues four acanthus wrapped, scrolling branches terminating in stiff leaf cast nozzles, centred by a fifth short branch, later drilled for electricity, 62cm high overall (2) £2,000-£3,000

121 66

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122

124 122 A PAIR OF LATE 19TH CENTURY FRENCH BRONZE AND CHAMPLEVE ENAMEL FIGURAL CANDLESTICKS each modelled as a nude female figure holding aloft a single urn shaped candle nozzle and raised on a circular base above a circular foot with scrolling decoration, 24cm high (2) £500-£700 123 AFTER JEAN-DEMOSTHENE DUGOURC (FRENCH, 1749-1825): A PAIR OF 19TH CENTURY SILVERED BRONZE CANDLESTICKS the stems modelled as classical female caryatids, supporting an urn shaped nozzle with removable laurel cast drip pan, raised on lappet and trailing husk cast circular feet with guilloche borders, 27cm high (2) This pair of candlesticks are based on the design by Dugourc, an 18th century pair of this design are in the Wallace Collection (Inv. no. F174). £400-£600

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125 124 A PAIR OF 19TH CENTURY ITALIAN PIETRE DURE PANELS DEPICTING ANGELS AFTER FRA ANGELICO each depicted in various coloured stones on a black ground, one blowing a horn, the other with a tambourine, both mounted in Gothic Revival gilt wood frames with spirally turned columns and spire finials, 43cm high (2) £700-£1,000 125 A PAIR OF LATE 19TH CENTURY FRENCH GILT BRONZE AND CHAMPLEVE ENAMEL VASES IN THE MANNER OF BARBEDIENNE the geometric vases with everted rectangular lips over inswept necks, the bodies with scrolling handles modelled with dragons, raised on rectangular pierced plinths, with glass liners, 18.5cm high (2) £600-£800

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127

126 A FINE PAIR OF 19TH CENTURY FRENCH (DIEPPE) IVORY CANDLESTICKS each modelled as a standing putto with a floral garland, raised on a cylindrical socle over a gadrooned and circular base, holding aloft an urn shaped candle nozzle, 18cm high (2) £1,000-£1,500 128

127 A PAIR OF EARLY 20TH CENTURY GILT METAL FIGURAL CANDELABRA IN THE MANNER OF CLODION each modelled as a youthful satyr holding aloft four branches terminating in stiff-leaf cast nozzles, raised on ornate bases cast with scrolling acanthus leaves and shells over triform plinths, 57cm high (2) £800-£1,200

128 λ A LATE 19TH CENTURY INDIAN IVORY BACK SCRATCHER modelled as a hand, with a ring on the thumb, with turned baluster handle, 34cm wide £1,200-£1,800

128A

128A A LATE 19TH CENTURY OTTOMAN SILVER VESSEL AND TRAY the vessel of baluster form, decorated throughout with C scrolls, stylised foliage and flowers, the vessel 23cm high, the tray 30cm wide (2) £800-£1200

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129 A SMALL MUGHAL ROCK CRYSTAL STYLE GLASS VESSEL decorated with stylised scrolling foliage, raised on a square base with a flowerhead to the underside, 13.5cm wide £200-£300 130 A PAIR OF GILT BRONZE AND ROCK CRYSTAL STYLE GLASS LAMP BASES IN THE MANNER OF BACCARAT the asymmetric gilt bronze mounts of stylised foliage enclosing the glass bodies, fitted for electricity, 52cm high (2) £3,000-£5,000 131 A PAIR OF LOUIS XVI STYLE GILT BRONZE AND VEINED WHITE MARBLE URNS of baluster form, each with a pair of swan neck, scrolling handles hung with floral garlands, raised on pierced, acanthus leaf cast bases over spreading circular socles cast with laurel wreaths, over shaped square plinths, 50cm high (2) £1500-£2000 132 A PAIR OF 19TH CENTURY BRONZE ROCOCO STYLE WALL LIGHTS the backplates modelled as scrolling acanthus leaves, each issuing a pair of similar branches with leafy, asymmetric collars and urn shaped nozzles, 44cm high (2) £400-£600

130

133 A PAIR OF LATE 19TH CENTURY MARBLE AND BRASS CANDELABRA with baluster stems issuing five branches with urn shaped nozzles, on circular bases, one lacking one nozzle, 49cm high (2) £150-£200 134 A LOUIS XVI STYLE GLAZED POTTERY AND BRASS MOUNTED VASE AND COVER the twin handled urn with domed cover with pinecone finial over, on a spreading circular foot, 53cm high £400-£600 135 A LATE 19TH CENTURY ITALIAN BRONZE AND MARBLE FIGURAL INKSTAND / ENCRIER WITH A BRONZE AFTER MICHELANGELO surmounted by a bronze of Lorenzo de Medici, Duke of Urbino after Michelangelo, the base decorated with an incised gilt crown flanked by the initials E L, flanked by a pair of lidded inkwells, one with glass liner, with recessed pen tray to the front, 39cm wide x 28cm high £300-£500

131

136 FRANZ BERGMAN (AUSTRIAN, 1861-1936): A COLD PAINTED BRONZE ORIENTALIST TABLE LAMP MODELLED AS A BEDOUIN TENT in the form of a tent with a domed top, the interior with an Arab man making coffee, the back stamped with the Bergman foundry seal of a B in an amphora above the inscription ‘Geschutz’, fitted for electricity, 35cm high PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. £4,000-£6,000

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137 A SECOND QUARTER 19TH CENTURY RUSSIAN BRONZE MOUNTED MALACHITE TAZZA the circular bowl with bronze fluted mount to the rim, raised on a faceted, spreading socle over an octagonal pedestal base with octagonal plinth, losses and restorations, 33cm high This tazze is of almost identical form to an example at Christie’s, London, 15 November 2017, lot 303. Both relate to designs by I.I. Galberg dating from 1820-40 and produced at the Ekaterinburg Imperial Lapidary Factory. The Neo-Classical form of the tazze and

the use of malachite is typical of works produced at Ekaterinburg, founded in 1751 and the second of the Imperial Lapidary factories to be established. Heavily influenced by the Empire style emanating from France in the early 19th century, the Russian masters combined the more exotic hard stone malachite with finely chased bronze, antique designs and exceptional workmanship to produce some of the most highly sought after objects of the 19th century, that now feature in royal palaces throughout the world. A malachite tazze of neo-classical design was acquired by George IV for Windsor Castle, and is still in the Royal Collection. £2,000-£3,000

138

138 λ A FINE LATE 19TH CENTURY FRENCH GILT AND PATINATED BRONZE AND IVORY CASKET BY ALPHONSE GIROUX ET CIE, PARIS in the Neo-Gothic style, of domed form, the gilt, engraved body mounted with patinated bronze pierced Gothic style mounts throughout and with a swing handle over, with a shield to the top with applied gilt initials, the four corners with carved ivory figures of kings and queens, the inside of the casket edge signed ‘Alph. Giroux et cmie a Paris, 23cm wide x 18cm high PLEASE NOTE: This lot will be on display at our South Kensington Gallery until 14th March. Maison Alphonse Giroux was founded by Francois-Simon-Alphonse and continued in 1838 by his two sons, Alphonse-Gustave (18101886) and Andre (1801-1879). They specialised in extremely fine quality small furnishings and decorative works of art such as caskets, candlesticks, trays and mirrors, often inspired by a Japanese aesthetic, and were favoured by the French royal family, a testament to the exceptional quality of the works they produced. In 1867 Alphonse Giroux ceded the company to Duvinage and Harinkouck, who continued the firm under the same name until 1885 when it closed. Important works of art by Maison Alphonse Giroux can now be found in many of the major museums across the world including the Musee d’Orsay, Paris. £3,000-£5,000 72

139 A 19TH CENTURY INDIAN SILVER GILT AND CARNELIAN BOX MODELLED AS AN EGG the various carnellian cabochons mounted in gilt roundels throughout, 6.5cm high £800-£1,200 140 A LATE 19TH CENTURY FRENCH GILT BRONZE AND PAINTED TOLE BOUILLOTTE LAMP of typical form, the dished circular stand with beaded border issuing the fluted stem surmounted by a shaped stand with three urn shaped nozzles, later drilled for electricity, 59cm high £150-£200 140A A SMALL PAIR OF 19TH CENTURY CONTINENTAL PORCELAIN PLAQUES OF THE VIRGIN AND CHILD the first depicting 'La Madonna della Seggiola' after Raphael (14831520), the second 'Madonna and Child' after Murillo, both in gilt frames, Tiles 7.3cm x 8.7cm, frames 8.2cm x 9.5cm. (2) £250-£350

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141

142

143

144

141 A LATE 19TH CENTURY SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED INKSTAND / ENCRIER the oval gilt bronze top with a central foliate cast handle flanked by a pair of inkwells with acanthus cast lids, raised on a porcelain stand with panels decorated with a quiver trophy, a musical trophy and bunches of grapes on a faux marble purple ground, 23cm high £300-£500

143 A 19TH CENTURY SAFAVID TINNED COPPER BOWL of rounded form on a short circular foot, the exterior engraved with bands of palmettes and other Arabesques, 16cm high x 24cm diameter £600-£800

142 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD BRONZE FRAME of rectangular form, surmounted by a ring handle, cast in relief and decorated in two tones of patinated bronze with various Neo-Classical motifs such as griffins, anthemions and laurels, 35cm high x 27cm wide, the aperture 19cm high x 14cm wide £1,500-£2,000

144 A FIRST HALF 19TH CENTURY FRENCH GILT BRONZE CACHE POT of cylindrical form, the body cast in relief with a continuous classical style frieze of a hunting scene with Diana and her attendants and various hounds, on an acanthus cast foot, 18cm high x 19cm diameter £600-£800

145

145 λ AN 18TH CENTURY OTTOMAN MOTHER OF PEARL AND TORTOISESHELL VENEERED CASKET / SCRIBES CHEST of rectangular form with bevelled top, raised on four square legs, decorated with geometric chequer patterns in various horn, tortoiseshell and mother of pearl, with brass Rococo style escutcheon and scrolling hinges to the sides, the interior with red velvet lining and pen tray to the right hand side, 46cm wide x 27cm deep x 39cm high. A similar casket was sold at Bonhams, London, 4 October 2011, lot 192. £2,000-£3,000 146 λ A 19TH CENTURY ANGLO INDIAN PORCUPINE QUILL AND IVORY INLAID EBONY WRITING BOX of rectangular form decorated throughout with ivory circles, the hinged lid with decorative geometric panel to the inside, and with removable tray containing nine compartments with lids with brass handles, 13cm high x 33cm wide £200-£300

147 A PAIR OF LATE 19TH CENTURY MIDDLE EASTERN CARVED AND EBONISED TURBAN STANDS (KAVAKLUK) the shaped and moulded shelf tops over trellis-work supports with scrolling decoration, 43cm high x 36cm wide (2) £300-£500 148 λ A SMALL 19TH CENTURY INDIAN HARDWOOD AND IVORY BOX of rectangular form with turned bun handle to the top, the ivory panels engraved with various flowers, the interior void, 13cm wide £100-£150 149 A COLLECTION OF EIGHT PERSIAN ENGRAVED AND ETCHED IRON BEGGING BOWLS ‘KASHKULS’` the bodies decorated with various animals and arabesques, each with an iron chain handle, 10cm high (8) £700-£1,000

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150

151

152

150 A MID 19TH CENTURY FRENCH COLOURED AND GILT DECORATED GLASS AND GILT BRONZE MOUNTED TABLE LAMP the purple and white glass baluster body decorated with gilt C scrolls and acanthus leaves, surmounted by a gilt, scrolling pierced collar and raised on a shaped base with C scrolls and trellis work, later fitted for electricity, 41cm high £300-£500

152 A FINE LARGE LATE 19TH CENTURY FRENCH GILT BRONZE AND MARBLE LAMP BASE surmounted by an acanthus bud finial with shade support over, raised on a faceted, three-sided stem with gilt bronze mounts depicting a military trophy and laurels over trailing husks, raised on a tripod base terminating in three volute scroll feet over triform plinths, fitted for electricity, 95cm high £700-£1,000

151 A LATE 19TH CENTURY SEVRES STYLE PORCELAIN AND GILT BRONZE MOUNTED VASE LAMP of baluster form, the slender neck removable and concealing the oil reservoir within (previously an oil lamp), with a pair of acanthus and foliate scrolling handles, raised on a cylindrical socle over a domed circular base, the body decorated with a scene of a Chateau with a lake, the reverse with a bouquet of flowers, on a blue ground with gilt decoration, 63cm high £600-£800

153 A PAIR OF LOUIS XVI STYLE BRONZE WALL LIGHTS the backplates modelled as tasselled ribbons, each issuing a pair of upward, spirally turned branches with lappet cast nozzles, fitted for electricity, 59cm high (2) £250-£350

154 A PAIR OF LOUIS XV STYLE PORCELAIN AND GILT BRONZE MOUNTED VASES AND COVERS in the Sevres style, the baluster bodies decorated with a pair of putti to one side and a bouquet of flowers to the reverse, with gilt borders on a blue ground, the domed covers with similar decoration and surmounted by a fruiting finial, with a pair of entwined serpent handles, on stiff-leaf cast socles of re-entrant cut square bases, 55cm high (2) £400-£600

155 A PAIR OF EMPIRE STYLE GILT BRONZE GIRANDOLES the bevelled glass plates within oval frames surmounted by lion mask crests holding laurel leaves in their mouths, with a further lion mask mount to the base issuing three acanthus wrapped branches with urn shaped nozzles, 48cm high (2) £300-£500

154

156 A PAIR OF 19TH CENTURY ITALIAN GRAND TOUR BRONZE EWERS each with a scrolling acanthus wrapped handle, the bodies cast in relief with a continuous band of dancing classical figures, raised on ringed socles over gadrooned and beaded, stepped circular bases, 31cm high (2) £500-£800

157 A LATE 19TH CENTURY FRENCH BRONZE, PARCEL GILT AND BLACK LACQUERED DESK STAND IN THE MANNER OF L’ESCALIER DE CRISTAL formed of a Japanese style black and gold lacquer panel depicting two ducks, centred by a lidded inkpot and pen stand, 23.5cm long £300-£500

155

158 A PAIR OF LATE 19TH CENTURY VIENNESE COLD PAINTED BRONZE MODELS OF COBBLERS IN THE MANNER OF FRANZ BERGMAN each figure at work, seated on a four legged stool beside a table with various tools, mounted on rectangular marble plinths, 9cm high excluding marble plinths, (2) £400-£600

159 A PAIR OF 19TH CENTURY FRENCH TERRACOTTA FIGURES OF BEGGARS both raised on cylindrical base, inscribed to the reverse ‘S BV C’, 32cm high (2) £250-£350

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160 A PAIR OF 19TH CENTURY FRENCH GILT BRONZE AND FLEUR DE PECHE MARBLE CANDELABRA IN THE MANNER OF PIERRE GOUTHIERE (FRENCH, 1732-1813) each modelled as a cassolette with floral finial over the ovoid bodies, each with three acanthus wrapped branches surmounted by urn shaped nozzles and terminating in hoof feet with ram mask mounts, over triform bases and toupie feet, 36cm high £800-£1,200 161 A PAIR OF 19TH CENTURY GILT BRONZE AND SIENNA MARBLE TAZZAS each with gadrooned shallow body with beaded edge and foliate scrolling handles, raised on square bases over marble plinths mounted with ribbon-tied garlands, 26.5cm high (2) £400-£600 162 A LATE 19TH CENTURY FRENCH GILT METAL FIGURAL MANTLE CLOCK modelled as a hunting scene with a hunter on horseback with a dog coming upon a fallen stag, the back of the case stamped ‘C4 DEGEORGES’ the white enamelled dial signed ‘ARTHUR JACK Paris & Cheltenham’, the movement similarly signed and stamped ‘JRD’ and numbered ‘31316 18-3’, striking on a bell (now lacking), with pendulum, 45cm high

160

Movement is ticking but not striking £300-£500 163 A LOUIS XVI STYLE PORCELAIN AND GILT BRONZE MOUNTED URN CLOCK SIGNED MICHEL A STRASBOURG the porcelain urn of baluster form with everted neck and twin female herm mounts, on a spreading socle over a square base, the signed, white enamelled dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, with silk suspension and pendulum, 37cm high £400-£600 164 A MODERN BRONZE FIGURE OF A TURKISH DANCE IN THE ORIENTALIST STYLE the dancing girl modelled standing on a rug, over a grey marble plinth, 51cm high £300-£500 161 165 A LATE 19TH CENTURY MAHOGANY AND GLASS BEAD-WORK OCCASIONAL TABLE the top decorated with a design in small coloured glass beads of trailing bell flowers centred by a Maltese cross and flanked by a border of Vitruvian scrolls, the table with three outswept legs and stretchers, 71cm high x 56cm diameter £300-£500

166 A PAIR OF MONUMENTAL GILT AND PATINATED BRONZE FIGURES OF ATLAS one supporting a globe and the other an armillary sphere, on ebonised pedestals, one with inscription ERRANTIUM MOTUS LUMINIUM CANONICA the other MEDIAM ESSE MUNDI TERRAM, 206cm high (2) For an identical pair at auction see Sotheby’s, London, 26 October 2016, lot 1329. £15,000-£20,000

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French Clocks

Detail of lot 174

167

168 167 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE AND MALACHITE MOUNTED MANTEL CLOCK the case of plinth form, surmounted by a bust of Napoleon raised on a malachite base (malachite probably later) set with a gilt bronze mount depicting a fox and a crane from Aesop’s Fables, over the gilt dial with Roman numerals, flanked by a pair of urn finials on laurel wreath cast, gilt mounts, the plinth base cast with trailing bell flowers, anthemion and other motifs, the twin train movement with outside countwheel and silk suspension striking on a bell, 47cm high £1,200-£1,800 168 A FINE EARLY 19TH CENTURY FRENCH GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK DEPICTING THE ARROTINO BY PIGNOT AND PONS, PARIS’ the bronze figure of the Arrotino (knife grinder) raised on the gilt bronze plinth case decorated with scrolling foliate mounts and a laurel leaf cast bezel, enclosing the Roman dial with engraved star to the centre, with Brequet type hands, signed ‘PIGNOT A PARIS’, the twin train movement signed ‘ADRE PIGNOT A PARIS’, and ‘Pons MEDAILLE D’OR 1827’, with outside countwheel striking on a bell, with silk suspension and pendulum, 45cm high The fine quality bronze figure mounted on the present clock is a reduction of GiovanniBattista Foggini’s Arrotino, itself a copy of the Roman original. The present clock can be dated to between 1827 and 1834, as Pons used the 1827 Paris Medaille d’Or stamp until 1834, when he won the gold medal again. A fine automaton clock by Honore Pons with the same 1827 stamp was sold in these rooms on 24th May 2017, lot 132, £5000 £1,200-£1,800

169

169 A LARGE 19TH CENTURY AND LATER EMPIRE STYLE MALACHITE AND GILT BRONZE MOUNTED PORTICO CLOCK modelled with four Corinthian columns over a stepped plinth base with applied gilt bronze mount of Apollo reclining on a chariot beside four butterflies, the elaborate bezel decorated with roses and daisies, enclosing the silvered chapter ring with Roman numerals, the twin train movement striking on a bell, with grid iron pendulum with gilt bob cast with cornucopiae and swans, 58cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £3,500-£4,500

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170

171

170 A FRENCH LOUIS PHILIPPE PERIOD BRONZE AND SIENNA MARBLE MANTEL CLOCK MODELLED WITH WALTER SCOTT CIRCA 1833 the seated figure beside a draped table surmounted by an open book inscribed ‘ROB ROY...’ beside a map of England, raised on a stepped marble plinth, with a silvered Arabic dial with engraved centre, the twin barrel movement with silk suspension and outside countwheel striking on a bell, signed to the backplate ‘Thomas Woolfield / A. PARIS A.C. / 1833’, with pendulum, 48cm high The movement is running and has recently been cleaned and serviced but not guaranteed. £800-£1,200 171 A LATE 19TH CENTURY FRENCH BRONZE FIGURAL CLOCK DEPICTING A SATYR the satyr playing pipes and holding a lion pelt, leaning against a tree stump which encloses the clock movement, raised on a marble rectangular feet, over four brass tapering feet, the black marble dial with incised Roman numerals, the twin train movement with outside countwheel striking on a bell, numbered 1564, 63cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £1,500-£2,000 172 A VERY LARGE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD SIENNA MARBLE, GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK the stepped plinth base surmounted by a bronze figure of Peace seated on a tasselled cushion on a stool with paw feet, with a dove beside her, the plinth base with an applied mount depicting a pair of winged angels with a laurel wreath, the movement set in a blue patinated spherical case set with applied gilt stars, the Roman dial with engine turned centre, the twin train movement with outside countwheel and silk suspension striking on a bell, 71cm high

172

The movement is winding, ticking and striking but not fully tested or guaranteed and lacking pendulum. £3,000-£5,000 81

173

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174

175

173 A LARGE AND IMPRESSIVE MID 18TH CENTURY LOUIS XV PERIOD GILT AND PATINATED BRONZE MANTEL CLOCK DEPICTING A BULL BY MICHEL BALTHAZAR, PARIS the case surmounted by a gilt bronze group of Venus and Cupid amongst laurel leaf and reed foliage, raised on a model of a bull, on naturalistic base over a pierced Rococo style plinth cast with C scrolls and foliage, the signed, white enamelled 6.5” dial with Roman numerals and Arabic five minute markers, the twin barrel, flat bottomed movement also signed ‘Michel Balthazar A Paris’ and with numbered outside countwheel with five spokes, previously with silk suspension, striking on a bell, with pendulum, 78cm high £8,000-£12,000 174 A LARGE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL CLOCK DEPICTING APOLLO, BY PONS, PARIS the stepped plinth base surmounted by a figure of Apollo holding his bow with a hound at his feet, the plinth beside him surmounted by his helmet, with a small boy holding a laurel crown aloft, the plinth base cast with a scene of a charioteer falling from his horse drawn chariot, the white enamelled chapter ring with Roman numerals, later inscribed ‘Dorey Le Havre’, the twin train movement with silk suspension and outside countwheel striking on a bell, signed ‘Pons 8-7’ , 53.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. This clock can be dated to before 1819, when Pons began stamping their movements ‘Pons Medaille d’Argent, Paris’. Honore Pons was the son of an instrument maker but trained as watchmaker, and established his own premises in 1803. He built a reputation as a fine horologist and worked with the French Minister for the Interior to help to re-establish the watchmaking industry in France; he was also awarded several medals including the Medaille d’Or in 1827. A fine automaton clock by Honore Pons was sold in these rooms on 24th May 2017, lot 132, £5000. £2,000-£3,000 175 AN EARLY 19TH CENTURY FRENCH EMPIRE GILT BRONZE FIGURAL MANTEL CLOCK OF MUSICAL THEME depicting a classical maiden playing a flute, the rectangular plinth beside her with a sheet of music atop, the white enamelled dial with Roman numerals, flanked by pipes and horns, raised on a plinth base with musical trophies with floral wreaths to the sides, over four toupie feet, the twin train movement with silk suspension and outside countwheel striking on the half hour and hour on a bell, initialled ‘B.R.’, 35cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1,200

176 A RARE EARLY 18TH CENTURY GILT BRONZE TABLE CLOCK WITH ALARM the break-arch gilt dial surmounted by a shell crest flanked by S scrolls, with similar scrolls to the sides and base of the dial, the arch with a silvered boss engraved with a crest depicting a cartouche containing a tree and two tigers with a hat above, flanked by further acanthus and C scroll mounts, the silvered chapter ring with Roman numerals interspersed with flower motifs, and with Arabic five minute markers, with a subsidiary alarm dial to the centre, the single train movement with a bell, 23cm high The movement is winding and ticking and bell striking but not fully tested or guaranteed. £2,000-£3,000

176

177 λ A 19TH CENTURY FRENCH TORTOISESHELL, GILT BRONZE AND CUT BRASS ‘BOULLE’ STYLE BRACKET CLOCK WITH BRACKET in the early 18th century style, the caddy top surmounted by four foliate finials, with four flaming finials below, the front angles with female caryatids, the sides with glazed panels, the base with acanthus scroll mounts, the hinged front door with a relief panel of Justice, the twelve piece enamelled dial with Roman numerals, the twin train movement with square plates and outside countwheel striking on a bell, stamped ‘JAPY FRERES’ and ‘H&F PARIS 1599’, the bracket also with acanthus leaf mounts, the clock 49cm high, 73cm high overall £2,000-£3,000

177 84

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178 A FINE 19TH CENTURY FRENCH WHITE MARBLE, GILT AND PATINATED BRONZE FIGURAL ANNULAR ‘CERCLES TOURNANTS’ MANTEL CLOCK modelled as a grey veined, white marble urn raised on an octagonal stepped plinth base with gilt bronze mount and surmounted by a removable lid with a bronze model of a putto above, holding a floral garland, the enamelled annular dial with Roman numerals and Arabic five minute markers, with a gilt foliate cast hand indicating the time as the dial rotates, 43cm high The movement is ticking but not fully tested or guaranteed. This elegant clock is based on a Louis XVI design, the two revolving dials indicating the time. An 18th century example in the ‘Au Balancier de Cristal Collection’, is illustrated Tardy, ‘French Clocks the World Over’, Part Two, Paris, 1981, p.90. A similar example was recently sold in The Ballyedmond Collection, Sotheby’s, London, 23 May 2017, lot 321. £2,500-£3,500

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179 A LATE 19TH CENTURY FRENCH GILT BRONZE AND PASTE SET LYRE CLOCK SIGNED ‘LEPAUTE HGER DE LA MARINE PARIS’ the lyre form case surmounted by a sunburst centred by a mask which supports the bi-metallic compensated pendulum, the pendulum supporting the paste set swinging bezel, raised on an oval stepped base with later beau bleu colour paint to the bronze, with gilt bronze garland and beaded mounts, the signed, white enamelled dial with floral garlands and Arabic numerals, the twin train movement striking on a bell, stamped ‘MEDAILLE D’ARGENT VINCENTI & CIE’ and inscribed ‘GL’ ‘1954’, with pendulum, and with glass dome, the clock 56cm high, the dome 61cm high The escapement is moving freely and the clock is striking when the hands are turned but not fully tested or guaranteed. This design of this clock is based on a Louis XVI period clock which incorporated beau bleu Sevres porcelain. The Parisian marchand Lafontaine delivered a very similar gilt bronze and Sevres porcelain clock to King George IV at Carlton House on 12th October 1828, and a further example is in the Royal Collection. Related Literature: P. Kjellberg, ‘Encyclopedie de la Pendule Francaise du Moyen Age au XXe Siecle’, p.230. £600-£800 179 85

180 A RARE LATE 19TH CENTURY FRENCH GILT BRONZE, ENAMEL AND MARBLE BRAS EN L’AIR MYSTERY CLOCK ATTRIBUTED TO A. ROUSSEAU, PARIS the standing female figure with arms outstretched beneath an arch raised on two spirally turned columns issuing anthemions, on a dark blue enamel ground with incised and gilt raised on a stepped Carrara marble plinth, the outstretched moving arms pointing to the enamelled hour and minute marks, activated by a pair of rods linked to two snail cams, the timepiece movement with platform escapement, 41cm high

An almost identical clock was sold in the Joseph M. Meraux Collection of Rare and Unusual Clocks, Sotheby’s New York, 28 June, 1993, lot 81.The Meraux example was also unsigned, however a further clock of similar form but with different coloured marble and a different design to the enamelling which was signed ‘A. Rousseau’, was sold in these rooms on 21st June 2016, lot 390, £9000. Related Literature: This model is illustrated in D. Roberts, ‘Mystery, Novelty and Fantasy Clocks’, Schiffer, 1999, p.93 £6,000-£8,000

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181 AN EARLY 19TH CENTURY FRENCH ORMOLU MANTEL CLOCK IN THE OTTOMAN TASTE surmounted by a figure of a sultan holding a small oil lamp and reclining on a chaise, an incense burner beside, on a base modelled as a carpet, the plinth with Arabesque border and ornate feet cast with masks, the silvered dial with Roman numerals, the twin train movement stamped ‘CHAUMONT PARIS’, with outside countwheel striking on a bell and silk suspension, with pendulum, 50cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £3,000-£5,000

181 182 A 19TH CENTURY FRENCH EMPIRE STYLE GILT BRONZE AND MALACHITE MANTEL CLOCK surmounted by a figural group of a Roman solider and a boy, on a naturalistic base, the later malachite plinth set with a mount depicting a military trophy, over a foliate border, the later enamelled dial with Arabic numerals, the twin train movement with outside countwheel striking on a bell, 54cm high The movement winds and strikes when the hands are turned but not fully tested or guaranteed. £3,000-£5,000

182 183 A FINE AND RARE LOUIS XVI PERIOD GILT BRONZE, WHITE MARBLE AND JASPER-WARE MOUNTED TING TANG QUARTER STRIKING PORTICO CLOCK BY ROBERT ET FILS, PARIS, CIRCA 1770-80, WITH VERGE ESCAPEMENT the gilt drum case surmounted by a swagged, twin handled urn, and raised on a pair of shaped pedestal supports surmounted by fruiting finials and set with gilt framed plaquettes of Jasper-ware classical reliefs, with a further gilt bronze mount of vines flanking a roundel depicting Plenty with a cornucopia below the dial, raised on a shaped rectangular plinth base over toupie feet, the white enamelled dial with Roman numerals and Arabic quarter hour markers, signed ‘J. Robert et Fils & Compe’, with gilt pierced fleur de lys hands, the twin train movement with verge escapement and silk suspension, with outside countwheel and rack strike on two bells, with pendulum, 63cm high The movement is winding, ticking and striking and keeping good time when recently tested, but not guaranteed. The signature ‘Robert et Fils’, found on this beautiful clock allows us to date it to before 1781, when Louis Courvoisier joined the prestigious firm and it was renamed ‘Robert et Fils Cie’ and later ‘Robert et Fils Courvoisier’. The company began in the mid 18th century and was founded by Josue Robert, who was appointed Clockmaker to the King of Prussia. He was joined by two of his sons and one grandson, hence the name ‘Robert et Fils’. An exceptional grande sonnerie clock dating from the 1780’s with a musical movement signed by J. Robert et fils et Cie was sold at Bonhams, London, 12 December 2012, lot 20, £31,000. £2,000-£3,000

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184

186 184 A LATE 19TH CENTURY FRENCH BRONZED SPELTER CLOCK MODELLED WITH AN ELEPHANT the walking beast with a seat on its back enclosing the clock movement, raised on a stylised base with elephant head corners and feet modelled as trunks, the white enamelled dial with Arabic numerals and floral garlands, the twin barrel movement with outside countwheel striking on a bell and stamped ‘S. Marti MEDAILLE D’OR’, 45cm high The escapement is moving freely and the clock strikes when the hands are turned but not fully tested or guaranteed. £1,000-£1,500 185 A FRENCH EMPIRE STYLE GILT AND PATINATED BRONZE CARTEL CLOCK, THE MOVEMENT SIGNED CAILLEAUX AND DENIERE, PARIS the circular case ornamented with a beaded border and laurel leaves, with a ribbon-tied crest above and a fruiting boss below, the gilt, beaded bezel enclosing the white enamelled dial with Arabic numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, 64cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £500-£800

185

186 A LATE 19TH CENTURY FRENCH GILT BRONZE AND WHITE MARBLE FIGURAL MANTEL CLOCK SIGNED CAUSARD A PARIS AND PLANCHON PARIS the white marble plinth base with gilt bronze mounts of a flaming torch and quiver of arrows and ribbon-tied laurels, surmounted by the gilt bronze figures of Venus holding a floral wreath and Cupid holding a flaming heart, with a pair of doves seated atop the drum case enclosing the white enamelled dial with Arabic numerals, the twin train movement signed 'PLANCHON PARIS', with outside countwheel striking on a bell, with pendulum, 41cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1200

*See inside front cover for information regarding fees

187

188

187 A LATE 19TH CENTURY FRENCH ORMOLU AND PORCELAIN MOUNTED MANTEL CLOCK the ornate case with a domed top, raised on a pierced spreading plinth mounted with Medieval style figures over a shaped base set with oval porcelain panels, the porcelain depicting military trophies with armour on a blue ground with gilt highlights, the porcelain dial with Roman numerals, the twin train movement with outside countwheel striking on a bell, signed ‘RAINGO A PARIS’, with pendulum and separate plinth, 33cm high £700-£1,000 188 A LATE 19TH CENTURY FRENCH GILT BRONZE AND SEVRES STYLE PORCELAIN MANTEL CLOCK the case surmounted by an urn, with floral porcelain panels, the dial with Venus and Cupid and Roman numerals, the twin train movement stamped JAPY FRERES, striking on a bell, with pendulum, 33cm high The movement is currently ticking and striking but not fully tested or guaranteed. £400-£600 189 A LARGE MID 19TH CENTURY FRENCH GILT BRONZE AND PINK SEVRES PORCELAIN FIGURAL MANTEL CLOCK the shaped, scrolling case surmounted by a figure of a young peasant boy seated on a rocky mound, raised on scrolling, foliate feet, set with a pair of Sevres style porcelain panels depicting rural motifs, the pink Roman dial decorated with finches and a nest, raised on a giltwood plinth, the twin train movement monogrammed ‘J.B.D.’, striking on a bell, 54cm high overall

189

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

190 A LATE 19TH CENTURY FRENCH SEVRES STYLE BISQUE PORCELAIN AND GILT BRONZE MOUNTED FIGURAL CLOCK GARNITURE, THE DIAL SIGNED ‘BALTHAZARD PARIS’ the clock modelled with a figure of Diana and a hound on rocky mound over a shaped plinth base, the garniture figures depicting Ceres with a Cornucopia beside a reclining lion and Juno beside an eagle, on conforming plinth bases, all of the figures initialled ‘A.P’. the white enamelled dial with Arabic numerals, the twin train movement striking on a bell, stamped ‘A.D. MOUGIN DEUX MEDAILLES’, the clock 33cm high, the figures 32cm high (3) £1,500-£2,000

190

191 AN EARLY 20TH CENTURY FRENCH MARBLE AND GILT BRONZE CLOCK GARNITURE the four glass case surmounted by an eagle, raised on four columns over a shaped plinth base, on four bun feet (one detached), the white enamelled dial with Roman numerals, the twin train movement striking on a gong and with twin tube mercury pendulum, with a pair of matching garniture urns, the clock 65cm high (3) £800-£1200 192 A LARGE EARLY 20TH CENTURY FRENCH GILT METAL AND PORCELAIN MOUNTED CLOCK GARNITURE in the Rococo style, the case ornamented with C scrolls, rocailles, flowers and foliage, set with porcelain panels depicting rural scenes, the porcelain dial with Roman numerals, the twin train movement signed ‘H. RIONDET PARIS’, with outside countwheel striking on a bell, the garniture candelabra each with four scrolling branches centred by a shorter fifth, with porcelain stems and Rococo style bases, the clock 56cm high (3)

191

The movement is winding, ticking and striking but not running in sync and the pendulum is lacking, not fully tested or guaranteed. £1,000-£1,500 193 AN ART DECO PERIOD BRONZED SPELTER AND MARBLE CLOCK GARNITURE the clock case with a marble plinth base surmounted by a pair of gulls over waves, centred by the clock movement raised on a four pilasters, the dial with applied chrome Arabic numerals, the twin train movement with outside countwheel striking on a bell, signed ‘Mesnier Fils Paris’, with floral basket modelled pendulum, the garniture urns also on coloured marble bases, 33cm high (3) The movement is winding, ticking and striking and has recently been cleaned and serviced but is not guaranteed. £300-£500

192

*See inside front cover for information regarding fees

194 A LATE 19TH CENTURY GILT BRONZE AND SEVRES STYLE PORCELAIN CLOCK GARNITURE the clock case surmounted by a twin handled urn, flanked by a pair of classical mask over lambrequin and a shaped plinth base, the lambrequin enclosing a porcelain panel depicting a male and female figure in 18th century dress, the porcelain dial painted with Cupid and with Roman numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, the matching garniture urns with fixed covers, the porcelain decorated with courting couples and birds, the clock and candelabra all on wooden plinths, the clock 43cm high, the candelabra 36cm high excluding plinths, (3) The movement is winding, the escapement is moving freely and the clock is striking when the hands are turned, but not fully tested or guaranteed. £2,200-£2,500

194

195 A LATE 19TH / EARLY 20TH CENTURY FRENCH GILT METAL AND MARBLE FIGURAL CLOCK GARNITURE modelled as a putto loading a wheel barrow with roses, raised on a marble plinth, the clock movement set in the wheelbarrow, with a white enamelled dial with floral garlands, the twin train movement with outside countwheel striking on a bell, with decorative floral basket pendulum, the garniture urns also decorated with putti and floral garlands, the clock 33cm high (3) The movement is winding, ticking and striking and has recently been cleaned and serviced but guaranteed. £250-£350 196 A LATE 19TH CENTURY PAINTED AND GILT METAL CLOCK GARNITURE in the Renaissance Revival style, the architectural case surmounted by a shell crest and with female herm figures to the front angles, raised on scrolling feet mounted on twin-headed swans, the white enamelled dial with Roman numerals, the twin train movement with outside countwheel and silk suspension striking on a bell, the garniture candelabra with confirming decoration and each with three urn shaped nozzles, all raised on ebonised plinths, the clock 57.5cm high overall (3)

195

The movement is winding, ticking and striking but lacking pendulum and not fully tested or guaranteed. £1,500-£2,000 197 A LATE 19TH CENTURY ARTS AND CRAFTS / SECESSIONIST STYLE BRASS AND WROUGHT COPPER CLOCK GARNITURE the arched case with copper spirally turned pilasters and copper feet, the dial with Roman numerals, the twin train movement striking on a bell (detached but present), the garniture twin branch candelabra of similar form, the clock 36cm high (3) £300-£500

196

198

198 AN EARLY 20TH CENTURY FRENCH GILT BRONZE PENDULE D’OFFICIER the typical case surmounted by a serpent handle over a caddy top with laurel wreath garland, the sides with foliate medallions, raised on four gilt feet, the case with green staining, the white enamelled dial with Roman numerals, the single train timepiece movement winding from the back, with platform escapement, 23cm high The movement is winding and ticking but not fully tested or guaranteed. £400-£600 199 A LATE 19TH CENTURY FRENCH WHITE MARBLE AND GILT BRONZE MOUNTED MANTEL CLOCK the drum case surmounted by an urn with flaming finial and with a ribbon-tied crest, raised on a fluted column over a re-entrant cut, rectangular plinth base surmounted by a pair of Bacchic putti, on four toupie feet, the white enamelled dial with Arabic numerals and floral garlands, the single train, timepiece movement with vertically mounted balance wheel escapement, 27cm high

199

200 A LATE 19TH CENTURY FRENCH GILT BRONZE MANTEL CLOCK IN THE MANNER OF FERDINAND BARBEDIENNE In the Neo-Grec style, of urn form surmounted by a classical style female bust, with panther head protrusions to the sides and raised on inverted capital feet, the dial with applied gilt Roman numerals, the twin train movement with outside countwheel striking on a bell, with pendulum, 42cm high The movement is running and has recently been cleaned and serviced but not guaranteed. £400-£600 201 A SMALL ROCOCO STYLE GILT BRONZE WALL MIRROR the shaped frame surmounted by a cartouche flanked by acanthus leaves, and with scrolling foliage, rocailles and C scrolls enclosing the bevelled glass plate, 69cm high £300-£500

200

202 A PAIR OF BAROQUE STYLE GILT BRASS TORCHERES the faceted stems with scrolling acanthus leaf decoration, the circular tops with gadrooned borders and plain candle nozzles, on triform bases decorated to each side with a relief cast bust of a saint, 90cm high (2) £250-£350 203 A LATE 19TH CENTURY LACQUERED BRASS CARRIAGE CLOCK WITH PUSH REPEAT the corniche case with swing handle over, the white enamelled dial signed 'J. MACMICHAEL TO THE KING 42 SOUTH AUDLEY ST. W.', the twin barrel movement striking on a blued steel, coiled gong, with leather covered travelling case, the clock 15cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £200-£300

The movement winding and ticking. £300-£500

*See inside front cover for information regarding fees

204

204 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL MANTEL CLOCK WITH A COURTING COUPLE the stepped plinth base with relief cast decoration of a classical scene with Venus being pulled on a chariot with dolphins in the sea, surmounted by a bronze depicting a pair of Ottoman style figures in an embrace, on a rocky naturalistic base centred by the white enamelled dial, the twin train movement with outside countwheel and silk suspension striking on a bell, with pendulum, 53cm high The movement is winding, ticking and striking but looks to need a clean and service and not fully tested or guaranteed. £1,000-£1,500 205 AN EARLY 19TH CENTURY FRENCH EMPIRE PERIOD GILT BRONZE FIGURAL MANTEL CLOCK IN THE OTTOMAN TASTE the gadrooned and stepped plinth base surmounted by a figure of a Orientalist maiden holding a posey of flowers and reclining against a tree stump, a fan beside her, the dial with Roman numerals (silvering worn), the twin train movement with outside countwheel and silk suspension striking on a bell, with pendulum, 50cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1,200

205

206 A MID 19TH CENTURY FRENCH GILT BRONZE AND PORCELAIN MOUNTED MANTEL CLOCK BY RAINGO FRERES, PARIS the Rococo style case ornamented with scrolling foliage, trelliswork and shellwork, decorated with porcelain flowers, the white enamelled dial with Roman numerals, signed ‘Raingo Freres Paris’, the twin barrel movement also signed ‘RAINGO FRERES Paris’, with outside countwheel and silk suspension striking on a bell, with pendulum, raised on a giltwood plinth, also with an ebonised plinth with glass dome over, the clock 29cm high The movement winding, ticking and striking but not fully tested or guaranteed. £300-£500 207 A LARGE EARLY 20TH CENTURY GEORGE III STYLE GILTWOOD CARTEL CLOCK the case of Rococo design with scrolling foliage, flowers and trellis work, the brass bevel enclosing the white enamelled dial with Roman numerals, the twin train movement striking on a bell, stamped ‘LES’ with pendulum, 93cm high The movement is ticking and striking but not fully tested or guaranteed. £400-£600

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208 A LARGE AND IMPRESSIVE PAIR OF 19TH CENTURY FRENCH GILT BRONZE FIGURAL WALL LIGHTS IN THE ROCOCO STYLE the asymmetric pierced backplates cast with C scrolls and foliage and each surmounted by a winged putto cast in the round, and issuing four scrolling branches decorated with rocailles and acanthus leaves, with leafy collars and urn shaped nozzles, later drilled for electricity 63cm high (excluding faux candles) (2) £3,000-£5,000 209 A LATE 19TH CENTURY FRENCH LOUIS XV STYLE GILT BRONZE FIRESCREEN in the Rococo taste, the frame decorated with trellis-work, C scrolls and acanthus leaves, and raised on pierced, scrolling feet, the mesh with putti mounts and trailing flowers, 71cm high x 66cm wide £700-£1,000 210 A FINE LATE 19TH CENTURY FRENCH GILT BRONZE FIRESCREEN IN THE LOUIS XVI TASTE the shaped rectangular frame surmounted by a pair of doves flanking a flaming torch over lambrequin, the uprights surmounted by pine cone finials, the mesh with a mount depicting a floral garland over a tripod urn, the mesh frame swivelling on a beaded pole support, raised on a quatriform stand with four hoof feet, 104cm high £1,500-£2,000

210

*See inside front cover for information regarding fees

211

212

211 A FINE 19TH CENTURY GERMAN GILT BRONZE AND KPM PORCELAIN CASKET in the Louis XVI style, richly ornamented with a scrolling handle over putto corner mounts, C scrolls, shellwork and acanthus leaves, with a grotesque mask escutcheon, the royal blue porcelain panels by KPM and with sceptre marks flanked with ‘S.g.r.P’, the interior lined with light blue silk, 33cm high x 37cm wide x 27.5cm deep £4,000-£6,000 212 ALFRED-EMMANUEL BEURDELEY (FRENCH, 1847-1919): A LATE 19TH CENTURY GILT AND PATINATED BRONZE FIGURAL MANTEL CLOCK modelled as a reclining putto holding a scroll, beside a cockerel, resting on a carved head with a chisel and mallet beside, raised on a rectangular plinth base with guilloche border over four gadrooned, toupie feet, the white enamelled dial signed ‘A. Beurdeley Fils A Paris,’ with Roman numerals and Arabic outer track, the twin train movement striking on a bell, stamped ‘Japy Freres’ and ‘JUVENAUX’ with pendulum, 31cm high The movement is ticking and striking but not fully tested or guaranteed. The Beurdeley firm were one of the most prestigious and renowned cabinet-makers and bronze makers of the late 19th century; they won medals at both the 1855 and the 1867 Expositions Universelles in Paris. £1,500-£2,000

213

213 A NAPOLEON III GILT BRONZE AND WHITE MARBLE FIGURAL CLOCK CASE BY EMILE HEBERT (FRENCH, 1828-1893) the bronzes depicting a female Bacchante picking grapes from a large urn at the centre of the clock, with Cupid the other side, his quiver at his feet, raised on a rectangular plinth base over toupie feet, the white enamelled dial signed ‘Hebert a Paris’, with Arabic numerals and calendar indication, movement now replaced with a battery, 37cm high Pierre-Eugene-Emile Hebert studied under his father Pierre Hebert and later under the important Romantic sculptor Feuchere. He exhibited regularly at the Salon from 1846 to 1893. £800-£1,200

Novelty Clocks

Detail of lot 221

214 A LARGE LATE 19TH CENTURY BRONZED-SPELTER AND GILT BRONZE FIGURAL SWINGING MYSTERY CLOCK modelled as a standing classical maiden in the manner of Carrier Belleuse, raised on a stepped cylindrical base, holding aloft a rod in her left arm which supports the spherical clock case with applied bronze Roman numerals, forming the upper section of a grin-iron pendulum terminating in a smaller orb with spire finial, which oscillates without apparent impulse, the single train timepiece movement with Brocot escapement, initialled R and numbered 2712, 127cm high For similar examples please see the Joseph M. Meraux Collection of Rare and Unusual Clocks, Sotheby’s New York, 28 June, 1993, lot 474 and 477. £3,000-£5,000

215 A LATE 19TH CENTURY GILT METAL AND BLACK MARBLE FIGURAL MYSTERY CLOCK BY GUILMET NO. 950 the black marble plinth case raised on four scrolling paw feet and with lion mask, ring handles, surmounted by a figure of Venus and Cupid, Venus holding aloft the pendulum terminating in a bevelled glass and brass mounted bob, the dial with incised gilt Roman numerals, the twin train movement with outside countwheel striking on a bell, stamped ‘BREVETE SGDG GLT 950’, 60cm high The clock is currently working, the movement is winding, ticking and striking but not fully tested or guaranteed. A similar clock by Guilmet (number 1340) was sold at Bonhams, London, 8 July 2015, lot 121. Other examples are illustrated in Qing; ‘Antique Clocks, Art and Technology in Time, 1680-1820’, pages 208-215. £1,700-£2,000

216 A LATE 19TH CENTURY FRENCH BRONZED-SPELTER FIGURAL SWINGING PENDULUM MYSTERY CLOCK modelled as a young maiden on a waisted cylindrical socle, holding aloft a rod which supports the circular clock case with Roman dial, forming the upper section of a grin-iron pendulum terminating in a bob with relief cast female bust, the pendulum oscillating without apparent impulse, 71cm high For similar examples please see the Joseph M. Meraux Collection of Rare and Unusual Clocks, Sotheby’s New York, 28 June, 1993, lot 474 and 477. £500-£800

217 A RARE MID 19TH CENTURY FRENCH EBONISED AND GILT BRONZE MOUNTED AUTOMATON CLOCK BY XAVIER THARIN (FRENCH, FL. 1840-1860) the large case of rectangular form and surmounted by a scrolling upper section enclosing the clock movement and dial, over the moulded rectangular frame enclosing the automaton scene, featuring two seated monks and a third standing within an interior, the automaton mechanism moving the figures within the scene and operated with two buttons and a pull cord at the side of the plinth base, the scene flanked by scrolling mounts and raised on a plinth base set with gilt bronze mounts of swans centred by a fountain, the white enamelled clock dial with Roman numerals and signed ‘Tharin a Paris’, the twin train movement with outside countwheel and silk suspension striking on a bell, stamped ‘Vincenti et Cie, MEDAILLE D’ARGENT’ and ‘THARIN PARIS’, with pendulum, 54cm high x 51cm wide The clock and automaton are in working order and have been recently serviced, but not guaranteed. £6,000-£8,000

*See inside front cover for information regarding fees

218 A RARE AND LARGE EARLY 19TH CENTURY FRENCH GILT AND PATINATED BRONZE AUTOMATON CLOCK OF MARITIME THEME the case surmounted by an automaton of a ship on rough seas, which appears to sail over the sea when activated, with a pair of sailors pulling a gilt rope in the foreground, the clock case mounted with a pair of marine putti blowing horns over ornate foliate scroll feet, the silvered dial with Roman numerals, the twin barrel movement with silk suspension and outside countwheel striking on a bell, inscribed 71WF, raised on a marquetry inlaid, spreading rectangular plinth base with glass dome over, the clock 59cm high, the dome 80cm high overall The clock movement is ticking and striking when the hands are turned, and the automaton runs for approximately eight hours but not fully tested or guaranteed. ÂŁ5,000-ÂŁ8,000

219 A RARE LATE 19TH CENTURY FRENCH BRONZED-SPELTER AND MARBLE NOVELTY SWINGING GLOBE CLOCK WITH A COURTING COUPLE the movement contained within a dark blue sphere applied with gilt brass Roman numerals, mounted above a young couple seated on a swing and oscillating from side to side within an arch formed from entwined tree branches rising from the naturalistic base, over a marble plinth, applied with a plaque inscribed ‘Idylle Printaniere Par Geo Maxime’, 83cm high This clock is of identical design to one sold in the Joseph M. Meraux Collection of Rare and Unusual Clocks, Sotheby’s New York, 28 June, 1993, lot 472 £8,000-£12,000

100

220 A LATE 19TH CENTURY FRENCH WINDMILL AUTOMATON CLOCK AND BAROMETER IN THE MANNER OF GUILMET the windmill with conical top and rotating sails, the main brick-work turret now patinated but probably once silvered, with a pierced gallery above the hinged front door opening to reveal the winding square for the windmill sails flanked by a pair of windows, on a brass base over a black marble plinth, set with a pair of dials, one with Arabic numerals and single winding square, and one for the barometer, both with pierced gilt centres, flanked by a pair of thermometers, one now lacking glass, 47cm high For a comparable example please see Derek Roberts, ‘Mystery, Novelty & Fantasy Clocks’, page 265, figure 22-28/B. André Romain Guilmet produced this design as part of his industrial clock series in the 1890’s. An example was sold in the Joseph Mereux Collection of Rare and Unusual Clocks, Sotheby’s New York, 28 June 1993, lot 3. £1,500-£2,000

*See inside front cover for information regarding fees

221 A RARE AND FINE LATE 19TH CENTURY FRENCH BRONZE AUTOMATON INDUSTRIAL ‘CYCLIST’ CLOCK WITH BAROMETER AND THERMOMETER the 3.25 inch enamel dial flanked by an aneroid barometer and a thermometer, the movement with platform cylinder escapement in a red marble base surmounted by a gentleman and a Penny Farthing bicycle, the automaton movement driving both wheels of the bicycle, 36cm high In working order but not fully tested or guaranteed. This important clock is of identical design to one sold in the Joseph M. Meraux Collection of Rare and Unusual Clocks, Sotheby’s New York, 28 June, 1993, lot 55. A further example was sold at Christie’s, ‘Important Clocks and Marine Chronometers’, London, 4 July 2007, lot 92 £10,000-£15,000

101

222

222 A FINE 19TH CENTURY SWISS GOLD AND ENAMEL SINGING BIRD BOX ‘OISEAUX CHANTANTS’ the rectangular box decorated with a continuous frieze of frolicking putti to the sides, with an egg and dart border to the top and trellis pattern within, with a switch to activate the oval hinged lid, the lid set with an enamel depicting a shepherdess with three lambs and male figure playing the flute within an Arcadian landscape, the inside of the lid with an enamel panel depicting a bouquet of roses, opening to reveal the singing bird with gilt wings and multi-coloured feathered plumage, the bird appearing from a fine pierced grill and singing, 9cm wide x 3.5cm high The movement is in working order but not fully tested or guaranteed. £3,000-£5,000 223 A FIRST HALF 20TH CENTURY FRENCH DOUBLE SINGING BIRD IN CAGE AUTOMATON each of the brightly coloured birds with feathered plumage, with head, beak and tail movements, with in a gilt brass cage with control lever to the side and winding from the underside, 51cm high In working order but not fully tested or guaranteed. £2,000-£3,000 224 AN ENAMEL AND GILT TRAVELLING ALARM CLOCK BY CARTIER CIRCA 1978 the octagonal faux lapis lazuli case with a hinged easel support behind, the dial signed ‘CARTIER PARIS SWISS MADE’ and with Roman numerals, the reverse signed ‘Cartier PARIS’ and numbered 7507 10671, winding from the reverse, with original gilt tooled leather presentation case and original leaflet and certificate or authenticity, 7.5cm high, the box 12cm high

223

102

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

*See inside front cover for information regarding fees

225 Detail 225 A FINE AND RARE EARLY 19TH CENTURY FRENCH GILT BRONZE SEDAN TYPE CLOCK WITH GRANDE SONNERIE PULL REPEAT AND AUTOMATON FIGURES BY BREGUET, PARIS the case of rectangular form and surmounted by a ring handle, decorated with a cache pot emitting scrolling foliage flanking the dial, on a stippled ground, the engine turned bezel enclosing the Arabic white enamelled chapter ring, signed ‘BREGUET A PARIS’, the centre with skeletonised movement and a pair of gilt, silvered and polychrome decorated figures of noble savages ‘au Bon Sauvage’ each striking a decorative bell, when the pull repeat cord is activated, one strikes the hours, then both strike the quarters with a ting tang on each bell, once for quarter past, twice for half past and three times for quarter to the hour, 16.5cm high with handle down

225

The movement is in working order but not fully tested or guaranteed. £3,500-£4,500 226 A LATE 19TH CENTURY VIENNESE GILT BRONZE AND ENAMEL MINIATURE TRAVELLING CLOCK the case or architectural form with a triangular pediment, on a plinth base, decorated with scenes of winged putti, with an enamelled dial with Arabic numerals, the single train timepiece movement winding from the back, 8cm high The movement is winding and ticking but not fully tested or guaranteed. £500-£800 227 A LATE 19TH CENTURY FRENCH LACQUERED BRASS DESK CLOCK WITH BAROMETER the case or arched form, with an adjustable handle over, the silvered and engraved mask enclosing the white enamelled dial with Roman numerals and Arabic five minute markers, over the aneroid barometer dial, the single train timepiece movement with balance wheel escapement, 13cm high The movement winding and ticking but not fully tested or guaranteed. £250-£350

226

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228 AN EARLY 20TH CENTURY BRASS GRAVITY CLOCK BY THE WATSON / KEE-LESS CLOCK COMPANY the brass frame with a notched rack supporting the weighted circular case, containing the movement with anchor escapement for the vertical dumb-bell balance driven by the weight of the clock as it descends down the rack, with painted Arabic glass dial, 26cm high The clock is ticking but not fully tested or guaranteed. This type of clock was first introduced as the Crystal Palace British Industries Fair in 1920 and described by the makers as ‘A revolution in clock construction. No keys. No springs. Moving parts reduced to a minimum giving greater reliability at less cost’. Related Literature: British Horological Journal, August 1994, p.490. £300-£500 229 A RARE LATE 19TH / EARLY 20TH CENTURY RAILWAY MAN’S ‘LIGHT UP’ WATCH SIGNED ‘J.C. VICKERY’ the plated metal watch case enclosing the white enamelled dial signed ‘J.C.Vickery To Their Majesties 179-183 Regent St.W 8 Days MM&Cds Patent No. 10292, with subsidiary seconds dial and Arabic numerals, fitted with a small light bulb at 12, the keyless wound movement with jewel lever and numbered 7032, the watch fitted in a leather carrying case which also holds the battery to operate the light, with a pull cord to the right side of the case with a mother of pearl button on the end of the cable which operates the light, and a button to the right side of the leather case to retract the cable, 15.5cm high overall

230 A 1960’S JAEGER LE COULTRE POLISHED BRASS DESK CLOCK MODELLED AS A TELEVISION the rectangular case raised on bracket feet, with glazed front with replaced glass enclosing the gilt baton numerals, with visible timepiece movement and vertically mounted balance wheel escapement, the going barrel inscribed ‘SWISS MADE’, the underside of the case numbered 391, winding from the back, 15cm high x 20cm wide The movement is ticking but not fully tested or guaranteed. £600-£800 231 A MID 19TH CENTURY FRENCH BRASS GREAT EXHIBITION SKELETON CLOCK the inverted Y frame raised on a brass inlaid, ebonised oval plinth, the white enamelled dial with Roman numerals, the single barrel timepiece movement with silk suspension and anchor escapement, with pendulum, (lacking glass dome), 23cm high overall For a similar clock but with alarm see Christie’s, New York, 17 June 2005, lot 37, with a base plate stamped ‘MS. HONORABLES/EXP./PARIS. LONDRES’. Related Literature: D. Roberts, ‘Continental and American Skeleton Clocks’, Schiffer, Pennsylvania, 1989, pp.102-103, figs.90-93. F.B. Royer-Collard, ‘Skeleton Clocks’, NAG Press, London, 1969, p.69, fig.4-7. £350-£450

The light is in working order but not fully tested or guaranteed. £400-£600 104

*See inside front cover for information regarding fees

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232 A LATE 19TH CENTURY GILT BRASS AND PORCELAIN CARRIAGE CLOCK WITH REPEAT AND ALARM the case with beaded edges enclosing the porcelain panels decorated in the Chinese taste with flowers with gilt highlights, the dial similarly decorated and signed ‘HALL & CO. MANCHESTER’, with Arabic chapter ring and subsidiary alarm dial below, the twin barrel movement striking on a blued steel, coiled gong, stamped ‘PATENT SJRETY POLLER’, with lever platform escapement, 19cm high

234 A LATE 19TH CENTURY FRENCH LACQUERED BRASS CARRIAGE CLOCK WITH PUSH REPEAT SIGNED CHARLES FRODSHAM, LONDON the Anglaise Riche case with three quarter columns to the corners over a moulded plinth base, the engraved mask enclosing the white enamelled dial with Roman numerals, the twin barrel movement striking on a bell, the backplate signed ‘Charles Frodsham, London’, with lever platform escapement, 20cm high

\The movement is winding, ticking and striking and the push repeat and alarm are working, but not fully tested or guaranteed. £600-£800

The movement is winding, ticking and striking and the push repeat is working but not fully tested or guaranteed. £300-£500

233 A LARGE LATE 19TH CENTURY FRENCH LACQUERED AND GILT BRASS CARRIAGE CLOCK WITH REPEAT the Anglaise Riche case with three quarter Corinthian columns to the corners over a spreading plinth, the gilt mask engraved with flowers and foliage, the white enamelled chapter ring with Roman numerals and gilt centre, the twin barrel movement striking the half hour and the hour on a coiled steel gong, with lever platform escapement, 20cm high The movement winding, ticking and striking and the push repeat working but not fully tested or guaranteed. £400-£600

235 A MID 19TH CENTURY ENGRAVED GILT BRASS STRUT CLOCK IN THE MANNER OF THOMAS COLE the circular frame surmounted by an Arabesque crest and raised on conforming scrolling feet, the silvered dial with engraved centre decorated with scrolling strapwork and with Roman numerals and blued steel fleur de lys hands, the single train timepiece movement with eight day going barrel, winding from the back, with vertically mounted balance wheel escapement, 17cm high The movement is winding and ticking but not fully tested or guaranteed. £500-£800

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237 236 A LATE 19TH CENTURY SWISS MINIATURE GILT, ENAMEL AND PEARL SET CLOCK IN THE CHINESE TASTE BY RAU & STEINMEYER the rectangular case with a linear design to the sides and hinged back, with pearl set bezel surmounted by a model of a dragon with mouth open to catch a butterfly, the butterfly enamelled and with paste jewels to the wings, raised on a bulrush, over a Rococo style gilt base, the enamelled dial with Arabic numerals, the back with an easel stand, the hinged door opening to reveal the single train, timepiece movement signed ‘RAU & STEINMEYER GENEVE’ and numbered 12988, with vertically mounted lever platform escapement, 9.5cm high The clock is winding and ticking but not fully tested or guaranteed. A miniature timepiece with enamel decoration by Rau & Steinmeyer was sold at Sotheby’s, London, 14 December 2004, lot 34. £350-£450 237 AN EARLY 20TH CENTURY SWISS GUILLOCHE ENAMEL AND SILVER MINIATURE TRAVELLING CARRIAGE CLOCK the case with translucent light green enamelled sides and top, with opaque white enamel stringing, the dial with Arabic numerals and blued steel hands, the back hinged at the bottom and opening to reveal the timepiece movement winding from the back, the inside of the case with green enamelling, 6.5cm high The movement is winding and ticking but not fully tested or guaranteed. £500-£800 238 A FINE LATE 19TH CENTURY SILVER, GILT AND ENAMELLED MINIATURE CARRIAGE CLOCK the ornate Anglaise Riche case in the Renaissance Revival style and modelled with winged caryatids to each corner, with a scrolling handle over centred by a cartouche, the case decorated with acanthus leaves, crests and a satyr mask, the sides with enamel panels decorated en grisaille with classical maidens, each pouring a ewer into a cup, the dial with a bowl of fruit flanked by scrolls, with Roman numerals, the underside of the case with hallmarks, the single train timepiece movement with lever platform escapement, 9cm high

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The movement is winding and ticking but not fully tested or guaranteed. £1,500-£2,000

*See inside front cover for information regarding fees

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239 A FINE LATE 19TH CENTURY SWISS GILT BRASS CARRIAGE CLOCK WITH MOONPHASE AND PUSH REPEAT BY MOULINIE, GENEVA the ornate, engraved gilt brass case decorated in the Renaissance Revival taste with strapwork, roses and C scrolls, with three quarter columns to the corners terminating in mythical beasts, the hinged front and back doors and the sides with bevelled glass panels, the engraved, silvered mask enclosing the white enamelled dial with Roman numerals, signed ‘MOULINIE GENEVE’, over the moonphase, the twin barrel movement striking on a bell, inscribed ‘Pg’ and numbered 271, with balance wheel escapement, 19cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £3,000-£5,000 240 A LARGE LATE 19TH CENTURY ROCOCO REVIVAL BRASS CARRIAGE CLOCK WITH PUSH REPEAT AND ALARM the case ornately cast with scrolling foliage, trailing husks and scroll work, the sides with bevelled glass panels, the white enamelled dial with Roman numerals and subsidiary alarm dial below, the twin barrel movement striking on a blued steel coiled gong, with lever platform escapement, together with a leather covered and green velvet and silk lined travelling case, 21cm high The movement is winding, ticking and striking and the push repeat and alarm are working but not fully tested or guaranteed. £1,500-£2,000 241 A LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK WITH ALARM AND REPEAT THE DIAL SIGNED ‘DENT 33 COCKSPUR ST LONDON’ the Anglaise Riche case with three quarter Corinthian columns to the corners and raised on a plinth base with dentil cornice, the gilt mask enclosing the white enamelled dial signed EXAMD. BY DENT 33 COCKSPUR ST LONDON’, with subsidiary alarm dial below, the twin barrel movement striking on a blued steel, coiled gong, with lever platform escapement, with original leather covered travelling case, 17cm high £1,500-£2,000

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242 A 19TH CENTURY AUSTRIAN ‘ZAPPLER’ TYPE PORCELAIN CLOCK the Rococo style case decorated with gilt spots and polychrome flowers on green ground, raised on a faceted plinth over a circular, ebonised stand with glass dome over, the white enamelled dial with Arabic numerals, the timepiece movement winding from the back, with steel pendulum mounted to the front, the clock 8cm high, overall 17cm high The movement is ticking but not fully tested or guaranteed. £500-£800

243 AN EARLY 20TH CENTURY GERMAN NOVELTY MYSTERY CLOCK IN THE FORM OF A FLOWER IN A FLOWERPOT the small dial set with in the painted metal flowerhead and raised on a stem which conceals a cable to connect the flowerhead to the motionwork within the painted yellow flowerpot, the hands turned with a winder to the underside of the pot, 20cm high The movement is winding and ticking but not fully tested or guaranteed. Related Literature: R. Shelton, ‘Collectable Clocks’ illustrates a very similar clock (figures 293a and 293b). £300-£500

245 245 A LATE 19TH CENTURY FRENCH GILT BRASS CARRIAGE CLOCK WITH PUSH REPEAT the ornate case with knopped and ringed finials to the fluted, three quarter columns at each corner, the gilt mask enclosing the silvered chapter ring with Arabic numerals and gilt pierced centre, the twin train movement striking the half hour and the hours on a blued steel, coiled gong, with lever platform escapement, together with a leather covered travelling case, 19cm high The movement is winding, ticking and striking and the push repeat is working but not fully tested or guaranteed. £500-£800

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244 244 A LATE 19TH CENTURY AUSTRIAN BRASS ZAPPLER TYPE CLOCK WITH ALARM the break-arch case raised on bracket feet, with a swing handle over and a white enamelled dial with alarm disc to the centre, with brass pendulum mounted to the front, the single train timepiece movement winding from the back, the bell for the alarm mounted to the underside, 15cm high The movement is winding and ticking and the alarm working but not fully tested or guaranteed. £300-£500

246 246 TWO LATE 19TH / EARLY 20TH CENTURY BRONZE AND OPAQUE GLASS NIGHT CLOCKS the first with brass case enclosing the single train timepiece movement with short pendulum and single brass hand indicating the time on the white glass, spherical dial with Roman numerals, with a dish inside for a small candle, raised on a bronze baluster stem over a triform base with scrolling feet and gilt border, the second clock of similar design, raised on a circular foot with alabaster knop to the stem, with similar glass dial, 24cm and 25cm high respectively (2) £400-£600

*See inside front cover for information regarding fees

247 247 A LARGE LATE 19TH CENTURY FRENCH GILT BRONZE CARTEL CLOCK IN THE LOUIS XVI STYLE the case surmounted by an urn with pinecone finial, over lion pelt and ram mask mounts and trellis work, terminating in a fruiting boss, the white enamelled dial with Arabic numerals, the movement replaced with an electric movement, 73cm high £400-£600

248 248 A SECOND QUARTER 19TH CENTURY MAHOGANY AND BRASS INLAID DROP DIAL FUSEE WALL CLOCK SIGNED HATCH, KENDAL the 12” painted dial with Roman numeral, set within a brass bezel and moulded surround, the short trunk with central glazed aperture flanked by floral sidepieces, the brass single fusee timepiece movement with pendulum, 49cm high

249 249 A LICHFIELD CATHEDRAL BRASS FRAMED SKELETON CLOCK the typical frame raised on four circular feet over an ebonised plinth, the silvered dial with Roman numerals, the single fusee movement striking on a bell, with pendulum, 37cm high £300-£500

The movement is winding and ticking but not fully tested or guaranteed. £500-£800

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250 A MID 19TH CENTURY ENGLISH FUSEE BRACKET / TABLE CLOCK WITH PULL REPEAT the arched case with stylised foliate carving, the sides with brass reticulated sound frets and ring handles, the painted dial with Roman numerals the twin fusee movement striking on a bell, with heavy brass bob pendulum, 40cm high

251 AN ART DECO PERIOD CHROME LAMP WITH DESK CLOCK BY KELLER, PARIS the rectangular clock case raised on a stepped plinth base, with silvered dial with Arabic numerals, signed ‘KELLER PARIS’, with an electric nozzle fitted to the top beneath a domed chrome shade, the timepiece movement winding from the back, with vertically mounted platform escapement, 24cm high

252 A WILLIAM IV MAHOGANY FUSEE TABLE / BRACKET CLOCK BY GEORGE BARTON, LONDON the pagoda top carved with C scrolls and roses, with similar carving below and raised on a plinth base and four bun feet, the painted, signed dial with Roman numerals, the twin chain fusee movement striking on a bell, with pull repeat, with adjustable pendulum, 46cm high

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

The movement winding, ticking and striking but not fully tested or guaranteed. £400-£600

The movement is winding, ticking and striking and the pull repeat works but the clock is not fully tested or guaranteed. £300-£500

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253 253 A LARGE AND RARE LATE 19TH CENTURY OAK STATION REGULATOR CLOCK BY JOHN WALKER, NO.558SE WITH DEADBEAT ESCAPEMENT AND HARRISON’S MAINTAINING POWER CIRCA 1885 the case with volute scrolls decoration over the arched trunk door, the inside of the trunk door with applied plaque engraved ‘558’ the brass bezel enclosing the 17” painted dial with Roman numerals and Arabic red painted twenty four hour indication to the inside track, signed ‘B.R.(S) John Walker, 1, South Molton St, London 558.S.E’, the substantial four pillar, single fusee movement with deadbeat escapement and Harrison’s maintaining power, with John Walker stamp to the backplate, with a wood rod pendulum with 5.5” diameter bob and regulation by means of a 1.25” diameter round regulating nut, the weight pulley unusually set with six spokes, with weight, 153cm (5ft) high The movement is winding and ticking and has been running whilst in the care of the present owner but not guaranteed. Provenance: According to the British Rail stock inventory, this station regulator was in use at Esher, Up-Platform. It was decommissioned and sold by British Rail to a Mr Vaughan-Neil on the 10th September 1973. Copies of the stock inventory are provided with the clock. Related Literature: Lyman, IP, ‘Railway Clocks’, p200 shows a near identical clock. £3,000-£5,000

110

*See inside front cover for information regarding fees

254 254 A GEORGE III MINIATURE BRASS LANTERN CLOCK MADE FOR THE MIDDLE EASTERN MARKET, LATE 18TH CENTURY, THE DIAL SIGNED ‘ROB. WARD LONDON’ the plain brass case with removable side panels and break-arch, 3.75” dial, with silvered chapter ring with Turkish numerals and five minute markers, below the silvered boss signed ‘Robt.Ward London’, the weight driven movement striking the bell, with verge escapement and short pendulum with pear shaped bob, with a later brass bracket applied to the underside in order to attach to the wall, with weight, 14cm high

255

Robert Ward is recorded in Loomes, ‘Watchmakers & Clockmakers of the World’ as admitted to the Clockmakers’ Company 1768, and working from Abchurch Lane 1779-1808. Like George Clarke, he specialised in clocks for export to the Middle East. £1,500-£2,000 255 AN 18TH CENTURY LANTERN CLOCK BY GEORGE CLARKE, LONDON the case with strapped bell flanked by pierced scrolling frets, with urn finials to the corners and above the bell, on four ball feet, the 8” brass break-arch dial with gilt urn and foliage spandrels, with silvered chapter ring with Roman numerals and silvered boss to the arch signed ‘Geo Clarke / Leaden Hall Street / London’, the weight driven striking movement with verge escapement and short pendulum, with weight, 37cm high George Clarke is recorded as working in Leadenhall Street from 1727, he specialised in clocks for the Eastern and Turkish Markets and was last recorded in 1787. £1,200-£1,800 256 A RARE LATE 17TH CENTURY ENGLISH LANTERN CLOCK BY THOMAS POWER, WELLINGBOROUGH the strapped bell supported by four urn finials interspersed with dolphin and flower frets, the 6.5” dial with Roman chapter ring and distinctive all-over tulip engraving to the centre, signed ‘Thomas Power Wellingborow’, with single hand, the movement now with verge escapement and short bob pendulum but originally with balance wheel escapement, together with a later carved oak bracket, and two weights, the clock 37cm high the bracket 75cm high (2) £1,500-£2,000

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257 257 A MID 18TH CENTURY AND LATER EBONISED PETIT SONNERIE TABLE / BRACKET CLOCK OF SMALL SIZE, THE DIAL SIGNED ‘CHATER LONDON’ the shallow inverted bell top surmounted by a brass swing handle, the sides with glazed break-arch panels (one panel lacking), raised on a plinth base over four brass bun feet, with Rococo style pierced gilt sound frets over the brass break-arch dial with conforming gilt spandrels and engraved centre also with Rococo style ornament and with faux pendulum aperture, with three silvered bosses to the arch, the largest central boss signed ‘Chater London’, the smaller subsidiary dials with German inscriptions for fast / slow and strike / silent, the Roman silvered chapter ring with Arabic five minute markers, the 19th century triple barrel movement with verge escapement, striking the hours on one bell and the quarters on a second, with pull repeat, 46cm high The movement is winding, ticking and striking but not fully tested or guaranteed, pendulum bob lacking. £2,000-£3,000

258 258 A LATE 18TH CENTURY ENGLISH EBONISED FUSEE BRACKET / TABLE CLOCK WITH PULL REPEAT BY THOMAS MOSS, LONDON, NO. 324 of break-arch form, surmounted by a brass swing handle and with brass reticulated sound frets to the sides, on four ball feet, the breakarch painted dial with Roman numerals, signed ‘Thos. Moss Ludgate Street, London, 324’, the twin fusee movement with anchor escapement striking on a bell, the backplate with foliate and wavy line border and also signed and numbered ‘Thos. Moss, LONDON No. 324’, with original pendulum, similarly engraved, 43cm high The movement is winding, ticking and striking and the pull repeat is working but not fully tested or guaranteed. Related Literature: B. Loomes, ‘Watchmakers and Clockmakers of the World’ lists Thomas Moss, London (Ludgate Street) 1775, CC.1786-d.1827. £1,200-£1,800

259 A REGENCY MAHOGANY GOTHIC REVIVAL FUSEE TABLE / BRACKET CLOCK SIGNED W. STRANGE, LONDON the architectural case with a shaped arch with foliate carved moulding over cluster columns to the front angles and a plinth base, the sides with brass Gothic style pierced frets, the painted dial with Roman numerals, the twin fusee movement striking on a bell, with large brass bob pendulum, 50cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £800-£1,200

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*See inside front cover for information regarding fees

260 260 A LATE 18TH CENTURY MAHOGANY AND BRASS MOUNTED QUARTER STRIKING TABLE / BRACKET CLOCK WITH CENTRE SECONDS SIGNED ‘J. BROWN’ the arched case surmounted by a foliate swing handle, with pierced brass sound frets to the sides decorated with scrolling foliage, over a plinth base and bracket feet, the signed, painted dial with Roman numerals and centre seconds hand, the twin fusee movement winding from the back, with verge and knife edge escapement, striking on two bells, the backplate finely engraved with a lambrequin border and a further border around the edge of where the bell is applied, with a vase of flowers over, with short pendulum with pear shaped bob, 42cm high

261 261 A REGENCY MAHOGANY AND BRASS MOUNTED TABLE / BRACKET CLOCK WITH PULL REPEAT BY GRANT, FLEET ST, LONDON the pagoda top over the dentil moulded cornice and dentil plinth base, the sides with brass reticulated sound frets and gilt foliate swing handles, on four ball feet, the painted dial signed ‘GRANT Fleet St. LONDON’, the backplate also signed, the twin fusee movement striking on a bell, with pendulum, John Grant of Fleet Street, London (the son of John Grant, also of Fleet Street) was born in 1796. He was liveryman of the Clockmakers Company in 1817 and Master 1838-1867. £1,500-£2,000

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

262 A GEORGE III STYLE WALNUT AND BRASS MOUNTED MOONPHASE TABLE / BRACKET CLOCK the inverted bell top with brass swing handle over, the sides with carved reticulated sound frets over a plinth base and foliate feet, the break-arch brass dial with moonphase to the arch and silvered Roman chapter ring, with gilt matted centre, the twin train movement striking on a bell and stamped ‘JUNGHANS’, with pendulum, 49.5cm high The movement is winding, ticking and striking but not fully tested or guaranteed. £350-£450

Next Fine European Works of Art & Clocks Sale 6 June 2018

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<MZU[ IVL +WVLQ\QWV[ NWZ *]aMZ[ I\ +PQ[_QKS )]K\QWV[

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. ,MĂ&#x2026;VQ\QWV[ For the purposes of the current Terms and Conditions, the Seller shall JM LMĂ&#x2026;VML I[ \PM W_VMZ WN \PM /WWL[ 1\ Q[ QUXTQML \PI\ \PM ;MTTMZ Q[ \PM 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. +I\ITWO]M LM[KZQX\QWV[ 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. 1V[XMK\QWV 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. +WVLQ\QWV ZMXWZ\ CA Ltd may issue a Condition Report on request prior to the sale. <PQ[ +WVLQ\QWV :MXWZ\ Q[ NWZ QLMV\QĂ&#x2026;KI\QWV X]ZXW[M[ WVTa IVL KIVVW\ JM considered as giving a precise account 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. -TMK\ZQKIT[ )TT MTMK\ZQKIT Q\MU[ IZM [WTL I[ [MMV IVL +) 4\L Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ[ VW O]IZIV\MM I[ \W the working condition of such items or their safety. 1\ Q[ \PM *]aMZÂź[ L]\a \W \ISM VMKM[[IZa [\MX[ \W JM I[[]ZML \PI\ \PM 4W\ is safe for normal use. -[\QUI\M[ 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 5IVa 4W\[ IZM Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZML []JRMK\ \W I ZM[MZ^M _PQKP Q[ \PM KWVĂ&#x2026;LMV\QIT minimum sale price. The reserve will 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. ! :MOQ[\ZI\QWV \W \PM [ITM 6M_ JQLLMZ[ _QTT VMML \W ZMOQ[\MZ XZQWZ \W \PM [ITM 1\ Q[ [\ZWVOTa advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneerâ&#x20AC;&#x2122;s entire discretion. 1V\MZVI\QWVIT JQLLMZ[ UIa JM ZMY]QZML \W ZMOQ[\MZ PW]Z[ JMNWZM \PM 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. 8ZWWN WN QLMV\Q\a Bidders not previously known to CA Ltd will be required to provide: Â&#x152; 7â&#x20AC;ŤŮťâ&#x20AC;ŹKQIT XZWWN WN QLMV\Q\a QV \PM NWZU WN I XI[[XWZ\ WZ XPW\WKIZL LZQ^QVO TQKMVKM 6W W\PMZ NWZU[ WN 1, IZM IKKMX\IJTM Â&#x152; 8ZWWN WN ILLZM[[ WN UIQV ZM[QLMVKM 7VTa Wâ&#x20AC;ŤŮťâ&#x20AC;ŹKQIT LWK]UMV\[ showing name and address will be accepted. â&#x20AC;˘ Both landline and mobile telephone numbers â&#x20AC;˘ A bank reference for foreign bidders may be requested Â&#x152; +WZXWZI\M KTQMV\[ _QTT PI^M \W XZW^QLM I KMZ\QĂ&#x2026;KI\M WN QVKWZXWZI\QWV XZQWZ \W \PM I]K\QWV ITWVO _Q\P \PM ZMXZM[MV\I\Q^MÂź[ 1, QV IKKWZLIVKM 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. 2. DURING THE SALE )\\MVLIVKM I\ I]K\QWV Attending the auction in person is recommended. CA Ltd has the right in their absolute discretion to refuse participation QV IVa I]K\QWV \W ZMRMK\ IVa JQL IVL \W ZMN][M ILUQ[[QWV \W \PM XZMUQ[M[ 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. 8MZ[WVIT JQLLQVO Bidders attending the auction in person shall be required to collect a number plate prior to the sale.

+WUUQ[[QWV JQL[ +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \W KIZZa W]\ +WUUQ[[QWV JQL[ 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. +WUUQ[[QWV JQL[ [PITT JM M`MK]\ML I\ \PM TW_M[\ XW[[QJTM XZQKM []JRMK\ 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. 1V \PM M^MV\ WN U]T\QXTM KWUUQ[[QWV[ I\ \PM [IUM XZQKM \PM KWUUQ[[QWV set at the older date shall be taken into account.

<ZIV[NMZ WN ZQ[S[ 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.

<MTMXPWVM JQL[ 1N I JQLLMZ Q[ VW\ IJTM \W I\\MVL QV XMZ[WV IV I]K\QWV +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \W KWV\IK\ XZW[XMK\Q^M *]aMZ[ _PW UISM IZZIVOMUMV\[ prior to commencement of the sale to bid by telephone. +) 4\L KIVVW\ JM PMTL ZM[XWV[QJTM QV \PM M^MV\ WN Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\Q^Q\a resulting in the loss of a chance of purchasing the Lot for the Bidder.

/ZW]VL[ NWZ KIVKMTTI\QWV ]VLMZ \PM XZM[MV\ [MK\QWV [PITT QVKT]LM J]\ VW\ be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences WZ KMZ\QÃ&#x2026;KI\M[ IVa []J[MY]MV\ KPIVOM[ QV LWUM[\QK WZ QV\MZVI\QWVIT legislations restricting the sale of export of goods etc. 1V \PM M^MV\ WN QV\MZVM\ WVTa I]K\QWV[ \PM *]aMZ [PITT PI^M I LIa right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

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

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

3.5 Returns and refunds CA Ltd will only issue a refund using the same method of payment originally used by the Buyer to pay for the purchase, or by bank transfer. The Buyerâ&#x20AC;&#x2122;s refund will be processed without undue delay and in any M^MV\ _Q\PQV VW UWZM \PIV LIa[ WN \PM LIa \PM *]aMZ OI^M +) 4\L notice of cancellation. 1N \PM *]aMZ M`MZKQ[M[ \PMQZ ZQOP\ WN ZM\ZIK\QWV _PMV I]\PWZQ[ML \W LW [W by Law, CA Ltd shall proceed to issue a complete refund, comprising the hammer price of the Lot, buyerâ&#x20AC;&#x2122;s premium and shipping fees. However return fees shall remain at the expense of the Buyer. 4. AFTER THE SALE 8IaUMV\ All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. +I[P XIaUMV\[ [PITT VW\ JM ZMKMQ^IJTM NWZ IUW]V\[ W^MZ Ã&#x201A; ZMOIZLTM[[ of the payment being for one or multiple Lots. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. *]aMZÂ¼[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ã&#x2026;Z[\ Â&#x160; IVL XT][ >)< WV \PM JITIVKM \PMZMIN\MZ ) *]aMZÂ¼[ 8ZMUQ]U WN ! XT][ >)< Q[ charged on Wine & Spirits Lots. The standard rate of VAT is charged on the premium except on Lots marked â&#x20AC;&#x2DC;â&#x20AC; â&#x20AC;&#x2122; where normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. 1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show

[I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

+WTTMK\QWV Purchased Lots can be collected from the auction room after the sale PI[ MVLML WZ JM\_MMV IU IVL XU ]X ]V\QT KTW[M WN J][QVM[[ WV the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion.

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

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

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

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

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

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

4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them. CA Ltd cannot be held responsible if the Buyerâ&#x20AC;&#x2122;s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. ?IZZIV\QM[ CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. )]\PMV\QKQ\a _IZZIV\a 1V \PM M^MV\ WN I 4W\ JMQVO [WTL I[ I]\PMV\QK ]VLMZ \PM KI\ITWO]M description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. <PM *]aMZ [PITT OQ^M VW\QKM \W +) 4\L _Q\PQV LIa[ NZWU SVW_TMLOM or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall JM LMÃ&#x2026;VML I[ \PM [\I\M WN I 4W\ \PI\ Q[ OMV]QVM IVL VW\ I NWZOMZa WZ I KWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ IVL ZMO]TI\QWV[ )ZKPIMWTWOQKIT OWWL[ W^MZ aMIZ[ WN IOM ]VTM[[ KW^MZML Ja M`MUX\QWV WN TQUQ\ML [KQMV\QÃ&#x2026;K QV\MZM[\ _QTT ZMY]QZM IV -= 4QKMVKM NWZ M`XWZ\ \W I third country, regardless of their value. 1\ Q[ ZMKWUUMVLML \PI\ \PM *]aMZ KWV\IK\ \PM -`XWZ\ 4QKMV[QVO =VQ\ at Arts Council England in order to be assured the good is or not of TQUQ\ML IZKPIMWTWOQKIT WZ [KQMV\QÃ&#x2026;K QV\MZM[\ Archaeological goods found on United-Kingdom soil or in UK \MZZQ\WZQIT _I\MZ[ W^MZ aMIZ[ WN IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination. 7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M Both European-Union and UK Licences may be required simultaneously NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZÂ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining Â&#x152; 1ZZILQI\QWV â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone. 1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd

JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only. -[\QUI\ML _MQOP\[ 1N I [\WVMÂ¼[ M`IK\ _MQOP\ IXXMIZ[ _Q\PQV \PM JWLa WN \PM LM[KZQX\QWV \PM [\WVM PI[ JMMV ]V UW]V\ML IVL _MQOPML Ja +) 4\L 1N \PM _MQOP\ WN a stone is stated to be approximate, the stone has been assessed by CA 4\L _Q\PQV Q\[ [M\\QVO IVL \PM LMÃ&#x2026;VML _MQOP\ Q[ I [\I\MUMV\ WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;) LQIUWVL ZQVO Ja @â&#x20AC;&#x2122;: When the makerâ&#x20AC;&#x2122;s name appears in the title, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion the piece is by that maker. â&#x20AC;&#x2DC;) LQIUWVL ZQVO [QOVML @â&#x20AC;&#x2122;: Has a signature that, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. â&#x20AC;&#x2DC;) LQIUWVL ZQVO UW]V\ML Ja @â&#x20AC;&#x2122;: Has been created by the RM_MTTMZ QV +PQ[_QKS )]K\QWV[Â¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZÂ¼[ UIZS NWZ @â&#x20AC;&#x2122;: Has a makerâ&#x20AC;&#x2122;s mark which in Chiswick Auctionsâ&#x20AC;&#x2122; opinion is authentic. Some items may include parts or products derived from endangered [XMKQM[ []KP I[ Q^WZa WZ KWZIT ;]KP Q\MU[ UIa JM []JRMK\ \W QUXWZ\ WZ M`XWZ\ ZM[\ZQK\QWV[ ;MM [MK\QWV WV +1<-; ZMO]TI\QWV[ NWZ UWZM LM\IQT[ 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and _Q\PW]\ LMNMK\[ WZ PI[ JMMV []JRMK\ \W ZMXIQZ WZ ZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for QUXWZ\ WZ M`XWZ\ X]ZXW[M[ QV IKKWZLIVKM _Q\P +1<-; ZMO]TI\QWV[ CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE =XPWT[\MZML N]ZVQ\]ZM IN\MZ ! According to The Furniture and Furnishings (Fire Safety) Regulations ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes.CA Ltd shall not be ZM[XWV[QJTM NWZ TI\MZ IT\MZI\QWV[ \W \PM N]ZVQ\]ZM UISQVO Q\ ]VÃ&#x2026;\ NWZ [ITM 9. FINE ART .QVM )Z\ XIQV\QVO[ I[ QVKT]LML QV \PM KI\ITWO]M LM[KZQX\QWV Â»@ Â¼" 1V +PQ[_QKS )]K\QWV[Â¼ WXQVQWV Q\ Q[ IV I]\PMV\QK work by the artist.

»)\\ZQJ]\ML \W @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ probably a work by the artist. »+QZKTM WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL L]ZQVO \PM period of the artist’s life. ».WTTW_MZ WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM KWV\MUXWZIZa or near contemporary. »;KPWWT WN @ \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with that artist. ».ZMVKP ;KPWWT \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with a particular location. »5IVVMZ WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM J]\ I\ I TI\MZ LI\M IT\PW]OP not of recent execution. »;\aTM WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL WN ZMKMV\ M`MK]\QWV »)N\MZ @ " 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I KWXa Ja IV ]VQLMV\QÅML IZ\Q[\ WN I VIUML _WZS Ja \PM IZ\Q[\ Lots sold ‘as seen’ or ‘as found’ are deemed to be sold in their present condition, with their faults and defects. The Bidder must be aware that purchase of such Lots is at there own risk.

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.

10. ASIAN ARTS

15. SEVERABILITY

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

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, []KP XZW^Q[QWV Q[ \W \ISM M‫ٺ‬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM I‫ٺ‬MK\ML WZ QUXIQZML I[ I ZM[]T\

13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder.

16. AMENDMENTS .QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM ÅMTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQÅML [\I\MUMV\[ I[ \W \PM I]\PWZ[PQX WZ LI\M WN execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. 6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I »NWZOMZa¼ Q[ LMÅVML I[ I _WZS KZMI\ML _Q\P \PM QV\MV\ \W LMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[ IVL UIV][KZQX\[ [WTL I[ QVKWUXTM\M IZM VW\ []JRMK\ \W ZM\]ZV[ 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 ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM ÅTT TM^MT For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of IV »IKKMX\IJTM¼ ÅTT TM^MT NZWU +) 4\L

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ \PM JMVMÅ\ WN +) 4\L ITT JQLLMZ[ IVL [MTTMZ[ IOZMM \PI\ \PM +W]Z\[ WN -VOTIVL IZM \W PI^M M`KT][Q^M R]ZQ[LQK\QWV \W [M\\TM ITT LQ[X]\M[ IZQ[QVO 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.

SPECIALISTS

20th Century & Contemporary Art & Design James Nurse Head of Department james@chiswickauctions.co.uk

Musical Instruments Dr. David MacGregor Guitars & Fretted Instruments Specialist david@chiswickauctions.co.uk

Antiquities & Tribal Art Alice King Head of Department alice.king@chiswickauctions.co.uk

Printed Books & Manuscripts Clive Moss Head of Department clive.moss@chiswickauctions.co.uk

Asian Art Lazarus Halstead Head of Department lazarus@chiswickauctions.co.uk

Valentina Borghi Head of Sales - Autographs & Memorabilia valentina.borghi@chiswickauctions.co.uk

Yasuko Kido Japanese Art Specialist yasuko@chiswickauctions.co.uk Ceramics & Glass Dr. Jim Peake Head of Department jim@chiswickauctions.co.uk Designer Handbags & Fashion Meg Randell Head of Department meg@chiswickauctions.co.uk European Works of Art & Clocks Rachael Osborn-Howard Head of Department rachael@chiswickauctions.co.uk Fine Art Suzanne Zack Head of Department - Watercolours, Drawings & Portrait Miniatures suzanne@chiswickaucions.co.uk Jan Leman 15th - 20th Century Oils & Prints Specialist jan@chiswickauctions.co.uk Rohan McCulloch Collections, Early British Paintings & Drawings Specialist rohan@chiswickauctions.co.uk Krassi Kuneva Head of Sales - Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Melissa Van Vliet Head of Sales - Old Masters melissa.vanvliet@chiswickauctions.co.uk Islamic & Indian Art Beatrice Campi Specialist beatrice.campi@chiswickaucions.co.uk Jewellery Sarah Duncan Head of Department sarah@chiswickauctions.co.uk Charlotte Peel Specialist charlotte.peel@chiswickauctions.co.uk

Dr. Carmen Donia Specialist carmen.donia@chiswickauctions.co.uk Andrew Kerr Specialist andrew.kerr@chiswickauctions.co.uk Nicholas Worskett Specialist nicholas@chiswickauctions.co.uk Rugs & Carpets Mark Henry Lampe Head of Department mark.lampe@chiswickauctions.co.uk Chris Vin Specialist chris@chiswickauctions.co.uk Silver & Objects of Vertu John Rogers Head of Department john.rogers@chiswickauctions.co.uk Amicie de Villenfagne Specialist amicie@chiswickauctions.co.uk Watches Matthew Caddick Head of Department matt@chiswickauctions.co.uk Wine & Spirits Peter Mansell Head of Department peter.mansell@chiswickauctions.co.uk

SALE CALENDAR

TUESDAY 27th MARCH Tribal Art & Natural History Urban Art WEDNESDAY 28th MARCH The Warrens Library to include a Collection of Fine Books, Prints and Maps Autographs & Memorabilia to include a Collection of Margaret Thatcher Letters, Books and Ephemera THURSDAY 29th MARCH Books from the Library of Giancarlo Beltrame, part II TUESDAY 3rd APRIL The Interiors & Design Sale to include a selection of Fine Rugs & Carpets WEDNESDAY 4th APRIL Guitars & Fretted Instruments TUESDAY 10th APRIL Modern & Post-War British Art TUESDAY 17th APRIL 20th Century & Contemporary Art & Design The Interiors & Design Sale TUESDAY 24th APRIL Ceramics & Glass FRIDAY 27th APRIL Islamic & Indian Art TUESDAY 1st MAY The Interiors & Design Sale to include a selection of Fine Rugs & Carpets TUESDAY 15th MAY Jewellery Watches WEDNESDAY 16th MAY Designer Handbags Old Master Paintings & Drawings THURSDAY 17th MAY Printed Books & Manuscripts to include Modern First & Limited Editions

Chiswick WOA and Clocks cover.qxp_Layout 1 21/02/2018 14:48 Page 2

Chiswick WOA and Clocks cover.qxp_Layout 1 21/02/2018 14:48 Page 1

Fine European Works of Art & Clocks 21 March 2018

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

Fine European Works of Art & Clocks Including Exceptional Sculpture from an Important Private Collection

London 21st March 2018